Posted in Whathaveyou on October 16th, 2014 by H.P. Taskmaster
A Day of the Dead-concurrent companion for earlier this year’s Psycho de Mayo fest, Santa Ana, California’s Day of the Shred has assembled an unfuckwithable lineup of East and West Coast acts — go ahead and picture Ancestors and Elder on the same show, or Red Fang and Weedeater headlining with Hot Lunch and All Them Witches jamming out prior — for an all-dayer that promises hearses, skating and volume in good measure. Oh yeah, and Bongripper‘s gonna be there. Fucking hell it’s a solid bill. I don’t know what time they’re getting started on Nov. 1 but there are enough acts included to fill two stages and then some, so if you’re fortunate enough to find yourself in that part of the world come the Dias de los Muertos, Day of the Shred seems like one to mark on the calendar. Assuming there are still tickets available by the time the day actually arrives.
All the more staggering is that Radio Moscow will be flying out West from being on tour with Pentagram, Bang and Kings Destroy (the latter of whom I’ll be accompanying on the road) and then coming back east afterwards. No stopping the boogie, it would seem.
Dig the lineup and info for the fest below, courtesy of the PR wire:
From the creators of Psycho De Mayo…THIEF brings to life the first annual DAY OF THE SHRED – an all-day music festival celebrating megalithic riffs, skateboarding, and the souls of the departed. Join us this Dia De Los Muertos as we gather the living and raise the dead.
The forces behind Thief are preparing a bountiful sacrifice for the extinguished souls at this year’s inaugural DAY OF THE SHRED. Paying tribute to the fallen, Earthquaker Devices has teamed up with Thief and Arik Roper to birth an exclusive festival edition fuzz pedal, entitled; “The Grim Reefer.” The cool ghouls over at KR3W are hosting an open air skate jam and giving concert goers the opportunity to shred the dead on their mini ramp. Screen printed textiles both wearable and collectible will be available on November 1st, including a 9-color design by David D’Andrea and additional prints by UK legend, Godmachine. Vintage hearses will consume the blacktop of the Observatory and vagabond moto maidens: Babes Ride Out will also be in attendance morphing into the “Babes Of The Shred.” Thrasher Magazine will serve as the festivals official media partner, while Midnite Collective completes the festival’s ouroboros with a panorama of genres and audiences. On November 1st, these leaders in ceremony will unite to gather the living and raise the dead.
The Observatory in Santa Ana 3503 S. Harbor Blvd Santa Ana, CA
Red Fang Weedeater Windhand Elder Bongripper ASG Radio Moscow The Shrine Danava Graves At Sea Glitter Wizard Ancestors Hot Lunch Arctic Goya All Them Witches (16) Trapped Within Burning Machinery Greenbeard
Posted in On Wax on October 16th, 2014 by H.P. Taskmaster
Capturing a Jan. 25, 2014, show that billed Lenoir, North Carolina, as “the fifth most miserable city in the US,” the new Live at Dead Wax Records split 12″ from Lenoir Swingers Club and The Asound delivers on its promise. Two sides of raw drive — the A side more punk-fueled, the B side thicker toned — but the uniting factor is the unbridled nature of the delivery. Dead Wax Records has the split out as the second in a series of two thus far, and with a clear recording from Brian Caudle and a mastering job from Chad Davis (of The Sabbathian, Tasha-Yar, Hour of 13, and so on), the record manages to capture the energy behind both bands’ sets and present some sense of dynamic between them. The only thing missing is a 15-minute breakdown between the two. Well, maybe not “missing,” but you know what I mean.
Live at Dead Wax Records is pressed in limited numbers — a manufacturing problem seems to have made those numbers even more limited than originally intended — and included with the platter itself, a black paper sleeve, and the two covers is a two-sided liner, one sheet per band. For Lenoir Swingers Club, the manic collage of show flyers and photocopied look mirrors the classic punk of the band itself. A trio unsurprisingly native to Lenoir, they present five songs in a short-seeming burst — “Personal Space Invaders,” “People Under the Stairs” and “Student Driver” pushing out all the attitude and brashness one could ask of a three-piece so apparently keen on irreverence. I’m sure I wouldn’t be the first person to compare them to Dead Kennedys, but “Summer of Bugs” slows down the proceedings somewhat to give a different edge, and the finale “Thing Sloth,” which was going out to Tom, in case you were wondering, wraps with an assault of feedback and noise its capstone thud. They’ve reportedly got a full-length in the works and I wouldn’t be surprised if they pulled it off with an undercurrent of diversity, since that seems to come through even in their bare-bones live sound.
