Posted in Whathaveyou on July 16th, 2014 by H.P. Taskmaster
The bill spans some of the heaviest bands in Scandinavia already, and then they decide to bring in the YOB/Pallbearer tour for a stop on the final day. All the more reason to tip the cap to Norway’s Høstsabbat, now in its second year. In 2013, the Oslo stage was graced by the likes of Tombstones and High Priest of Saturn, and in addition to the aforementioned American acts, Høstsabbat 2014 will be marked — that’s not to say awesomely scarred — by appearances from Suma, Saturnalia Temple, Ocean Chief, Kong and many more. It’s going to be a very, very heavy weekend in Norway come Sept. 12-14.
An announcement with the finalized lineup for the three-dayer, courtesy of the PR wire:
Høstsabbat 2014 Final Line Up
Høstsabbat is a newborn initiative, brought to life in 2013 by people involved in the underground scene in Norway.
It’s a DIY-festival, in collaboration with the student-organisation at Betong in Oslo, Norway, focusing on presenting the best underground bands Norway has to offer. This year the formula is pushed a step further, and includes aspiring talent from our brothers in the east as well as an international day on Sunday September 14th.
Over three days you can experience slow and crushing doom, heavy bluesrock, stoner, proto-heavy metal, psychedelic spacerock and prog. The concerts will be held on two different stages, located in the same venue. In addition to this, you’ll find stands, food, beverages and diverse stimulation for your ears and mind. Top Notch DJ’s, including Walter Roadburn himself will accompany your nights with the right soundtrack..
Høstsabbat takes place on Friday 12th through Sunday 14th of September 2014.
Cheap accommodation is located nearby the venue, and the damage for a three-day ticket is about 65 euros.
Yeah, I know this isn’t the first Wino Wednesday clip culled from the video evidence snagged at this year’s Desertfest in London. Not even close, actually. But unlike Wino‘s sit-in with Weedeater (seen here) and his acoustic set with Spirit Caravan bandmate Dave Sherman (seen here), this week’s video is actually of Spirit Caravan performing. If that’s too minor a distinction, I apologize. Stick around and it’ll be something else next week.
For now, shot from the side of the stage in a rather nostalgic black and white, we see Sherman, drummer Henry Vasquez and, deep in the shot, Wino himself performing “Dead Love/Jug Fulla Sun” from Spirit Caravan‘s classic 1999 debut, Jug Fulla Sun. In a big way, the album would define the band going forward, and while their 2001 follow-up/swansong, Elusive Truth, brought new edges to the sound and they continued to progress right up to the new studio tracks they included with their final offering, the 2003 The Last Embracecompilation, Jug Fulla Sunremains a standout 15 years later in capturing the trio as they were in a natural, heavy rolling state. It’s hard to imagine the smooth instrumental “Dead Love” section and “Jug Fulla Sun” without each other, and as Sherman stomps out the groove in the early going of the latter, I can’t help but agree. Simply one of heavy rock’s best nods.
Spirit Caravan just reissued Jug Fulla Sunon a limited, hand-screened LP – Exile on Mainstream had them for sale — and they looked absolutely gorgeous. It’s a worthy investment as the band’s reunion continues and they promise work on a new album, which would be their first studio outing since Elusive Truth. More on that to come, I’m sure, but until then, hope you enjoy “Dead Love/Jug Fulla Sun” and get a sense of just how much vitality there is at the heart of this band.
Happy Wino Wednesday:
Spirit Caravan, “Dead Love/Jug Fulla Sun” Live at Desertfest London 2014
Posted in audiObelisk on July 16th, 2014 by H.P. Taskmaster
On Aug. 5, West Virginian classic doom four-piece Brimstone Coven will make a self-titled debut on Metal Blade Records. The retro-fied, boogie-ritualized, 69-minute monster with which they’ll do it is available now to preorder and made up of 17 tracks — the sum total of their discography prior to inking the deal. Their original 2012 self-titled EP (which STB Records released as a 12″ last year) appears here as bonus tracks, and 2013′s II, comprises the meat of the album proper. But with the combination and a remaster comes a change of title, and Brimstone Coven‘s Brimstone Covenit is.
In whatever context one might want to view it, Brimstone Covenis an album that righteously engages the tenets of classic doom. There’s an early ’70s sway to the material, a looseness in the rhythm section of bassist Andrew D’Cagna and drummer Justin Wood, that gives the chugging, grooving riffs of guitarist Corey Roth both meat and movement, and vocalist “Big John” Williams meshes with this modus perfectly, the layers of his voice harmonizing and calling to mind the natural feel and melodic range of grandiose ’70s prog, working with the music surrounding to give cuts like “Behold, the Anunnaki,” “The Black Door” and “The Seance” a mystique without sounding overblown or needlessly theatrical. It’s a careful balance and Brimstone Coven execute it well.
While the newer material (which appears first on the new collection) has a clearer production value than the original EP — though the remaster and an intro track provide an easy flow from one section into the next — that only makes it easier to hear the progression Brimstone Coven have undertaken. As a summary of the album’s appeal, “Behold, the Anunnaki” holds up more than ably in giving a sense of their progressive side while nailing down a steady rolling groove and building to a bigger finish. If it’s your first taste of what Brimstone Coven have to offer, you’re likely in for a pleasant surprise.
