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Obey Cobra- Oblong (2021 vinyl release, Box Records)

Box Records is a record label I got to know about through weird pop collective Dorcha (reviewed here on the blog) whose debut album Honey Badger was seriously weird and seriously awesome at the same time. Above anything else it was impossible to categorize, which a quality Weirdo Shrine is always looking out for. Lucky for me Box Records did not leave me hanging for too long, because their new signing Obey Cobra does the weird and unfathomable thing again (and then some!) on their terrific debut album Oblong.

Oblong starts off with the majestic OK Ultra, a song like the ouverture to a sinister space abduction opera. It’s got angelic choral vocals, heavy doom-laden riffs, noisy guitars, and a whole lot of of spacey atmosphere.

Next is Capita, a completely different world now, much noisier, chaotically produced, noisy racket song. Like The Mae Shi and Savages got into a horrific bloody catfight or something. Followed by Sunflowers, which sounds more 90s shoegaze oriented, and forms a nice breath catcher after all that violence. Obey Cobra displays an impressive feminine vocal palette, basically allover the place and still all in service of the atmosphere of the song whether it’s spooky background choirs or distorted yelling. The overall atmosphere is dark, and abrasive, yet exciting and adventurous, without a dull moment in sight for miles…

Sophia Can’t Walk is a song that picks up the pace a little, with an anxious contemporary postpunk feel fitting right in with bands like Dry Cleaning, Drahla, and the likes. There’s a brooding tension in this song that builds up and up and eventually erupts in a magnificent shout fest catharsis. You just got to love the level of emotion and guts that are poured into it.

Which goes for Oblong as a whole: this is an album that does not give two cents about being hip or trendy or how high you should wear your trousers at the moment. It’s completely self-centered in the best of ways. Whether playing dark shoegaze, noisy doom pop, or jumpy postpunk, this band is completely in a world of their own. Be glad you are invited in…

K. Wood

I had the pleasure to be able to fire a couple of questions at the band, which were fired back by the band’s lead singer K Wood. Check out the result right here:

How are you right now, and how have you been doing the past Corona period?
Hi Jasper, we are all doing fine, individually busy over summer but it’s good! The past year
and forever has been a strange time but in relation to the band especially due to having
released our debut album ‘Oblong’ in April 2020 – pretty fresh into the first lockdown and not being able to travel outside of your own house let alone gigging and having the opportunity to perform the album further afield. It blows my mind that our last gig was Dec 2019?! Thankfully we have had a huge amount of support from both Box Records, who has just released the album to vinyl, and local music heroes at Buzz Magazine, Cosmic Carnage and Adam Walton on BBC Radio Wales. And it gave us a chance to be creative in different ways where we’ve made our own music videos for a lot of the tracks on the album which you can find on our YouTube channel.

Can you tell me what Obey Cobra stands for, who you are, and why you started a

We like to view Obey Cobra as a collective, it’s heavily influenced by blending art and music.
We’re not rooted in one thing and people involved can change. When we first started, myself (K Wood) and Rory joined Gareth & Steveo and were called ‘Oblong’ – we were interested in mixing doom with synth pop. We used to play a lot of house shows across Cardiff and it was mainly an improvisational band. When Obey Cobra was formed with the addition of Rosie and Ian we were already more clear on what the debut album was going to be like.

Can you tell me about your musical backgrounds?
Everyone is deep-rooted into the South Wales DIY music scene coming from bands such as
Made of Teeth, Boris a Bono, Inanna Meets the Dawn

Who would you consider your creative kindred spirits?
Hugely – I think most of us are driven by creativity in most that we do, we’re made up of film
makers, artists, music producers, and a blacksmith (?!) & it feels like we really elevate each

Did you start Obey Cobra with a set plan on what it would be, or is it more fluid?
Also; who or what decides what the direction is going to be?

We all have a say in what direction it goes in but it is very fluid, everyone writes music or has
a role to play and we constantly try to push our boundaries through improvisation and
developing ideas until we have something solid. Most of us take on the bedroom producer
approach with structures or first draft ideas and then bring it to the band where we then
rework the songs to suit us as a whole.

