Brave the Waters Premiere “Voice of the Ancient Oak” from Chapter 1 – Dawn of Days

Posted in audiObelisk on April 16th, 2015 by H.P. Taskmaster

brave-the-waters

New York ambient two-piece Brave the Waters will issue their debut EP, Chapter 1 – Dawn of Days, on May 12. A digital self-release, its core this-is-a-beginning thematic as indicated by the title is somewhat less apparent in the six tracks of the offering itself. No doubt for Rick Habeeb (guitar) and Tom Anderer (acoustic guitar and bass) it’s a major stylistic jump — the two are bandmates in the grinding Buckshot Facelift and progressive death metallers Grey Skies Fallen — but the fluidity of atmosphere they enact over the course of Chapter 1 – Dawn of Days could just as easily be the fifth chapter as the first, as it benefits from Habeeb and Anderer‘s knowledge of how the other plays, even if it’s doing so in a different context from how they’ve ever played before.

Much to their credit, Brave the Waters are not trying to reinvent the soundscape their first time out. Chapter 1 – Dawn of Days is an unpretentious 22 minutes that wears its exploratory feel on its sleeve. Most of the material was at least to some degree improvised, and that spirit of immediacy, of the song happening right now feeds into the immersive effect on the listener.brave the waters chapter 1 dawn of days Instrumental for its brief duration an without percussion, Chapter 1 – Dawn of Days is hardly still. Anderer and Habeeb weave guitar lines and ambient backing swirls around and through each other so that from opener “The New King” down through the passing wisps of melody in “At the Old Stone Bridge,” the progress is so smooth as to be alluring no matter how minimal it gets. And ambience is never far. Marked out by its acoustic foundation, the penultimate “Setting up Camp” reminds of Lamp of the Universe‘s cosmic meditations and Pelican‘s rural escapism (a similar idea with a different musical translation), a particularly memorable melody in “Journey through Highwood Forest” having tapped emotional and sonic resonance just one track earlier.

“Interesting Times” carries the foreboding of the proverb in its atmosphere, but the brightness of “Voice of the Ancient Oak,” with its interplay of acoustic, electric and effects-laden guitar, is enough to counteract just about any lingering worry. Composed, according to the duo, in about half an hour, and expressed completely in three minutes, it’s emblematic of the efficiency with which Chapter 1 – Dawn of Days is able to conjure its atmospheres, and still holds firm to the human sensibility at the core of the project — two friends getting together and trying something new instrumentally that’s soaked in reverb and giving a brief look at a vast sonic horizon. Their plan is for yearly releases. With the ground they establish here as a foundation, I do not imagine they’d have any trouble hitting that mark.

Please find Brave the Waters‘ “Voice of the Ancient Oak” on the player below, and enjoy:

Producing a mesmerizing, ethereal brew of beautiful, instrumental movements, far removed from the tumultuous sounds of the extreme output of their other musical creations, BRAVE THE WATERS came together when Grey Skies Fallen and Buckshot Facelift bandmates Tom Anderer (bass guitar, acoustic guitar) and Rick Habeeb (guitar) decided to write and record some instrumentals in a stripped-down fashion. Improvisation and spontaneity were important aspects going in, and while bits and pieces of music were composed prior to entering Keith Moore’s since burned-down Audio Playground Studio, the vast majority of what appears on the band’s six-song debut EP, Chapter 1 – Dawn of Days, was written and recorded on the spot.

Containing six tracks of ambient guitar and bass that you will find very different from the duo’s main bands, BRAVE THE WATERS’ Chapter 1 – Dawn of Days sees pounding drums, intense death metal vocals, and immense guitar distortion completely abandoned, and here replaced with clean guitars, melodic bass lines, and a healthy dose of Strymon’s amazing Big Sky reverberator. Just in time for the Winter’s thaw, these winding passages inspire visions of lush nature and rebirth. Reminiscent of several styles at once, yet emerging as its own being, Chapter 1 – Dawn of Days is an immediately comforting, almost familiar release.

BRAVE THE WATERS will release Chapter 1 – Dawn of Days independently through Bandcamp on May 12th, the EP bearing cover art by Travis Smith (Death, Opeth, King Diamond).

