Fuzz Forward to Release Out of Nowhere in March; New Song Streaming

Posted in Whathaveyou on January 18th, 2018 by JJ Koczan

fuzz forward

To herald the arrival of their debut album, Out of Nowhere, Barcelona-based heavy rockers Fuzz Forward are streaming the new track ‘Despairs’ as the first audio to come from the four-piece. Sure enough, it’s pretty fuzzy, but the name-your-price single has more going on than the guitar tone of Edko Fuzz in Juan Gil‘s post-Alice in Chains vocal melodies and an overarching grunge-style feel to the groove from bassist Jordi Vaquero and drummer Marc Rockenberg. Whether or not or to what degree “Despairs” might represent Out of Nowhere as a whole, I don’t really know, but the track has its house in order to be sure, and if the remainder of the LP is nearly as cohesive in its approach, it’ll be one to watch for as we move out of winter.

The PR wire brings background and streaming audio:

fuzz forward out of nowhere

FUZZ FORWARD new song Despairs!

Fuzz Forward was born as a trio in Barcelona by mid-2016 with Jordi (Boveda del Sol, Mindust) on bass and brothers Edko (El Yeti, Rags to Riches) on guitar and Marc (El Yeti, Valiumbitch) on drums. After a few months trying out singers, the band found in Juan the singer to seal a stable line-up by early 2017. Writing songs took the front seat in the band’s schedule and it was during 2017, that the eight songs that will be part of their debut album, “Out of Nowhere” (due for release next March of 2018), came to their final shape. During that stint, the band also started playing live with bands like Sasquatch, Mammoth Mammoth and Electric Monolith.

The music of Fuzz Forward has its roots in 70s hard rock, the alternative sounds of the 90s and the stoner rock of the last decades. These are the ingredients for a strange and exquisite mix with crushing riffs, dark melodies and a touch of space psychedelia.

Produced & Recorded by Fuzz Forward
Mixed & Mastered by Jordi Vaquero

Fuzz Forward is:
Juan Gil – Vocals
Jordi Vaquero – Bass
Marc Rockenberg – Drums
Edko Fuzz – Guitar

https://www.facebook.com/fuzzforward/
https://fuzzforward.bandcamp.com/releases
https://www.facebook.com/RedSunBarcelona/

Fuzz Forward, “Despairs” from Out of Nowhere (2018)

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Black Space Riders Post “Movements” Video; Amoretum Vol. 1 out Next Week

Posted in Bootleg Theater on January 18th, 2018 by JJ Koczan

black space riders

If you happened to catch the last Black Space Riders video and you happen to catch this one, well, you’ll probably note that the two have about nothing in common. Ha. I bet you thought I was gonna tie it all together like there’s some overarching narrative or something like that. No dice! Take that, expectation!

Actually, if you want to think about it on another level, there is an overarching narrative between the clip previously posted for “Another Sort of Homecoming,”and it speaks in my mind not just to the appeal of Black Space Riders‘ current album — the forthcoming Amoretum Vol. 1 (review here), which, as the headline says above, is out next week — but also the appeal of the band as a whole: you just don’t ever really know where they’re going to go next.

To wit, “Another Sort of Homecoming,” the video, was based around an old sci-fi cartoon culled from the vast reaches of the public domain. “Movements?” Well, it’s nature footage, man’s interaction with the world around him, alternately patient and manic in its presentation — every bit a different vibe. And you know what? It’s perfect for the two songs. “Another Sort of Homecoming” is an uptempo dancer clocking in under four minutes, while “Movements” turns from its initial post-rock drift to build to furious intensity of chugging before finally evening out atop some still-pretty-frenetic percussive work. Time: eight minutes. The two songs — which on the record are separated only by the catchy push of “Soul Shelter (Inside of Me)” — would seem to have little to do with each other.

But that’s the point. It’s the scope of the thing, and that’s the story they’re telling about Amoretum Vol. 1 and Black Space Riders as a whole. I know this isn’t the highest-profile release that’s coming out this year, but I really think this band has something to offer, so I’m just going to keep writing about them as much as possible. Look for a vinyl giveaway and an interview with the band in the weeks to come.