What was the best experience you have had as a band so far, and what are you still
looking forward to?

We have a lot of fun in most things that we do but when we recorded ‘Oblong’ we got the bare bones down at Foel Studio in Mid-Wales in a really remote cottage and studio space which was really amazing. We then used Rory’s family house to record the rest over a few
days and it got really experimental and weird where we were recording beat up cymbals
being thrown down stairs and wonky saxophone solos!

What are you guys talking about when you are not making music?
We can talk about everything, we are all really close friends but we often like to be creative
together and share things that have inspired or interested us.

What are your dreams about?
Too many bizarre, nightmarish things! We are working on writing a psychedelic short horror
film that is based around our dreams which we will film and do the soundtrack to so hold
tight and you’ll be able to delve right in.

What should Weirdo Shrine readers do immediately after reading this?
Go float in the nearest natural body of water to you.

The Third Sound- First Light: interview (2021 Fuzz Club Records)

First Light is Berlin based The Third Sound‘s fifth album already. The band is lead by guitarist/vocalist Hakon Aðalsteinsson, who you might know as The Brian Jonestown Massacre‘s guitarplayer since 2018. The Third Sound is a different beast though, with a sound more akin to darker indie bands like Madrugada, Tindersticks, or Echo And The Bunnymen. First Light rather brilliantly mixes up those dark elements with hypnotizing psychedelic elements and killer songwriting skills. I was lucky enough to be able to talk to Hakon about the corona period, playing with BJM, and touring with The Third Sound, this is what he said:

Hi Hakon, how have you been this ongoing Corona period? How has it been for you as a musician and as a person? 

It’s definitely been weird and hard at times, but all things considered I have been doing alright both as a musician and personally. We managed to record the new Third Sound album, I worked on a bunch of  BJM songs with Anton and I found love and am in a relationship that started during the pandemic. So I can’t complain really  

You have just released an awesome new album with The Third Sound, which is your side project from BJM, right? How do you manage to combine the two?  

I don’t consider Third Sound a side project, that has been my main music project for the past 10 years. I only joined BJM in 2018 although  I have known Anton for many years and worked with him on all sorts of projects, both related to BJM as well as other projects of his. It’s just a matter of trying to be fairly organized and focused on each project when you need to be. 

Can you perhaps briefly take us through the band’s history until now? 

It started when I was living in Rome quite a while back now. I had taken a step back from bands that I had been involved with (Icelandic band Singapore Sling and more) and was focusing on other things. But then I bought a cheap acoustic guitar and these songs started coming out that I felt I needed to record. With the help of some friends I managed to do so in a cheap studio over there. Then I had my friend Hallberg help me mix the record before I relocated to Berlin where The Third Sound became a band. There we have recorded 4 albums now in different places and with different line ups, but the band is now working better than it has ever been before. The current line up is: Hákon Aðalsteinsson (Vocals, Guitar), Robin Hughes (Guitar/Organ), Fred Sunesen (Drums, Synth) and Andreas Miranda (Bass). 

How do you usually start working on a new album and did it differ this time? What life influences play a role in the process? 

Every time is different in some way. I guess the restrictions this time played a part. In some ways it slowed the process down but at the same time it made us more focused during the times we could actually work.  It started with me making home demos that I then brought to my band mates. We then worked on the arrangements together, sometimes changing the songs completely but in other cases less so. After  rehearsing those songs as much as we could during the restrictions, we went to a studio in the countryside of Alsace, France and recorded the whole album in a week.  I think your whole life and experiences bleed into the process somehow even without you realizing it in some cases, or sometimes you figure it out long time after the record is done 

Your work with The Third Sound is a lot darker than BJM, would you have an explanation for that?  

Maybe because Anton grew up in California and I grew up in Reykjavik? I have no idea to be honest, and I actually find our new record less dark than most of the previous ones 

What are your biggest musical influences for The Third Sound? Does that vary a lot? Do you listen for instance to a lot of new music? 