Late last year, The Asound released a self-titled debut full-length on bassist Jon Cox‘s own Tsuguri Records imprint, and on Live at Dead Wax Records, they present four songs from it, beginning with the rush of album-closer “Slave to the Saints” and moving toward the furious percussive rush and mega-stoner riffing of “Joan,” with “Tater Hole Blues” and “The Baron” between. Both “Joan” and “The Baron” have been around for a bit — the latter having been featured on a 2011 split with Magma Rise (streamed here) and the former on an earlier 2010 self-titled EP (review here) and a 2010 split with punkers Flat Tires (review here) — but were certainly at their most realized on the full-length, and they sit well here alongside the Melvins-style thrust of the instrumental “Tater Hole Blues”and the high-gear “Slave to the Saints,” guitarist/vocalist Chad Wyrick tearing into a solo while Cox and drummer Michael Crump hold together the furious groove behind, the whole crude than on the studio offering, which winds its way into an Olde Growth-sort of punkish stoner melodicism, but satisfying in its own right, their set, like Lenoir Swingers Club, finishing with a suitably noisy payoff.
Two underground acts with a penchant for mean groove and underlying — or in the case of Lenoir Swingers Club, overlaid — fuckall, they might not seem on first listen to make for the best pairing, The Asound geared much more toward heavy riffing than their compatriots, but with their foundation likewise in punk, it works. I’m not sure who might be next in Dead Wax Records‘ series, but at least for one probably-cold-ass night in January, Lenoir’s misery got a riotous soundtrack. A 12″ in the tradition of punk 7″s, no surprise there’s more on offer here than it at first seems.
Lenoir Swingers Club & The Asound, Live at Dead Wax Records teaser
Posted in Whathaveyou on October 16th, 2014 by H.P. Taskmaster
Don’t get me wrong, I’ve got some cool stuff going on this weekend, but neither would I mind if someone showed up with a last-minute plane ticket to Arizona that got me out in time for the start of Southwest Terror Fest III. The four-day beatdown starts tonight with the considerable likes of 16 and Oryx before Neurosis, Goatsnake, Pelican and SunnO))) consume the rest of the weekend, bringing the festival to its biggest incarnation yet. Again, I’ll be glad to be where I’m at, but I wouldn’t argue.
If you’re headed that way, enjoy. The PR wire has a last-minute plug:
SOUTHWEST TERROR FEST III: THE WESTERN FRONT Takes Over Tucson This Week
Today, the massive SOUTHWEST TERROR FEST III: THE WESTERN FRONT begins in Tucson, Arizona, taking over the town for four solid days of brutal musical acts from across the Western half of the country. With the main event shows this Friday, Saturday and Sunday night taking place at the historic Rialto Theatre, with tonight’s kickoff show and afterparty shows at the nearby The District Tavern, the third year of SOUTHWEST TERROR FEST is by far the most massive installment yet.
Today, Thursday, October 16th, the event kicks off at the District Tavern with Twingiant, Conqueror Worm, Oryx and -16-. Friday’s main event sees Godhunter, Eagle Twin, Pelican and Goatsnake together, and the afterparty with Spiritual Shepherd, Take Over And Destroy, Blackqueen and The Atlas Moth. On Saturday, The Rialto Theatre hosts Sorxe, Author & Punisher, The Body and Neurosis, and the District afterparty bringing Windmill of Corpses, Secrets of the Sky, North and Primitive Man. And the final night, sees Sex Prisoner, Obliterations, Baptists and Sunn O))) closing down the festival from the Rialto’s stage.
Official SWTFIII shirts and merch, all event and area info and more is availableHERE.
Ticket packages for SOUTHWEST TERROR FEST are availableRIGHT HERE.
SOUTHWEST TERROR FEST was founded in 2012 by members of Tucson-based underground acts Godhunter, Inoculara, Diseased Reason and Great American Tragedy in conjunction with local venues and businesses, in order to bring a full-bore event to underground music fans the Southwestern portion of the country. 2013’s event doubled in size from the maiden voyage, and now the third installment of the crushing event will bring an exceptional amount of additional new fans to the festival than ever before.