Enjoy the clip for “Movements” in the meantime, followed by more from the PR wire:

Black Space Riders, “Movements” official video

Amoretum Vol. 1 will be released on January 26. The single can be purchased and the album pre-ordered on all digital platforms, including Bandcamp, as well as at the band shop: www.blackspaceriders.com/shop

Distribution partners:
Germany/Austria/Switzerland: Cargo Records
USA/ Canada: MVD Entertainment
UK: PHD (plastichead distribution)
BeNeLux: Suburban records
Scandinavia: Border Music
Italy: Goodfellas

BLACK SPACE RIDERS are:
JE: Lead Vocals, Guitars, Organ, Piano, Electronics
SEB: Lead vocals, Keyboards, Electronics
C.RIP: Drums, Percussion, Didgeridoo
SLI: Guitars
SAQ: Bass Guitar
MEI: Bass Guitar

Black Space Riders webstore

Black Space Riders on Thee Facebooks

Black Space Riders on Twitter

Black Space Riders on Bandcamp

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Treedeon Announce New Album Under the Manchineel Due Feb. 23

Posted in Whathaveyou on January 18th, 2018 by JJ Koczan

treedeon

Right on the line between crunching noise rock and weighted sludge roll is where you’ll find the new track from Berlin sludge outsiders Treedeon, who three years after issuing the willfully bizarre Lowest Level Reincarnation (review here) will return on Feb. 23 via Exile on Mainstream with Under the Manchineel, their latest album. You can hear the rumbling-but-still-melodic-and-by-the-way-absolutely-crushing “Breathing a Vein” at the bottom of this post if you’re so inclined, and keep your ears open for the swell in intensity as it moves toward its blown-out, scream-topped finish. Shit is masterful and bombastic in kind.

Oh, and in case you’re wondering, a manchineel is a tree. Its fruit is apparently sweet but poisonous as all hell — clearly Treedeon working on a metaphor there. If you didn’t know, don’t feel bad. I had to look it up.

The PR wire brings album art and details and whatnot:

treedeon under the manchineel

TREEDEON: German Sludge Trio To Release Under The Manchineel LP Via Exile On Mainstream In February

German trio TREEDON will release their monstrous second LP, Under The Manchineel, this February through their allies at Exile On Mainstream.

Offers bassist/vocalist Yvonne Ducksworth, “We recorded Under The Manchineel at Studio Wong in Berlin; they have a great Live setup for us. The song “Breathing a Vein” surprised me; turned out to be one of our favorite songs on the record. As far as vocals: it really melds what Arne and I do best to accompany one another. The song lyrics are echoing that as well: Two opposites who manage to belong together.”

Exile On Mainstream Records will release Under The Manchineel on CD, LP, and digital formats on February 23rd; find preorders RIGHT HERE.

Under The Manchineel Track Listing:
1. Cheetoh
2. Death Of Ceres
3. Breathing A Vein
4. No Hell
5. Manchineel
6. Protoplanet
7. Wasicu

TREEDEON returns with the follow-up to their debut, Lowest Level Reincarnation, which was released some three years ago. The bruising second album, Under The Manchineel marks the arrival of a new drummer Andy Schuenemann, of post-rock instrumental duo Alphatrip, joining bassist/vocalist Yvonne Ducksworth and vocalist/guitarist Arne Heesch, and taking the band in an even heavier direction.

The seven tracks on Under The Manchineel have foundations in sludge, noise, and doom, also incorporating unexpected melodies into their colossal wall of sound. This thunderous catharsis, reaches levels of emotional intensity previously untapped within the album’s forty-five-minute lifespan. The lyrics are fueled by a multitude of political issues including general disenchantment with world events, and the current world order. The track “Manchineel” — one of the album’s many highlights — is a clear example of this as raging vocals of lyrical angst target all the forces declaring war on our society and our planet.

https://www.facebook.com/Treedeon
http://www.mainstreamrecords.de

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War Cloud Announce Tour Dates Including SXSW and More

Posted in Whathaveyou on January 17th, 2018 by JJ Koczan

war cloud photo Janiece Gonzalez

Oakland riffthrashers War Cloud will head out on tour in March, and I think if you heard their 2017 self-titled debut (review here) — which you can stream in its entirety at the bottom of this post courtesy of Ripple Music‘s Bandcamp page — you probably have some sense of the particular brand of good times they’ll be having along the way. Boozy, in short. Regardless of intake, however, War Cloud are a riot. I’ve yet to have the pleasure of catching them live, but they’ve got hooks, energy and a classic-minded sound delivered with modern vigor, and if that’s not enough to make you show up to a gig, they’ll probably have a rad t-shirt or two for sale too. Just a guess on that one.

They’ll be making stops at SXSW in Austin and circling back to CA in the company newcomer labelmates Holy Grove, which, goodness gracious, that’s a show — though one could easily and probably should say the same of the Ripple Fest II that War Cloud will play on Feb. 3 among likewise-esteemed compatriots Blackwülf, The Hazytones, The Watchers and ZED.

