Colour Haze
Periscope

THE REVIEW

There’s no denying it, I have a thing for these bands that seem so freaking cool on DeBaser. This way, I can say whatever the hell (redundant) I want since nobody knows them! Or almost...otherwise, why would I just make them up like that out of thin air.

To avoid making a complete fool of myself, I duly informed myself about the band in question to have a better chance of playing the "P"rofessor and pissing all over everyone...HAha!!! HAhahaHHA!!!
You might think I'm a typical idiot, but in these aspirations of mine, I found the courage to metaphorically dive into “Stage Diving” on this review.

I've always adored bands reduced to the bare minimum of personnel, bacchic trios in 60s style improvised in the garages under the house. The Colour Haze, reminiscent of Purple Haze, are no exception.

In the US in the mid-70s, it was customary to weigh someone's validity with the famous: "Do they walk it like they talk it?", I think these three guys, hailing from the land of engines (Germany), Stefan Koglek, Manfred Merwald, and Philipp Rasthofer, are no exception.

The skills of the three thus give life to a series of innovations for the Stoner genre, performing on psychedelic experimentation, echoing those redundant and self-indulgent effects with epileptic distortions and feedback such as to “melt” the listener, projecting them optionally into the arms of Morpheus or Bacchus, as you prefer.

Everything finds a natural seal among the vaguely oriental settings that insert themselves into the iconoclastic and deviant strikes, typically blues in origin, “improvised” by Koglek & Co. in an unhealthy jam session; stuff that could bring down buildings.
The whole is extraordinarily tempered or if we want, centered in those cathartic moments, whose acidic distortions are pierced by imperceptible flashes, primordial vocalizations, and psychic scraps with dark and indefinable existential contours.

Strobe lights slide sneakily over the faces of the listeners, now prisoners of a sonic frenzy, while the psychedelic echo of the trio, intent on drawing splendid triangulations of venomous chords, as if to burn everything with which they come into contact, even rarefying the air itself, has now narcotized its own synapses in a scorching and unbreathable environment, tinged with that soporific aroma of incense and marijuana.

Do you have any idea what “deflagrate” means? Well! Listen to the first track, Always me, passionate and epileptic, born of an omnipresent bass, devastating the earth under the stage, while the incendiary bursts of Koglek’s six strings are in full command with a bustling and pounding rhythm section, and the desecrated and supersonic screams, follow one guitar stroke after another.

Everything finds refuge in those narcotized glimmers of Antenna, whose cathartic moments of absolute calm seem to only slow down the devastation created around them.
Pulse launches a typically Tool-like (Undertow) rhythmic section left amidst the strings of a furious and harmful bass and guitar, continuing the project's sonic deflagration, while everything increases its reach, slowly thickening into a sacrilegious and acidic Sun.

There isn’t room for hesitation, as suggested by the Title-Track, a suicidal and wild instrumental dirge made of scratching distortions and psychedelic cadences, then softening into a bluesy, distorted, and acidic closing track Breit Return, echoing Hendrixian flavors.

UUUUUUUUUUUUUAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAYYYYYYYYYYYYYYYYYYYYYYYY

AAAAAAAAAAAAARRRRRRRRRRRRRRRRRRRRRGGGHHH!!!!!!!!!!!!!!!!!!!