Posted in Radio on October 16th, 2014 by H.P. Taskmaster
I wanted to make sure I did a round of radio adds for this week. Not just because they’re fun to do and it’s a bit like submerging my head in heaviness for an afternoon, but because I’ve already got one or two records in mind to join the playlist next week (or the week after, depending on time) and I don’t want to get too far behind. As always, these five are just picks out of the bunch. Over 20 records went up to the server today, so there’s much more than this to dig into. As well as all the rest of everything up there. I don’t even know how much stuff that is at this point. Last I heard from Slevin, it was “a lot.” Nothing like more, then.
The Obelisk Radio adds for Oct. 16, 2014:
Godflesh, A World Lit only by Fire
It seems that after a decade-plus of moving further away from Godflesh‘s sound in Jesu, guitarist/vocalist Justin K. Broadrick has had no problem whatsoever slipping back into songwriting for the ultra-influential early-industrial outfit. Preceded by an EP called Decline and Fall (review here) that was also released through Broadrick‘s Avalanche Recordings imprint, the 10-track A World Lit Only by Fire harnesses a lot of the churn that was so prevalent in prime-era Godflesh and, more impressively, successfully channels the same aggression and frustration without sounding like a put-on. The chug in “Carrion” is visceral, and while “Life Giver Life Taker” recalls some of the melody that began to show itself on Godflesh‘s last album, 2001’s Hymns, and subsequently became the core of Jesu, songs like “Shut Me Down” and the gruelingly slow “Towers of Emptiness” find Broadrick and bassist G.C. Green enacting a familiar pummel that — and this is a compliment — sounds just like Godflesh. No doubt some of that is because so much of the duo’s elements are electronic, and while they might sound dated after a while, electronics don’t actually age in the same way people do, but even in the human core of the band, Godflesh are back in full, earth-shattering force. A World Lit Only by Fire is a triumphant return. I don’t know if it necessarily adds much to the Godflesh legacy that wasn’t already there, but as a new beginning point, a sort of second debut, its arrival is more than welcome. Godflesh on Bandcamp, Justin Broadrick on Thee Facebooks.
Early Man, Thank God You’ve Got the Answers for us All
After starting out in Ohio and making their way to New York around the middle of the last decade, the duo of multi-instrumentalist/vocalist Mike Conte and guitarist Pete Macy – better known as Early Man – recorded their new album, Thank God You’ve Got the Answers for us All, as they put, “inside various closets, attics and basements within the greater Los Angeles area over the past year.” I recall seeing them in Manhattan and getting their demo in 2004/2005 and Early Man was the shit. They were gonna be huge. A contract with Matador Records brought their debut and then they went five years before their next album came out, and by then, retro metal and heavy rock has passed them by. Thank God You’ve Got the Answers for us All taps some of the same younger-Metallica vibing of their earliest work on “Black Rains are Falling” and closer “The Longer the Life,” but the current of Sabbathian heavy that was always there remains strong and “Always Had a Place in Hell to Call My Own” ups the ante with a more punkish take. The recording is raw in the new digital sense, but the tracks get their point across well enough, and Conte‘s songwriting has always produced some memorable results — the keyboard-soaked “Hold on to Nothing” stands out here — but it seems like the story of Early Man is still waiting to be told. Early Man on Thee Facebooks, on Bandcamp.
Temple of Void, Of Terror and the Supernatural
Any given song, it can be hard to tell where Detroit’s Temple of Void come down on the spectrum of doom/death and death/doom, but whatever genre tag you want to stick on it, their debut long-player, Of Terror and the Supernatural, is fucking grim. A roaring morass of thuds, low growls, bouts of extreme violence and bludgeonry, and horror — oh, the horror. Last year’s Demo MMXIII (review here) was fair enough warning, but what the double-guitar five-piece do across these eight tracks is a cruelty of atmosphere and lurch. Squibbles perpetrate “Invocation of Demise,” which also has some surprise key work that sounds like a flute, and a moment of respite arrives with the subsequent “To Carry this Corpse Evermore” in Opethian acoustics, but as the title would indicate, “Rot in Solitude” throws the listener right back into the filth and it’s there Temple of Void seem most in their element. Buried deep in “Exanimate Gaze” is a melodic undertone and 10-minute finale “Bargain in Death” shows a fairly dynamic approach, but the core of what they do is rooted in toying with a balance between death and doom metals, and already on their first outing they show significant stylistic command. If they tour, it’s hard to imagine one of the bigger metal labels –Relapse, Metal Blade – wouldn’t want them somewhere down the line. Temple of Void on Thee Facebooks, Saw Her Ghost Records, Rain without End Records.