Brave the Waters on Thee Facebooks

Brave the Waters on Bandcamp

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Sgt. Sunshine Self-Titled Reissue Due in May

Posted in Whathaveyou on April 16th, 2015 by H.P. Taskmaster

sgt. sunshine

It has bothered me for some time not to own a copy of Sgt. Sunshine‘s 2002 self-titled debut. I have their second record, Black Hole, which came out in 2007, and its 2013 follow-up, III (review here), and both of those were released by Elektrohasch, which also had a vinyl version of the self-titled out in limited numbers, but I never managed to find it on CD. It’s still a search I do on eBay and Amazon and Discogs every now and again — including just now, since it’s on my mind — and nope. Nothing. A couple copies of the vinyl for $125 or thereabouts. No CD. This and the first Rotor are frickin’ elusive.

Thanks to Heavy Psych Sounds, it’s about to be less elusive. The Italian imprint has inked a deal to put Sgt. Sunshine‘s Sgt. Sunshine back out. The vinyl will come in either silver or black, fitting to the artwork, and it’s available to preorder starting May 15 ahead of its May 28 release. It’s hailed as something of an underappreciated classic, and this Heavy Psych Sounds reissue will pave the way for the trio to release their fourth album, which is tentatively due this fall, also through the label. Their announcement, as ever, was short and to the point, but the news is good. I’ve also included the album in full from YouTube, should you like to familiarize or revisit.

Dig it:

sgt sunshine cover

Heavy Psych Sounds Records is really proud to announce another great release!

HPS025 ***SGT.SUNSHINE***(Selfitled-2002)

The Swedish band lead by Eduardo Fernandez started 1998 placed them amongst one of the leading underground Stoner-Heavy Psych rock bands of the time.

HPS Records going to reprint this incredible record out in 2002.

HPS Records also signed the band for their fourth full length that will be out in autumn!

RELEASE DATE MAY 28 / PRESALES MAY 15

Printed in 200 Ltd Silver Vinyl / Black vinyl / Digital

https://www.facebook.com/pages/SgtSunshine/1578586959055691
www.heavypsychsounds.com

Sgt. Sunshine, Sgt. Sunshine (2002)

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Apostle of Solitude Announce Spring Tour Dates

Posted in Whathaveyou on April 15th, 2015 by H.P. Taskmaster

apostle of solitude (Photo by Al Jacquay)

Indianapolis doomers Apostle of Solitude are set to hit the road at the end of this month to support their 2014 release, Of Woe and Wounds (review here). That record, released as their first on Cruz del Sur and their third overall full-length, is available on CD or on vinyl with bonus tracks, and among the shows the four-piece will play on this run is the Brooklyn release party for the just-reviewed Kings Destroy album, at which Elder and Clamfight will also take part, Clamfight also playing the Philly gig the following evening. Come to think of it, just about everywhere Apostle of Solitude are headed, they’re finding welcome among the badass local contingent, whether that’s Foehammer in D.C., Argus in Pittsburgh, or Eldemur Krimm in Maine.

Should be some good shows. I’ll be at the Vitus Bar one and am looking forward to seeing the band again. I still have the two shirts I bought last time they came through NYC and played Ace of Clubs. Could use an update to the wardrobe I guess, if they’ve got stuff for the new album.

Dates and info off the PR wire:

apostle of solitude tour

APOSTLE OF SOLITUDE Announce U.S. Spring Tour Dates

U.S. Doomsters APOSTLE OF SOLITUDE have announced U.S. Spring Tour 2015 dates. The upcoming gigs are as follows.

04/30 @ The Foundary in Lakewood (Cleveland), OH with Dead East Garden, and Thunderchief, and Sweaty Mammoth, and Sleeplord
05/01 @ TBA in Rochester, NY with Orodruin
05/02 @ Jabber Jaws in Allentown, PA with Krosis, Buried at Dawn, Father of Sin, Cryptid, and P.O.W.W.O.W.
05/03 @ Geno’s in Portland, ME with Eldemur Krimm
05/04 @ O’Brien’s in Allston, MA with The Modern Voice and Cemetery Dave
05/05 @ St. Vitus Bar in Brooklyn, NY with Elder, Kings Destroy, and Clamfight
05/06 @ Legendary Dobbs in Philadelphia, PA with Clamfight and Prehistoric War
05/07 @ The Pinch in Washington, D.C. with Fortress and Foehammer
05/08 @ The Smiling Moose in Pittsburgh, PA with Argus and Brimstone Coven
05/09 @ Goodfellas in McMechen, WV with Doctor Smoke and Null Result

The band is touring in support of Cruz Del Sur Music release Of Woe and Wounds, which is streaming in its entirety and available for digital and vinyl purchase here.

