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Radio Moscow Sign to Century Media

Posted in Whathaveyou on January 19th, 2017 by H.P. Taskmaster

San Diego heavy rock forerunners Radio Moscow have inked a deal to release their next album on Century Media Records. The trio will enter the studio soon to record the follow-up to 2014’s Magical Dirt (review here) with an eye toward a summer 2017 release. Given that everything Radio Moscow have put out to-date going back to their 2007 self-titled debut has come out via Alive Naturalsound, I’ll say this one hits as something of a surprise, and I feel like I haven’t even had enough time to process if it’s a bigger get for the label or for the band. Both maybe? I don’t know.

Either way, Radio Moscow definitely mark Century Media‘s biggest foray into heavy rock to-date in the current swing — lest we forget Fu Manchu were a Century Media band for a minute there — and as they were already one of the hardest-working — and, frankly, one of the best — live acts I’ve ever seen, I don’t anticipate this new label deal will slow their momentum any. Can it really be anything other than a win to push them further into headliner status? Not on any level I can think of.

Just off the PR wire:

radio moscow

RADIO MOSCOW Signs Worldwide Deal with Century Media Records

Southern Californian rock trio RADIO MOSCOW and CENTURY MEDIA RECORDS are proud to announce a worldwide partnership to release the band’s upcoming albums. RADIO MOSCOW already started songwriting and will enter the studio soon to release their fifth full length album in late summer 2017.

Guitarist and vocalist Parker Griggs comments: “Radio Moscow couldn’t be more stoked to be joining the Century Media family! When we met these guys we spent hours nerding out on obscure classics from our favorite era of Rock ‘n’ Roll (1965-1974)…. so we feel right at home! Excited to keep writing and working on the next Radio Moscow release on Century Media. Looking forward to 2017 with a new label and album! Peace n Love!”

Jens Prueter, Head of A&R at Century Media Europe adds: “A beautiful summer night at a club in the middle of Germany, some beers, a nice chat about weird 60s stuff and an amazing sweaty show: that’s a good start for a long time partnership. I’m very happy to welcome this highly talented band that is taking the roots to the roof!”
Trends come and go, but the idea of a bunch of guys getting together in a garage and playing the kind of music that makes the neighbors call the cops – that’s forever. And it’s that idea that’s crystallized in the form of Radio Moscow who took their name from an obscure 60s garage punk novelty single. The power trio led by the Stratocaster genius Parker Griggs have found THE formula: Crunching, heavy Sabbath-style chords topped with fiery solos that earn the right to be called Hendrixian. Radio Moscow plants their flag firmly in the territory where psychedelic rock and cranked-up blues meet. The sound is unabashedly retro (think Cream, Blue Cheer, Led Zep or Jimi Hendrix Experience), so it’s easy to see how it caught the ear of the Black Keys’ Dan Auerbach, who produced Radio Moscow’s 2007 self-titled debut.

With “Brain Cycles”, their second album, Radio Moscow proves that they’re not a cheap time machine but a direct descendant from the golden age of Rock ‘n’ Roll. In 2011, Griggs continued his psychedelic trip with “The Great Escape of Leslie Magnafuzz” followed by “Magical Dirt” in 2014.
Parker Griggs (vocals, guitar), Anthony Meier (bass) and Paul Marrone (drums) hit the road hard in the U.S. and in Europe, touring with the likes of Graveyard, Witchcraft, Joe Bonamassa and Pentagram, followed by an appearance on the legendary German television program Rockpalast.

Coming off of what seems like endless touring proceeding and following the recording of the double-live gatefold “Live! In California”, Radio Moscow is ready to hit the studio again. “Live!…” was recorded absolutely live with no overdubs of any kind; New York Music Daily called it the Best Heavy Psych LP of 2016, proclaiming “there’s nothing that’s been released in 2016 that can touch this.”

The band toured the U.S., Europe, South America, and Australia around the release of the live document, landing at such festivals as Desert Daze (US), the Void Fest (Ger), Electric Funeral (US), Burg Herzberg Fest (Ger), and the Orbital Festival in Santiago, Chile, to name a few.

