Wo Fat Announce Australia & New Zealand Touring

Posted in Whathaveyou on April 24th, 2019 by JJ Koczan

I’m holding out hope for a new Wo Fat record this year. Their last two, 2016’s Midnight Cometh (review here) and 2014’s The Conjuring (review here), were both Spring releases, out in June and May in their respective years, so that seems unlikely for 2019 unless there’s news coming, like, right now, about it. I just checked my email again, and nope. Maybe tomorrow. But Wo Fat have worked on an every-other-year schedule since 2012, and that alone was enough to make me speculate they’d have an album out last Fall in time for their European tour, which obviously didn’t happen.

As they head to Australia and New Zealand this June, I’m not necessarily thinking they’ll put one out in time for the trip because, again, we’d probably know about it by now if that were happening, but maybe later in the year? Maybe in the Fall? Maybe I just want to hear a new Wo Fat album so I’m trying to project a timeframe for it to be released? That seems possible to me. Indeed, likely.

Fine.

Their label, Ripple Music, posted the Aus/NZ dates as follows:

wo fat

Wo Fat announce Australian and New Zealand Tour!! This is gonna be killer!

Thursday 6/6
The Bendigo Hotel, Collingwood
W/ Jack Harlon & The Dead Crows
Tickets: http://rcl.ink/bO3

Friday 7/6
The Barwon Club Hotel, Geelong
W/ Turtle Skull & Peeling Sun
Tickets: http://rcl.ink/bO6

Saturday 8/6
WO FEST at The Gold Mines Hotel, Bendigo
W/ Pieces Of Molly (NZ), Turtle Skull, Motherslug, Pseudo Mind Hive, Burden Man, Thaw, Honeybone, Kitchen Witch, Full Tone Generator and @SubterraneanDisposition
Tickets: http://rcl.ink/bOu

Sunday 9/6
Crown and Anchorl, Adelaide
W/ Planet of the 8s & Howl n Bones
Tickets: http://rcl.ink/bOE

Tuesday 11/6
Whammy Bar, Auckland
W/ Bloodnut & The Deadbeat Dads
Tickets: http://rcl.ink/bO8

Wednesday 12/6
Valhalla, Wellington
W/ Dick Tracy & Hault
Tickets: http://rcl.ink/bOF

Thursday 13/6
Howlin’ Wolf Bar Wollongong
W/ Robot God
Tickets: http://rcl.ink/bON

Friday 14/6
The Vanguard, Sydney
W/ Comacozer & Numidia
Tickets: http://rcl.ink/zHg

Saturday 15/6
Crowbar Brisbane
W/ Stoker – band & Fumarole
Tickets: http://rcl.ink/zHy

https://www.facebook.com/wofatriffage/
https://twitter.com/HouseOfWoFat
https://www.instagram.com/wofatriffage/
https://wofat.bandcamp.com/
ripple-music.com

Wo Fat, Midnight Cometh (2016)

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Bible of the Devil Announce 20th Anniversary Tour Dates

Posted in Whathaveyou on April 23rd, 2019 by JJ Koczan

bible of the devil

Bible of the Devil are riding high (in the night) coming off the release of their new album, Feel It (review here), and this summer, they’ll put tires to pavement in support of the record and their 20th anniversary on the “Feel it for Life” tour beginning July 25. While that name kind of sounds like a charity event, I’m pretty sure all proceeds go to gas to get to the next gig, and that’s fair enough. If you’ve never had the pleasure of stumbling into a Bible of the Devil gig during a drunken afternoon at SXSW circa 2005 and hearing their two guitars tear classic metal a new ass — just as an example — they’re primed to destroy everything in their path once they hit the stage, and the songs on Feel It should make the perfect ammunition to allow them to do so on this run.

They’re playing with some killer bands throughout — Hey ZeusApostle in SolitudeWolf BloodFreedom Hawk, and so on — so find where they’re gonna be and then find where you’re gonna be and then work to make sure those two places are the same.

Behold:

BIBLE OF THE DEVIL – 20 Year Anniversary Tour Summer 2019

Greetings BOTD fans! Lots of stuff in store for you over the next few months. Our new album, Feel It, came out in March and we appreciate all your support and the great response it has gotten. In honor of this release we’ll be doing a huge show in May at Liar’s Club, then moving on to Indianapolis in June and back to Chicago again for our 20 year anniversary celebration at The Burlington.

