I ask you, who among us has not awoken in the woods and been compelled by strange forces to build a stone circle and, behooded, take a quick nap within it? Also, it happens in black and white? Brooklyn-based experimental solo act Insect Ark – being the nom de drone of Dana Schechter of Bee and Flower – have recently unveiled a new video chronicling this very phenomenon for the title-track of the new Insect Ark EP, Long Arms.

Long Arms is out via Geweih Ritual Documents on hand screened 10″ vinyl and available for streaming on the Insect Ark Bandcamp. The clip for “Long Arms” was directed by Chris Carlone and — I’ll be darned — here it is:

Insect Ark, “Long Arms” official video

RED FANG ANNOUNCE THIRD STUDIO ALBUM OUT THIS FALL VIA RELAPSE RECORDS

RED FANG return this fall with their as-yet-untitled third studio album on Relapse Records. The Portland-based group is currently in the studio finishing the disc with the producer Chris Funk (Decemberists) and mixer Vance Powell (White Stripes, Raconteurs, Kings of Leon). This same team worked on RED FANG’s last album Murder the Mountains, tagged by NPR as “a sleeker style of riff-heavy metal” (April 2011) and Alternative Press magazine as “a near masterpiece of tangled tar pit riffs and whisky-and-bong-hit vocals” (April 2011).

“We’re hyper excited about this new album. The basic tracks are like rabid monkeys we’re wrangling at Type Foundry in our hometown of Portland, OR. Producer Chris Funk has almost been amputated twice. Surprise guests abound! We’re in the final moments before all systems are go on this sucker. Dig people!” -Red Fang

On Friday, May 24th, RED FANG will head to the picturesque Gorge Amphitheater outside Seattle for their first festival appearance this year at Sasquatch! The band will then hit the road for European trek through mid July with festival stops at Sonisphere, Download, Hellfest, Reload, Full Force, Open Air and Eistenaflug among others. Expect the group to announce a full U.S. run for late summer.

Formed in 2005, RED FANG–Bryan Giles (Guitar/Vocals), Aaron Beam (Bass/Vocals), David Sullivan (Guitar), John Sherman (Drums)–has two albums under their belt: their 2009 self-titled debut on Sargent House and 2011’s Murder the Mountains on Relapse Records. Listen to both of the above albums streaming on www.redfang.bandcamp.com.

The band spent the past few years touring the world and wining over audiences at clubs and festivals like All Tomorrow’s Parties, Rock on the Range, Rockstar Energy Mayhem Festival and Metallica’s Orion Music & More Fest. After more high-profile tours with Mastodon, Dillinger Escape Plan, Helmet, Saint Vitus and more, the band expanded their global footprint with a European trek and festival appearances across the continent. 2013 promises to be the biggest year yet for the Portland, OR-based group who show no signs of slowing down. Their intense live performances–along with their unique brand of humor, catchy songwriting and independent attitude–are sure to turn a few heads in 2013 and beyond.

Red Fang, Murder the Mountains (2011)

Almost nothing is certain, and when it comes to doubly-drummed Georgian progressive sludgers Kylesa, even less than that. Yet when it comes to approaching their sixth full-length and second for Season of Mist, the 11-track Ultraviolet — or really any new Kylesa album — the one thing the listener can be sure of going into it is that it will be a step beyond its predecessor. At this point, I don’t think the band would release a record that wasn’t. Ultraviolet‘s predecessor was 2010′s Spiral Shadow (review here), which changed their course from jagged, crunching sludge to a more smoothed out and progressive sound — a shift that they’d built toward on 2009′s Static Tensions (review here) in some ways but come nowhere near materializing as completely — and one that, as ever, divided their fanbase into those who could get on board and those who couldn’t. This seems to happen on a nearly per-album basis with the Savannah natives.

