Friday Full-Length: Cactus, One Way… or Another

Posted in Bootleg Theater on November 21st, 2014 by H.P. Taskmaster

Cactus, One Way… or Another (1971)

“I know some of you people like to dance
And I know some of you people just like to roll and rock
And roll and rock
So come on honey, it’s alright
We’ll do whatever YOU feel like…”
— Cactus, “Whatever You Feel Like”

The exact recording dates, I’m not sure, but Cactus‘ second album, 1971’s One Way… or Another, was put to tape at Electric Lady Studios in Manhattan sometime after the release of their 1970 debut, and listening to Tim Bogert swagger out the second “roll and rock” in “Whatever You Feel Like,” no question Jimi Hendrix was a presence in mind at the time. All that’s missing is a little “uh huh” after “rock.” Considering the studio opened in Aug. 1970 and Hendrix was dead less than a month later, it seems only fair to think Cactus would’ve been working with some of his influence in following up their first record, their fluid tempo shifts on “Rock and Roll Children” and the wah/acoustic layering on “Song for Aries” are easy enough to see in that light as well, though of course Cactus were foremost indebted to blues rock, and there’s plenty of that to be had on One Way… or Another as well.

Immediately, as it happens. One Way… or Another opens with the Little Richard cover “Long Tall Sally,” also done by Elvis and The Beatles and many, many others. But Cactus take the original and slow it down to a vicious, sleazy groove, guitarist Jim McCarty basically giving bassist Tim Bogert — who usually handled backup vocals to Rusty Day‘s leads, but took the fore on “Whatever You Feel Like” (Day got his moment in a harmonica solo) — and drummer Carmine Appice all the room they could ever ask for to swing through and then some. Cactus‘ Cactus was a little more unhinged, a little more dangerous overall, but the fullness of sound and tonal satisfaction that One Way… or Another provides isn’t to be understated. That’s not to say “Big Bad Mother Boogie” doesn’t have its edge, just that if you listen back to their take on “Parchman Farm” from the first record it sounds like the song is about to fly out from under them.

Their take on Chuck Willis‘ “Feel so Bad” gives a bluesy start to a side B that branches out soon with “Song for Aries” and hits possibly its most righteous note in “Hometown Bust,” a heavy return that’s as huge as anything that might’ve been called metal at a later point in the decade, McCarty wailing out a lead that, yeah, there’s Hendrix again, and killing it in the process while Day throws in some chops on harmonica. The closing title-track rests on an up-down nod of a riff not frantic but still maddening in its turns, Bogert and McCarty playing off each other brilliantly before the last chorus return, Day‘s vocals doubled for maximum effect en route to the last, all-too-quick fade.

Cactus had one more album, 1971’s Restrictions, with the same lineup, though the changes that would result in lineup shifts for 1972’s ‘Ot ‘n’ Sweaty – bringing in Leaf Hound‘s Peter French to replace Rusty Day — were already taking root. I’m not sure which I’d pick over the other, Cactus or One Way… or Another, but both are heavy rock classics and definitely the sophomore record makes some compelling arguments in its case, the upped Hendrixery among them.

Hope you enjoy.

In case you’re also wondering, no, I have no idea where November went. Next week is Thanksgiving, which is another one of those US holidays celebrating a fiction — this one about peace between European colonists and the native people being colonized — like Xmas or Columbus Day or Labor Day, and so on and so on, but screw it, a day off is hard to argue with. The Patient Mrs. and I are heading south for the occasion — I know you’re shocked — to New Jersey. I expect family time will consume the bulk of the week, but I’ll have some posts along the way where and when I am able as well, including a new podcast on Wednesday, so if you’re traveling for the holiday, or just sitting on your ass (it works either way), you might want to grab that when it’s up. I’m gonna shoot for Wednesday morning, but we’ll see how it goes.

Also look out for a Murcielago review hopefully on Monday and something or other on Tuesday to fill time while I pack to head to Jersey on Tuesday night. I’m looking forward to seeing family and friends and, if I’m honest, to not being in the house for a while but also knowing where I’m going, ever. After a year of where-the-hell-am-I-what’s-the-fastest-way-to-the-highway-and-which-highway-do-I-want-anyway, it’s starting to wear a little thin. Novelty fades. Inconvenience is forever.

I hope you have a great and safe weekend. I’ll be mentally preparing myself for the onslaught of the holidays by sitting as quietly and as still as possible. It’s like meditation except it involves watching hours of Star Trek episodes at a time.

Be well, and please check out the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

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Vincebus Eruptum No. 18: On a Drunken Cloud

Posted in Reviews on November 21st, 2014 by H.P. Taskmaster

vincebus eruptum no. 18

I’ve expressed my nerdy idolatry for Italian ‘zine Vincebus Eruptum on numerous occasions — each new issue seems to bring out a feeling of admiration for their project and their accomplishment of it — but as I flip through the latest edition, No. 18, of the vaunted publication, even more of a standout is just how together the Vincebus Eruptum product is. Editor Davide Pansolin has been slowly, steadily expanding the brand over the last year plus, taking Vincebus Eruptum from a reactivated fanzine to a state-licensed associazione culturale, beginning to work directly with bands as a label and promotion vehicle and continuing to give Italian heavy rock and psychedelia its best public representation as the scene grows in no small part because of its own efforts. An example? When I removed Vincebus Eruptum from its plastic sleeve, inside I found a CD copy of Essay on a Drunken Cloud (review here) by Anuseye. It’s not the first time Vincebus Eruptum has tied in Vincebus Eruptum Recordings releases with the publication itself, but even the sheer amount of coordination involved was impressive, since not only was the album placed anuseye essay on a drunken cloudright between the two pages containing an interview with guitarist/vocalist Claudio C. (also ex-That’s all Folks!), but those two pages were also the dead-center of the issue itself.

Attention to detail like that, coupled with the psychedelic design and unabashed readiness to support the European heavy psych scene make Vincebus Eruptum indispensable. The Anuseye CD, which is only available with the issue (vinyl is for sale separately), is also reviewed — I won’t begrudge Pansolin laying it on a bit thick in the self-promotion department as the ‘zine celebrates its 15th anniversary — and as usual, the company it keeps is an impressive swath of recent heavy rock and psych releases from groups like Octopus SyngFatso Jetson/Herba MateHot LunchL’Ira del BaccanoVibravoidElectric Moon and so on. Of course, Italy is thoroughly represented, both in independent bands and through labels like Go Down RecordsHeavy Psych Sounds and Vincebus Eruptum Recordings. As ever, the pieces are concise and to the point — there’s a lot to fit — but informative and give a sense of what the groups are going for and whether or not they get there, and I find myself with an expanding wishlist of stuff to check out. Business as usual, in that regard, but it’s no less true reading No. 18 than it ever is, Pansolin handling all of the reviews by himself this time out except for Essay on a Drunken Cloud, which he turns over to Roberto Mattei.