Brimstone Coven will release their self-titled full-length via Metal Blade Records on Aug. 5. The album is available to preorder here. They’ll also join Eric Wagner‘s Blackfinger for select shows on their upcoming tour, and on July 21, they’ll play with labelmates Mount Salem in their home state. More info from the PR wire and at the links below:
Brimstone Coven is a retro-hard rock / doom band that hails of out Wheeling, WV. They began brewing their own blend of “dark occult rock” in the early months of 2011. Corey Roth (Guitarist) wrote the first five songs, which would later become the band’s self titled album. Roth went on to handpick three seasoned musicians from the local scene. Andrew D’Cagna (Bass), Justin Wood (Drums), and “Big John” Williams (Vocals) were recruited to carry out Roth’s plan for sonic domination. Echoing the eerie reverberations of hard rock heavyweights such as Black Sabbath and Pentagram, mixed with the classic rock style of Led Zeppelin and Pink Floyd, Brimstone Coven strive to preserve a vintage rock sound mixed with a style all their own.
After many shows, one album, the band added new drummer Dan Hercules, released their second album, simply titled “II”, which was released in November of 2013, and signed with Metal Blade Records! Since signing with Metal Blade, original drummer Justin Wood has returned to the fold and has rounded out the seminal chemistry the band had been looking for. Metal Blade Records will begin their new partnership with Brimstone Coven by releasing the band’s latest album combined with their debut EP, complete with new mastering and brand new artwork. Artwork was completed by Creighton Hill, the same mind behind the band’s first two releases. The newly packaged and mastered set 17 tracks will serve as a solid introduction to Brimstone Coven for new fans. On August 5, the album will be available digitally and physically in North America.
Posted in Whathaveyou on July 16th, 2014 by H.P. Taskmaster
Nashville psych-blues rockers All Them Witches have announced that in September they’ll embark on a round of dates in the Midwest, Northeast and into Canada supporting Richmond, Virginia, ethereal doom outfit Windhand. For the four-piece, the tour comes situated between two other runs. The first is in late August with King Buffalo, and the second will take the band to Europe in October for appearances at Desertfest Belgium and Germany’s Keep it Low festival, presumably with at least a week of dates in between still to be announced.
All Them Witches and Windhand also shared the stage in May at the Scion Rock Fest in Pomona, California. Since then, they’ve released the free-download Effervescent EP (review here), a single-track, 25-minute jam that serves as the follow-up to 2013′s self-released second full-length, Lightning at the Door (discussed here). That album is set for a vinyl issue sometime as the summer winds down, as LPs are expected to be in hand by the time All Them Witches and Windhand hit the Sidebar in Baltimore on Sept. 4 to launch the tour.
This round of shows is especially notable for both bands as well for the size of the venues. I know Windhand has topped bills at Brooklyn’s St. Vitus bar before, but with this tour they clearly move further into genuine headliner status, which, if you’ve ever seen them, you know is right where they belong.
TOURING WITH WINDHAND IN SEPTEMBER!
9/4 Baltimore, MD – Ottobar 9/5 Pittsburgh, PA – 31st St Pub 9/6 Akron, OH – Musica 9/7 Columbus, OH – The Basement 9/9 Iowa City, IA – Gabe’s 9/10 Chicago, IL – Cobra Lounge 9/11 Minneapolis, MN – Triple Rock 9/12 Milwaukee, WI – Metal Grill 9/13 Ferndale, MI – Loving Touch 9/14 Toronto, ON – Coda 9/16 Ottawa, ON – Cafe Dekcuf 9/17 Montreal, QC – Petit Campus 9/18 Cambridge, MA – Middle East (upstairs) 9/19 Providence, RI – AS220 9/20 Brooklyn, NY – Saint Vitus Bar
Posted in audiObelisk on July 16th, 2014 by H.P. Taskmaster
It’s a formidable batch of streams this time around from Roadburn 2014, with YOB‘s The Great Cessation played in its entirety, and gigs from Indian, who by all accounts killed at the fest, Morne, ditto, Lord Dying and more. For me though, like the first batch with their Lenny Kaye jam, the highlight is probably Harsh Toke. They were my find of the fest. When their Light up and Livealbum came out in 2013 on Tee Pee, I guess I didn’t pay enough attention and missed it, but after seeing them with the aforementioned Mr. Kaye, I knew there was no way I was going to let their set at the Afterburner pass without watching at least for a little bit.
As such, the San Diego jam-rippers were how I closed out Roadburn 2014, stopping by the Green Room to watch them tear into heavy psych fluidity as though you could actually tear into something fluid. Killer band. I’ve spent much time with Light up and Livesince April, and I’m glad to have the chance — thanks, as always, to Marcel van de Vondervoort and his crew — to relive their show. That’s not to mention YOB doing The Great Cessation, which was hypnotic to the point of being trance-inducing, and Morne and Indian and The Vintage Caravan, Lord Dying and Obliteration, the last two adding a malevolent, lurching extremity. Very cool mix.
No big surprise there, I guess, since the festival has become so eclectic. Plenty to dig into here so I won’t delay further:
Harsh Toke – Live at Roadburn 2014
Horse Latitudes – Live at Roadburn 2014
Indian – Live at Roadburn 2014
Lord Dying – Live at Roadburn 2014
Morne – Live at Roadburn 2014
Obliteration – Live at Roadburn 2014
The Vintage Caravan – Live at Roadburn 2014 (Friday, April 11th)
Yob – Live at Roadburn 2014 (The Great Cessation)
Thanks to Walter and Roadburn for letting me host the streams. The first and second batches are still available as well, and for all of the Roadburn 2014 coverage, click here.