While we’re talking about expectation, I’d anticipate no less for Ultraviolet in the long run, but Kylesa have never had a problem picking up new fans along the way to fill the spots of those who couldn’t get past one period or another of their ongoing progression; they’ve maintained a reputation as a hard-touring band for years and rightly so. Rooted in the work of guitarists/vocalists Phillip Cope (also theremin and production) and Laura Pleasants, there are consistencies of sound to be heard between full-lengths, and sure enough between Spiral Shadow and Ultraviolet as well, but save for very few moments throughout the latest, the band would be all but unrecognizable to anyone who jumped from 2005′s To Walk a Middle Course or 2006′s Time Will Fuse its Worth right to it, and no doubt that’s the intent: Progress. Joined by drummers Carl McGinley and Eric Hernandez and bassist Chase Rudeseal (the latter of whom may or may not have actually played on the recording), Pleasants and Cope have never failed to draw a distinct line from one outing to the next, and though it’s an outgrowth of elements from Spiral Shadow like the pop hook of “Don’t Look Back” or the dreamy ambience underlying “To Forget,” that’s no less true of Ultraviolet than it has ever been.

Single-word titles on five of the 11 cuts on the 39-minute album — namely opening trio “Exhale,” “Unspoken,” “Grounded,” and closing duo “Quicksand” and “Drifting” — would seem to hint at some stripped-down sensibility or simplicity of approach, but the fact is Kylesa have never been so melodically switched on or engaged. Cope and Pleasants trade vocal parts immediately and effectively on the insistently-riffed “Exhale,” chugging distortion creating a jabbing tension topped by call and response shouts before a swirl takes hold that the drums(s) underscore with a thud less frantic than it has been in the past, but still indicative of two players at work. I suppose on a structural level, Ultraviolet‘s opening salvo is somewhat simplified, but the atmosphere becomes more complex as “Unspoken” opens with subdued guitar and a wash of effects, Cope coming in as the song kicks off with a semi-spoken line that Pleasants — whose ascent as a vocalist continues unabated — answers back with layered melodies. The most memorable stretches of Ultraviolet are still to come, but the momentum “Unspoken” helps create and its prog-toned guitar solo in the second half act as a precursor to some of the album’s most intriguing moments, giving way to the familiar winding structure of “Grounded”‘s central riff, readily accessible to anyone who’s followed the post-Mastodon course of Southern US heavy metal, Pleasants handling the verse and Cope taking what probably would be the ensuing chorus if it was ever repeated. Instead, they build on the instrumental for a bit and round out with layers of Pleasants‘ vocals, ending with just her voice to set up the shift to the more thickly toned and aggressive “We’re Taking This.”

Even here, on a track under three minutes long, Kylesa find room to work in a sense of ambience in a break around the midpoint topped by rhythmic shouts and surrounded on either side by a swirl not psychedelic but not not psychedelic either for how aggressive it is. They play off this back and forth, wasting time on neither side, but ultimately end angry, leaving little time to process the actual dynamic or efficiency of the track before the subsequent “Long Gone” begins a more melodic push with vocals from Pleasants while McGinley and Hernandez wait for their moment after the initial thrust has subsided. The two percussionists take a solo that I’m sure is more exciting in a live setting than it is on the album, and the vocals return over dreamy guitar and gradual solidification back to the earlier low-end push. Cope fronts the immediate rush of “What Does it Take,” the shortest track on Ultraviolet at 2:04, accompanied by a persistent lead guitar line high in the mix and Pleasants‘ backing vocals, a solo taking hold already more than halfway through before the punkish verse and chorus returns, ending cold and without any structural sense of extras despite a sound that’s still lush in a way Kylesa haven’t to date dared to be. “Steady Breakdown” is a highlight for its riff, bass work and laid back groove — moving smoothly into and out of a psychedelic break from and back to its landmark central figure — and for Cope‘s theremin making an appearance deep in the mix but effectively adding to the atmosphere nonetheless, and for the instrumental build at the end, hitting an apex just before the song ends and the New Wave-esque “Low Tide” emphasizes just how far Kylesa have come in establishing a melodic wash. Sludge by way of New Order? Maybe.

