The Top 20 of 2020 Year-End Poll is Now Open!

Posted in Features on November 27th, 2020 by JJ Koczan

year-end-poll-2020-piranesi_colosseum

My favorite post of the year, every year. I’ll spare you (for now) the wax philosophy on what a year it’s been in general terms, but I genuinely believe we’re existing in a golden age of heavy music that, years from now, subsequent generations of fans will look back on the diversity of sounds and talent and geography and ideas and will wonder at the time that was, much as younger fans do now of the ’90s, and older fans of the ’70s.

You know the drill for the poll. There are 20 slots below. Fill out as many as you want — 20 should be easy to fill, but if you only feel strongly about five records, that’s fine — and hit enter. Your email is asked for to prove you’re human and will not be stored or added to any list or sold or whatever.

Same rules as always: Anything from Jan. 2020 to whatever’s coming out between now and Dec. 31 is eligible. Two lists are tabulated; one of the raw votes, and one in which a 1-4 ranking is worth five points, 5-8 worth four, 9-12 worth three, 13-16 worth two and 17-20 worth one.

Results are compiled and painstakingly checked to account for typographical anomalies, then beamed into a spreadsheet to go up Jan. 1, along with everybody’s individual list in one massive explosion of love for music that, if it doesn’t fill your bucket, you may not have a bucket to begin with.

Let’s do it:

The year-end poll would never be possible with the diligence in technical coordination of Slevin, whom I miss dearly in these days of social distancing. I hope my thanks travels virtually since I can’t buy him bread and beer to show my love.

Thanks for your participation. Please share the link if you can.

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The Obelisk Show on Gimme Metal Playlist: Episode 47

Posted in Radio on November 27th, 2020 by JJ Koczan

the obelisk show banner

It’s Thanksgiving here in the US as I write this post. The early morning thereof, to be more specific. There’s one voice break in this episode of The Obelisk Show on Gimme Metal, and I cut it yesterday afternoon. I had just put The Pecan down for his afternoon nap and was in the process of getting dinner started (slow cooking) ahead of crashing out myself for about an hour.

The point of my telling you this? Maybe I wasn’t at my best.

Maybe I was a little harried, a little distracted, a little uh-oh-um. I did my best. I didn’t talk at all last time, so it seemed like a good idea at least to jump on and say thanks for listening and offer some setup for the second half of the show, which plays out in a succession of long, increasingly far-out cuts. But it’s not my best vocal work. Not gonna put it on my audition tape for KROQ.

Does KROQ still exist?

Anyway, I know it doesn’t matter, but still. Thank you for checking the show out if you do. For what it’s worth — plenty, to me — the playlist kicks ass.

If you tune in, I hope you enjoy. Thanks again.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at http://gimmemetal.com

Full playlist:

The Obelisk Show – 11.27.20

Samsara Blues Experiment End of Forever End of Forever*
Onségen Ensemble Stellar Fear*
Sun Crow Quest for Oblivion Black it Out*
VT1
Lykantropi Kom ta mig ut Tales to Be Told*
Urtidsdjur Vandringssång Urtidsdjur*
Murcielago Blues for the Red Lobster Casualties*
Switchblade Jesus Red Plains Death Hymns*
DVNE Omega Severer Omega Severer*
Dark Buddha Rising Sunyaga Mathreyata*
Morpholith Monocarp Null Dimensions*
Tomorr The 1001 Windows Village Tomorr*
Phog Hillside Whole Horse Both Barrels*

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Dec. 11 (subject to change). Thanks for listening if you do.

Gimme Metal website

The Obelisk on Thee Facebooks

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Review & Track Premiere: Dead Meadow, Live at Roadburn 2011

Posted in audiObelisk, Reviews on November 26th, 2020 by JJ Koczan

Dead Meadow Live at Roadburn 2011

[Click play above to stream ‘What Needs Must Be’ from Dead Meadow’s Live at Roadburn 2011 on Burning World Records. Preorders go live next Friday through Bandcamp.]

