http://dekreun.eu/index.php en Elisah@dekreun.be Copyright 2016 2016-12-07T14:04:39+00:00 http://dekreun.be/live/event/in_heaven_met_amenra_ii/ http://dekreun.be/live/event/in_heaven_met_amenra_ii/ De IN HEAVEN concertreeks Van De Kreun en In Heaven vzw brengt het naar Gent uitgeweken AMENRA ''terug naar huis''. Amenra brengt een akoestisch concert in de kerk van Sint-Denijs (zwevegem), het geboortedorp van Amenra drummer Bjorn Lebon.     AMENRA >> Formed back in 1999, Amenra has been one of the most prolific bands in the European post-metal scene. With their sound influenced heavily by the sludge, doom and hardcore sonic territories, they have released a continuous piece of work in their Mass albums, while their initiation of the Church of Ra project (check their website and try to unlock its secrets,) has seen them collaborating with other great Belgian acts, including Oathbreaker and The Black Heart Rebellion. A while back, Amenra experimented with an acoustic setting rather than their usual soundscape-constructing, heavy guitar-based approach. The Afterlife EP showed this side of the band, introducing a place in which their dark tone was retained, and yet their vision was expanded. They carried on exploring this acoustic side, revisiting this approach in live performances. It is the sum of these performances the Alive live acoustic album encompasses. The approach is fairly similar to the process that Neurosis‘ members, Scott Kelly and Steve Von Till, follow with their solo releases. Managing to create a stripped-down version of the main band, the material contained in Alive showcases the bare bones of Amenra. The album features new material – several unreleased covers and an unreleased original, “The Longest Night” – with the rest of the tracks originating from a few different releases of Amenra, including the Afterlife EP, their collaboration with Sofie Verdoodt and their split with Madensuyu. Guesting on the album are Amenra’s former bass player, Maarten Kinet, as well as Femke de Beleyr on violin and backing vocals.De IN HEAVEN concertreeks Van De Kreun en In Heaven vzw brengt het naar Gent uitgeweken AMENRA ''terug naar huis''. Amenra brengt een akoestisch concert in de kerk van Sint-Denijs (zwevegem), het geboortedorp van Amenra drummer Bjorn Lebon.     AMENRA >> Formed back in 1999, Amenra has been one of the most prolific bands in the European post-metal scene. With their sound influenced heavily by the sludge, doom and hardcore sonic territories, they have released a continuous piece of work in their Mass albums, while their initiation of the Church of Ra project (check their website and try to unlock its secrets,) has seen them collaborating with other great Belgian acts, including Oathbreaker and The Black Heart Rebellion. A while back, Amenra experimented with an acoustic setting rather than their usual soundscape-constructing, heavy guitar-based approach. The Afterlife EP showed this side of the band, introducing a place in which their dark tone was retained, and yet their vision was expanded. They carried on exploring this acoustic side, revisiting this approach in live performances. It is the sum of these performances the Alive live acoustic album encompasses. The approach is fairly similar to the process that Neurosis‘ members, Scott Kelly and Steve Von Till, follow with their solo releases. Managing to create a stripped-down version of the main band, the material contained in Alive showcases the bare bones of Amenra. The album features new material – several unreleased covers and an unreleased original, “The Longest Night” – with the rest of the tracks originating from a few different releases of Amenra, including the Afterlife EP, their collaboration with Sofie Verdoodt and their split with Madensuyu. Guesting on the album are Amenra’s former bass player, Maarten Kinet, as well as Femke de Beleyr on violin and backing vocals. 