Posted in Whathaveyou on July 15th, 2014 by H.P. Taskmaster
Ever ones for hand-delivering their groundbreaking drone, Earth have announced that they’ll follow their extensive upcoming European tour in support of their 10th album, Primitive and Deadly, with a corresponding jaunt across the US beginning Sept. 4, just two days after the record is set to release on Southern Lord. I’ll be interested to see who winds up on tour with the band, considering some of the varied personnel said to show up in the material, but if they come even moderately close to capturing the sound of “From the Zodiacal Light,” which you can hear below, it’ll be a win. Actually, it’ll probably be a win anyway. It’s fucking Earth. Some bands you just have to trust know what they’re doing.
The PR wire has dates for your calendar-marking enjoyment:
EARTH Confirms US Tour Dates In Conjunction With Release Of Primitive And Deadly LP
With the next phase of EARTH’s ongoing evolution coming closer to actuality, as their tenth studio LP, Primitive And Deadly, is set to see North American release on September 2nd, the group announces the next phase of international touring in support of the album, in the form of a month-long US tour.
With the band’s treks through Japan, Australia and New Zealand behind them, and their trek into Europe set to begin late this month, EARTH will bring their new material to American fans. From September 4th, commencing in their hometown of Seattle, the new venture will see the band winding counter-clockwise around the entire perimeter of the country through October 3rd, the last show taking place in Boise, Idaho. With twenty-five performances confirmed, additional shows are expected to be added in the coming days. Direct support for EARTH on the entire trek will be provided by dark folk act, King Dude.
With Primitive And Deadly, for the first time in their diverse career, EARTH’s founding guitarist Dylan Carlson and long term cohort, drummer Adrienne Davies allow themselves to be a full-on rock band. Here the dialog between Carlson and Davies drumming remains pivotal, underpinned by the sympathetic bass of Bill Herzog (Sunn O))), Joel RL Phelps, Jesse Sykes and the Sweet Hereafter) and thickened by additional layers of guitar from Brett Netson (Built To Spill, Caustic Resin) and Jodie Cox (Narrows). Primitive And Deadly also brings forth the band’s first vocal contributions since 1996′s Pentastar LP, and first in the band’s second incarnation, with guest vocalists Mark Lanegan and Rabia Shaheen Qazi (Rose Windows), who transform these thundering, organic songs into something approaching traditional pop structures. The foundation of the record was laid in the mystic desert high lands of Joshua Tree, California at Rancho de la Luna where EARTH recorded after hours of meditation on each track’s central theme. Upon returning to Seattle these were edited, arranged and expanded upon at Avast with the help of long-term collaborator Randall Dunn (Sunn O))), Wolves In The Throne Room, Eagle Twin). Thick, dense and overdriven, melodically rich and enveloping, Primitive And Deadly is EARTH reaffirming their position as a singular point in the history of rock.
Preorders for Primitive And Deadly will be available in the next few days. Stand by for further live and album news transmissions from the EARTH family.
EARTH Tour Dates: European Tour: 7/31/2014 Off Festival – Katowicw, Poland 8/01/2014 UT Connewitz – Leipzig, Germany 8/02/2014 Lido – Berlin, Germany 8/04/2014 Super Uho Festival – Sibenik, Croatia 8/05/2014 Arena – Vienna, Austria 8/07/2014 Schlacthof – Wiesbaden, Germany 8/08/2014 Bogen F – Zurich, Switzerland 8/09/2014 Point Ephemere – Paris, France 8/10/2014 Zuiderpershuis – Antwerp, Belgium 8/11/2014 Tivoli – Utrecht, Netherlands 8/13/2014 Whelans – Dublin, Ireland 8/14/2014 CCA – Glasgow, UK 8/15/2014 Gorilla – Manchester, UK 8/16/2014 Jabberwocky Festival – London, UK
US Tour w/ King Dude: 9/04/2014 Crocodile – Seattle, WA 9/06/2014 Shakedown – Bellingham, WA 9/07/2014 Doug Fir – Portland, OR 9/08/2014 Midtown Barfly – Sacramento, CA 9/09/2014 Catalyst Atrium – Santa Cruz, CA 9/10/2014 Bottom Of The Hill – San Fransisco, CA 9/11/2014 Hollywood Forever Cemetary – Los Angeles, CA 9/12/2014 SD Music Thing Fest – San Diego, CA 9/13/2014 Yucca Tap Room – Tempe, AZ 9/14/2014 Sister – Albequerque, NM 9/16/2014 Red 7 – Austin, TX 9/17/2014 Club Dada – Dallas, TX 9/18/2014 One Eyed Jacks – New Orleans, LA 9/19/2014 Drunken Unicorn – Atlanta, GA 9/20/2014 Kings Barcade – Raleigh, NC 9/21/2014 Rock N Roll Hotel – Washington, DC 9/23/2014 Great Scott – Allston, MA 9/24/2014 Saint Vitus – Brooklyn, NY 9/26/2014 Boot And Saddle – Philadelphia, PA 9/27/2014 Midpoint Music Fest – Cincinnati, OH 9/28/2014 Pygmalion, Music Fest – Urbana, IL 9/29/2014 Empty Bottle – Chicago, IL 9/30/2014 Record Bar – Kansas City, MO 10/01/2014 Larimer Lounge – Denver, CO 10/03/2014 Neurolux – Boise, ID
Posted in On Wax on July 15th, 2014 by H.P. Taskmaster
On their debut EP, Progenitor, Scottish four-piece Dune successfully meld the varying impulses of metal and desert rock, creating a sound both vast and ambient that shifts smoothly into movements of big-toned crunching aggression. The resulting tracks are not quite stoner metal, which would seem to imply a Sleep influence — there isn’t one here — but a kind of desert metal which finds its variety furthered through the liberal implementation of interludes, particularly on side A of the transparent red, limited-to-300-copies Wasted State Records 12″ vinyl. Out digitally in December 2013 before this June 2014 pressing, it is a short release, topping out at just over 29 minutes, but in that time Dune showcase not only stylistic nuance, but a commitment to standing out in the vinyl form as well, both through the packaging, thick stock and including a liner the aesthetic of which matches the band’s sci-fi thematic, and through the curious division of the interlude “Pillars of Eternity” between the end of side A and the start of side B.
