Confusion Master to Release Haunted Nov. 19

Posted in Whathaveyou on September 22nd, 2021 by JJ Koczan

confusion master

German four-piece Confusion Master made it plenty easy to dig their 2018 debut, Awaken (review here), and based entirely on the all-of-one-minute I’ve heard of the follow-up, Haunted, I expect no less from it. The ever-significant backing of Exile on Mainstream is, of course, part of that, but I think if you take a look at the cover art, a look at that upside-down cross serving as the ‘t’ in the band’s logo, a look at the Cthulhu art — on theme with the debut, as it happens — and then either listen to the first record or just take on that minute as it is streaming below, you can probably use some context clues to figure out where these dudes are coming from. They’re coming from riff church. Mass just let out.

Insert some clever line about Tony Iommi as the one true god here.

In any case, check out the fan edition of the impending, which not only brings the four-track full-length itself, but an extra 12″ single and a live album on tape. I don’t know if that’s a fan edition or a make-you-a-fan edition, but it’s a pretty killer package anyhow. But don’t listen to me. I’m biased in favor of cool shit. I’m sure someone out there will find something to complain about with it. “Ugh, why you gotta riff so heavy?” and so on.

From the PR wire:


CONFUSION MASTER: German Doom Quartet To Release Second LP, Haunted, Through Exile On Mainstream In November; Teaser, Cover Art, And More Posted

Exile On Mainstream presents Haunted, the second album from German doom/sludge metal quartet CONFUSION MASTER. Confirming the album for November release, the label has posted its cover art, track listing, a brief teaser, and other details.

Uniting four musicians drawn together from across varied punk and metal circuits, unified through their shared love for sound, misanthropy, DIY values, and vintage gear, the members of CONFUSION MASTER have earned merits in underground stalwart outfits such as Cyness, Wojczech, Bad Luck Rides On Wheels, and Aequatorkaelte.

CONFUSION MASTER’s debut album, Awaken, was released through Exile On Mainstream in 2018, and having earned raving feedback from the international doom and stoner rock crowd, the group proved itself as a veritable touring machine. They provided support for Like Rats, Dopethrone, Crowskin, Bongzilla, Beehoover, and labelmates Black Shape Of Nexus, while conquering the 2019 edition of the mighty Roadburn Festival, all in one strike. Now it’s time for the next chapter.

After excessive touring on their debut album, CONFUSION MASTER again exchanged daylight for practice room jams and crafted four new tracks rooted in thundering groove, odd percussion breaks, and psychedelic swing. The Baltic Sea-based quartet once again delivers a crushing blow with forty-one minutes of raging intensity for your turntable, reminding you that the dead cannot die while they are still hungry. Recorded during the comprehensive Winter desolation of 2020, Haunted was captured by Lutz Baumann at various live sessions in multiple rooms and practice studios, after which it was mastered by James Plotkin (Khanate, Sunn O))), Pelican). Clearly not to be mistaken for a love and peace affair but channeling hardcore anger in its purity, the result is a bonafide gain in horror cosmic doom with a strong Lovecraftian existential swirl, as reflected in the stunning cover illustration by Antonio Ilievsky/Pig Hands.

Haunted will see release through Exile On Mainstream on November 19th through all digital services as well as 12” vinyl with a bundled CD. The CD features one bonus track not on the vinyl. Additionally, a special fan’s edition of the record contains an additional 12” single containing two more tracks, a patch, a sticker, and a cassette release, Live At Fusion Festival.

Watch for preorders, audio and video previews, and more on the album to be issued over the weeks ahead. Fans of Ufomammut, Electric Wizard, Yob, Goatsnake, and Black Shape Of Nexus should not miss CONFUSION MASTER.