Mage, Last Orders
UK fivesome Mage debuted in 2012 with Black Sands (review here) and showcased a burly blend of heavy rock and metal, and tonally and in the drums, their sophomore outing, Last Orders, follows suit in copping elements of thrash, Voivod-style otherwordliness and a penchant for shifting tempos effectively while keeping a seemingly downward path. Vocalist Tom has pulled back on the ultra-dudely vocals and it makes a big difference in the band’s sound for the better. He’s much better mixed and exploring some new ground on “The Fallen,” but he boldly takes on the task with the slower “Beyond” — the longest song here at six minutes flat — and comes out stronger for it. Guitarists Ben and Woody, bassist Mark and drummer Andy showcase some Electric Wizard influence in that song, but I wouldn’t tie Mage‘s sound to any one band, as “Lux Mentis” before offers huge-sounding stomp and “Violent Skies” after feeds an adrenaline surge of chugging and turns before opening to Last Orders‘ satisfying payoff, Tom tapping into mid-range Halford along the way and closer “One for the Road” reminding that there’s still a riffy side to the band as well. Mage on Thee Facebooks, Witch Hunter Records.
Lamperjaw, Demo EP 2014
Formed in 2011, Virginian trio Lamperjaw make their three-track debut with the descriptive Demo EP 2014, drunken-stomping the line between sludge and Southern heavy. One can’t help but be reminded of Alabama Thunderpussy‘s glory days listening to “Throw Me a Stone,” but with guitarist Dedrian, bassist Lane and drummer Codi all contributing vocals, Lamperjaw bring something immediately distinguishing to their approach. “Blood Dreams” aligns them with the burl-bringing Southern set, some screams and a metallic chug surprising after the opener’s booze-rocking vibe, but their real potential comes out on the seven-minute “Menace of a Cruel Earth,” which moves from low-in-the-mouth whoa-yeah-style grit across a successful linear build to a harmonized, well-arranged apex. It’s always hard to judge a band’s intent by their first release, and there’s a lot about their sound Lamperjaw are still figuring out, but they’ve given themselves some directional liquidity on their first demo, and it will be interesting to hear how they proceed from this point. Lamperjaw on Thee Facebooks, on Bandcamp.
Like I said, this is just a fraction of the stuff that went up to the server this afternoon, so if you get a second, I hope you’ll peruse the The Obelisk Radio Updates and Playlist page, or whatever it is I’m calling it in my head this week. It’s the same page as always either way.
Posted in Whathaveyou on October 16th, 2014 by H.P. Taskmaster
Boise ethereal doom trio Uzala will hit the road for two weeks starting Nov. 1. The impetus behind the trip in support of last year’s way-better-than-the-amount-of-coverage-I’ve-given-it Tales of Blood and Fire seems to be a stop at the No Thanks Fest in Texas on Nov. 8 with a varied host of badass acts, but just as well since they’re playing with some excellent company along the way there and back, including Sorxe, He Whose Ox is Gored and Eagle Twin. After an initial pressing of Tales of Blood and Fire on tape in chrome red — I managed to pick one up at a gig in Rhode Island last year — they’ve also got a new version through Gypsyblood Records in a variety of colors, each limited to 100 and linked below.
The PR wire takes us there:
UZALA: Boise Psych-Doom Coven Announce November Tour
Following the release of last year’s critically-acclaimed LP Tales of Blood & Fire and a triumphant appearance at this year’s Gilead Fest, Boise fuzz-doom peddlers UZALA will once again take their spellbinding show on the road, joined by a few very special guests. For the first leg of their upcoming NovemBer tour, the Northwestern trio will be joined by Oakland doom raiders CARDINAL WYRM before meeting up with PINKISH BLACK at No Thanks Fest and forging ahead towards home.
