Not really a surprise that the video for “Fuller,” taken from Chron Goblin‘s newly released third album and Ripple Music debut, Backwater (review forthcoming), would be a good time — that’s kind of the band’s thing — but that doesn’t make it any less enjoyable. The new clip from the Calgary-based heavy rock foursome chronicles a freaked-out day in the life of a pizza deliverer, and that includes a guest appearance from the Gimp or otherwise some dude in a wrestling mask, doing stoned doughnuts in an empty parking lot, and dropping off lunch at the Breaking Bad trailer out in the middle of nowhere. I’ve never delivered pizzas professionally, but I imagine it’s pretty accurate to the reality of the situation.
The final stop? To Chron Goblin‘s rehearsal space, where the band awaits two pepperoni pies. As to whether or not they actually get them, I won’t spoil the video entirely, but as ever, it’s more about the journey than the destination, and “Fuller” makes for a fun trip along the way. A catchy, upbeat riff-and-hook approach is cut into a couple times for video/sound effects — the squealing tires into the guitar solo is particularly effective — and the song stands up well to the comedy, which it would have to for this kind of thing to work. Tension builds as the groove thickens later on, but though the stakes are high, e.g. pizza en route, but Chron Goblin never lose sight of the party they’re throwing sonically, and coupled with the songcraft they display throughout Backwater‘s entirety, that’s more than enough to hold even the most fickle of attentions for four minutes or so.
If anyone needs me, I’ll be ordering a pizza.
Chron Goblin, “Fuller” official video
We are proud to present a new music video for “Fuller”! Check out the ill-fated pizza delivery action adventure featuring the lovely and hilarious CJ. Directed, edited, and shot by our very own Josh Sandulak.
I’ve made no attempt to hide my fandom for Los Natas over the years. Their 1996 debut, Delmar, has closed weeks on two separate occasions (see here and here), and stands among my personal favorite records, period. House burning, only time to save the Kyuss or the Natas, I pick the latter every time, and not just because I can re-buy the Kyuss records either. I was fortunate enough to see them live at Roadburn 2010, as much as one could see anything with the room so dark, and between chasing down their rare-cuts offerings like Rutation (review here) and putting their last album, 2009’s Nuevo Orden de la Libertad (review here), among the top of that year’s best — a trend that has continued as guitarist/vocalist Sergio Chotsourian has gone on to release three albums with his new band, Ararat, in the years since — the nerding-out has really only continued. As I check the mail to look for a Sergio Ch. solo record to review, I doubt it will abate anytime soon.
So when I tell you that 1999’s Ciudad de Brahman is a special album, understand I’m speaking as a fan of the band’s work front to back. Progressed from the laid back desert sands of Delmar to something harder-edged but still offering plenty of serenity, the 14-track offering would set up the rawer heavy style that began to show itself from their third record, 2002’s Corsario Negro, through the subsequent 2006 outing El Hombre Montaña and of course on El Nuevo Orden de la Libertad as well, the quiet, jammy explorations having found an outlet in the interim in other releases like Toba Trance I and II and München Sessions, all of which were issued between 2003 and 2005.
Like its predecessor, Ciudad de Brahman was put out in North America by Man’s Ruin Records, and between its instrumental stretches, songs like “Brisa del Desierto,” “Meteoro 2028,” the stomping “Alohawaii” and its eight-minute instrumental/longest track opener “Carl Sagan,” Natas‘ second (also their final before adding the Los) full-length is a rich summary of the varied sound they’d come to hone over their years together, Chotsourian and drummer Walter Broide working with a couple different bassists, including Miguel Fernandez here and Gonzalo “Crudo” Villagra in the band’s final (to-date) incarnation. As always, I hope you enjoy.
Took a full day off yesterday, which is something I don’t ordinarily allow myself to do, but there was a lot of travel involved. In the morning, The Patient Mrs., the little dog Dio and I rolled down from Massachusetts to Connecticut to do her family’s Thanksgiving dinner, and last night, from there, down to New Jersey, where we’ll essentially repeat the process today. Back north tomorrow.