Haunted Track Listing:
1. Viking X
2. The Cannibal County Maniac
3. Casket Down
4. Jaw On A Hook
5. Haunted (digital/CD/limited fan’s edition bonus track)
6. Under The Sign Of The Reptile Master (digital/limited fan’s edition bonus track)

Mathias Klein – bass
Stephan Gottwald – drums
Gunnar Arndt – guitars/effects
Stephan Kurth – guitars/effects/vocals

Confusion Master, Haunted teaser

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Norna Post “The Truther”; Star is Way Way is Eye Coming Next Year

Posted in Whathaveyou on September 22nd, 2021 by JJ Koczan

Details about the forthcoming debut album from Swedish/Swiss post-sludge trio Norna are much like their promo picture below: dark grey and vague. For example, I know that Vinter Records will release the album, but I’ve heard both that it’s coming this Fall and that it’ll be out sometime early in 2022 — you can see the latter in the PR wire headline below, so that’s what I’m rolling with — but as to what it’s called, where/how/when it was made, all that stuff, I haven’t the foggiest.

This is obviously a purposeful choice, and it’s consistent from when it was announced that Norna had signed to Vinter and basically all that went with that was a teaser. It, was, however, a very heavy teaser. “The Truther,” an initial single from the yet-untitled long-player, follows suit in that “very heavy” regard, and one will find some commonality with the Euro school of more extreme post-metal, but the atmosphere rings especially harsh here and is all the more satisfying for that.

Again, info is establish-some-mystique sparse, but I actually just got the title. The album will be called Star is Way Way is Eye.

Here’s the rest of what I’ve got:


NORNA: First Single From Swedish/Swiss Post-Metal Collabo With Members Of BREACH, ØLTEN and THE OLD WIND Streaming; Debut Full-Length To Drop Early Next Year via VINTER RECORDS

Norna, the new and devastatingly punishing outfit with members from Breach, Ølten and The Old Wind, will release their debut album via Vinter Records.

Hailing from the cold north of Sweden and the epic vastness of the Swizz alps, the band consists of Swedish hardcore pioneer Tomas Liljedahl (Breach, The Old Wind) and Swiss underground troopers Christophe Macquat and Marc Theurillat (Ølten). Formed merely a year ago, the three piece is now ready with their debut recording – a thunderous onslaught of bleak, cold and desperate heaviness.

Guitar/Vox. Tomas Liljedahl (ex Breach ,The old wind)
Guitar/Moog. Chris Macquat (Ølten)
Drums/Moog. Marc Theurillat (Ølten)

Norna, “The Truther”

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Deathcave Announce December West Coast Tour

Posted in Whathaveyou on September 21st, 2021 by JJ Koczan

DEATHCAVE 2021 (Photo by Kelly O)

Cheers and safe travels to Deathcave, as the Seattle-dwelling three-piece — who also stylize their name as deathCAVE, which is neat — are set to head out for two weeks of West Coast dates early in December. With just one day “off” that they’ll probably spend driving — that’s about 11 hours on Rt. 80 for you — the band go in support of 2020’s Smoking Mountain on Satanik Royalty Records while heralding a follow-up sophomore LP that will likely be complete by the time they go and set for issue sometime next year.

As I suck at this, I missed the debut completely last year — a bummer since it hits pretty hard according to what my ears are telling me right now — and I’m happy to have caught the tour dates coming down the PR wire since it gave me the excuse to get caught up. And since spreading the word about a thing is part of the reason touring exists in the first place, well, at least they got me on board, even though I’m on the other side of the country from where these shows are happening.

If you’re headed out, please congratulate the band on this badass, print-flyer-in-scrapbook-worthy poster design:


DEATHCAVE: Seattle Doom/Sludge Trio Announces December Tour With Heiress And More!

Seattle-based doom/sludge trio DEATHCAVE will return to the stage this Winter for a two-week run of live dates beginning December 2nd in Seattle, Washington and concluding December 15th in Sacramento, California. Support will be provided by labelmates Heiress as well as Worship, Duhkha and Ugly on select shows. See all confirmed dates below.

12/02/2021 Bar House – Seattle, WA w/ Heiress
12/03/2021 Kenton Club – Portland, OR w/ Heiress
12/04/2021 Elbo Room Jack London – Oakland, CA w/ Heiress, Worship
12/05/2021 The Blue Lagoon – Santa Cruz, CA w/ Heiress, Worship
12/06/2021 Programme Skate Shop – Fullerton, CA w/ Heiress, Duhkha
12/07/2021 Que Sara – Long Beach, CA w/ Heiress, Duhkha
12/08/2021 Til-Two Club – San Diego, CA w/ Heiress, Duhkha
12/09/2021 Disco Inferno – Phoenix, AZ
12/10/2021 Moonlight Lounge – Albuquerque, NM w/ Forebode, Ugly
12/11/2021 Triple Nickel – Colorado Springs, CO w/ Forebode, Ugly
12/12/2021 The DLC – Salt Lake City, UT
12/14/2021 Bottom Of The Hill – San Francisco, CA
12/15/2021 Cafe Colonial – Sacramento, CA