2016-12-07T14:04:39+00:00 http://dekreun.be/live/event/oathbreaker/ http://dekreun.be/live/event/oathbreaker/ Oathbreaker are a post-metal band from Ghent, Belgium. After their formation in early 2008, Oathbreaker released a debut self-titled 7" EP on the British label Thirty Days Of Night Records. The release was well received by many worldwide and propelled the band to tour Europe. They released their debut album "Mælstrøm" in 2011 and the follow-up Eros|Anteros, on Deathwish Inc. in 2013. On September 30th 2016, the groundbreaking album “Rheia” will be released. Engineered, mixed, and mastered by Jack Shirley (Deafheaven, Loma Prieta). "Rheia" is a true game changer for the genre. Blurring lines and dissolving the boundaries of heavy music as we know it today. Opener "10:56" begins with a haunting guitar riff and Caro Tanghe's beautifully sung vocal before abruptly soaring to new heights with "Second Son of R". Its blasts of melody mutate into a blackened buzz while waves of tempo changes pound down with intense emotional weight. "Being Able To Feel Nothing" then rolls in like a storm. Chaotically breaking apart to reveal the eye before churning once again. "Stay Here / Accroche-Moi" is an otherworldly reverb drenched acoustic number that leads to "Needles In Your Skin". A deeply personal song that showcases the artistic strength vulnerability brings. It's hard to believe that this is just the half way point of this post everything masterwork. "Immortals" then unfurls as a goose bump inducing monster. This leads to the ambitious "I'm Sorry, This Is", "Where I Live", and "Where I Leave”; A musical triptych that needs to be heard to be believed. All of it comes to an end with mesmerizing closer "Begeerte". Ethereally materializing before vanishing into the beautiful unknown. Oathbreaker will be touring the USA in support of “Rheia” in Fall 2016 and a full European tour is being planned for end of 2016. More live dates to follow for 2017 ... Caro Tanghe - vocals Gilles Demolder - bass Lennart Bossu - guitar Ivo Debrabandere - drums  Oathbreaker are a post-metal band from Ghent, Belgium. After their formation in early 2008, Oathbreaker released a debut self-titled 7" EP on the British label Thirty Days Of Night Records. The release was well received by many worldwide and propelled the band to tour Europe. They released their debut album "Mælstrøm" in 2011 and the follow-up Eros|Anteros, on Deathwish Inc. in 2013. On September 30th 2016, the groundbreaking album “Rheia” will be released. Engineered, mixed, and mastered by Jack Shirley (Deafheaven, Loma Prieta). "Rheia" is a true game changer for the genre. Blurring lines and dissolving the boundaries of heavy music as we know it today. Opener "10:56" begins with a haunting guitar riff and Caro Tanghe's beautifully sung vocal before abruptly soaring to new heights with "Second Son of R". Its blasts of melody mutate into a blackened buzz while waves of tempo changes pound down with intense emotional weight. "Being Able To Feel Nothing" then rolls in like a storm. Chaotically breaking apart to reveal the eye before churning once again. "Stay Here / Accroche-Moi" is an otherworldly reverb drenched acoustic number that leads to "Needles In Your Skin". A deeply personal song that showcases the artistic strength vulnerability brings. It's hard to believe that this is just the half way point of this post everything masterwork. "Immortals" then unfurls as a goose bump inducing monster. This leads to the ambitious "I'm Sorry, This Is", "Where I Live", and "Where I Leave”; A musical triptych that needs to be heard to be believed. All of it comes to an end with mesmerizing closer "Begeerte". Ethereally materializing before vanishing into the beautiful unknown. Oathbreaker will be touring the USA in support of “Rheia” in Fall 2016 and a full European tour is being planned for end of 2016. More live dates to follow for 2017 ... Caro Tanghe - vocals Gilles Demolder - bass Lennart Bossu - guitar Ivo Debrabandere - drums  2016-12-02T12:34:48+00:00 http://dekreun.be/live/event/blonde_redhead/ http://dekreun.be/live/event/blonde_redhead/ Blonde Redhead is an American band consisting of three expatriates whostarted out as a dissonant noise-rock band and slowly morphed into a bandcapable of producing albums of entrancing dream-pop rock with an emotionalpunch. They are widely admired in alternative and independent rock circlesand continue to widen their palette of sounds with every release.Identical twin brothers Amedeo and Simone Pace met two female Japaneseart students who were also interested in starting a band. The four realized