Posted in Whathaveyou on July 31st, 2015 by H.P. Taskmaster
Been a while since the last time we heard from Brooklyn heavy rockers Reign of Zaius. Long enough, as it happens, for them to revamp their lineup and re-embark on a long series of regional gigs. It’s been a few years since I last was able to see them on stage, but they’ve been a steady presence around New York City’s heavy underground, and they’ve just put out a new single called “Power Hitter,” which marks the first time I’m hearing them with vocalist Leon Chase, and it’s an immediately favorable impression with some punker edge that suits the band’s roots well.
They played Brooklyn last night at Bar Matchless as the first of a three-night weekender that continues this evening in Worcester, MA, and concludes tomorrow in New London, CT. Single announcement and show details follow:
Reign of Zaius Releases “Power Hitter”
Brooklyn-based stoner rockers Reign of Zaius have announced the earthly debut of a brand new single: “Power Hitter”. The song is available as a free download at the band’s website:http://reignofzaius.net/sounds
“Power Hitter” was recorded by Reign of Zaius at their secret headquarters (a.k.a. “the practice space”) in Brooklyn. This is the band’s first recording since a series of massive lineup changes—first with the recruitment of singer Leon “Space” Chase in 2014 and then, more recently, the addition of guitarist Mike “Creepy Mo” O’Neil. The change in personnel brought a definite shift in sound—with “Power Hitter”, the band’s previous two-guitar bombardment has given way to the much grittier, stripped-down feel of Mo’s single Les Paul. The new single arrives just in time for Reign of Zaius’ “Obesity in Three Cities” mini-tour of the Northeast, beginning Thursday, July 30th at Brooklyn’s own Bar Matchless, and ending all the way up in New London, Connecticut on August 1st. Complete show info is available here:http://reignofzaius.net/events
Barcelona trio Lewis and the Strange Magics will release their debut album, Velvet Skin, Aug. 21 through Soulseller Records. The full-length follows last year’s impressive Demo (review here), which was among my favorite short releases of 2014 and tapped into that Beatlesian Sabbathery while managing to at the same time remain distinct from Uncle Acid, who one could reasonably argue are the foremost practitioners of the form. All three tracks from the demo will appear on the upcoming record, but the new song “Female Vampire” is the first I’m hearing from Velvet Skin and it proves even more individualized than the prior offering, the three-piece dug in deep to a circa-1967 vision of lysergics that, in the clip, meets with circa-1975 horror, the song taking its name from the title of a film released that year.
Performance clips manipulated with psychedelic visuals and copious NSFW ’70s boobage ensues, mining the ultimately familiar terrain of vintage exploitation and sexualized violence. The song itself has a complementary sense of camp to it, the vocals putting on a Dracula voice — think, “I vant to suck your blood,” — to deliver the title line in the chorus. It suits Lewis and the Strange Magics well to take the whole endeavor not quite so seriously as most of their cult-minded peers, who seem hell-bent on making listeners think they spend their nights at blood-soaked rituals and whatever else, and the reason it doesn’t fall into parody is because the songwriting stands up. As will happen, Baphomet shows up by the end, but they rightly conclude with a plug for the new album, which is one I’ll hope to get the chance to check out.
Video below, followed by PR wire info on Velvet Skin. Enjoy:
Lewis and the Strange Magics, “Female Vampire” official video (NSFW)
On August 21st the debut album “Velvet Skin” by Lewis & the strange magics will be released via Soulseller Records on Cd/Lp(lim.300) and Digital!
LEWIS AND THE STRANGE MAGICS was born in Barcelona, Spain, during the summer of 2014. Shortly after they released their debut demo which received great reception from audience and critics. Only a month later the band signed with Soulseller Records to release the debut LP, “Velvet Skin”, during 2015.
The album talks about human perversion, which is developed from dark ambients with 60s and 70s sounds. It was recorded and mixed by Filippo Medda at Algusano Records Studio (Mataró, Spain), mastered by Pete Weiss at Verdant Studio (Athens Vermont, USA), and the artwork was designed by Jo Riou (Paris, France). The band’s musical influences go from Black Sabbath to The Beatles, mixing heavy riffs with pop melodies, all wrapped up in a psychedelic and dark atmosphere, inspired by cult movies and occultism.
