Friday Full-Length: Grief, Come to Grief

Posted in Bootleg Theater on October 10th, 2015 by H.P. Taskmaster

Grief, Come to Grief (1994)

Boston outfit Grief weren’t the first sludge band, but they might have been the first extreme sludge band. The really insane thing is that by the time they got around to putting out their sophomore album, Come to Grief, in 1994 — on Century Media, no less — their rawest work was already behind them. Their debut long-player, Dismal, had hit a year earlier, preceded by an EP of the same name, as well as the band’s first short release, 1992’s Depression. Between those and the couple splits between the first album and the second one, Grief‘s catalog had already forged some of its meanest output, and while I won’t take away from the grueling misanthropy that still pervaded their later work, albums like Miserably ever After (1996) and Torso (1998), Come to Grief seemed to be the perfect balance between regressive chaos and stylistic forward-thought that it’s the source of much of their enduring legacy to the point that when putting together a short-lived semi-reunion earlier this year, guitarist Terry Savastano (currently of Conclave) did so under the moniker Come to Grief.

Grief at the time was Savastano, guitarist/vocalist Jeff Hayward (now of Morne), bassist Randy Odierno and drummer Rick Johnson. Eric Harrison, who supplied Come to Grief‘s manic cover art, would later play bass in the band, and a full 21 years after its release, the album itself remains no less challenging than that cover. It is a slog, plain and simple. Single-minded in its disgruntled fuckall and deeply indebted as is much of sludge to hardcore punk, some of its riffing is no less akin to the death metal of the time — the key difference separating the two on a song like “Hate Grows Stronger” would be the swing in Johnson‘s drums — but even more than that, the album’s extremity is one of perspective. It would still be half a decade before Sleep belted lines about dropping out of life, bong in hand, but Grief give a way more accurate depiction of what mindset might actually lead someone to do that. Whether it’s “I Hate You” or “Stricken” or “Come to Grief” or “Fed Up,” which is almost Black Flaggian in how straightforward its lyrics are, Grief‘s pill-popping depressiveness is writ large front to back across the album, and being as it was the CD era, that’s a significant span at 54:32. I feel like anyone could take 36 minutes of this stuff, but then, Grief never seemed all that interested in making it easy for their audience.

Hope you enjoy, such as it is.

Rough day at work. I don’t think one breaks out Grief otherwise. I won’t go into it, but suffice it to say, I really, really, really wish I could do this for a living.

Went and saw Clutch, C.O.C. and The Shrine tonight. All three were killer. More expansive review on Monday. Yeah, I know it’s a holiday. Writing for this site is a treat for me at this point. It’ll be like fucking Xmas.

Also next week, a Snail review, and a Monster Magnet review, or maybe All Them Witches, depending largely on mood. Also hope to write up that Admiral Browning tape. Because it’s Admiral Browning, dang it!

It’s headed toward three in the morning, so I’ll leave it there. There’s other stuff coming up this week, but it’ll just have to be a surprise because it’s too late for me to think of it. We’ll be surprised together.

Please have a great and safe weekend, and please check out the forum and the radio stream. Especially the forum. The forum is fucking awesome. That’s the knowledge I have to share.

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Mansion Get Even Creepier than Usual in “Altar Sermon” Video

Posted in Bootleg Theater on October 9th, 2015 by H.P. Taskmaster

mansion (Photo by Ulla Kudjoi)

Kind of hard to determine where the line between sex and violence actually lays when it comes to Mansion‘s new video for “Altar Sermon,” never mind the song itself, which is set to serve as the title-track of the band’s new two-cut EP, due out Oct. 23 on Svart. I guess that’s probably the whole idea, and while any cult worthy of the name has some usually-pretty-troubling/kid-touchy abuse going on, the Finnish collective don’t take it quite that far. It’s more of a bondage/fetish thing, playing with power dynamics and so forth. Even Kartanoists need to get some in their strange, stoic, vaguely problematic kind of way.

But hey, let’s file that one under What-Would-I-Know and move right along. Mansion‘s last EP was Uncreation (review here), which was preceded by their 2013 debut EP, We Shall Live (review here), so Altar Sermon will be their third — they also had a 7″, The Mansion Congregation Hymns Vol. 1, out last year — but the new track finds them branching out farther still on their dark, thematically coherent and exploratory path. At over eight minutes, it takes some of the psychedelic leanings of the 7″ and incorporates them into the severe-sounding cultistries for which the band has become known, so that a tension is maintained even as they push deeper into a molten flow. It’s a weird balance, but one that suits them, as does the song’s duet format.