This will be followed up by the “Feel It For Life” Tour that begins in Madison on July 25th. For those of you who’ve been with us from beginning, this will be the 29th Bible of the Devil US tour. Feel it.

All shows are listed below. We encourage you to come rock and feel the night with us!

May 24th Fri. Racine, WI @ McAuliffe’s w/Hey Zeus, Callous Wizard
May 25th Sat. Chicago, IL @ Liar’s Club Feel It Album Release Show w/Hey Zeus, Holy Warheads, Ghost Forest

Jun. 28th Fri. Indianapolis, IN @ Black Market Brewing w/The Cocaine Wolves, Apostle of Solitude
Jun. 29th Sat. Chicago, IL @ The Burlington BOTD’s 20 Year Anniversary Show w/The Cocaine Wolves, Mama, Midnight Dice

“Feel It For Life” 20 Year Anniversary Summer Tour 2019

July 25th Thurs. Madison, WI @ Bos Meadery w/Joe Price and the Cost, Ruin Dweller
July 26th Fri. Minneapolis, MN @ Lee’s Liquor Lounge w/United Teachers of Music, Wolf Blood, Nightosaur
July 27th Sat. Omaha, NE @ O’Leaver’s w/Pro Magnum, Jump The Tiger
July 28th Sun. Tulsa, OK @ Mercury Lounge w/Blind Oath
July 29th Mon. San Antonio, TX @ The Limelight w/Over the Top, Thunderhorse
July 30th Tues. Austin, TX @ The Lost Well w/Broken Teeth, Crimson Devils, Hot Crimes
July 31st Wed. Hattiesburg, MS @ The Tavern w/AstroTrain
August 1st Thurs. Atlanta, GA @ 529 w/The Pinx, Dusty Booze and the Baby Haters, Timmy James and the Blue Flames
August 2nd Fri. Wilmington, NC @ Reggie’s 42nd Street Tavern w/Thunderlip, Freedom Hawk
August 3rd Sat. Chapel Hill, NC @ Local 506 w/Thunderlip, Knightmare
August 4th Sun. Lexington, KY @ The Green Lantern w/The Vibrolas

Bible of the Devil is:
Nathan Perry: Vocals, Guitars
Greg Spalding: Drums, Loathing
Darren Amaya: Bass, Vocals
Chris Grubbs: Guitars

www.facebook.com/bibleofthedevil
https://www.instagram.com/bibleofthedevil/
http://bibleofthedevil.net/

Bible of the Devil, Feel It (2019)

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Abrahma Post “Lost Forever” Video; In Time for the Last Rays of Light Available to Preorder

Posted in Bootleg Theater on April 23rd, 2019 by JJ Koczan

abrahma

It is exceedingly hard to discuss depression. The second one enters into the classification of a diagnosis, the conversation changes. You become less of a person than the manifestation of an idea. This is true of any diagnosis. Think of the simple language involved sometimes. Depressives. Schizophrenics. Cancer patients. Not “people with…” but a simple, easily-filed categorization that saps the individual of their humanity when, let’s face it, acknowledging one’s humanity could potentially go a long way as a first step to addressing the issue in question. It doesn’t always help — it’s not going to make tumors stop growing — but it never hurts.

Making their return after an even-longer-feeling four-year absence, French progressive heavy rockers Abrahma are tackling the issue of depression head on with their new album, In Time for the Last Rays of Light, which is out May 24 on Small Stone and Deadlight Entertainment. The follow-up to 2015’s Reflections in the Bowels of a Bird (review here) indeed puts a human face on depression and the effects thereof on oneself and those surrounding. The video for “Lost Forever” directly portrays the despondency and loneliness that one can feel, even when in the company of loved ones. It manifests in the clip directed by Michael Leclere as a grueling agony with a tragic end and is by no means easy to watch.