It would be fine, but I’m having a flareup in my right ankle — you might recall I fell early this year, but that’s more a symptom than the root cause — that is remarkably painful and has kind of played havoc on the idea of walking, which, you know, one might do on a family holiday occasion, even if it’s just to the kitchen and back. Yesterday was an adventure, I expect today will be likewise. Every day is in one way or another.
I guess that’s my way of noting why I’m closing out the week early today, because basically I’m on my way out the door and over to see my family, with perhaps a quick stop off for a coffee and an ace bandage along the way. Monday, check back for Chron Goblin‘s new video, which I’m sure you’ve already seen but is fun nonetheless, and a full-album stream from We Lost the Sea. Tuesday, the Readers Poll goes up, so I guess it’s the kickoff for list season. Might try to do year’s-best-art in the next week or so. Still have a bunch of reviews waiting as well for Bevar Sea, Kind, Bedroom Rehab Corporation, and so on. I’ll do my best to squeeze in as much as I can when I can.
Thanks for reading, have a great and safe weekend, and please check out the forum and radio stream.
I’m not really sure what might prompt North Carolinian heavy rock four-piece ASG to make a new video now, more than two years after the release of their latest album, Blood Drive, also their debut on Relapse Records, but if I had to take a guess, they had the footage and decided to use it. Sad to say, I’m not familiar enough with the Wilmington area to know definitively where their newly-premiered clip for “Mourning of the Earth” was filmed, but if it’s Ziggy’s by the Sea, then it would be the same locale where the band captured “Scrappy’s Trip” from the same album, though that seems to have been set to the studio version of the song, whereas this is live video and audio.
Maybe ASG have a new record in the works and are looking to get a little momentum going and say goodbye to Blood Drive before they enter the release/touring cycle anew — and with them, there’s little doubt it’d be a substantial cycle indeed — but whatever it is, I’m little inclined to argue. The massive response Blood Drive garnered was neither happenstance nor the result of anything other than a quality songwriting process and years of hard work put in, and if “Mourning of the Earth” is their way of reminding people of that fact before they bring something new to the table next year, then right on. Hell, even if they haven’t been writing or recording, I don’t think they’ll meet with too many complaints, even this far out from the last release.
Rocka. Also rolla:
ASG, “Mourning of the Earth”
North Carolina stoner rockers ASG have shared a new music video via Vevo for their track “Mourning Of The Earth,” taken from the 2013 release Blood Drive. Directed by Jason Lynn, the video is taken from one of ASG’s recent live performances in their their hometown of Wilmington, NC earlier this year, and features the band tearing through the ripping, riff-laden stoner metal anthem.
In late 2011, Relapse Records announced the signing of North Carolina’s finest psychedelic, stoner-punks. ASG entered the studio in February 2012 to record their highly anticipated Relapse debut with producer Matt Hyde (Slayer, Children of Bodom, Fu Manchu). After a string of U.S. dates with Corrosion of Conformity and label-mates Royal Thunder in early 2013, the group delivered their fourth full length Blood Drive on May 28th, 2013. A 12-song collection of sun-soaked anthems full of groove heavy riffs that reference equally Torche and Queens of the Stone Age, Blood Drive has garnered near-universal critical acclaim since its release.
I’ve been pretty up front all along about my enduring affection for Virginian chaos weavers Lord, so I feel no need to search for excuses for posting this live video of their full-set from this summer’s inaugural Maryland Doom Fest. I dig the band, so there you go. Last month, they updated about the progress for their new album, Awake, which will be the follow-up to last year’s Alive in Golgotha EP (review here) and 2011’s Chief (review here), saying that the mix had been finalized and they’d be setting a release date soon, but part of the excitement with Lord is that you never really know. They could drop it tomorrow or they could completely revamp their lineup (again) and take three years off. They’re Lord. They’re not kidding when they say “No Explanations Necessary.”