aninstant connection with each other, and started hanging out together andrehearsing in earnest. The band settled on the name Blonde Redhead, after asong by the infamous New York no-wave group DNA. The band quickly forgeda sound that was influenced by the no-wave bands of the late 70's and early80's.Blonde Redhead debuted in 1993 with the seven-inch single "Big Song" andthat, as well as their growing live reputation, brought them to the attention ofSonic Youth drummer, Steve Shelley, who had recently started his own recordlabel, Smells Like Records, and was looking for bands to produce and sign.After releasing another single and an eight song album with Shelley titledsimply Blonde Redhead they immediately garnered critical praise.Soon after the release of the album, Takahashi left the band, and was brieflyreplaced by friend and bassist Toko Yasuda. Yasuda, feeling frustrated thatshe was not comfortable contributing songs to the band, soon left, and BlondeRedhead continued on as a bass-less trio. Another album followed in 1995,La Mia Vita Violenta, and it found the group further refining their sound.Blonde Redhead's next album, 1998's In An Expression Of The Inexpressible,was producted by Goodmanson and Fugazi's singer/guitarist, Guy Picciotto.The sound of the album continued the trend of polishing and refinement withthe guitars interplaying more tightly against the strong but supple backbeatlaid down by Simone Pace. Keyboards were also starting to subtly make theirway into the band's sound. The group had, at this point, become comfortablewith not having a bass player, having either Makino or Amedeo Pace play onein the studio or live if the song required it, but often times foregoing bass infavor of the two-guitars and drums set-up. The band continued touring almostconstantly, playing with the likes of Shellac, Unwound and Fugazi.The group returned to the studio and released their next album, Melody OfCertain Damaged Lemons in 2000. The band again tapped Picciotto toproduce the album. At this point, Blonde Redhead had moved farther awayfrom the furious guitar-rock and Sonic Youth comparisons of their earlierreleases, and were now embracing a sound that took in aspects of 60's-eraFrench pop as well as elements mined from such diverse forms of music asjazz, ambient and shoe-gazer rock.After Melody, Blonde Redhead went on a four year hiatus, mainly due to aserious accident that Makino suffered in 2002 when she was thrown from ahorse and nearly crippled. During her long recovery, the band switched recordlabels to the prestigious British record label 4AD, home to such acts as theCocteau Twins and the Pixies. The band took the time to further refine andchange their sound, so that when their next album, Misery Is A Butterfly,appeared in 2004, it took many people, not least of which their fans, bysurprise. Strings and keyboards were featured prominently on the album -- itsounded like Blonde Redhead had become a sort of chamber music rockband. The feel was miles away from the sound the band had started with, yetit was completely their own. The music was graceful where once it wasurgent, probably due to Makino's life being changed so drastically and thedeepened bond that all three band members held with one another. Criticsand fans soon came around and the album sold better than any of theirprevious records. Live, the band continued on as a three-piece, with membersswitching from their guitars and drums to keyboards for some of the newermaterial.Blonde Redhead continued to tour and released their next album, 23, in 2007.For the first time, the group opted to produce the album themselves, withassistance on two songs from producer Mitchell Froom. They wanted morespontaneity and clarity on 23 than they'd had on the previous album, and 23 isan excellent distillation of the different stages the band had experiencedthroughout their career.After a trio of releases as potent as Misery Is A Butterfly, 23 and PennySparkle, it shouldn't come as a surprise that the last Blonde Redhead album,Barragán, sounds so confident. There is continuity in the presence ofproducer/mixer/engineer Drew Brown, who was a key member of the teamduring the making of Penny Sparkle, and who made a number of tellingsuggestions along the way this