It was the most fuzz. And Roadburn wasn’t exactly light in that regard circa 2011. The renowned Dutch festival that year featured the likes of Zoroaster, Quest for Fire, Naam, Acid King and The Atomic Bitchwax… on the first day. L.A. by way of D.C. three-piece Dead Meadow played the last day, what was then called the Afterburner (review here), and their slot could not have been more appropriate. Sandwiched between Coffins and evening headliners Black Mountain on the Main Stage, they offered a mellow-heavy hour that was utterly consuming. People in the back sat down. Not out of fatigue, though it has been a long weekend by then, but just to let the warmth of Jason Simon‘s buzzing guitar wash over them. Joined by Steve Kille on bass and Mark Laughlin on drums, Simon‘s urfuzz and unfailingly drifting vocals filled that space with a laid back vibe and groove that that Burning World Records‘ Live at Roadburn 2011 presents in all its Sasquatch-inclusive righteousness.

Of course, Dead Meadow by then were on their way to being veterans already. More than a decade into their career, they’d released Three Kings (discussed here) in 2010 as a semi-live album/video, and that followed their fifth album, 2007’s Old Growth. Their Peel Sessions collection would show up in 2012, but as regards live records, they’d also done Got Live if You Want It! in 2002 following their 2000 self-titled debut and 2001’s Howls From the Hills (discussed here). Strangers neither to performance nor captured-performance, then, and Live at Roadburn 2011 brings that spirit to bear. Though the Alexis Ziritt cover art offers a glorious mania of colors and lines, planets, stars, an undead wizard and hooded mandrill acolytes, the 53-minute set itself is more about what Dead Meadow do within that abiding sense of mood, seeming to go deeper and deeper into nod until finally, with “Sleepy Silver Door,” it engulfs everything.

That set-closer was also the opener of the self-titled, and if Dead Meadow have a signature riff, that might be it (they’d revisit it in 2005 as part of a 13-minute jam), but on Live at Roadburn 2011 it’s also part of the larger story of side B and of course the LP as a whole. After launching with “Good Moanin'” and “Let’s Jump In” from 2003’s Shivering King and Others and 2005’s Feathers, respectively, their course is set between dense Orange-toned riffing and open-stretch psychedelia, and even as “What Needs Must Be” from Old Growth pulls back from the farther reaches of ‘far out’ to bring a bit of boogie to the proceedings, the ethereal sensibility remains in the solo even though the overarching rhythm is tight in its stops and starts, a kind of rolling swing that reminds that Washington D.C. was once the funk capitol of the US as well as the seat of government.

dead meadow and sasquatch (Photo by JJ Koczan)-2000

I’m trying really hard not to say the word “vibe” too many times, but that’s really what it’s all about. Heavy chill. As side A plays out, Dead Meadow speed things up through the first half of “Indian Bones,” bliss out in the middle and bring it back around in time to squeeze in “September,” which would close 2013’s Warble Womb, and “Rocky Mountain High” from the self-titled ahead — if nothing else, you’ll know it by the repurposing of the riff to Black Sabbath‘s “Iron Man” — of the big turn to “Beyond the Fields We Know.” One doubts Dead Meadow were thinking of putting the set out on vinyl at the time — you can’t ever be sure — but as regards the LP, it’s telling that side A features six tracks and side B only three. The band structured their set to follow a linear path outward. That’s not to say it lacks dynamic along that. Certainly as “Beyond the Fields We Know” hits nearly 10 minutes and “Sleepy Silver Door” nearly 11, for all the jamming going on, those two songs still come with the relatively straightforward strum of “At Her Open Door” from Feathers in between.

And just as certainly, that song trips out far and wide in its second half, riding its solo jam to the finish, so Live at Roadburn 2011 isn’t just one thing or the other, but the let’s-get-gone is palpable, and they invite the crowd along with them on their way. The performances of “Beyond the Fields We Know,” “At Her Open Door” and “Sleepy Silver Door,” compiled together on a single vinyl side, would be enough to justify this release. That they happen to occur at the end of an already right-on set is a bonus. I don’t remember at what point it was they brought out Sasquatch, but I remember whoever it was in that hairy, had-to-be-really-really-hot costume sleeked out onto the stage with the trio, sort of slow-’70s groove-walked around, checking things out. Went behind the drum riser. Went over by Kille and by Simon. Kind of hung out in the middle and danced for a bit.

But the thing about that moment — yeah, it was a novelty — but it was also a perfect fit. You stood there and, oh, here comes Sasquatch. Well of course. In the interest of full disclosure, I took the picture that appears on the inside gatefold of the LP of the elusive North American Skunk Ape hanging out with the band on stage (no money changed hands), but in the interest of fuller disclosure, no one gives a crap. What’s important for you to know is that the vibe — there’s that word again — was such that when it happened, you just went with it. It was unexpected, and hilarious, but it just became another part of what Dead Meadow already had going on that Sunday evening in Tilburg. And so, incredible.