Named after the Apache Death Cave in Arizona, DEATHCAVE was forged in 2018 and hit the ground running as its three members — Freiburger (Throne Of Bone, Brain Scraper), Benny Koslosky (Swampyheavy), and Tony Muñoz (Razorhoof, Worship) — are longtime veterans of the underground touring circuit.

The band released their critically lauded Smoking Mountain full-length last year. A devouring fusion of thrash, psychedelic, stoner, and doom elements with lyrics based on personal stories reinterpreted in the realm of mythological tales, DEATHCAVE’s Smoking Mountain revolves around the concept of inevitable death and decay of not only humans, but nature as well.

Smoking Mountain was recorded by Ben Verellen (Harkonen, Helms Alee) at The Unknown in Anacortes, Washington, mixed by Verellen at Verellen Amplifiers and mastered by Brad Boatright (Integrity, Full Of Hell, Gatecreeper, High Command) at Audioseige. The thundering five-track offering, which includes guest vocals by Andrea Vidal (Holy Grove), Dave Verellen (Botch, Narrows), and Neil McAdams (Black Breath), as well as a track dedicated to late Black Breath bassist Elijah Nelson, and is available digitally and on limited edition vinyl.

Stream Smoking Mountain via the DEATHCAVE Bandcamp page at THIS LOCATION:

DEATHCAVE is putting the finishing touches on their followup to Smoking Mountain with details to be unveiled in the weeks to come.

Deathcave, Smoking Mountain (2020)

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Album Premiere & Review: Kesem, Post-Terra

Posted in audiObelisk, Reviews on September 21st, 2021 by JJ Koczan


Los Angeles four-piece Kesem release their debut album, Post-Terra, this week on Sentient Recordings. And since it turns out the only problem with ‘some saying the world will end in fire and some saying in ice,’ etc., is that it didn’t include an all-of-the-above-and-more option, the nine-song heavy prog outing, peppered with arrangement nuance, melodic shifts and rhythmic urgency, is nothing if not a record for the times. The narrative — blessings and peace upon it — has it that, inspired by the wrench-to-the-face clusterfuck that has been recent existence, the band comprised of vocalist/keyboardist Ben Daniel (also percussion and horns), bassist Josh Austin (also vocals and 12-string), guitarist Jay Howard (also synth and samples) and drummer Scott Werren (also djembe) collectively envision a scenario whereby humans simply leave earth in search of another home somewhere out in the stars. Evacuation in a stolen rocket.

They’re not the first to posit some form of humankind finding a Second Earth found out in the stars, but they certainly make it rock, without fully making it a rock-opera. In our universe, it would become political. An ideological question. Not everyone would go. People would argue; possibly violently. And if you don’t think so, ask yourself if god exists on other planets. I’m sure you’d get enough of a representative sample of human genetics willing to build a new population — several thousand? one ship? — but aside from the logistical nightmare of organizing such an escape, subsequently colonizing a presumably otherwise unpopulated world, and framing new systems and institutions for that group, doesn’t it kind of feel like getting away with something to be able to totally trash the planet and then just leave in search of another. Would humanity ever have been more the locust devouring the living everything? Or do we just accept that eventually we’ll destroy this new planet too and sweep it under the rug while celebrating the achievement of getting there in the first place?

That sounds like the humanity I know.