As to when Mansion might get around to putting out a full-length, your guess is as good as mine. They’ve done well telling their story over the course of short releases thus far, so I’m not actually sure what doing an LP as opposed to more EPs might actually accomplish. But it’s just one of those things you do after a while, and presumably they’ll get there sooner or later. In the meantime, the clip for “Altar Sermon” and PR wire info follows.


Mansion, “Altar Sermon” official video

Psychedelic occult rockers Mansion premiere the new video “Altar Sermon.” The track hails from the band’s forthcoming EP, Altar Sermon, set for international release on October 23rd via Svart Records on 12″ vinyl and digital formats. As mysterious as it gets, Finland’s Mansion derive their moniker the local Christian apocalyptic “mansionite” cult of Kartanoism, which lived its glory days from the 1920s to the 1950s. Kartano is the Finnish word for mansion and is the surname of cult leader Alma Kartano. Fittingly, Mansion was brought together to create music strongly reflecting the life of the cult’s followers.

To date, Mansion have released two EPs, 2013’s We Shall Live – which featured the video “Slumber Sermon” – and Uncreation the following year, which musically illustrated the mansionites journeying further on their crusade against the mundane and sinful with frightening conviction. With Altar Sermon and the title track’s new video, Mansion present their most harrowing vision yet: in their own words, “the cinematic re-enactment of a mansionite ritual known as the Altar Sermon. Mansion’s score for the captured moments includes a duet with Alma and traveling preacher Matteus. The soundtrack will be released bearing the title Altar Sermon on October 23rd. The flip-side of the release contains the song ‘Traitor’s Dirge.’ In the song, the treacherous Tilda Reunanen regrets her involvement in our cause and is sentenced to the everlasting fires of Hell.”

Directed by Artturi Rostén, view the video for Mansion’s “Altar Sermon.” Preorder for Mansion’s Altar Sermon be found HERE.

Mansion on Thee Facebooks

Svart Records

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Avatarium to Release The Girl with the Raven Mask on Oct. 30

Posted in Whathaveyou on October 9th, 2015 by H.P. Taskmaster

Swedish outfit Avatarium, who feature in their ranks none other than Candlemass bassist and songwriter Leif Edling, are set to release their second album later this month. Dubbed The Girl with the Raven Mask, it will follow-up their 2013 self-titled debut, and will see release in Europe on Nuclear Blast Oct. 23 and in North America in cooperation with Metalville Records on Oct. 30.

Art, tracklisting and release info follow, courtesy of the PR wire:

avatarium the girl with the raven mask



Founded in 2012 by bassist Leif Edling (ex-CANDLEMASS) and guitarist Marcus Jidell (EVERGREY), Swedish-based doom act AVATARIUM, are set to release their magnum opus The Girl With The Raven Mask in North America on October 30th as part of a joint licensing venture between Nuclear Blast Records and Metalville Records.

Recorded and mixed in the Ghostward Studio in Gröndal, Stockholm with engineer David Castillo (BLOODBATH, OPETH, KATATONIA) at the helm, The Girl With The Raven Mask follows the group’s first EP Moonhorse (2013), a highly acclaimed self-titled debut that same year, and a second EP All I Want (2014).

“The quest for the perfect studio wasn’t that easy,” states Jidell, who also produced the record. “To get the right feel, drums, guitar, bass and some keys were recorded live. It was extremely important to find the right studio and the right equipment to make the album sound like we wanted.”

AVATARIUM, which also features Jennie-Ann Smith (vocals), Lars Sköld (drums), and Carl Westholm (keyboards), once again had the pleasure to work with Michael Blair (TOM WAITS, LOU REED) who emerged as guest percussionist. “He did his usual magic and helped us to catch a little of that cool old school vibe we were looking for,” Jidell confirms.

The Girl With The Raven Mask is not only the name of the album but also the opening track. It is the shortest song on the record at just over four minutes. Jidell explains, “It is an up-tempo hard rock/doom number with a very strong lyric made by Leif about a little girl with a big raven head mask. The song asks questions like: Who is she and what did she experience? What is it that she doesn’t want us to see?”

The band’s musical aim on the forthcoming album was to continue the philosophy and atmosphere they had created on their on their self-titled album and the All I Want EP.

