Tag: Ecstatic Vision

Although they’ve gone through a series of lineup changes throughout their history, the Seattle-based indie act The Grizzled Mighty —  Ryan Granger (vocals, guitar), Jojo Braley (drums) and Jewel Loree (bass)  — have developed and maintained a reputation for crafting fuzzy and dirty, garage rock-tinged psych rock, influenced by The Stooges, T. Rex, Motorhead and others — and sweaty, high energy live shows. Building upon a growing profile, the members of The Grizzled Mighty have shared bills with The Dandy Warhols, Built to Spill, Death Valley Girls, Andrew WK, and a list of others.

The band’s third album Confetti Teeth is slated for an April 24, 2020 release through Freakout Records — and from the album’s first single “Rewind” is a Nirvana and Ecstatic Vision-like take on psych rock: layers of fuzzy and distortion pedaled power chords, a fiery and explosive guitar solo, propulsive and thunderous drumming, enormous hooks and howled vocals meant to be played loud.




Now, if you’ve been frequenting this site over the past couple of years, you’d know that members of the Philadelphia, PA-based heavy psych act Ecstatic Vision, currently comprised of Doug Sabolik, Michael Field Connor, Jordan Crouse, and Kevin Nickles initially formed in 2013 to primarily play “what they wanted to hear.” And with the release of their 2015 debut effort, Sonic Praise, an effort that drew from a wild variety of influences including Krautrock, Fela KutiSun RaHawkwind Aphrodite’s Child, Olatunji, Can, and early Amon Duul ll and for primal, psychedelic and intense live sets. Adding to a growing profile, the band toured with an impressive list of internationally renowned acts including Enslaved, YOB and Uncle Acid and The Dead Beats, Earthless, Red Fang, Acid King and others, and followed that with a lengthy European tour that included dates with Bang and Pentagram, as well as a set at the Roadburn Festival.

The Philadelphia-based hard psych band’s much-anticipated, sophomore follow up,  Raw Rock Fury is slated for an April 7, 2017 release through Relapse Records and as the band explained of the album in press notes, “With Raw Rock Fury, we set up to make an album that would remind listeners  of what an unpolished, dangerous rock recording should sound like.” And the album’s first single, “You Got It (Or You Don’t),” which I wrote about last night, is as the band described it as a “searing mash-up of the driving rhythms of Sly and the Family Stone mixed with the sound of Hawkwind playing Funhouse-era Troglodyte Rock.” And in many ways, the new single revealed a wild sense of unpredictability and danger that most contemporary rock sorely lacks. The album’s latest single “The Electric Step” manages to mesh the trippy, cosmic, stoner rock vibe of their debut with a swaggering, raw, unbridled and improvised energy as the band pairs blistering guitar work with guitar chords played through layers and layers of effects pedals, a forceful, propulsive rhythm and howled vocals to create what may be the band’s most explosive, insistent and primal stomp yet.



Initially formed in 2013 to primarily play “what they wanted to hear” the Philadelphia, PA-based heavy psych act Ecstatic Vision, currently comprised of Doug Sabolik, Michael Field Connor, Jordan Crouse, and Kevin Nickles, quickly developed both a regional and national reputation for a sound that draws from a wild variety of influences including Krautrock, Fela Kuti, Sun Ra, Hawkwind,  Aphrodite’s Child, Olatunji, Can, and early Amon Duul ll, primal, psychedelic, freak out live sets and the release of one of 2015 debut Sonic Praise, one of that year’s best rock albums — and arguably one of that year’s best albums, period. Adding to a growing profile, after the release of Sonic Praise, the band toured with an impressive array of internationally renowned acts including Enslaved, YOB and Uncle Acid and The Dead Beats, as well as shows with Earthless, Red Fang, Acid King and others. This was followed by a lengthy European tour, which included dates with Bang and Pentagram, as well as a set at the Roadburn Festival.