Of Woe and Wounds can also be purchased on CD and vinyl formats here.

APOSTLE OF SOLITUDE’s Of Woe and Wounds will rank among the heaviest album of 2014. From the 7-minute opener “Blackest of Times” to the ending “Luna,” APOSTLE OF SOLITUDE deliver an incredible performance that gives full sense to the sometimes-abused term “DOOM”. Mastered by Tony Reed (producer of last SAINT VITUS’ album “Lillie: F-65″), this album confirms APOSTLE OF SOLITUDE as a versatile, multi-dimensional doom band that offers the most Sabbath-inspired sound around these days, blended with personal, oppressive yet dynamic atmospheres such as those found in “Push Mortal Coil” or “Whore’s Wings” (re-recorded hits from their 2012’s demo), or the long and haunting “Die Vicar Die”.

The album also features the extraordinary work of talented Artist David Csicsely known for his illustrations of Mournful Congregation, Solitude Aeternus, Wheel, Flight of Sleipnir releases. The album was recorded by Mike Bridavsky at Russian) in Bloomington, IN and later mastered by Tony Reed (SAINT VITUS’ “Lillie: F-65). DOOM has never been so HEAVY! The vinyl version will contain two bonus live tracks.

Distance and the Cold Heart
Blackest of Times
Whore’s Wings
Lamentations of a Broken Man
Die Vicar Die
Push Mortal Coil
This Mania
Siren
Luna
Distance and the Cold Heart (reprise)
The Messenger – Live (VINYL BONUS TRACK)
Sincerest Misery – Live (VINYL BONUS TRACK)

http://apostleofsolitude.bigcartel.com/
www.apostleofsolitude.com
www.facebook.com/apostleofsolitude
www.cruzdelsurmusic.com

Apostle of Solitude, “This Mania” official video

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Kings Destroy, Kings Destroy: Songs of the City (Plus Track Premiere!)

Posted in audiObelisk, Reviews on April 15th, 2015 by H.P. Taskmaster

kings destroy kings destroy

[PLEASE: Press play above to hear the premiere of “Mythomania” from Kings Destroy’s self-titled, due out May 5 on War Crime Recordings. Thanks to the band and label and Earsplit PR for allowing me to host the song with this review.]

There is no band currently active I feel as close to as Kings Destroy, and if you’ve read this site at any point over the last five years, you’ve probably in some measure seen that relationship develop. Their first 7″, Old Yeller/Medusa (review here) introduced them in 2010 as a group of NYHC veterans — guitarists Carl Porcaro and Chris Skowronski of Killing Time, vocalist Steve Murphy of Uppercut, while drummer Rob Sefcik was in both Electric Frankenstein and Begotten — exploring heavy stoner doom riffing in a definitively East Coast style, an undercurrent of aggression never far off even at that formative stage. The subsequent debut LP, And the Rest Will Surely Perish, was released through this site’s in-house label, The Maple Forum (original announcement here), and that album further demonstrated the band’s doomly refinement in cuts like “The Mountie” and “Old Yeller,” which still feature in live sets on the regular. It was a record I was proud to be associated with in the small way I was, and one to which I continue to have significant sentimental attachment, even if everything the band has done since has blown it out of the water. Their second full-length, 2013’s A Time of Hunting (not reviewed, but discussed here), was released on War Crime Recordings and brought changes in the songwriting process with the departure of bassist Ed Bocchino and arrival of Aaron Bumpus, and the result was a genre-defying work that retained the heaviness of the debut, but set a context for itself that was neither doom nor not-doom, a strange and effective atmosphere pervading especially the reaches of side B (a vinyl is due any day now on Hydro-Phonic) songs like “A Time of Hunting” and closer “Turul.” Even the relatively straightforward “Casse-Tete” and “The Toe” had an off-kilter aspect to them, a weirdness to their attack that became, at least for me, the defining characteristic of the album.