The live album wrapped up the first chapter of the band’s career, playing highlights from their first four studio albums. As Rolling Stone’s Dave DiMartino cited, “I would be lying if I did not say I have been completely taken with this…The band actively evokes all that was great about hard-rock trios, but does it with such gleeful abandon you’ve got to admire both their spirit and whatever time capsule they rode in on. Great fun.”
The story continues with a new chapter in 2017.
Discography:
Radio Moscow (2007)
Brain Cycles (2009)
The Great Escape of Leslie Magnafuzz (2011)
3 & 3 Quarters (2012), early demos recorded in 2003 by Parker Griggs
Rancho Tehama EP (2013)
Magical Dirt (2014)
Live! In California (2016)

RADIO MOSCOW line-up:
Parker Griggs (vocals, guitar)
Anthony Meier (bass)
Paul Marrone (drums)

http://radiomoscow.net/
www.facebook.com/radiomoscowband
www.instagram.com/radiomoscowband
http://www.centurymedia.com/
https://www.facebook.com/centurymedia

Radio Moscow, Live in Fullerton, CA, May 21, 2016

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Attalla Announce Glacial Rule out March 24

Posted in Whathaveyou on January 19th, 2017 by H.P. Taskmaster

Wisconsin-based sludge rockers Attalla — not to be confused with similarly-named Californian post-desert outfit Atala — put out their self-titled debut (review here) in 2014. That album struck a grower chord over time, and eventually earned itself a reissue through doesn’t-put-put-stuff-if-it-sucks Pennsylvania imprint Shadow Kingdom Records. The band has announced they’ll self-release the follow-up, titled Glacial Rule, on vinyl March 24, and will begin taking preorders a month before.

Art, tracks and whatnot are all still to come, but Attalla put in some significant road time last year, so it should be interesting to hear what they’ve come up with when they get there. I asked the band to tell me a little bit about the record and they were kind enough to oblige. You can see in the quote below that it’s 12 minutes longer than the self-titled while remaining the same number of songs, so seems like some definite changes in approach will have taken place. Guess we’ll find out.

That quote and album details follow, as sent by the band:

attalla

Attalla on making Glacial Rule:

‘Glacial Rule’ is a huge step forward for us both musically and as a band. We really took our time working and reworking the songs on this album until they were exactly what we wanted. It is another six-track album but it’s about 12 minutes longer than our first. We were not afraid to jam on a riff until we felt it was finished.

The songs are more dynamic, have some real depth and carry an overall heavier, darker tone. Recording was handled by Shane Hochstetler at Howl Street and the production is absolutely huge. We didn’t half-ass anything on the vinyl packaging either. It is a gatefold jacket with two great pieces by Adam Burke and the vinyl is pressed on two different colors. It is an album we are truly proud of!

‘GLACIAL RULE’
Out March 24th, 2017 on vinyl, cd and digital.
Recorded by Shane Hochstetler of Howl Street Recordings.
Mastered by Carl Saff.
Artwork by Adam Burke.
Layout by the Company.
Released 100% DIY.
Pre-Orders start February 24th at www.attallawi.bandcamp.com

‘Glacial Rule’ tracklisting:
1. Butte Des Morts
2. Ice Harvest
3. Valderan
4. Black Wolf Rituals
5. Devil’s Lake
6. Glacial Rule

Attalla is:
Cody Stieg – Lead Guitar/Vocal
Brian Hinckley – Rhythm Guitar
Bryan Kunde – Bass
James Slater – Drums

http://facebook.com/attallawi
http://www.attallawi.bandcamp.com

Attalla, Attalla (2014)

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Monolord Post Video for “Lord of Suffering”

Posted in Bootleg Theater on January 19th, 2017 by H.P. Taskmaster

monolord photo by mike bax

Because so much of the story around Swedish trio Monolord has, since they made their debut with 2014’s Empress Rising, been about the largesse of riff they proffer, the massive nod and so on, I feel like the underlying narrative of their progression has been somewhat lost.

