Asteroid Interview with Robin Hirse: Resolidifying the Molten

Posted in Features on November 27th, 2015 by H.P. Taskmaster

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Let the speculation end: Asteroid are back together. New material is in progress for a 2016 release and they’ll hope to tour next year as well.

The Swedish heavy psych rockers ended on a fade after Move a Mountain/One Foot in the Grave (review here), a final 7″ single that followed what remains one of the finest fuzz-jam releases of this decade, 2010’s II (review here), and about two months ago, the Örebro-based trio of guitarist/vocalist Robin Hirse, bassist/vocalist Johannes Nilsson and drummer Elvis Campbell began to tease the prospect of a resurgence via social media, posting on Thee Facebooks vague notes like “Is there anybody out there..?” and photos of setlists, and so on.

This week, news came of their first-announced show as a reunited band, which will be Feb. 27 in Athens, Greece, supporting the inaugural European tour for All Them Witches, and today I’m pleased to bring confirmation that will be the first of hopefully many to come. Five years after II basked in warm tones and the ultra-natural chemistry of HirseNilsson and Campbell on tracks like “Edge,” “Garden,” “Towers,” “River” — hell, all of them — Asteroid have begun work on a follow-up. Whether that will be a full album or something else by the time it comes out, it’s early to say, but when Asteroid start jamming, good things happen. They’ve got one new song done and more taking shape.

Fuzzorama Records — the label helmed by fellow Örebro fuzz specialists Truckfighters — released II and the 2007 self-titled Asteroid debut (discussed here), may or may not continue to handle their work when the time comes. In 2012, the band signed to Small Stone on a deal that ultimately fell through, so it’s entirely possible they could wind up working with their neighbors again or with someone else. Maybe that’s putting the cart before the horse, but it’s easy to be excited about the prospect of a third Asteroid LP, both because the second was such a landmark and because it showed so much potential for them to move even farther forward, and I’m thrilled to be able to bring you the first interview they’ve done to confirm the reunion is taking place.

It’s a quick Q&A and it follows here. Please enjoy:

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Alright, let’s do this. Take me through the story of getting Asteroid back together. How did it happen? Was it always going to happen? Was it never going to happen? What came together that allowed a reunion to take place?

Yep, let’s get to it. First off, we never said: “This is it, it’s over!” So there was always a chance that it was going to happen. Even more likely than not. We’ve been good friends all along so there were no burnt bridges or anything like that. One day I just called up the guys and asked them over for coffee and said something like, “So, what do you think, do you wanna give it another go?” And they said, “Yes of course.” I think the thought had crossed our separate mind at least a thousand times since we “parted ways.”

Tell me about bringing Elvis back into the lineup on drums.

Well, let me put it like this: No matter how many drummer we’ve had, Elvis is the drummer of Asteroid. He’s always been. When he joined we found our sound, our real groove asteroid 2smile. Henke [Jannson] was with us for a lot of shows and on the 7” and we love him dearly and we had Martin [Ström] in the beginning, on the split with Blowback and on the debut album. But as I said, the three of us playing together make the magic that is Asteroid. Nothing else even comes close.

What led to the breakup/hiatus in the first place?

We were just tired… Tired of sitting in that tour bus mile after mile, tired of each other, tired of all the long nights and the endless party. Don’t get me wrong, we love playing live, but it takes a toll on you. The last tour we did before the break (which was with Elvis, by the way) was really hard on all of us, mentally and physically.

It all gets very personal and close when you’ve been a band for as long as we have. And since we hang out in private too it felt like a break was the right thing to do. And that gave us time to get our heads straight and rest our souls a bit.

How did it feel to pick up your gear and jam Asteroid songs again together for the first time? Where was the rehearsal and how did it happen?

Like coming back home, I guess that would probably be the best way to describe it. Like things were beginning to fall back in to place… Honest and true, like music is supposed to feel. It was such an awesome feeling! But I won’t lie, it was a bit harder, and it took some getting used to after all that time. But after the second rehearsal the muscles began to remember the motions and our vibe began to return for real. Great fun to say the least!