I’ve seen Kings Destroy over 30 times in the last few years — that’s a literal figure, not an exaggeration — toured with them twice last year and would again in a minute, conditions permitting. I consider them friends, so when I say that their self-titled third album is their best work to-date, you can take it either one of two ways: Either I’m partial because of my relationship with the band, or I’m the guy who’d know better than just about anyone else, save perhaps the band members themselves and producer Sanford Parker, who’s worked with them on all three of their records (Mike Moebius of Moonlight Mile as well). Comprised of seven tracks totaling a vinyl-minded 34 minutes and topped off with Josh Graham artwork that captures the city-minded grit at the heart of its construction, Kings Destroy‘s Kings Destroy strips down the anti-genre turns of A Time of Hunting to something rawer, truer to their live presentation, and ultimately bolder in its style. When they want to, they write a fierce hook — “Mr. O,” opener “Smokey Robinson,” “Embers” — and when they want to, they delve as deep into oppressive atmospherics as they’ve yet gone — closer “Time for War.” Three albums in, their songwriting is diverse in pace and intent, but equally assured throughout, and their sound has found a place that’s unconcerned with genre even to the point of not working against it. “Mr. O,” an immediate highlight following the Beavis and Butt-Head-worthy chug of “Smokey Robinson,” is an unabashed stoner rock song and a paean to Yankees outfielder Reggie Jackson, called “Mr. October,” that’s laid out honestly enough to not care who it might alienate or how. It finds companionship in the album’s second half with the relatively upbeat “Green Diamonds,” but is nonetheless a beast unto itself within the Kings Destroy catalog. They may never do anything else like it, but even if not, it’s ground they’ve covered and covered well, with all the frenetic movement and blistering solo work one could ask. The subsequent “W2″ thuds harder — Sefcik sets the rolling groove that the guitars and bass seem to be riding — and is slower, but solidifies the concrete-and-pavement vibe of Kings Destroy‘s urban portrayal, the album depicting a city, New York, that’s both dangerous and alluring, dirty and gone, worthy of scorn and nostalgia. It’s not outlet shopping and bike lanes. It’s smoggy air and the fear of being stabbed.

kings destroy (Photo by JJ Koczan)

This atmosphere — a classic image of New York toughness — is maintained without, for the most part, playing into to the band’s hardcore past (also present; Killing Time plays sporadic shows). A confrontational sensibility emerged on A Time for Hunting, which not only was weird as hell but punching you in the face with that weirdness, and there’s some of that on Kings Destroy as well on “Smokey Robinson” or “Time for War,” with its gang vocals and slow, seething crawl, but the album isn’t limited to one angle or direction of approach. Enter “Mythomania,” the centerpiece of the tracklist. With a creeping guitar intro, subdued, open verses and hair-raising chorus payoffs leading to an apex that provides one of Kings Destroy‘s most satisfying emotional resolutions, marked out by Murphy‘s best performance here — his voice and the listener’s back seem to break at the same time at the very end of the song — and leading the way into “Embers,” which is the longest cut at 6:25 and furthers the grandiose feel with an even catchier roll. The ability to shift into and out of these modes so smoothly is one of the clearest instances of growth since their start, and ultimately it’s the balance of patience with an underlying intensity in “Mythomania” and “Embers” that makes them such landmarks for the band. When “Green Diamonds” hits, it’s something of a return to earth, a shorter, quicker pulse placed to set the stage for “Time for War,” though its value is more than positional. An atmospheric shift, it’s also the most straightforward verse/chorus hook on Kings Destroy, emphasizing the album’s little need for frills when a concise, efficient method will do, which it does. How then to explain “Time for War?” A new expression of the experimental bent that last time led to “Turul,” maybe? A nod to the increasingly blurred line between hardcore and doom? Maybe this is a cop-out, but I think it’s just another song Kings Destroy wanted to write. Its build, slow, understated, but still mean, ready to boil over, is perhaps the most “New York” of the bunch, Murphy growling over an abrasive drone and a churning riff before the gang vocals kick in. It’s both the most atmospheric and the most crushing piece on the album, and its duality suits it well.