That show is at Thee Parkside and you’ll find the details as well as the tour dates below, courtesy of the band via the PR wire:

war cloud tour poster

Ripple Music and Hi-Wattage Booking present War Cloud, volcanic rock from Oakland, California, for the first time bringing their aural ash of molten riffs to Texas. With their debut album out, the heavy rock quartet will be taking the southwest by storm making an appearance at SXSW and linking up with fellow Ripple band, Holy Grove for the last 3 dates.

Originally erupting out of Oakland, War Cloud have been steadily shredding Northern Californian ear drums since their formation in 2014. Founded by vocalist, guitar player and former Baltimore resident Alex Wein, after immediately planting down his amps he wasted no time in recruiting a solid four-man crew. Setting out to create an aural ash cloud of volcanic rock ‘n’ roll, Wein was soon joined by Bay Area natives Joaquin Ridgell on drums, guitarist Tony Campos, and later, Los Angeles transplant Sean Nishi on bass.

War Cloud Live:
02/03 Ripple Fest II Thee Parkside San Francisco CA w/ Blackwülf, The Hazytones, The Watchers & ZED
03/12 Blacklight District Long Beach CA
03/13 Yucca Tap Room Tempe AZ
03/14 Rockin’ Cigar Bar El Paso TX
03/15 The Lost Well Austin TX (SXSW)
03/16 Rudyard’s British Pub Houston TX
03/17 Limelight San Antonio TX
03/18 TBA
03/20 Surly Wench Tucson AZ
03/21 Tower Bar San Diego CA w/ Holy Grove
03/22 5 Star Bar Los Angeles CA w/ Holy Grove
03/24 Eli’s Oakland CA w/ Holy Grove & Brume

War Cloud is:
Alex Wein – Vocals/Guitar
Tony Campos – Guitar
Sean Nishi – Bass
Joaquin Ridgell – Drums

http://facebook.com/WarCloudisComing
http://warcloudiscoming.bandcamp.com/
http://warcloud.bigcartel.com/
https://www.facebook.com/pages/Ripple-Music/369610860064
https://twitter.com/RippleMusic
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

War Cloud, War Cloud (2017)

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Corrosion of Conformity Post “The Luddite” Video; US Tour on Now

Posted in Bootleg Theater on January 17th, 2018 by JJ Koczan

corrosion of conformity dean karr

So not that I’m awash in extra minutes-per-day or anything like that, but among the various ideas for writing projects kicking around my head lately has been a side-blog that theoretically would be called ‘Doomestic Living,’ which would basically serve as a chronicle for my adventures in my still-new position as a stay-at-home dad, a dude who likes music, and someone with assorted mental health issues. Sounds pretty indulgent, right? Don’t worry, I’m sure self-critique would be a huge factor. To wit, C.O.C. have a new video for “The Luddite” from their new record, No Cross No Crown (review here), and here’s how I might feature it as a post in said context:

The Patient Mrs. was out at physical therapy the other night, still recovering more than two months after her emergency C-section, learning which of her muscles medical professionals fucked up and how best to make them work again, etc. Pretty much every time she leaves the house these days and I’m home alone with The Pecan, I take it as a preview of what life will be like when she goes back to work. This was no exception.

He was fussy; had missed a nap. There was a bottle on the counter, but he’s still not taking a bottle from me, so basically when he gets hungry it’s a fight. Every time. He doesn’t want it. Apparently The Patient Mrs. has magic boobs (something I’ve always suspected) that require no effort on The Pecan’s part to extract milk from, so when he actually has to engage a sucking action on the nipple of a bottle, he gets pissed about it. I get it. The “There’s an easier way to do this and I prefer that” instinct. Very human.

I was waiting for PBS Newshour to come on and dicking around through YouTube on the tv in the living room. He was in his chair, sort of proto-kvetching. Grunting. He grunts a lot; some in distress, some in conversation. Grunty Pecan. I’d gotten the press release about the new Corrosion of Conformity video for “The Luddite” from Nuclear Blast earlier in the day, but as it came up in my recommendations, I decided to check it out. Good track as I knew from hearing the album, so what the hell.

The video’s pretty standard fare: mostly classic heavy rock fire and fury updated with digital presentation. Mike Dean looks badass as ever holding down the business of groove on bass while Pepper Keenan handles frontman duties, Woody Weatherman and Reed Mullin presences unto themselves in their righteousness. The kind of thing that, if there were a Headbanger’s Ball and they let me host it, you’d most definitely see on Headbanger’s Ball. Nowadays, the internet. Fair enough. Good showcase for the track, at very least.