We know almost all the bands in our hometown, so getting a place to test our wings wasn’t hard. And a couple of weeks ago we found a nice rehearsal space that we’ve been getting in order with all our lovely gear and all our lava lamps and Persian rugs.

Have you started to write new material? Will you work on a new album first or something else?

We had some song ideas, maybe three or four, that we began writing before the “vacation,” that we’ve started putting together now and I actually think we finished the first, an all-new one, yesterday [Nov. 25]. But you never know, we may change some things around. It’s got kind of a groovy “Zeppelin”-vibe to it… We really dig it! As for the rest of the “buried treasures,” they most certainly sound like Asteroid. Spacious, trippy, soft and heavy as hell! So as soon as we got some more song that we are happy with done, an album will be recorded. Or an EP, or a 7” or a double album… We’ll see how it goes, but we promise that new music will be released sometime next year!

It’s been five years since the second album came out. How do you feel Asteroid’s sound will progress moving forward?

I think we’ll continue to do what we’ve always done: Write stuff that we would want to listen to ourselves. asteroid-nya-latenAnd since that can be anything from soft jazz and strange whale sounds to crazy black metal from the deepest woods of Norway, anything can happen. We never ever strive to write an “Asteroid song” it’s more like all the songs we write become “Asteroid songs” because of the three of us and what we individually and collectively bring to them.

Fuzzorama reissued II last year. What do you think it is about that record that resonated so much with listeners?

I personally think people can tell when something comes from the heart. It’s heavy and fuzzy mixed with raw and fragile… We’ve always been very proud of that album, but we had no idea that it would have an impact on as many people as it has. And that’s what makes you the most proud. That just goes to show what music can do!
But it’s still weird when you think about the fact that at least one or two of those riffs or lyrics were written while I was sitting on the toilet. It’s a good place to think, you know.

You’ll be playing with All Them Witches in Athens, Greece, on Feb. 27. What else is in the works for shows? Will you tour?

That’s gonna be great fun! I really like their style. And it’s gonna be nice to meet Elina [Kemanidi, show promoter] at last. She puts on a lot of great shows there and we’re looking forward to finally seeing one.

Sadly nothing else can be said right now about what has been booked for the next year, but it’s going to be a fun year that’s for sure! We’ve got our No. 1 Dude working around the clock, so yes, we will be touring in 2016.

Any other plans or closing words you want to mention?

Well with everything that is happening all around the world right now it would be great if everyone could just try to remember that we are ALL in this together.

And of course: Long live love, fuzz and hard rock… and all that is good!

Asteroid, II (2010)

Asteroid on Thee Facebooks

Asteroid website

Asteroid at Fuzzorama Records

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Monolord Interview with Esben Willems: Crushing the One

Posted in Features on November 16th, 2015 by H.P. Taskmaster

monolord 1

It has been an exceedingly busy year for Monolord. The Gothenburg trio released their second album, Vænir (review here), through RidingEasy Records as the follow-up to 2014’s incredibly well-received Empress Rising debut, and from there, they haven’t really stopped. A tour in Europe led up to the album’s release and also found them following it with an appearance at Roadburn in the Netherlands, and they did sundry other dates this past summer before making a stop at Desertfest Belgium en route to the US for their first tour in North America, supporting Windhand and Danava on an ambitious cross-country run of the major markets that included a slot at Night of the Shred in Southern California.

Really, since Empress Rising was plonked down on riff-hungry skulls like so much edible concrete, Monolord have worked quickly and fiercely to make a name for themselves. Comprised of guitarist/vocalist Thomas Jäger, bassist Mika Häkki and drummer/recording engineer Esben Willems, they clearly knew what they wanted to start from sound-wise on the first record and had ideas they wanted to develop working off that for the second, but also, in practical as well as creative terms, they seem to be very much on the same page in terms of what kind of work they’re going to put in and what that’s going to look like in terms of their overall plans. Monolord‘s ascent is not an accident. True, it wouldn’t be possible if the albums didn’t resonate, but they have not sat around and let acclaim come to them. They have gone out and hand-delivered their pummel door to door.