But Kings Destroy‘s Kings Destroy doesn’t end in the chaos one might expect, and “Time for War” doesn’t build to a driving climax. It has a payoff, to be sure, but ultimately, it passes quietly into a softer drum progression and quiet guitars and bass, that drone still there to lead the way out after Sefcik‘s final crash. All the more fitting that the band should cap the record by skirting the anticipated move, since that’s been their specialty all along, from their let’s-riff-and-see-what-happens beginnings through this self-titled’s assured sense of sonic personality and well-honed, individualized take. It’s true that I’m a fan of the band, and I’m more than willing to acknowledge that I’m in no way impartial as regards their work, but the fact of the matter is I’ve been listening to this record for the better part of a year in one form or another, if not over a year, and it’s quite simply the best thing they’ve done up to now. The songs are memorable and well defined, but feed into an overarching flow that’s executed confidently now matter how far out it goes, and the translation of what Kings Destroy do live is an accomplishment unto itself. Call me biased. I’ll take a lesson from the album and not give a fuck. Recommended.

Kings Destroy on Thee Facebooks

Kings Destroy on Twitter

War Crime Recordings

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Vultures of Volume Fest Announces Solace Reunion, Disciple of Doom and Righteous Bloom for Lineup

Posted in Whathaveyou on April 15th, 2015 by H.P. Taskmaster

vultures of volume logo

I was at the last Solace show. It was June 2012 at Days of the Doomed II in Wisconsin (review here). They were piss drunk and still nailed it front to back, a booze-breath tornado of heavy righteousness. Not the best show I ever saw them play — being in New Jersey, I was fortunate to catch them many times and some of my best gig memories are of sharing the stage with them — but their volatility was in full display and they still managed to hold it down. At the time, that was to be it. Three years later, less so.

Even at that point, they’d broken up. The forever underrated Garden State rockers released their last album, A.D. (review here), on Small Stone in 2010, and for my money it was the best record that came out that year. Guitarist Tommy Southard has contributed to various projects since — notably the malevolent sludgers The Disease Concept – and bassist Rob Hultz is now also a member of Chicago doom legends Trouble‘s current lineup, but as Vultures of Volume II — slated for this September, presumably somewhere in Maryland — brings Solace back together, it will be good to see Southard and Hultz back on stage with drummer Kenny Lund, guitarist Justin Daniels and vocalist Jason after such an absence. I won’t hold my breath for new material, but am happy to take what I can get from these much-missed riff pummelers.

Also confirmed for Vultures of Volume II are Righteous Bloom, whose debut LP should hopefully be recorded by then, and Disciple of Doom, which is a new project from Solitude Aeturnus/Candlemass vocalist Robert Lowe. Seems like they’re off to a good start.

Fest is Sept. 4 and 5, venue TBA. Info below from Thee Facebooks:

Let there be silence no more! Vultures of Volume Fest is back for its second installment, taking place September 4th and 5th, 2015!

Followers of the riff… rejoice! The one and only Robert Lowe will be joining us with his brand new project DISCIPLE OF DOOM! Making their first east coast appearance at Vultures of Volume II, Disciple of Doom will be bringing the very best of both Solitude Aeturnus and Candlemass! The power of the riff compels you…

Remain steadfast doomers, for another announcement is about to be unleashed!
You want riffs? You want absolute, unbridled heaviness? Hold those tallboys high, because Vultures of Volume II is proud to announce that the mighty SOLACE rides again! Bringing their New Jersey style of alcohol infused stoner/doom, SOLACE shall leave no beer undrunk, no head unbanged, and no one left standing… You’ve been warned!

The final page may have been turned in the story of Beelzefuzz, but Vultures of Volume II is honored to play a part in the journey of RIGHTEOUS BLOOM! Featuring core members Dana Ortt and Darin McCloskey, along with scene stalwarts Greg Diener (Pale Divine) and Bert Hall (Revelation), RIGHTEOUS BLOOM promise to take you on a trip like no other! Let their magical mixture of psychedelia and heaviness consume you!