“Lost Forever” is the opening track on In Time for the Last Rays of Light. I’m hoping to set up a premiere with a review as we get closer to the release, so keep an eye out for that (or, you know, don’t, if it doesn’t happen), but in the meantime, you can see the clip for “Lost Forever” below, followed by more info from the PR wire. I’d normally say “enjoy” here, but it seems crass given the context. Maybe just understand?

Here goes:

Abrahma, “Lost Forever” official video

In Time For The Last Rays Of Light is the third full-length from French progressive heavy rock outfit ABRAHMA. Set for release next month via Small Stone, the record follows three tumultuous years of personal challenges and lineup changes and is a chronicle of the ravages of coping with loss and mental illness, brought to bear with heavy and progressive songwriting, melodic catharsis, and an impact that goes beyond the material itself.

In advance of its release, the band has unveiled the moving video clip for “Lost Forever.” Offers director Michael Leclere, “‘Lost Forever’ unequivocally deals with depression, so I wanted to evoke identity quest as a parry to nothingness; when you lose yourself into the wilderness and have to draw in your own resources, facing yourself and looking after your animus, finding the strength to fight for things that may seem meaningless. Moving slowly toward an inextricable death, whether you do it to get a little more time or to find epiphany as a last shield before the abyss. We keep scattering pieces of ourselves through our constant efforts to stay alive. It’s like dying a little more each time. And it’s what will get us in the end.”

ABRAHMA’s In Time For The Last Rays Of Light will be released May 24th on CD and digital formats worldwide via Small Stone Records and in France on Deadlight Entertainment. For preorders go to THIS LOCATION.

Abrahma is:
Sébastien Bismuth – Vocals, Guitars
Florian Leguillon – Guitars, Vocals
Benoît Carel – Guitars, Synths & Effects
Romain Hauduc – Bass, Vocals
Baptiste Keriel – Drums, Vocals

Abrahma website

Abrahma on Thee Facebooks

Abrahma on Twitter

Small Stone Records website

Small Stone Records on Thee Facebooks

Small Stone Records on Bandcamp

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Keep it Low 2019 Announces Day Split; Adds The Obsessed, Bongripper & Mantar

Posted in Whathaveyou on April 23rd, 2019 by JJ Koczan

keep it low 2019

Well, if we’ve learned anything so far in 2019, it’s that The Obsessed will be spending significant amounts of it in Europe. The Maryland doom forebears have already been confirmed for Freak Valley and SonicBlast Moledo this summer, and they’ll be back this Fall — assuming they ever leave — with slots at Up in Smoke and now Keep it Low 2019. This is in addition to July UK dates with Alunah and an appearance next month in New Mexico for Monolith on the Mesa. Oh yeah, and there was that tour they did in March with C.O.C. and Crowbar too, so, you know, not a little bit of touring in general.

Their joining the ranks for Keep it Low 2019 comes with the festival’s announcement of the day splits — that’s who plays when — and the further confirmations of Bongripper and Mantar, thereby assuring the ground will shake and fury (and spit) will be spit with aggressive purpose as the fest plays out. There are a host of other righteous acts confirmed — Lo-PanNebulaThe Machine! etc. — so check out the lineup below, and here’s the latest from Sound of Liberation, which is presenting the whole affair:

keep it low 2019 poster

As promised, here come the day-split, the single-day tickets and 3 new awesome bands!

We thought it was about time to bring more darkness and ferocity into our 2019 line-up, and therefore we are proud to tell you that German heaviest duo MANTAR, Illinois’ monster of riff BONGRIPPER & Maryland’s doom pioneer The Obsessed join the bill today! We still have a few bands to announce, but this 7th edition of Keep It Low Festival 2019 is shaping up nicely, isn’t it? :)

Check out the poster below to know the day-split, and get your tickets here https://www.keepitlow.de/tickets-keep-it-low while you still can! 2-day passes are gone, it was faster than ever, and we’re sure those day tickets won’t last until the Summer!

https://www.facebook.com/events/250328939168797/
https://www.facebook.com/keepitlowfestival
https://www.facebook.com/Soundofliberation/
https://www.soundofliberation.com/

The Obsessed, Sacred (2017)

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Review & Full Album Premiere: Altar of Oblivion, The Seven Spirits

Posted in audiObelisk, Reviews on April 23rd, 2019 by JJ Koczan

altar of oblivion the seven spirits

[Click play above to stream Altar of Oblivion’s The Seven Spirits in full. Album is out April 26 on Shadow Kingdom Records.]