With performances already confirmed for 2016 at Desertfest in London and Berlin, Freak Valley in Germany and Hellfest in France, as well as other tours in the theoretical stages, it looks like that will very much continue to be the case as they move beyond Vænir and toward a crucial third full-length. As they move toward wrapping the dates with Windhand and Danava, it seemed only fair to check in with the band and get an update on how the shows have been, their impressions from life on the road in North America as opposed to Europe, and what 2016 might hold for them past what’s been confirmed publicly. Willems — whose patience in waiting for me to have three minutes to put together a list of questions for an email Q&A was very much appreciated — was kind enough to take time out to fill us in.

Please find the full interview after the jump, and thanks for reading.

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With the Dead Interview with Lee Dorrian: Matters of Life and Death. Mostly Death.

Posted in Features on November 5th, 2015 by H.P. Taskmaster

with the dead 1

It must be surreal in some ways for Lee Dorrian to be talking about fronting a new band. After a 23-year run, he put Cathedral to bed in 2013 following their final album, The Last Spire (review here), and despite contributing to the reborn side-project Septic Tank, his reported intent was to focus on his label, Rise Above Records, which has become a defining presence in underground tastemaking. Releases by the likes of Ghost, Uncle Acid and the Deadbeats, Blood Ceremony and so on have expanded what the very notion of heaviness might encompass on a given release, and Dorrian has been at the core of that process.

Enter With the Dead. Guitarist Tim Bagshaw (also bass on the record) and drummer Mark Greening — both formerly of Electric Wizard and Ramesses — were getting together a new band with a clear intent toward raw, decaying doom, and they needed a singer. Tracks came together, they hit the studio, sent Dorrian the tracks, hit the studio again, and With the Dead‘s self-titled debut emerged — on Rise Above, obviously — living up to its promise of low-drama high-fuckall doom. To-date, I don’t think they’ve played in the same room together.

The album is a masterful churn that sludges up some of the ethereal ritualizing of Ramesses and finds Dorrian right at home in the dense, miserable, but somehow-still-atmospheric swirl. It’s a sound that makes sense as a logical extension of the work from those who made it, but it also pushes forward into territory not quite covered by anyone’s past work, its seven tracks digging into a tonal muck on songs like “Living with the Dead” or “I am Your Virus” and showing the band as immediately able to control the madness they evoke. That turns out to be one of its great strengths, but if With the Dead are to continue, no doubt it will also be the beginning point for a progression all their own.

So are With the Dead to continue, or is it a one-off? That and a lot of questions about starting a new band, recording, singing over riffs not written by Gaz Jennings and much more were on my mind when I spoke to Dorrian for the first time since 2010 (interview here) about the project, the potential of playing live, curating Roadburn 2016 and, of course, how the whole thing got started.

Please find the complete Q&A after the jump, and enjoy.

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Acid King Interview with Lori S.: Coming Down from Outer Space

Posted in Features on October 9th, 2015 by H.P. Taskmaster

acid king 1 (Photo by Raymond Ahner)

It’s been 10 years since Acid King put out a record. I could but frankly don’t want to run down a list of things that have come to pass since their third full-length, III, was issued, but suffice it to say, a decade’s worth of shit. The advent of social media. There. That’s one. Anyone knowing what the words “heavy” and “rock” mean when placed in succession. That’s another.

That last one is particularly important when it comes to understanding the band’s motivation for finally releasing a new album — that being Middle of Nowhere, Center of Everywhere (review here), which came out earlier this year as their first and hopefully not last for Svart Records — since as guitarist/vocalist Lori S. (Obelisk Questionnaire here) points out, the climate into which the LP was arriving was definitely a factor. The times have simply changed, and whatever else one might say about it — I’ve said plenty and I’m sure I’ll say more before 2015 is out — Acid King‘s fourth hit into much different circumstances than did the San Francisco trio’s third in 2005.

