Freaks

SKU: TRANS106
Label:
Transubstans Records
Category:
Stoner Rock
Add to wishlist 

"Freaks is the third release from Qoph, a Swedish psychedelic rock band on Transubstans Records. Basically, all I needed to say was Transubstans Records and most of you regular readers of SoT would have assumed this band was from Sweden and played in a retro style, and you of course would have been correct. Qoph are comprised of Filip Norman (guitars), Rustan Geschwind (vocals). Federico de Costa (drums), and Patrik Persson (bass), and together they lay down some interesting sounds here on Freaks.

Imagine a cross between The Doors, Led Zeppelin, and early Soundgarden and you have an idea of what to expect with Freaks. Trippy, fuzz toned guitars permeate "Hearts & Sorrows" and "In Your Face", while the crunchy "Ride", with its heavy riffs and squealing saxophone, comes across like a midnight jam session between Soundgarden, Jimmy Page, and John Coltrane. Geschwind's vocals are a cross between Chris Cornell, Robert Plant, and Jim Morrison, very expressive and fitting every aspect of the bands music. Some of the mellower, more haunting songs such as "Seconds & Minutes" and "Feverland" work quite well too, and " The weirdness to come" even has some space rock elements mixed in with the heavy arrangements. The most adventurous track though might be the lengthy closer "Remedy", complete with jam-like guitar patterns and mysterious sax explorations, a must hear for any fan of psychedelic rock.

Solid stuff here on Freaks, a very enjoyable album that will certainly appeal to psych lovers of all ages." - Sea Of Tranquilit

There are no review yet. Be the first!

Product Review

You must login or register to post reviews.
Laser Pic

customers also bought

SEE ALL
  • First time on CD for the complete two part debut from this German acid psych trio.  The band is lead by guitarist Sula Bassana who you may know for his incredible solo albums.  The rhythm section is held down by Komet Lulu on bass and Pablo Carneval on drums.  Long psychedelic guitar driven space explorations that goes down the same road as the first Ash Ra Tempel and early Pink Floyd masterpieces.  The CD seet was mastered by Eroc of Grobschnitt fame so you know he gets it.  I'm getting high just typing this description!  Highly recommended.
    $21.00
  • Great debut from this new Italian quintet.  Pure retro prog that channels the spirit of early 70s British prog.  The band's sound is dominated by organ and heavily spiced up with guitar and flute leads.  Hugh Banton or Tony Banks' roadie must have helped set up Paolo Tognazzi's organ because it seems like its ripped right out of 1971.  Vocals are in English and while Andrea Calzoni's accent creeps in now and then he aquits himself quite well - he's got a bit of an Ian Anderson thing going on.  Nice long instrumental breaks with keys playing off the flute and guitar.  Definitely a VDGG - Osanna - PFM - Orme vibe, but keep in mind the early versions of these bands.  1971 vs 1975.  This is the good stuff.  The REALLY good stuff.The LP version comes with a gorgeous gimmix die cut gatefold cover.  I've been in this crazy business for almost 25 years (2013 is year 25).  The Italian labels always come up with the best and most innovative packaging.  They seem to cherish the way things used to be done - when album artwork was more than just something to hold the disc.  They treat the cover like a piece of artwork and ultimately the collector is rewarded with pride of ownership.
    $29.00
  • Woodpecker is the debut release from singularly named Swedish vocalist AnnaMy (her spelling not mine).  Its a gorgeous album.  This is beautifully recorded gentle, melodic psychedelic folk.  Plenty of electricity here - most notably on electric guitar courtesy of Reine Fiske.  Undercurrents of flute and organ spice up the mix but the focus is on AnnaMy's stunning voice.  The overall sound pays homage to the greats of the 70s.  Think in terms of Trees, Mellow Candle, Caedmon, and Vashti Bunyan.  This one is a real grower.  Highly recommended.