Being a sucker for that kind of thing, I tend to go to the reviews first, but interviews with Electric Wizard, Swedish vincebus eruptum 18 artsleeper-hitters Jeremy Irons and the Ratgang Malibus and retro cyclone Prisma Circus make for fascinating fare, and having seen their name with an increasing frequency, I appreciated a chance to get a better sense of Australia’s Child as well. Da Captain Trips, who also have a record out through Vincebus Eruptum Recordings, are interviewed, though I think most fascinating of all is the chat with Wolf, who heads the German imprint World in Sound, and is responsible for fostering quality acts like Samsara Blues Experiment, the aforementioned Prisma CircusThe Lone Crows, Doctor Cyclops and many others. Topped off by Kabuto cover art recreating the Malleus cover of the first issue 15 years ago, a stirring note in the beginning from Pansolin himself, and the Anuseye album for a soundtrack, and Vincebus Eruptum seems to be passing the 15-year mark going stronger than ever. As someone always happy to nerd out on what Pansolin and his crew have going, I couldn’t be happier for them and hope we get another 15 years of quality, dedicated psychedelia coverage and much more.

Anuseye, Essay on a Drunken Cloud preview

Vincebus Eruptum website

Vincebus Eruptum store

Vincebus Eruptum on Thee Facebooks

Anuseye on Thee Facebooks

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Mother Engine Added to Desertfest Berlin 2015 Lineup

Posted in Whathaveyou on November 21st, 2014 by H.P. Taskmaster

mother engine

German heavy psych trio Mother Engine are the latest confirmation for Desertfest Berlin 2015. They join the esteemed ranks of Orange GoblinRed FangBlack Pyramid and Karma to Burn in the lineup for the fest, which is set for the end of next April at the Astra Kulturhaus, where Desertfest has been held since its inception. I won’t pretend to know a lot about the three-piece, who got their start in 2011 and decided to press on as an instrumental act following the departure of their frontman, but if the jammy heavy rock they propagated on their 2012 Fuzzmatazz Records debut, Muttermaschine, is any indicator of where they’re at now, they should fit right in on the bill.

The album is rife with warm tones and a natural, jammed-out vibe in the post-Colour Haze vein, though a little rougher around the edges for Mother Engine being a new band. Since it will be about two and a half years after the release by the time they take the stage at Desertfest, I’d be interested to hear how they’ve changed in that time. Maybe the slot coincides with a new album? I guess we’ll find out sooner or later.

For now, the announcement:

mother engine desertfest berlin

Mother Engine confirmed for DesertFest Berlin 2015!!

Since their legendary campsite gig at the Stoned From The Underground 2013, everyone has either heard of their name or even their great debut record, “Muttermaschine”. Their music is chill-out music to the max, music that touches your soul, and they truly deserved to be part of the festival next year!

Get your limited HARD TICKET along with a free DESERTFEST 2015 T-Shirt (with Elvisdead design) on Woolheads!
http://woolheads.com/…/desertfest…/tickets-desertfestberlin/
Only 200 available (85€ + shipping)!

DESERTFEST BERLIN #4 – APRIL 23th, 24th, 25th 2015
ASTRA KULTURHAUS / F-HAIN/X-BERG BERLIN (GER)

Red Fang + Orange Goblin + My Sleeping Karma + Black Pyramid + Karma To Burn + Brutus + Dopethrone + The Atomic Bitchwax + Lo-pan + Mountain Witch + Mother Engine + many many more acts:)

www.desertfest.de
www.soundofliberation.com
http://motherenginerock.bandcamp.com/
https://www.facebook.com/MotherEngineRock

Mother Engine, Muttermaschine (2012)

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Renate/Cordate, Growth: New Conjuring

Posted in audiObelisk, Reviews on November 21st, 2014 by H.P. Taskmaster

renate cordate growth

Finnish four-piece Renate/Cordate (also stylized lowercase as renate/cordate) were last heard from with their early 2013 self-titled debut full-length (review here), which was a solidly constructed and smooth sounding execution of heavy psychedelia. Reminiscent at times of My Sleeping Karma‘s ultra-fluid push, it showed the then-instrumental outfit had room to grow but already a decent idea of what they were going for tonally and in terms of process. A good start, in other words. Twenty-one months later, they return with Growth, which the respected purveyor Breathe Plastic Records will release on tape in December, their sophomore outing comprised of four mostly extended tracks that come from a different enough stylistic base that I had to double-check and make sure I was listening to the same band the first time I put it on. With only one of the four cuts under 10 minutes long, Renate/Cordate have blown out their expansion to a cosmic degree, churning opener “Evolve, Submit” around Ufomammut-style repetition and following a psychedelic doom path of deep-echoing vocals around what seems a chaos swirl of massive tonality, hypnotic and deep. Working with Niko Lehdontie of countrymen psychedelonauts and Svart Records inductees Domovoyd to add extra effects to the wash, Renate/Cordate – the same lineup as last time of guitarists Ville and Samuli (the latter also vocals), bassist Aki and drummer Antti-Pekka — present such a stylistic turn that I’m tempted to think of Growth as a debut and of the self-titled as a demo for how much more solidified and clear-headed in their purpose the band seems to be. At very least, you could say the album is aptly-named.

And if the shift in sound is jarring, it’s bound to be less so for anyone who didn’t hear Renate/Cordate‘s debut and for whom Growth marks their first exposure to their work. It is an expansive 43 minutes, still perhaps vinyl-ready, though they’d more likely get rid of third track “Laudanum” and dedicate the whole of side B to the 17-minute closer “Mother” for ease of time. Side A, then, would be the back-to-back 10-minute post-doom wallops of “Evolve, Submit” and “Humankind (Not My Kind),” which quickly announce the band’s new direction in their sprawl and atmospheric take. The record is a big jump from where they were last year, and clearly a purposeful one, but not all of the elements from Renate/Cordate, the album, are gone. One can still hear the airy ringing of Russian Circles-style post-rock guitar presiding over the mix as the opener rolls past its third minute and into the first of Growth‘s encompassing space-doom nods. Heavy crashing leads to a quiet break of minimalist guitar — one of their most Ufomammut moments — and “Evolve, Submit” explodes again into cascades of echoing riffs that set a lot of the atmospheric course for what follows, rounding out with a long fade of feedback into dreamy synth that pushes forward into the quiet guitar opening of “Humankind (Not My Kind),” which is more about the tradeoffs than was “Evolve, Submit,” but no less ably conceived. An extended subdued intro builds for the first three and a half minutes before pushing into its first heavier section. The lull has the effect of drawing a listener further in, and should Renate/Cordate continue in this direction — after the difference between their first two albums, I wouldn’t speculate as to where they might go on a third — I wouldn’t be surprised to find them toying more with that feeling of stillness and the juxtaposition against pummeling riffs, but even here, they’re able to transition easily from light to heavy and heavy to light, as they do on “Humankind (Not My Kind),” taking the song all the way down to silence before rebuilding their way to the tone-wash apex that ends out.

