SubRosa, Subdued: Live at Roadburn 2017: Finding Safe Harbor

Posted in Reviews on October 31st, 2017 by JJ Koczan

subrosa subdued live at roadburn 2017

On the first day, SubRosa took to the Main Stage of the 013 venue in Tilburg to play their latest album in its entirety. And it was early in an afternoon and night of excellent performances, but seeing the Salt Lake City, Utah, outfit give my 2016 Album of the Year, the Profound Lore-issued For this We Fought the Battle of Ages (review here), a complete runthrough was still a highlight of the entirety of my experience at the 2017 Roadburn festival (review here). It was something special. The next day, across the alley at Het Patronaat, the band played once again, but this time for a set that became even more of a landmark in my mind for the long weekend.

Given the billing of ‘SubDued,’ it was SubRosa — the core lineup of guitarist/vocalist Rebecca Vernon, violinists/vocalists Sarah Pendleton and Kim Pack, bassist Levi Hanna and drummer/noisemaker Andy Patterson joined for a second time by flutist/vocalist Kelly Schilling of Denver’s Dreadnought — arranged with everyone up front in a line across the stage save for Patterson who was situated behind with a percussion and sampler setup, seated, facing the audience directly. Surrounded by stained glass windows, the high cathedral ceiling and the hardwood floors of ‘The Church,’ as Het Patronaat has also come to be known — appropriately, since it is one — it felt like a ceremony unto itself.

I stood at the very front of the stage and watched as SubRosa reinterpreted songs from 2013’s More Constant than the Gods, 2011’s No Help for the Mighty Ones (review here), 2008’s Strega and the preceding 2006 demo, The Worm has Turned — leaving the performance of their fourth full-length the day before as it was, but boldly recontextualizing past material into a mostly-acoustic neofolk rife with atmosphere, emotion and progressive sonic insight.

Simply put, it was one of the best shows I’ve ever seen, at Roadburn or anywhere else.

Taking that into account, I have to admit there’s just about no way I can be properly impartial when it comes to assessing the Subdued: Live at Roadburn 2017 live album released through Burning World and Roadburn Records. None. I was too close to it — literally — and as the band began their just-under-an-hour-long set with the graceful unfolding of “Whippoorwill,” too consumed by the immediate breadth of what they were doing to maintain any proper distance from the experience. I think most who were there to see it would likely say the same. It would be like being impartial about a sunrise whose warmth cast away months of frigid temperatures. Impartiality about a first meal after days of starving. It was a time for worship, for communion, not equanimity, and “Whippoorwill” was only the start.

One can hear that on the recording. With Patterson thudding away behind, “Borrowed Time, Borrowed Eyes” emphasizes its rhythmic punctuation as much as Vernon‘s vocal melody, recalling some of the sludgy churn of the original that led off No Help for the Mighty Ones, but with more of a reliance on the strings to fill out an arrangement still given heft by Hanna‘s bass, SubRosa set up the harmonies later in the song for the repeated lines “How long must my journey go?,” and giving way to “Sugar Creek,” which might be the most radical arrangement shift of the entire set, taking the original opener of Strega, pulling out the guitar heft and drums and replacing them with electronic beats, manipulated noise and violins on a five-minute linear build that offers rare patience and still finds a way to capture the band’s underlying emotional intensity that was present even in their earliest work. It marks a transition as well into a crucial point in the set, wherein “The Inheritance” from No Help for the Mighty Ones and “Cosey Mo” from More Constant than the Gods pair together to fully embody the ‘subdued’ experience in texture and arrangement.

subrosa

Over minimal guitar, Vernon‘s solo vocals on “The Inheritance” are soon joined by companion harmonies, and sparse percussion echoes behind, marking the path as it unfolds. Strings arrive and the arrangement builds on itself, recedes for another verse and builds again, arriving at the line, “We’re in the shadow of a dying world,” which the pervasive melancholy of “Cosey Mo” seems to bring to life all the more. Both cuts hover around the eight-minute mark and become a dark kind of gothic Americana with the treatment they’re given on Subdued: Live at Roadburn 2017, the level of depth particularly on the latter highlighting Patterson‘s work in mixing and mastering as well as on percussion. “Cosey Mo” finds a level of balance and emotional resonance by its halfway point that feels like the apex of the performance as a whole, and SubRosa continue to ride that progression fluidly, but it’s ultimately “The Mirror” that serves as the moment of their greatest impact.