    $16.00
  • Remastered edition with bonus tracks."Jefferson Airplane's first live album demonstrated the group's development as concert performers, taking a number of songs that had been performed in concise, pop-oriented versions on their early albums -- "3/5's of a Mile in 10 Seconds," "Somebody to Love," "It's No Secret," "Plastic Fantastic Lover" -- and rendering them in arrangements that were longer, harder rocking, and more densely textured, especially in terms of the guitar and basslines constructed by Jorma Kaukonen and Jack Casady. The group's three-part vocal harmonizing and dueling was on display during such songs as a nearly seven-minute version of Fred Neil's folk-blues standard "The Other Side of This Life," here transformed into a swirling rocker. The album emphasized the talents of Kaukonen and singer Marty Balin over the team of Paul Kantner and Grace Slick, who had tended to dominate recent records: the blues song "Rock Me Baby" was a dry run for Hot Tuna, the band Kaukonen and Casady would form in two years, and Balin turned in powerful vocal performances on several of his own compositions, notably "It's No Secret." Jefferson Airplane was still at its best in concise, driving numbers, rather than in the jams on Donovan's "Fat Angel" (running 7:35) or the group improv "Bear Melt" (11:21); they were just too intense to stretch out comfortably. But Bless Its Pointed Little Head served an important function in the group's discography, demonstrating that their live work had a distinctly different focus and flavor from their studio recordings." - Allmusic Guide
    $5.00
  • Rob Reed is the leader and keyboardist of Magenta - we all knew this.  I think what is less well known is Rob's proficiency on other instruments.  Sanctuary is an instrumental tour-de force in which Rob plays all the instruments himself.  His clear, and unabashed, inspiration for Sanctuary is Mike Oldfield's iconic Tubular Bells album.  The imprint of Oldfield on the composition is undeniable.  Reed wears his influences on his sleeve with no shame.  He's even brought in the Tubular Bells production crew of Tony Newman and Simon Heyworth to handle production and mastering.  Its an epic sounding recording and you'll get to hear it in all its glory - the set comes with a DVD that features the album in both a 5.1 surround as well as 24/96 hi-res stereo mix.  BUY OR DIE!"Multi-instrumentalist, producer and composer Robert Reed (Magenta/Kompendium), announces the release of a unique new album, Sanctuary, on 21st July through Tigermoth Records. Sanctuary is produced, mixed and engineered by Robert Reed, who is joined by legendary T u b u l a r B e l l s producers Tom Newman (as co-producer) and Simon Heyworth, who mastered the album. The album will be released in 3 formats: CD, vinyl and DVD 5.1 surround.Rob Reed was inspired to become a musician and composer at the age of seven after discovering Mike Oldfield’s Tubular Bells. So inspired was he by the album, that he learned to play not just one, but all the instruments featured on the album. Sanctuary is the fruition of a decision that Rob made in January 2013 to utilize his abilities as a multi-instrumentalist and create an album in the style of Tubular Bells; he recalls: “The next four weeks were a blur as the music just came out. It turned out to be the most enjoyable album I’ve made. I wanted to play all the instruments, and for all of them to be real; no synthesized or sampled instruments, just the real thing.”Rob Reed was determined to keep his vision of Sanctuary intact and play all the instruments himself: “I just had a blind confidence that I could play them all. I owned all the guitars, etc in my own studio but had to hire the larger percussion instruments, like timpani’s and tubular bells, so the lead percussionist of the Welsh National Orchestra turned up with a lorry full of the most expensive percussion. For two days he frowned as I made my way through playing these instruments, like a kid in a sweet shop. Whenever I struggled he continued to ask if I wanted him to play them. I replied that I couldn’t, as it would break the pledge of making the album by myself.... Everything is played by hand by myself, except for guest vocalists, Synergy Vocals.”Reed was conscious that he was treading a fine line in preventing Sanctuary becoming a pastiche of Tubular Bells. He continues: “I worked hard to make the melodies stand on their own. I wanted to capture the