Of course, that would matter way, way less if the album sucked, but not only does Middle of Nowhere, Center of Everywhere mark a studio return from Acid King, who’ve toured Europe and played sporadic US shows all the while, but it’s a triumphant return at that. Comprised of their most expansive material to-date, it finds the trio of Lori, bassist Mark Lamb and drummer Joey Osbourne oozing their way into a meld of heavy psychedelics and their well-established penchant for riff rock. Produced initially by Toshi Kasai and then by Billy Anderson, who also helmed their three prior offerings, Middle of Nowhere, Center of Everywhere is an hour-plus motorcycle ride through the cosmos and yeah the cosmos is a vacuum and there’s no way you’d be able to breathe but whatever man just go with it because it’s awesome. It’s a record that nods so righteously you forget it’s been a decade.

Maybe Acid King missed a beat going from the last album to this one, but it was only so they could jump ahead an entire measure.

They’ve been more active in terms of shows as well. In August, they took part in the North West Hesh Fest, and they’re due to come to the Eastern Seaboard on their biggest round of US touring since 2006. The dates:

October 16 San Diego, CA Brick By Brick
October 17 Los Angeles, CA Complex
October 18 Tucson, AZ SW Terrorfest (Club Congress)
October 19 Albuquerque, NM Sister
October 21 Austin, TX Red 7
October 22 New Orleans, LA Siberia
October 23 Atlanta, GA Drunken Unicorn
October 24 Raleigh, NC Kings
October 25 New York, NY Saint Vitus
October 26 Boston, MA Middle East
October 27 Philadelphia, PA Kung Fu Necktie
October 28 Cleveland, OH Now That’s Class
October 29 Chicago, IL Reggie’s
October 30 St. Louis, MO Firebird
October 31 Kansas City, MO Riot Room
November 1 Denver, CO Hi Dive

That’s no small run, especially considering how long it’s been, and as Lori explains in the interview that follows, the stakes are pretty high. I won’t spoil it. Last time she was interviewed here, it was a 2009 tribute to mark the 10th anniversary of their 1999 sophomore outing, Busse Woods, so there’s was plenty to talk about for the new album and tour, including the studio shift that brought them back to working with Anderson, their motivation for doing a record at all after so long, what beer she’s most looking forward to sampling on the road and much more.

Complete Q&A follows after the jump. Please enjoy:

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Clutch Interview with Neil Fallon: Got to Know Your History

Posted in Features on September 30th, 2015 by H.P. Taskmaster

clutch neil fallon

This weekend, Maryland heavy rock institution Clutch launch their latest US tour. That would be business as usual for the stalwart four-piece, but it also coincides with their new album, Psychic Warfare, arriving a short two years behind 2013’s landmark Earth Rocker (review here). It is their 11th full-length overall, and it I seem to link it immediately to its predecessor, that’s not entirely an accident.

To record Psychic Warfare, Clutch — as ever, vocalist Neil Fallon, guitarist Tim Sult, bassist Dan Maines and drummer Jean-Paul Gaster — returned to producer Machine, who also helmed the last outing, and they continue to meld their jam-blues approach with faster, heavier push on cuts like the leadoff single “X-Ray Visions” and “Noble Savage,” which seems a direct sequel to “Earth Rocker” in both its declarative theme and the uptempo manner in which it states and stakes its claim. That’s not to say Psychic Warfare doesn’t have its own personality. It’s not the first Clutch to draw a narrative thread between its tracks — 2004’s Blast Tyrant, which was the band’s first collaboration with Machine, touched on doing so — but it is the first to make that connection explicit, which it does in the intro “The Affidavit” and the final moments of blues-laden closer “Son of Virginia,” which continues a thread of its own of up-jumpers like “Electric Worry” off 2007’s From Beale Street to Oblivion and the Mississippi Fred McDowell lyric cover “Gravel Road” from 2005’s Robot Hive/Exodus, both of which have become signature pieces in live shows.