renate cordate 2

The shorter “Laudanum” follows and is more immediate in its riffing though ultimately just as spacious as the rest of what surrounds, even finding room in its six minutes for a jammy midsection break that boasts some especially satisfying guitar work holding the tension until the heavier tones reemerge and thrust into a louder and louder burst of noise. If there are vocals — and there might well be — they are buried deep enough in the mix that they’re indistinguishable from a sample. All you get is a vague human presence, and it works to the song’s advantage, cutting out right before the thrust of the final echoing solo, deconstructed along with everything else to bring about the 16:53 concluding statement, “Mother.” Begun on a foundation of bass and drums backed by swirl and ambient noise, “Mother” unfurls essentially as a combination of everything else Renate/Cordate do on the album structurally, bridging the gap between a loud/quiet interplay and an extended linear build by simply doing both. Before its first four minutes are through, it has built up and peaked and moved to an ethereal, almost jazzy peacefulness, but the crushing reignites several minutes later, only to once again fall back past seven minutes in. This is the key transition, since the band uses this stillness as the starting point for the trip to to Growth‘s last crescendo. The turn happens right around the 12:30 mark, but by then, it’s less about payoff than just going where the band takes you, and that winds up being Renate/Cordate‘s greatest success with their second album. They’ve accomplished this change in style, which is all well and good, but they’ve managed to hold onto the immersive nature of what they did on their self-titled as well, and that only makes the ending of “Mother” more consuming and thus more satisfying. Yes, it’s wildly heavy, and yes, it’s a suitable ending, but what leaves an even more resonant impression is the ability of the band to retain their control over their sound even at its most unbridled. If they do wind up staying on this path, or if they don’t, that can only serve them well as they continue to progress.

[PLEASE NOTE: I’ve been given permission by Renate/Cordate to host a full stream of Growth for your listening pleasure. I hope you’ll give it a shot on the player below and enjoy.]

Here is the Music Player. You need to installl flash player to show this cool thing!

Renate/Cordate on Thee Facebooks

Renate/Cordate on Bandcamp

Breathe Plastic Records

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Blues Pills, Truckfighters and Jex Thoth Announce Euro Tour Dates

Posted in Whathaveyou on November 21st, 2014 by H.P. Taskmaster

blues pills

If you think the jump-up-and-down-and-run-in-circles fuzz of Truckfighters and the classic-minded heavy blues rock of Blues Pills don’t mix, the two Swedish acts have more in common than you might think, up to and including drummer André Kvarnström. Kvarnström was playing with Truckfighters after they parted ways with Oscar Johansson (who subsequently joined Witchcraft, just in case the scene didn’t seem incestuous enough yet), but has rotated into the lineup of Blues Pills following their split with Cory Berry, half-brother of Blues Pills bassist Zack Anderson and, like Anderson, an alum of Radio Moscow.

Got all that? Good. The takeaway is Blues Pills and Truckfighters are touring Europe together next March/April and they’ll be joined by Jex Thoth. They’re calling it the “Rock Revelation Tour” and the announcement goes like this:

blues pills truckfighters jex thoth tour

Blues Pills – Truckfighters – Jex Thoth

ROCK REVELATIONS TOUR

BLUES PILLS are back! After their successful first big headline-tour in October 2014 with 11 sold out shows in Germany, Belgium, Switzerland and Austria, the band is going to come back for 13 shows. BLUES PILLS´ singer Elin Larsson comments: “We´re very happy to announce that we´re going to come back to Germany and Switzerland to play some new places that we couldn´t do on our last tour. We´re looking forward to meeting you all in March and April 2015. Love / BP´s”

Next to Blues Pills their fellow countrymen TRUCKFIGHTERS are confirmed as well as US Doom/Psych Rock sensation JEX THOTH.

Get your tickets at www.hardticket.eu for BLUES PILLS and their 2 very special guests on this tour.

TOURDATES
20.03.2015 DE – Erfurt, Stadtgarten
21.03.2015 DE – Berlin, Astra
22.03.2015 DE – Dresden, Tante Ju
23.03.2015 DE – München, Backstage
25.03.2015 CH – Geneve, Usine
26.03.2015 DE – Lindau, Club Vaudeville
27.03.2015 DE – Cologne, Kantine
28.03.2015 DE – Olsberg, Konzerthalle
30.03.2015 DE – Saarbrücken, Garage
31.03.2015 DE – Karlsruhe, Substage
01.04.2015 DE – Wiesbaden, Schlachthof
04.04.2015 DE – Oberhausen, Turbinenhalle
05.04.2015 CH – Zürich, Komplex

TOURPRESENTER
Blast!, EMP, Eclipsed, Musix, Noizeletter, Rockhard, Rocks, Visions

TICKETS
www.hardticket.eu

https://www.facebook.com/BluesPills
https://www.facebook.com/truckfighters
https://www.facebook.com/pages/Jex-Thoth-Official/360347127314661

Blues Pills, “No Hope Left for Me” official video

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Holly Hunt and Slomatics Split Coming Dec. 2

Posted in Whathaveyou on November 20th, 2014 by H.P. Taskmaster

I mean, duh, right? This one’s an absolute no brainer. You’ve got Floridian duo Holly Hunt and Northern Irish three-piece Slomatics — both of whom utterly destroy — packed together on a split 7″? AND Holly Hunt‘s song is called “Bill Ward?” It’s like the easiest sell in the world. What more could you possibly ask of heaviness than that?

Fucking Slomatics, man. Every time I hear that band, it’s just a reminder of how much more I need to hear that band. I’m still kicking myself for not having the cash to shell out and purchase a proper CD copy of their Feb. 2014 full-length, Estron – though it’s audible on Bandcamp here — let alone reviewing it. And Holly Hunt released their Prometheus EP this summer on Other Electricities and like everything they’ve done up to now, it just crushes. Good bands pairing up to do cool shit. It doesn’t get much better than that.

Other Electricities will have the split out on Dec. 2 in the US. Black Bow Records – the imprint helmed by Conan guitarist/vocalist Jon Davis – is handling the UK/EU release as well. All parties worthy of support.