With a rhythm created by hitting drumsticks on mic stands complemented by Patterson behind, “The Mirror” weaves a story of rural disaffection — “Got married in the winter/Gave birth in the summer/In five years time had five little ones…” — set to the most gorgeous vocal harmonies here present from VernonPendleton and Pack, who deep-dive into folk-ballad traditionalism with what I’d gladly argue is the boldest and bravest abandon shown on the release. The song, which originally appeared on The Worm has Turned, is the oldest of the material to make it into the set and yet could not fit more perfectly, casting off the complexity of strings, samples, bass, guitar and percussion in favor of an approach as organic as possible: raw human voice.

They thank Roadburn Creative Director Walter Hoeijmakers when they’re done and then launch into “No Safe Harbor” from More Constant than the Gods to close the set. It would be easy for it to be an afterthought, but with Schilling‘s flute added, SubRosa instead push further into the scope established by “The Inheritance” and “Cosey Mo,” finding resolution in a series of thudding crashes that, even in this setting, are viscerally weighted. To call it a suitable ending undercuts the beauty that actually holds sway for the duration of the track itself, or the obvious care put into the presentation, which like the original, ends with a chaos of rumble and strings ceding ground to a single line of percussion. Violins circle around single pulled notes on bass, and whether taken on an ambient level or in terms of the pure aural resonance, it leaves the band with just about nowhere else to go. So they end.

I have been to nine editions of the Roadburn festival. Each year offers at least one landmark performance — the one for which the festival is ultimately remembered. I don’t know if the effect could possibly be the same for someone who wasn’t there to witness it — and it’s precisely for that reason that I consider myself too close to it to be properly impartial, as noted above — but having witnessed SubRosa ‘SubDued’ and now having heard Subdued: Live at Roadburn 2017, it only further cements this set as that in my mind for 2017. It’s been six months now since and I continue to feel affected by what they did on that Het Patronaat stage, and with these tracks documenting it as gorgeously and as essentially as they do, I can only hope that will sustain for years to come. It is a reminder of the power a live performance can have and, again, as rich an experience as I’ve ever had in that regard.

SubRosa, “No Safe Harbor” live at Roadburn 2017

SubRosa website

SubRosa on Bandcamp

SubRosa on Thee Facebooks

SubRosa on Twitter

Burning World Records website

Burning World Records on Thee Facebooks

Burning World Records on Twitter

Burning World Records on Instagram

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The Mad Doctors Announce November Touring

Posted in Whathaveyou on October 31st, 2017 by JJ Koczan

the-mad-doctors-Photo-Jeanette-D-Moses-Pizzamania-Portraits

Granted, I’m not exactly on my A-game as regards general mental power this week, but it took me a while to figure out where Brooklyn’s The Mad Doctors were going with naming their tour ‘November Pain.’ Once I figured it out it seemed pretty obvious, but yeah, it was a minute or two of actual, conscious thought before I got there. ‘Danksgiving’ — way more obvious. Making the connection between ‘November Pain’ and the Guns ‘n’ Roses song “November Rain” was a bit more of a challenge. Again, that one’s on me. I’m sure most human beings wouldn’t have the same kind of trouble, what with the higher brain function and whatnot.

Following the release of their second long-player,  No Waves, Just Sharks (discussed here), earlier this year, The Mad Doctors issued a follow-up split via Twin Earth and King Pizza Records with Heavy Traffic (review here). I guess in the end the band couldn’t decide which clever name they wanted to give the run, but either way, they’ll be out for 10 days supporting both of the recent offerings, playing with Rye PinesSun VoyagerBlack HatchZip-Tie Handcuffs and a whole bunch of others. Details on the shows are available through the Thee Facebooks event page, linked following the dates below.