“We want to catch the vibe of our heroes, bands like MOUNTAIN, RAINBOW, BLACK SABBATH, BLUE ÖYSTER CULT, CROSBY, STILLS & NASH and LED ZEPPELIN, to make organic sounding music but to combine that with the raw and heavy sound of today. The songs all have their own soul and touch, we really wanted to have a nice flow on the album and to make something different both musical and lyrical wise. We wanted to keep the energy in all the individual performances and at the same time allowed the songs to grow the way they needed,” Jidell closes.

This is evident in the lengths of the tracks. None of the songs (except the title track) are shorter than five minutes, taking listeners on an epic prog-rock journey.

The Girl With The Raven Mask track listing:
1. Girl With The Raven Mask
2. The January Sea
3. Pearls And Coffins
4. Hypnotized
5. Ghostlight
6. Run Killer Run
7. Iron Mule
8. The Master Thief


Avatarium, “The Girl with the Raven Mask” lyric video

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Acid King Interview with Lori S.: Coming Down from Outer Space

Posted in Features on October 9th, 2015 by H.P. Taskmaster

acid king 1 (Photo by Raymond Ahner)

It’s been 10 years since Acid King put out a record. I could but frankly don’t want to run down a list of things that have come to pass since their third full-length, III, was issued, but suffice it to say, a decade’s worth of shit. The advent of social media. There. That’s one. Anyone knowing what the words “heavy” and “rock” mean when placed in succession. That’s another.

That last one is particularly important when it comes to understanding the band’s motivation for finally releasing a new album — that being Middle of Nowhere, Center of Everywhere (review here), which came out earlier this year as their first and hopefully not last for Svart Records — since as guitarist/vocalist Lori S. (Obelisk Questionnaire here) points out, the climate into which the LP was arriving was definitely a factor. The times have simply changed, and whatever else one might say about it — I’ve said plenty and I’m sure I’ll say more before 2015 is out — Acid King‘s fourth hit into much different circumstances than did the San Francisco trio’s third in 2005.

Of course, that would matter way, way less if the album sucked, but not only does Middle of Nowhere, Center of Everywhere mark a studio return from Acid King, who’ve toured Europe and played sporadic US shows all the while, but it’s a triumphant return at that. Comprised of their most expansive material to-date, it finds the trio of Lori, bassist Mark Lamb and drummer Joey Osbourne oozing their way into a meld of heavy psychedelics and their well-established penchant for riff rock. Produced initially by Toshi Kasai and then by Billy Anderson, who also helmed their three prior offerings, Middle of Nowhere, Center of Everywhere is an hour-plus motorcycle ride through the cosmos and yeah the cosmos is a vacuum and there’s no way you’d be able to breathe but whatever man just go with it because it’s awesome. It’s a record that nods so righteously you forget it’s been a decade.

Maybe Acid King missed a beat going from the last album to this one, but it was only so they could jump ahead an entire measure.

They’ve been more active in terms of shows as well. In August, they took part in the North West Hesh Fest, and they’re due to come to the Eastern Seaboard on their biggest round of US touring since 2006. The dates:

October 16 San Diego, CA Brick By Brick
October 17 Los Angeles, CA Complex
October 18 Tucson, AZ SW Terrorfest (Club Congress)
October 19 Albuquerque, NM Sister
October 21 Austin, TX Red 7
October 22 New Orleans, LA Siberia
October 23 Atlanta, GA Drunken Unicorn
October 24 Raleigh, NC Kings
October 25 New York, NY Saint Vitus
October 26 Boston, MA Middle East
October 27 Philadelphia, PA Kung Fu Necktie
October 28 Cleveland, OH Now That’s Class
October 29 Chicago, IL Reggie’s
October 30 St. Louis, MO Firebird
October 31 Kansas City, MO Riot Room
November 1 Denver, CO Hi Dive

That’s no small run, especially considering how long it’s been, and as Lori explains in the interview that follows, the stakes are pretty high. I won’t spoil it. Last time she was interviewed here, it was a 2009 tribute to mark the 10th anniversary of their 1999 sophomore outing, Busse Woods, so there’s was plenty to talk about for the new album and tour, including the studio shift that brought them back to working with Anderson, their motivation for doing a record at all after so long, what beer she’s most looking forward to sampling on the road and much more.