It says something perhaps about the provocative nature of the question that Post-Terra asks that one’s mind might head down such a sci-fi rabbit hole. kesem post-terraOur actual future — as in, the one in which we live — is markedly sadder. “No Future” opens Post-Terra and makes immediate use of its complexity to convey its idea. Guitars are twisting and turning, synth and keys bring atmosphere. The first thing you hear on the record is a sample that says, “If you listen carefully, we will prove our ability to transfer our thoughts to you.” No minor ambition, and the nine-track/40-minute outing meets it face-first. “No Future,” “We Will Be Ready” and “Let Go” would seem to be taking the listener through the launch process. They balance structured songcraft and noise experimentalism as a part of this process, and the lead sample is by no means the last. “We Will Be Ready” starts punk and ends rumbling and cosmic, while “Let Go” — instrumental and the longest track at 6:54 — builds from an initial piano line and balances prog rock coursing lead guitar with more languid groove until the keys freak out at the end and shift into “When the Stars Cave In,” which would seem to cap side A in what I’ll hesitate to call a more grounded manner only because it would be so inappropriate to the theme.

For any kind of offering, let alone a debut, Post-Terra is poised in its presentation. That’s not to say it’s staid — because it isn’t, at all; songs vary in mood, arrangement, purpose and structure; there are moments when it’s dizzying — but that even its most experimentalist aspects are there to serve the overarching purpose. On a record of this type, it cannot possibly be a coincidence that “Headfirst Into the Void” is the centerpiece. It is not only a highlight of Kesem‘s work here, but the beginning of side B. It matches “No Future” by beginning with a sample, and then with its insistently tapping snare drum, it builds on the progressive aspects of the opening salvo while manifesting the rawer urgency as well. Laced with horns, it recalls King Crimson and Slift at the same time, crashing into psychedelic noise only to turn and run again, making the momentary breather of the acoustic-led interlude “Starbirth” all the more necessary.

“The Tyrant” follows and is suitably mournful if surprisingly not-angry considering the subject matter, and “Drifting Through Time” boasts a particularly impressive performance from Werren as the foundation of a synth-laced fuzzwinder just over three minutes long that manages to stay on the rails while sounding like those rails occupy multiple dimensions. One does not envy “The Light From Distant Moons” its apparent task of summarizing the course of Post-Terra leading up to it, but in this too, Kesem are prepared for the occasion, melding various genres into a sometimes deceptively cohesive and individualistic intent, making complicated ideas sound easy, and flowing across however many star systems’ worth of portrayed bumps along the way.

Do we make it? Do we survive? Not to say it couldn’t happen — and I haven’t had the benefit of a lyric sheet — but Post-Terra at least in the listening process seems to leave things open for a sequel. Whether Kesem continue to explore along this plotline or their journey takes them elsewhere, they go forward bolstered by the significant display of potential here.

Full album is streaming below, followed by some comment from the band and PR wire basics.


Kesem on Post-Terra:

During lockdown in 2020, we put all our emotions from what we were going through, from being in lockdown, to anger from political insanity, to hope that any moment we would be free. We took all of that and put it into writing and recording our first full length album. Post-Terra is about stealing a spaceship and leaving this world to find a new place to start over in the stars.

Hailing from Los Angeles, Kesem, originally formed in 2018. Meaning “magic” in Hebrew, the band’s name aptly summarises their sound. Inspired by the progressive and psychedelic, with some added punk rock influences, the resulting soundscape delivers a captivating effect. Their new album, ‘Post-Terra’, follows the release of their self-titled EP in April 2020.

‘Post-Terra’, Kesem’s first full-length album, was born with the help of the legendary L.A. punk icon Paul Rossler (Screamers/45 Grave/ DC3) to produce and engineer. The writing process for this album was fuelled by frustrations about racial injustice, the 1% ruling all, and the Trump administration.

Kesem are:
Josh Austin – Bass, Vocals, 12 String Acoustic Guitar
Ben Daniel – Keys, Trumpet, Vocals, Mellophone, Bells, Woodblock
Jay Howard – Guitar, Sampler, Synth
Scott Werren – Drums, Djembe

Kesem on Facebook

Kesem on Instagram

Kesem on Twitter

Kesem on Bandcamp

Sentient Recordings on Bandcamp

Sentient Recordings website

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The Awesome Machine: God Damn Rare Collection Available to Preorder

Posted in Whathaveyou on September 21st, 2021 by JJ Koczan

It wasn’t until I was writing recently about their 2003 swansong, The Soul of a Thousand Years, that I even knew this collection was happening, but the thing about The Awesome Machine was that, if you knew, you knew, and clearly Ozium Records knew. The collection of demos and remixes, etc., is titled God Damn Rare, and it’s out sometime next Spring — given vinyl production delays, things like nebulous release dates are becoming more common; you will see that until somebody opens up another plant or two; also, how has no one turned that into an artisanal thing? boutique vinyl production? — but preorders and a teaser clip are up now, and while I’m not sure this is supposed to be the case, as of this writing, it’s also streaming in its entirety through the Ozium Bandcamp page.