Especially placed after “Steady Breakdown,” however, “Low Tide” helps set up a flow for side B of Ultraviolet that carries through to the end of the album, even as “Vulture’s Landing” ups both the pace and the general activity level, Pleasants taking over from Cope‘s meandering to a more solidified push, upbeat and befitting a Torche comparison, despite a somewhat less bright-light-in-your-face mania than that band sometimes elicits. They hit the brakes in the middle third and make a solo half from notes, half from feedback, before Cope plants backing chants as a foundation for a final run through the chorus. The shorter “Quicksand” follows and oozes back into the Pleasants-fronted psych-prog of Ultraviolet‘s first side — comparable both in placement and mentality to “Long Gone” — but static noise (more theremin?) in the second half makes “Quicksand” feel like more than filler even as the 2:35 song ends abruptly to give over to “Drifting,” a final underpinning of the creative breadth of Kylesa circa 2013. Ambient guitar and bass drone out a lush intro, cutting at 1:22 to let the drums announce the subdued march of the first verse, Pleasants‘ vocals arriving almost immediately as a guiding force. Already a build has begun, but a break of electronic beats and return to the verse precede Ultraviolet‘s final rush, which when it arrives on the closer does so typified by start-stop riffing no less memorable than that of “Steady Breakdown,” but full of a kind of pop drama and thick, thick tonal fuzz. Already “Drifting” is the longest song on Ultraviolet at 5:26, rounding out with a last-minute swirl of noise, but if the band had decided to sustain that riff for another two or three minutes, I doubt anyone would’ve complained.

Still, the fact that they didn’t remains in line with Ultraviolet‘s overarching structural straightforwardness, put into balance with the lush tones and no-longer-nascent melodicism present within and here used as an essential building block of the band’s sound. As ever, Kylesa have pushed themselves further into their own processes, and their continued growth continues to produce exciting and increasingly engaging output. After more than a decade since their self-titled, sludge-caked debut, one has to wonder what it is they’re chasing and whether there’s a point at which they’ll settle into a niche they will have built for themselves over the course of these records, or if perhaps it’s the pursuit itself that is driving them, not some imaginary end point. Should that turn out to be the case, then Ultraviolet will be one more sizable footprint left behind on their path, wherever it might be leading.

Kylesa, “Steady Breakdown” from Ultraviolet

Kylesa on Thee Facebooks

Season of Mist

So the part I don’t get is, weren’t Nightstalker going to rock out anyway? Why would these commandos need to bring them into this room? And what is the room? Could it be that the volume from their heavy riffing output is being harvested to power some kind of sinister death ray? Or worse, that Nightstalker are being set up as some kind of exhibit in a terrible post-apocalyptic rock and roll zoo? Truly, there are many questions still to be answered.

What’s way clearer in watching “Dead Rock Commandos” is that Nightstalker have the stoner thing on lockdown. The video premiered today, and Nightstalker will bring the rock directly to the people starting May 31 with Ape Machine supporting. Dates follow the clip below:

Nightstalker, “Dead Rock Commandos” official video

Including an appearance at the 2013 Freak Valley Festival, Nightstalker will be heading out on a European tour in support of 2012′s Dead Rock Commandos. The ultra-catchy riff-fest was released by Small Stone last year and found the long-running Athens outfit right at home in classic heavy fuzz ‘n’ roll.