Complete Q&A follows after the jump. Please enjoy:

Read more »

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Tombstones Announce Vargariis for Dec. 4 Release

Posted in Whathaveyou on October 9th, 2015 by H.P. Taskmaster

tombstones (Photo by Stig Lovas)

Norwegian trio Tombstones make their way, plundering, toward veteran status. Their new one, Vargariis, is listed as their fourth full-length. I had thought their last outing, 2013’s Red Skies and Dead Eyes (review here), was their fourth, but I’m probably off. So it goes. In any case, Vargariis is due out Dec. 4 through Soulseller Records, and finds Tombstones a band who has played numerous festivals throughout Europe — the usual suspects: Roadburn (where they played “Barren Fields” with the visuals in the video below behind them; review here), DesertfestFreak Valley, and then some — as well as toured earlier this year alongside North Dakotan riffers Egypt.

As a result, I have pretty high expectations for what Vargariis might bring to their sound, and the Conan-style lumber of newly-unveiled album opener “Barren Fields” does little to dissuade my hopes. Soulseller sent over the details for the record and you can find them as they appeared from the PR wire under the artwork below, followed of course by the track.

Dig it:

tombstones vargariis1

TOMBSTONES – “Vargariis”

Norwegian doomheads TOMBSTONES return with their 4th full-length album – their heaviest work so far without any doubt!

“Vargariis”, the successor of “Red Skies and Dead Eyes” (2013) will be released on December 4th 2015 via Soulseller Records on CD, vinyl and digitally.

TOMBSTONES has taken up on their Norse heritage, evolving from their previous stoner-influenced sound, now descending into the dark side of the gloom. “Vargariis” finds the band leaning towards the bleak and desperate, assaulting the listener with their blackened, thunderous wall of fuzz and despair. Two years of intensive touring alongside bands such as Eyehategod, Church of Misery, Egypt and Witch Mountain have kept the band active, and the result unveils in the energy and live presence felt on “Vargariis”. The last couple of years Tombstones has appeared on the legendary Roadburn Festival, Desertfest, Freak Valley Festival, Muskelrock, Doom Over Leipzig, and tours in support of “Vargariis” in 2016 are in the works.

1. Barren Fields
2. And When The Heathen Strive, Vargariis Rise
3. Oceans Of Consciousness
4. The Dark High
5. Underneath The Earth
6. Pyre Of The Cloth

Tombstones, “Barren Fields”

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Graves at Sea Finish Work on Debut Album; West Coast Tour Starts this Weekend

Posted in Whathaveyou on October 8th, 2015 by H.P. Taskmaster

graves at sea

Based now in Portland, reunited sludge-doomers Graves at Sea will hit the road this weekend on the West Coast as they make their way to the Southwest Terror Fest in Tucson, Arizona. Some 12 years after their Documents of Grief demo became a significant statement of intent that was ultimately cut short, the band has just put the finishing touches on their debut album, which will be released on Relapse Records early next year. Pretty astonishing journey this band — and granted they’ve been through a few lineup changes along the way — has had to get to their first record, but hey, it’s doom. If you want it to be fast, you’re doing it wrong.

The PR wire has details and dates. I don’t know about you, but I’m looking forward to seeing what Orion Landau comes up with for this one:

graves at sea oct 11

GRAVES AT SEA: Complete New Album; Announce October West Coast Tour Dates

Doom/sludge quartet GRAVES AT SEA has completed recording its first-full length ever! The new material, which was tracked at Audible Alchemy in Portland, OR and mixed at Earhammer Studios in Oakland, CA, will see an early 2016 release via Relapse. The album was engineered by Greg Wilkinson (Atriach, Lycus, etc) and mastered by Brad Boatright (Obituary, Sleep, Yob, etc), and will also feature artwork by Orion Landau. Album title and preorder information will be made available soon.

Though they have gained a near-cultish following in the underground in relatively little time, GRAVES AT SEA’s success is even more noteworthy when one considers the fact that the band has managed to do so without ever releasing a proper full-length album. Formed in 2002, the band soon self-released the demo Documents of Grief (2003), which quickly became one of the most talked about underground demos of the decade. After recording their debut 7″ and a split with Asunder in 2004 and 2005 respectively, the band went on hiatus, before reuniting in 2012 and signing to Relapse Records in 2015.