So I guess there’s that?

Again, I don’t know if that’s on purpose, since digital preorders are set at 666 Euro, but yeah. I’ve got “Above All” on now and it sounds fuzzy and right on and brash like a demo should. If you think it’s something you might want to dig into, I’ve put the player at the bottom of this post. I’m also gonna send a message to the label to let them know it’s public. Just in case, since they put the teaser up and I haven’t seen them share the full thing yet. So if that’s not there by the time this post goes live, sorry. [EDIT: Yup, it’s supposed to be there for your streaming pleasure, so have at it.]

Here’s preorder info:

the awesome machine god damn rare

The Awesome Machine – God Damn Rare – For release spring 2022


The spirit of Kyuss lives on years after their breakup, and Sweden has churned out a number of quality stoner rock bands in recent times, such as Mushroom River Band, We, Spiritual Beggars, and others. The Awesome Machine was another such band, and one of the better late-period Kyuss soundalikes to be heard in some time. A lot of stoner bands seem to stick to the tried and true, and in that respect The Awesome Machine was no different, but they were excellent at what they did. Containing previously unreleased material. Demo versions, remasters, remixes spanning from 1998 – 2005.

1. God Damn Evil
2. By No One
3. For The Weaker Ones
4. Gasoline
5. Digging
6. Shakedown
7. Ompa Bompa
8. Above All
9. Sun Don’t Shine
10. Demon King
11. I Never Knew (live)

The Awesome Machine, God Damn Rare (2022)

The Awesome Machine, God Damn Rare teaser

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Electric Octopus Release Inclinations on CD & Tape

Posted in Whathaveyou on September 21st, 2021 by JJ Koczan

Those who took on Inclinations (review here) earlier this year will recall that even on the scale of Belfast explorers Electric Octopus, it was pretty far out there. With flute. Limited physical pressings on tape and CD seem warranted for what’s over two and a half hours’ worth of only the jammiest of the jammy jams, and Galactic Smokehouse has stepped forth to make it happen. No word on a quintuple vinyl issue as of yet, but we live in a universe of infinite possibility, and crazier things have happened — though with ever-increasing production delays, one would expect the band to be several releases ahead by the time such a hypothetical showed up.

I know this isn’t everybody’s thing. Honestly, it’s not supposed to be. I love thinking of Electric Octopus and a few others of their hit-record-and-go ilk as extreme music. It’s not, in the context of heavy metal for which the phrase is most often employed, but in the search for the authentic moment of creativity, in doing so much to portray that, what else is there to call such a thing? A lot of bands jam. This style takes that another step beyond.

Stream is below. CDs and tapes now:

electric octopus inclinations CD

Electric Octopus release Inclinations physicals!

Belfast’s funky psychedelic trio Electric Octopus released their album Inclinations at the beginning of 2021, and the long awaited CD’s and Tapes are finally available through Galactic Smokehouse label.

Inclinations is the first album in the wake of guitarist’s spiritual journey to the far east of India. The album presents changes in instrumentation which shine this exciting trio in a new light. With the addition of flute into the mix, the jams are more mellow and laid back, however the guys are still able to get the whole floor dancing and grooving with their funky beats.

Two and a half hours of music are available now as a double CD in a DIY handmade felt cover or a normal ecopack. Additionally, there are hand-numbered magnetic tapes coming in a recycled cloth case, with SIDE D featuring exclusive bonus tracks available only on this version.

Electric Octopus are:
Guy Hetherington – Drums
Tyrell Black – Flute, Guitar
Dale Hughes – Bass, Guitar

Electric Octopus, Inclinations (2021)

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The Obelisk Questionnaire: Gideon Smith of Galvanic Gypsies, Dixie Damned & Gods of Atlantis

Posted in Questionnaire on September 20th, 2021 by JJ Koczan


The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Gideon Smith of Galvanic Gypsies, Dixie Damned & Gods of Atlantis

How do you define what you do and how did you come to do it?