“Pillars of Eternity” is one of three included instrumentals on Progenitor, the other two being the intro, “Gravity Signal,” a building cosmic pulse and noise wash that leads directly into the Kyuss-meets-swirl opening riff of “Protostar,” and the closing linear build of “Orbital Remains,” which caps side B on an engagingly spaced-out note. Maybe because so much of the platter is dedicated to atmospherics it seems surprising when Dune give so much attention to vocal arrangements throughout. The band is made up of guitarists Victor Vicart and Dan Barter, bassist Simon Anger and drummer Dudley Tait, and everyone adds vocals in one form or another, though Anger is credited with backing vocals and Tait with “voice,” so there’s likely some distinction there. In any case, for “Protostar” and “Oscillations of Color,” Dune‘s riffy largesse is met with early-Mastodon growls, giving the EP a feel that would stand in line with sludge if the songs weren’t also so crisply produced or varied in themselves, “Protostar” breaking before its midpoint to a guitar-led ambient section and building back up to full-boar and an impressive solo from there as it rolls on past six and a half minutes. It feeds directly into “Oscillations of Color,” which uses guitar triplet gallop as a central riff around which a memorable chorus and proggy-feeling midsection (topped with distorted outer space spoken word, likely by Tait) circle.
The second vocalized track might be the most accomplished on Progenitor, but side B’s “When Planets Die” and “Red Giant” stand up to it — as did “Protostar,” for that matter — the subdued echoes of “Pillars of Eternity” leading the way out of side A and then, for just a few seconds, building into the drums and sparse guitar at the start of “When Planets Die.” A faster rush and churningly insistent, “When Planets Die” still holds to Dune‘s depth of arrangement and sense of overall control, also proving more straightforward without a break in the middle like the pair comprising the meat of side A, though a few last minute turns are head-spinning before the song ends cold and “Red Giant” picks up with a swell of feedback. I don’t want to spoil, because the arrival makes for Progenitor‘s most glorious payoff, but when the music slows and all the vocals come together on “Red Giant,” it’s reminiscent of the swaying that makes Hull‘s material so triumphant, and Dune might be the only other band I’ve heard do it so well. A driving chaos ensues, and they cap stomping before feedback rings out and fades, letting effects noise give way to “Orbital Remains,” the quiet guitars of which move into a satisfyingly desert-hued progression that gets an apex not overblown — there’d be no point in competing with “Red Giant” anyway — but still enough to make the finale more than an afterthought amidst all the pummel before it.
Dune have such a firm grip on their presentation, it’s easy to forget Progenitoris their debut EP, but there’s still room for them to grow as well. The peaceful vibing of “Orbital Remains” and the subtlety of its linear progression in particular speak to the potential for Dune to do more in their songwriting than offset clobbering riffs with guitar-effects interludes, and indeed, taken as a whole, Progenitorshows that evolution is already underway. It’s a righteously heavy two sides that the Edinburgh foursome have conjured to announce their arrival, and should be welcome for anyone who longs for a few meaner stretches than most heavy rock is willing to provide. Topped off by the Ross McKendrick cover art, whether you’ve read Frank Herbert or not, Dune‘s first vinyl has plenty to offer those who’d set needle to wax.
Posted in Whathaveyou on July 15th, 2014 by H.P. Taskmaster
The more I see Mothership post tour dates, the more I look forward to hearing what they’ve come up with for Mothership II. Their forthcoming second album and proper debut on Ripple Music is set to release before the end of the year, though no specific date has yet been given, and even as they wrap up a full run of the US, the Texas trio have announced another — admittedly smaller — stint that will kick off just nine days after the end of their current tour. Not only does it show they believe in what they’re doing, but also that they’re willing to get out and win hearts and minds the old fashioned way, which also just happens to be how they rock.
Joining Mothership this time around will be The House Harkonnen, as the PR wire affirms:
MOTHERSHIP announce SOUTHERN SHRED TOUR with House Harkonnen
Hot on the heels of two wildly successful tours in Europe and the U.S. and the completion of Mothership II (out later this year via Ripple Music), Texas heavy rock and rollers and family unit MOTHERSHIP have announced a quick southern-U.S. jaunt with fellow Dallas-dwelling shredders HOUSE HARKONNEN.
