Posted in Whathaveyou on May 30th, 2017 by JJ Koczan
First issued last year as the inevitable follow-up to their He Said single (review here), the eight-track full-length debut from Italy’s Sonic Wolves, Before the End Comes, has now been pressed to vinyl for the first time. It’s available via Taxi Driver Records in a couple different editions that include the aforementioned single, and in addition to marking the debut for the band, it’s also something of the end of an era, as bassist/vocalist Kayt Vigil (ex-Hounds of Hasselvander), drummer Vita (Ufomammut) and guitarist Diniz have since parted ways with guitarist/vocalist Paolo Melotto and opted to continue forward as a trio. No doubt that, whatever they do next, that will play into some shift in sound and approach.
The PR wire brings info and links for those who’d chase the platter in the meantime:
Sonic Wolves – “Before The End Comes” vinyl release
Taxi Driver Records announces the release of Sonic Wolves’ first album, titled “Before The End Comes”, on vinyl version.
After the release of the album on cd in 2016, the limited edition 180gr 2-color split – black/white vinyl can now be pre-ordered from the label’s bandcamp page.
First 70 copies are hand numbered and include the 7″ single “He Said” radio edit, released first for Record Store Day 2016 (limited edition now sold out) and then for Sonic Wolves’ European tour supporting Belzebong in Feb/Mar 2017.
There’s also a very limited die hard edition: 25 handmade and numbered heavy paper boxes including 180gr vinyl record, jewel box cd, 7″ single “He Said”, pin button and screenprinted back patch.
“Before The End Comes” was recorded at the end of 2015 at Ampire Studio in Pistoia, with Stefano Tocci serving as studio sound engineer. Artwork by Michele Carnielli (Seals Of Blackening).
The album includes 8 tracks: 1. Winds Of War 2. Geronimo 3. Obscured 4. He Said 5. Wolfwitch 6. Lamia 7. Freedom Is The Devil 8. Before The End Comes
Sonic Wolves, heavy rock band founded by bassist Kayt Vigil (previously in The Hounds Of Hasselvander and Pentagram, currently also in Rogue State) and drummer Vita (also in Ufomammut and Rogue State), is now performing as a power trio together with their guitarist Diniz, as they have recently parted ways with the other guitarist.
Sonic Wolves is: Kayt Vigil – Bass, Vocals Diniz – Rhythm Guitar Vita – Drums
Posted in Whathaveyou on May 30th, 2017 by JJ Koczan
German classic heavy rock forerunners Kadavar have finished recording their fourth album and have their eye on a late-Sept. release. Presumably the record will be delivered via Nuclear Blast, which also issued 2015’s Berlin (review here), the trio’s third offering that marked a distinct turn in sound away from the vintage-ism of their earlier two outings, 2012’s self-titled debut (discussed here) and its 2013 follow-up, Abra Kadavar (review here), but that has yet to be confirmed, and four months out from the new long-player’s arrival, there would seem to be plenty of time for details to be unveiled. They likely will, one at a time — artwork, tracks, tour dates, song premieres, etc. — over a stretch of considerable hype leading into the release.
And at this point, that hype is well earned. The three-piece of guitarist/vocalist Lupus Lindemann, drummer Tiger and bassist Simon “Dragon” Bouteloup have been around the world touring and even through the aesthetic shift toward a smoother production style on Berlin, their songwriting remained second to none. It was an album rich enough in its components that the band set out to make a video for each track on it. They didn’t quite get there by my last count — though I could be wrong on that; there were certainly plenty of videos — but the intent says something anyway.
For their latest, Kadavar built their own studio and took on the task of self-recording. It should be interesting to hear where this process takes them as they follow Berlin, whether they stick to the sleekness or opt for something rawer in its overall impression. For a band as keyed into presentation as Kadavar have been for the last half-decade, that’s a huge step to take at a pivotal moment in their tenure, but they’ve never wanted for boldness in either style or substance.
Slots are already booked at SonicBlast Moledo in August and Desertfest Belgium in October, and one assumes there’s more to come. Till then, they announced the album’s completion thusly:
As of today, our fourth longplayer is officially done! in january, we started building our own recording studio in an old factory. by the end of march we started writing new material while finishing the control room and within the last two weeks, we recorded and mixed all tracks. it has been a crazy year for us, but we love our new home and the new songs. they will be released in late september, more info soon!!!