Don’t get me wrong, if you’re asking the question, “What do Monolord sound like?” the answer is no doubt going to be, “They sound frickin’ huge,” but across their 2015 second LP, Vænir (review here), and last year’s Lord of Suffering / Die in Haze EP (review here), guitarist/vocalist Thomas V. Jäger, bassist Mika Häkki and drummer Esben Willems have enacted a chartable sonic growth that’s been as much about expanse as volume. They still crush — or “crosh,” if you prefer the emphatic pronunciation — but both tracks on the latest EP offer atmospheric density as well as tonal.

Does that mean Monolord are moving past their foundation? Probably not, but it does mean Jäger is becoming more comfortable as a singer and as a whole they’re becoming less tied to unipolar heft. The watery effects that one hears on “Lord of Suffering” add a psychedelic flavor to what’s otherwise a pretty straightforward fuzz roll, and one gets the sense in listening that it captures the three-piece at a transitional moment, which makes the prospect of a third album — which has been hinted at for 2017 — all the more enticing.

If/when Monolord do hit the studio this year, they’ll do so as part of what will no doubt remain a busy schedule of live dates. Already they’ve been confirmed for Germany’s Stoned from the Underground (info here) in July and for SonicBlast Moledo (info here) in Portugal this August, and no doubt more announcements are to come. I haven’t heard anything to this effect, but I wouldn’t be surprised if they were on the road for the entire month between those two. That’s kind of how Monolord do.

Fittingly, the video below for “Lord of Suffering” was filmed on tour. One way or another, expect more from Monolord as we move through 2017.

March on:

Monolord, “Lord of Suffering” official video

Swedish trio Monolord premiere the first video from their new 10″ EP. The seven-minute video is culled from footage shot throughout the band’s extensive US and EU touring last summer.

Monolord’s full discography is available on RidingEasy Records.

Monolord on Thee Facebooks

Monolord on Twitter

RidingEasy Records website

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Holy Mount to Release The Drought Feb. 24

Posted in Whathaveyou on January 19th, 2017 by H.P. Taskmaster

Preorders are, of course, up now. Feb. 24 is the release date for White Dwarf Records‘ limited vinyl run of Holy Mount‘s The Drought. This marks the second collaboration (by my count) between the Toronto-based heavy psych swirlmakers and the Berlin imprint, which also issued a deluxe version of their 2014 debut, We Fell from the Sky, in 2015. Likewise, The Drought was first self-released by the band digitally as their third full-length last year, and if there’s any question as to why it might get picked up for an LP issue, between the cover and the full stream that you can hear at the bottom of this post, any and all queries should be thoroughly answered.

Holy Mount have another long-player, 2014’s VOL, and a slew of other short releases on their Bandcamp page, which is linked below, so if you want to dig in, there’s much fodder for that purpose. If the band is new to you, as they are to me, you’ve got nothing to lose.

Have at it:

HOLY MOUNT THE DROUGHT

HOLY MOUNT – The Drought (WHD 008)

Limited edition of 150 copies on yellow and 350 copies on black 180 gram vinyl! Inside-Out-Cover, including download card!

“By the frigid, windy great lakes of Toronto, Canada situated on a broad sloping plateau intersected by an extensive network of rivers and deep ravines, lies HOLY MOUNT. At the summit, four hermits have been gathering for years celebrating Heavy Psych ceremonies, channeling the mystery of the great north. Their last recorded ritual, released early this year by White Dwarf, titled ‘The Drought’, shows the quartet comprised of Danijel, Brandon, Troy and Clayton at his best with heavy doomy drones, ghostly enchantings and superb guitar riffs/solos filled with fuzz reverberating through the Black Mountains above into the Dead Meadows below.” The Temple

1. Ground Water 00:56
2. Division 05:00
3. Basalt 05:19
4. Omni Cide 07:09
5. Blackened Log 05:42
6. Blood Cove 06:52
7. The Drought 07:26

Label: White Dwarf
Release: 24.02.2017

HOLY MOUNT are:
Brandon Mckenzie – Bass Guitar
Troy Legree – Drums
Danijel Losic – Guitar, Vocals
Clayton Churcher