Goes like this:

the mad doctors tour

The Mad Doctors – November Pain / Danksgiving Tour

We are hitching up the minivan and hitting the road in search of gravy. It’s NOVEMBER PAIN/DANKSGIVING so come party with us, ya turkeys!

Three bearded, lab-coated creeps strung out on a dumpster beach, hi-fiving the sun. Two parts fuzz, one part reverb, and a jigger of formaldehyde.

Wed – 11/8 – Brooklyn @ Our Wicked Lady
Thur 11/9 – New London CT @ 33 Golden St.
Fri 11/10 – Boston @ The Rat’s Nest
Sat 11/11 – Upton MA @ Paulson Stained Glass Studio
Sun 11/12 – Milford NH @ Union Coffee Co.
Mon 11/13 – Saratoga Springs NY @ One Caroline
Tues 11/14 – New Paltz NY @ Snugs
Wed 11/15 – Baltimore @ The Crown
Thur 11/16 – Harrisonburg VA @ Crayola House
Fri 11/17 – Richmond @ Hardywood
Sat 11/18 – Philly @ Tralfamadore

Poster art by Tav Palumbo / Heavy Traffic.

https://www.facebook.com/events/2021766151389187/
http://facebook.com/themaddoctors
https://themaddoctors.bandcamp.com/
http://kingpizzarecords.storenvy.com/
https://www.facebook.com/kingpizzarecs/

The Mad Doctors & Heavy Traffic, Split 7″ (2017)

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ZOM Announce Album Details for Nebulos

Posted in Whathaveyou on October 31st, 2017 by JJ Koczan

zom

Pittsburgh’s ZOM were first announced over the summer as signing to Argonauta Records, and after some months of quiet following the unveiling of the first single from their debut release, more details have finally begun to surface about Nebulos. You know, important kinds of stuff. Artwork. Tracklisting. Release date. That kind of thing.

It was previously noted here that Nebulos would feature revamped cuts from ZOM‘s self-titled EP (review here), released in 2013, and that has turned out to be the case for sure. Opener “Nebulos/Alien” and other pieces like “Burning,” “Solitary,” “The Greedy Few” and “There’s Only Me” were featured on the band’s earlier offering, so it should add an extra level of intrigue to the long-player to hear how that material has evolved and how it sits with the newer songs written in the time since.

We’ve still got a little bit before we find out, however. Nebulos is out Jan. 19, 2018, via Argonauta, who sent the following down the PR wire:

zom nebulos

ZOM reveals details of their new effort “Nebulos”

US Heavy Rockers ZOM reveal cover artwork and track listing of their highly anticipated new album “Nebulos”.

Hailing from Pittsburgh, ZOM is a monstrous force of heavy rock n’ roll full of stinky, stoner grooves and grab-you-by-the-throat hooks. ZOM goes straight to the gut and doesn’t hold back on its relentless attack on the senses.

ZOM was born in 2014 when experienced and multifaceted music vets Gero von Dehn (Monolith Wielder) and Andrew D’Cagna (Brimstone Coven) joined forces. Eventually Ben Zerbe (Monolith Wielder, Mandrake Project) was added to the mix to form the current trio.