Unsurprisingly, they crushed it at the Maryland Doom Fest in front of a not-quite-hometown-but-certainly-familiar crowd, playing new material and old. They’ve reportedly started writing for the follow-up to Alive already, and they’ve continued to do regional live shows, playing with the likes of Fistula and The Osedax, so they’re keeping plenty busy while they wait on artwork and so on for the pending release. One never really knows how things are going to shake out with Lord until they’re already shook, but a surge in activity would definitely be welcome by me, as I’ve said before, and I think the live video below gives a pretty good sense of why as they push into realms of extreme sludge and grind that no one else seems to capture with the same thickness or intensity. If you get the chance to check it out, hope you dig.
Filming was done by Jim Rosenkrans of LeadFoot Productions. Setlist and other info follow:
Lord, Live at Maryland Doom Fest 2015
Setlist: 1) breathe 2) what you may call the devil is amongst us 3) reset the wave 4) no explanations necessary 5) strangers on the road 6) one step away
The final mix for our new full length, Awake, has just been completed by Vince Burke! We’re hoping to get it out as quickly as possible. While we’re waiting on the final aspects (artwork, etc.), we’ve started writing new material and are already 2 songs deep into the next release. The fire’s been stoked and we’re keep the momentum going. Stay tuned for release info coming very soon!!!
Chris Dugay-Bass Willy Rivera-Guitars/Vocals Kevin “Skip” Marimow-Drums/Percussion Todd Weurhmann-Guitars/Vocals Steven Kerchner-Lead Vocals/Synths
Nashville four-piece All Them Witches may or may not be about to unveil their first European tour dates, presumably for sometime early in 2016, but one never knows. It’s a prospect they teased the other day by posting, “Europe: you are about to be very happy,” which would be a notable change for Europe of late, and whenever they do go, it will be in support of their newly-issued third album, Dying Surfer Meets His Maker (review here), the mellow vibes and resonant grooves of which continue to enthrall, and which they’ve already supported in the US alongside Kadavar and The Sword, which is no minor shakes as far as touring partners goes.
The reason I say early 2016 is more likely for a European run, in fact, is because All Them Witches will spend most of December and January on the road in the States, dipping into Canada for Montreal and Toronto shows but mostly focusing on the East and West Coasts, though hitting select spots between too. They’re setting themselves up for 2016 to be a pretty road-heavy year, but when they started touring to support their second album, Lightning at the Door (review here), they worked quickly to make wider intentions known. A prior European appearance had been confirmed for Desertfest Belgium in 2014 that fell through, but it seems like it won’t be long before they cover that ground as well. Could just as easily be a Spring tour in time for festival season that’s going to be announced as it could something prior. We’ll just have to wait and find out.
To support the tiding-over process, the band has newly revealed a video for Dying Surfer Meets His Maker‘s most raucous track, “Dirt Preachers.” The song, also an advance single from the album, is set to an animated narrative of wizardry, questing and I’m not even sure what else, but a demon shows up and all hell seems to break loose, so yeah, it’s fitting enough. If I’m not mistaken — and I’m not — they had given a sneak preview of the clip on Halloween before removing it again, but this time it seems to be out there permanently. Directed and animated by Chad VanGaalen, you can find it below, followed by the currently-confirmed tour dates. When I hear of more, I’ll post accordingly.