Info and audio previews follow. Fucking a:

holly hunt slomatics split

Slomatics/Holly Hunt – Split 7”

Two sides of heavy from two parts the world! Holly Hunt’s “Bill Ward” on the A side – an authentic testimonial to the duo’s live sound and energy. Slomatics’ “Ulysses, My Father” on the flip – a sludgy sonic tale. Miami meets Belfast, all take cover! Mastered by James Plotkin. Out Dec 2nd via Other Electricities / Sonic TITAN (US) and Black Bow (UK/EU).

Audio previews/artwork:
Holly Hunt – “Bill Ward”
Slomatics – “Ulysses, My Father”

Formed in Belfast late 2004, Slomatics aim to reduce riffs to a primal state of heaviness, to produce music which whilst imploding under its own weight, creates a joyous and euphoric state of wellbeing which can only be obtained with a slew of vintage amplifiers, fuzz pedals, analog synths and an alarming array of percussion instruments. This has endured through UK tours, gigs in Europe, four albums and a mountain of split/vinyl/cassette releases. Showing no signs of slowing down, the band will bring 2014 to a close with a seismic split release with Miami bruisers Holly Hunt. The band’s new lastest album, Estron, was released February 2014 to universal praise, including the Quietus best of 2014 and was nominated for the Northern Ireland Music Prize 2014.

Drummer Beatriz Monteavaro (ex Floor/Cavity) and guitarist Gavin Perry have demonstrated themselves as a loud and lumbering giant of the Miami music scene. The visceral impact of sound – the raising heart rate, neck chills, the warmth spreading throughout your torso – this is Holly Hunt’s raison d’être. Holly Hunt champions heavy metal’s potential to transcend genre and become a physical experience. Though stripped down to the most bare essentials, the duo’s innate technical chops, strong dialogue, and incredibly deep relationship to their gear produces a sound and style far beyond rudimentary tags like “heavy,” “hard,” or “brutal.”

http://hollyhunt.bandcamp.com/
https://www.facebook.com/HOLLYHUNT.LTD
http://slomatics.bandcamp.com/
http://www.facebook.com/pages/Slomatics/196382747053529
http://other-electricities.com/album/oe040
http://blackbowrecords.bigcartel.com/

Slomatics, “Ulysses, My Father” Preview

Holly Hunt, “Bill Ward” Preview

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Atavismo Stream Debut Album Desintegración in Full

Posted in audiObelisk on November 20th, 2014 by H.P. Taskmaster

atavismo

There’s a reason I asked Atavismo if I could stream their debut full-length, Desintegración, instead of just reviewing it, and it’s because I think hearing the songs themselves does the record the most justice. Released by the band in cooperation with Odio Sonoro and a host of others, Desintegración is comprised of just four tracks, but holds a world of lush and spacious heavy psychedelia within them, alternately folkish and expansive, minimal and encompassing. It doesn’t matter whether you’ve heard any of the trio’s past work in bands like the spaced-out Mind! or Viaje a 800 — who, sadly defunct, remain among heavy rock’s most criminally overlooked acts — so much as it matters that you’re willing to loan a piece of your psyche to “Blazava,” “Kraken,” “Oceanica” and “Meeh,” and engage the 37 minutes of Atavismo‘s debut on their own level. Among first releases I’ve heard this year, Desintegración is an immediate standout for its complexity, sense of arrangement and for Atavismo‘s ability to hold the material together and create an overarching flow between songs that each boast their own personality.

Witness the Yawning Man-style guitar tone that emerges from the initial synth sprawl of opener “Blazava.” Desintegración takes a minute to unfold, but it’s worth it. Over the course of the 11:31 opening and longest cut on the album (immediate points), guitarist/synthworker Poti, drummer Sandra and bassist Matt loose a ranging instrumental build of dreamy but earthbound heavy psych jamming, making their way across hypnotic tones and masterful breadth as they go, driving as much as they’re meandering toward a lead-topped culmination the underlying rhythmic layer of which is no less a highlight, gracefully executed and in no way giving into the temptation to blast out in terms of pace and upset the careful balance they’ve been able to set. One could trace the acoustic/electric strums to The Who or a host of others from the classic rock pantheon, but immediately, the song and the album belong to Atavismo, and the swirl that ensues on “Kraken” only affirms the hold they have on their approach.

atavismo desintegracionThough the fact that it’s named for a seabeast might lead one to think “Kraken,” the shortest piece here at 6:47, is that explosive moment, and its second half gets fairly raucous, but with a careful Floydian blissout of Mellotron-style keys and acoustics, the beginning half is actually the most soothing moment on Desintegración, and remains so even after the arrival of the album’s first vocals. Classic psychedelic pop, backed by swirl and airy tones, plays out over “Kraken”‘s course, until just before four minutes in, more foreboding, weighted guitar begins a quicker progression that builds into fuzzy lead and the instrumental jam that serves as the track’s still wildly psychedelic apex. Heavier riffing from Poti and a wash of crash from Sandra push “Kraken” to its peak, leading to the similarly minded but more subtle execution of “Oceanica,” which starts out on an even more reserved, otherworldly plane and executes its linearity so smoothly that, unless one were to jump from an early moment to a later one, it would be easy to be entirely lost within the track’s unfurling. Dual vocals come across gorgeously melodic atop light effects and keys and guitar strumming, Matt entering easily on bass and Sandra periodically donating a cymbal wash to the atmospheric cause.

It’s not until after five minutes in that the build really shows itself, the progressive interlude and following verse leading to an uptick around 4:30 that continues to a glorious takeoff almost exactly at the five-minute mark that still doesn’t separate itself from the peaceful vibe preceding but pushes forward into heavier riffing and near-stomp only to recede and end “Oceanica” with a return to the softer psychedelics of its beginning, in turn shifting into “Meeh,” a longer track bookending the album with “Blazava” that is based around the most singularly memorable guitar line on Desintegración. Again, Yawning Man is a point of reference, but there’s a tension even in first, wide open verse — the drums more forward, the bass tighter — that lets you know the payoff will be considerable. And so it is. A mostly instrumental course is led by the guitar into still-patient tradeoffs that ultimately round out “Meeh” with the record’s heaviest stretch, feedback passing the 7:30 mark to dip back into a couple lines before the final thrust begins. Atavismo cross 10 minutes with some vague sense of ritual in the guitar, but it’s still a relatively quick, efficient cap put on Desintegración, leading one to wonder how far the three-piece will push out the next time out.

I’m thrilled to be able to host the stream of Desintegración with permission from Atavismo. I hope you’ll take the time to listen and get to know the album. It’s one I have the feeling I’m going to be talking about here for a while.

Please enjoy:

Here is the Music Player. You need to installl flash player to show this cool thing!

Atavismo‘s Desintegración is available now. More info at the links.