The Pecan was fucking mesmerized. In his two-plus months of life, I don’t think I’ve seen his attention so utterly and singularly wrapt by anything. Not even eating or pooping, and to-date, those have been his primary activities. And it wasn’t his first exposure either to television or to music videos either. C.O.C. held that baby’s gaze like nothing has yet.

I wound up watching him watching the video as much as I watched the video itself — overcome by a strange mixture of worry about screen-time exposure (the latest science says it’s okay, but science is malleable) and pride at the thought that this baby might have such killer taste innate to his being as to really dig a track like “The Luddite,” which is among the closest points C.O.C. hit on their new record to their classic mid-’90s sound.

Afterwards, I put on Sabbath doing “Children of the Grave” at Cali Jam 1974 and he dug that too. For a couple minutes there, things were looking up in terms of parenting potential. Fortunately, The Patient Mrs. got back before he got too hungry.

Yeah, something like that. C.O.C.‘s No Cross No Crown is out now on Nuclear Blast. Please find the video for “The Luddite” below, followed by the band’s current/ongoing tour dates, courtesy of the PR wire, and enjoy:

Corrosion of Conformity, “The Luddite” official video

CORROSION OF CONFORMITY is currently in the midst of a massive North American live takeover supporting Black Label Society. The tour kicked off in Denver, Colorado December 27th and will wind its way through nearly four dozen cities upon its conclusion on February 27th. Additional support is being provided by Eyehategod and Red Fang on select shows. See all confirmed dates below.

CORROSION OF CONFORMITY w/ Black Label Society, Eyehategod (12/29 – 1/20; 2/11 – 2/27), Red Fang (1/26 – 2/09):
1/17/2018 House Of Blues – New Orleans, LA ^
1/18/2018 Marathon Music Works – Nashville, TN ^
1/19/2018 Bogart’s – Cincinnati, OH ^
1/20/2018 Center Stage – Atlanta, GA ^
1/26/2018 Jannus Live – St. Petersburg, FL *
1/27/2018 House Of Blues – Myrtle Beach, SC *
1/28/2018 The Ritz – Raleigh, NC *
1/29/2018 The Fillmore Silver Spring – Silver Spring, MD *
1/31/2018 PlayStation Theater – New York, NY *
2/01/2018 The Palladium – Worcester, MA *
2/02/2018 Aura – Portland, ME *
2/03/2018 Electric Factory – Philadelphia, PA *
2/05/2018 Town Ballroom – Buffalo, NY *
2/06/2018 The Goodyear Theater at East End – Akron, OH *
2/07/2018 Stage AE – Pittsburgh, PA *
2/08/2018 Eagles Ballroom Club Stage – Milwaukee, WI *
2/09/2018 Myth Live – St. Paul, MN *
2/11/2018 O’Brians Event Centre – Saskatoon, SK ^
2/12/2018 The Ranch Roadhouse – Edmonton, AB ^
2/14/2018 Commodore Ballroom – Vancouver, BC ^
2/16/2018 Bowes Event Center at Revolution Place – Grande Prairie, AB ^
2/17/2018 MacEwan Hall – Calgary, AB ^
2/19/2018 Showbox SoDo – Seattle, W ^
2/20/2018 Roseland Theater – Portland, OR ^
2/21/2018 Ace Of Spades – Sacramento, CA ^
2/23/2018 House of Blues – Las Vegas, NV ^
2/24/2018 The Marquee – Tempe, AZ ^
2/25/2018 Sunshine Theater – Albuquerque, NM ^
2/27/2018 The Fonda Theatre – Los Angeles, CA ^
^ w/ Eyehategod
* w/ Red Fang

CORROSION OF CONFORMITY is:
Pepper Keenan – vocals, guitar
Woodroe Weatherman – guitar
Mike Dean – bass, vocals
Reed Mullin – drums, vocals

Corrosion of Conformity website

Corrosion of Conformity on Thee Facebooks

Corrosion of Conformity on Twitter

Nuclear Blast website

Nuclear Blast on Thee Facebooks

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Turn Me on Dead Man Touring Europe in February

Posted in Whathaveyou on January 17th, 2018 by JJ Koczan

San Franpsychsco weirdos Turn Me on Dead Man head abroad in February to support their latest outing, Heavymetal Mothership (review here), which came out just a couple months back as though beamed in from a time warp via Heavy Psych Sounds. That same imprint is behind the booking for the tour and has the swath of dates in Italy to prove it, but it’s hard to imagine that wherever the band goes they won’t be greeted as liberators of mind and spirit.