Track list: 1. Carbon Wine 2. How To Be You 3. Suzy’s Room 4. Golden Threads 5. Nina (Velvet Skin) 6. Female Vampire 7. Cloudy Grey Cube 8. Your Evil Trip
Posted in Reviews on July 31st, 2015 by H.P. Taskmaster
The story of Swedish heavy rockers is one of perpetual evolution. There is no point in the outfit’s 16-year history at which they were doing the same thing twice. From their 2000 self-titled debut EP on Molten Universe (someday it will be mine), through the subsequent 2001 debut full-length, Revolution Rock (discussed here), the beginnings of their association with Small Stone Records on 2003’s Secret Alphabets, the grand productions of 2007’s Agents of Ahriman and 2012’s Nest of Vipers (review here) and the sustainable touring presence they became with 2014’s Trails and Passes, which recently led to their signing with Napalm Records for the release of their next album — currently in production — they’ve never been quite in the same place as a band. And for the most part, they haven’t had the same lineup either.
Begun as a side-project of Dozer by guitarist Tommi Holappa and Bengt Bäcke, who produced some of Dozer‘s earliest work and has played bass in Greenleaf through their entire tenure, Greenleaf has evolved from a studio outfit putting out occasional records in Dozer‘s downtime to Holappa‘s main focus — a considerable swap in position. When they released Agents of Ahriman, that transition was still a ways off, but the roots were being dug. Bäcke and Holappa were joined on drums by former Dozer drummer Erik Bäckwell and vocalist Oskar Cedermalm, who was at that time only beginning to make an impression with his own band, Truckfighters. Former Lowrider vocalist Peder Bergstrand (who was also the first singer in Greenleaf) and John Hermansen, who was then in the transition between The Awesome Machine and Mother Misery, also make notable guest appearances on vocals.
I do not at all mind telling you that Agents of Ahriman stands among my favorite heavy rock records — period. Of any era. Certainly it was one of the finest outings of the aughts, and I consider it a flawless execution of songwriting and performance. Not one second of its nine tracks/37 minutes is superfluous. Led by Holappa, Greenleaf bring a character to the modus of classic heavy rock that few have been able to parallel, let alone match, both presaging and out-boogieing the retro rock movement while still sounding modern in Bäcke‘s production, melodically complex in Cedermalm‘s arrangements, varied through the guest appearances — not at all limited to vocals; Jocke Åhslund‘s Hammond featuring on “Black Tar,” “Alishan Mountain,” “The Lake” and “Ride Another Highway,” while John Hoyles (now of Troubled Horse) adds a guitar solo to opener “Highway Officer” and Linus Arnberg brings cowbell stomp to swing-happy closer “Stray Bullit Woman” — and outright unstoppable in its righteousness of groove. Front to back, it is the kind of record one could use as a textbook to teach children about the joys of rock and roll.
And if this sounds like hyperbole, it is earned in the hyper-memorable choruses of “Alishan Mountain” and “Ride Another Highway” — Hermansen‘s one-man call and response rivaling Cedermalm‘s own — and in the spaciousness of the six-minute “Sleep Paralysis,” which in its last moments finally seems to be driving toward a payoff of its track-long tension, only to cut out at the moment of impact, breaking the rule under which it seemed to be playing, in Bergstrand doing his best Mark Lanegan on the attitude-soaked “Black Tar,” and in the riffs of “Highway Officer,” “Treehorn” and particularly organ-ic “The Lake,” which was the centerpiece of the CD and on the vinyl is the beginning point for a five-track side B that only gets richer as it pushes — and, in the case of “Ride Another Highway,” propels — toward “Stray Bullit Woman” as the closing statement. A more swaggering performance from Cedermalm there never has been, and the progression over which it comes is worthy of being called Mountain-esque — not a comparison to be made lightly.