Photo by the one and only Elizaveta Porodina Photography & styling by our Judith Suer
Posted in Whathaveyou on May 29th, 2017 by JJ Koczan
What’s that you say? You’re pretty sure I’ve already posted these Hollow Leg tour dates for their June run up the East Coast that includes a stop at Maryland Doom Fest at Cafe 611 in Frederick on June 24, where they’ll share the stage with Bang, Wo Fat, Earthride, Serpents of Secrecy, The Watchers, Heavy Temple, King Bison, The Well, Witches of God, Black Tap Prophet and Conclave? Oh, most definitely.
Why do so again? Because Hollow Leg are frickin’ awesome live and they it’s not like they spend seven months out of the year on the road, so if you get the chance to see them, you should do so. They’ll be bringing a new Argonauta Records reissue of their 2016 album, Crown (review here), with them that includes the 2017 Murder EP (review here) as bonus material — as well as tapes of the EP pressed by Southern Druid Records and some snazzy-looking new shirts for the merch table — and even if you’re not in their path this time around, you can preorder that release now from Argonauta ahead of its official arrival on June 30.
Info (and dates!) follow here, as culled from the wilds of social media:
Hollow Leg – Crown: Murder Edition & June Tour
In addition to CD reissue of CROWN with Murder EP as bonus tracks, our friends at Southern Druid have been so good to release the Murder EP in cassette format…purple tinted tapes look super cool! And we will have these in addition to the “Murder edition” Crown CDs next month on our run up and down the coast and return stop at Maryland Doom fest.
3 weeks til we pack up for our first piece of touring in the last year, 4 weeks til we breach Winston-Salem for the first time, can’t wait to get back out, see all your beautiful faces, and consequently melt them.
HOLLOW LEG Northeast Migration tour: 06/17 Jacksonville FL Nighthawks 06/19 Atlanta GA 529 06/20 Raleigh NC Slim’s 06/21 Richmond VA 25 Watt 06/22 Boston MA O’Brien’s 06/23 New London CT 33 Golden Street 06/24 Frederick MD Maryland Doom Fest Cafe 611 06/25 Winston-Salem NC The Test Pattern 08/18 Las Vegas NV Psycho Las Vegas Hard Rock Hotel & Casino
Baltimore heavy folk rockers Arbouretum recently completed a quick round of domestic dates in support of their 2017 album, Song of the Rose (review here), which is out now on Thrill Jockey, and before they head to Europe and the UK next week to play the Freak Valley and Supersonic festivals, as well as other gigs surrounding, they’ve posted a new video for the track “Fall from an Eyrie.” The song, which appears in the second half of Song of the Rose, is a standout from the record in both its purpose and melody, and as much as the lyrical theme seems to center around the effects of gravity, the cut itself does nothing but soar.
As to what it might have to do with boxing, on the other hand, I’ve no idea. But that’s where the video goes nonetheless, swapping back and forth between footage of two dudes pummeling each other and shots of the band in what would seem to be their rehearsal space performing the track. These disparate visuals tied together by director Gabriel DeLoach using a kind of pastel effect that’s well suited to the song’s own sonic color scheme and tonality, and we do get some resolution to the boxing match — spoiler alert: somebody gets punched very hard in the head and falls down — as the “Fall of an Eyrie”‘s immersive wash hits its apex.
Great song, underrated band, excellent album. You know the drill. I’m a nerd for these guys so you’re damn right I’m posting the clip.
Tour dates follow the video. Hope you enjoy:
Arbouretum, “Fall from an Eyrie” official video
Knock yourself out with Arbouretum fans favorite the epic ‘Fall from an Eyrie’ taken from new LP ‘Song of the Rose’
The band perform at a host of dates across the U.S & Europe this summer
Don’t be square!