time around. It was Drew who persuaded theband to head out to Key Club Recording in BentonHarbor, Michigan, wherethey encountered an amazing trove of vintage synthesisers – it was, in Kazu'swords, "analogue heaven."After all these years and many great albums to draw from Blonde Redhead isready to present you their new EP and a Best Of repertoire during thisupcoming tour.Blonde Redhead is an American band consisting of three expatriates whostarted out as a dissonant noise-rock band and slowly morphed into a bandcapable of producing albums of entrancing dream-pop rock with an emotionalpunch. They are widely admired in alternative and independent rock circlesand continue to widen their palette of sounds with every release.Identical twin brothers Amedeo and Simone Pace met two female Japaneseart students who were also interested in starting a band. The four realized aninstant connection with each other, and started hanging out together andrehearsing in earnest. The band settled on the name Blonde Redhead, after asong by the infamous New York no-wave group DNA. The band quickly forgeda sound that was influenced by the no-wave bands of the late 70's and early80's.Blonde Redhead debuted in 1993 with the seven-inch single "Big Song" andthat, as well as their growing live reputation, brought them to the attention ofSonic Youth drummer, Steve Shelley, who had recently started his own recordlabel, Smells Like Records, and was looking for bands to produce and sign.After releasing another single and an eight song album with Shelley titledsimply Blonde Redhead they immediately garnered critical praise.Soon after the release of the album, Takahashi left the band, and was brieflyreplaced by friend and bassist Toko Yasuda. Yasuda, feeling frustrated thatshe was not comfortable contributing songs to the band, soon left, and BlondeRedhead continued on as a bass-less trio. Another album followed in 1995,La Mia Vita Violenta, and it found the group further refining their sound.Blonde Redhead's next album, 1998's In An Expression Of The Inexpressible,was producted by Goodmanson and Fugazi's singer/guitarist, Guy Picciotto.The sound of the album continued the trend of polishing and refinement withthe guitars interplaying more tightly against the strong but supple backbeatlaid down by Simone Pace. Keyboards were also starting to subtly make theirway into the band's sound. The group had, at this point, become comfortablewith not having a bass player, having either Makino or Amedeo Pace play onein the studio or live if the song required it, but often times foregoing bass infavor of the two-guitars and drums set-up. The band continued touring almostconstantly, playing with the likes of Shellac, Unwound and Fugazi.The group returned to the studio and released their next album, Melody OfCertain Damaged Lemons in 2000. The band again tapped Picciotto toproduce the album. At this point, Blonde Redhead had moved farther awayfrom the furious guitar-rock and Sonic Youth comparisons of their earlierreleases, and were now embracing a sound that took in aspects of 60's-eraFrench pop as well as elements mined from such diverse forms of music asjazz, ambient and shoe-gazer rock.After Melody, Blonde Redhead went on a four year hiatus, mainly due to aserious accident that Makino suffered in 2002 when she was thrown from ahorse and nearly crippled. During her long recovery, the band switched recordlabels to the prestigious British record label 4AD, home to such acts as theCocteau Twins and the Pixies. The band took the time to further refine andchange their sound, so that when their next album, Misery Is A Butterfly,appeared in 2004, it took many people, not least of which their fans, bysurprise. Strings and keyboards were featured prominently on the album -- itsounded like Blonde Redhead had become a sort of chamber music rockband. The feel was miles away from the sound the band had started with, yetit was completely their own. The music was graceful where once it wasurgent, probably due to Makino's life being changed so drastically and thedeepened bond that all three band members held with one another. Criticsand fans soon came around and the album sold better than any of theirprevious records. Live, the band continued on as a three-piece, with