And as to live shows, Fallon gets right to the heart of it when he says in the interview that follows here, “We put out records to support our tours, not the other way around.” Here are Clutch‘s upcoming tour dates:

Clutch live:
Sat/Oct-03 Ft. Lauderdale, FL Revolution**
Sun/Oct-04 St. Petersburg , FL Jannus Live**
Tue/Oct-06 Nashville, TN Marathon Music Works**
Wed/Oct-07 Charlotte, NC Amos’ Southend**
Fri/Oct-09 Hampton Beach, NH Hampton Beach Casino Ballroom**
Sat/Oct-10 Clifton Park, NY Upstate Concert Hall**
Sun/Oct-11 New Haven, CT Toad’s Place**
Tue/Oct-13 Indianapolis, IN The Vogue**
Wed/Oct-14 Chicago, IL House Of Blues**
Thu/Oct-15 Grand Rapids, MI Orbit Room**
Fri/Oct-16 Sauget, IL Pop’s Nightclub**
Sat/Oct-17 Lincoln, NE Bourbon Theatre**
Sun/Oct-18 Fargo, ND Scheels Arena** – “Roughrider Ink & Iron”
Tue/Oct-20 Billings, MT Shrine Auditorium**
Thu/Oct-22 Spokane, WA Knitting Factory Concert House**
Fri/Oct-23 Boise, ID Knitting Factory Concert House**
Sat/Oct-24 Elverta, CA Gibson Ranch Park* – Aftershock Festival
Sun/Oct-25 San Bernardino, CA San Manuel Amphitheater* – Knotfest
Mon/Oct-26 Tucson, AZ Rialto Theatre*** w Mastodon (Clutch closes show)
Wed/Oct-28 Austin, TX Austin Music Hall*** w Mastodon (Mastodon closes show)
Thu/Oct-29 Dallas, TX Gas Monkey Live*** w Mastodon (Clutch closes show)
Fri/Oct-30 Houston, TX Bayou Music Center*** w Mastodon (Mastodon closes show)
Sat/Oct-31 New Orleans, LA Voodoo Experience*
* = Festival date
** = Clutch headline show, support: COC / The Shrine
*** = Clutch co-headline show w/ Mastodon, special guest: COC

2015 Europe Dates:
November 20 Dublin, Ireland
November 21 Belfast , N.Ireland(SOLD OUT)
November 23 Glasgow, Scotland
November 24 Nottingham, England
November 25 Bristol, England
November 27 Paris, France(SOLD OUT)
November 28 Cologne, Germany
November 29 Hamburg, Germany
December 01 Aarhus, Denmark
December 02 Goteborg, Sweden
December 03 Stockholm, Sweden
December 04 Copenhagen, Denmark
December 05 Berlin, Germany
December 06 Frankfurt, Germany
December 08 Amsterdam, Netherlands
December 10 Manchester, England
December 11 Wolverhampton, England
December 12 London, England

Psychic Warfare Australian Tour 2016
Thursday 3rd March 2016 The Triffid QLD
Friday 4th March 2016 The Metro NSW
Saturday 5th March 2016 The Forum Theatre VIC

They’ve yet to announce the lineup for their annual holiday run, but one assumes they’ll sneak a few East Coast dates in upon returning from the UK at the end of their European tour in December. That too is business as usual for Clutch, who’ve earned so much respect over their 20-plus years not just because they preach a classic rock-and-roll-as-a-way-of-life gospel, but because they’ve been so willing to get out and actually live by such tenets. If the list of dates above wasn’t enough of a clue, they’ll continue to do so for the foreseeable future, and much to the benefit of everyone who gets off their ass and shows up to see them.

In the interview here — actually it’s his third (see here and here), not counting an Obelisk QuestionnaireFallon talks about making the record and preparing to hit the road behind it, as well as doubling as a partner in a record label for the third time with the band’s Weathermaker Music handling the release, capturing the recording process with a video documentary series and much more.

Full Q&A follows after the jump. Please enjoy:

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Monster Magnet Interview with Dave Wyndorf: “An Interesting World”

Posted in Features on August 31st, 2015 by H.P. Taskmaster

monster magnet 1

I had been looking forward all week to talking to Monster Magnet‘s Dave Wyndorf for the simple reason that, of anyone you might talk to on any given day, chances are he’s the guy who’s going to have the most interesting story to tell and chances are he’s going to get to telling it with the least amount of bullshit possible. We last spoke in 2013 when Monster Magnet released Last Patrol (review here), what was at the time their strongest outing in more than a decade by my estimation, marked by a return to prominence of the band’s psychedelic and space rock influences. In short, they got weird again. And not a moment too soon.