Jun 6 | The Prince Albert, Brighton UK Jun 8 | Het Bos, Antwerp BE Jun 9 | Tsunami Club, Cologne DE Jun 10 | Musik & Frieden, Berlin DE Jun 11 | Beatpol, Dresden DE Jun 12 | Klub 007 Strahov, Prague CZ Jun 13 | fluc + fluc wanne, Vienna AT Jun 14 | Club Manufaktur, Schorndorf DE Jun 15 | FREAK VALLEY FESTIVAL, Netphen-Deuz DE Jun 17 | Supersonic Festival, Birmingham UK Jun 18 | Brudenell Social Club, Leeds UK Jun 19 | The Black Heart, London UK Jun 20 | La Zone, Liège BE Jun 22 | Post Tenebras Rock – L’Usine, Geneva CH Jun 24 | Cascina Bellaria Music Club, Sezzadio IT
Posted in Whathaveyou on May 29th, 2017 by JJ Koczan
Punk-edged heavy rockers Del Rios initially put out their second album, Blood River, last December via the customary means — Bandcamp. Half a year later the Pittsburgh-based outfit — which features former Penance guitarist Matt Tuite — have teamed up with Blackseed Records in order to give the record a physical presence on June 1 the arrival of which will be celebrated a short while later, June 9, at Gooski’s, also in Pittsburgh. It is the follow-up to Del Rios‘ 2013 debut, Lobos, and in addition to Penance, the group boasts members of Delian League and Iron Crown.
You can hear the album in full via the Bandcamp player below and Blackseed will have purchasing options available this week, so keep an eye out. Here’s info from the PR wire:
Del Rios – Blood River – Blackseed Records
“Made of steel… forged in hell”, the tagline accompanying Del Rios’ Blood River offering, is as apt a description as any to describe the sound of these metal monsters. Taking the role of lead singer and adding an additional guitar to their already heavy arsenal, Grae Hall, formerly of Bang Camaro fame, adds a welcome NWOBHM influence to the chimera punk/metal sound they’ve cultivated to date. Rounding out the lineup are Metal Matt (Penance, Behind Enemy Lines), Sammy the Fish, and Nick Rivers. Having established themselves as a punk metal tour de force in Pittsburgh, Del Rios can be found deluging audiences with their sonic attack at The Smiling Moose, Howler’s, and Club Café.
On June 1st, 2017, Del Rios, joining forces with noise/experimental label Blackseed Records (Enhailer, Heiðrún, Horehound), will release physical copies of Blood River. Get yours on the Del Rios Bandcamp, at Blackseed Records, or at their June 9th record release show at the infamous Gooski’s, Pittsburgh, PA.
Del Rios are: Nick Rivers: Drums “Metal Matt” Tuite: Guitar Sam “Sammy the Fish” Pesce: Bass Grae Hall: Vocals, Guitar
A central question posed by Demon Head‘s second full-length, Thunder on the Fields, is whether or not a band can still capture sonic lethargy while coming across as energetic and excited at the prospect of doing so. The Copenhagen-based five-piece — comprised of the all-initials lineup of vocalist M.F.L., guitarists B.G.N. and T.G.N., bassist M.S.F. and drummer J.W. — of course answer in the affirmative, and on the seven-track/40-minute follow-up to their 2015 debut, Ride the Wilderness (review here), they set themselves to the task of proving this hypothesis in briskly executed, semi-vintage-style heavy doom rock that’s proto-metallic in its central influence but by no means trying to pretend the last five decades of genre development never happened.
Released through Caligari Records on tape and The Sign Records on CD/LP, Thunder on the Fields also reaffirms a key proposition laid forth by its predecessor — namely that Demon Head know precisely where they want to be in terms of aesthetics. The Danish-lyric opener “Menneskeæderen” (translates to “cannibal”) and the later, push-minded “Hic Svnt Dracones” (video posted here) pair up as leadoffs for a classically-constructed side A/B LP or tape, and in their propensity for rolling grooves, for moody, low-register vocal melodies and for interplay between swing and rhythmic bounce, Demon Head make a convincing argument for vibrancy in languid execution. If Thunder on the Fields wasn’t actually recorded live — and I don’t know that it was or wasn’t, though they apparently locked themselves in a cabin and went direct to tape — it comes close enough to capturing that feel, and if the question is can a band sound like a downer without actually being one, Demon Head confirm a resounding yes.
Those who took on the debut — and if you didn’t, I suspect after digging into Thunder on the Fields, you might be tempted to go back and do so — will be relieved to note the persistence of that natural vibe, and with the opening thrust of “Menneskeæderen,” which winds its leads over crashing rhythm tracks between its chorus and verses, and into the lumbering start of “We are Burning” that leads to a tense interplay of guitar noodling and jagged, angular percussive stomp, Demon Head are doing little to hide it. Thunder on the Fields, ultimately, is less about fixing what isn’t broken than taking what the band was able to accomplish their last time out and moving ahead with its development. A pretty common narrative, but justified in the progression they show in their songwriting and in the momentum they manage to conjure, regardless of pace.