membersswitching from their guitars and drums to keyboards for some of the newermaterial.Blonde Redhead continued to tour and released their next album, 23, in 2007.For the first time, the group opted to produce the album themselves, withassistance on two songs from producer Mitchell Froom. They wanted morespontaneity and clarity on 23 than they'd had on the previous album, and 23 isan excellent distillation of the different stages the band had experiencedthroughout their career.After a trio of releases as potent as Misery Is A Butterfly, 23 and PennySparkle, it shouldn't come as a surprise that the last Blonde Redhead album,Barragán, sounds so confident. There is continuity in the presence ofproducer/mixer/engineer Drew Brown, who was a key member of the teamduring the making of Penny Sparkle, and who made a number of tellingsuggestions along the way this time around. It was Drew who persuaded theband to head out to Key Club Recording in BentonHarbor, Michigan, wherethey encountered an amazing trove of vintage synthesisers – it was, in Kazu'swords, "analogue heaven."After all these years and many great albums to draw from Blonde Redhead isready to present you their new EP and a Best Of repertoire during thisupcoming tour. 2016-11-24T15:49:46+00:00 http://dekreun.be/live/event/heartbeats_festival_sunday_happy_funday/ http://dekreun.be/live/event/heartbeats_festival_sunday_happy_funday/ 2016-11-22T14:52:01+00:00 http://dekreun.be/live/event/amenra2/ http://dekreun.be/live/event/amenra2/ De IN HEAVEN concertreeks Van De Kreun en In Heaven vzw brengt AMENRA naar de kerk van Sint-Denijs (zwevegem).     AMENRA >> Formed back in 1999, Amenra has been one of the most prolific bands in the European post-metal scene. With their sound influenced heavily by the sludge, doom and hardcore sonic territories, they have released a continuous piece of work in their Mass albums, while their initiation of the Church of Ra project (check their website and try to unlock its secrets,) has seen them collaborating with other great Belgian acts, including Oathbreaker and The Black Heart Rebellion. A while back, Amenra experimented with an acoustic setting rather than their usual soundscape-constructing, heavy guitar-based approach. The Afterlife EP showed this side of the band, introducing a place in which their dark tone was retained, and yet their vision was expanded. They carried on exploring this acoustic side, revisiting this approach in live performances. It is the sum of these performances the Alive live acoustic album encompasses. The approach is fairly similar to the process that Neurosis‘ members, Scott Kelly and Steve Von Till, follow with their solo releases. Managing to create a stripped-down version of the main band, the material contained in Alive showcases the bare bones of Amenra. The album features new material – several unreleased covers and an unreleased original, “The Longest Night” – with the rest of the tracks originating from a few different releases of Amenra, including the Afterlife EP, their collaboration with Sofie Verdoodt and their split with Madensuyu. Guesting on the album are Amenra’s former bass player, Maarten Kinet, as well as Femke de Beleyr on violin and backing vocals.Formed back in 1999, Amenra has been one of the most prolific bands in the European post-metal scene. With their sound influenced heavily by the sludge, doom and hardcore sonic territories, they have released a continuous piece of work in their Mass albums, while their initiation of the Church of Ra project (check their website and try to unlock its secrets,) has seen them collaborating with other great Belgian acts, including Oathbreaker and The Black Heart Rebellion. A while back, Amenra experimented with an acoustic setting rather than their usual soundscape-constructing, heavy guitar-based approach. The Afterlife EP showed this side of the band, introducing a place in which their dark tone was retained, and yet their vision was expanded. They carried on exploring this acoustic side, revisiting this approach in live performances. It is the sum of these performances the Alive live acoustic album encompasses. The approach is fairly similar to the process that Neurosis‘ members, Scott Kelly and Steve Von Till, follow with their solo releases. Managing to create a stripped-down version of the main band, the material contained in Alive showcases the bare bones of Amenra. The album features new material – several unreleased covers and an unreleased original, “The Longest Night” – with the rest of the tracks originating from a few different releases of Amenra, including the Afterlife EP, their collaboration with Sofie Verdoodt and their split with Madensuyu. Guesting on the album are Amenra’s former bass player, Maarten Kinet, as well as Femke de Beleyr on violin and backing vocals. 