UZALA NOVEMBER TOUR Nov. 1 Bay Area, CA TBA with Cardinal Wyrm Nov. 2 San Bernadino,CA with Cardinal Wyrm and Ancient Altars Nov. 3 Las Vegas, NV at Dive Bar with Cardinal Wyrm, Demon Lung, He Whose Ox is Gored Nov. 4 Phoenix/Tempe, AZ at Yucca Tap Room (FREE SHOW) with SORXE, Cardinal Wyrm, Funerary, He Whose Ox Is Gored Nov. 5 Albuquerque, NM at Launchpad with Cardinal Wyrm Nov. 6 drive day/look at Texas out the van window/day off Nov. 7 Austin, TX at The Lost Well with Pinkish Black, Old and Ill, Garrett T. Capps Nov. 8 Emory, TX NO THANKS FEST with In the Company of Serpents, Sabbath Assembly, Pinkish Black, and many more!!! Nov. 9 Little Rock, AR at The Rev Room with Iron Tongue and others Nov. 10 Columbia, MO at TBA Nov. 11 Kansas City, KS at Vandals Nov. 12 Omaha, NB at The Hideout Nov. 13 Denver, CO at Bar Bar Nov. 14 SLC, UT at Bar Deluxe with Eagle Twin and Making Fuck Nov. 15 Boise, ID at Crazy Horse with Eagle Twin and Black Cloud
Posted in Reviews on October 15th, 2014 by H.P. Taskmaster
Especially listening to them one into the next, it’s hard not to try to string a narrative between Ice Dragon‘s albums The Burl, the Earth, the Aether (2010), The Sorrowful Sun (2011) and Tome of the Future Ancients (2012). All three — plus side-project Tentacle‘s 2013 sophomore offering, Ingot Eye– have been given a sturdy jewel case CD treatment from Canada’s PRC Music, each with a four-panel liner with the original covers plus lyrics, recording info and/or other art, and right away the intent feels archival, the label having stepped in to release these albums to give them some form outside the crowded nebula of their digital incarnations. To my knowledge, the only one of these three Ice Dragon records to have been pressed at all was The Sorrowful Sun, which Acid Punx released on tape alongside the Boston band’s 2007 self-titled debut (review here), but either way, these feel official and the ability to hold them and explore their art and liner notes gives each one that much more of its own personality. Ice Dragon have taken to putting out new music at such a prolific rate, sometimes it can be hard to keep up.
All the more reason to explore the releases individually, then, since they each have something different to offer, as has proven a big part of the appeal of Ice Dragon‘s work these last few years. We’ll start at, or at least near, the beginning:
The Burl, the Earth, the Aether (2010)
Their second. Working as the trio of bassist Joe, guitarist Carter and drummer/vocalist Ron, Ice Dragon began a run with The Burl, the Earth, the Aether that’s still going on. To date, they’ve released nine albums in the four years since, not to mention singles and splits and side-projects, but more than just the quantity of their output, the standout is the quality of it, and The Burl, the Earth, the Aether stands as a beginning point there as well. Comprised of eight tracks totaling in a 53-minute runtime, the album boasts the classic doom of “Squares inside Squares” and “The Watcher,” recorded with the raw and blown-out sensibilities of US black metal, but still riff-led in a stonerly tradition, and while Ron gets into some rougher shouts on “The Watcher” and “Alucard” — the Castlevania reference there fits with the record’s dark intent — far more prevalent are the echoing howls that resonate from the album’s overarching murk. In “Spellpouch,” “Meddoe” and “Winged Prophet,” Ice Dragon show their propensity for working with acoustics, and in the context of what they’ve done since, moving into psychedelic, psych-pop and folk influences, the ultra-quiet finish of “Winged Prophet” seems like a forebear of future adventurousness, while the ultra-distorted grandiosity of 11-minute closer “Aquageddon” and its blend of malevolent swirl and lumbering riffage with a slow descent into abrasive noise come across like a direct line to what Tome of the Future Ancients would have in store two years later.
The Sorrowful Sun (2011)
Both The Sorrowful Sun itself, which divides its concise 38 minutes into two roughly equal halves, and its Adam Burke artwork seem to be begging for a vinyl release, but no less on CD, what Ice Dragon achieves on their third album is a standout in their catalog. Aesthetically, there’s a cohesion and a confidence in the presentation of what just a year prior seemed to be experimentation, the swing of songs like “Interspecies Communication” and “Flowers” having solidified into the beer-soaked garage doom on which much of their current take remains based. Likewise, they begin to explore folkish material on “Light Years” — underscored by some righteous bass fuzz — and add several interludes in “Dusk,” and the intro “Sunrise” to give a more complete album-concept feel. The obscure psychedelia of “Poseidon’s Grasp,” with its mix-consuming leads, the drearier churn of “White Tusks” and the subdued exploration of “Near Sun, on Earth” make for as satisfying a three-track run as any Ice Dragon have yet conjured as they round out The Sorrowful Sun, the three-piece not only engaging a multitude of styles but successfully commanding all of them so that the songs flow well one into the next even as the sprawl grows wider. Particularly with a few years of hindsight, one can hear a lot being figured out on The Sorrowful Sun that seems like a foundation for where Ice Dragon would go creatively, but like its predecessor and even more than its predecessor, it stands on its own accomplishments as well and continues to resonate even three years later. If you needed a starting point for the band, The Sorrowful Sun might be it.