The title-track, which follows “We are Burning,” is a highlight both in terms of its own hook and the flow already set up by the cuts surrounding, and no doubt youth is still a part of the equation when it comes to Demon Head — there’s a certain burgeoning maturity of approach, but they’re still a young band and that’s how they come across — but on the basic level of their construction and willingness to shift themselves from nodding doom to the jangly strum of “We are Burning” within the span of a measure, they demonstrate the ability to hold the reins on a sense of chaos in their execution that can only be the result of a band actively working to become stronger in their presentation. Sorry, but it just wouldn’t work otherwise. And likewise, the slower title-cut, which is still just four minutes long, drives knowingly toward a righteous apex and tracklist centerpiece “Older Now” revives a grim boogie that seems by the end of its own four-minute run to have made efforts to tear itself apart, only to find a firm, steady foundation in the layer beneath.
A tolling bell, acoustic plucking and some longer runtimes signal a clear difference in intent for Thunder on the Fields‘ side B, but the overarching atmosphere remains largely consistent between the record’s two halves, and as “Hic Svnt Dracones” gets underway, it further notes how far Demon Head have come in the three short years since their Demo 2014 (review here) and the Demon Head b/w Winterland (review here) found them worshiping at the altar of Pentagram and how much they’ve been able to craft their own sonic footprint in that time. “Hic Svnt Dracones” is full of motion once it kicks in from that intro, but winds up in a patient place behind its soulful post-midpoint solo, and in picking up tempo again just before its end, it reinforces its own structure and sets up the drawn-out standalone riff that starts “Gallow’s Omen” (video posted here) as all the more of a focal point. There’s still the nine-minute closer “Untune the Sky” behind it, so I wouldn’t necessarily call “Gallow’s Omen” the most sprawling inclusion, but being jammier on the whole makes it all the more distinct in its surroundings, as Demon Head seem to find a balance between the more taut execution of cuts like “Older Now” and more open-feeling methods.
One might expect “Untune the Sky” to further let loose in this regard, but the finale is defined by its plotted course, sleeking through early verses toward an acoustic-inclusive midsection en route to a classic-rocking shuffle of a crescendo and comedown that remains vibrant thanks in large part to the memorable guitar work, lead and rhythm. The guitars have been a major component of the album’s success all along, so it’s only fitting the final statement should underscore the point. They do so fluidly, and Demon Head cap their second outing with one more affirmation of the vitality that has become one of their core appeals along with their depth of tone and varied songcraft, as well as the impression that their growth is in progress and the steps they’ve taken with Thunder on the Fields will continue to lead them forward into whatever they might do next.
Posted in Whathaveyou on May 29th, 2017 by JJ Koczan
Egypt head back to Europe in July for a tour that rounds out with slots at Stoned from the Underground in Germany and Red Smoke in Poland, and by the time they go, the Fargo, North Dakota, three-piece will have issued their new album, Cracks and Lines. You might recall the band posted the 11-minute title-track of the record back in March — though one didn’t know at the time it shared its name with the record; very sneaky — to give a substantial tease to the follow-up to 2015’s Endless Flight (review here) and reassure their broadening listenership that their bluesy sludge rock remains well intact moving into their next release.
Good to know and good to hear. I’d already been looking forward to the rest of the album, and if you’re in a similar mindset, they’ve got preorders up now through their Bandcamp and have posted the album art and tracklist. Though “Cracks and Lines” itself was 11 minutes long, I’m thinking the rest of the offering might be pretty short since they refer to it as an “EP/LP.” Either way, new Egypt and I’ll take it.
They were also recently confirmed for Glory or Death Records‘ upcoming Thin Lizzy tribute (info here), so plenty going on. Here’s info from their social medias:
Egypt – Cracks and Lines
The digital and CD preorders of our new EP/LP/album “Cracks and Lines” are now live on bandcamp. The release date is set for 6/20 for the digital/CD. Physical CDs should be in our hands on or before the release date. If a delay occurs we will let everyone know. Vinyl will be coming, but a bit down the road. Check it out. Cheers.
Tracklisting: 1. Final Heist 2. Cracks and Lines 3. Dirge 4. Watchin’ You 5. What Lights This Ocean
Here are our 2017 European tour dates. We’re super stoked to be heading back over to Europe this Summer. Check it. Presented by Total Volume & Eclipse Productions!