Nightstalker tour dates:
May 31 Munster, DE Rare Guitar
Jun 1 Netphen, DE Freak Valley Festival
Jun 2 Antwerpen, BE Antwerpen Music City
Jun 4 Paris, FR Les Combustibles
Jun 5 Leuven, BE Rockbar
Jun 6 Wild Rover Aachen, DE
Jun 7 Hasselt, BE Carpe Diem
Jun 8 Wurzburg, DE Immerhin
Jun 9 Salzburg, AT Rockhouse
Jun 11 St. Gallen, CH Rumpeltum
Jun 12 Feldkirch, AT Graf Hugo
Jun 13 Erfurt, DE Stadtgarten
Jun 14 Berlin, DE White Trash

The last Across Tundras album was 2011′s Sage (review here), which was released by Neurot, and in March, the band also released a split with like-minded Illinois outfit Lark’s Tongue (streaming here). Here’s news and the stream of the latest:

ACROSS TUNDRAS To Release New LP On Band’s Own Label

Western U.S. Tour With Hellbender Confirmed

Following their lauded Sage album, released in 2011 by Neurot Recordings, the new LP from Nashville trio ACROSS TUNDRAS is set for harvest on the band’s newly founded D.I.Y. label.

On the new LP Electric Relics, ACROSS TUNDRAS take their ever-expanding style of modern Americana further into the same westerly direction they’ve been traversing for the past few years, organically fusing their swells of post-doom into Spaghetti Western soundtracks and meandering blues/rock jam sessions. A wide variety of sounds seamlessly mingle throughout the slow motion base founding guitarist/vocalist/songwriter Tanner Olson, percussionist Casey Perry and bassist/vocalist Mikey Allred (Hellbender) lay down, Allred also contributing pianos/organs, synthesizers, mellotron, trombone and more, and his brother Joey (Hellbender) contributing guest slide guitar and vocals. Additionally, Perry hand constructed the scale model landscape for the cover art, with Olson handling the graphic design and layout. ACROSS TUNDRAS recorded Electric Relics at their expansive Ramble Hill Farm in February, and is releasing it on their own label of the same name, making it a fully self-managed D.I.Y. release.

As the band states: “Electric Relics is our humble offering placed at the crossroads of past, present, and future tense. Age-old energies and three phase electric power intersect to reveal hidden truths of bygone times, modern mysticisms, and sound the alarm for uncertain days to come. We walk through this shadowy land in search of a spark to light the fire and illuminate the depths of consciousness.”

Electric Relics is available for free/name-your-price download now via Bandcamp, where orders for the deluxe vinyl edition — being pressed on 180-gram virgin vinyl and bearing gatefold jackets — can also be placed.

In support of the album, ACROSS TUNDRAS are hooking up with their cohorts in Hellbender for a Western U.S. tour, kicking off with a hometown show on June 6th and winding out through the West Coast and back through the Midwestern states.

ACROSS TUNDRAS Western USA Tour w/ Hellbender:
6/06 The Groove – Nashville, TN
6/07 3 Angels – Memphis, TN w/ Tanks
6/08 The Conservatory – Oklahoma, City, OK w/ We the Undead
6/09 Synchro Studios – Albuquerque, NM w/ Shiva
6/10 The District – Tucson, AZ w/ Psygoat
6/11 Palo Verde – Phoenix, AZ w/ Sorxe
6/12 Five Star Bar – Los Angeles, CA w/ The Withers, Arms of Tripoli
6/13 Thee Parkside – San Francisco, CA w/ Name
6/14 Casa Da Chaos – Sacramento, CA
6/15 Herb Stomp – Portland, OR w/ Rolling Through the Universe, Hungers
6/16 Highline – Seattle, WA w/ Lightning Kills Eagle, Scriptures
6/17 Tiny Tavern – Eugene, OR w/ Rivers of Mercury, Opossum Head
6/18 TBA/HELP – Northern CA
6/19 Jub Jubs – Reno, NV
6/20 Bar Deluxe – Salt Lake City, UT w/ Before the Eyewall, Dwellers
6/21 TBA/HELP – Denver, CO
6/22 The Lulu House – Wichita, KS w/ Serpent Overlord

Electric Relics Track Listing:
1. Pining for the Gravel Roads
2. Den of Poison Snakes
3. Kiln of the First Flame
4. Driftless Caravan
5. Seasick Serenade
6. Castaway
7. Solar Ark
8. Unfortunate Son