Tome of the Future Ancients (2012)
Including Tome of the Future Ancients, Ice Dragon released four full-length albums in 2012, and to date it was their most productive year, also resulting in Dream Dragon (tape review here), greyblackfalconhawk (discussed here) and the moody Dead Friends and Angry Lovers, initially released as a side-project called Slow Heart but later brought into the Ice Dragon fold. Of the bunch, Tome of the Future Ancients is by far the most expansive, and the intent of the 12-track/75-minute offering feels clearly bent toward the overwhelming. On CD, it is a beast. Half the songs top seven minutes, and whether it’s “The Black Book of Hours” or the opening “Manuscript 408,” Ice Dragon seem to be taking the drone lessons of Earth and applying them to their own brand of doom, thudding and struggling with various impulses along the way, be it the where-did-this-come-from boogie-to-noise onslaught of “Illuminations Foretold” or the excruciating plod of “Night” or the sitar-laced 10-minute blowout of “The Bearded Mage.” What unites the material is the fact that it’s all over the place, but “tome” is right as Ice Dragon prove that fuckall still rules the day on their fourth album. Relatively peaceful psychedelics on “Adoration of Ra” and non-abrasive experimental guitar sweetness on “Infinite Requiem” round out, but the campaign to get there is wearying, the trio merciless in crafting a path that seems to cut further and further into a clouded abyss of distortion and foreboding, where even the drone-noise of “Astronomical Union” pushes downward into a pervasive void of silence. It is lung-filling doom.
Tentacle, Ingot Eye (2013)
Like the manifestation of all of Ice Dragon‘s darkest tendencies, Tentacle ooze forth four tracks of abrasive, cavernous regression on their second outing, Ingot Eye. Originally released early in 2013, it’s another two-sider folded into a linear mass on the PRC CD — the back cover divides the songs, each “side” starting with a 10-plus-minute monster — and what it shares in common with Ice Dragon aside from the lineup and raw vibe is its immersiveness. As much as Ice Dragon push and pull in various directions, Tentacle swallows you whole, and Ingot Eye‘s four pieces — “The Blackness of My Soul will be so Great as to Make the Night Weep” (11:26), “Dull Ache (I Hate Myself Today)” (4:59), “(Revenge) Dust for Blood” (12:46) and “Our Serpent Mother’s Kiss” (9:53) — comprise a lumbering mass. The second cut, “Dull Ache (I Hate Myself Today),” is the only real point of letup, taking on a more shuffling groove and cleaner vocal, but “Our Serpent Mother’s Kiss” arrives at a downer moment of accessibility as well, the its vocals buried deep in gleefully farty low-end and preceded by devolved noise that’s emblematic of how unfriendly these guys can get when they feel like it. What distinguishes Ingot Eye most from Ice Dragon‘s output is how much Tentacle turns the band’s ambitions on their head. And then stomps that head into a muddy goo from which no light can escape.
Ice Dragon continue a multifaceted progression. This year, in addition to a split with Space Mushroom Fuzz (info here) and other singles, they’ve issued two full-lengths, Seeds from a Dying Garden (review here) and Loaf of Head (review here). PRC has a preorder available for a CD edition of Dream Dragon, so it seems safe to say that if the label and the band wish to continue their affiliation, there will be fodder for releases for years to come.
Posted in Whathaveyou on October 15th, 2014 by H.P. Taskmaster
Portland death-sludgers Lord Dying have finished work on their second album for Relapse, and Poisoned Altars is expected out sometime early next year. In the meantime, the four-piece — who recently toured opening for the formidable bill of Bl’ast, C.O.C. and Brant Bjork – will hit the road once again, this time alongside San Francisco’s Castle, for a stint of West Coast dates beginning Nov. 8. They’re calling it the “Peaceless Savage” tour, and I think the flyer gets the point across pretty well.
This from the PR wire:
LORD DYING: Complete New Album; Announce West Coast Tour Dates
Portland, Oregon’s LORD DYING have completed recording their much anticipated sophomore album and are set to embark on a West Coast tour with stoner/sludge trio Castle. The new record, entitled Poisoned Altars, was recorded with Toxic Holocaust’s Joel Grind (Black Tusk) at Audiosiege Studios in Portland and will see an early 2015 release via Relapse Records.