Their prior outing, 2010’s Napalm Records debut, Mastermind (review here), certainly had its moments but ultimately came across as playing to formula both in songwriting and aesthetic. For a band who’d been so brazen earlier in their career on records like their classic 1991 debut, Spine of God, or even 1998’s fourth outing, Powertrip, which set the tone in one way or another for nearly everything Monster Magnet would do until Last Patrol arrived. Prior to that album, it seemed like a changing heavy rock climate had left them behind, and so it was even more encouraging when, instead of pressing ahead after Last Patrol and essentially working under a new formula, Wyndorf and his studio partner, guitarist Phil Caivano, got even weirder, reworking material from Last Patrol, tripping it further out and pushing even deeper into space on last year’s unexpected release, Milking the Stars (review here).

If Milking the Stars proved anything at all, it was that anyone who thought they knew what Monster Magnet were going to do next — fans, critics, whoever — were dead wrong, and the upcoming Cobras and Fire (out Oct. 9 on Napalm; review pending) follows that impulse even deeper. In concept, it does to Mastermind essentially what Milking the Stars did to Last Patrol; it reimagines the songs and gives them a new context. The difference is the songs from Mastermind had a much longer way to go to get to where they are on Cobras and Fire, which between the brand new sleazed-out opener “She Digs that Hole” and the Temptations-gone-Hawkwind cover “Ball of Confusion” makes even the most whacked-out jams on the last album seem tame.

Reworking cuts like “Time Machine” and “The Titan Who Cried Like a Baby” — now just “The Titan” — as instrumentals broadens the context further, but the strength of Cobras and Fire is as much about the quality of what’s there as what’s done with it. “When the Planes Fall from the Sky,” “Gods and Punks,” and “Hallucination Bomb” were strong tracks to start with — had good bones, you might say if they were a house you were interested in buying — but their stretched, twisted, morphed into new identities for themselves and the album as a whole, the headphone-worthiness of which bleeds from every minute of its hour run, right down to the Joe Barresi-assembled mashup, “I Live behind the Paradise Machine,” which rounds out on a boldly atmospheric note, sending Cobras and Fire out not with a bang, or with a whimper, but with the realization that there’s a whole world out there and as much as ever, something about it just doesn’t fit.

Wyndorf has a keen talent for phrasing, as anyone who’s ever read his lyrics can attest. In the interview that follows, he talks as much if not more about the conditions in which artists create today as about these songs or bringing Chris Kosnik in on bass for the live incarnation of the band with lead guitarist Garrett Sweeny, WyndorfCaivano, and drummer Bob Pantella, but I consider it all relevant to not just this record, but to where Monster Magnet are headed from here as they continue to move forward to their inevitable next full-length, next tour, etc. Basically, each ramble is a fucking treasure, and as much as you want to dig in, you can. In the end, if you can’t get down, it’s your loss.

Complete Q&A is 9,200-plus words. It follows after the jump. Enjoy.

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Uncle Acid and the Deadbeats Interview with Kevin R. Starrs: The Creeping Noir

Posted in Features on August 21st, 2015 by H.P. Taskmaster

Ester Segarra

When guitarist vocalist Kevin R. Starrs of Uncle Acid and the Deadbeats croons, “I know you love murder nights/I know you love death,” on the song “Murder Nights” from his band’s latest LP, The Night Creeper, he might as well be speaking directly to his audience. Uncle Acid‘s fourth outing overall, The Night Creeper (on Rise Above) follows the unmitigated success of 2013’s Mind Control (review here) and 2011’s Blood Lust, as the latest step in a surge of profile that’s seen them go from releasing 100 copies of their Vol. 1 debut in 2010 to featuring at Roadburn in 2013 — for their third show, ever — opening for Black Sabbath, and headlining across the US, which is something they’ll do again in support of The Night Creeper, bringing Ecstatic Vision and Ruby the Hatchet along for the ride (info here).