emotion that Mike Oldfield managed to communicate through his playing that replaces lyrics. I wanted to use voices, but not have lyrics; just vowels combined with nonsensical words. Synergy Vocals were accustomed to this, having worked with Philip Glass and Steve Reich.”Reed secured the collaboration of Tubular Bells producers Tom Newman and Simon Heyworth after seeking their seal of approval. Reed comments: “Simon told me when he heard it, he closed his eyes and was back in the Manor Studios in 1973 and commented on how well it was executed. I contacted Tom to ask if he could offer any advice on the mix or production, and when we finally spoke, he was really complimentary and offered to get involved in the production and mixing; he also had loads of ideas about structure and arrangements. He has been invaluable with his insight and was always there when I was struggling to finish the album. All the timing errors and tuning errors are left in... it was real”.Tom Newman says: “I really enjoyed working on this - I had carte blanche and just enjoyed sculpting the sounds into shape, and placing all the beautifully crafted parts in the right places in the musical landscape . . .”Multi-instrumentalist, producer and composer Robert Reed (Magenta/Kompendium), announces the release of a unique new album, Sanctuary, on 21st July through Tigermoth Records. Sanctuary is produced, mixed and engineered by Robert Reed, who is joined by legendary T u b u l a r B e l l s producers Tom Newman (as co-producer) and Simon Heyworth, who mastered the album. The album will be released in 3 formats: CD, vinyl and DVD 5.1 surround.The result is an astounding piece of emotional instrumental music."
    $17.00
  • Fifth studio album from this always interesting Polish prog band.  Lizard's music always has a dark quality to it.  At times there is a noir quality that reminds of King Crimson but there is a strong symphonic rock component that dominates their music.  Master & M is a conceptual album based around Mikhail Bulgakov's "The Master & Margarita" novel.  It consists of five long chapters with some intense instrumental passages.  Vocals are excellent but the problem with Lizard is that band leader Damian Bydlinski sings in Polish.  Highly recommended.
    $15.00
  • "Stagnation, formula, expectations – these words have long been banned from the lexicon of LONG DISTANCE CALLING. It is this irreverent attitude that has fueled them to record three albums, play several tours throughout Europe, garner slots on renowned festivals such as Rock am Ring, Summer Breeze, Wave-Gotik-Treffen or Roadburn and even secured them an impressive #36 in the German Media Control Charts. But if you thought these successes would convince LONG DISTANCE CALLING to settle into form with their fourth album, “The Flood Inside”, the band instead attempted an even bolder metamorphosis.Flashback: In early April 2012, LONG DISTANCE CALLING amicably parted ways with founding member and electronic wizard, Reimut von Bonn. Von Bonn’s departure however opened up new possibilities for the remaining members. The band had previously worked with guest-singers such as John Bush (Armored Saint, Anthrax) or Jonas Renkse (Katatonia) and they felt the new material was shaping up differently and gravitating away from purely instrumental rock. “We just noticed that adding a voice simply made sense. Stagnation and special formulas are not our thing, so making the step was easy.” Since all members in LONG DISTANCE CALLING have diverse tastes in music it was easy for them to decide what they were NOT looking for: no screamers or a whiny shoegazers. Instead, a timeless rocking voice in the vein of Faith No More or Soundgarden: a role perfectly suited for Martin “Marsen” Fischer (Pigeon Toe, ex-Fear My Thoughts). “We met Marsen on tours we did together. Hence, we knew each other on a personal level and we were certain that we would match perfectly when it comes to the music. The fact that he is playing keyboards is a nice add-on, as he is also in charge of them live.”Despite the changes, “The Flood Inside” remains intrinsically LONG DISTANCE CALLING. “We questioned a lot and did a whole lot of fine tuning this time. A part is as long as it needs to be, but we took our time to discuss and revise every single one of them. Many ideas make many parts, but a good song always needs a certain flow. That was the overall aim.” The plan came together and resulted in countless parts that should cause the Serotonin to flow. The band further explains: “What really characterizes our sound is the combination of cool and heavy riffs with melodies that come without any kitsch.” The band had guest vocalists before, however this time you don’t just get one track with vocals, but three with the same vocalist.