There is one last guest appearance before Agents of Ahriman is finished, and it’s Emil Leo, who after emerging from a swirl of effects asks the simple question “And now what?” Eight years after the album’s initial release — worth noting this is the first time it’s out on vinyl — we know to some extent. Dozer would issue their final (to-date; one can always hope) full-length in the form of 2008’s Beyond Colossal, and after a few years of inactivity, Greenleaf would be resurrected again, this time with Dozer‘s Johan Rockner on guitar and Olle Mårthans on drums for Nest of Vipers — Dozer bassist/vocalist Fredrik Nordin also made a guest appearance, along with Bergstrand and keymaster Per Wiberg — and began a touring cycle. That would be the end of Cedermalm‘s run with the band, Truckfighters taking priority as a worldwide touring entity and an outfit of increasing profile, and vocalist Arvid Jonsson took up the difficult mantle ably on Trails and Passes, Sebastian Olsson also stepping into the drummer role.
Greenleaf remains in seemingly permanent flux, and what their next record might bring when it arrives I wouldn’t speculate to say other than to note the reliable quality of Holappa‘s songcraft, which in partnership with Bäcke‘s production, was so plainly on display with Agents of Ahriman in its whole-album, all-killer impact. The LP version is a somewhat different experience, the sides not quite breaking evenly with the second longer than the first, but whether you’ve experienced what I consider Greenleaf‘s finest hour yet — Nest of Vipers was a grander affair and showed progression, but these songs are tattooed on my brain — or whether you’ve never heard the thing, it still proves itself to be an utterly essential listen for anyone and everyone who wants to know what heavy rock sounds like at its most right. You can say I’m overstating it if you want. You’re wrong. It’s already stood up to eight years, and listening to the vinyl, I hear no reason Agents of Ahriman won’t continue to endure into perpetuity. Recommended.
Posted in Whathaveyou on July 31st, 2015 by H.P. Taskmaster
After spending much of last summer on the road throughout Europe on a 34-date tour that spanned through June and July (they still have posters for sale, albeit in limited numbers), Glasgow heavy psych heads The Cosmic Dead have announced shorter run for Sept., this one sandwiching dates throughout the UK around shows in Belgium and France. They’ll be on the road with Girl Sweat, with whom they by amazing coincidence (note: not actually coincidental) also have a limited split tape that they’ll be selling at the shows, and playing after the tour is finished with Carlton Melton at a show set for Sept. 24 in their hometown.
Generally pretty prolific as those of their style are wont to be, this year’s actually been kind of slow so far for The Cosmic Dead in terms of releases, so it’ll be interesting to see what the next few months bring along with this new split.
Tour is presented by Swamp Booking, and the announcement follows:
THE COSMIC DEAD ? September Tour 2015
Swamp Booking, The Cosmic Dead & Buckfast are very pleased to announce this string of shows in which we shall be joined on the UK dates by our very good friend and personal masseuse, Russel Andrew Gray, AKA GIRL SWEAT!!! YOWZA. We will also have an exclusive limited edition cassette split with Girl Sweat available on this tour!
Since 2010, The Cosmic Dead have been exploring the outer reaches of Krautrock, doom and psychedelia, tasting the extremes of sound and fusing them into a single, all-enveloping web of stratospheric riffing, otherworldly ambience and kosmische textures that has spread itself across countless shows throughout all Europe.
07.09 – (UK) Newcastle – The Tyne Bar w/ Girl Sweat 08.09 – (UK) Bristol – Exchange w/ Girl Sweat / Henry Blacker 09.09 – (UK) London – The Lexington w/ Girl Sweat 10.09 – (BE) Brussels – Magasin 4 w/ a.P.A.t.T. / Umungus 11.09 – (BE/FR) TBC – TBC 12.09 – (FR) Rivieres – Baignade Interdite Festival 13.09 – (FR) Paris – Le Batofar 14.09 – (UK) Leeds – Brudenell Social Club w/ Girl Sweat 15.09 – (UK) Manchester – Kraak w/ Girl Sweat 24.09 – (UK) Glasgow – NICE N SLEAZY w/ Lumerians / Carlton Melton
Posted in Whathaveyou on July 30th, 2015 by H.P. Taskmaster
After premiering the track “Back to the River” here last month from their Fuzzorama Records label debut, Vancouver trio We Hunt Buffalo have confirmed Living Ghosts as the title of said album, due out Sept. 25. They also had live dates in June with Cancer Bats and presumably will have more shows to come leading up to the record release, though that’s yet to be revealed either way. It will be their second full-length overall behind a 2011 self-titled.