Now, it’s been some time since I’ve written about the Philadelphia-based hard psych band; however, the band’s much-anticipated sophomore, follow-up effort, Raw Rock Fury is lated for an April 7, 2017 release through Relapse Records and as the band explains “With Raw Rock Fury, we set up to make an album that would remind listeners  of what an unpolished, dangerous rock recording should sound like.” The album’s first single, album opening track “You Got It (Or You Don’t)” as the band describes it is a “searing mash-up of the driving rhythms of Sly and the Family Stone mixed with the sound of Hawkwind playing Funhouse-era Troglodyte Rock.” Or simply put, it’s a song that that channels The MC5, Hawkwind and The Stooges with a scorching, raw, and noisily primal, frenetic feel while evoking a much-needed sense of unpredictability and danger that most contemporary rock sorely lacks.










April 7th, 2017 will see the worldwide release of Raw Rock Fury via Relapse Records on CD/LP/Digital. Physical pre-order and bundles are available via Relapse HERE and digital downloads can be pre-ordered by Bandcamp HERE.


Raw Rock Fury exhibits the band locking in on primordial, troglodyte Detroit rock grooves, krautian motorik sounds that recall the obscure one-time collaboration between NEU and the MC5, grimy harmonica flourishes that evoke Beefheart at his most savage, and the Hawkwindian, primal world heavy psych their debut expertly showcased. All of this is captured on four songs and 35+ minutes of the dirtiest sounding recordings since Kick Out The Jams. Do you miss the days when rock recordings were dangerous? If so, you must crave Raw Rock Fury.

After touring extensively with the likes of YOB, Uncle Acid and the deadbeats and others, ECSTATIC VISION head out again with Creepoid. The leg includes SXSW, Chicago, Denver and more before traveling to Europe for an appearance at Desertfest.  All dates available below




Mar 16-18: Austin, TX – SXSW

Mar 20: Oklahoma City, OK – 89th Street Collective #

Mar 21: Wichita, KS – Kirby’s Beer Store #

Mar 22: Fort Collins, CO – Surfside #

Mar 23: Denver, CO – Hi-Dive #

Mar 24: Salt Lake City, UT – Diabolical Records #

Mar 25-26: Boise, ID – Treefort Music Fest #

Mar 28: Omaha, NE – O’Leavers #

Mar 29: Chicago, IL – Subterranean #

Mar 30: Cleveland, OH – Now That’s Class #


# – w/ Creepoid 



Apr 21: Roma, IT – HPS Night

Apr 22: Parma, IT – Titty Twister

Apr 24: Trieste, IT – Tertis

Apr 25: Salzburg, AT – Rockhouse

Apr 26: Bologna, IT – Alchemica Club

Apr 27: Olten, CH – Le Coq D’Or

Apr 28: Liege, BE – Garage

Apr 29: Nijmegen, NL – Doornroosje

Apr 30: Berlin, DE – Desertfest

May 02: Koln, DE – Limes

May 03: Paris, FR – Glazart

May 04: Lille, FR – Biplan

May 05: Rennes, FR – Mondo Bizarro

May 06: Clermont Ferrand, FR – Raymond Bar

May 09: Sevilla, ES – Sala X

May 10: Louele, PT – Bafo Baraco

May 11: Cascais, PT – Stairway Club

May 12: Madrid, ES – Wulrlitzer Ballroom

May 13: San Sebastian, ES – DABADABA

May 14: Bordeaux, FR – VOID

May 16: Lucerne, CH – Treibhaus Luzern

May 17: Bolzano, IT – Sudwerk

May 18: Zagreb, HR – Vintage Bar

May 19: Ravenna,  IT – Bronson

May 20: Milano,  IT – BLOOD


With the release of their first three albums in five years –2011’s Shoot! , 2013’s All Of Them Witches and 2014’s Enfant Terrible — The Hedvig Mollestad Trio have managed to receive praise and attention internationally from both jazz and rock critics across the blogosphere and major media outlets, including Rolling Stone‘s senior editor David Fricke and veteran writer Richard Williams among others for a sound that meshes elements acid jazz, free jazz, jazz fusion, but heavy metal, psych rock, stoner rock and prog rock in a way that to my ears reminds me quite a bit of Ecstatic Vision, Hawkwind, Rush, and others. And as a result, the band has placed themselves on a growing list of Norwegian avant jazz ‘n’ rock/free metal/free jazz acts that have received attention across their homeland, Scandinavia and elsewhere that includes Elephant9, Grand General, Bushman’s Revenge, Krokofant and Scorch, the renowned act led by Finnish guitarist Raoul Björkenheim, who have been long considered as the forefront of the movement.