ACROSS TUNDRAS:
Tanner Olson – guitars, vocals, drones, lyrics
Casey Perry – drums, percussion
Mikey Allred – bass, vocals, piano, organ, synthesizers, mellotron, trombone
Joey Allred – slide guitar on “Solar Ark”, vocals on “Unfortunate Son”

http://www.acrosstundras.bandcamp.com
http://www.facebook.com/pages/ACROSS-TUNDRAS/67862323857
http://acrosstundras.blogspot.com
http://acrosstundras.bigcartel.com

Across Tundras, Electric Relics (2013)

With a CD pressing limited, I presume, to however many the band felt like spraypainting, Wizard Fight make their debut on the new The Beast Lives Demo. The Hastings, UK-based trio recorded the three tracks live on March 11 and initially put them on a cassette, but the CD followed not far behind as they’ve begun to play more shows, discs spraypainted green with stenciled pink logos as above in a sleeve with photocopied artwork — a bit of a classic touch to go with the band’s heavy-footed sludge stomp.

The three tracks themselves keep the formula pretty simple. Riffs, screams and growls, a few tempo changes and a consistent level of aggression keep The Beast Lives Demo well within the realm of the straightforward, and the trio — guitarist/vocalist Luke Bolton (Rise of the Simians), bassist Dave Sage and drummer Daniel Kinsey (ex-Steak) — seem just fine with that. Across “The Devil Rides,” “Wizard of Black” and “Thine Enemies,” the three-piece settle into a solid groove that ebbs and flows while also keeping a strong sense of momentum moving within and between the songs.

Frills are slim to none — a sample at the beginning of “The Devil Rides” — but especially for a first demo recorded live, that winds up being part of the appeal, and though it’s abundantly clear throughout all three of the tracks at Wizard Fight are getting their bearings in terms of writing songs as a unit, their sense of structure works well on “Wizard of Black” as they move fluidly from the chorus to the instrumental ending, wherein they lock in the demo’s best groove as a precursor to the burly riffing that takes hold on “Thine Enemies,” closing out with a semi-metallic chorus that Bolton tops in post-Superjoint Ritual fashion.

They’ve got some work ahead of them, but considering The Beast Lives is as rudimentary as a release can get — a live demo — Wizard Fight sound tight and like they have a good idea of where they want to be in terms of sound. I wouldn’t ask anything more of a release like The Beast Lives than that, and hopefully it sets the band up for something to grow on the next time out. Until then, in true demo spirit, they’ve made the songs available as a free download:

Wizard Fight, The Beast Lives Demo (2013)

Wizard Fight on Thee Facebooks

Wizard Fight on Bandcamp

Taking the well-honed darkness of Atriarch‘s 2011 debut, Forever the End (review here), to someplace entirely more goth and dramatic, the 2012 sophomore outing, Ritual of Passing, intrigued both in concept and execution, and found the Portland act discovering their niche within not only their own severely crowded scene, but also the wider sphere of the heavy underground. Released on CD by Profound Lore last October, Ritual of Passing is also out now in vinyl issue through Seventh Rule Recordings, which is the impetus behind the tour. See how everything ties together?

Here’s the info:

ATRIARCH West Coast shows…

5/22 Thee Parkside San Francisco, CA W/ Wild Hunt, Lycus, Caffa
5/23 The Catalyst Atrium Santa Cruz, CA W/ Gloam
5/24 Five Star Bar Los Angeles, CA W/ Lightning Swords of Death, Usnea, Deathkings
5/25 924 Gilman Berkeley, CA W/ Worm Ouroboros, Sutekh Hexen, Gloam
6/5 White Owl Portland, OR

Atriarch, “Parasite” from Ritual of Passing

They previously announced a round of dates for June that I suspect is the first of many to come, and all that info, plus the tour poster, can be found right below this very line. No, seriously, it’s there. Just scroll down. Hell, you probably don’t even need to. Just look. I promise it’s there:

WINDHAND: Complete New Album

Map Out Summer Tour

In 2012, backwoods psychedelic doom band Windhand released their self-titled LP & it was met with critical acclaim.The band is putting the finishing touches on their second LP for Relapse, due out this fall, which was recorded & mixed by the band’s own Garrett Morris at The Darkroom & mastered by James Plotkin, in their hometown of Richmond, VA. The band will trek across North America this summer ushering their audiences into their menacing grooves & showcasing songs from their upcoming album.