Now thirteen years since their formation, GRAVES AT SEA have become stronger than ever, focusing their efforts on touring and recording new material. 2014 saw the group release their first new material in over nine years, including a split with Sourvein and a separate two song EP. GRAVES AT SEA are poised to fully come into their own with the release of their first-ever full-length, which seems certain to bestow the level of success the band has achieved underground to more mainstream audiences. You can stream the band’s 2014 split with Sourvein via Soundcloud HERE.

In celebration of the finished recording, GRAVES AT SEA have also announced a week of tour dates beginning the second week of October. The tour will see the band performing shows throughout the West Coast, and will also include a performance at Southwest Terror Fest in Tucson, AZ alongside Relapse brethren CALL OF THE VOID. You can find a full list of dates below.

Oct 11 Seattle, WA The Highline
Oct 13 Oakland, CA The Golden Bull
Oct 14 Glendale, CA Complex
Oct 15 Long Beach, CA Alex’s Bar
Oct 16 Tucson, AZ South West Terror Fest – Club Congress
Oct 19 Sacramento, CA Starlite Lounge

Graves at Sea, “Betting on Black”

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Funeral Horse Post New Video for “There Will be Vultures”

Posted in Bootleg Theater on October 8th, 2015 by H.P. Taskmaster

funeral horse 1

It’s been a while since I actually laughed out loud — “lulz’ed,” as the kids might say if anyone used past tense anymore — at a band’s video, but when Houston’s Funeral Horse get around to the monkey-drumming part of the clip for “There Will be Vultures” referenced in the headline below, yeah, I kind of lost it. The video, which is the first for a track from their recently-issued third full-length, Divinity for the Wicked (review here), has a couple guffaw-worthy moments, from its quickly establishing a running gag (about being gutted) to a J Mascis-looking preacher or may or may not have been one of the dudes from The Linus Pauling Quartet reading a gospel of Rush lyrics out of an LP gatefold. It is not by any means light on charm.

Ultimately though, there remains much more to Funeral Horse — the three-piece of guitarist/vocalist Paul Bearer, bassist Jason Andy Argonauts and drummer Chris Bassett — than their willingness not to take themselves too seriously. “There Will be Vultures” is a brimming example of their genre blend, somewhere close enough to punk, to heavy rock and to noise to be arguably aligned to them, but not of any one over the others. The band’s comfort level in this between-styles forbidden-zone apparent in the ease with which they lean to the various sides on the record, but even more than that, it’s the fact that something underlying in their sound remains familiar in more than just that Sabbath-is-ubiquitous kind of way. They refuse to be easily categorized, and three albums deep into their tenure, they’re more in command of that refusal than ever.

The song itself is about four minutes long, and the video’s about eight, but settle in, because it’s worth the time.

PR wire info after. You know the deal. Enjoy:

Funeral Horse, “There Will be Vultures” official video

FUNERAL HORSE share Rush-Worshipping’-lick-shredding-monkey-drumming new video for ‘There Shall Be Vultures’ | Divinity For The Wicked out now on Artificial Head Records

Like a vision of ’80s post-hardcore punk rock, red-eyed and burning one in the back of Heavy Metal History 101, under the influence of The Melvins, Kyuss and Harvey Milk, Funeral Horse make music to gouge minds to. From album opener ‘There Shall Be Vultures,’ a track that straight off the bat (teeth flying) showcases one of the many strutting rock assaults the trio have become expert in peddling, Divinity For The Wicked throws open its doors to a wider world of distortions and digressions.

Leading the charge with ‘Underneath All That Ever Was’, a lumbering paean drawn in part from words found in a suicide note of one of Bearer’s co-workers which had gone unnoticed for several days pinned to an office bulletin board, this is Funeral Horse at their darkest and most pensive. The Tuareg desert blues of ‘A Bit Of Weed’, the funereal bagpipes that send off ‘Gifts Of Opium And Myrrh’ and slow cinematic burn of instrumental ‘Cities Of The Red Night’ suggest there’s more than meets the immediate ear this time around for a band already masterful in the delivery of unfiltered noise and heavy fuzz rock.

Following on from last year’s imposing Sinister Rites Of The Master, and the thunderous lo-fi highs of their 2013 debut Savage Audio Demon, amid a mass brawl of riffs, megaphonic vocals, blues and backwater proto-metal, Divinity For The Wicked stands as a humble monument to the marginalised and maligned. An album just waiting to be picked up and played by those that have chosen to drop out and dedicate their entire existence to the pursuit of volume.