“It is always exciting to see what other people can do with your songs. We as artists as well as our music can only gain from the input. It is all about adding talent and an extra level. The genre is secondary. The range of the album should speak for itself.” Indeed, “The Flood Inside” features collaborations will names as varied as Vincent Cavanagh (Anathema), blues talent Henrik Freischlader and Jahcoozi-mastermind Robot Koch (known from his work with Casper, Max Mutzke or Marteria). Additionally, there is the Norwegian singer/songwriter Petter Carlsen, Tuneverse co-founder Alex Komlew and Mario Cullmann (formerly known as DJ Coolman for Fünf Sterne Deluxe). “We have never bowed down to any rules for what you may or may not do as an instrumental band. It is only us making the rules.”In art, rules exist to be broken. Atmosphere and diversity don’t always conform to the parameters of the 3:30 song structure. Yet “The Flood Inside” [produced by Martin Meinschäfer at Megaphon Tonstudios in Arnsberg, Germany] is a lot more focused and compact than any of its predecessors. “The past 12 months were emotionally draining: charts, splitting with a member, new album and new singer… The Flood Inside is a summary of everything and all the emotions around and within us. That is the not so simple idea behind the title. It shows the entire spectrum of life: joy, grief, euphoria, anger and everything in between. How to deal with emotions is a huge part of everyday life. Nevertheless a lot of things are happening in the grey areas – and we are trying to show those in our music.” "
    $12.00
  • A jaw dropping jazz rock monolith from an unlikely source - Southern Lord Records.  Fontanelle was formed years ago from the ashes of the space rock outfit Jessamine.  Led by guitarist Rex Ritter and keyboardist Andy Brown, the Fontanelle ensemble set out to recreate the sound of early 70s fusion icons Miles Davis and Herbie Hancock.  Vitamin F genuinely sounds like a mash up of Davis' Bitches Brew and Hancock's Mwandishi.  No other way to describe it.  The band is augmented with horns and lots of guests.  You would never imagine that these guys were connected with Sun O))).  Not only highly recommended but possibly 2012's best release.  "When Southern Lord Records – home of Eagle Twin, Sunn O))), Black Breath and Earth – releases an album by a jazz fusion collective, you know that things are not going to be entirely as you might expect. At the very least your expectations will be challenged, and it’s possible that you might be very surprised indeed. That being the case, then, what is this Portland, Oregon band all about?Well, the good news is that the music is challenging, engaging and intelligent; it takes its cues from jazz, fusion, post rock, avant-garde, ambient and even some forms of metal (doom, for example). Most obvious is the debt it owes to Bitches Brew (but then, what modern jazz doesn’t?), but there’s also Head Hunters-era Herbie Hancock and indeed something of Can in the mix.Metal it is not, but the boundaries of what musicians – and, for that matter, fans – will allow themselves to get involved with are more fluid than ever (think Alex Skolnick Trio and Steve DiGiorgio’s Dark Hall as two obvious examples). Add to that the phenomenon that is post rock with its penchant for extended, sometimes improvised pieces, and there is absolutely no reason why this album shouldn’t cross over successfully. Those with long memories or suitably expansive record collections can cast their minds back to the exciting, innovative movement that was ‘70s jazz fusion, with its links to the heavier side of music – John McLaughlin’s machine gun guitar, The Brecker Brothers’ Heavy Metal Be Bop and Jeff Beck’s Wired.So the influences are many, the lineage can be traced back to some of the key works in the pantheon and the album provides an eclectic mix of songs. It’s part acoustic, part electric: Fontanelle don’t tie themselves down to a particular style, or burden themselves with a musical template that must be used at all times. They are so much more than that. While there are moments of quiet, acoustic sound, there are