Maybe it’s 2020’s effect of making one extra nostalgic for live music, the festival spirit, but the intervening nine years have done nothing to dull the luster that Dead Meadow show on Live at Roadburn 2011. I can only speak as someone who was fortunate enough to be there to see it, but that set was something special, and not just because of the ‘squatch. Dead Meadow sounded glad to be there, like they were rising to the occasion, like they realized it was more than just another gig, and Live at Roadburn 2011 resonates all the more for documenting that so well.

Dead Meadow on Thee Facebooks

Dead Meadow on Instagram

Dead Meadow website

Burning World Records website

Burning World Records on Thee Facebooks

Burning World Records on Instagram

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Tony Reed Posts “Funeral Suit” Video

Posted in Bootleg Theater on November 25th, 2020 by JJ Koczan

tony reed

The enviably prolific Tony Reed issued his solo acoustic debut, Funeral Suit (review here), earlier this month as the second installment of Ripple Music‘s ongoing ‘Blood and Strings’ series. It is just one of several Reed-related offerings to surface this year, but among the albums and whatnot from the goth-tinged Constance Tomb and his main band, Mos Generator, the mostly-unplugged of course stands out both by eschewing the heavy riffs and driving classic heavy grooves that Reed‘s known for, and for instead allowing him to begin a new exploration as a songwriter.

Mos Generator has only grown more progressive over the last couple albums, and Reed follows that trail onto Funeral Suit as well, as can be readily heard in the lush melodies and diversity of arrangements throughout as Reed layers his vocals, self-harmonizes, and switches between various guitars, keyboards/synthesizers and piano. The title-track, unassuming in its central strum, still bears the clarity of Reed‘s own production, and brings a wistful Mellotron progression to its midsection, integrating it fluidly with the acoustic guitar that surrounds. I’m not sure one would be correct to call it straightforward, but it’s one of Funeral Suit‘s more intimate stretches, and the video works in kind, with Reed presenting the track close on the camera in emphasis of the personal nature of the expression.

The stream of Funeral Suit is at the bottom of this post, and Reed‘s “Funeral Suit” clip follows here.

Please enjoy:

Tony Reed, “Funeral Suit” official video

Seattle songwriter and producer TONY REED (also frontman of Mos Generator) debuts an intimate monochrome video for the title track of his solo acoustic album ‘Funeral Suit’, available now on Ripple Music as part of their ‘Blood And Strings: The Ripple Acoustic’ series.

TONY REED is known for being the driving force behind Seattle’s heavy rock trio Mos Generator, as well as one of the most prolific songwriters and respected producers of the American underground rock scene. While he released his solo debut with ‘The Lost Chronicles Of Heavy Rock Vol. 1’ in 2018, never had he found the right occasion to sit down, grab a guitar and lay himself bare as freely and soulfully as he does on his acoustic debut ‘Funeral Suit’. With ‘Funeral Suit’, Tony Reed delivers his most personal work to date, pushing the experience further than the standard “man with a guitar” approach. Whether it’s the delicate arrangements, soulful vocal harmonies or piano-based escapades, this is a dense and multifaceted folk rock album with a strong progressive edge that will resonate with any listener.

Tony Reed, Funeral Suit (2020)

Tony Reed on Bandcamp

HeavyHead Recording Company on Instagram

Mos Generator on Thee Facebooks

Mos Generator on Instagram

Mos Generator on Bandcamp

Ripple Music on Thee Facebooks

Ripple Music on Instagram

Ripple Music on Bandcamp

Ripple Music website

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Album Review: Clutch, Weathermaker Vault Series Vol. 1

Posted in Reviews on November 25th, 2020 by JJ Koczan

Clutch Weathermaker Vault Series Vol 1

For those Clutch fans who’ve followed along over the last year-plus as the band has made their way toward building up their ‘Weathermaker Vault Series’ — the first one to be unveiled was Cactus-via-WillieDixon‘s “Evil” in June 2019 — through their own Weathermaker Music label, the collection Weathermaker Vault Series Vol. 1, should be a welcome advent. At very least convenient. In addition to the singles themselves, it includes odds and ends like “Run, John Barleycorn, Run” from the Maryland lifer-rockers’ 2014 split with reggae-informed buddies Lionize, and “Algo Ha Cambiado,” a cover of influential ’70s-era Argentinian outfit Pappo’s Blues that appeared in a jammier take as part of 2009’s Strange Cousins From the West (discussed here and here), as well as sundry other reduxes and covers.