Poisoned Altars is direct result of the relentless work the band put in the past 18 months grinding it out on the road touring non-stop with the likes of Red Fang, Black Tusk, Corrosion of Conformity, Valient Thorr and more. Now the band will test out new material back on the road starting November 8th in Spokane, WA through November 26th in their hometown, Portland. Frontman Erik Olson commented on the upcoming dates:
“We are excited to get out on the road and pummel you with endless riffs! This time we will be joined with San Francisco’s Castle. This will be heavy as hell, don’t snooze and lose!”
More details on Poisoned Altars, including cover art, tracklisting and a release date will be announced shortly.
LORD DYING’s video for the song “Dreams of Mercy”, directed by Whitey McConnaughy (Red Fang, ZZ Top) can be seen HERE.
LORD DYING’s debut Summon the Faithless is available now on Relapse Records. The album is available in CD and LP formats which can be purchasedHEREand digitally viaiTunes.
Summon the Faithless can be streamed in full on LORD DYING’sBandCamp.
LORD DYING Tour Dates:
*All Dates with Castle* 11/8/2014 Spokane, WA The Hop 11/9/2014 Billings, MT Babcock Theater 11/10/2014 Salt Lake City, UT Bar Deluxe 11/11/2014 Denver, CO The Marquis 11/13/2014 Colorado Springs, CO Black Sheep 11/15/2014 Juarez, MX Hysteria Bar 11/16/2014 Tucson, AZ The Rock 11/17/2014 Mesa, AZ Club Red 11/18/2014 San Diego, CA Brick By Brick 11/19/2014 Fullerton, CA The Slidebar (21+) 11/20/2014 Van Nuys, CA White Oaks Music 11/22/2014 Walnut Creek, CA The Red House 11/23/2014 Reno, NV Jub Jubs 11/24/2014 Bend, OR 3rd Street Pub 11/25/2014 Seattle, WA El Corazon 11/26/2014 Portland, OR Hawthorne Theater
Posted in audiObelisk on October 15th, 2014 by H.P. Taskmaster
Short of slicing a piece of tree trunk and putting that on your turntable, vinyl is widely regarded as about as natural-sounding as you can get. We’ve seen a lot of analog worship over the last several years as a result, fed into by a movement of ’70s-minded retroists, and while Slow Season definitely have some of those elements at play, what’s more striking about their RidingEasy Records debut and second album overall, Mountains (review here), is the spaciousness of the recording. Particularly as the record was put together without digital means, without hand-picking their reverb from a thousands-long list of plugins, the breadth of their mix lives up to the aspiration of the LP’s title — something large, immobile, and seemingly removed from time.
I said when I reviewed Mountains that Slow Season possess a strong current of Led Zeppelin fetishism, and that’s true of the track “Endless Mountain” as much as the bulk of the rest of the album. You can hear it in the echoing harmonica and in Cody Tarbell‘s stomping, swinging approach to the drums, which lead the march alongside Hayden Doyel‘s bass and the guitars of David Kent and Daniel Rice, the latter of whom is also responsible for the vocals, somewhere between a rawer take on Graveyard and of course the early, riff-riding work of Robert Plant. As a demonstration of the movement and bounce that Slow Season enact over the course of Mountains, “Endless Mountain” is a prime example, the band easing into a swaggering shuffle that starts and stops in the verse and opens well in the chorus without losing its jammy sensibility.
Mountains will be out Nov. 11 on RidingEasy Records (preorder from the label here), and you can check out “Endless Mountain” on the YouTube player below, followed by more info on the release with some comment from Slow Season. Please enjoy:
Slow Season, “Endless Mountain”
SLOW SEASON to release new album via RIDINGEASY RECORDS on 11th November 2014
Press “play” on Slow Season’s second full-length album Mountains (RidingEasy Records), and you might just forget what era you’re in. It could very well be the sixties, seventies, or now. It almost doesn’t matter though because this is hypnotic, heavy, and howling rock ‘n’ roll that defies both musical and temporal categorization.
The Central California quartet – Daniel Rice (vocals, guitar), David Kent (guitar), Hayden Doyel (bass), and Cody Tarbell (drums) – scale new heights, while recognising where it all began.
“I’d love for people to wonder if this record is actually from 1969,” grins Cody. “We wanted to capture that spirit. That was the goal.”
In order to do so, the musicians holed up in Cody’s home studio, which actually doubles as his parents’ garage, and cut Mountain’s ten tracks throughout the course of early 2014. Hayden had just returned home from a short detour at college in Idaho before recognizing he belonged jamming with his brothers. Officially back in the fold, excitement to record proved pervasive. Moving when inspiration struck, they actually recorded the songs live on reel-to-reel tape. Eschewing the digital mindset of today and not even uttering the words “Pro Tools”, everything was caught on analog, giving the music a crackling kinetic energy.