It always varies I would say although you tend to go back again to a few certain bands, usually bands that you got into when you were younger. For example I have been revisiting some Sonic Youth albums again for the first time in years, especially those early to mid nineties records (Goo, Dirty, Experimental Jet Set, Trash and No Star). Those albums were often considered by fans to be too polished or over produced back then but coming back to them now I think they sound great. I tend not to listen to a whole lot of new music, but there is always something that catches my ear from time to time. I have been listening quite a lot to Fat White Family recently. I know they are not very new but I didn’t really pay too much attention to them before. Maybe because I found the name a bit silly, or maybe because they were being so hyped up few years back and stuff that gets hyped so often turns out to be shit. So I think it is often better to wait until the hype dies down and then see if the music has actually something to offer, and in their case it certainly does. I think they are great. 

How are the roles divided in the band? Does it differ a lot from BJM? 

The main difference between the bands is that BJM members are scattered all over the world while Third Sound is based in Berlin. The process is similar in the way that one member comes up with a main idea that other members then contribute to it, but the difference is maybe that the collaborative process starts earlier in case of The Third Sound. It’s easier when you are all in the same room together 

How have the release scheduling and touring been influenced so far? What can we expect? 

There have been some delays and cancelations but we have been pretty lucky compared to many other bands we know. We have been working with a new booker, Filippo at YTC Bookings, who has been doing a great job finding us shows in these difficult times. Now we just keep our fingers crossed that all these shows will be able to go ahead as planned.If all goes well our first run of dates will be in late September and October and is mainly in Germany and France. We are still working on setting up a nice Berlin show but that might happen in November. In December we should do a short Scandinavian/German run (although Swedish dates don’t seem to be happening at this point because of new rules over there). And in late January we’ll head over to the UK for some dates, but probably connecting those with some dates in Belgium, Netherlands and Germany. We hope for the best. 

Finally, what should the Weirdo Shrine readers do immediately after reading this interview? 

Thanks for setting this one up so nicely for me, so I can knock it right out of the park: They should go out and buy our new album! 

29.09.21 – DE – KASSEL – Sandershaus
30.09.21 – FR – MULHOUSE – Noumatrouff
01.10.21 – DE – MANNHEIM – ALTER
02.10.21 – CH – SION – Point 11
03.10.21 – FR – MARSEILLE – Le Molotov
04.10.21 – IT – MILAN – Arci Bellezza
05.10.21 – FR – CHAMBERY – Brin de Zinc
06.10.21 – FR – PARIS – Supersonic
07.10.21 – FR – BORDEAUX – L’Astrodøme
08.10.21 – FR – Poligné – On lâche rien sauf les chiens
09.10.21 – FR – ROUEN – ROUEN – Le 3 Pièces Muzik’Club

Ouzo Bazooka- Dalya (2021 Stolen Body Records)

At one point in my life I want to learn how to dance. You know, not the nervous wriggling that I do now when I hear a funky beat, but really proper dancing, with real moves and such. Just so that when I go to a show of a band like Ouzo Bazooka I could actually move my limbs in a way that makes sense and that flows with this kind of music.

What music you say? Well, Ouzo Bazooka plays this really eclectic mixture of traditional Eastern music, 70s disco, and psychedelic rock. It’s the kind of music Khruangbin might have played if they were enjoying life just a little more. Ouzo Bazooka vibrate positivity in a way that would turn any place in a steaming mass of moving bodies, from dank squatter parties to Bar Mitzvahs (they are from Tel Aviv, Israel) to big ass festivals. It’s a living vibe that is so wanted and necessary at the moment, and has been absent from our lives for so long that I cannot recommend it enough. In fact if ever you feel drab or lifeless, I would highly encourage you to take a daily dose of Dalya to lighten up your day.

With 34 minutes on the clock the album is over before you know it, and it’s a cliche but that doesn’t make it less true; it is pretty much the only thing really wrong with Dalya. Unless you are a real grinch or bat person, you will enjoy the hell our of this latest outing by Ouzo Bazooka. So doctor’s orders: inject a daily dosis of Dalya to you ears from now on!

Horte- Maa Antaa Yön Vaientaa (2021 Pelagic Records)

I had a super weird dream last night. I dreamt that Shakespeare’s Weird Sisters were at my bed singing their oracle hymns and probably predicting all kinds of ominous things for me. Except they sang in a weird language unknown to me, so I could not make anything out of it.

I woke up, checked my email, and found this new band called Horte in my inbox with a new outlandish album titled Maa antaa yon vaientaa. When I first listened to it I was immediately struck by lightning: this was the singing I heard in my dream.

I had already heard of this Finnish band, as they are related to one of my all time favorite Finnish bands Oranssi Pazuzu by their producer Juho Vanhanen, and through fellow dark psych brooders Dark Buddha Rising by the mix which was done by Saku Tamminen. Was I stoked? I was beyond that, this was an altogether mesmerizing experience.

Although their hazy psychedelics and weird atmospherics ties them together with their illustrious Finnish brethren, Horte plays some completely different music. Maa antaa yon vaientaa consists mostly of heavenly female vocals, fuzzy basslines, and songs that hold the line somewhere between modern Radiohead and Portishead. Just once, on Väisty Tieltä, they completely let go of all constraints and sound as erratic and otherworldly like Oranssi Pazuzu might, but mostly their sound is majestic and soothing.

I think presenting themselves as a shoegaze band, or a female vocal act in the vein of Chelsea Wolfe is selling Horte short actually, because what they have created here on this album is quite unique. It’s a psychedelic dream I like to dream some more, if only I knew what those Weird Sisters were singing…

Comet Control- Inside The Sun (2021 Tee Pee Records)

Comet Control are a band you just always love to welcome back. From their very start as the illustrious Quest For Fire up to this third album under their current moniker they have always stood for high quality psychedelic rock with a characteristic swing to it. These five Toronto veterans have toured the world many times, released a solid bunch of albums, and Inside The Sun shows they know exactly what they are about in this life.

Comet Control pull off a rather acrobatic trick rather well. They combine being super hazy and early Pink Floid-y with being a super tight and heavy rock band that will steam roll allover your Shisha lounge. Like in Quest For Fire, the vocals are terrifically doubled in the most dreamy way setting the controls for the heart of the sun (Inside the sun, get it??). At the same time the rhythm section is a freaking machine, pounding away at a stomping speed most of the time, setting them apart from any other band currently out there. It’s this power, urgency, and the excellent execution that makes Comet Control such a welcome adition to the psychedelic rock canon, and why they are invited all over the world at such a regular basis.

New this time are moments of deeper contemplation in quieter songs like Good Day To Say Goodbye, The Afterlife, and The Deserter. The latter song even reminded me of the indie band Eels; the way the gruffy vocals combine with the cinematic build up and even some violins…! It’s rather daring for a heavy band like this to come out sensitive the way they do, but it comes highly appreciated and shows some unexpected versatility in a sound that seemed so cast in stone, but turned out more fluid and flowing than ever.

Lammping- Flashjacks review + Q&A (2021 Echodelick Records)

Toronto must be the chillest place in the world. I have no idea, I have never roamed its streets, but if a town can produce a band like Lammping it must be so. Right from the first radiations of opener Intercessor it is clear we are dealing with something special here. Om-like basslines interwoven with weird funky samples, otherworldly keyboards and turning into brilliant Stereolab-like French psychedelics near the end.

But back to Toronto. I can picture the guys in Lammping cruising the streets, good moods all around, picking up influences from all kinds of different cultures, chatting to the locals and buying some veggies, and generally just expanding their minds. Back home they pour all those insights into super chilled tracks which have this really awesome coating of all kinds of experiences, but are mainly their own and nobody else’s.

Their 2020 Nasoni Records debut album Bad Boys Of Comedy already hinted at what these guys were capable of, but on this self-titled sophomore attempt Lammping have truly found their own sound. It’s not psychedelic rock anymore, nor is it stoner or ambient, it is all those things and plenty more. From the strange album cover to the down to earth lyrics and the clear production value: this is Lammping, and it’s one of the freshest, joyous things I have heard in a long while.

So I talked to drummer Jay Anderson, and this how it went down:

Hi guys, how have you been these past two years of ominous dread? 

Doing our best. Making lots of music. Trying to stay safe.