Atavismo on Thee Facebooks

Atavismo on Bandcamp

Odio Sonoro Bandcamp

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Electric Moon Added to Freak Valley Festival 2015 Lineup

Posted in Whathaveyou on November 20th, 2014 by H.P. Taskmaster

freak valley banner

If I had any funds whatsoever or, you know, a job through which I might acquire some, I’d have a plane ticket and hotel room booked for Freak Valley 2015 faster than you could put two and two together on the Kyuss reference in the festival’s name. Organizer Jens Heide has put together an incredible assemblage already, and with the likes of Crippled Black Phoenix and Tombstones, we’re beginning to see the fest branch out from its purely stoner roots into other areas of heavy. It’s a fascinating process to watch, even from afar, and the addition today of Electric Moon to the Freak Valley lineup only increases the appeal as far as I’m concerned, the German trio concocting top-grade heavy psychedelic jams seemingly everywhere they go.

They join an enviable lineup that boasts such gotta-sees as GoatsnakeSiena RootMonkey3Egypt (!) and Gas Giant, along with the aforementioned. Fucking a. If anyone needs me, I’ll be daydreaming about covering it while you peruse the announcement below:

freak valley 2015

Electric Moon @ FREAK VALLEY FESTIVAL 2015 !!!

Here we go Freaks!!

ELECTRIC MOON will bring the finest Acid Rock to Freak Valley Festival 2015 !!

The german acid-rocker Electric Moon were founded in late 2009 by Komet Lulu (bass), Sula Bassana (guitar) and Pablo Carneval (drums).
Electric Moon belong to the upper shelf of the European Psych- and Krautrock scene, headlined many festivals and concerts. By creating their own style of music, Electric Moon unite many different genres.

They have a fanbase, which is growing more and more.

Take a huge dosis of Psychedelia, blend it with some acid colors and get as high as you can – this is the state of mind, Electric Moon create with their sound.
Especially their live appearances are a unique thing. They want to celebrate the love of the music together with the FREAK VALLEY audience and the highest point of communication gets reached when there is happening a symbiosis between listeners and band.

Awesome poster art by Lulu Artwork

FREAK VALLEY FESTIVAL – 4th-5th-6th June 2015
wwwfreakvally.dewww.rockfreaks.de

FVF tickets are selling like Blues Pills vinyls already – get yours in time – the first 3 editions have been sold out early!!
We are selling tix to all parts of this planet!!

Tickets: www.freakvalley.de | Only 66€ for 3 days incl. Camping!!

Hardtickets now @ our onlineshop: http://shop.rockfreaks.de/

Also: http://kozmik-artifactz.com/

FREAK VALLEY FESTIVAL: No Fillers – Just Killers

Goatsnake – Crippled Black Phoenix – The Vintage Caravan – Electric Moon – Gas Giant – Monkey3 – Danava – Egypt – Siena Root – Sigiriya – Kamchatka – Purson – Dead Man – Tuber – Valley of the Sun – Tombstones – more tba soon!!

https://www.facebook.com/freakvalley
https://soundcloud.com/electricmoon
http://www.sulatron.com/xoshop/index.php

Electric Moon, “Lost and Found Souls” Live at Altroquando

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Witch Mountain Interview with Nathan Carson: The Shape Truth Takes

Posted in Features on November 20th, 2014 by H.P. Taskmaster

Musician Portrait series

Something is stirring in the Witch Mountain camp. I don’t know quite what yet, but on Nov. 10, the Portland, Oregon, outfit posted the following: “Just booked studio time to record a song in early December. Details when we are allowed to share them.”

Cryptic but precise, obscure and calculated, the message itself sums up a lot of what Witch Mountain have become over the last few years. After getting off tour this fall Nik Turner‘s incarnation of Hawkwind, the band — founded by guitarist Rob Wrong (to whom I’ve never spoken because he used to review records for stonerrock.com and would blow my meager knowledge of heavy out of the water) and drummer Nathan Carson (who also runs Nanotear Booking and has been interviewed here before) — said farewell to vocalist Uta Plotkin. They lost their bassist at the time as well, but it was Plotkin who grabbed the headlines, and reasonably so. Among metal singers, hers was a singular voice, resonant in its power and presence, but able also to convey emotion, bluesy soul and, particularly in the case of their latest album, Mobile of Angels (review here), a desperate sense of longing.

Their third offering for Profound Lore and third since reactivating following a long hiatus after their 2001 debut, Come the Mountain (discussed here), it’s easy to think of Mobile of Angels as a culmination in light of Plotkin‘s departure, and certainly it is their crowning achievement to date, but it’s also a step in an interrupted progression from their last two outings, 2012’s Cauldron of the Wild (review here) and 2011’s South of Salem (review here). With the constant thread of Billy Anderson‘s production, one can hear Witch Mountain growing on these three albums, becoming the assured, progressive act they are on Mobile of Angels, patiently presenting an all-too-brief 38 minutes that’s beautiful and desolate at the same time.

Carson knows that whoever takes the vocalist role has a challenge ahead of them. In the interview that follows, he talks about how Plotkin‘s leaving took shape, making Mobile of Angels, the mood on this last tour and what they might be looking for in a new singer. The question at this point, after the above Nov. 10 post, is whether or not they’ve found that person. I guess we’ll have to wait and see.

Full Q&A is after the jump. Please enjoy.

Read more »

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Venomous Maximus Sign to Shadow Kingdom Records

Posted in Whathaveyou on November 20th, 2014 by H.P. Taskmaster

venomous maximus

Following a release of their 2012 long-player, Beg upon the Light (review here), through Napalm, Houston cult heavy rock four-piece Venomous Maximus have inked a deal to issue their follow-up, Firewalker, on Pittsburgh’s Shadow Kingdom Records. Presumably the new album will be out sometime in 2015, and considering the passion Shadow Kingdom puts into its acts — their love of Corsair is fervent enough that it can be seen from orbit — the fact that they’d even bring the band on board means they’re ready to get in deep. Fair enough. Venomous Maximus are vicious live, and hopefully with Shadow Kingdom behind them, they’ll be able to continue to get out and tour as much as possible.

The PR brought word from the label:

shadow kingdom logo

We have been waiting so long to tell you this great news and now is finally the time to reveal what’s been happening in the SKR camp…

Shadow Kingdom Records is extremely proud and honored to announce the signing of Houston, Texas’ VENOMOUS MAXIMUS.

The name of the band reminds us of the classic Gladiator film where Russell Crowe (aka “Maximus”) was nothing short of a complete madman who would die for his family and country without fear or worry of what might happen to him in the process. VENOMOUS MAXIMUS is very much like that in their attitude and approach to playing music with conviction and without any genre barriers. In VENOMOUS MAXIMUS, we have a band that is interested in writing GREAT, memorable songs that vary in length, tempo, and emotion.