There is a special place in the halls of metal for those who partake of epic doom. It shares with power metal a sense of grandiosity and an absolute need to be all-in, irony-free in order to be properly pulled off, and Danish five-piece Altar of Oblivion nail it. The Seven Spirits, on Shadow Kingdom, is their third album, following behind 2012’s Grand Gesture of Defiance (review here) and their 2009 debut, Sinews of Anguish (review here). They had an EP out in 2016 called Barren Grounds, but The Seven Spirits is the Aalborg-based doomers’ first full-length in seven years. Consistent with that and its title, there are seven tracks on the outing, and no lack of spirit in the delivery, as the band taps ’80s classic metal and early doom metal in order to hone their sound, distinguished by the varied delivery of frontman Mik Mentor, whose low-register approach is deceptively malleable to the melodies called forth by the guitars of band-founder Martin Meyer Sparvath (also backing vocals and keys) and Jeppe Campradt (also keys).

Tasked with thickening the proceedings and making them move are bassist Cristian Nørgaard and drummer Danny Woe, and they only add to the sense of precision throughout the LP’s 40-minute run, whether it’s the thudding start and careening groove of opener “Created in the Fires of Holiness” or the suitably mournful plod in the second half of highlight “Gathering at the Wake” before the big finish takes hold. Regardless of tempo or mood in a given track, the band remains firm in their take on the metal of eld, and there’s never a moment where their sincerity is in doubt. As keyboard lines weave between the two guitars and fill out the arrangements and atmospheres, the sense of drama is palpable, but there’s no questioning Altar of Oblivion‘s commitment to what they do. This is epic, doom, metal. If you can’t handle it, turn in your denim at the door.

Perhaps unsurprisingly, Altar of Oblivion are quick to show their doomly credentials in “Created in the Fires of Holiness.” The song thuds the record to life quickly and crashes into its dual-guitar opening lead, very much the over-the-top intro before digging into its first verse, with Nørgaard‘s bassline righteously prominent — counter to a mistake so, so, so many in classic doom and metal make — as the guitars ring out and Mentor establishes his command over the turn to the chorus. By the time the opener is halfway through, the course is set in terms of style, and though its songs are varied, it ultimately does not waver from the mood that “Created in the Fires of Holiness” sets forth, coming apart gradually at the end and allowing for a moment of silence before Mentor starts “No One Left,” imagining a world where doomsday prophecy is fulfilled and nobody is there to see it.

altar of oblivion

Speedier and shorter, “No One Left” is a standout in the tracklisting, but well positioned near the start of the album in order to build on what the opener has set forth in tone and general vibe. It makes a hook of repeating its title line, and has a distinctly ’80s metal infusion of keys starting in its midsection, which the subsequent “Gathering at the Wake’ will depart in favor of raw chug initially, only to see it return later as the track embarks on a, well, epic break in its second half, worthy of comparison to earliest Candlemass and building in speed and energy until its gallop again collapses in tempo to a slowdown at the finish, leaving the vocals to end the track alone, and transitioning to the sparse guitar that opens the centerpiece title-track, also the finale of side A. Backing vocals recall Blind Guardian for a brief second in the first verse, but it’s a tease — why not go all out? — and the song unfolds in brooding, keyboard-laced fashion, its chorus resonant in the theatricality of its delivery and its guitars leading the path through a more subdued feel than anything yet presented.

It would be even more hypnotic for that if the title-track weren’t also so brief, being the shortest inclusion at 4:18. Still, it’s a relatively melancholy finish to side A, and it leaves “Language of the Dead” to pick up on side B with a resiliency that mirrors “Created in the Fires of Holiness” at the album’s outset in its general modus, finding new footing in its chorus and revitalizing the approach ahead of the closing duo “Solemn Messiah” and “Grand Gesture of Defiance.” The former of the two, “Solemn Messiah,” is a pinnacle of The Seven Spirits‘ fulsome aspects, with a patience in its execution that holds despite the grandeur of the surrounding arrangement and the layers of guitar, vocals, and keys at play over the still-solid rhythm section. It is arguably the most memorable of the cuts, though there’s plenty of competition there and it’s a question for the longer term in the end, but it serves in its penultimate position as the crescendo of Altar of Oblivion‘s third full-length, and they cap it with a quick stretch of quiet guitar that leads into the fading-in chug of “Grand Gesture of Defiance.”