also passages of fuzzed up keyboards, guitar and space rock-like electronica.Opener ‘Watermelon Hands’ needs no expansion of its influences – they’re hidden in plain sight – although the sound is in many ways just as close to an album like Future 2 Future as it is to Head Hunters. It has a steady tempo that introduces the album very well and features a host of sounds and instruments within its five minute duration. ‘The Adjacent Possible’ continues in a similar stylistic vein, although I like to think I can hear something of Ray Manzarek in there too. And understand that these comparisons are used purely to provide some context: the music is very much Fontanelle’s own sound and not something that is just derivative. It would do the band a huge disservice to fail to acknowledge the level of originality on display throughout Vitamin F. The band plays with sounds on ‘When The Fire Hits The Forest’ as effects-laden guitar and keyboard add a cosmic element to the song, its hypnotic rhythm the backbone upon which is hung the complexities of the composition. This is jazz for the new millennium, in spite of any ‘70s influences, the band really letting loose with wave after wave of musical themes and ideas.‘Ataxia’ utilises brass melody with a heavy accompaniment, perhaps as close to rock as you can get while still maintaining a jazz demeanour; while ‘Reassimilated’ is quieter but no less interesting as it brings the album to a gentle and satisfying close.If you like jazz or jazz fusion you will like this album, of that I have no doubt. If you’re not familiar with those musical genres, then Vitamin F could be the ideal place for you to start. It’s a great album and well worth checking out. " - Ghost Cult
    $14.00
  • "FIRST EVER CD RELEASE EDITION OF THE RARE 1969 DEMOS BY THE LEGENDARY CRESSIDANEVER BEFORE RELEASED ON CD WITH TWO PREVIOUSLY UNRELEASED TRACKSBOOKLET WITH FULLY RESTORED ARTWORK & NEW ESSAY.Esoteric Recordings are pleased to announce the first ever CD released of TRAPPED IN TIME, a collection of rare demos and recordings made in 1969 by the legendary band CRESSIDA. The band would later sign to VERTIGO records, recording two classic albums for the label. TRAPPED IN TIME reflects the very first recordings made by the band prior to signing to Vertigo and was previously released as 500 limited edition LP.Featuring a line-up of ANGUS CULLEN (vocals), JOHN HEYWORTH (guitar), KEVIN McCARTHY (bass), LOL COKER (organ), PETER JENNINGS (organ on tracks 3,4 & 5) and IAIN CLARK (drums), this Esoteric Recordings release features two extra tracks not included on the original vinyl LP and a booklet that features a new essay and rare photographs."
    $17.00
  • "Album number four for New York metal thrashing extraordinaire's Anthrax. Persistence of Time used to be my favorite Anthrax album, and even though I give the edge to Spreading the Disease I still rate this one highly, and I prefer it to the likes of Among the Living.Persistence of Time has the distinction of being Anthrax's most accomplished release, well, as far as musicianship and performances go. The band decided to take themselves seriously here and this album feels right at home amongst the Victims of Deception, Years of Decay, Twisted Into Form crowd. A lot of the bands slight crossover element is largely missing, with the exception of the "Got The Time" cover, which serves as highly beneficial to the release.The tracks are quite a bit longer than usual here, with the opening four numbers swimming a see of six - seven minute tracks. Anthrax really deliver over the longer time periods and the songs are given a lot more room to grow. When concerning production I feel that by todays standards Persistence of Time happens to stand up the best amongst the bands work with Joey Belladonna. The mix is fantastic, and the bass has a great prominent sound which as a result leaves this album sounding the heaviest of the Anthrax backlog."Time", "Blood" and "Keep it in the Family" are all massive in scope as far as Anthrax goes, and these songs are among some of the best the band have done. From the darker edged riffs, to the build up and dynamics this is all good. "Keep it in the Family" is a particularly awesome example of Anthrax ala Persistence of Time. Not to blow their wad in the first half of the album we have the awesome "Gridlock" which houses some of Anthrax's most menacing work, and the bad-ass "Belly of the Beast". Proabably the catchiest track on the album (not including the cover), this was actually the first Anthrax song I ever heard, and has some fond memories attached to it.Persistence of Time is a really cool release, and is reflective of its given genre at the time. Thrash was pushing forward in quite an exciting way, yet somehow it all went wrong. Even now when we have a fuck load of caricature thrash bands, none of them try to progress like Anthrax did here. Despite the niggling "Got The Time" the rest of the album is awesome and is of interest of any thrash fan, especially those with interest in the later releases around the late 80's early 90's." - Metal Archives