The PR wire assures we’ve all got the narrative down:
We Hunt Buffalo return with new album Living Ghosts on Fuzzorama Records | Stream and share new song ‘Back To The River’
Living Ghosts by We Hunt Buffalo will be released on 25th September through Fuzzorama Records
Fuzzorama Records is pleased to announce the release of Living Ghosts, the brand new album from Canadian psychedelic fuzz rockers We Hunt Buffalo.
Formed in the suburbs of Vancouver in 2010, with their debut EP the trio introduced the underground to a new band that in the words of Georgia Straight were, “dedicated to tracking down and capturing a dying breed of rock and roll.”
In hardly no time at all the band went on to generate a local buzz around the city’s rock scene where they soon crossed paths with Tanis Gibbons, apprentice to Colin Steward at local recording studio ‘The Hive’. Cutting their first full-length with Gibbons in 2011 – the self-titled We Hunt Buffalo – the album packed hard hitting, fuzz rock grooves and psychedelic metal in the spirit of Queens Of The Stone Age and Soundgarden. Fuelled by local acclaim, the band continued to play dirty rock and roll in and around Vancouver to a mounting fan base and in 2013 went on to release the EP Blood From A Stone, recorded at Nimbus School of Recording Arts by Alex ‘Condor’ Aligizakis.
Throughout 2013 the band toured and performed with the likes of Sleepy Sun, Band of Skulls and Biblical and was added as main support to Monster Truck on their cross Canada tour later that same year. Fast-forward to today and the band has racked up notable support slots with Red Fang, Cancer Bats, Chevelle, Danko Jones, Electric Six and Steel Panther, along with an unforgettable appearance at Victoria’s Rifflandia Festival.
Recorded by Jesse Gander (Bison, Japandroids, Anciients) at Raincity Recorders Living Ghosts will get an official release on Swedish record label Fuzzorama on 25th September.
We Hunt Buffalo: Ryan Forsythe – Vocals/Guitar Brendan Simpson – Bass/Vocals Brandon Carter – Drums/Vocals
Posted in Whathaveyou on July 30th, 2015 by H.P. Taskmaster
Hell yeah, new He Whose Ox is Gored. Sign me up. The Seattle four-piece will issue The Camel, the Lion, the Child — because sometimes you have a thing for cumbersome titles and you run with it — on Oct. 9 through Bleeding Light Records. Their prior 7″, Rumors (review here), was one of my favorite short releases of 2014, so yeah, their debut long-player after a slew of other EPs and singles and whatnots sounds like an easy pick to be worth checking out.
To herald its arrival, they’ll tour with Mutoid Man on the West Coast, as the PR wire informs:
HE WHOSE OX IS GORED: Eclectic Doomgaze Ensemble To Unleash The Camel, The Lion, The Child This Fall Via Bleeding Light Records; Tour With Mutoid Man To Commence Next Month
Seattle’s HE WHOSE OX IS GORED has been raising the brows of the underground masses with their eclectic, oft trance-inducing fusion of doom, prog rock, post hardcore and psychedelic shoegaze since their inception in 2009. Following the release of their critically-adored, Bleeding Light Records-issued Rumors 7″ last year, the band will undrape their highly-anticipated full-length debut this Fall.
Titled The Camel, The Lion, The Child, the eight-track, near hour-long sound exhibition was tracked at Red Room and Ex Ex Audio in Seattle by Robert Cheek (Serial Hawk, Noise-A-Tron etc.) with additional recording taking place at Avast Studios with Randall Dunn (Sunn O))), Earth, etc). Matt Bayles (Isis, Mastodon etc.) handled mixing duties and frequent collaborator, Blake Bickel, mastered the album at Dynamic Sound Service.
Both sonically and conceptually engrossing, with The Camel, The Lion, The Child HE WHOSE OX IS GORED — Brian McClelland (guitar, vocals), Lisa Mungo (synths, keyboards, vocals), Mike Sparks (bass) and John O’Connell (drums) – transcend musical boundaries with their meticulous yet organically-executed amalgam of technical guitar compositions and atmospheric synth over a pummeling rhythm section manifesting a uniquely cinematic soundscape that paints a world ready to thrash and burn.