Recorded and mixed by Clayton Churcher Mastering by Brad Boatright / Audiosiege
Artwork by Jesse DeNobrega

https://www.facebook.com/holymountisloud/
https://holymount.bandcamp.com/
https://whitedwarf3.bandcamp.com/album/holy-mount-the-drought-whd-008
http://www.whitedwarfrock.com/

Holy Mount, The Drought (2017)

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Buddha Sentenza, Semaphora: Reaching Outward

Posted in Reviews on January 19th, 2017 by H.P. Taskmaster

BUDDHA SENTENZA SEMAPHORA

Feels like it’s been a while in the making, but Buddha Sentenza‘s second album justifies the wait in a significant push forward from where 2013’s debut, South Western Lower Valley Rock (review here), found them. Still working through World in Sound, 2016’s Semaphora hits with the pastoral feel that’s been present in the German five-piece’s sound since their 2009 demo, Mode 0909 (review here), and if one is so inclined, one might still pick up shades of My Sleeping Karma in their sound, but there’s a progressive tinge to the winding guitar and keys in opener “Jet,” and the subsequent “Greek Ancestry” goes farther in fitting its arrangement to its title.

Ultimately, the playfully named Heidelberg-based lineup of guitarist/violinist B.B. Blacksheep, guitarist Major Mayhem, bassist Amnesio Bodega, keyboardist Pontifex Maximus and drummer Jesus Malverde end up as much in the sphere of progressive rock as that of heavy psych, and Semaphora has a refreshing cohesion of purpose and focus that distinguishes it from the hordes of instrumental jammers populating Europe’s heavy rock underground. The shift is visible even unto the photorealism of Semaphora‘s cover art, which finds a hand reaching across the shards of a shattered mirror backed by cloud and blue sky — reminiscent of some lost ’70s prog LP — where South Western Lower Valley Rock, while staking a claim on naming Buddha Sentenza‘s sound perhaps in a tongue-in-cheek manner, featured line drawings of fractals and other psychedelic imagery. I might be interested to know if the band, who split the six-track/48-minute Semaphora into two sides, each with an extended closer, still consider the title of their debut to be the style of music they play.

Could be that designation is nebulous enough to continue to fit, and if “south western lower valley rock” is whatever Buddha Sentenza make it, then all the better that Semaphora finds them so willfully exploring that freedom. As progressive as it gets, and as much as that colors the impression of everything that follows, the first thing one hears on “Jet” is a fuzzed-out guitar. It’s not long though before the organ, drums and bass have joined in and the arrangement thereof spun off into what feels like multiple directions, like beams of light splitting apart and coming back together in cycles. The second half, following some midsection chugging, drops to ambient spaciousness for a time, highlighting the keys and the overall textural feel, but the push resumes in the last minute and cuts off to let the strumming at the start of “Greek Ancestry” speak immediately to the name of the track.

More subdued than the opener on the whole, it demonstrates a patience that suits its bounce well but is hardly inactive, with lead guitar driving more weighted sections and switches back and forth around that initial strummed line, joined the second time around by violin, guitar and keys for a more lush take. By the time it’s done, “Greek Ancestry” has staked its claim in gorgeousness, but the 10-minute “Kréèn (Patagonian Lights),” which follows and closes out Semaphora‘s first half, is the highlight, with a meandering countrified fuzz starting off topped by sampled chanting that unfurls to summarize the patience and the spirit of the first two tracks while expanding the sonic foundation on the whole in a satisfying and immersive way. It never loses its sentimental feel in the guitar or organ line, and bookends with more sampled chanting at the end, making “Kréèn (Patagonian Lights)” almost an album unto itself.

buddha sentenza

Further sampling starts side B’s opener, “Laika,” but it’s direct speech, almost sounding like an advertisement or newscast, but the song itself begins soon and thrusts quickly into wah and a more active feel, particularly in the keys and perhaps in conversation with “Jet.” The symmetry of Semaphora‘s two sides is evidence of the consciousness at work on Buddha Sentenza‘s part, and that may or may not bleed into the tracks themselves, but it’s worth noting that nowhere on the album do they actually seem to repeat moves. “Laika,” for example, shifts into a chugging march with theremin behind it, farther-back lead guitar and synth swirl, and though it’s the shortest cut at 5:22, it still has time to cap with a quiet movement of piano before it transitions into the foreboding standalone chord that launches “Blood Rust,” the eight-minute penultimate piece that follows and seems to work most directly in stages.