Those whom are familiar with VENOMOUS MAXIMUS’ 2012 Napalm Records release, “Beg Upon the Light”, know what kind of a treat you’re in for. The band’s upcoming new album “Firewalker” is a great continuation of their talents. It’s really rare to find bands that have no barriers and just focus on quality songs. This really takes us back to the beginning of Heavy Metal when BLACK SABBATH would put out records. Some of the jams would be fast and heavy, while others would be slow and powerful. BLACK SABBATH could play any genre because they invented all of the heavy metal genres you hear today and when you hear VENOMOUS MAXIMUS’ music, it reminds us of those same ideals. It’s just GREAT music and you love hearing it.

Gregg Higgins heads this band with his very powerful and commanding vocals and chants that immediately raise fists in the air. There’s an obscure Psych / Rock band (also) in Texas from the 70’s/80’s called “Roky Erickson”. if you’re not familiar, click on these two YouTube links and soak yourself into “Night of the Vampire” and “Stand for the Fire Demon”), and play it LOUD. Gregg’s strong vocals remind us of Roky’s vocals in a way that is so captivating, it literally forces you into their world, and you get lost in the music. With the rest of the band being tighter than two coats of paint, this band can do it all and do it all extremely well! VENOMOUS MAXIMUS can easily become as big as — and share fans with — bands like GRAND MAGUS, HIGH ON FIRE and MASTODON, while not sounding like any of those bands and paving their own “path of doom”.

https://www.facebook.com/VenomousMaximus
http://venomousmaximus.bandcamp.com/

Venomous Maximus, “Path of Doom” official video

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Triptykon Release New Video for “Tree of Suffocating Souls”

Posted in Whathaveyou on November 19th, 2014 by H.P. Taskmaster

triptykon

Considering it’s been getting dark at around 4:15PM and temperatures were in the 20s last night (that’s negative numbers for your Celsius types), safe to say winter’s here, and winter more or less was a season made for Triptykon. Or maybe that’s the other way around. I don’t know. If you can figure out which came first between freezing, malevolent darkness and Tom G. Warrior‘s soul-consuming croak, be my guest. I have no technology to aid with such things.

This year, Triptykon released their second album, Melana Chasmata, which I successfully avoided reviewing because I knew I’d only want to buy it if I did (ask me sometime about the struggle between placing value on my own work and supporting artists), and celebrated the occasion by headlining the Sunday date at Roadburn 2014, the festival where they also made their live debut in 2010. “Tree of Suffocating Souls” is the opener from the newer outing, and Triptykon have just posted a video for it today to herald a tour on which they’ll embark next month alongside the reactivated At the Gates.

Triptykon are also already confirmed for a multitude of 2015 festivals, including TemplesMaryland Deathfest, and Hellfest, so clearly their story is set to continue. The PR wire fills us in:

triptykon tour poster

Triptykon – New video clip for “Tree Of Suffocating Souls”; Touring commencing soon!

On the eve of returning to the stage in their native Switzerland after an absence of more than two years, and two weeks before embarking on a tour of Europe with At The Gates, Swiss avant-garde extreme metal act Triptykon are debuting a new visualization of a song off their acclaimed second album, Melana Chasmata.

The video was directed by Philipp Hirsch (who previously worked with Triptykon for the group’s highly acclaimed “Shatter” and “Aurorae” video clips).

Triptykon singer/guitarist Tom Gabriel Warrior: “In producing this footage, we have elected to once again work in partnership with long-standing Triptykon collaborator and director, Philipp Hirsch, in Leipzig, Germany. As intensely minimalist as Triptykon’s approach and music are, as perfect and passionate was Philipp in creating images which combine such minimalism with the required darkness. The night during which most of these images were created was, for many reasons, a truly extraordinary night none of us shall ever forget.”

Next to the soon commencing European tour with At The Gates and Morbus Chron, Triptykon have recently confirmed a string of festival dates, including appearances at next year’s Maryland Deathfest (US) and Hellfest (FR). Here is a list of all confirmed and announced upcoming live-shows for Triptykon:

Triptykon Live:
SA 22.11.2014 Bern (Switzerland) – Saint Ghetto Festival
TH 04.12.2014 London (UK) – Forum + At The Gates, Morbus Chron & Code Orange
FR 05.12.2014 Manchester (UK) – Academy 2 + At The Gates, Morbus Chron & Code Orange
SA 06.12.2014 Glasgow (UK) – Garage + At The Gates & Morbus Chron
SU 07.12.2014 Birmingham (UK) – The Oobleck + At The Gates, Morbus Chron & Code Orange
MO 08.12.2014 Cardiff (UK) – The Globe + At The Gates, Morbus Chron & Code Orange
WE 10.12.2014 Essen (Germany) – Turock + At The Gates & Morbus Chron
TH 11.12.2014 Hamburg (Germany) – Markthalle + At The Gates & Morbus Chron
FR 12.12.2014 Eindhoven (The Netherlands) – EMM
SA 13.12.2014 Leipzig (Germany) – Conne Island + At The Gates & Morbus Chron
SU 14.12.2014 Wien (Austria) – Arena + At The Gates & Morbus Chron
TU 16.12.2014 Aarau (Switzerland) – Kiff + At The Gates & Morbus Chron
WE 17.12.2014 Munich (Germany) – Backstage Werk + At The Gates & Morbus Chron
TH 18.12.2014 Antwerpen (Belgium) – Trix + At The Gates & Morbus Chron
FR 19.12.2014 Cologne (Germany) – Essigfabrik + At The Gates & Morbus Chron
SA 20.12.2014 Berlin (Germany) – Postbahnhof + At The Gates & Morbus Chron
SA 23.05.2015 Baltimore (US) – Maryland Deathfest
SA 30.05.2015 Bristol (UK) – Temples Fest
SA 13.06.2015 Bucharest (Romania) – Metalhead Meeting
19.-21.06.2015 Clisson (France) – Hellfest
05.-08.08.2015 Jaromer (Czech Republic) – Brutal Assault Open Air

Triptykon online:
www.triptykon.net
www.facebook.com/triptykonofficial

Triptykon, “Tree of Suffocating Souls” official video

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It’s Casual Premiere “Their Own Cash” from The New Los Angeles II

Posted in audiObelisk on November 19th, 2014 by H.P. Taskmaster

it's casual

If you’ve got just a minute of your time to give, It’s Casual would like to punch you in the face. The L.A.-based one-man outfit helmed by vocalist/guitarist/bassist/drummer Eddie Solis will release their new album, The New Los Angeles II, on Dec. 16 through Stoked Records. As the title hints, it’s a sequel to 2007’s The New Los Angeles, and even opens with a couple seconds fading out the drum progression of that record’s closer, “EZ Pass.” From there, however, The New Los Angeles II is a different beast, likewise pointed in its social commentary — Solis is vehement in his support for public transit — but turning his attention on real budget issues in Los Angeles. He’s the kind of guy who will run for mayor one day who will make more sense than everyone else and get the least airtime.