Not only is it a feat that Uncle Acid have managed to accomplish this, but they’ve done so while vigorously maintaining a mystique that few bands can claim as their own in the age of social media, Instagram ubiquity, cellphone concert videos, etc. I remember wondering how they were able to get such an ethereal, eerie vocal sound until I actually saw them on stage and realized it was Starrs and fellow guitarist Yotam Rubinger — the band is rounded out by bassist/backing vocalist Vaughn Stokes and drummer Itamar Rubinger — singing together. They’ve become the household name of cult compounds, and that’s utterly perfect for the atmospheres they conjure with their tales of murder, vibes transposed from grainy horror VHS tapes, biker movies, bad-trip psychedelia and other ominous, analog threats brought to bear across songs that are correspondingly classic in their structures, melodically rich and at times unbearably catchy.

Where one might expect after Mind Control that Uncle Acid would begin to smooth out their sound as their audience continues to grow, The Night Creeper is their grittiest offering yet. Recorded mostly live at Toe Rag Studio by Liam Watson, cuts like “Pusher Man” and “Melody Lane” — which sounds like it would be a Beatles reference but actually seems to nod at The Rolling Stones in its lyrics; the ol’ switcheroo — demonstrate just how identifiable Uncle Acid and the Deadbeats‘ sound has become over the last half-decade and the impact and influence they’ve already had on heavy rock, while ambient pieces like “Black Motorcade” and the instrumental “Yellow Moon,” as well as the nine-minute hypno-jam “Slow Death” serve notice that as much as their aesthetic has developed to this point, the progression has by no means hit its endpoint.

In the interview that follows, Starrs talks about making The Night Creeper and especially how the advent of Uncle Acid and the Deadbeats as a live act has allowed them to grow in the studio.

Q&A follows after the jump. Please enjoy:

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GIVEAWAY: Enter to Win a Weedeater T-Shirt and Free Goliathan CD!

Posted in Features on August 19th, 2015 by H.P. Taskmaster


[TO ENTER GIVEAWAY: Leave a comment on this post with your email address in the form. You’ll be contacted at that address if you win.]

Free Weedeater. It’s an idea whose time has come. The North Carolina trio just wrapped an East Coast tour with Kings Destroy in support of their new album, Goliathan (review here), which is their fifth long-player and their first for Season of Mist, and today I’m thrilled to be able to host this giveaway for a Goliathan CD and t-shirt!

You know the protocol by now, just enter by leaving a comment on this post and a week from now (or thereabouts) I’ll dig through and pick a name and an email address at random and notify the winner. It’s not necessarily a formal contest, but if you wanted to name your favorite Weedeater album title puns/wordplays in the comment, that might be taken into account when the winners are chosen. At very least it gives you something to put in the comment.

Just for easy reference, here they are:

  • …and Justice for Y’all
  • Sixteen Tons (not really wordplay, but still a cool title)
  • God Luck and Good Speed
  • Jason… the Dragon
  • Goliathan

All of the above were reissued last year by Season of Mist as well. If you haven’t heard Goliathan yet, Weedeater‘s latest swampsterpiece is a high point in their sludgy assault, new drummer Travis Owen (ex-Artimus Pyledriver) fitting right in alongside bassist/vocalist “Dixie” Dave Collins and guitarist Dave “Shep” Shepherd. Tracks like the weirdo banjo blues “Battered and Fried” and the full-tonal thrust of “Bow Down” find the band toying with expectation like so many beaten livers, and the result across the board is a record both entirely their own and pushed further than ever before into that strange, malevolent world they create.

Sound like something you’d want to win? It is. Have at it. God luck to all who enter, and good speed to Season of Mist for letting me host the giveaway.

[TO ENTER GIVEAWAY: Leave a comment on this post with your email address in the form. You’ll be contacted at that address if you win.]

Weedeater, Goliathan (2015)

Weedeater on Thee Facebooks

Weedeater at Season of Mist

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