I define what I do in music and life by the good it brings. If I’m pure in my flow of the music everything is in harmony to become what it needs to for my life and for others who are affected by it. I came into music by natural attraction and excitement then as I grew, I wanted to make music too and give it.

Describe your first musical memory.

It would be difficult to name just one memory or the very first so I’ll name a few that stand out in early years. Listening to my folks play old records like the Allman Brothers, Doors, Beatles, Hendrix, stuff like that. I loved all those, hearing them ride into the air off vinyl was so magical for me. I was a forest running hippie child, climbing trees and swimming in rivers, magical times. My brother had an eight-track player in his car. We used to ride around and listen to Queen, Blue Öyster Cult, Led Zeppelin. I still get excited when I see vintage eight track tapes. The first records I bought were a Bowie and a Jethro Tull album.

My first concert was KISS and Nantucket which I think was in 1978. It was exciting and larger than life to see them rise up through the floor of the stage. Maybe the first real one that got to me was the Cult Love album when it came out in 1985. My friend had the record and we laid on the floor in his house listening to it. I was totally captivated with the sound. By the time it got to the song “The Phoenix” on the second side I was amazed. We listened to it like we had some secret thing, this band and the record. If I hear the opening riff and Billy Duffy’s wah-wah power I’m always in awe of the music. I saw The Cult and Billy Idol live in 1987, both were fantastic. Seeing early Guns ‘n’ Roses and Motley in ’87. As I look at my life now, I think Zeppelin is my favorite band. The Doors, The Cult, Sabbath and maybe Sisters of Mercy.

Describe your best musical memory to date.

Again I’ll name many because I wouldn’t say exactly one. Over the years, recording the first EP for my GS&TDD band and the three Small Stone Records albums, especially. Such magical days. Especially playing with Phil Dürr, Mike Kelleher and Eric Hoegemyer. Shows I did with fun crowds, meeting people who enjoyed the music always means so much. It’s really rewarding and satisfying to see that music go from demo cassette decades ago to the albums to being all over the world.

In recent days my favorite and best is recording our new Galvanic Gypsies band with Crystal, I’m playing guitar and she’s ruling on vocals. It’s such a thrilling and exciting process, watching her sing and writing together. Being in the eye of the hurricane, hearing her vocals soaring on the holy Marshall doom riffage. Catching the lightning crackle of the chemistry and the pure excitement of our music. We call it our gypsy groove coven.

It has so many awesome influences from Duran Duran to Zeppelin. We recorded our first song for the album on Summer Solstice, on the way to the studio two ravens flew over us. In about 10 minutes it sounded unreal. It’s a new era of awesomeness that has dawned upon my life and I’m so grateful.

When was a time when a firmly held belief was tested?

Honestly no there aren’t any, if I truly believe and hold onto something it’s never shaken. It shakes the problems around it and I hold on to it and keep onward. Through Paganism the Gods shine upon my path. Life is just a dream and the song belongs to the dancer. Beauty and magic show us all the way.

Where do you feel artistic progression leads?

Progression always means to grow, learn and evolve so artistic progression would lead to higher understanding, abilities and perception of art. Art is elemental so it swirls around us and brings a brighter, wonderful journey. I think the progression of your writing, playing would lead to a soul expression of greater purity and a clear song writing flow. Your heart and spirit give with clarity as you grow to a higher level. The bigger the heart the more you are capable of generating.

How do you define success?

If you mean in a personal sense its being in the zone of what makes you happy. You’re successful of moving yourself into a place of happiness or joy. Success is best defined by the individual based on what gives their life meaning. It’s good to determine what’s successful within the boundaries of certain thing, then achieve that. Perception determines reality, you’re the captain and choose where to guide your ship. Success is achieving a good state within whatever holds meaning. The greatest success is to find peace of mind, joy and serenity in your life.

What is something you have seen that you wish you hadn’t?

Too many examples over the years but all of them are teachers so the knowledge gives you power and wisdom. Disregard the bad after you learn from it and seize upon the good, bright things you see only. Don’t give the bad things that pass you by any lasting meaning to hang over the good things you see and take in. Walk on, the greatest adventure lies ahead.