About Windhand
Formed in 2009, Richmond, VA’s Windhand (Asechiah Bogdan – Guitar, Parker Chandler – Bass, Dorthia Cottrell – Vocals, Garrett Morris – Guitar, and Ryan Wolfe – Drums) play what has been described as a tinnitus inducing mix of eerie psychedelia and haunting ambient doom. 2012 saw the release of their critically acclaimed, self-titled debut LP via Forcefield Records. A subsequent heavy dose of East Coast touring followed, culminating with a four week U.S. tour in August of that year.

Tour
06/05 – Baltimore, MD – Ottobar
06/06 – Philadelphia, PA – Golden Tea House
06/07 – Brooklyn, NY – St. Vitus Bar
06/08 – Providence, RI – AS220 !
06/09 – Boston, MA – O’Brien’s
06/10 – Cherry Valley, NY – Steve’s Koi Pond
06/11 – Buffalo, NY – Vault Art Space
06/12 – Pittsburgh, PA – Gooski’s
06/13 – Columbus, OH – Ace of Cups
06/14 – Chicago, IL – Ultra Lounge
06/15 – St. Paul, MN – The Turf Club
06/16 – Milwaukee, WI – Quarter’s Rock n Roll
06/17 – Indianapolis, IN – The Sinking Ship #
06/18 – Newport, KY – South Gate Revival House
06/19  -Nashville, TN – The End %
06/20 – Knoxville, TN – The Pilot Light %
06/21 – Raleigh, NC – Slim’s $
06/22 – Richmond, VA – Strange Matter $

! = w/ Elder and Morne
# = w/ Skeletonwitch
% = w/ Generation of Vipers
$ = w/ Inter Arma

Windhand & Cough, Reflection of the Negative Split (2013)

All fucking week. All week I was behind. On everything. Behind on work. Behind on work for my second job. Certainly behind on this shit. I never got caught up, either. It hit 4:30 this afternoon and I just had to say fuck it and leave the office. If I’m not going to get anything done, I might as well not be there. Been a while since I split out of work at rush hour. Did you know there’s traffic at 5 o’clock?

So in looking for something to end this miserable, frustrating, son of a bitch week, I went with The Atomic Bitchwax, not only because they’re from New Jersey like me, but because they’re pretty much the opposite. Not miserable or frustrated. Even the “Shit Kicker” is alright according to these guys. Probably I’d have gone with something more recent by them — 2005′s 3 was what I was going for — but their 1999 self-titled was the only full studio album I could find. Not at all a hardship. The trio of Chris Kosnik, Ed Mundell and Keith Ackerman had a good thing going right from the start, and Kosnik has always kept a piece of that original spirit in everything the band does, even with the lineup and aesthetic changes that the years since the debut have brought.

I’m a sucker for the Bitchwax, always, and since I was thinking just the other day about how it had been too long since I’d seen them live, here we are.

Because I have been so behind, my plan is to have a couple posts up this weekend. Some news about the new Windhand and Across Tundras records being done and coming out, maybe some other stuff. It might be Sunday before I get anything up though, as The Patient Mrs. is graduating and there are inevitable celebrations stemming from that. She’ll have her Ph.D. in hand, which since it’s seven years in the making strikes me as something worth celebrating. She’s brilliant. I’m a lucky dolt.