The first builds from that initial guitar line, then it moves into synth-led atmospherics for its middle third, and from there, it emerges once again on a less threatening push toward an apex that, but for closer “The End is Coming, We’ll Take it from Here” behind it, could just as easily have been the payoff for the record as a whole. That closer, however, immediately marks itself out as the grand finale. Sampled lines from 1984 move into faster guitar that in turn shifts toward piano and guitar interplay and a rolling forward groove of riff, keys, synth and theremin — all hands on deck — before a sudden stop and chug announces the arrival of the next movement shortly before the four-minute mark. A wash of keyboard tops the roll, but there’s more intense drum and guitar chugging to be found as well as “The End is Coming, We’ll Take it from Here” plays out, and the feel is suitably chaotic as Buddha Sentenza pass the halfway point, break and return to launch Semaphora‘s final build from the ground up.

As noted, “Blood Rust” could have been the payoff for the album’s entirety, but there’s no question that the finish they give with “The End is Coming, We’ll Take it from Here” could hardly be placed anywhere else and still work as well, and though the song borders on overwhelming in its turns from one part to the next, that only underscores the progressive mentality of the band, since they never seem to be out of control or to lose track of the direction they’re headed. That may be the underlying message of Semaphora, all told, and if Buddha Sentenza have worked the last several years coming together to craft it, then their time was not misspent. As far as Semaphora ranges, it never fails to bring their audience along for the ride, and the breadth it unveils makes it all the more difficult to predict how they might progress from here, only adding to the satisfaction of the listening experience.

Buddha Sentenza, Semaphora (2016)

Buddha Sentenza on Thee Facebooks

Buddha Sentenza on Bandcamp

Buddha Sentenza website

World in Sound Records website

World in Sound Records on Thee Facebooks

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The Freeks & Komatsu Euro Tour Starts Feb. 28

Posted in Whathaveyou on January 19th, 2017 by H.P. Taskmaster

We’ve known for a while now that Californian heavy psych/punk rockers The Freeks would be heading abroad to support their 2016 album, Shattered (review here), and with the release out through Italian label Heavy Psych Sounds, it’s even more reasonable to have that label’s booking wing presenting the shows. All makes a lot of sense, I guess is the point, including the significant stretch of the tour that takes place in Italy before hitting Switzerland, France, Austria and Germany, starting Feb. 28 in Rome and going from there. Looks like an awesome run, and no doubt The Freeks will kill it along the way.

They go in the company of Netherlands-based Komatsu, who released their debut full-length, Recipe for Murder One (review here), on Argonauta, and between some of the expanse The Freeks offer and the at times intense tonal weight brought forth by Komatsu, they should make for a fitting and complementary lineup. I won’t get to see the shows, of course, but I’ll look forward at least to the customary tour-end picture of both bands in front of a van or empty stage celebrating the end of a successful time together.

Heavy Psych Sounds announced it like this:

the freeks komatsu tour

THE FREEKS + Komatsu European Dates Announced!

Heavy Psych Sounds Booking is proud to announce the EU dates for the Californian 70’s fuzzsters The Freeks! The band is just out with their last record “Shattered.” Supporting the entire tour, the heavy rockers from Netherlands, Komatsu!

The Freeks feature Ruben Romano former drummer of Fu Manchu and Nebula as well as Tom Davies, bass player of Nebula.

HAVE FUN!