Describe something you haven’t created yet that you’d like to create.

Many more records, books, shows, artistic creations. I never run out of ideas. I could easily make records, write books, paint pictures all year long. Creativity is a gift and it needs to run wild in freedom.

What do you believe is the most essential function of art?

To give inspiration, healing, form a gift to others for soul expression. To bring emotional comfort and provide thrills, fun entertainment.

Something non-musical that you’re looking forward to?

I have been keeping home like most people during the pandemic and haven’t been doing much. I really look forward to walking on the beach again one day and jumping in the ocean. Maybe I’ll see you there. Carry on friend, catch up with you again soon.

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Monster Magnet Post “Solid Gold Hell” Lyric Video

Posted in Bootleg Theater on September 20th, 2021 by JJ Koczan

monster magnet solid gold hell video

It’s not yet dawn. My coffee is lousy this morning. The medium roast has too much light in this grind. It’s bullshit on a grand scale. To console myself, I’ve put a Monster Magnet t-shirt in a cart on the Napalm Records webstore. Will I buy it? I don’t own a current Monster Magnet t-shirt, and it doesn’t have cartoon boobs on it, so there’s a halfway-decent chance. Won’t make the coffee taste better, but sometimes one needs to take drastic action to improve a life situation.

“Solid Gold Hell” isn’t the highest-profile cover on Monster Magnet‘s A Better Dystopia (review here), the curated-covers outing that bears the stamp of founding frontman Dave Wyndorf no less than an original release might, but it sure feels relevant. The hook? “I’m getting really used to living in this solid gold hell.” Set to Joe Tait art with roaches in the War Room, a Never Say Die pilot, the ever-present Bullgod and a willfully Boschian orgy, there’s no shortage of information being thrown at the viewer/listener, and obviously that is the intent. The overload is part of the hell. For further evidence, look pretty much anywhere.

By my probably-wrong tally, this is the fourth lyric video that has seen Wyndorf and Tait in collaboration on what seems to be an ongoing if somewhat obscure narrative. Tell you what — they wanna do the whole record, then in the parlance of our times, I’m here for it. Beats sitting here with this second cup of my lousy coffee almost buying a shirt and being distracted by death counts and hacks on Twitter.

I’m saying if you’ve got that restless-existence-syndrome, “Solid Gold Hell” might point you in the right direction. It’s not the Kool-Aid Man smashing through the walls of our universe, letting out a “oh yeah!” and taking everybody along for a ride to Planet Sugar Rush — I had a dream last night where I told someone, “I don’t eat bread”; that’s a true story — but you go ahead and take three minutes and escape your terrible brain for a little bit. Facebook told me it’s your birthday, so you deserve no less.

Fuck this coffee. Dawn’s starting.


Monster Magnet, “Solid Gold Hell” (The Scientists cover) lyric video

Frontman Dave Wyndorf says:

I’m a huge fan of The Scientists and I just love the hell out of this song. It’s hypnotic, dark and sexual with a unique and amazing groove. In a cooler world we’d hear stuff like this blasting out of everyone’s speakers. I’d love to hear Billie Eilish take a crack at this one…”

Regarding the video, he continues:

“Joe Tait’s art is so damned interesting… Where else can one find Hieronymus Bosch, Pam Grier, Cold War Soviet monuments, the Dr. Strangelove war room, astronauts, dinosaurs AND rockers all in the same video?”

Says Joe Tait:

“Two great tastes that taste particularly great together for me because in this part of our unfolding saga, the Bull God embraces the great swamp rage of The Scientists in a version of Bosch’s Garden of Earthly Delights! Art by me. Script and direction with me in collaboration with the glorious Dave Wyndorf!”

Order A Better Dystopia HERE:

Dave Wyndorf – Vocals, Guitar
Phil Caivano – Guitar
Garret Sweeny – Guitar
Alec Morton – Bass
Bob Pantella – Drums

Monster Magnet, “Learning to Die” (Dust cover) lyric video

Monster Magnet, “Motorcycle (Straight to Hell)” (Table Scraps cover) lyric video

Monster Magnet, “Mr. Destroyer” (Poobah cover) lyric video

Monster Magnet website

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Monster Magnet at Napalm Records

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