To wit, songs like “Less Violence, More Violins,” “Keep the Children Occupied,” “Sharing is Not Caring” and “Their Own Cash” point out the madness of not funding public education — the latter’s only lyrics, “Teachers use it's casual the new los angeles iitheir own cash to buy stuff for their class,” are repeated in the Black Flag tradition of emphasizing absurdity through insistence — where “TAP Card,” “WIC” and “California is Not an ATM Machine” take on economic issues via real-world concerns, all the while pummeling a blend of heavy punk and thrash, Solis‘ growl pushing out minimalist lines that leave a maximum impression. The album as a whole is 27 minutes long, and about nine of those are devoted to the instrumental noise rocker “The Gap is Widening,” which leads the way into closer “Kids Having Kids,” so It’s Casual never take too long in making a point, every other track (including the closer, though that also makes room for a hidden bonus cut) under two minutes. The word of the day is “immediacy,” and It’s Casual are well familiar with it.

The New Los Angeles II is It’s Casual‘s fourth full-length, behind a 2009 split 7″ with Bullet Treatment, the first installment, 2004’s Stop Listening to Bad Music and 2002’s Buicregl, and it finds Solis — who also hosts the Los Angeles Nista talk show on AM radio — in his element musically and in terms of the commentary at hand. “Their Own Cash,” likewise true and infuriating, serves as a prime example of the record’s attitude and call to arms, and I’m happy to be able to host the streaming premiere today of it, as well as the Q&A with Solis that follows the player below.

Please enjoy:

Here is the Music Player. You need to installl flash player to show this cool thing!

eddie solis

Q&A with Eddie Solis of It’s Casual

On “Their Own Cash”:

It’s really a POSITIVE track. I am trying to bring to light that the Los Angeles Unified School District (LAUSD) and other school districts are suffering from lack of resources. And that causes a trickle-down effect, for instance the music and art programs are cut and that leads to a challenge to keep the kids occupied. However what about the teachers’ perspective? What about their challenges? I have lots of friends and family that are teachers. They are already challenged with a modest salary but what about the ones that use “THEIR OWN CASH” for supplies? The song is a cry for help. It’s a testimony to the teachers who care and it’s also a cry for help. A topic that should be brought to light and should also be targeted and remedied. The lyrics: “Teachers use their own cash, to buy stuff for their class.”

Why The New Los Angeles II seven years after the original?

Seven years later because our album cycle didn’t really start till 2012. The record wasn’t properly distributed worldwide, toured and written about in the press till 2012.

Is the album a statement on sequel culture?

Yes, it is a statement on sequel culture. The New Los Angeles I was about being car-free, and celebrating the rich Los Angeles history through the eyes of a bus rider. However, The New Los Angeles II goes deeper. The New Los Angeles I was about history, culture, geography. Also a car-free lifestyle in a car culture. This The New Los Angeles II is about reporting on what I’m seeing on the buses and subway system. The people that are sitting right next to me. I’m talking about challenges people are facing. The positivity and the negativity, the yin and yang.

Any chance we could get a prequel at some point, something like The Old Los Angeles?

Yes, very possible. It’s realistic because there is a type of person that has been spawned from Los Angeles that is destructive and stunted and I want shed light on the sociology aspect of where this all comes from. Pre-MTA public transportation, L.A. life.

At what point did you know it would be The New Los Angeles II instead of some other title?

I was conscious. The New Los Angeles I inspired me. It was due to the fact that I was so inspired by all the press, shows and the music video that Rick Kosick of Jackass did for “The Redline.” It spawned my radio show Los Angeles Nista which started on internet-only but is now on AM talk radio as well in three major markets: Orange County (1510AM), Inland Empire (1510AM) and San Diego (1450AM). So when I wrote part two, it was about the same thread of commonality but going deeper into the neighborhoods and connecting with people.

Why the long break between albums?

The album cycle to the previous record started in 2012 so it was necessary.

When did the songs start to come together?

June 2012 was the pre-production date. And we tracked mixed and mastered in Aug. 2012, but the tracks started coming together during early 2012. The inspiration and juice came from The New Los Angeles I album cycle in 2012.

What was the recording like in comparison to the original The New Los Angeles?

Very similar. In fact the beginning of The New Los Angeles II starts out the way part one ends. The comparison and common thread is that it is completely is all about Los Angeles and is inspired by being car-free and green.

It’s Casual on Thee Facebooks

It’s Casual’s website

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Space Guerrilla New EP Boundless Available Now

Posted in Whathaveyou on November 19th, 2014 by H.P. Taskmaster

space guerrilla

Classic stoner nod permeates Boundless, the debut release from Brazilian instrumental trio Space Guerrilla, but I think what really won me over was the Planet of the Apes sample in opener “Lift Off,” taken from the film’s opening monologue, by a pre-“cold dead hands” Charlton Heston. Haven’t watched that movie in a while — though I just saw the second reboot flick that came out last summer, and meh; Andy Sirkis is a highly-specialized genius and no James Franco is always a plus — but might have to break it out again and see if I can line it and the EP up to play at the same time. I doubt it’ll have any strange synchronized effect or anything, but might be fun either way, though the Planet of the Apes lines are just one of a multitude of samples used throughout the five-track outing.

The whole EP is available to stream on the band’s Soundcloud, so feel free to dig in on the player below if you’re looking for something riffy and spacey for the afternoon. Also included is some background on Space Guerrilla, should you want to familiarize yourself. They like stoner rock:

space guerrilla boundless

In August 2013, a journey through time and space began. The cosmonauts Angelo Boose (guitar), Cristiano Muniz (bass) and Guga RB (drums) reunited in the city of Porto Alegre, Southern Brazil, to start the deep space cruising by Space Guerrilla. Throughout long smokey reharsal sessions, they wrote five songs which are part of its first EP “Boundless”, recorded at Hurricane Studio by the wizard Sebastian Carsin.

Gathering inspiration from distant galaxies, Space Guerrilla’s music is influenced by stoner rock bands such as Kyuss, Queens of the Stone Age, Unida, Dozer, Truckfighters, Weedpecker, and 60’s-70’s rock bands like Black Sabbath, Led Zeppelin, Deep Purple, Jimi Hendrix, Pink Floyd, Cream and others.