1-jul Rare Guitar – Münster DE 2-jul Le Garage – Liege BE 3-jul Le Glazart – Paris FR 4-jul Le Ferraileur – Nantes FR 5-jul OFF 6-jul Coq D´Or – Olten CH 7-jul Dome of Rock Festival – Salzburg AT 8-jul KVLT – Budapest HU 9-jul EXIT festival – Novi Sad RS 10-jul Club Daos – Timisoara RO 11-jul Elektropionir – Belgrade RS 12-jul Vintage Industrial Bar – Zagreb HR 13-jul Das Bach – Vienna AT 14-jul Club 007 – Prague CZ 15-jul Stoned From the Underground Fest – Erfurt DE 16-jul Red Smoke Festival – Pleszew PL
EGYPT is: Aaron Esterby – Bass/Vocals Chad Heille – Drums Neal Stein – Guitar
Posted in audiObelisk on May 29th, 2017 by JJ Koczan
French doomers Witchthroat Serpent will release their new single Striped Dragon on June 15 through Svart Records. That makes it just in time for the Toulouse three-piece to hit the road for a week of dates mostly in Germany but also with stops in Belgium and France as well as they continue to support their 2016 sophomore outing, Sang-Dragon. “Striped Dragon,” which premieres today on the player below, is one of two outlier tracks included on the 300-copy 7″ pressing that was recorded at the same time as the album but ultimately held back, and given the shift from gritty and raw doom to more psychedelic roll, one can understand why. As much as cuts like “A Caw Rises from My Guts” or “Siberian Mist” brought garage swirl to post-Electric Wizard doom, that record was much more about crushing skulls than expanding the minds held within them. It’s a question of intent.
And when it comes to intent, Witchthroat Serpent‘s is — on one release or the other — clearly geared toward darkness. From its hey-check-it-out-it’s-a-naked-chick-with-horns cover art to the 90 seconds-plus of feedback that leads the way into “Striped Dragon” itself, the new single brims with a rough-hewn psychedelic atmosphere. It’s a trip, but it’s a bleak trip, and that minute and a half of feedback isn’t simply wasted time when it comes to setting the ambience for the groove that follows. Pushed forward by drummer Niko Lass with the raw fuzz of Lo Klav‘s bass as its foundation, “Striped Dragon” complements Fredrik Bolzann‘s buzzsaw guitar tone and cleaner-but-still-shouted vocals with a persistent line of organ, which not only distinguishes the song from the album that otherwise might’ve surrounded it, but ties it aesthetically to both modern cultism and classic heavy rock in a subtle but resonant fashion.
Structurally simple, “Striped Dragon” plows through its verses on the back of said elements and at the end of its sub-six-minute run feels somewhat short in a manner that might lead one to immediately flip the platter over and take on the B-side — all the more effective as a single, then. And, since most of Sang-Dragon‘s pressings have completely sold through at this point, all the better to give Witchthroat Serpent something new to take on the road in the coming weeks. One wonders if highlighting this side of their approach might lead the band to incorporate such a wider sonic berth to their next long-player, but I think we probably have a bit to go before we find out one way or the other.
In the meantime, you can check out “Striped Dragon” on the player below, followed by more info courtesy of Svart‘s preorder page, which is here.
Please enjoy:
After their acclaimed second LP “Sang Dragon” (2016), Witchthroat Serpent continue to blaze their own path in the most powerful manner possible. “Striped Dragon” is not merely an addendum; it is a fierce metallic onslaught of occult psychedelia, strong enough to stand on its own.
Recorded live at Drudenhaus Studio during the “Sang-Dragon” sessions, this new 7?EP reveals an even more radical side of the doom shamans. These two exclusive tracks push the band’s sound into a new territory. Fierce and mind-warping, riddled with fuzzy hammering riffs and ever groovier pounding, it’s a mean follow-up to their previous sonic excursions.
“Striped Dragon” is presented in a deluxe gatefold cover, a carefully-crafted work of art by Branca Studio. This piece is limited to 300 copies and is a one-time pressing.
Available on: 15.6.2017
WITCHTHROAT SERPENT “RISING SUN TOUR” June 2017: 19/06 BE Antwerpen “Kid’s Kaffee” 20/06 GER Berlin “Tiefgrund” 21/06 GER Dresden “Ostpol” 22/06 GER Leipzig “Black label Pub” 23/06 GER Nuremberg “Kunstverein” 24/06 GER Munich “St Helena Festival” 25/06 FR Paris “Dr Feelgood”