All Them Witches, “Dirt Preachers” official video
All Them Witches on Tour:
NOVEMBER 28 Atlanta, GA – The EARL 29 Winston-Salem – The Garage * 30 Carrboro, NC – Cat’s Cradle *
DECEMBER 1 Charlottesville, VA – The Southern * 2 Washington, D.C. – Black Cat * 3 Philadelphia, PA – Boot & Saddle % 4 Brooklyn, NY – Rough Trade % 5 Boston, MA – Great Scott % 6 Ithaca, NY – The Haunt *! 8 Montreal, QC – Le Ritz * 9 Toronto, ON – Garrison * 10 Buffalo, NY – Studio at Waiting Room *! 11 Cleveland, OH – Beachland * 12 Rochester, NY – Bug Jar *! 13 Pittsburgh, PA – Brillobox * 15 Detroit, MI – Marble Bar * 16 Columbus, OH – Ace of Cups * 17 Grand Rapids, MI – Founders * 18 Milwaukee, WI – Cactus Club * 19 St. Paul, MN – Turf Club * 20 Indianapolis, IN – Hi-Fi * ^ with Chrome Pony ++with The Sword & KADAVAR ! with The Sword, Kadavar and Windhand + with The Sword % with Slothrust * with New Madrid *! with New Madrid and King Buffalo
JANUARY Wed. 13 – Louisville, KY – Zanzabar Thu. 14 – Chicago, IL – Lincoln Hall + Schubas Fri. 15 – Madison, WI – High Noon Saloon Sat. 16 – St. Louis, MO – The Demo STL Mon. 18 – Denver, CO – Larimer Lounge Wed. 20 – Crystal Bay, NV – Red Room @ Crystal Bay Casino Thu. 21 – San Francisco, CA – Rickshaw Stop Fri. 22 – West Hollywood, CA – The Roxy Theatre Sat. 23 – San Diego,CA – Casbah San Diego Mon. 25 – Fullerton, CA – The Continental room Tue. 26 – Phoenix, AZ – The Rebel Lounge Wed. 27 – El Paso, TX – The Lowbrow Palace Fri. 29 – Austin, TX – Stubb’s Austin Sat. 30 – Dallas, TX – Club Dada
The guitar playing is so paramount to Mountain‘s mega-classic 1970 debut, Climbing!, that I think sometimes Leslie West‘s string prowess trumps everything else, but while stellar, it’s far from all the record has to offer. Both West and bassist Felix Pappalardi shine as vocalists, and in addition to the cowbell overdose on “Mississippi Queen” and “Never in My Life,” Corky Laing‘s drums swing so heavy throughout that sometimes it seems a wonder they can move at all, let alone groove as voraciously as they do. From the organ-laced “Theme for an Imaginary Western” to the later acoustic semi-psychedelics of “The Laird,” Climbing! has versatility, poise and sonic and emotional heft. It is no coincidence that it came out in 1970 — a full 45 years ago as of this March — and so many groups went on to beef up their sound circa ’71 and ’72.
I won’t take away from the opener’s landmark status or the rhythm and blues at root in “Sittin’ on a Rainbow,” the subtle proto-prog of “Boys in the Band,” but I think for me the highlight of the album is “Silver Paper,” which gives a decidedly Northern take on a feel that Lynyrd Skynyrd would soon define exclusively as Southern rock, as it seems to draw together all sides of the record, Pappalardi and West trading off vocals, Laing doing much with a relatively straightforward drum progression, Steve Knight‘s hand bells and organ fleshing out the sound. That’s just as likely to change with any given mood though, Mountain positively nailing it as few acts ever have on their first record. Naturally that has its ups and downs as regards the entirety of a career, since while they called it Climbing!, they’d never — at least commercially, if not creatively — reach these heights again, though neither are their subsequent works or members’ contributions to outfits like West, Bruce and Laing (with Cream‘s Jack Bruce, who also wrote “Theme for an Imaginary Western”). An influence as enduring as Mountain has had doesn’t come from just one record, even a monster like this one.
Something of a given in the sphere of heavy rock, it’s an oversight that I haven’t closed out a week with Climbing! before. Actually, I thought I had until I went back and couldn’t find it, so there you go. I don’t imagine that this will be the first time hearing it for many who read this, but as an excuse to revisit it on a Friday afternoon — maybe you’re thinking about a kickass weekend coming up or even just not being at work for a couple days — I thought we could all do a lot worse.
As always, I hope you enjoy.
I didn’t get the chance to say it last week, but rest in peace Phil “Philthy Animal” Taylor. The former drummer of Motörhead‘s passing reminds us of the power that band wields and the generations-spanning effect they have had on rock and roll and heavy musics of all stripes. The work remains but Taylor will be missed.
So, this post, or at least the above portion of it, was originally slated to go up last Friday evening, written in Philadelphia, to which I had flown from my work trip in Chicago on Thursday night. Obviously the attack in Paris superseded that and just about everything else. What a shitshow. Particularly as an American who was conscious when his country passed the Patriot Act late in Oct. 2001, it’s sad to see Europe closing its borders to refugees and to its neighbors, ending the Schengen Agreement, but panic is panic regardless of where it’s born. Now I’m hearing about hostages in Mali. Off to war, forever and always.