“I like everything associated with reel-to-reel,” Cody goes on. “I love the sound. I like the mojo that comes along with it.”
“Working with the limitations of tape really pushed us to play our best,” adds Daniel. “You have to prioritize your ideas. You can’t layer too much on there. You also have to nail the takes. You don’t get to go back and cut paste. You have to feel it when you’re playing it. When everything comes together, it really shines because we’re all playing together on tape.”
They lock in during the album opener and first single, ‘Sixty-Eight’. It snaps into a bluesy riff and bombastic beat before Daniel lets out a soaring refrain and a screeching solo roars. “We wanted to nod back to Led Zeppelin,” the vocalist says. “We managed to get this really big sound in the garage. It’s very organic and natural. The subject matter is pretty gnarly, and I’d encourage everyone to take a close listen to the lyrics.”
That mystique carries over to the hazy ‘Synanon’, which details the exploits of a mountain cult nearby where the boys reside. Meanwhile, ‘Endless Mountain’ drives forward on robust guitars and propulsive drums. It also reflects the overarching theme inherent within the title.
“Mountains embody a few things,” explains Daniel. “They’re difficult, seemingly insurmountable, and bigger than us. They’re both foreboding and beautiful at the same time. I had been doing a lot of hiking and backpacking in the higher Sierra Nevada. It all fit together. We live right next to Sequoia National Park, and we go up there all the time. We connect with the idea of man versus nature.”
Slow Season first emerged in 2012 with their self-titled debut. Supported by shows throughout California and nationally, they began to garner palpable buzz. Now, Mountains kicks off their next chapter. However, they’ll continue to exist within an epoch of their own.
Daniel leaves off, “I want people to walk away knowing there’s integrity behind the music, the process, the words being sung, and the notes being played. We love what we do, and we hope that listeners do too.”
Posted in Whathaveyou on October 15th, 2014 by H.P. Taskmaster
A sort of double-dose of news from German heavy rockers Stonehenge, whose debut, Bunch of Bisons (review here), was released last year. They’ll be reissuing that album on vinyl through Fuzzmatazz Records in December, and they’re also at work on their second full-length. The organ-laced riffers have posted some footage from the studio — not much music in the clip, but a lot of giggling — and while there’s no word on a solid release date for the sophomore outing, they’ll hit the road also in December alongside Operators for a few shows and presumably have some new material in tow for their set as they support the Bunch of Bisons vinyl.
Fuzzmatazz passed along the following:
Lets make it official! @FUZZMATAZZ records will re-release Stonhenge’s great first Album Bunch of Bisons in a strictly limited edition very soon. We are working really hard to make this LP to come in December. It will be a very special and ultra nice looking piece of vinyl with a shitload of extras inside – e.g. new mastering, poster, handprinted cover…
So make sure to get yours very fast! We will start a preorder as soon as we know the Date of the production! So stay tuned…
That is what stonhenge has to say about this…
Hello people, after long silence we’re back with a boom!
Last week we were in the studio to record our second album. Here’s a video. More news tomorrow and the day after.
2nd news-update: We’re touring with the OPERATORS in december. Also we’re playing 2 shows with Pyrior in Halle (18.10.) and Berlin (23.12.)
3rd news-update: our first album “Bunch Of Bisons” will be re-released on VINYL!!!
In the couple of next months we give you an ultra-limited special-edition in cooperation with the supercool label “Fuzzmatazz records”, the same label our friends “OPERATORS” put their record on. Stay tuned.
It didn’t take long for video to surface of Saint Vitus‘ 35th anniversary European tour. The run, which includes Orange Goblin as the support act, kicked off Oct. 9 at Le Grillen in Colmar, France, and a day later, there were clips out of the band’s show. I’d say it has something to do with the special nature of the occasion, Vitus having begun one of doom’s most influential legacies when they formed as Tyrant in 1979 (and where, I ask you, is the band who will take up that moniker?), but really, even if it was just another show and just another tour for them, the situation would probably be the same. People want to see Saint Vitus. That’s a big part of the reason I’ve been able to go three-plus years with Wino Wednesdays.
The track “Blessed Night” comes off Saint Vitus‘ 2012 comebacker, Lillie: F-65 (review here). It was the first single from the album; a quick, three-minute shot of a song that was the first one they wrote since getting back together. