We found – 6 articles for Lake

Iguana Death Cult (+ Tanning Bats) • Berlin

Iguana Death Cult
Special Guests: Tanning Bats
14.11.2019 | Berlin – Urban Spree
Doors: 8:00 p.m. Start: 9:00 p.m.
… presented by DIFFUS Magazine

The Rotterdam five-piece Iguana Death Cult first made a name for themselves with a twisted and hard-core garage punk including a hint of psychedelia, then the quintet grew into a band that incorporates post-punk, Krautrock, New Wave, soul and disco. Their second album « Nude Casino » will be released on October 25th on the label Innovative Leisure from LA. It shows the more top-heavy side of her songwriting and her sense for the absurd.

The frenzy of the early years can still be felt today: the band is a barely controllable force of nature. They have made their way from dark doldrums to the SXSW, and they prove that defiant dilettantism and real ability can be perfectly combined and lead to success. Opschoor used to play nimble flamenco ornaments on guitar, but would have broken his fingers on blues riffs. With Reek it was exactly the other way round: From wonderfully primitive punk rock he worked his way up to sophisticated retro soul, psychedelic rock and acid jazz à la Art Blakey. And so they meet in the middle, where Boer’s brawny bass competes against Van Opstal’s jazz-influenced licks.

Because the music scene in the Netherlands is very small and familiar, the rise of Iguana Death Cult to a legendary live act took place at an incredible pace. There is no difference for the band
between occupation and hobby, also because of that she was able to gain a big fanbase quickly. Her debut album « The First Stirring of Hideous Insect Life » was released in 2017.

In comparison, the successor « Nude Casino » sounds rather brittle and unembellished – a sceptical sound that also questions their own former hedonism. Jeroen Reek lets his neuroses run wild and oscillates between wild waking dreams and the narrow limits of reality. His lyrical abilities come to the fore on « Tuesday’s Lament », the heart of the album: The song is a monologue in five parts, which self-confidently and in a good mood deals with such difficult topics as mortality and faith. The occasional seriousness that blends into the sound and lyrics doesn’t harm the daring of Iguana Death Cult, like the band that has grown into a quintet through Jimmy de Kok on keyboard.
from the first note on.

« Nude Casino » evokes claustrophobic and absurd moods and is dedicated to themes like sleep paralysis (« Half Frisian ») and lost innocence (« Castle in the Sky »). These songs are based on earthly fears like neuroses and conflicts. That’s why the album is permanently jerking with nervous energy, which also comes from the wilder songs dominated by heavy hooks like « Carnal Beat Machine » with its dry disco pulse. Iguana Death Cult celebrate the art of rocking the shit and turning everything on 11. They dig their claws into the music and don’t let go. And they also have fun.

Tickets:https://www.greyzone-tickets.de/produkte/404

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The Juliana Hatfield Three • Berlin

Direct Concerts & Solarpenguin Agency present:

The Juliana Hatfield Three

YouTube: http://y2u.be/ahyzofBL9I4
Spotify: https://spoti.fi/2JP1muw
Instagram: https://www.instagram.com/julianahatfield/

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Juliana Hatfield reached indie stardom previously with Blake Babies, Some Girls and The Lemonheads. Following the Blake Babies break-up in ’91, Juliana released her first solo album « Hey Babe' » which went onto be one of the highest selling independent albums of ’92. Hatfield recruited a rhythm section consisting of former Moving Targets and Bullet Lavolta drummer Todd Phillips, and Thudpucker bassist Dean Fisher, and thus became The Juliana Hatfield Three.

Now, three decades after her debut with Blake Babies, her voice remains perpetually youthful, returning for their first run of shows in twenty years, the trio are back together again and return with a new Juliana Hatfield album.

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Kirin J Callinan

Kirin J Callinan
+ Support: Faux Real

Return To Center is Kirin J Callinan’s new record, a reconnection with what made him fall in love with music over and over throughout the years, and a very personal exploration of the timeless songwriting tradition passed down and reinterpreted from one generation to the next. Following two albums of inimitable, challenging pop music that garnered global acclaim and marked Callinan as entirely unique, a singular talent, nominations for the Australian Music Prize, support slots for everyone from Crowded House to Tame Impala, a role acting in Jane Campion’s Top Of The Lake and an ARIA Award Nomination, ironically it was singing other peoples’ songs

that felt like the most truthful next step for the swashbuckling Sydney artist.

On Return To Center Callinan’s trademark flamboyance is cut with a newfound fragility that comes curled up in an attempt to do justice to the songs he holds nearest and dearest.
Return To Center collects Callinan reworks of both all-time favourites and last-minute spontaneous additions, songs that have shaped the artist he is today amongst songs that were jammed out of the blue in the studio. Callinan sounds all too in step with Laibach’s teutonic march “Life Is Life”, before completely transforming the twitchy Prince-lite of Momus’ “The Homosexual” into lithe, tender acoustic folk. The Waterboys’ “Whole Of The Moon” is rendered even more melodramatic and heart wrenching than the original and comes off like the theme song to the greatest 80s sitcom you never saw, while Randy Newman’s “Pretty Boy” sticks largely faithful to the sombre original, and Public Image Limited’s “Rise” ascends amidst Celtic guitars and television news clips. At the chronological and spiritual center of the record – the eye of the storm – lies the title track and sole original composition. A stark, spacious
instrumental, “Return To Center’s serenity is interrupted by maniacal laughter, assumedly Callinan’s.

Recording was swift – tracking a song per day, with a few up the sleeve for overdubs, mixing and mastering. With a lengthy list of prior collaborators that has included Mark Ronson, Jimmy Barnes, Mac Demarco, Weyes Blood, Connan Mockasin and Alex
Cameron to name a few, the open (garage) door policy was maintained for Return To Center. First luminary to lift the shutters was producer Francois Tetaz whose zeitgeist work with Gotye is legendary. More than a producer to this project, Francois’ enthusiasm to work with Kirin is in the DNA off his concept. A cast of outlaws followed that included Drew Erickson, Benji Lysaght, Stella Mozgawa, Dave Elitch, Jasper Leek and Holiday Sidewinder, gathered in the garage
of his temporary Silverlake abode, delighting in the perverse subversion of the capitalist system and the challenge of completing a record with such clear time and financial constraints. With the roller door open to the street just weeks before he was due to be evicted, they merrily blasted through the set with no time to second guess or overthink and as a result, Return To Center retains an instinctive, vulnerable edge,
emerging as Callinan’s most tender yet celebratory record yet.

Return To Center glimmers with what Callinan describes as a“corporate spiritual” radiance. It is a punk rock meditation on record making, music past and present. For Callinan it slices through a contradictory and confusing year of exaggerations and misrepresentations to be his ‘Return to Center’ – sounds, songs, lyrics, performance. Whatever it is and however it was made, Return To Center transcends to a triumph.

Presented by Shameless/Limitless & Melt! Booking

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Elsiane + Santana ft Ona Tzar

RockSvirke.com & Gibelin proudly present:

elsiane LIVE @ Urban Spree / 28.11.2018
Special Guests: Santana ft. Ona Tzar

Timetable:

19:00 – Doors open
20:00 – Santana ft Ona Tzar
21:00 – Elsiane

28 November 2018

Urban Spree (Revaler Str. 99, 10245 Berlin)

 

*Tickets / Entrance: 11,50/16,- € (Reservix): https://gibelin.reservix.de

**Doors: 19:00 / Start: 20:00

 

ELSIANE was formed in the year 2000, when singer/musician/composer Elsieanne Caplette met drummer Stephane Sotto in his hometown of Montreal. Their instant rapport belied musical and cultural backgrounds which couldn’t have been more different: Sotto, a gifted drummer, was self-taught and instinctive, where Caplette’s multi-instrumentalism and extraordinary keening voice emerged from a classical training in Lima, Peru. Yet for all their divergent experience, the pair’s shared sensibility was undeniable, with common influences passing through jazz, rock, electronic and world music, with an intriguing nod to the Trip Hop of Massive Attack, Portishead and Tricky—influences which, while pleasingly evident in the ethereal beauty of the music they continue to make together, would be constituted in an entirely unique way.

In early 2017, that studio work will see light in the form of their most ambitious and eagerly awaited works to date: a third album, Death of the Artist.

https://soundcloud.com/elsiane
http://www.elsiane.com

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SANTANA is the Frontman (Singer & Guitarist) from the psychedelic rock band REDLAKE CIRCUS, whose theatrical performances have been igniting stages worldwide, becoming rapidly a must seen live act.

Santana has been well known by his unique psychedelic style of playing guitar; from the mix of groovy Hard Rock riffs, smooth Blues licks & mystic oriental atmospheres, creating hypnotic melodies that will take you into a mind-traveling experience.

 » Santana’s guitar sound will take you into a journey in time & space, a blend of Jimi Hendrix & Pink Floyd  »
– Urban Cultures , NY, USA

 » Mind Blowing Performance  »
– Newcomer Szene, Berlin, Germany

https://soundcloud.com/sxantanas/sets/trip-out
www.siulsantana.com

Ona Tzar

Ona Tzar’s vocals traverse us through an emotive kaleidescope. Blending and fusing the likes of noir, trip hop, blues, neo soul, world, and rock, she takes us on an otherworldly voyage deep into the bellies of the ocean, through the guttural hearts of fire, and up into the aerial ethers of the heavens.

https://soundcloud.com/onatzar
www.instagram.com/ona.tzar

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www.gibelin.de

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Dark Buddha Rising + Fuoco Fatuo

Dark Buddha Rising exhales psychedelic black fumes from a parallel dimension. Drones of malevolent waves number the days until total blackness take over.

« As the dust of centuries has settled on pages unwritten, the gates are opened only within. »

This Finnish coven has been spreading aural deformities for over a decade. A new album will soon see the day of light on Neurot Records before the year 2018 comes to an end. Accompanying them along the journey in support of this malevolent artefact is the italian funeral doom/death quartet FUOCO FATUO, who released their second album on Profound Lore Records in 2017.

FUOCO FATUO was born in 2011, in the middle of the ghastly lakes of Varese, Italy. Starting out as an occult and oppressive death/doom band with an eerie and gloomy atmosphere, their debut LP “The Viper Slithers In The Ashes Of What Remains”, which followed several EPs, was an exploration of the darkest and most desolate spaces through a sickened development of sound, making it like a flood of impenetrable black magma.

Their new album “Backwater” is a massive and suffocating funeral doom opus, the distressing awareness of the nothingness, transcending in the oblivion, and feeding on the black void. The relationship between state of mind and nature, the desolation and vast sense of distance are the main themes. An introspective, mournful journey, deeply rooted into the unknown.

https://darkbuddharising.bandcamp.com/
https://fuocofatuo.bandcamp.com/

Tickets available directly through us: https://wolfcityberlin.bigcartel.com/product/dark-buddha-rising-fuoco-fatuo-urban-spree-23-11-2018
or at KOKA36: https://www.koka36.de/event_site.php?event=105305



Big Ups

On May 18th, 2018, Brooklyn’s Big Ups return with their third full-length via Exploding in Sound Records. After forming eight years ago, the band comprised of Brendan Finn (drums), Joe Galarraga (vocals), Amar Lal (guitar), and Carlos Salguero Jr. (bass) continue to tackle dualities in the aptly named Two Parts Together. If 2014’s Eighteen Hours of Static was a brash screed about faith versus science, and 2016’s Before A Million Universes an introspective look at the individual against society, then Two Parts Together lies in the liminal, attempting to make sense of unknowable and basking in uncertainty.

The album’s title track finds vocalist Galarraga searching for meaning in ritual through the examples of a wedding and a funeral. “I just wanted to feel/just how it would be,” he states, hoping for some sort of self-discovery through these human institutions. This emotional inquisition is echoed throughout the album, often in opposition to the omnipresent “lake” mentioned in several songs. What rests below its surface, or bubbles up from the bottom? Throughout Two Parts Together, Big Ups wrestles with the power of mystery both tangibly and metaphysically.

And the band does so often through its signature dynamics. Lal’s biting guitar work is bolstered by Finn’s crashing and Salguero’s booming, and together they can tightly settle into a lull. But Big Ups is not simply employing its old tricks; Two Parts Together sees the quartet utilizing the studio more than ever. Their normal sonic palette has been supplemented with additional strings, harmonium, field recordings, piano, and more. The album is paced through thoughtful instrumentals and interludes, as if to offer the listener a breath of fresh air or – perhaps – a walk around the lake.

 

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