StereoEar is a collaboration between CMP Music Group, Branch of Sound & Sällberg Collective! 

Bringing you great live performances from artists on YouTube! Songs posted are live recordings, pure & simple!

Craneium is a four piece stoner/fuzz/desert outfit hailing from the vast dunes of Osthrobotnia, Finland founded late 2011. Craneium is what the fuzz is about, bringing you sludged up driving music from the underworld.

First full-lenght album is out now and it's called "Explore The Void". Head over to bandcamp to listen to the full album, and purchase it for only 10€.

This record will destroy your mind and reap your soul. From the musicians who brought you "The Slowerdrive Tapes" and one hit wonder "The Gnome", here's the full album. And as you might have hoped for, it's filled to the breakingpoint with fuzzy madness and mind crawling craziness. The magnitude of heavy can only be described as a sonic dreamscape. Through the desert lands, vast dunes and evil cults. From witches gatherings to space and back, just in time for the harvest season.

Explore the Void…tune down, turn up and fuzz out!

http://craneiumband.bandcamp.com/

We're looking for label to discuss a possible vinyl-release of the new album. If you like what you hear, then you are most welcome to contact us at:

Craneiumfuzz@gmail.com

Footsy, Düb-Höp, Rumba-Step, Samba-Step, Wonkyness, Rubber-Roots, Flexigrind-Shufflecore, Woop-Style, Kittens, Magic Beans, etc...

!:::Send PM for Free Downloads:::!

Zini is a project, started in 2012 and mainly run by Filip Holm, that aims to bring together sounds from musical cultures around the world and celebrate diversity by merging them with more contemporary genres like Rock and Pop. The music features lyrical and musical themes that deal with social issues, philosophy and mysticism as well as a diverse array of instruments and musicians from around the world.

The music of Zini spans a wide range of styles and moods. From the Middle eastern Hard-rock fusion on songs like "Felahi" or "Crime" to more contemplative songs inspired by traditional folk music like on "Wahda" or "Bogal", Zini makes a point to explore and experiment with different genres and sounds to create something that feels unique and meaningful

Swedish trio Svvamp is the real deal. Countless bands today strive to sound genuine — whether faking their way through a ProTools pastiche of carefully assembled takes, painstakingly tarnishing tracks to give them a “live feel” or simply copying the style of their favorite band. And, usually, their posturing is entirely transparent.

Every once in a while though, you find a band without self-conscious pretense that truly echoes the mood and vibe of an era when the rulebooks were burned with the draft cards and the act of playing rock’n’roll was simultaneously defiant and inherently casual. Svvamp is just that type of primordial beauty captured on a perfect 11-song debut.

Svvamp was created by three friends – Adam Johansson, Henrik Bjorklund and Erik Stahlgren – drawn together for the sake of jamming and a love of rock, folk and blues. Their resulting heavy psych sound is immediately gripping in its homespun feel and hints of Cream, Eric Bell-era Thin Lizzy, CCR and Crazy Horse.

“Our first recordings were made on a 4-channel cassette PortaPro (with microphones that we found lying around) and were really crude, recorded live to cassette,” the band explains. “We grew fond of that live feel and demo takes started to sound like finished songs. Over time, with almost everything made live in our rehearsal room, it became a full album.”

“Serpent in the Sky” kicks things off with a syncopated bluesy riff romp, while “Burning Down” echoes the stomping freeform feel of the New Yardbirds’ “How Many More Times.” Once things settle in to the laid back shuffle of “Free At Last”, Svvamp really finds its groove and lets loose like Axis: Bold As Love Jimi Hendrix. “Time” sounds almost like Ziggy Stardust era Bowie with a boogie swagger and cheeky vocals. “Set My Foot and Leave” sounds as earnest and unpretentious as The Faces (and at times like Rod Stewart’s “Maggie May”, without all that shaggy, smug Rodness). Elsewhere, “Blue In the Face” slips into a heavy groove while “Oh, Girl” bashes out stop ’n’ go riffs with the Marshall stack dramatics of Blue Cheer. Chiming mandolin and acoustic guitars lead the charming closing anthem, “Down By The River” (not the Neil Young song).

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