ZOM “Nebulos” will be released in CD/DD by Argonauta Records and available from January 19th, 2018. This is highly recommended if you like MELVINS, TAD, SOUNDGARDEN. Preorders run here: http://bit.ly/2zMOE9Q

TRACK-LIST:
1. Nebulos/Alien
2. Burning
3. Gifters
4. Solitary
5. The Greedy Few
6. There’s Only Me
7. Bird On a Wire
8. Final Breath
9. New Trip

www.facebook.com/ZOM-189166947896954/
https://zom-rock.bandcamp.com/music
http://www.argonautarecords.com
https://www.facebook.com/ArgonautaRecords/

Zom, “Solitary” official video

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Operators Post “Rolling Hitch” Video

Posted in Bootleg Theater on October 31st, 2017 by JJ Koczan

operators photo philip schulte

Berlin-based five-piece Operators released their third album, Revelers (review here), earlier this year and thereby reignited the dynamic rock and roll throwdown of 2013’s Contact High (review here) and 2012’s Operators (review here), with their most charged and dynamic outing yet. The band, who take elements from classic heavy but never lose themselves full-on into vintage-ism and never have, are somewhat underrated at this point as songwriters, as organ-soaked cuts like “Pusher” and “Walkin’ on Air” demonstrate, but as they demonstrate in their new video for the 10-minute LP finale “Rolling Hitch,” that’s done just about nothing to slow their party down. And especially in this video, which is their second from the record behind a clip for “Messina,” that party comes to life.

And hey, if you’re going to throw a throwdown, where better to do so than on the water? Operators get some friends together, hit the dock and let the good times and grooves alike roll as they will. The song features a guest appearance from Wight guitarist/vocalist René Hofmann, who also recorded and mixed Revelers, and though he doesn’t seem to be in the clip, the band obviously had a blast in putting it together. Seriously, is there anything better than watching a band live on a boat? Immediate awesomeness. Of the one or two times I’ve been fortunate enough to do such a thing, it’s never failed to thrill, and hey, if Operators wants to open a cruise line, they’ve got a pretty good commercial for why you should show up right here. I’d hit up that ship.

Check out “Rolling Hitch” below, followed by some more info from the band, and please enjoy:

Operators, “Rolling Hitch” official video

We are proud to present our second music video for our new album ‘Revelers’!

An ongoing journey. Settling down and moving ahead again. Tied knots and sharpened blades. ‘Rolling Hitch’ deals with making peace with yourself, with the neverending quest to find serenity.

Filmed by our dear friend Fabian Willi Simon on a magnificent boatride on the ‘Anarche’, Aug 19th 2017. Thanks to everybody who helped to make this happen.

Res ipsa loquitur. Enjoy with an open mind.

Operators on Thee Facebooks

Operators on YouTube

Operators on Bandcamp

Fuzzmatazz Records on Bandcamp

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Outer Battery Records to Release Shark Move & Mooner LPs Dec. 8; Preorders up Now

Posted in Whathaveyou on October 30th, 2017 by JJ Koczan

Something old and something new from Indonesian heavy psych via Outer Battery Records this December. The label has opened preorders now for Tabiat, the latest LP from Mooner originally released via Bhang Records, and Ghede Chokra’s, a 1970 private press recording by Shark Move. The intention is obviously to connect modern and classic heavy psych from Indonesia’s scene, and I think if you take a listen to the streaming tracks below — “Lancang” by Mooner and “Evil War” by Shark Move — you can hear that it’s progressive elements in both doing the bulk of that work. Also dig that classic fuzz in Shark Move. Cool finds for those who might dig.

The PR wire brings all the info and preorder links. Check it:

Outer Battery confirm double whammy of Indonesian psych; MOONER and SHARK MOVE albums released this December

Outer Battery Records have confirmed details of the upcoming album, Tabiat, by Indonesian psychedelic rock band, MOONER. Alongside this, the label will also release cult classic, Ghede Chokra’s by SHARK MOVE. The two releases go perfectly hand in hand, representing the roots of Indonesian psych and a new-school offering at the same time. Both albums will be released on December 8, 2017.

MOONER – TABIAT

Although they’re relatively unknown outside of their native Indonesia, MOONER are something of a supergroup on home soil. The band feature members of The Slave, The SIGIT, Sigmun, and Sarasvati – all well established acts, commanding huge audiences. These four musicians have carried some of that winsome magic over onto this MOONER release.