But anyway, when I can find a couple minutes I’ll get those posts up, if only because I don’t want to start next week as deep in the red as I’ve spent the last several days. And next week, the Kylesa and Cathedral reviews, an interview with Black Black Black, a look at a new tape by Purple Knights that just came in today’s mail, probably something about that new Queens of the Stone Age album if I can nail down who’s in the lineup on any given track, and so on and so forth. Rest assured, there will be posts, and probably more words than you’d ever have interest in reading.

Also, if you’ve emailed me in the last, well, month and I haven’t responded, I’ll be working on that this weekend as well. I’ve been in email transfer hell all week going from Thunderbird to Outlook. I don’t want to say it’s the worst thing that’s ever happened to me, because one time I cut my leg open and had to have 140 stitches, but it has certainly made the fucking list.

Until Monday then, if you’ve got a question you should ask it, from the cradle to the casket. Womb to the tomb. Birth to the earth.

Have a great and safe weekend. Check out these things that are also on this site and formatted like the links at the ends of reviews:

The Obelisk Forum

The Obelisk Radio

So sayeth the PR wire:

VENOMOUS MAXIMUS Announce North American Tour Dates

Debut Album Beg Upon the Light Out July 2nd on Napalm Records

The Texan Dark Occult Metal outfit VENOMOUS MAXIMUS has already risen to the status of a heavy hitter in the depths of the underground. Now, the band is ready to finally unleash their album debut Beg Upon The Light. The album will be released in North America on July 2nd via Napalm Records. Today the band has unveiled the tracklisting, which includes three bonus tracks.

In support of the new release, VENOMOUS MAXIMUS will be hitting the road this May and June. The tour sees the band playing select shows with Royal Thunder, The Dillinger Escape Plan, and Valient Thorr amongst others. A complete list of dates can be found below.

Singer Gregg Higgins has a message for fans coming out to the shows: “Hide your daughters and bring a crucifix!”

Beg Upon the Light is full of heavy riffs and driving drums, which create the perfect foundation for the musical and lyrical direction of the songs, which bring the enthralled listener into the realm of the Occult! The Texans turn the mix of Stoner and Doom Metal into a deadly blend that goes right into your blood. Pounding and powerful songs filled with energy set the stage for the glorious vocals of frontman Gregg Higgins, the grand marshal who leads through these occult hymns Beg Upon the Light combines occultism, heavy riffs and the perfect Stoner attitude to create a pitch-black and irresistible album.

Tracklisting:
1.Funeral Queen
2 Path of Doom
3. Give Up The Witch
4. Father Time
5. Dream Again
6. Moon Child
7. Battle for the Cross
8. Venomous Maximus
9. Mother Milk
10. Hell’s Heroes
11. The Mission (Bonus Track)
12. The Rider (Bonus Track)
13. The Gift (Bonus Track)

Venomous Maximus Live:
5/18 – College Station – Stanford Center – Loudfest!
5/24 – Austin, TX – Mohawk – w/ Dillinger Escape Plan, Royal Thunder, Ancient VVisdom
5/25 – San Antonio, TX – Fitzgeralds w/ deadhorse
6/18 – Little Rock, AR – Downtown Music
6/19 – Nashville, TN – The End w/ Windhand
6/20 – Indianapolis, IN – Indy Jukebox w/ Devil To Pay
6/21 – Milwaukee, WI – Blue Pig Bar – Days of Doomed Fest
6/22 – Chicago, IL – Reggies w/ Valient Thorr
6/24 – Cincinnati, OH – The Comet
6/25 – Johnson City, TN – The Mecca
6/26 – Atlanta, GA – Purgatory
6/27 – Birmingham, AL – The Bottle Tree w/ Stoned Cobra
6/28 – New Orleans, LA – Siberia w/ Holy Grail

For More Info Visit:
https://www.facebook.com/VenomousMaximus
http://www.napalmrecords.com

Venomous Maximus, “Path of Doom” from Beg upon the Light