It is, accordingly, a fan-piece. Weathermaker Vault Series Vol. 1 should probably not be anyone’s starting point with Clutch. The band have a wide catalog of full-lengths to choose from, and which one makes the best entry to their work is an argument — a fun argument! — for another time. These 10 songs put together as a respectable 38-minute LP are best approached for what they are, and that’s a niche offering for the previously-indoctrinated.

There’s nothing wrong with that, of course. As they approach 30 years since first getting together, the four-piece of vocalist Neil Fallon, guitarist Tim Sult, bassist Dan Maines and drummer Jean-Paul Gaster are no strangers when it comes to this kind of thing. Various limited live offerings through the years have surfaced, as well as countless promo discs and collections like 2003’s Slow Hole to China: Rare and Unreleased, 2005’s Pitchfork & Lost Needles, 2015’s La Curandera and of course the massive 2020 limited box set, The Obelisk, that brought together all their Weathermaker material — this compilation aside — under one banner. It may be the first of its kind — and it may not be the last; hence ‘vol. 1’ — but even though the method of releasing singles and David Brodsky-directed videos over the course of a year and a half is new to the band, it’s an engagement with multimedia-focused attention spans in a way that fits with what they’ve done before.

Beginning with the recently-unveiled revisit to “Passive Restraints” from the 1992 Earache Records EP of the same name that features a guest appearance from vocalist Randy Blythe of Lamb of GodWeathermaker Vault Series Vol. 1 wants nothing for an initial kick of energy. The nature of an outing like this is to be somewhat disjointed as tracks from various sessions are cobbled together, and Clutch have always been a band who bring out different sounds and vibes working with different producers, and while J. Robbins might be the unifying factor here in having helmed several of the songs, there are still shifts both in sound and style as the band spans their long career arc. Clutch don’t hide from them.

Clutch (Photo by JJ Koczan)

Instead, they back “Passive Restraints” with a newer take on one of their most successful singles, “Electric Worry.” The song that originally appeared on 2007’s From Beale Street to Oblivion (reissue reviewed here) is among Clutch‘s most landmark hooks, and while the single version had the unfortunate timing of being roughly concurrent with the death of former organist Mick Schauer, who played on that album and that track, the Weathermaker Vault “Electric Worry” does well in capturing a sense of the band’s live performance of it. Likewise that the later, speeded up redo for “Spacegrass.” It’s almost painful to hear Maines‘ holy-of-holies bassline played at anything other than a glacial pace, and the total presentation throughout is almost too clean for its own good in comparison to the danker edge with which that “Whenever it feels right” hook was delivered some 25 years ago, but again, that was 25 years ago, and Clutch take nothing away from what was by giving a reinterpretation to their own material.

The only other album track on Weathermaker Vault Series Vol. 1 is “Smoke Banshee,” originally on 2001’s Pure Rock Fury and it’s the best of the three. That LP has been maligned by some for its rougher-edged production — I’ll argue the “noise factor” is part of its appeal — but there’s no debating the success they bring in terms of fullness of sound in this version of “Smoke Banshee.” If they’re testing the waters for a full-re-recording or full-album live runthrough to mark the record’s 20th anniversary next year, “Smoke Banshee” shows that material might indeed be ripe for a revamp. And I like Pure Rock Fury. A lot.

ZZ Top‘s “Precious and Grace” feels like it might be included to let anyone who didn’t know know that Fallon cribbed the “Good god almighty…” lyric on Elephant Riders‘ “Eight Times Over Miss October” from the Texan outfit, and fair enough, and the Creedence Clearwater Revival cut “Fortunate Son” that presumably closes side A could hardly be a more fitting Clutch song if they wrote it. “Run, John Barleycorn, Run” is another among the slew of quality hooks early on, sat comfortably between “Electric Worry” and “Evil,” and quite possibly the best choice Clutch made as regards Weathermaker Vault Series Vol. 1 was to put “Willie Nelson” last, since invariably that’s the song that would be stuck in the listener’s head when the LP is over anyway. There’s just no escape from that chorus, and the re-recording — it originally appeared on Slow Hole to China and in a different version on the 2004 High Times compilation, High Volume — absolutely nails it.