The trio comprised of Hedvig Mollestad (guitar), Ellen Brekken (bass) and Ivar Loe Bjørnstad (drums) just released their latest effort Black Stabat Mater yesterday and reportedly, the material on the album is heavily indebted to the newfound confidence and self-assuredness the members of the band found during an intense touring schedule; but also revealing a band that has expanded upon the sound that initially won them international attention. In fact, Black Stabat Mater‘s four compositions still manage to possess the improvised feel of jazz fusion and free jazz but while arguably being the most prog rock/stoner rock/heavy metal leaning material they’ve released to date, essentially crafting an album that effortlessly blurs the lines of jazz, metal, stoner rock and prog rock — and in a way that nods to the jazz fusion experiments of the 70s while being remarkably contemporary.

Considered the effort’s first two tracks “Approaching: On Arrival” is an expansive, twisting and turning composition that begins with Bjørnstad’s jazz-like syncopation, Brekken’s sinuous yet propulsive bass lines and Mollestad’s bluesy guitar chords during the composition’s lengthy introduction before quickly morphing into a stoner rock and prog rock stomp, complete with some serious guitar pyrotechnics. At the 7:15 mark the composition becomes a wildly free-flowing and kaleidoscopic array of feedback, thundering drumming, blistering guitar playing reminiscent of John Coltrane‘s late, experimental work — and in a similar fashion, the composition possesses a mind and conscious-altering quality. “In The Court Of The Trolls” is composition comprised of alternating sludgy, prog rock/stoner rock and trippy psychedelic, acid jazz sections and while much like the preceding track feels completely loose and improvised, also reveals a band that’s incredibly tight; in fact, there’s the sense that one musician puts an idea down and the rest will follow, knowing exactly where and when to take it. Track 4 “-40 is a gorgeous and contemplative composition featuring gently swirling and undulating feedback with a gorgeous guitar solo while album closing track “Somebody Else Should Be On That Bus” begins with a heavy, Charles Mingus-styled bass introduction before turning into a sludgy, power chord-heavy composition that sounds as though it were inspired by Queens of the Stone Age and others.

So far, 2016 has bee a mixed year for me as far as album-length releases but I may have stumbled across one of my favorite releases this year, as the Norwegian trio specialize in an uncompromising and exciting genre meshing and genre defying sound. But I think that the album should also reveal that Hedvig Mollestad is arguably one of the best guitarists that everyone should know right now.









Although they derive their name from a mischievous pun based off Stephen King‘s stark, vampire novel Salem’s Lot, little is known about the mysterious Swedish psych rock act Salem’s Pot — except for the fact that their sound and aesthetic seems to draw from old horror movies like The Last House on the LeftEl Topo and Blood Feast, as well as The Cramps, Pentagram, Roky Erickson, The Stooges, Deep Purple and others; in other words, murky psych rock with an unsettling sense of menace just underneath the surface. Interestingly what is known is this:  between the release of 2014’s Lurar ut dig pa prarien and the forthcoming album Pronounce This! the band has gone through a lineup shuffle in which their previous drummer took up guitar, allowing the band to recruit a new drummer — and with the release of album opener and latest single “Tranny Takes A Trip,” the lineup shuffling has allowed the band to expand upon their sound as layers of scorching and acidic guitar chords played through copious amounts of wah wah pedal and other effects are paired with soaring organ chords, arena rock-friendly hooks and ironically snarled vocals. Sonically and structurally the song seems to equally draw from Black Sabbath and much more contemporary fare including Ecstatic Vision, Slow Season and others; in other words, much like those bands the mysterious Swedish act specialize in mind-altering songs consisting of several different sections held together by a propulsive rhythm section.