Of course, they’re early for Spring or Summer fests, but one never knows — they could be testing the ground for follow-up run this Fall, and well, there’s fests then too, and in the meantime, a run to herald the album’s arrival is pretty awesome on its own. I wouldn’t mind seeing Torino this time of year, at least.

The PR wire has all the details:

turn me on dead man euro tour

TURN ME ON DEAD MAN – EUROPEAN TOUR 2018 !!!

TMODM are a heavydelic space rock band from San Francisco. Turn Me On Dead Man combines Heavy Metal and Psychedelia to forge a music that is both transcending and unforgettable. The songwriting plunges listeners into the heavydelic landscapes of 60’s experimentalism and 70’s bombast, creating a disc that is enthralling, imaginative, hugely entertaining, and incredibly hard rocking!

The group have been creating their unique brand of lysergic-soaked rock since their inception in 2000, gigging extensively throughout the San Francisco bay area and garnering praise from all over their home turf and the country, spurred on by heavy rotation at the influential WFMU station in New Jersey. Alternative Tentacles founder Jello Biafra was suitably impressed by the band’s spaced-out, glammed-up, turned-up brand of audio mayhem enough to re-release their first epic record, “God Bless the Electric Freak” on A.T.!

Live, Turn Me On Dead Man is a spectacle of epic proportions; a visceral sonic boom that spans the spectrum from the meanest, most gorgeous anthems of rock to the exotic ragas of modern psych, creating an explosive and diverse stage performance as energetic as it is uncommon. Simply put, Turn Me On Dead Man plays Heavy Crush Bliss Rock breaking the sound barrier on their own private Lear Jet headed straight to HELL!

***TURN ME ON DEAD MAN EUROPEAN TOUR 2018***
09.02.2018 IT Pescara-Scumm
10.02.2018 IT Castel Fidardo-On Stage
11.02.2018 IT Pastrengo-Fabemolle
12.02.2018 IT Zerobranco-Altroquando
13.02.2018 IT Torino-Blah Blah
14.02.2018 DE Sruttgart-Goldmark
15.02.2018 CH Olten-Coq D’or
16.02.2018 AT Bludenz-Villa K
17.02.2018 CH Winterthur-Gaswerk
18.02.2018 AT Salzburg-Rockhouse
19.02.2018 DE Dresden-Ostpol
20.02.2018 DE Berlin-Jagerklause
21.02.2018 DE Weimar-Gerber3
22.02.2018 DE Leipzig-Black Label
23.02.2018 DE Mannheim-7Er
24.02.2018 DE-TBA

Turn Me on Dead Man:
Mykill ZIggy: Guitars, Vocals, Synthesizers, Bass, Phasers and Lasers
Nick Doom: Guitars and Music Theory
Christopher Melville Lyman: Drums, Percussion, and Vocals
Attis Ngo: Bass, Keyboards

https://www.facebook.com/TurnMeOnDeadManSF/
https://www.instagram.com/turn_me_on_dead_man/
https://tmodm.bandcamp.com/
https://www.facebook.com/HEAVYPSYCHSOUNDS/
www.heavypsychsounds.com

Turn Me on Dead Man, Heavymetal Mothership (2017)

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Review & Full Album Premiere: Clamfight, III

Posted in audiObelisk, Reviews on January 17th, 2018 by JJ Koczan

clamfight iii

[Click play above to stream Clamfight’s III in its entirety. Album is out Jan. 19 on Argonauta Records.]

I’d like to say a few words about Clamfight. As bands go, the South Jersey/Philadelphia four-piece are probably the group of musicians I’ve been closest to personally and known the longest in my life. They are, to a man, beyond quality individuals and I think of myself lucky to call them friends. When I was in a band, we played shows together. Their last album, early 2013’s I vs. the Glacier (discussed here), was released via what was then this site’s in-house label, The Maple Forum, and their prior outing, 2010’s Volume I (review here), remains a sentimental joy for me to hear to a degree that’s probably ridiculous considering I had nothing to do with the actual writing of the songs. In terms of album reviews, impartiality is a myth generally, but perhaps never less so than when I’m talking about Clamfight. I don’t think I could not love them if I tried, and to be quite honest, I have no interest in trying.