That, obviously, is spoken as a fan of the band, but if the point hasn’t yet be made, that’s who inevitably will be most concerned with Weathermaker Vault Series Vol. 1 anyhow. It’s for the kind of Clutch listener who’s hoping they announce a holiday-timed ‘Doom Saloon’ live stream to take the place of the usual tour. Clutch have discussed the possibility of recording a new album this winter, but since they they can’t play live as they otherwise invariably would, Weathermaker Vault Series Vol. 1 is an opportunity in the meantime for followers to step forward and show support to the band and the work they’ve put in not only across this year, but for nearly three decades. If you made it this far reading, you probably know that already.

Clutch, “Willie Nelson” official video

Clutch on Thee Facebooks

Clutch on Instagram

Clutch on Twitter

Clutch Website

Clutch on YouTube

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IO to Release Debut Album on Argonauta Records

Posted in Whathaveyou on November 25th, 2020 by JJ Koczan

Roman sludge-rollers IO have signed to Argonauta Records for the 2021 release of their yet-untitled debut full-length. The album comes preceded by two songs posted on YouTube that finds the three-piece dug into a cosmic strain of ultra-heavy sludge, echoing screams and humongous riffs acting in concert with a plus-sized Sleep-style groove. You can hear in “Fire Walks With Us” below that the surprises are few but the sense of space is palpable, and that’s just fine as it moves from the pummel into a trippy second-half jam to answer back to the quiet beginning stretch. It’s a warm sound through a cold brutality, and of course as it builds toward the apex and of the track, the journey is well worth the minimal effort it takes to follow along.

No title or details yet on the record to come, but the PR wire sent this along:

io

Sludge Heavy Weights IO Sign To Argonauta Records!

Debut Album coming in the Spring of 2021!

Rome- based Sludge heavy weights, IO, have announced their signing with powerhouse label Argonauta Records, who will release the band’s debut album in the Spring of 2021.

The trio’s music is basically inspired by the burning, volcanic and foggy lands of IO, the Jupiter’s moon; their long, slow, and heavy as fire compositions could be indeed characterized by a dense atmosphere of sulfur while lava flows turn into magma lakes. IO‘s hazy yet poundering sounds, pure fuzz and sludgy heaviness, is taking its listener on a cosmic trip into volcanic space dimensions.

IO, who was formed in 2015, shared several stages with acts alike Monkey3, OTUS and many more, until they gained the attention by one of Italy’s leading heavy music underground labels Argonauta Records.

“We are very excited to join forces with Argonauta Records for the release of our first full length album.” IO comments. “We are really proud of this volcanic doomed work, which took some time to be completed during this pandemic, and we just can’t wait to bring you this caliginous overflow, we expect all the muddy sounds’ lovers to ride it loudly!”

IO’s debut will be seeing the light of day in the Spring 2021, with many more details and album tunes to follow in the months ahead.

IO is:
Fabio De Santis: Guitar & Vocals
Valeria T. Trucker: Drums & Lyrics
Stefano Ferramola: Bass

www.facebook.com/IOsludge
www.argonautarecords.com
www.facebook.com/argonautarecords

IO, “Fire Walks With Us”

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SonicBlast Fest 2021 Adds John Garcia, All Them Witches, Causa Sui and More

Posted in Whathaveyou on November 25th, 2020 by JJ Koczan

Hey, it could happen. The vaccines could work and be properly distributed, and with social-distancing guidelines still in place and accounted for in the festival’s venue choice, SonicBlast Fest 2021 could very well take place next August. I think we all know the first lineup announcement comes with a big ol’ asterisk in terms of “well this is how it’s gonna go if the plague hasn’t swallowed us whole by then,” but with that caveat, it’s awfully nice to see a lineup announcement from a festival at all, let alone one that already has a bunch of cool bands set to play. Maybe Europe’s borders will be open to Americans next August. That’d be a dream come true.

SonicBlast of course did the virtual thing this year, as many other fests have done, and the fest’s YouTube still has a few killer performances up, including the one from South Africa’s Ruff Majik that you can see at the bottom of this post.

Tickets are available and I have to believe it’ll sell out:

sonicblast-fest-2021

SonicBlast Fest 2021: Aug 12-14

SonicBlast Fest is back!