The Freeks & Komatsu live:
28.02.2017 IT Roma-Traffic
01.03.2017 IT Torino-Café Liber
02.03.2017 IT Erba-Centrale Rock
03.03.2017 IT Bologna-Freak Out
04.03.2017 IT Fidenza-Arci Taun
05.03.2017 IT Castel D’Ario-Hostaria
06.03.2017 IT Zerobranco-Altroquando
07.03.2017 IT Trieste-Tetris
08.03.2017 IT Savignano-Sidro
09.03.2017 CH Basel-Hirschneck
10.03.2017 FR Ensisheim-Woodstock Guitar Shop
11.03.2017 CH Luzern-Bruch Bros
12.03.2017 AT Feldkirch-Graf Hugo
13.03.2017 Looking for a show!
14.03.2017 AT Leipzig-Zoro
15.03.2017 DE Halle-Huhnermanhattan
16.03.2017 DE Berlin
17.03.2017 DE Dresden-Sabotage
18.03.2017 DE Erfurt-Tiko
19.03.2017 DE Munster-Rare Guitar Shop

https://www.facebook.com/TheFreeks/
https://www.facebook.com/komatsurock/
www.heavypsychsounds.com

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Aboleth Premiere “No Good” Video; EP I out on CD Jan. 20

Posted in Bootleg Theater on January 18th, 2017 by H.P. Taskmaster

aboleth

This Friday, Jan. 20, Los Angeles heavy rockers Aboleth oversee the release of their EP I (discussed here) on CD. Offered last summer digitally and on cassette, the three-track collection introduced a somewhat different direction for the touring rhythm section of psych-jammers The Ultra Electric Mega Galactic, with baguitarist Collyn McCoy and drummer/engineer Dan Joeright joining forces behind powerhouse vocalist Brigitte Roka to elicit classic vibes and a fervent, grooving drive. Clarity of sound and clarity of intent were likewise prevalent, and between the three of them and Matt Lynch of Snail, who mixed and mastered, they left little doubt as to the direction they were headed.

As to that? Less heavy rock and roll in the Californian desert style and more foundational hard rock. That is, rock that doesn’t need to be so aesthetically loyal to one end or the other. Rock that wouldn’t be out of place either in a skate video or in some raucous tv scene. Rock that might, just might, have an appeal beyond the already converted. These probably shouldn’t feel like brave steps for a band to take, even on their first outing, but Aboleth — as much as their name sounds like they should be playing black metal in a forest somewhere — come across as especially bold throughout EP I, which only serves to complement their songwriting and overarching energetic feel.

Roka and McCoy would seem to have parted ways with Joeright, and have been playing shows with the formidable backing of Sasquatch‘s Rick Ferrante. Neither Joeright nor Ferrante appear in the video for “No Good,” directed by Dugan Nasche, so it seems to be up in the air as to who will take that spot permanently, but the clip has plenty of attitude and plenty of hanging out in the desert to work from, and there’s just about nothing more I’d ask of it than that.

And yeah, I know I just went on about how Aboleth don’t necessarily sound like a desert rock band and now I’m posting a video of them actually performing in the desert. You’ll just have to take my word for it when I say they could just as easily have gone any number of places. But I guess when the desert’s nearby, you go to the desert. Fair enough.

Full credits and more info follow the video below. Please enjoy:

Aboleth, “No Good” official video

Aboleth release video for “No Good” from self-titled EP (available on CD Friday, January 20th, 2017)

Los Angeles desert doom band ABOLETH released its first official video for the song “No Good” from their debut EP.

Video was shot on location in Reefer City, CA (yes, it’s a real place, Google it) by infamous cult/occult filmmaker director Dugan Nasche (aka Dugan Na$H). Director of Photography was Mariana Fiel, First AD was Duffey Westlake.

The lo-fi, 70s-exploitation-style video focuses on the antics of vocalist Brigitte Roka and baguitarist Collyn McCoy (Trash Titan, Ultra Electric Mega Galactic, Otep) in a high-desert post apocalyptic landscape.

Said director Dugan Na$H: “I hadn’t done a music video in a few years. I’d been living as a recluse in my desert compound, working with found footage, tape loops. stop-motion animation pornography… anything but music videos, really. So I was skeptical at first. But when I met with Brigitte and Collyn, they had an energy that I wanted to capture. Also, they brought me weed and ammo. I don’t get out much so that was appreciated.”