Between live sets, demos, studio updates from Gradwell House where they recorded with producer/engineer Steve Poponi, rough mixes, unmastered tracks and so on, I’ve likely heard Clamfight III in every stage of its making. That’s not me bragging like I’m Mr. Super-Insider or anything. I’m just trying to give context to the fact that when I put on the finished product of Clamfight‘s Argonauta Records debut and listen to its five-track/44-minute entirety — the thing: done — I remain blown away each time by its level of accomplishment. It’s not that I thought drummer/vocalist Andy Martin, guitarists Sean McKee and Joel Harris and bassist Louis Koble didn’t have it in them to do what they do in these tracks; it’s that it would have been unfair to expect a work so progressive to come from a band whose primary drive has always been their intensity.

Although, and of this one can rest duly assured, that intensity remains well intact — as one can certainly hear in the post-Leviathan crashes and shouts of “Selkie” and sundry moments of heads-down chugging and/or righteous bellows such as the beginning of centerpiece “Echoes in Stone” throughout — it’s simply being used as part of an approach that’s grown in new, exciting and dynamic ways. Anchored by its extended opener “Whale Road” (11:14) and closer “History of the Earls of Orkney,” Clamfight III finds its conceptual or at very least lyrically-thematic framing in ongoing archaeological work in Scotland by a team that includes Martin and benefits greatly from this purposefulness of its expression, as it brings solid footing beneath the expansive and progressive structures in the songwriting, which is very much driven by McKee‘s lead guitar.

That element is given more space to flesh out than it’s ever had in Clamfight before, and McKee‘s performance lives up to its spotlight, but groove very much remains central to the band, and while the thudding tom runs under speak immediately to something bound in the earth, it’s the airy intro guitar lines of “Whale Road” that signal Clamfight III‘s defining ambitiousness, not to mention the patience with which they build toward the first verse over the opener’s initial two-plus minutes. Roaring and bombast ensue, to be sure, but as Harris and Koble lock in the core rhythm, it leaves Martin free to explore a range of vocal styles only previously hinted at in their recorded output and McKee to follow suit in showcasing greater reach in the style and substance of his craft. It is telling that of the five tracks, only “History of the Earls of Orkney” and the penultimate “Eynhallow” don’t end with a guitar solo — and “Eynhallow” is a five-minute, mostly-guitar instrumental lead-in for the finale. More often than not, McKee gets the last word.

clamfight photo useless rebel

Nonetheless, it would be inappropriate to think of Clamfight III simply as a showcase for McKee or any other single member. Rather, it is a whole album, and a whole group work. This is underscored as “History of the Earls of Orkney” answers the intro of “Whale Road” with its own leadoff airy meandering as much as in the stomp that emerges in “Selkie” earlier. And not only are Clamfight reaching within to find and manifest aspects of their sound in ways they never have before, they’re also reaching outside themselves, as shown by the guest appearances from Kings Destroy guitarist Chris Skowronski on “Whale Road,” ex-Wizard Eye/current-Thunderbird Divine guitarist/vocalist Erik Caplan, who lends theremin to that opener and “Echoes in Stone,” and vocals from Shroud Eater bassist Janette Valentine and guitarist Jean Saiz on the same song. The latter performances are of course standouts, bringing both melody and further shouting harshness in tow, and after a due throttling from the finish of “Selkie” beforehand and the rolling, growling start of the “Echoes in Stone” itself, their arrival serves to add variety and an unexpected twist to what becomes a crucial moment on the record.

In a way, it’s a shame she couldn’t return even for a few lines on “History of the Earls of Orkney,” as it would allow the closer to truly summarize the breadth of the album’s entirety, but after the subdued contemplation in “Eynhallow,” it’s clear the gears have shifted, and even without that flourish of added symmetry, Clamfight III‘s finishing move serves as a singular moment of triumph for the band. In its sprawl, they not only reaffirm the progressive achievements of the songs before, but continue to build on them. The push forward at the midpoint seems to speak to the ethic of the track as a whole, and the tumult that ensues is underpinned by a control that only makes it more enthralling — the four members of Clamfight all charging in the same direction, straight ahead through two solo sections toward an adrenaline-drenched ending that’s snap-tight and a brutally-earned, cut-cold payoff, as sharp as it is bludgeoning.

Look. I love this band, and I don’t mind telling you that. If that means you need to take this review with the proverbial grain of salt, cool. I don’t really care. The fact remains that when I listen to Clamfight III, I’m proud as hell and deeply appreciative that I even know these guys at all, and whether you ever heard I vs. the Glacier or Volume I or not, it doesn’t matter, because what they’ve done here has thoroughly put them on a new level of execution. It is a special moment of arrival for them as a unit, when a maturity of craft has so clearly taken hold — one that means at very least they’ve outgrown their moniker if they hadn’t before — amid the pummel that’s always been their fuel, and when a resulting effort can strike as much with its scope as its brute force. Even putting aside as much as I possibly can the high esteem in which I hold them as people, I consider myself lucky every time I put this album on, and I plan to put it on for a long time to come. If you don’t, it’s your loss.