More announcements coming soon, including venue/location, and more bands!

https://www.facebook.com/pages/Vultures-of-Volume-FEST/578873918893964
https://www.facebook.com/SolaceBand
https://www.facebook.com/discipleofdoom
https://www.facebook.com/pages/Righteous-Bloom/1444843599138454

Solace, “Man Dog” live at Days of the Doomed II

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Wino Wednesday: “Adrift” Live in Frederick, MD, Feb. 2014

Posted in Bootleg Theater on April 15th, 2015 by H.P. Taskmaster

wino wednesday

It’s been two weeks since the last Wino Wednesday, which I think is as long as I’ve gone in the more-than-three-years since the feature started. Between the Quarterly Review and traveling for Roadburn, time was pretty limited, but I didn’t want to let it go any longer than it already has, so here we are. Half a decade ago, in 2010, Scott “Wino” Weinrich, issued his first acoustic album, Adrift (review here), via Exile on Mainstream.

Having at that point already fronted the beginning stages of the Saint Vitus reunion, it was something of a side-step for the guitarist/vocalist, still just three years removed from the last The Hidden Hand album and also participating at that point in Shrinebuilder‘s 2009 offering and the subsequent shows, but for Wino fans, it made sense for him to dig to the roots of his songwriting process and unearth something like Adrift, which in turn led to his collaboration with Conny Ochs and a new style of performance he continues to refine today.

I wouldn’t call his first steps in that direction tentative. His first acoustic tour was with his Shrinebuilder bandmate Scott Kelly, also of Neurosis, and they released a split 7″ to mark the occasion, but with Adrift, we got to see a new side of Wino‘s personality, not necessarily separate from the ride-these-riffs grooves of Spirit Caravan or the foundational trad doom of The Obsessed, but more contemplative, more up front. An acoustic guitar provides little cover, and Adrift laid bare a lot of Wino‘s persona in a way that felt sincere in the listening and still managed to deliver in terms of songwriting and performance.

For this week’s Wino Wednesday, we have a clip of Wino playing the title-track of Adrift live at Guido’s Speakeasy, in Frederick, Maryland, which is arguably the epicenter of Wino‘s influence at this point. At the very heart of a Maryland doom he helped create, he stands with an acoustic guitar, a crappy stand that can’t seem to actually hold up the microphone, and someone with a shaky cellphone recording it vertically. It’s not the best quality clip I’ve ever posted for a Wino Wednesday, but worth it for the solo at the end.

Hope you enjoy:

Wino, “Adrift” Live at Guido’s Speakeasy, Frederick, MD, Feb. 1, 2014

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Wasted Theory Announce ‘Hell on Wheels’ Tour

Posted in Whathaveyou on April 15th, 2015 by H.P. Taskmaster

wasted theory

Delaware Southern heavy rockers Wasted Theory, having just recently completed a weekender with Birch Hill Dam and Lord Fowl with shows in Massachusetts (review here), New Hampshire and Maine, have announced another run for next month. Dubbed the ‘Hell on Wheels’ tour (presumably because it’s no big deal for them to be road burnin’ all across the land), the stint will commence May 15 at The Sidebar in Baltimore in the good company of FoghoundClamfight and others, and carry the four-piece through the ATL Death Fest and back up as far as Nashville before cutting off and one hopes giving the dudes a day to go see Sun Studios and get their Johnny Cash on a little bit. Maybe hit Graceland. That’s a good time.

Right on to Wasted Theory for getting out again so quickly. Their debut album, Death and Taxes (review here), is set for a vinyl release on May 10, so it seems fair to expect they’ll be lugging copies along on the road. Dig the dates:

wasted theory hell on wheels tour

WASTED THEORY “Hell on Wheels Tour” 2015!!!

Delaware’s dirty riff slinger’s Wasted Theory are hitting the road once again, and this time we’re headed for the south! Join us if we’re gonna be rawking through your city!!!

Friday, May 15th- Sidebar Tavern- Baltimore, MD
with: Foghound, Clamfight, Cavern & Bask!

Saturday, May 16th – Grog & Tankard- Stafford, VA
with: Lapis, Fire Faithful, & Red Sword!