Recorded at Red Studio, Bandung, mixed at Rebuilt Studio and then mastered by James Plotkin, Tabiat was originally released in Indonesia earlier this year via Bhang Records. The record is pure heavy psych with strong influences of Indian Raga and Middle Eastern touches thrown into a stoner rock stew. Tabiat is an update to the sounds found in early 70’s Indonesia while staying true to the roots of the original scene.

1) Buruh
2) Fana
3) Takana 1
4) Hei
5) Ingkar
6) Lancang
7) Takana 2
8) Serikat
9) Gelar
10) Seruh
11) Takana 3
12) Ternganga

MOONER is:
M. Absar Lebeh (The Slave) – Guitar, Vocal
Rekti Yoewono (The S.I.G.I.T) – Bass
Pratama Kusuma (Sigmun) – Drums, Vocal
Marshella Safira (Sarasvati) – Vocal

Tabiat will be released on ivory coloured vinyl via Outer Battery on December 8. It is available to pre-order HERE.

SHARK MOVE – GHEDE CHOKRA’S

When the Suharto regime seized power in the late 60’s in Indonesia they immediately began to crack down on the alternative culture, with only a brave few willing to rebel, and the leaders of this musical rebellion were SHARK MOVE.

Recording Ghede Chokra’s (translated from the Sanskrit as The Great Session) in 1970, Shark Move unleashed their psych masterpiece on the world on their own tiny label. From these small beginnings the SHARK MOVE legacy grew exponentially, first within the Indonesian scene, and then around the world with the classic Evil War featured on Now Again’s seminal Those Shocking Shaking Days compilation. Recognizing a killer riff when he hears one, hip hop producer, Madlib, lifted the track wholesale for his City single in 2013. With original copies of Ghede Chokra’s now trading hands for obscene money, and even the extremely limited Indonesian repress from a few years ago impossible to find, Outer Battery decided it was time to step in and reissue this monster!

Pressed on blue vinyl with white splatter, and housed in a deluxe gatefold sleeve, this special release will finally be more readily available to eager listeners.

1) My Life
2) Butterfly
3) Harga
4) Evil War
5) Bingung
6) Insan
7) Madat

SHARK MOVE was:
Benny Soebardja
Bhagu Ramchand
Sammy Zakaria
Janto Diablo
Soman Loebis

Ghede Chokra’s will be released via Outer Battery on December 8. It is available to pre-order HERE.

https://www.facebook.com/OuterBatteryRecords
https://www.outerbatteryrecords.com/

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Catapult the Dead Set Nov. 15 Release for A Universal Emptiness

Posted in Whathaveyou on October 30th, 2017 by JJ Koczan

catapult the dead

It doesn’t take long into their second album, A Universal Emptiness, for Oakland post-doom six-piece Catapult the Dead to set an atmosphere as heavy emotionally as it is in its tonal substance. Doom Stew Records will have the four-track/38-minute full-length out Nov. 15 as the follow-up to the band’s 2014 debut, All is Sorrow, and while bits and pieces like some of the emergent riffing in opener “Till it Goes Away” and some of the Steve Von Till-style vocals that accompany might be traced back to Neurosis, cuts like the organ-laced “Last Breath” and the piano-topped album apex “Burning Womb” put that churn to individualized purposes.

I’ll hope to have more to come on this one. Digging the vibe a lot so far. The PR wire had this to say on it:

Catapult the Dead A Universal Emptiness

Catapult the Dead release new album on November via Doom Stew Records

Hailing from Oakland, Ca, the 6 piece crushing tribe of doom Catapult the Dead, are teaming up with San Francisco’s Doom Stew Records for their latest full length release “A Universal Emptiness”, due on November 15th, 2017.

Catapult the Dead bring to the genre their own version of musical sorrow, despondency, and longing. This unique and haunting outfit is as beautifully devastating as it is callous and brooding.

A Universal Emptiness is a 38:39 minute apocalyptic journey. Sweeping synth and organ soundscapes lead you eerily, through a dark thunderous wall of sound. With thick brutal guitars at the core, it’s rhythmic foundation is dragged angrily along by layered bass and powerful booming drums. All the while baleful roars and ghostly wales round out this bleak, crushingly dynamic, full length offering.