Elaborates McClelland of the band’s latest output: “The Camel, The Lion, The Child is a cup that runs over. From the writing process and through the studio, we made it a point to make the record that we wanted. The songs grow and breathe with their own lives and personalities, and unfold with layers that surprise us to this day. The excellent engineering and mixing of Robert Cheek and Matt Bayles raised the bar, and pushed us to make the best record we could. Now, we share it with you.”
The Camel, The Lion, The Child Track Listing: 1. Oathbreaker 2. Omega 3. Crusade 4. Zelatype 5. Alpha 6. Magazina 7. Cairo 8. Weighted By Guilt, Crushed Into A Diamond
HE WHOSE OX IS GORED will wage their sonic alchemy upon unsuspecting ears next month on a short bout of live dates sharing the stage with rock and roll juggernaut, Mutoid Man. Set to commence on August 22nd, the band will traverse seven cities (five with Mutoid Man) with additional live excursions in their plotting stages.
HE WHOSE OX IS GORED: 8/22/2015 Barboza – Seattle, WA w/ Mutoid Man 8/23/2015 Venue Nightclub – Vancouver, BC w/ Mutoid Man 8/24/2015 Hawthorne Theater Lounge – Portland, OR w/ Mutoid Man 8/25/2015 Starlite Lounge – Sacramento, CA 8/26/2015 Bottom Of The Hill – San Francisco, CA w/ Mutoid Man 8/27/2015 The Echo – Los Angeles, CA w/ Mutoid Man 8/29/2015 The Boreal – Eugene, OR
Tuned low and turned up, HE WHOSE OX IS GORED released their debut EP, Op Amps, in 2009 on their own Void Assault label. Featuring heavy guitars and atmospheric synth-centric soundscapes, the band managed to bend genres into a formidable crossover composite. In 2010, the obscure unit unleashed their Tad Doyle (TAD, Brothers Of The Sonic Cloth)-produced follow-up, Op Amps II: Into The Ethers. Through multiple tours and personnel shifts, the band continued to refine their sound and entered Seattle’s Red Room Studios with Chris Common. The resulting Nightshade EP was three tracks of crushing doomgaze, built on texture and aggression.
HE WHOSE OX IS GORED’s The Camel, The Lion, The Child will be released digitally and on limited edition vinyl (500 double gatefold LP ) via Bleeding Light Records on October 9th, 2015 with Breathe Plastic Records (Netherlands) releasing a limited edition tape version of the production. Teaser tracks and preorders to be announced in the coming weeks.
Posted in Reviews on July 30th, 2015 by H.P. Taskmaster
Aesthetic continues to play a large role for UK dual-vocal four-piece Undersmile, whose second full-length, Anhedonia, is out on vinyl through Black Bow Records. The Oxfordshire outfit released their debut, Narwhal (review here), back in 2012 and since then have embarked on an acoustic side-project called Coma Wall, even releasing a split called Wood and Wire between the two bands in 2013 (they also had a split with Bismuth out that year). Because that alter ego contains all four members of Undersmile — guitarist/vocalists Hel Sterne and Taz Corona-Brown, bassist Olly Corona-Brown and drummer Tom McKibbin — I wondered if perhaps some of that influence might sneak its way into the workings of the new Undersmile offering. Aside from a shared theatrical sensibility between them and an enduring penchant for slow pacing, both of which Undersmile already had in their arsenal, almost not at all.
I’ll note that Taz and Hel work together more dynamically as vocalists here than on the debut, but with a few years between and some considerable stage time throughout that span, there’s nothing to say that wouldn’t have been the case anyhow. What Anhedonia is, however, is monolithic. At seven tracks, 75 minutes, it dips below the 10-minute mark just once for second cut “Sky Burial” (8:02), and spends the rest of its time reveling in a near-complete wash of darkness and grueling lumber. One might be tempted to call it drone-doom for the overbearing plod it enacts on “Song of Stones” or opener “Labyrinths,” but the truth of the listening experience isn’t that cut and dry, and for all its (purposeful, useful) unipolar churn, Anhedonia creates rich atmospheres.