Clamfight on Thee Facebooks

Clamfight on Twitter

Clamfight on Instagram

Clamfight on Bandcamp

Argonauta Records website

Argonauta Records on Thee Facebooks

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Roadburn 2018: Wear Your Wounds, All Pigs Must Die, Supersonic Blues, Spotlights and More Added; Day Tickets on Sale This Week

Posted in Whathaveyou on January 17th, 2018 by JJ Koczan

roadburn 2018 banner

Pretty clearly the overarching message of Roadburn 2018 has become that if you thought you had a snowball’s chance in hell of pinning the festival down to a single idea, genre or theme, it’s simply grown too massive, too sprawling and too complex to ever be subject to such easy definition. I mean it. If you squint and look at the lineup above, from Earthless jamming with Kikagaku Moyo to the likes of returning Icelandic black metal entities Misþyrming, Naðra, and Svartidauði, to Hague-based boogie newcomers Supersonic Blues — whose writeup I did and whom I’m particularly stoked to see — to All Pigs Must Die and all the bizarre stuff Justin Broadrick seems to have involved himself in, I think it’s inarguable this is the farthest ‘OUT THERE’ Roadburn has ever been, and as a result, I’m not sure the festival has ever been so exciting on a creative level.

As always, there’s a lot to dig into in the announcement that follows. Make sure you let the varied implications sink in. Then go ahead and get yourself a ticket while you still can.

Here’s to ya:

Roadburn 2018: details of second commissioned performance, final bands for Jacob Bannon’s curation & more

– Icelandic black metal bands unite for the second of Roadburn 2018’s specially commissioned performances
– Jacob Bannon confirms final bands for his curation including All Pigs Must Die.
– Day tickets go on sale – January 18!
– Further to the already announced commissioned project featuring Oranssi Pazuzu and Dark Buddha Rising, Roadburn Festival is thrilled to announce details of the second of such projects, among the next batch of confirmations for the 2018 edition of the festival.

Artistic Director Walter Hoeijmakers comments:

“For several years now, I have been a passionate supporter and advocate of the incredible music scene that is brewing in Iceland. I have witnessed some truly awe-inspiring performances, both on their home soil and further afield, and it is always an honour to have these musicians join us at Roadburn. What makes all of this even more exciting to me, is that I believe that the best is still yet to come for these talented performers – and I have every confidence that we’re going to get a good dose of that with this commissioned performance at Roadburn 2018.

“We’re nearing the end of our announcements for 2018 as the festival looms ever closer – our side programme and Cul de Sac bands announcement is pencilled in for early February. With day tickets going on sale this week, Roadburn 2018 looks like it will be another sell out edition, and yet another artistic triumph.”

COMMISSIONED PROJECT: Vánagandr – Sól án varma

The second of Roadburn’s specially commissioned projects will encapsulate the spirit and creativity of the thriving Icelandic black metal scene. Leading the charge has been Misþyrming who were our artists in residence in 2016, a tenure that surely peaked with their ritualistic Úlfsmessa performance.

We’re thrilled to confirm that the second of our specially commissioned performances for Roadburn 2018 will unite the might of Misþyrming, Naðra, Svartidauði, and Wormlust under the banner Vánagandr.

The title of the piece these six musicians will perform is Sól án varma, which roughly translates to “sun without radiance”. The opus will encompass a slow primal roar – a process which cannot be stopped once started, and that only continues to grow, reinventing itself in its complexity.

Chaos. Dissolution. Confusion.

JACOB BANNON’S CURATION: WEAR YOUR WOUNDS

Jacob Bannon’s own Wear Your Wounds will reprise their 2017 performance this year, promising improvisation and experimentation into the mix.
“I’m extremely excited to perform live with Wear Your Wounds at Roadburn 2018. Playing the 2017 edition of the festival was a creative high point for me and I am honored to return. This time we will be integrating different songs into the set from both the “WYW” double album, the “Dunedevil” album, as well as other material. In a live setting we plan on expanding on the studio recordings, using them as a skeleton for improvisation and experimentation. Hope to see some of you there.”
– Jacob Bannon