We are so happy to welcome John Garcia & The Band of Gold and Psychlona among many others to announce soon

In 2021 we celebrated the 10th edition in a new enclosure, with a strong poster and we couldn’t be more satisfied!

Months and months of work arduous and several contradictions along the way, our priority was always to try to secure a good poster for this special edition and find an enclosure with the characteristics needed for this great celebration. And we did it!

The 10th edition of 10 takes place at Praia da Dune do Cauldron in Anchor (Walk), in a dream framing and in a compound that will have the same capacity but features a much greater area, ensuring your comfort and safety when travelling in August 2021 to the Anchor region for this celebration. Thank you in advance to Caminha Município for your help in finding the new location keeping it in our county, and Junta de Freguesia de Âncora and Âncora Praia Futebol Clube for the enthusiasm and availability to welcome SonicBlast Fest.

Line up, so far:
John Garcia and the Band of Gold (usa)
All Them Witches (usa)
Brant Bjork (usa)
Witch (usa)
Causa Sui (dnk)
Bala (sp)
Psychlona (uk)
… and many more to be announced

Info Tickets:
(Portugal) Os bilhetes já estão à venda em toda a rede BOL (Lojas Fnac, Worten, Ctt’s…)
To buy your ticket online:
https://garboyl.bol.pt/Comprar/Bilhetes/92523-sonicblast_festival_2021_full_festival_ticket-garboyl_lives/Sessoes
e www.masqueticket.com

Full festival ticket:
– 50€ from 23 to 30 November
– 65€ from 1st of December to 31st of May
– 75€ from 1st of June

https://www.facebook.com/events/193315945704188/
https://www.facebook.com/sonicblastmoledo/
https://www.instagram.com/sonicblast_fest

Ruff Majik, Live at SonicBlast Online 2020


https://sonicblastmoledo.com/

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Phog Sign to Desert Records for Whole Horse Both Barrels LP

Posted in Whathaveyou on November 24th, 2020 by JJ Koczan

So, uh, this rules. I hadn’t heard Phog‘s Whole Horse Both Barrels before this signing announcement came in from Desert Records, but I kind of dig the crap out of it. Hailing not from Albuquerque, where the label is based, but from Portland, Oregon, via South Dakota, they nonetheless remind me some of defunct Albu-quirkies Leeches of Lore in their lo-fi heavy-meets-psych-country blend. For Phog though, that comes paired with a psychedelic sprawl that feels all the more niche for the lap steel guitar included. Americana and heavy have been stylistic buds for going on 15-plus years at this point, but that’s not really the extent of what’s happening with Whole Horse Both Barrels, as both are put to use to serve the band’s overarching, individualized weirdness. As I said, I dig it.

I’m sure you’ve heard it already, but if not, it’s down at the bottom of this post, and vinyl info from Desert Records follows:

phog whole horse both barrels

Phog – Whole Horse Both Barrels – Desert Records

We would like to welcome Phog from Portland, Oregon to Desert Records! We will be releasing their album ‘Whole Horse Both Barrels’ on a limited edition 100 individually numbered “Blue Dream” vinyl! We here at Desert Records are thrilled to welcome these fine South Dakota bred, Portland honed gents to the family!

pronouncedfog.bandcamp.com/releases

“Whole Horse Both Barrels” is phOGs open love letter to classic rock, country western music, the 70s and heavy metal. Recorded over the course of 2019, and maybe some of 2018, re-visiting songs previously demo’d before Zach was in the band, and rolling out some more fresh material for an easy 30 minute listening experience, of 5 songs that flow right into one another, we hope you enjoy the journey. All songs were written, produced, and recorded by phOG via the Tascam 388 reel to reel in the basement of The Convent in Portland, Oregon.”

Album art for “Whole Horse Both Barrels” created by Ted Nasmith (Canadian artist, illustrator and architectural renderer. best known as an illustrator of J. R. R. Tolkien, and George R.R Martin works).

Phog are:
Samuel Cody Matson (lap Steel)
Adam Mundorf (Guitar, Vocals)
Zachary Retzl (Bass)
Jonathan “Jonny V” Ventrella (Drums)

https://www.facebook.com/phogband/
https://pronouncedfog.bandcamp.com/
https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

Phog, Whole Horse Both Barrels (2020)

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