We could almost call those atmospheres colorful if we were talking about the deep purples and blacks of the album’s fitting Peacevillean cover art, but either way, they play into the stylized drawl of the material — Hel and Taz‘s vocals either sung clean or shouted, but almost always in a drawn-out delivery to match the nodding material behind, which opens gradually on “Labyrinths” and proceeds to trade back and forth throughout the album in massive swells of volume and minimalist spaciousness, an early flair of strings showing up on the opener that will play in again deeper into the abyss on the penultimate “Emmenagogue” and elsewhere. Rhythmically, the course of Anhedonia impresses perhaps most of all in that it manages to hold together and not — as one might be inclined to do while listening — stop halfway through, have a good cry for lost days and what could’ve been, and go back to the rest later.
“Sky Burial” works with similar explosive tendencies, and by the time it’s done, Undersmile‘s intent to absolutely overwhelm their audience is writ large. Pushing toward the midsection, “Song of Stones” builds to a heavy push in its middle and again near the end — strings coming forward around the halfway point of the track only to be consumed by the grueling distortion captured at Skyhammer Studio by producer Chris Fielding (also of Conan), reappear, and be swallowed again for the effort. Take that, any sense of hope whatsoever. Centerpiece “Atacama Sunburn” would seem to draw together a water theme present in the band’s past works — Narwhal had its nautical moments, as did Wood and Wire, and even their 2010 debut EP, A Sea of Dead Snakes, was a sea — and a huge vision of waves remains an appropriate image for the undulating force of Undersmile‘s groove — but the real standout of Anhedonia is “Aeris,” which follows.
As one would expect of Undersmile at this point in their tenure, it’s consistent atmospherically with its surrounding pieces, but “Aeris” offers a melodic fullness all its own, and it doesn’t quite stand in contrast to what’s around it, but it marks a definite broadening of the context. It winds up affecting the listening experience for “Emmenagogue” and closer “Knucklesucker” as well, though the finale has its own intentions, which it keeps secret almost to the very end as if to see who among those who’ve taken Anhedonia on might make it that far. After an oozing linear build for its first nine minutes, feedback transitions into faster (gasp!) riffing that solidifies around McKibbin‘s drums and shifts into a more ’90s-style noise rock, the repeated lines, “I don’t feel hollow/I don’t feel sorrow/I don’t feel anything, really,” metered out over a push of growing intensity. It slows down prior to deconstructing at the finish, but even if for just a minute, Undersmile proved it’s possible to make a sound of such enduring thickness move, and I wouldn’t be at all surprised to find them pushing it further next time.
Of course, with that there comes a full 74 minutes of suffocating doom, but that’s precisely the point. Undersmile‘s intent isn’t to make it easy on the listener, but to challenge their audience to plunge these emotional and sonic depths with them. As a result, Anhedonia is successful because it feels throughout its course like the four-piece are dragging you along with them on their slog through this oppressive ambience. The party album of 2015 it ain’t, but in its progression beyond what Undersmile have done before, for a more personal feel throughout and for the still-monstrous scope with which it plays out, it’s hard not to stand in awe of the wide waters the band continue to cast, be haunted by the otherworldly presence in their melodies and get lost in the tidal sway of their rhythms.
Posted in Whathaveyou on July 30th, 2015 by H.P. Taskmaster
Yeah, yeah, Kylesa have a new album coming, that’s very cool. Look at that frickin’ list of tour dates! Kylesa don’t need to be touring like that at this point. I mean, there are breaks in there, but if they wanted, the Savannah, Georgia, outfit could probably take it down a little bit in terms of the road work. People know who they are, have a pretty good idea of what they do — as much as one can as regards Kylesa from one album to the next — so it’s not like they’re going door-to-door-punk-rock spreading the word two ears at a time. Point is it looks like a lot of shows. I guess they’ve found a way to make it sustainable. Not everyone does.
And while the album title Exhausting Fire — which is the follow-up to 2013’s Ultraviolet (review here) — doesn’t do much to capture the energy they bring to the stage, no doubt it will prove of its own merit, Kylesa having yet to stagnate in what seems a creative progression as unrelenting as their touring cycle.