In early 2012, Mothership entered Crystal Clear Studios with Wo Fat mastermind Kent Stump manning the boards and by mid-year, the band self-released their debut album. It was the combination of the 70’s-era heavy rock fuzz and fury mixed with the blistering guitar solos of the NWOBHM-era that drew the bands attention to California-based heavy rock label, Ripple Music. In the waning months of 2012, after a successful year of traveling regionally throughout Texas and opening for national acts such as Prong, Red Fang, Gypsyhawk, Earthen Grave, and Lo-Pan, Mothership officially dubbed Ripple Music as its home port.
With the official Ripple Music release of the band’s self-titled debut album in February of 2013, Mothership began a torrid journey across America and parts of Canada, including a tour in support of Gyspyhawk and another in support of Scorpion Child and Kadavar. Currently, the band recently finished up their sophomore album, Mothership II, which will be available later this year.
Dates: 7/30/14 Dallas, TX @ Three Links 7/31/14 Hattiesburg, MS @ The Tavern 8/1/14 Pensacola, FL @ The Handlebar 8/2/14 Atlanta, GA @ 529 Club 8/4/14 Birmingham, AL @ The Nick 8/5/14 Houston, TX @ Rudyard’s 8/6/14 Texarkana, TX @ Silver Dollar 8/7/14 Tulsa, OK @ Downtown Lounge 8/8/14 Oklahoma City, OK @ The Blue Note 8/9/14 Fort Worth, TX @ The Grotto
In January, bassist/vocalist Aaron Beam and drummer John Sherman of Portland, Oregon, heavy rock forerunners Red Fang flew to Switzerland after appearing on The Late Show with David Letterman. There, they met up with drummer Luc Hess and bassist/baritone guitarist/vocalist Louis Jucker, also known as the duo Kunz and also the rhythm section of The Ocean, to record an album together. Thus emerged Red Kunz.
You can read below the day-by-day breakdown of how it happened over the course of the week, but what’s staggering about the results on their Division Records/Hummus Records debut LP, Teeth, Hair and Skin, is both how fresh the material sound and also how solid and tight Red Kunz are as a band. You’d figure Jucker and Hess would work well together, and Beam and Sherman likewise, but on Teeth, Hair and Skinit’s all four of them. It doesn’t sound like two bass/drum duos jamming out at the same time. It sounds like a four-piece band who’ve been playing together for years.
I think even they must’ve been surprised, since the instrumental tracks they recorded live that you can see in the video below wound up as the final takes for the album, with Beam and Jucker putting their vocals on afterwards. No argument though. With the performances they give here — you’ll note Beam is set up in front of Hess and Jucker in front of Sherman – Red Kunz managed to capture a spontaneity that works exceedingly well with the upbeat bounce of the five songs, “Transatlantic,” “The Beggar,” “Four Good Reasons,” “Prisms” and “Teeth, Hair and Skin,” while still getting a full and clear sound.
Teeth, Hair and Skinis out Aug. 15 through Hummus Records and Division Records. Much more info follows the clip below, including pre-order links, but for now, enjoy the making of Red Kunz‘s debut as it happened:
TEETH, HAIR & SKIN will be released on August 15th.
Red Kunz is a project that gathers RED FANG (Aaron Beam and John Sherman) and KUNZ (Louis Jucker and Luc Hess – ex-THE OCEAN, COILGUNS).
This was shot on wednesday january 15th. Although it was not meant to be, these are the final versions you can find on the record. Vocals were recorded the day after so this is completely instrumental.
Filmed and edited by Camille De Pietro & Nathan Jucker (Le Manoir)
Not sure whether RED KUNZ will be performing, but RED FANG and KUNZ will play the following shows together:
2014 Aug 1st — Le Ferrailleur, Nantes, France Aug 3rd — Le Grillen, Colmar, France Aug 12th — Les Caves du Manoir, Martigny, Suisse Aug 13th — Les Caves du Manoir, Martigny, Suisse Aug 15th — Rock Altitude Festival, Le Locle, Suisse
Good records sometimes need to go that easy:
Saturday, January 11th 2014 : Aaron Beam and John Sherman “RED FANG” fly to Switzerland straight after the band’s performance at the famous Letterman Show in New York to meet Louis Jucker and Luc Hess “KUNZ” at the airport. The 4 guys drive to Lausanne, straight to the venue LE ROMANDIE, put their two bass amps and drums on stage, then go out for a beer in a funny local cover bands festival.
Sunday 12th, They write 4 songs in the deserted venue and go to sleep.
Monday 13th, a whole crew of video makers, graphic designers and other creative minds set up its camp in the club’s backstage. Mission is to get the most work done within a week.
Tuesday 14th, Everyone is super pumped and party a little too hard.
Wednesday 15th, The band spends the day tracking songs, goes out for a walk, buys a small acoustic guitar in a pawn shop, comes back to the club, plays the tunes again in front of the crew’s cameras and decides to keep these takes as the final ones.
Thursday 16th, Aaron and Louis write vocal lines and lyrics in Jucker’s attic studio. John and Luc drink beers and eat pizzas.