A Universal Emptiness will be available on November 15th. CD and LP’s are available through Doom Stew Records. Digital download and cassette tapes are available directly through Catapult the Dead. The 12″ vinyl comes in 3 special color variants to compliment thebeautiful illustrations created by Macedonian artist Pig Hands. Also featuring insert and label Illustrations by Death Ink.

Tracklisting:
1. Till It Goes Away
2. Anti-Aether
3. Last Breath
4. Burning Womb

Catapult the Dead are:
Ben Hiteman – Vocals and Percussion
Emad Dajani – Guitar
Thomas Lilliston – Guitar
Garrick O’Connor – Keyboards and Guitars
Dan Brownson – Bass
Patrick Spain – Drums

http://facebook.com/catapultthedead
https://catapultthedead.bandcamp.com
http://catapultthedead.bigcartel.com/
https://www.doomstew.com

Catapult the Dead, All is Sorrow (2014)

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Terminal Cheesecake Reissue Cheese Brain Fondue: Live in Marseille

Posted in Whathaveyou on October 30th, 2017 by JJ Koczan

Originally released by Artificial Head Recordsin 2015, the live album Cheese Brain Fondue by London heavy psych rockers Terminal Cheesecake has been newly reissued digitally and on vinyl by French imprint Atypeek Music. The offering was recorded late in 2014 as part of the resurgent outfit’s reunion onslaught that remains ongoing and in recent years has found them at Desertfest, Yellowstock and elsewhere throughout the UK and Europe, still underrated but gaining all the more of a reputation for that. Their most recent studio offering, Dandelion Sauce of the Ancients (discussed here), came out last November via Box Records and was their first long-player in 22 years, which, you know, seems like probably long enough.

The PR wire has info on the live record, which is also streaming, and more besides:

terminal cheesecake cheese brain fondue

TERMINAL CHEESECAKE – Cheese Brain Fondue (Live in Marseille) – Digital, 2xLP

Atypeek Music/ Artificial Head Records

Out now (10/2017)

2013 saw the triumphant return of London’s Terminal Cheesecake. The band formed in London in 1988 and stumbled through two EPs, five LPs and an unreleased Peel session before they called it a day in 1994.

Terminal Cheesecake are back as a tightly knitted tea cosy of a unit, after a not-so-short break deeply contemplating space and time in the further reaches of the eastern outposts of the capital and beyond. The time is right for the return to the stages of this wonderful planet and for a fresh assault on the senses of the willing public.

Cheese Brain Fondue: Live In Marseille was recorded live – in Marseille – at L’Embobineuse in October 2015. The whole thing is a massive, multi-coloured, fuzzy triumph. For one thing, it captures the band as a truly immense sonic force to be reckoned with. The whole thing sounds dynamic and vast with the murmured rumblings at the start of opening improv Fake Loop working their way effortlessly to a giant screaming climax and the opening drum smashes and six-string abuse of Bladdersack.

Cheese Brain Fondue: Live In Marseille really deserves to rank alongside the lofty likes of Hawkwind’s Space Ritual as one of the all time great live psychedelic rock recordings. It overflows with heavy energy and cosmic laughter. Throughout hard rocking wig outs, wave after wave of fuzz seeps from amps, and laps the stage like the Mediterranean on France’s southern shores. Terminal Cheesecake are back, and quite possibly better than ever before.