The PR wire brings album details, tour dates and the new song “Lost and Confused” for previewy enjoyment:
KYLESA announce new album, ‘Exhausting Fire’
Savannah’s genre-defying quintet KYLESA have announced a new album titled ‘Exhausting Fire’, to be released by Season of Mist on Oct. 2. The band are streaming the first track from the new record titled “Lost and Confused.” Pre-orders for ‘Exhausting Fire’ will be available across several CD and LP formats at the Season of Mist E-Shop.
Regarding the new album, KYLESA vocalist/guitarist Phil Cope comments: “‘Exhausting Fire’ is an album we really put our hearts on our sleeves for. We’ve always done that, but emotionally, it’s probably the most honest and raw album we’ve ever done.”
Guitarist/vocalist Laura Pleasants continues, “No band sounds like us and we don’t sound like any other band. After all these years of experimenting with different styles and sounds, we’ve really developed our own thing and I can faithfully say that we sound like us. With this album, we’ve successfully made a record that incorporates all the elements we’ve always played with into a record that works on its own.”
The album artwork and track list for ‘Exhausting Fire’ can be found below:
Track List: 1. Crusher 2. Inward Debate 3. Moving Day 4. Lost and Confused 5. Shaping The Southern Sky 6. Falling 7. Night Drive 8. Blood Moon 9. Growing Roots 10. Out Of My Mind 11. Paranoid (bonus track)
KYLESA have announced a tour across the U.S. The tour, which begins on August 29 sees the band traveling throughout August and September, before concluding in Seattle on November 22.
KYLESA tour dates: 8/29 Durham, NC @ Motorco 8/31 Charlottesville, Va @ The Southern 9/1 New York, NY @ Gramercy Theater 9/2 Montreal, QC @ Cafe Campus 9/3 Toronto, ON @ Mod Club Theater 9/4 Chicago, IL @ Reggie’s 9/5 St. Louis, MO @ Ready Room 9/6 Louisville, KY @ Zanzabar 9/7 Augusta, GA @ Sky City 10/6 St. Petersburg, FL @ State Theatre 10/7 Miami, FL @ Grand Central 10/8 Orlando, FL @ The Social 10/9 Savannah, GA @ Jinx 10/10 Asheville, NC @ New Mountain 10/13 Columbus, OH @ The Basement 10/14 Grand Rapids, MI @ Pyramid Scheme 10/16 Cleveland, OH @ Grog Shop 10/17 Pittsburgh, PA @ Altar Bar 10/19 Boston, MA @ Brighton Music Hall 10/20 Philadelphia, PA @ Black Box @ Underground Arts 10/23 Richmond, VA @ The Broadberry 10/24 Washington, DC @ Rock & Roll Hotel 10/25 Atlanta, GA @ The Drunken Unicorn 11/6 Pomona, CA @ The Glass House 11/7 Los Angeles, CA @ The Fonda Theatre 11/8 San Francisco, CA @ The Fillmore 11/10 San Diego, CA @ The Irenic 11/11 Phoenix, AZ @ Club Red 11/13 Austin, TX @ Red 7 11/14 Houston, TX @ Warehouse Live 11/15 Dallas, TX @ The Prophet Bar 11/17 Colorado Springs, CO @ The Black Sheep 11/18 Denver, CO @ Summit Music Hall 11/19 Salt Lake City, UT @ The Complex 11/20 Boise, ID @ Neurolux 11/21 Portland, OR @ Hawthorne Theatre 11/22 Seattle, WA @ The Crocodile 11/6 Pomona, CA @ The Glass House 11/7 Los Angeles, CA @ Fonda Theater 11/8 San Francisco, CA @ The Filmore 11/10 San Diego, CA @ The Irenic 11/11 Phoenix, AZ @ Club Red 11/13 Austin, TX @ Red 7 11/14 Houston, TX @ Warehouse Live 11/15 Dallas, TX @ Prophet Bar 11/17 Colorado Springs, CO @ Black Sheep 11/18 Denver, CO @ Summit Music Hall 11/19 Salt Lake City UT @ The Complex 11/20 Boise, ID @ Neurox 11/21 Portland, OR @ Hawthrone Theater 11/22 Seattle, WA @ Crocodile