Curious that they’d end this record with a title-track for the 2012 outing, but the keyboard-centric feel marks a turn in balance with the guitar — at least until the solo — that piques interest just the same. The chorus doesn’t quite land with the same effect as in “Solemn Messiah,” Mentor pushing his voice down to really emphasize that titular solemnity, but the speedier section that gives way to keys and softer guitar at the finish is a fitting enough way to go out given the focus on melody throughout the entire offering prior. Make no mistake, Altar of Oblivion are doom metal for the converted. This is get-a-vinyl-and-a-patch-at-the-merch-table fare, and while its songcraft is ambitious, part of that ambition is homage to what’s come before. Still, The Seven Spirits lacks nothing for its own personality, and after such a long stretch from the band without an LP, it’s a welcome and doomly return.

Altar of Oblivion on Thee Facebooks

Altar of Oblivion website

Shadow Kingdom Records website

Shadow Kingdom Records on Thee Facebooks

Shadow Kingdom Records on Bandcamp

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Estoner Post New Single “Sammud”; Tahm LP Due May 25

Posted in Whathaveyou on April 23rd, 2019 by JJ Koczan

estoner

Let’s face it, Estoner pretty much win at Estonian band names. It might not work so well if, say, they were from Latvia, but being Estonian and calling your band Estoner? Yeah, you win. There could be a thousand bands from Estonia, and I bet there isn’t one that’s going to come up with something better than Estoner to call itself. I know I’ve covered the band a couple times at this point — their 2016 long-player, Lennud Saatana Dimensioonis, was reviewed here — but I feel like it’s worth reiterating. If you were from Estonia, you wouldn’t be brave enough to call your band Estoner. Me neither.

Like the riff-conquering slingers of sludge that they are, Estoner have posted the track “Sammud” from their impending third long-player, Tahm. The album will see release on May 25, and “Sammud” is a 10-minute trundle through the darker recesses of the psyche that pounds on the cerebral cortex like violent impulses building tension in one’s veins. Screams and crash abound throughout, but there’s a sinister focus at work as well, and while their moniker is unquestionably playful, if these guys are smoking — does anyone smoke anymore? is it all edibles now? I’m too old and lame to know — they’re smoking some crusty shit.

The PR wire brought news of the single’s arrival:

estoner tahm

Estoner releases new single “Sammud”

Estonia’s leading spacesludge orchestra Estoner releases “Sammud” – their first single from an upcoming album “Tahm”, to be release on 25.05.2019 on vinyl, cassette and digitally!

“Tahm” is another step on the path of Estoner’s cosmic transcendence, overlaying a thunderous mix of doom, sludge and black metal over progressive structures, evoking new and unknown levels of aural destruction on unsuspecting souls!

Estoner is a doom/sludge/black metal collective from Tallinn, Estonia. “Tahm” will be their 3rd album, celebrating the 10th anniversary of the band.

Estoner is:
Vocal/Guitar – Kristian Vallikivi
Guitar – Ralf Vinkler
Bass – Jaanus Luka
Drums – Anton Veeremets

https://www.facebook.com/estonerband
https://www.instagram.com/the_true_estoner/
https://estoner.bandcamp.com

Estoner, “Sammud”

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Review & Full Album Premiere: Los Mundos, Calor Central

Posted in audiObelisk, Reviews on April 22nd, 2019 by JJ Koczan

Los Mundos Calor Central

[Click play above to stream Los Mundos’ Calor Central in its entirety. Album is out April 26 through Cardinal Fuzz, Avandadoom and Little Cloud Records.]