“The video doesn’t have a concept per se. But the subtext is there. I see them as part of desert witch cult, like a post-apocalyptic Manson family, piecing together what they can of the pop culture flotsam from a bygone era to form something new.”

Aboleth vocalist/resident visual artist Brigitte Roka had this to say: “Working with Dugan was interesting. On the first day of shooting I asked him about one of the shots we filmed and he said he envisioned it that way because it would please his favorite desert demon, the Goat of Lust, as he often referred to it. Never look that guy straight in the eye unless you want to hear a 45-minute long explanation about who the Goat of Lust is. I learned the hard way.”

Aboleth’s debut EP, which was previously available only as a limited-edition cassette, will be available on CD on January 20th, 2017.

Aboleth’s McCoy said of the re-release: “Timing it to coincide with Donald Trump’s inauguration is no accident. The CD edition of the EP contains Satanic back-masking — basically a black magical spell to combat the negative energies generated by Trump presidency. In order for it to work, though, the record has to be cranked loud and often.”

The CD is available for pre-order from Aboleth’s Bandcamp site at https://abolethband.bandcamp.com/

Aboleth is currently in pre-production on their second EP, due to release in Spring of 2017, and have their sights set on touring Europe later in the year.

Aboleth on Thee Facebooks

Aboleth on Instagram

Aboleth on Twitter

Aboleth on Bandcamp

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Project Grimm Announce The Crass Menagerie out Feb. 15

Posted in Whathaveyou on January 18th, 2017 by H.P. Taskmaster

In 2015, ultra-respected Italian print ‘zine Vincebus Eruptum did a story in its 19th issue (review here) highlighting the prodigious and sometimes bizarre Houston noise rock scene. Around the same time, the label wing of the same publication hooked up with the Linus Pauling Quartet to release the early-2016 full-length, Ampalanche (review here), basically putting their money where their mouth is. Or at very least continuing to in a manner beyond the already considerable factor of running a print outlet in the 2010s.

Seems fair to look at Vincebus Eruptum Recordings picking up Houston’s Project Grimm (ex-The Mike Gunn) to issue their first album in well over a decade, The Crass Menagerie, as an extension of the same impulse. The record is set to arrive on Feb. 15, and feature eight tracks split up over two sides of a vinyl limited to just 300 copies, 100 red, 200 black, that, when you buy it direct from the label, come with a copy of Vincebus Eruptum No. 21.

Preorders are up now. Vincebus Eruptum Recordings posted the following info on the subject:

project grimm the crass menagerie

PROJECT GRIMM “The Crass Menagerie”

Issue date: 15th of February 2017

Limited edition vinyl (VELP016): 300 copies (100 copies on red vinyl + 200 copies on black vinyl)

Track-list:
A1 – E. Pluribus Merman
A2 – Solvent
A3 – Cloud No Larger Than A Man’s Hand
A4 – New Two
B1 – Deliveryman’s Threat
B2 – Cartographer
B3 – Grifters
B4 – A German Beach

The first album by the Houston cult band after 15 years!!! From the ashes of THE MIKE GUNN to that heavy-psych unique sound! The trio is composed by John Cramer (ex Mike Gunn) on guitar and vocals, Drew Calhoun on bass and Ricky Costello on drums.

THAT VINYL WILL BE SHIPPED TOGETHER WITH A FREE COPY OF VINCEBUS ERUPTUM MAGAZINE N.21

The cost contains the fee to subscribe and/or the donation to the Associazione Culturale VINCEBUS ERUPTUM

https://www.facebook.com/Project-Grimm-121509194528707/
http://www.projectgrimm.com/
https://projectgrimm.bandcamp.com/
http://vincebuseruptum.bigcartel.com/product/project-grimm-the-crass-menagerie-includes-association-fee-donation
https://www.facebook.com/vincebuseruptumassociation/
http://www.vincebuseruptum.it/

Project Grimm, Huge Beings (2003)

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