Funeral Horse on Thee Facebooks

Funeral Horse on Bandcamp

Artificial Head Records

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Mondo Generator and Peter Pan Speedrock Tour Starts Tomorrow

Posted in Whathaveyou on October 8th, 2015 by H.P. Taskmaster

Nick Oliveri‘s Mondo Generator and Dutch rippers Peter Pan Speedrock are both celebrating their 20th anniversaries this year, and they’ve joined forces to take what’s sure to be a riotous cross-country trip together this month. It’s Mondo Generator‘s first US run since early 2013, but Peter Pan Speedrock have that beat easy: It’s been 13 years since the last time they came Stateside. Seems only fair to expect they’ll be in lively form to stand up to the occasion.

The PR wire has dates and whatnots:

peter pan speedrock mondo generator tour

Peter Pan Speedrock and Mondo Generator announce US tour in October

High octane powered Dutch machine Peter Pan Speedrock have confirmed and announced a Fall tour in the United States with Los Angeles based punk/metal hybrid Mondo Generator that has the hell ride begin in the city of Brotherly Love and conclude in the Emerald City.


10/9 – North Star (Philadelphia, PA)
10/10 – Wonder Bar (Asbury Park, NJ)
10/11 – Bowery Electric (New York, NY)
10/12 – Ottobar (Baltimore, MD)
10/14 – Hard Rock Cafe (Pittsburgh, PA)
10/15 – Small’s (Hamtramck, MI)
10/16 – Brauerhouse (Lombard, IL)
10/17 – Rock Island Brewing (Rock Island, IL)
10/19 – The 5th Quarter (Indianapolis, IN)
10/21 – Larimer Lounge (Denver, CO)
10/24 – Shredder (Boise, ID)
10/25 – El Corazon Lounge (Seattle, WA)

This tour ends a thirteen year long hiatus and a long awaited return of Peter Pan Speedrock to US soil and it is perfect timing for them to do this. 2015 is a significant milestone in their world as they are marking twenty years strong as a band, the ten year anniversary of their Eindhoven based metal/punk festival Speedfest and a North American release of their latest album Buckle Up And Shove It!(first release in North America since 2005). Their success is accredited to a solid foundation, nonstop touring and a work ethic that’s as heavy as the 2015 lineup for Speedfest.

Their latest album Buckle Up And Shove It! was released across Europe by Suburban Records/Steamhammer and picked up earlier this year by Self Destructo Records for North American audiences. Fourteen powerful tracks that blend crushing metallic guitar, powerful low end bass and hammering drums that were recorded at their new in house recording Mecca Bootleg Studios in Eindhoven, Netherlands. Their career includes ten full lengths along with split albums with names like Zeke, Danko Jones, Batmobile, Gluecifer, V8 Wankers & Death Alley. Their workhorse ethic has taken their live shows across the European, Australian and North American continents with their first visit to the Asian continent occurring in wintertime. With this ethic, they draw themselves closer to their goal of surpassing The Ramones number of live shows played of 2,263.

Mondo Generator is celebrating twenty years as a band as well! Reactivated after being put on ice due to Nick Oliveri’s touring/recording commitments with Bl’ast, Moistboyz and Dwarves, as well as releasing his solo album Leave Me Alone (Schnitzel Recordings) with tours across California and Europe in support. The break also had him rejoining his old band Queens Of The Stone Age on the stage during their final show of 2014 in Los Angeles at The Forum as well as a performance in Portland, OR. This tour will conclude for Mondo Generator at the Day Of The Shred festival in Santa Ana, CA where they will play alongside the likes of Torche, Crowbar, Yawning Man, Saviours, The Body and Nick’s old band mate from the Kyuss years, John Garcia. It will be the first US tour for Mondo Generator since they shared the road with Wino and Saviours back in 2013 in support of their last album Hell Comes To Your Heart (Mondo Media/No Balls Records).

Says Mondo Generator founder Nick Oliveri of the tour: “Looking forward to touring with Holland’s finest motor rock punk kings PPSR, on our 20th year of Mondo Generator being a band.”

Buckle Up And Shove It! is available now from Self Destructo Records on vinyl and CD in North America and through Suburban Records for the rest of the world.

Leave Me Alone and Hell Comes To Your Heart are available through the Nick Oliveri webstore.

Mondo Generator, “The Last Train” official video

Peter Pan Speedrock, “Get You High” official video

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