2016-11-22T13:03:01+00:00 http://dekreun.be/live/event/puggy/ http://dekreun.be/live/event/puggy/ Puggy is een trio rasmuzikanten met zoveel internationale uitstraling dat het voor sommigen moeilijk te geloven is dat het Belgen zijn. Populair zijn in Frankrijk en op tour gaan met Incubus of Smashing Pumpkins helpt dan niet. Niet dat ze hier onder de radar vlogen, want ze scoorden platina met hun vorige album Something You Might Like (2010) en vingen radiohits met universele popbommetjes ('When You Know' en 'How I Needed You'). Ook verkocht Puggy dit jaar 4 keer de AB uit en dat is geen wonder: wie ze live gaat zien, raakt verslaafd. Hun 100% onversneden poprock, steeds gebracht met volle overgave,  overrompelt meteen. De nieuwe cd To Win The World is een pot vol oorwurmen die rijp zijn om zich lekker lang in het collectief geheugen te nestelen.  C’est l’histoire d’un groupe différent, né autrement sur le coup de 4h du matin, dans un bar africain. L’Anglais Matthew Irons, le Suédois Egil « Ziggy » Franzen et le Français Romain De scampe unissent leur destinée sur le pavé bruxellois. Terre d’accueil, la Belgique assiste aux premiers concerts de Puggy : des prestations atypiques, hors normes et tout terrain où la pop se fraie un chemin insolite, à la croisée du rock et d’influences p iochées dans la diversité d’une sono mondiale sans frontière. Totalement inclassable, étranger aux idées formatées du marché, Puggy doit alors trouver sa place dans le monde, tracer la route. Elle prend la direction de l’Angleterre. Là -­‐ bas, en plein hiver, sans -­‐ le -­‐ sou, réfugiés sous les voûtes d’un grenier de la banlieue de Reading, les trois garçons écument les bars et apprennent la dure réalité du métier. Les Beatles se sont construits à Hambourg, Puggy s’est consolidé sous le ciel anglais. Mieux, le gro upe se démarque de la scène locale et tombe dans les bonnes oreilles. Le programmateur des prestigieux festivals de Leeds et Reading invite Puggy à se produire à l’affiche de ces deux manifestations. De retour au pays, le trio abandonne l’énergie accumulée sur ‘Dubois Died Today’, un premier album jubilatoire vendu sous le manteau à la sortie des concerts. Bientôt épuisé, ce disque leur offre une nouvelle notoriété. Les tournées s’allongent, les dates se multiplient de Benicassim à l’Olympia en passant par la Brixton Academy. Fort de ces expériences, le groupe s’attèle à la production de ‘Something You Might Like’, un second effort qui confirme la singularité du projet. Profondément ancrées dans la culture pop, les mélodies s’enroulent autour des cordes acou stiques d’une guitare explosive. Métronomiques, les rythmiques jaillissent de toutes parts, les lignes de basse rebondissent, les voix s’envolent et Puggy monte en puissance. Ce deuxième essai pose les jalons d’un succès annoncé. Le groupe multiplie les re ndez -­‐ vous à guichets fermés et impose sa griffe multicolore dans un paysage pop moderne peu habitué aux arcs -­‐ en -­‐ ciel. Perfectionniste, obnubilée par l’envie de progresser et de se réinventer, la formation se remet en question, affine son songwriting et s’ enferme un mois dans l’antre de ICP, mythiques studios bruxellois dans lesquels The Cure ou dEUS ont enregistré leurs plus belles heures. Celle de Puggy a définitivement sonné. Avec ‘To Win The World’, le trio atteint l’équilibre parfait, entre puissance e t élégance, pulsions rock et pulsations synthétiques. Ce nouveau coup d’éclat doit beaucoup au travail acharné du producteur Eliot James (Bloc Party, Two Door Cinema Club). Le maître d’œuvre anglais parvient ici à enregistrer la vérité : un son énorme, des harmonies taillées sur mesure pour les déluges de décibels. ‘To Win The World’ explose la ligne de démarcation entre la scène et les bandes d’enregistrements analogiques. Mixé par Eliot James et l’ami Mark Plati (David Bowie), ce nouvel album propulse Pug gy sur les hauteurs de la pop internationale. 