What were we talking about? Oh yeah, rock and roll.
Next week is a holiday here in the States, and I’ll be traveling to Connecticut and to New Jersey to see family, so I’m not sure how much posting I’ll be doing Thursday and Friday, but I’ll have a podcast up probably Wednesday in case I’m not the only one hitting the road. Monday and Tuesday I’ve also got reviews and full-album streams slated for Moon Curse and Tombstones, so there will be plenty to listen to one way or another.
Speaking of, if you didn’t check out the Kungens Män that went up today, the jams are right on and ripe for digging in. I was into it enough to chase down hosting it, so yeah.
I meant to mention it last week, but at this point I’m well into planning out the next Quarterly Review as well. I’ve got about six records slated for each of the five days when it will take place. I’m thinking maybe the week after Xmas for it, though that has it ending on New Year’s Day, and I don’t imagine too many people will really be interested in reading reviews. Maybe the first week in January? I’ll figure it out.
We’re almost getting on year-end list time too, and the readers poll. Dec. 1 is a Tuesday, so I’ll launch that then (with Slevin‘s always-appreciated assistance), and hopefully everyone will have the chance to chime in. I always get nervous with that kind of thing that nobody’s going to bother. Please bother.
Alright. I think that should do it.
Since I likely won’t get the chance to say so before the day actually comes, a very happy Thanksgiving if you’re here in the US. It’s based on a genocidal lie, but still nice to get everyone together. All the best to you and yours wherever you might be though. I hope you have a great and safe weekend, and please check out the forum and radio stream.
I’m a little sad to admit that Rotor‘s aptly-titled fifth album, Fünf, is out now (on Noisolution) and I’ve yet to hear it. Having so thoroughly dug 2010’s 4 (review here) and the subsequent Festaal Kreuzberg live outing (review here) when they were released, the latest was one to look forward to. The good news is that the Berlin-based instrumental four-piece have a new video up now for the track “Volllast” from the record, and it finds their heavy, progressive sound well intact.
Rotor have been on tour in Europe since Nov. 11, heralding the arrival of their first offering in five years and first with two guitarists, and have already been confirmed for Desertfest London and Freak Valley next year. Doesn’t seem unreasonable to think they’ll have more fest appearances and other touring in the works, but in addition to the current run, they’ll also play Freak Valley‘s X-mas Fest on Dec. 19 with Tuber, Wucan, Ded Orse and Green Orbit.
The video, like the song, starts out serenely enough. A white van pulls up, foldout chairs and a table with a plant on it are laid out, and some unplugged guitar interplay ensues. Then the motorcycles go by and all hell breaks loose. No, seriously. The song stomps out some of the heaviest riffing I’ve heard from Rotor and the video hits it no less fervently. Booze is poured into open mouths, ladies wrap their arms around the bellies of riders, fires are lit, hedonism is had. In watching the clip last night, The Patient Mrs. commented, “What an odd celebration of masculinity.” And fairly enough.
Nonetheless, it looks like it was a damn good time to make, and though it’s been up for a minute at this point, I didn’t want to let any longer pass without giving it due attention.
Rotor, “Volllast” official video
Rotor.2015 Tour (remaining dates): 19.11.2015 – AT Salzburg, Rockhouse Bar 20.11.2015 – AT Linz, Kapu 21.11.2015 – DE Chemnitz, Zukunft 27.11.2015 – DE Dresden, Groovestation 29.11.2015 – DE Berlin, Lido 19.12.2015 – DE Siegen, Freak Valley X-Mas Fest
My understanding is that Red Lama‘s debut full-length is in the mixing stages now and, when it’s done, it’ll be out early in 2016 on All Good Clean Records. The Copenhagen-based outfit are bordering on psych-orchestra status with a full seven-piece lineup — I’ll just assume somebody couldn’t make it the day they took the picture above — and while it’s a miracle they can get that many people to be on the same page regarding anything, let alone actually function together as a heavy band, they’ve managed to put together an initial single in the form of “The World is Yours,” for which they also have a video newly unveiled.