Can you tell us who you are, where you come from, and what you love most in the world?
Mikhail Galkin, Jay Anderson, Matt Aldred and Scott Hanningan are  who we are. and we love love.

Can you explain “Lammping” and “Flashjacks”? I have pictures in my head, but I’m sure they don’t come close to the truth!

We wanted to have a name that sounded slick that didn’t evoke classic stoner/doom imagery. “Flashjack” was a classic Toronto head shop located on the longest street on earth. If you know, you know.

These are our absolute heroes in life and music:
Way too many to mention but I’d say one common thread is that they are all original and all make a difference.

If your lives depended on it, which record would you be able to agree on as a band as the holy grail in music?
A Led Zeppelin album produced by Large Professor. Still waiting on that.

How did you determine your sound as a band? Was it a conscious decision or a natural one? And how does decision making go in general for Lammping?
If it’s us making music as a unit, then it’s Lammping. We like to borrow from a lot of influences but it usually comes out sounding like Lammping, so that’s the formula that works I guess. Melody, head nodding and vivid sounds are our versions of salt, oil and heat. 

What message would you like to convey as a band?
Have a good time all the time.

What are your immediate- and future goals? What would be the ultimate achievement?
Make music that people want to listen to and enjoy. That’s the ultimate goal and achievement 

What should the Weirdo Shrine readers do immediately after reading this? 
Drink water. Thanks a lot for your time!

Tibetan Miracle Seeds- Inca Missiles (2021 Fuzzed Up & Astromoon Records)

Tibetan Miracle Seeds are a new psychedelic rock band from Scotland, and the latest signing by upcoming UK psych record label Fuzzed Up & Astromoon Records. Their music leans heavily towards Anton Newcombe-ian psychedelica, so you better get your sitar and acoustic guitar ready before joining in with these soothing chants. There’s definitely some of that Brian Jonestown Massacre/Dandy Warhols fuzzy laziness going on here, but although Tibetan Miracle Seeds luckily also know how to write some ear worms for your brain to remember them by, they’ll never end up on top of the tops any time soon.

Which is fine by them probably, let them emanate their incense heavy fumes from the periphery for a while. Their special edition vinyl records are long since gone, so I guess they have found their tribe. You know, those people who just know what a Tibetan Miracle Seed is, even without ever Googling it. Or an Inca Missile for that matter…that’s exactly the kind of tribe that will put these miracle seeds in their pipe and smoke it until they melted all their wellies.

Personally I would have liked the album to be a bit more varied, and the highlights for me are therefore the songs where TMS really kick it off with some extra added grit where they almost land in stoner rock territory. A song like Melted Welly for instance does this terrifically. Otherwise Inca Missiles is a pretty cool debut album with a consistent sound, some real tunes, and killer artwork. Psychheads know what to do.

I asked main man, singer/songwriter and guitarist Jack McAfee to introduce his band, and this is what he had to say:

Hi guys, how have you been these past two years of ominous dread?
Busy writing and recording lots of music! It has been a weird time but also not having anything to do has been a good incentive to make music.  

Can you tell us who you are, where you come from, and what you love most in the world?A humble goat farmer from Dundee, Scotland. I love my goats more than anything. 

Can you explain “Tibetan Miracle Seeds” and “Inca Missiles”? I have pictures in my head, but I’m sure they don’t come close to the truth!
The pictures in your head are closer to the truth than anything I could ever tell you.
These are our absolute heroes in life and music:
George Harrison, Jimi Hendrix, Ken Kesey, George Carlin, Bill Hicks, Noam Chomsky

If your lives depended on it, which record would you be able to agree on as a band as the holy grail in music?I
t’s not even my all time favourite record, but if aliens were to visit Earth and demanded we show them the greatest piece of music ever made, I’d give them The Dark Side of the Moon by Pink Floyd. 

How did you determine your sound as a band? Was it a conscious decision or a natural one? And how does decision making go in general for TMS?Really it’s determined by whatever bands and artists are currently being listened to. When you hear a song that makes you feel a certain way, and then asking the question, what is it about that song that made me love it so much, or moved me like it did? It could be a chord sequence, a particular instrument, the vocal performance, a cool riff – any element of the song that makes you feel something. Unexpected moments or changes really do something for me too.

What message would you like to convey as a band?
Save the bees.

What are your immediate- and future goals? What would be the ultimate achievement?Immediate – play a gig Future – go on tourUltimate – Make the greatest album of all time

What should the Weirdo Shrine readers do immediately after reading this? 
Call your loved ones and tell them to listen to Tibetan Miracle Seeds. And read that book you’ve been meaning to read but haven’t made time for.

O M N I – Sirens review + Q&A (2021 self-released)

Norwegian progressive metal outfit O M N I came to me out of nowhere last summer with their mindblowing single Delos, which showcased all of their many talents in a five minute tour de force. It’s definitely one of the best songs I have heard in a long time, bringing together a magnificent vocalist in Juliane Lind, and mixing it with music rife with modern prog elements varying from Tool to Animals As Leaders to The Gathering and a lot more.

Lind’s vocals carry the band impressively with extremely versatility reminding of strong rock/metal women like Uta Plotkin (ex-Witch Mountain), Royal Thunder’s Mlny Parsonz, or even Bjørk (you can hear the slight Scandinavian accent, which if you ask me adds personality and style). Her strength lies in the dynamics she puts in her performance, ranging from very lovely and still to powerful and grand.

It is hard to believe that O M N I is Lind and her bands’s first rodeo because as a whole Sirens sounds so powerful, tight, and professional that it seems we are dealing with hardened veterans here, but that’s not the case. I’d like the listener to put the spotlight on drummer Sander Lambrecht’s stellar drum performance as an extra point in case. It can be easy for female fronted rock bands to stumble into certain cliche pitfalls, but O M N I’s tight rhythm sections safely guards this combo from ever getting boring.

So is there nothing wrong with this debut album? Well, apart from its meagre length (around 35 minutes) and the fact that none of the other songs are as strong as the aforementioned single, I dare say that O M N I did a mighty fine job. I am looking forward to what the future might bring for them.

So obviously stoked with this album, I just had to include a little Q&A! I had the pleasure of talking to guitarist and spokesperson Joachim Lambrechts, who was gladly willing to introduce us to his band.

How have you been? Can you tell how band life has been for O M N I during Corona? 
We’ve been staying safe during the pandemic, and followed the local corona restrictions and guidelines for our rehearsals and recording sessions. As live shows have been difficult to organise, we have focused our time on writing and recording the album.

Can you tell me a little about the band? How did you come together and decide on your sound etc? Also: what is your musical background? You sound like veterans!
The band started back in 2018 when Sander and I (Joachim) decided to join forces after other projects didn’t work out. As brothers we have always played together for fun, but this was our first serious attempt to write music together. As we both had been somewhat restricted by genre in previous projects, our goal with the music and sound was to have little to no rules on what was musically allowed, and experiment as much as we liked. 
We struggled for some time to complete our lineup, but in 2020 Juliane Lind (Vocals) and Simen Soltvedt (Bass) joined the fold. Juliane wrote some lyrics for our demo tracks, and we were quickly blown away by her voice and talent for writing. With Simen we had found a creative and hard working bassist, releasing our first single became a full on priority!
As for musical background every band member brings something different. 
Juliane comes from 3 years of musical specialization in high school. She also has a solo project that can be heard under Juliane on Spotify.
Simen comes from more of a punk/rock background from the previous projects he has been a part of. But has a love for bands like Tool and The Ocean as well.
Sander is mostly self-taught, and has a love for all kinds of music. He has been a part of different bands and projects, but mainly done drum covers/remixes on YouTube. Here the genres range from pop, to dubstep, to metal!
As for me, the guitar was passed down from my grandfather and father. At first blues, rock and 80s metal were my favourite genres, but as soon as my father showed me the album Systematic Chaos by Dream Theater it was prog all the way!