2016-11-21T13:24:29+00:00 http://dekreun.be/live/event/wiegedood/ http://dekreun.be/live/event/wiegedood/ De Doden Hebben het Goed is Wiegedood’s debut album, but we can hardly call this a debuting band. The band members have already proved their worth in other acts like Amenra, Oathbreaker, Hessian, Rise and Fall… This is surely an interesting gathering of musicians that immediately raises high expectations. And they deliver. Big time. Against all expectations, the result of this collaboration has nothing to do with post metal, sludge or hardcore. In stead, Wiegedood treats us to a relentless onslaught of fast-paced, yet depressive, black metal. After extensive touring with their debut album, Wiegedood is preparing for the release of the second chapter in their De Doden Hebben het Goed trilogy. Even more aggressive than before their second album is sure to be a worthy follow-up to the first part of this endeavor. To be released on 4th of February through Consouling Sounds. De Doden Hebben het Goed is Wiegedood’s debut album, but we can hardly call this a debuting band. The band members have already proved their worth in other acts like Amenra, Oathbreaker, Hessian, Rise and Fall… This is surely an interesting gathering of musicians that immediately raises high expectations. And they deliver. Big time. Against all expectations, the result of this collaboration has nothing to do with post metal, sludge or hardcore. In stead, Wiegedood treats us to a relentless onslaught of fast-paced, yet depressive, black metal. After extensive touring with their debut album, Wiegedood is preparing for the release of the second chapter in their De Doden Hebben het Goed trilogy. Even more aggressive than before their second album is sure to be a worthy follow-up to the first part of this endeavor. To be released on 4th of February through Consouling Sounds. 2016-11-16T14:33:45+00:00 http://dekreun.be/live/event/mesh/ http://dekreun.be/live/event/mesh/ 2016-11-16T10:40:23+00:00 http://dekreun.be/live/event/omni/ http://dekreun.be/live/event/omni/ Omni - the band, not the hotel - are from the former home of the Braves: Atlanta. Playing lo-fi pop that channels the spectre of the late ‘70s and early ‘80s, Omni brings you back to an era where any sane person was reeling from the unfulfilled promise of the Space Age and Age of Aquarius bleeding into the looming threat of "Morning in America.” Omni distills the buzz and grit that snakes through the best of Television, Devo, and Pylon into surprisingly danceable, hook-laden slabs of raw, angular, sonic bliss. It’s still the summer of '78, and pushing the roots of rock & roll to its limits remains in vogue. "Deluxe" serves as a fresh reminder that rock music can work outside of blues rooted, formulaic progressions without playing it safe behind a wall of effects. Arty enough to impress record enthusiasts, yet melodically attractive enough to transcend to those who’ve never asked: “’Sister Midnight’ or ‘Red Money’?”Omni - the band, not the hotel - are from the former home of the Braves: Atlanta. Playing lo-fi pop that channels the spectre of the late ‘70s and early ‘80s, Omni brings you back to an era where any sane person was reeling from the unfulfilled promise of the Space Age and Age of Aquarius bleeding into the looming threat of "Morning in America.” Omni distills the buzz and grit that snakes through the best of Television, Devo, and Pylon into surprisingly danceable, hook-laden slabs of raw, angular, sonic bliss. It’s still the summer of '78, and pushing the roots of rock & roll to its limits remains in vogue. "Deluxe" serves as a fresh reminder that rock music can work outside of blues rooted, formulaic progressions without playing it safe behind a wall of effects. Arty enough to impress record enthusiasts, yet melodically attractive enough to transcend to those who’ve never asked: “’Sister Midnight’ or ‘Red Money’?” 2016-11-16T10:09:28+00:00 http://dekreun.be/live/event/hydrogen_sea/ http://dekreun.be/live/event/hydrogen_sea/ 2016-11-11T13:25:41+00:00