    $5.00
  • "Led by Mark Peters, shoegaze misfits Engineers have been making brilliant records for nearly 10 years now, yet the limelight afforded to similar-sounding bands such as The Horrors has always eluded them. On 'Always Returning', their fourth album, they've delivered yet again. 'Bless The Painter', which spits at a social-media generation obsessed with photographing artworks for their news feeds rather than to admire their beauty, sets a glacial tempo. Centrepiece 'A Million Voices' is a driving, motorik synth masterpiece and 'Searched For Answers' shows subtle restraint, but the album slips up when it get too blissed out for its own good ('Drive Your Car'). Even so, it's about time this lot got the credit they deserve. " - NME
    $15.00
  • This is the second edition (limited to 500 copies) with different artwork than the first."Norway's Tusmørke (Norwegian for twilight) go straight to the heart of the psychedelic matter on their full-length debut album "Underjordisk Tusmørke" (Subterranean Twilight). Culling influences from such prog-psych luminaries as Gong and Caravan, krautrock giants like Can and Amon Düul 2, pagan folksters like The Incredible String Band as well as a healthy dose of Nordic folk music, Tusmørke present a dark cauldron of magical, musical potions.The band's history can be traced back to the mid-nineties and the budding, Scandinavian scene of new progressive bands. Back then, the Momrak twins who are the beating heart of Tusmørke called their band Les Fleurs de Mal. The band featured future Wobbler vocalist Andreas Prestmo, and shared the stage with other up-and-coming bands like White Willow. Via intricate pathways, this evolved into Tusmørke, whose music is darker, more intense and dare we say primeval, than the more delicate Les Fleurs de Mal.This album will conjure up images of pagan rites, witches dancing in the firelight serenading the new moon, eldritch wizards conjuring dark spirits… And it's no gimmick: This band lives and breathes the same air that flows through the magical lands their music describes.The album has been expertly recorded and produced by that master of retro productions, Lars Fredrik Frøislie (Wobbler, White Willow, In Lingua Mortua), and sounds so authentically analogue that you can practically smell the antique equipment that has been used for its making. Lars contributes mellotron, chamberlin, spinet, Hammond organ and a host of esoteric instruments on the album."
    $19.00
  • Aera was a 70s German underground fusion band that recorded some excellent albums for the Erlkonig label. Long Hair Music has unearthed a 2CD collection of unreleased material from an earlier incarnation of the band. At this point the band featured Steve Robinson who was the keyboardist for 2066 & Then. His inclusion adds a different dimension to the music as his contributions on Mellotron, Moog, and Hammond organ lends a symphonic element in parts. Guitarist Muck Groh tears it up like he would on the later albums and Klaus Kreuzeder was a very clear force in the band offering some serious blowing on sax. The first set was recorded in 1973 and features the 25 minute title suite. The second disc is a live recording from Stadhalle erlangen, Germany on 12/23/73. Yeah its expensive but worth it.
    $26.00
  • Excellent debut release from this progressive folk band from Italy.  The band is led by multi-instrumentalist Valerio Smaldoni who sings (in English) and plays keyboards and some guitar.  The music has a definite prog flavor particularly from the keyboard work - some nice atmospheric Mellotron-type sounds as well as Mini-moog soloing.  Guitarwork is acoustic based that never gets overly agressive.  I'm reminded of Celeste and W&W period Genesis.  This is the kind of thing I can listen to as a Sunday morning wake up call.  
    $18.00