Depending on how one counts, Calor Central is upwards of the sixth full-length from Monterrey, Mexico, two-piece Los Mundos, and it follows on a quick turnaround from their 2018 offering, Ciudades Flotantes. Issued through Avandadoom in Mexico, Cardinal Fuzz in Europe and Little Cloud Records in the US, comprises six tracks and 28 minutes of earthy heavy psych rock, here and there peppering in garage buzz tonality in the guitars of Luis Angel Martínez (also vocals, synth) and/or Alejandro Elizondo (also drums, bass, synth), as on “Sin Vértigo,” but making more of an impression with the subtle layering in cuts like “Olas de Lava” and the overarching spaciousness to be found across the songs. Part of that might stem from the fact that the duo reportedly recorded the drums and percussion for Calor Central in an abandoned mine outside of Monterrey, but it extends to the guitar and bass and even vocals as well, which are just as likely to be coated in cavernous echoes on the nine-minute penultimate groover “Subterráneo Mar Jurásico” as are the drums that begin the opening title-track.

Indeed, for a sound that holds so much grit, space plays a large part in what Los Mundos do, the band creating and populating a context for their songs to inhabit across the relatively short LP, holding to an experimentalist feel while staying true to a foundation in heavy rock and psychedelia. They’ve had time to develop this approach — their self-titled debut was released in 2011 — but even that release and the subsequent 2012 EP, Mi Propia Banda Quiero Ver, have a clear forward-thinking intention at their root. A heavier overall result suits them throughout Calor Central, such that even shorter tracks like the fuzz-blasting second cut “Apertura” or the strut-right-out-of-here closer “La Salida” land with considerable impact and are able to play off the open sense of creativity both within themselves and in the pieces surrounding. If this is their journey to the center of the earth, then the core is indeed molten.

Though, again, Calor Central is relatively brief, it sets an immersive pattern from the outset. Vibe is primary. Ringing bell begins “Calor Central” like a call to prayer and echoing drum thud follows soon after, joined by guitar that only adds to the breadth of sound. More than two minutes have passed before the vocals enter in chanting layers and semi-spoken forward lines that shift between half-singing and all-out narration, guitar strums accompanying in a mood of defiance. It’s the drums at the bottom of the mix holding everything together as keys and backing voices and guitar ooze out overhead, and the title-cut feels its way forward until essentially the drums stop, and it’s as gentle as it could possibly be — that shift to silence — but still somewhat jarring. “Apertura” plays off that gracefully with the suckerpunch of its own percussive start, a churning progression more immediately greeted by airy guitar arriving in waves and seemingly intent on blowing every tube in whatever amp is being so cruelly tested.

los mundos (Photo by Victoria Orozco)

The shift to “Sin Vértigo” is direct and smoothly done, but the impact of “Apertura” goes beyond its own two minutes to the album as a whole. Its departing from even the loosest of verse/chorus structure, which “Calor Central” had, gives Martínez and Elizondo free reign to go where their whims take them, and they do precisely that with the command of a band on their sixth record. Foreboding guitar lines open to full-on fuzz roll in “Sin Vértigo” with a return of the spoken word of the opener to come and a guitar line that seems to answer back and beckon the song forward into its tonal bliss and semi-hook, a solo in the second half giving way to a last verse before the devolution to rumbling amplified noise takes hold and fades out slowly to end side A, only to let the immediately dreamy “Olas de Lava” lead off Calor Central‘s back half in surprising fashion.

Perhaps the most outwardly psychedelic inclusion on the record, “Olas de Lava” gives its guitar line a sitar treatment and an according backwards layer during its initial verses, the title line serving as the chorus in the midsection as forward momentum is built and maintained. From there, there’s no return to the verse or hook as “Olas de Lava” spaces out and a synth drone rises from out of the mix to consume the guitar even as the whole affair fades out slowly to let a troubling wash of distortion act as precursor to “Subterráneo Mar Jurásico,” which as it takes up almost a third of the album’s runtime on its own is an obvious focal point. The rhythm is relatively straightforward early on — though that might just be Los Mundos doing well in adjusting the listener’s frame of mind/expectations for “normality” — with a tinge of grunge in the verse riff, but after the second chorus, the switch flips and the guitar freaks out with a noisy lead that shifts into surf-rocking echo only to itself be consumed by the next verse, with effects swirl, drums and percussion coming forward to meet the guitar buzz head on, and a outbound progression that sure enough shows no interest in making its way back.