JACOB BANNON’S CURATION: ALL PIGS MUST DIE

“In my opinion All Pigs Must Die are one of the best bands playing dark hardcore/punk today. Founded by friends bonded by their collective obsession of heavy music, they have evolved from merely a project into a true force in aggressive. With their members so busy with other bands/projects, live performances have been rare over the years. It is an honor to bring them to Roadburn 2018, so their brand of heavy can be experienced by the masses.”
– Jacob Bannon

JACOB BANNON’S CURATION: STOMACH EARTH

Beginning in 2001 under the name Nyarlathotep, the one-man doom/death metal project of Mike McKenzie (The Red Chord, Wear Your Wounds, Unraveller) released a few demos and sunk back into the shadows for several years, with little to no activity beyond a name change. Over a decade after its inception, a full length was released on Black Market Activities. This release prompted two live performances before it would lie dormant once more. As part of Jacob Bannon’s curation, Stomach Earth will surface again to perform their self-titled debut in its entirety. Joining McKenzie on stage as Stomach Earth will be multi-instrumentalist Greg Weeks (The Red Chord, Wormwood).

NYIÞ & WORMLUST PERFORMING HIEROS GAMOS

At the core of most innovative work is the collaborative spirit. While Icelandic ritual drone and folk act NYIÞ is already an inherently collaborative entity, they’re really stepping things up this year by fusing with psychedelic black metal giant Wormlust to create a new beast: Hieros Gamos.

Little of this planned masterwork shall be revealed before the performance itself, but those with any familiarity can imagine what otherworldly horrors and delights await. Those who witnessed NYIÞ’s massive performance piece as part of the Úlfsmessa in 2016 knows just how deep the currents run. With the addition of such a force as Wormlust, we need say little beyond urging you to arrive early to be the first to witness Hieros Gamos in its live debut.

GALLOPS

Having broken up shortly after the release of their debut album back in 2012, Gallops left quite the hole in the ranks of bands who push at the boundaries of rock music. Fortunately, Gallops returned in 2016. “It just needed a nap,” was how Mark Huckridge, Liam Edwards and Brad Whyte jokingly put it, so we’re very happy and also relieved that someone remembered to set an alarm. They’ll keep you guessing at every turn, moods fluctuating from eeriness to jubilation, from intimidating darkness to feverish light, but always pulsating and engaging.

SCATTERWOUND FEAT. JUSTIN K BROADRICK

Known experimentalist Dirk Serries (YODOK III, The Void Of Expansion, Fear Falls Burning) and Hellmut Neidhardt, aka N, had this collaboration idea floating around in the ether for, rumour has it, almost a decade. Before the universe shifts and we lose sight of it for good, measures have been taken, both by the band and by Roadburn: Scatterwound will perform at Roadburn 2018 with none other than Justin K Broadrick as their special guest.

SPOTLIGHTS

Coming from the streets of Brooklyn, New York, Sarah and Mario Quintero, the pair at the core of this remarkable entity, don’t shy away from genre hopping, and capture a voice of their own by mainlining doom with shoegaze, pairing post rock to sludge, and forming a dreamy yet very melodic concoction. Spotlights are capturing audiences with their emotional depth, and by the time they’ve finished with us at Roadburn, we’ll all have a really bad case of Spotlights (and no doubt love every minute of it!).

SUPERSONIC BLUES

Hailing from The Hague and infused with a funk-fuzz power in their delivery that makes them an immediate standout, the young trio Supersonic Blues are welcomed to Roadburn 2018 with open arms this April. Supersonic Blues will perform at the San Diego Clubhouse AKA the Hall of Fame alongside kindred spirits from the San Diego scene on Friday, April 20.

POSTER ARTIST: RICHEY BECKETT

As our day tickets go on sale this week, we’re delighted to present the day splits in the form of four spell-binding posters by renowned artist, Richey Beckett.

TICKET ONSALE INFORMATION

Roadburn 2018 tickets are on sale now. 3 and 4 day tickets are currently available and day tickets will go on sale on January 18, 2018.

Thursday, 19 April – €62.40
Friday, 20 April – €62.40
Saturday, 21 April – €62.40
Sunday, 22 April – €57.40

4-day-tickets €198,40
3-day-tickets €175,40
(all prices include €3,40 service fees)

Camping tickets are also available to purchase, with additional options (such as Festipis and camper vans) also possible. This year the urban campsite will be in a new location – but still within walking distance to the 013 venue – providing a comfortable and affordable option for Roadburn attendees.

A brand new hotel is due to open in Tilburg just weeks prior to Roadburn 2018. The Valk Exclusive hotel is offering a special deal for Roadburners. Click here for more information

Click here for more information on tickets and the campsite

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Roadburn 2018 Fifth Announcement Video

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