A vortex of happenstances occurred in 1994, when four expats from Leeds collided to become Spacehog. Brothers, Royston Langdon (Vocals and Bass Guitar) and Antony Langdon (Guitar and Vocals), Jonny Cragg, (Drums) and Richard Steel (Lead Guitar) found themselves gathering the force that occurs when stars properly align.
The band became quickly infamous; their situationist concerts were legendary in the East Village. Their sound so very different from the neo-grunge movement of the early 90’s, that within a short time, after the signing of a cocktail napkin deal with the prolific Seymour Stein, Spacehog entered the airspace of nineties rock stardom on the Sire label.
On October 24, 1995, Spacehog released their debut album, Resident Alien, produced by Bryce Goggin. Resident Alien was widely received, selling a million copies, and spawned the hit single and video “In the Meantime”. Spacehog created their own genre of sound challenging the moniker of glam-rock by rounding out to a whole new identity, carrying forth the profound influences of T Rex, Iggy Pop, Queen, David Bowie & the Spiders, by colliding these influences with a wall of distorted guitars, and the stupendous daring of their lead vocals. It was a musical statement that seemed to say, life is too serious to be taken seriously, and was a welcome reprise from the levity of late-90’s alt-rock.
The band’s second album, The Chinese Album, was released on March, 1998. The Chinese Album featured a more ambitious symphonic sound in the spirit of British psychedelic rock, garnering critical acclaim. Where the evolution of Spacehog did not always meet with the same commercial viability as the band achieved with Resident Alien, the band evolved and its sound matured. Spacehog signed with upstart label Artemis Records, and released its third album in February, 2001, “The Hogyssey” produced by Paul Ebersol, in Memphis Tennessee. Life and its trappings ran fiercely concurrent with the severe mood of the world in September 2001, and Spacehog disbanded.
It’s been 10 years, and Spacehog is back. The years that have passed delivered them to a whole new level of sound through experience. Given the lessons of time and the longing to evolve furthur as a group, Spacehog found their alignment once again, by force of will and gravity, reuniting with Bryce Goggin to create “As It Is On Earth” , the long awaited 4th album. At once rebellious and repentant, the sound transforms the emotive to the auditory, insistently driving the landscape of the listener as if to say “life is much too serious to be denied.”
As the band prepares to invade our airspace once again, a series of residencies are being planned for NYC this winter with Timo Ellis, the multiinstrumentalist of Netherlands fame. Timo has stepped in on guitar and vocals for Antony Langdon, whilst he pursues celluloid success out west. Jonny, Richard and Royston are geared up and ready to remind us, that after all, the essence rock and roll is drama. “As It Is on Earth” promises to deliver.
Linfinity are a New York City based group of musicians who helped form a band around enigmatic front man Dylan Von Wagner. He began the project in 2007 when he recorded an EP with a few friends at The Walkmen’s Marcata studio in Harlem. Those songs caught the attention of St. Ives Records (a vinyl only imprint of Secretly Canadian), who later released a full album of demos titled Live at Marcata – a solo acoustic endeavor.
Von Wagner soon began assembling a permanent cast to comprise Linfinity the group. Far from roll actors, the band members provided input and influence, adding their own artistic vision and direction to Linfinity’s music. Russ Lemkin (drums) and Josh Collins (Guitar) pushed the idea of recording a new EP right away, believing the process would help the musicians more quickly flesh out their sound together as a band. During the summer of 2008 in a barn in New Paltz, NY, Linfinity set to work recording the self-released EP Songs of The Weeping Willow with producer Kevin McMahon (The Felice Brothers, Titus Andronicus). Lemkin and Collins were right. The band learned how to work together, feeding off each others ideas as drum lines, guitar solos and effects, and string arrangements written by Megan Berson (violin) and Collins melted together around Von Wagners songs. Though beneficial for the bands early development, the EP is also a snapshot of a troubling time in Von Wagner’s life as Linfinity completed recording while he simultaneously struggled with the unexpected loss of his father.
Yet out of tragedy came hints of light, as Songs of The Weeping Willow caught the attention of Pitchfork and Fluxblog among other tastemakers. Encouraged by the response, Linfinity began the process of rounding out an album for their full-length debut. It would not be quick however. Not willing to sacrifice quality for the sake of expediency, Von Wagner and the band would spend the next year scrapping together resources to realize their vision to its fullest. They hustled their way in and out of the studio, finishing bits and pieces at a time. In late 2009, upstart Brooklyn indie label American Myth Recordings (Lissy Trullie, Paul & The Patients) took notice and stepped in to help Linfinity finish the job. Linfinity’s Martian’s Bloom, recorded with producer Josh Hager, marks the first full-length release for the indie label
“I’m imagining this guy as a frazzled old prospector, and that he’s playing the crude, manic piano part by jogging in place on the keyboard. Ideally, a video for this song would feature grainy, sepia-toned footage of a punk band comprised entirely of hobos kicking out this jam on a fright train.”
-FluxBlog (musing on “Choo Choo Train To Venice”)