A noisy jam ensues to provide a satisfying apex to Calor Central as a whole in terms of the band doing whatever the hell they want and making it work, and along with some residual percussive tension and guitar ring-out, there’s a kind of vocal echo test at the end that seems to be there just for extra weirdness. Right on. On their way out, they tap garage-doomgaze with “La Salida,” swinging all the way and seeming to build to a grand finale but cutting off before they get there because, once more, they’re by no means beholden to the traditional tenets of genre. That’s not to say they don’t put them to use when they so please — there’s no shortage of fuzz or nod-ready groove throughout — just that their intention is broader than general stylistic confines can generally hold. Of course, that only makes Calor Central all the more righteous in its position.

Los Mundos on Thee Facebooks

Los Mundos on Bandcamp

Cardinal Fuzz webstore

Avandadoom on Bandcamp

Little Cloud Records on Bandcamp

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Getaway Van Premiere “Lord I’ve Been Running” Video

Posted in Bootleg Theater on April 22nd, 2019 by JJ Koczan

getaway van

When you’ve got a hook, use it. That lesson would not seem to be lost on Vancouver four-piece Getaway Van, whose recently-issued self-titled debut has a bunch to go around, from the bloodshot repetitions of “Branches” down through the catchy mid-paced sway of “So Long” at the record’s pre-outro conclusion. “Lord I’ve Been Running” might be the most infectious of them, however — though I wouldn’t take away from “Ugh” or the prior “Follow Me,” either — though it’s certainly in resonant company, and though it’s the means by which Getaway Van are making their debut, having formed in 2017, the interplay of vocal arrangements between guitarists Derek Lionas and Charlie Cole and bassist Zach Fox show a care in composition that speaks directly to intentional songcraft. That is, it’s not just verses and choruses piled on top of each other. There’s thought behind what they’re doing, and in listening to the album, it sounds like the work of multiple songwriters, or at least multiple contributors around a central idea for each track. Drummer Devon Sutherland, accordingly, provides the restlessness at the foundation to keep everything moving while still tying the songs together.

Somehow, because it’s in Canada and not Portland, Oregon, or Seattle, Washington, Vancouver seems to be often-unconsidered when it comes to the thriving Pacific Northwest heavy underground. That’s a mistake, obviously. On a song like “Blacktop Mistress,” Getaway Van tap into Red Fang-style forward momentum while the earlier “Comin’ Back” demonstrates more melodic complexity in straightforward, Ripple-style heavy rock, but what makes it all work together is the focus on songwriting at root in what they do. While “Lord I’ve Been Running” takes its central theme from the blues, it makes its impression with its sharply-executed bounce of rhythm and, indeed, its hook.

They are not shy with it, and neither should they be. The video (with videography by Matej Ceska) finds them arriving, loading in and playing a gig at The Bourbon in Gastown, Vancouver, as well as in the rehearsal space where Fox professes, “Somebody’s been practicing,” when complimented on his play. That’s a fun moment in a fun song with a kind of dark theme presented in a manner that borders on maddeningly catchy and appears on an album that functions much the same. “Lord I’ve Been Running” inherently can’t convey the entire scope of Getaway Van‘s songcraft — you know, being one song and all — but in the vocal swaps and its pristine construction, it represents the self-titled well. Probably why they chose it as a single, and further proof these cats know what they’re up to.

Some quick comment from the band follows. Dig in and have fun:

Getaway Van, “Lord I’ve Been Running” official video premiere

Getaway Van on “Lord I’ve Been Running”:

“‘Lord I’ve Been Running’ is the second single from our debut full-length album. Written by bassist Zack Fox, this is a song about the tribulations of life, and the toll it can take on a person. We’ve all always loved this song due to the high energy and its almost desperate nature. The powerful vocals and incessantly running guitars really seem to get people moving, and help make it a memorable track. It’s certainly a song that everyone can find a connection to on a personal level, and as such, it was the natural choice for our first music video to come from this album.”

Getaway Van is:
Devon Sutherland – Drums
Zach Fox – Bass/vocals
Derek Lionas – Guitar/vocals
Charlie Cole – Guitar/vocals

Getaway Van on Thee Facebooks

Getaway Van on Instagram

Getaway Van on Bandcamp

Getaway Van website

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