Terminal Cheesecake:
Gordon Watson – guitar
Russell Smith – guitar
John Jobaggy – drums, samples
Neil Francis – vocals, effects
Dave Cochrane – bass

http://www.facebook.com/TerminalCheescake
https://terminalcheesecake.bandcamp.com
http://www.atypeekmusic.com
https://www.facebook.com/AtypeekMusic/
https://artinstitute.bandcamp.com/album/terminal-cheesecake-cheese-brain-fondue-live-in-marseille

Terminal Cheesecake, Cheese Brain Fondue (2015/2017)

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Lizardmen Premiere “Steady Rolling Man” Video

Posted in Bootleg Theater on October 30th, 2017 by JJ Koczan

lizardmen-Photo-by-Bob-Sala

German trio Lizardmen may have had their moniker in mind when they decided to call their 2016 StoneFree Records debut release Cold Blooded Blues (review here), but the truth is there’s very little frigid about it. Instead, the full-length comes across with an immediate tonal warmth, basking in neo-heavy fuzz and a post-Truckfigthers energy to which Lizardmen — the lineup comprised of guitarist/vocalist Nikki Engelbrecht, bassist Niklas Giese (also Into the Wild) and drummer Tobias — bring their own spin in the form of a blend of thickened grunge and weighted blues rock. Opener “Dust” sets the tone in a hook that owes as much of its churn to the ’90s as to the late ’10s, and where the subsequent “Turn the Screw” feels in part derived from the post-Queens of the Stone Age quirk of “Monte Gargano” by the aforementioned Truckfighters, the way the track takes off in its second half belongs more purely to Lizardmen themselves, and offers a clear signal that they’ve begun a process of exploring and discovering their sound and set forth to distinguish themselves from their influences.

That thread holds as “Seven” introduces more of their side rooted in blues progressions, and this will come up again later in the album on the penultimate “Steady Rolling Man” as well. The six-plus-minute track builds off a Robert Johnson original, “I’m a Steady Rollin’ Man,” recorded circa 1937, a sample of which also leads off in Lizardmen‘s new video, as if to emphasize the point. From there, however, Lizardmen coat the Delta blues vibe in fuzz riffing and a hard-driven groove, turning the line “You can’t give your sweet woman everything she wants at one time” from Johnson‘s version into their own “I ain’t got what you need — fuck off” as they rock out in an open space with their tour van behind them, standing ready to carry that message forth to any and all ears willing to hear it. As they add a psychedelic break and album-highlight solo in the song’s midsection, joints are rolled, weed is smoked and what looks like good times are had, so clearly, despite their protests to the contrary, they’ve got what somebody needs.

“Steady Rolling Man” caps with a final chorus before giving way to the crashing opening of nine-minute finale “The Cannibal,” which unfolds a chaos of its own in a more fuzzy bounce, psychedelia, and a particularly aggressive march that caps with a return of its initial thrust, so while the song before is catchy, righteously and thoroughly baked and born of multiple sonic traditions, it doesn’t necessarily speak to the entirety of Cold Blooded Blues from whence it comes. Fortunately, the whole thing is streaming on Bandcamp — also at the bottom of this post — for those who’d seek a deeper dive.

And the video makes a solid argument for one. Check it out below and please enjoy:

Lizardmen, “Steady Rolling Man” official video premiere

LIZARDMEN – you can hear the social isolation of the cold-blooded, feel the scaly saurian skin that spurns all touch. Sometimes, a guitar solo cleanses you like a venomous fang, and the white-hot pain creeps through your blood vessels straight into your heart.

Beasts in disguise invite you to revel in playful melodies or driving rhythms, but as soon as frontman Nikki approaches the mic, the grimy Grunge inevitably cracks the surface. His vocals are rough and alien, like after decades of silence – but at the same time gripping in his subliminal ire. The hooks implant themselves in your lobes after the first playthrough, as stubborn as termites in a rotten tree, hollow you out, may yet wrest a tear or two from your eye – would not the bone-dry sound swallow them up in the same instant.

Lizardmen are:
Nikki – Vocals/Guitar
Tobias – Drums
Niklas – Bass

Lizardmen, Cold Blooded Blues (2016)

Lizardmen on Thee Facebooks

Lizardmen on Instagram

Lizardmen at Stone Free

Lizardmen on Bandcamp

Lizardmen at StoneFree Records

StoneFree Records on Thee Facebooks

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