The album doesn’t have a name yet — can you imagine getting seven people to agree on an album title? — but “The World is Yours” effectively demonstrates Red Lama‘s psychedelic side. As to how it might or might not speak for the whole record, I don’t know, but presumably they didn’t make it the first single because it just happened to be the first song finished. Or if it was, then that wasn’t a coincidence either. If it’s indicative of what they’re doing overall, then it finds them setting a deep mix to work in and then filling that space with an array of effected guitar, warm low end, spacey vocals and fluid groove. Some of it feels like post-Colour Haze heavy psych, but the band are right when they namecheck the Danish neo-krautrock stylizations of Papir as well, as there’s a definite progressive undercurrent to “The World is Yours” to coincide with its catchy chorus and dreamy central guitar line.
I’m not sure whether songs like “J.W. Burning” or “Twisted Smile” from the band’s self-titled 2012 EP will make the cut on the new record, but the septet’s Soundcloud page gives a chance to dig into these and other tracks like “Drowning Sun,” which coincides time-wise with “The World is Yours” and so likely came from the same sessions. It has a correspondingly open feel, laid back and jammy and post-rocking at times, but with a definite, grounding presence in standalone vocalist Johannes Havemann Kissov Linnet. In any case, if you’re looking to dig in, “The World is Yours” encourages further investigation, and the impressionism of the video enhances the otherworldliness of the sound.
Video follows, with background on the band and the clip after. Enjoy:
Red Lama, “The World is Yours” official video
Video directed by Iris Deppe Footage shot by Sarina Bosio
Music composed by Red Lama Recorded live at TAPF studio Produced and mixed by Peter Sloth (TAPF Studio) Mastered by Rune Rask (Tabu Studio)
Copenhagen’s musical underground continues to shoot new rock bands up through the asphalt. Now the next longhaired seed, in form of the seven-piece band Red Lama, is sprouting and is on its way to break through. The band is ready with a music video for their track The World is Yours. The track is at the same time the first single of the upcoming record by Red Lama, which is to be released primo 2016.
Red Lama settles in the slipstream of other current Danish bands with a taste for psychedelic expression and sound, such as De Underjordiske, Spids Nøgenhat, Papir and Fribytterdrømme. Red Lama find themselves between different parts of the rock genre with inspiration drawn from musical traditions from Iran and Mali.
The debut album, which is still untitled, is a bold move, where all the tracks are recorded as live sessions in TAPF studio in order to maintain an authentic and vivid sound. At the same time it makes apparent that Red Lama is a band that plays together, has experience and does not compromise the team effort that a seven-piece band requires live.
“We try to challenge the composition without making it too abstract and emphasize that we do not relate to a specific kind of genre of rock music. The intention is to create a powerful expression. We call it Moodrock where the rationale is that dreams are free, “says the lead singer Johannes Havemann Kissov Linnet.
The video for the first single, The World is Yours is directed by the Dutch artist Iris Deppe that previously has made music videos for the musical relatives in Fribytterdrømme.
“When making a music video I try not to focus too much on the lyrics and more on the atmosphere of the song. In this case the song The World is Yours by Red Lama has a very apocalyptic feel to it, whilst being mysterious at the same time. In a way it feels like a love song written for the earth that ends violently. Because there’s so much happening in the song I decided to go for a moving collage style where different kinds of filmed fragments are being shown, kind of like pattern puzzles, leaving it up to the viewer to piece everything together. Towards the end of the video everything starts to fall apart, melting into multi-coloured shapes. I got that idea while strolling around the Nørrebro lakes one evening and watching the reflections of all the lights casting long, melting shapes into the water., “says Iris Deppe.
Red Lama’s debut album is released on the brand new record label All Good Clean Records, and is just now entering the mixing phase.
Johannes Havemann Kissov Linnet: Vocal Morten Kaas: Organ, harmonica and other effects Marius Havemann Kissov Linnet: Drums Frederik Randrup Hansen: Bass Jonas Harboesgård Rahbek: Guitar Oliver Asbjørn Fick: Guitar Niklas Sjøbeck Jørgensen: Percussion