Sunday, May 17th – Slim’s Downtown- Raleigh, NC
with: Horseskull & GREEVACE!

Monday, May 18th- Foxfield Bar and Grille – Columbia, SC
with: Compel, BLuDDeD HEAD & Hooded Eagle

Tuesday, May 19th- A.T.L. DeathFest- Atlanta, GA
with: Savagist, Crawl, The New Masters of Evil

Wednesday, May 20th- The Handlebar- Pensacola, FL
with: Black Titan and DARK STAR COVEN!

Thursday, May 21st- JP’s Bar- Lafayette, LA
with: White Light Cemetery!

Friday, May 22nd- The Nick – Birmingham, AL
with: Thothamon & More!

Saturday, May 23rd – FooBar- Nashville, TN
with: Silent Monolith, The Black Whiny Cats & Noisecult (Official)

http://wastedtheory.bandcamp.com/
https://www.facebook.com/wastedtheoryband
https://www.facebook.com/events/1626898430864550/
https://www.facebook.com/pages/Snakecharmer-Booking-Hq/153908264803741

Wasted Theory, “Skeleton Crew”

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High on Fire to Release Luminiferous on June 23

Posted in Whathaveyou on April 15th, 2015 by H.P. Taskmaster

high on fire

Can it be a coincidence that the same week Game of Thrones comes back on to put us all in a mindset of battleaxe beheadings and medieval destruction is the same week the first details of High on Fire‘s much anticipated new album, titled Luminiferous, begin to surface? If you don’t see the correlation between the two, it’s wanton slaughter, which is something in which the trio of Matt PikeJeff Matz and Des Kensel have always specialized. This past weekend, they were at Kirk Von Hammet’s Fear FestEvil (get it?), and no doubt more tour dates will surface when the time is right. They’ve never been ones for holding still.

It’s a good morning for heavy metal:

high on fire luminiferous

HIGH ON FIRE to Release New Album, Luminiferous, June 23

Legendary Metal Band Poised to Light Up Heavy Music Landscape with Release of Seventh Studio Album

World-renowned power trio HIGH ON FIRE will release its highly-anticipated new album, Luminiferous, on June 23 via eOne Music. Recorded at Salem, Massachusetts’ GodCity Studios with producer Kurt Ballou, the record is the follow-up to the group’s 2012 release, De Vermis Mysteriis.

Universally recognized as one of the most potent acts in music today, HIGH ON FIRE creates molten heavy metal that merges primal fury and aggression, blackened bombast and hall of fame heaviness. The group’s seventh studio album, Luminiferous, is a supersonic exercise in conquest by volume, delivering calculated catharsis as a volcano of revolving riffs and hailstorm of thundering drums combine to beam a blazing spotlight towards the future of modern metal music.

“We’re doing our part to expose The Elite and the fingers they have in religion, media, governments and financial world downfall and their relationship to all of our extraterrestrial connections in the race to control this world,” comments vocalist / guitarist Matt Pike. “Wake up, it’s happening. All while we stare at a socially engineered lie we think of as normalcy. Unless we wake from the dream, there will come true doom.”

After nearly two decades of trailblazing new passageways to heaviness, HIGH ON FIRE’s strong, stunning archetype continues to both sharpen and evolve; the trio’s vision has never been clearer. The Riff, as always, is King.

Track listing:

1.) The Black Plot
2.) Carcosa
3.) The Sunless Years
4.) Slave the Hive
5.) The Falconist
6.) Dark Side of the Compass
7.) The Cave
8.) Luminiferous
9.) The Lethal Chamber

“I’m really happy High on Fire decided to come back to GodCity to do another album,” states producer and Converge guitarist, Kurt Ballou. “Having been a fan of theirs since The Art of Self Defense, the opportunity to collaborate with one of my favorite bands has truly been an honor.”

HIGH ON FIRE features Matt Pike (guitar, vocals), Des Kensel (drums) and Jeff Matz (bass).

https://www.facebook.com/highonfire
https://twitter.com/HighonFireBand
https://www.facebook.com/eOneHeavy

High on Fire, “The Sunless Years” live at Saint Vitus Bar

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