I must say, after listening to your first single “Delos” I was hooked. Still it took a while to finish the new album, right? What can you tell me about the album process? 
For this album a lot of groundwork was laid before Juliane and Simen joined. But as we quickly discovered after the release of Delos there was still a lot of work left to be done!
We picked our most promising demos, and decided to focus on completing one song at the time. But as we all work full time jobs, and do this as a hobby, everything took a lot more time than first estimated. 
When Juliane and Simen joined, it was also important that they had creative input. All lyrics and vocal melodies are written by Juliane, and Simen had creative freedom for the bass lines.
We have recorded all of the instrumental parts at our own studio/rehearsal space, and done the vocal recordings at Egersound Studios. The album was then mixed by Skar Productions and mastered by Robin Leijon

What can you tell me about the band name O M N I and lyrical concept of Sirens? 
The band name comes from the Latin word “Omni”, which translates to “Everything”. We found it fitting as we like to experiment, and that “Everything is allowed” in our music.
The lyrical concept takes on Juliane’s deep and dark thoughts. To make it easier to write about, she envisioned herself in an ancient Greek universe.

What are your biggest dreams and your direct future plans?
Our biggest dream is to one day be able to quit our day jobs and do music full time!
For our near future we are finally able to start live shows in Norway, and are playing the festival “Raumarock” 06.08.21!

If you had to agree on 5 favorite records with all band members, which would it be? 
Favorite records:
Juliane: “Absolution” – Muse
Simen: “10 000 Days” – Tool
Sander: “Polaris” – TesseracT
Joachim: “Black Clouds & Silver Linings” – Dream Theater

From all of us: “Pitfalls” – Leprous

Which band(s) would you like to tour the world with once corona is over/under control, and why?
We would love to tour with our heroes and Norwegian prog legends “Leprous”. We are heavily inspired by their music. 

What should the Weirdo Shrine readers do after reading this?
After reading this they should most definitely check out our album “Sirens” on Spotify, and if they find it interesting follow our socials for more O M N I news in the future!

Midwife- Luminol (2021 The Flenser)

I am alone in my room listening to Midwife‘s latest album Luminol and I feel pretty mixed up. On the one hand this is stunningly beautiful music and unlike anything I have ever heard. On the other hand, it’s making me close the curtains, curl up into a ball and never leave this corner of my room ever again…

Luminol has a very melancholic wide-screen cinematic feel to it. Though I can’t confirm it, I swear they used it on the German Netflix series Dark in moments when time seemed to stand still and the main characters came to their most profound and dramatic realizations about life and time itself. This is slow music, with low, plodding beats and long stretched out distorted vocalizations. For all its soundscape-y qualities the songs on Luminol are all very well written with stellar built ups and vocal hooks that will stay with you for a long time. And again I have a moment of deja vu where I swear I heard the lyrics of 2020 before in The Offspring‘s Gone Away….must be me though.

Melancholy, mystery, sedation, fake memories, mystification, all feelings are in place experiencing Midwife’s Luminol. It is one of those albums you have to take some time off for, undergoing its magic in the dark like a floatation tank experience. Another wonderfully weird release by The Flenser!

Juleah- Stoked On Planet Summer (2021 self-released)

It’s a typically Dutch summer overhere at the Weirdo Shrine headquarters. That means it is raining cats and dogs. So when Austrian psychedelic sunworshippers Juleah announced their new album Stoked On Planet Summer I knew I just had to get on it to brighten up this season a little.

Right from the get go this record does exactly what it says on the tin; it summons Californian light rays to warm your heart and soul. Eat Sleep Sun is a genuine ear wurm with Juleah’s characteristic lazy vocals and perfect band harmonics. I have to say, I have been following Julia and her band already since their first recordings on Bandcamp, but they never sounded this focussed and tight.

Aside from being super sunny songs, the tunes on Stoked On Planet Summer are also catchy as hell. Even in all their mellowness they are written with an urgency that stays with you even hours after you put it down.

What I like about the vocals is that they are part of the music as an additional instrument blending perfectly with the hazy band jams. It is a feature that sets this band apart from modern day contemporaries like La Luz, Sleepy Sun or Best Coast, and makes them a pretty cool and welcome addition to that list of female fronted psychedelic guitar music. Even when your summer sucks like mine, Juleah will make the sun shine from your speakers!