Friday 17th, The whole town is gathered in a packed venue to see the new born RED KUNZ playing their first record : TEETH, HAIR AND SKIN, 20 minutes of raw bass riffing and double drums battles that somehow manage to sound like proper catchy songs. Fact is that they were all conceived and taped within a single and cool week of friendship, beers, and jams.
Posted in Whathaveyou on July 15th, 2014 by H.P. Taskmaster
I don’t usually like to post crowdfunding stuff if I can avoid it. Nothing against the process, it’s just there’s so much of it there wouldn’t be time for anything else. This, however, is a cause worthy of exception.
You may know Darryl Shepard from his time in Milligram, or Slapshot, or Blackwolfgoat, or The Scimitar, Black Pyramid, Hackman, Roadsaw or countless others. You may not know him at all. Regardless, the man is a walking institution of rock and roll. Someone who has personally played a direct role in the development of American heavy rock, and even if you don’t listen to his bands, chances are that someone in bands you listen to did. In and around Boston, he’s a legend, and if standing on the Hellfest stage last year with Black Pyramid was anything to go by, his reach is much further than any single city’s borders.
Because of a number of medical conditions, Darryl has racked up a considerable amount of debt. In a lot of places around the world, this would be taken care of through a public system, and wouldn’t stand the chance of crippling someone’s livelihood, but then again, in a lot of places around the world bands also get paid for playing shows. That’s not here. A fund has been set up to help Darryl with these expenses, and I personally urge you to give something, anything, to help him out. It’s not even a donation. Darryl has earned this money a thousand times over.
Hey folks, our good friend and intrepid rocker, Darryl Shephard is in need of our help. Darryl has numerous medical issues, including: Hordeolum, GERD, Coronary Stent, Cervical Radiculopathy, Pacemaker (permanent), Hx of Depression, Hypothyroidism, SVT (Supraventricular tachycardia, Hyperlipidemia, Cardiomyopathy (Ischemic), Status Post Myocardial Infarction (anterior wall), and Coronary Artery Disease. He has been a fixture in the Boston music community for over 25 years, having played with acts such as: Slapshot, Blackwolfgoat, The Scimitar, Slaughter Shack, Hackman, Roadsaw and Deslok, among others. Despite having a fulltime job, and health insurance, Darryl, is badly in need of assistance in covering medical expenses. We’ve set the goal pretty low in hopes that people will be more than generous. There are no reward levels, but an incentive or two, are being considered. Helping a friend should be reward enough. Please give what you can. It would be literally life-changing for Darryl. Thanks!!!
Posted in Whathaveyou on July 14th, 2014 by H.P. Taskmaster
Ice Dragon and Space Mushroom Fuzz have more than a few things in common: They share geography in being based out of Boston. They’re both committed to self-releasing albums without charging for them, and they both do so at a prolific clip. Both bands have a varied and open sound, and while Ice Dragon lean more toward a doomed-out psychedelic nod, recorded raw with physical pressing a matter left to the ages — their Dream Dragon(tape review here) has a CD issue coming — and Space Mushroom Fuzz tend toward the progressive and space rocking side of the heavy spectrum while periodically gathering single tracks and other output for collected release — their 2013 double-tape, Back from the Past(review here), brought together four outings — I don’t think there’s anyone who’d argue they don’t make a solid pair.
To be perfectly honest, I was kind of hoping that Crystal Futurewould be a collaborative release from Ice Dragon. As Space Mushroom Fuzz is a one-man project — helmed by Adam Abrams, also known for Blue Aside – it would be easy enough to bring him into an Ice Dragon session, but the four-song release is a proper split, each act on their own. I’m not about to complain. Each band contributes a longer work and a shorter ambient piece, and as ever from both, the resulting EP is available as a free download.
Links, info, Samantha Allen‘s gorgeous cover art and Ice Dragon‘s announcement follow:
We have a new split out with Space Mushroom Fuzz. Their track is most excellent, and definitely gets stuck in your head. Little interlude action in there too, ours is from an old 4-track tape we did on the porch while recording a few Tome tracks.
A quarter century after solidifying their legacy as one of the foremost arbiters of crust with 1985′s Arise! and 1987′s Monolith full-lengths, as well as 1983′s clarion No Sanctuary, the raw, pummeling and thoughtfully raging force that was Amebix did what seemed for a long time to be unimaginable: They put out another album. Bringing together founding brothers Rob “The Baron Rockin Von Aphid” and Christian “Stig” Miller with drummer Roy Mayorga (ex-Soulfly, Ozzy Osbourne, etc.) , 2011′s Sonic Mass(review here) was above all unexpected. A metallic turn from Amebix‘s original era that had been heralded somewhat by the 2010 ReduxEP that reworked three older selections, Sonic Masscaught Amebix devotees off guard, but found the band’s lack of compromise and willful self-direction more than intact. Over 30 years on from their first demo, they still refused stagnation.
Rob Miller is known outside of music for his quality craftsmanship and classic sword-making for a company he founded during Amebix‘s long absence called Castle Keep. Based out of the Isle of Skye in the north of Scotland, Miller took time out this winter to reflect on his work.
The Obelisk Questionnaire: Rob Miller
How did you come to do what you do?
In 1991 I arrived on Skye after a motorcycle accident in Bath, Somerset. At that point in my life I was once again without a home and at the end of a bad relationship. The accident broke my arm and trashed my bike, I was left with nothing but the tattered clothes I stood up in.
I decided that, as I could not return to work in the night shift job I had, I would head to Scotland to see my folks after many years without much contact. Skye was very different, a harsh and brutal landscape in winter yet also wide open and free. I moved up a few weeks later, bike and belongings in a van and started out by working in Hotels as a waiter and kitchen staff to bring money in.
Out of the blue a cheque appeared from my insurance, compensation for the accident. I had learnt to make the best of opportunity when it arises and decided to look into something I had always had a fascination with, swords. This was before the internet so I started by writing to antiquarian bookshops looking for books and manuals on Arms and armour, meanwhile buying a few rudimentary tools and beginning the process of learning how to be a smith. It took some time and a lot of mistakes, 23 years later I am established as one of the better Sword makers worldwide. By no means the best, but accomplished to a degree of which I am quite proud.
Describe your first musical memory.
Radio at my grandparents’, “Lilly the Pink” was the song. I was growing up in the late ‘60s and early ‘70s so became tuned in to glam rock, T-Rex, some stuff like Joe Cocker, The Move, Procul Harum. The music you hear at an early age tends to go deeper than a lot subsequently.
Describe your best musical memory to date.
Personally, playing the [Great American Music Hall] in San Francisco. The whole place was heaving, alive and electric, band and audience totally in sync with one another.
Live, (coff) Manowar in Bristol circa 1983. Mercyful Fate had dropped off the tour and the crowds simply did not come. They played in front of maybe 200 people in a 5,000-capacity Hall, and gave it everything they had. I learnt a lot that night about people who really believe in what they do and the shallow world.
When was a time when a firmly held belief was tested?
The past two years have seen most of my personal beliefs tested to breaking point. I have believed in the basic goodness of most people and that has been proved wrong too close to home.
However, I think we can get trapped in other people’s dramas and feed the lie, sometimes you need to step aside and let the river flow by. I have learned how to start again many times. ;)
Where do you feel artistic progression leads?
Hopefully to a perennial body of work. In one form or another, there is a compulsion in the artist to strive, and a constant dissatisfaction with the work. This is what keeps us going. The work itself must become the very highest expression of yourself. The medium is not important.
How do you define success?
Inner calm, confidence. The conquest of Fear and doubt.
What is something you have seen that you wish you hadn’t?
Pineapple Express and another couple of dozen stupid fucking Hollywood movies that have effectively wasted precious hours of this life.
Describe something you haven’t created yet that you’d like to create.
I would like to create one truly great song, indisputably great on every level, something that would affect actual change in the listener. There are only a few dozen instances that exist, that is true Art.
Something non-musical that you’re looking forward to?
Here on Skye it is wintertime. The land dies and we lose touch with nature, we forget the signs and signals, the internal language of the Spring. I look forward to that. Here, we have five months of winter. When it is through there is a very real feeling of having been reborn once more. The cycle begins again. Life is neither good nor bad. Life just is.
Amebix, Live at the Great American Music Hall, San Francisco, CA, 2009
Posted in Whathaveyou on July 14th, 2014 by H.P. Taskmaster
Los Angeles heavy psych rockers Slow Motion Rider put the digital edition of their self-titled debut out in May, and The Committee to Keep Music Evil will issue the physical version of the album this September. The record was produced by Rob Campanella of The Brian Jonestown Massacre, and the release will make the three-piece labelmates with the likes of Federale, The Asteroid 4 and Spindrift. Accordingly, the collection spaces out its vinyl-able 42 minutes with trippy effects and a shoegazing drawl that sounds desert-baked. I dig it. You might also dig it. Which is why I’m posting about it. Right on.
The PR wire sends its regards, as well as audio:
The Committee To Keep Music Evil would like to announce the release of the debut album by Slow Motion Rider
Produced by Rob Campanella of The Brian Jonestown Massacre
digital release/ May 1st 2014 -hard copies / September 1st 2014
Slow Motion Rider can take you places. This heavy psych trio has created a strong identity of powerful musicianship, taking it back to its roots and giving it all they can. Hailing from the LA circuit with renown for groovy carefree parties and a strong sense of community, their live shows are raw and full of energy. Having a number of influences in their DNA you will think of Spacemen 3 and the pure blood of The Doors and Hendrix.
Talented with their ability to get into a groove and even riff without over indulgence these songs will have you hooked and truly take you back to the times when rock and roll was straightforward and honest. With a release amongst the stellar lineup of The Committee To Keep Music Evil that includes The Brian Jonestown Massacre, Dead Meadow, and more, they are already poised to move up in the community and bring a new consciousness to it all at once. From a trek through the California desert all the way to the deep reaches of our universe, these vibes are transcendent.
With performances at Austin Psych Fest 2014, other regional tours are scheduled for fall 2014. Slow Motion Rider has already been getting some airplay in the US as well as Europe which includes European syndicated Volks Radio Show. It drew the attention of Joe Foster “Slaughterhouse Joe”, co-founder of Creation Records and producer of countless bands including The Jesus and Mary Chain, My Bloody Valentine, who has recently signed on to work on their European presence and production of their second album. This album is scheduled for worldwide distribution by September 1st.
Posted in Reviews on July 14th, 2014 by H.P. Taskmaster
Originally recorded in 2011 and digitally released in 2013, the second and final full-length, Archimedes Waffen, from German progressive heavy psych instrumentalists Dunst sees a revived presence in the physical realm thanks to a new vinyl issue on Electric Magic Records, the imprint helmed by Samsara Blues Experiment guitarist/vocalist Christian Peters. Dunst‘s relationship with that band goes even deeper than the label association as well, since Archimedes Waffenwas recorded by SBE bassist Richard Behrens at Big Snuff Studio in Berlin, about 90 minutes south of Dunst‘s former hometown of Templin. There are some shared sonic elements too, but it rings more like a commonality of mindset than direct influence. Dunst – which prior to disbanding was comprised of guitarist Daniel Rexhausen, bassist Johannes Schulz, drummer Philip Marschall and effects noisemaker/vocalist Sebastian Adolph (there are way more effects noises on the album than there are vocals) — released their self-titled debut in 2011, and here on the follow-up, they come across well established within a heavy psychedelic approach to jamming. Over the course of six extended tracks, they explore the spaces between such heavyweights as Colour Haze, My Sleeping Karma, Causa Sui,and indeed Samsara Blues Experiment, while working in the pursuit of their own musical identity. Already pushing the bounds of vinyl at 53 minutes, the Electric Magic version of Archimedes Waffencuts down the original album length from over an hour, pulling out an intro, outro and the 10-minute “Vincent Raven,” which can still be heard on the digital edition, and jumbles the original tracklisting to take better advantage of an LP’s two-sided structure. Nonetheless, Archimedes Waffenremains an immersive slice of heavy jamming, familiar in some aspects but portraying a building character in progress.
Adolph‘s synth swirl and other effects go a long way in adding to that personality early on, giving the mix more depth than it might otherwise have. In comparison to Dunst‘s first outing — putting aside a somewhat rawer production as well – Archimedes Waffenpresents a much broader range, the relaxed stretches of opener “Kincha King” immediately engaging the listener with a patient, hypnotic roll, where parts of Dunst‘s Dunstfeel a little more jagged with just Rexhausen, Schulz, and Marschall present. It’s a smoother sound on the second album, in other words, and as the 10-minute launch point gives way to the title-track — which, with “We Can Try to Play Like or We Can Try…” and “Hammerhigh,” is one of three cuts that hovers just on the other side of seven and a half minutes long; as brief as Dunst get – that fluidity is maintained, and Adolph adds to the roll and chemistry found well intact from the other three players. Rexhausen takes a lead prior to the midsection of “Archimedes Waffen” that’s almost as impressive for how Schulz and Marschall meet it head-on for the guitarist’s own playing, and they continue to move endearingly through peaks and valleys, taking a ground-up linear build in the second half of the track to its natural, voluminous conclusion. The subsequent “We Can Try to Play Like or We Can Try…” is similarly structured with two distinct payoffs, but presents a different take with a more prominent bass from Schulz (not a complaint) and airier noodling in the guitars contrasted by active jazz drumming. There’s less of Adolph as side A rounds out with a peaceful fade, but by then Dunst have established an open feel that would seem to allow the effects wash to come and go as it pleases without interrupting the overarching flow.
Posted in Whathaveyou on July 14th, 2014 by H.P. Taskmaster
Very interested to hear what Orange County, NY, heavy psych rockers Sun Voyager come up with for their debut long-player. Their 2013 demo, Mecca(review here), had a loose, laid back groove that neither came at the expense of songwriting nor felt like a put-on, so I’m eager to see where they take their sound with more room to flesh out ideas and maybe mix in some variety of atmosphere, effects experimentation, etc. The album, as yet untitled, was originally slated for a summer release on King Pizza Records vinyl, but that’s been pushed back to the fall.
In other news from the upstarts, they’ve parted ways with one of their guitarists and will proceed into the recording process as a full-length. They also sent word of upcoming shows around the New York area and more along via the PR wire.
Check it out:
Sun Voyager Summer Update
We hope your summer has been grooving smooth. Thanks for all the support over the last year and a half! It’s been a lot of fun and we’ve got some exciting things on the way that we wanted to share with you.
First a list of upcoming shows:
July 24 w/ Greasy Hearts, Big Huge & Jacques le Coque – Brooklyn – Silent Barn July 25 w/ Ma, Oneironaught, & Sex Dream – Brooklyn, NY – Big Irv’s Gallery August 1 w/ It’s Not Night: It’s Space – New Paltz, NY – Snug Harbor August 9 w/ Julian Fulton, Francie Moon, & more – Rahway, NJ – The Rail House August 15 w/ SULTAN BATHERY – Brooklyn, NY – Don Pedro’s September 11 w/ The End Men – Albany, NY – The Low Beat
Next (we’ll give you the bad news first), we’re not sure if all of you know this but Steve is no longer with the band. We wish him all the best but will be continuing as a three-piece. Don’t worry though. We’ve been rocking just as hard without him.
NOW THE GOOD/GREAT NEWS…. We’re wrapping up in the studio this weekend and are almost ready to give you some new music!!! King Pizza Records will be putting out our first full-length on 12″ VINYL and we’re super excited to part of such an awesome label that wants to do this for us. It will be 8 songs in length and should be out this fall. We put a rough version of one of the songs up on bandcamp and might have something else for you very soon…