EP Boundless (2014)
https://soundcloud.com/spaceguerrilla/sets/boundless

soundcloud.com/spaceguerrilla
facebook.com/spaceguerrilla
spaceguerrilla.tumblr.com
twitter.com/SpaceGuerrilla_

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Wino Wednesday: Get Well Soon, Wino

Posted in Bootleg Theater on November 19th, 2014 by H.P. Taskmaster

wino wednesday

I’ve been kicking around the idea lately of ending Wino Wednesdays. I mean, it’s been over three years. We’ve covered an awful lot of the man’s career with The Obsessed, Saint Vitus, Spirit Caravan, The Hidden Hand, Shrinebuilder, Premonition 13, solo band, solo acoustic, guest spots, and so on, and aside from having run a decades-long gamut of the available videos, it’s starting to feel a little fanboyish. Don’t get me wrong, I dig Wino‘s work a lot, but I’m not trying to stalk the guy. 162 weeks later, I worry it’s getting to be a bit much.

Last week, Scott “Wino” Weinrich got arrested in Norway with what turned out to be 11 grams of of meth. Not an inconsiderable amount. He was deported back to the US, which left the remaining three members of Saint Vitus to finish out the last few shows of their 35th anniversary co-headlining European tour with Orange Goblin on their own. They did it, and from what I’ve heard they were pretty good, but no question it wasn’t the victory lap they had in mind. The whole situation was a bummer on just about every level, and it brought to mind a refresher of just how rampant addiction is in this community. Everything from meth to coke to prescription abuse to beer to vinyl, doom appeals to those who have a habit of forming habits. All the more reason to watch out for your friends and hope they do the same for you.

Wino issued a statement yesterday to Decibel saying he’s entered rehab for treatment and he’ll be back next year with a new Wino & Conny Ochs release, a new solo album, a new webshop and a biography. That’s all well and good — except perhaps for the biography, which much to my personal disappointment I didn’t get to write — but the important thing is that he gets himself well first. New records and projects are cool, but life needs to take precedence. On behalf of this dinky website, I wish Wino all the best in the challenge ahead of his recovery. We’ll be here, continuing to pull for him each week, for the foreseeable future.

Here’s that statement:

At this time I feel it is necessary to release an official statement of the facts in regard to my recent deportation from the country of Norway. First, I want to apologize to all Saint Vitus fans, and to my band members and crew for my lapse in judgment that ultimately resulted in me missing the last six shows on our Born Too Late 35th anniversary European tour. On November 9th before noon just over the Norwegian border, I was arrested for possession of an illegal substance. I take full responsibility for the consequences of my actions. The other members and crew were unaware of my substances use. I was truthful with the authorities, and initially sentenced to 16 days in jail minus the three initial days immediately following my arrest. On those days I was in solitary confinement, with no reading or writing material and fed solely bread water. Despite these conditions, I was treated respectfully and cordially by all Norwegian authorities. Initially, I believed I would be fined, allowed to continue the tour, and upon its end, I agreed to return to Norway to finish my sentence. I was disheartened to realize that I was to be deported straightaway back to the US, and not allowed to finish the tour. I sincerely regret the inconvenience and loss incurred by everyone involved with these gigs, the inspiring co-headlining Orange Goblin, our booking agent, promo folks and the venues, and of course fans and ticketholders. I want to salute the members of Saint Vitus for carrying on with these shows without me, and proving admirably the class of true road warriors they are. Again, my deepest apologies to all. After several productive years of sobriety, the rigors of almost nonstop touring and life’s circumstances led me to develop a dependency that has become detrimental to my health and now, my freedom. As of now, I am currently off the road, and actively engaged in treatment.

And THE STRUGGLE CONTINUES….

I will continue my course of creating music and art. Early next year you will see the release of “WINO AND CONNY OCHS” new full-length recording, “FREEDOM CONSPIRACY” on Exile on Mainstream records. Also on the near horizon: A full-length Wino solo acoustic recording, the launch of my art and music web store, and my no holds barred biography.

Thanks to all who Believe!
Wino, November 18th,2014

And to keep with Wino Wednesday tradition, here’s Saint Vitus doing “Saint Vitus” in Stockholm, Sweden, at Wino‘s most recent show with the band:

Saint Vitus, “Saint Vitus” Live at Debaser Strand, Stockholm, Nov. 8, 2014

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Mountain God to Release New EP in February

Posted in Whathaveyou on November 19th, 2014 by H.P. Taskmaster

By the time it comes out, it’ll be about a year since the first announcement from Brooklyn’s Mountain God of their forthcoming EP, Forest of the Lost. Why the delay? Well, aside from playing shows, which they’ve done all year, most recently at Brooklyn’s Sludgefeast this past weekend alongside Naam for their final gig, It’s Not Night: It’s Space and an impressive assemblage of others, they’ve also had a few lineup changes, trading out drummer Ian Murray for Ryan Smith (also of Thera Roya) and losing keyboardist Jon Powell to a move, only to fill the gap with noisemaker/vocalist Chris “Dickler” Dialogue, formerly a bandmate of Mountain God bassist Nihil Kamineni in AlkahestKamineni, who also handles recording for the band, and guitarist/vocalist Ben Ianuzzi remain from the original lineup (pictured above), and though both Murray and Powell played on Forest of the Lost, it seems like Mountain God‘s expanding conceptual basis — not to mention their biography — is only going to get more complex as time goes on.

If you look out the right side of the plane, you’ll see this off the PR wire:

mountain god logo.jpg

On February 20th, 2015, Mountain God will release its sophomore record, “Forest of the Lost”. The EP is a concept record, consisting of a single song broken down into different movements.

The diverse track twists and turns over the course of 20 minutes, focusing on the plight of a medieval village, located somewhere in the deepest recesses of mankind’s history. The village children, left to their own devices, disappear into the night searching for proof of a local witch, all the while their parents engage in acts of depravity and debauchery.

As the story reaches a climax, the listener is challenged into thinking about the cast of characters, and the true nature of good, evil, neutrality, and indifference. Musically, the record is a melding of 60s and 70s psychedelics and aesthetics with the heaviness, crunch, and shattering riffs of traditional doom and metal.

“Forest” builds on the ground covered in “Experimentation on the Unwilling” (released July 2013), exploring new sounds and textures, all the while continuing down the pathway of socially conscious topics.

The band will play a record release show February 20th in Brooklyn, and the track will have a physical release. Mountain God will release more information about each of these points later in the year.

https://www.facebook.com/MountainGodBand
http://mountain-god.bandcamp.com/releases
http://archaicrevivalrecords.bandcamp.com/

Mountain God, Live at Sludgefeast, Brooklyn, NYC, Nov. 15, 2014

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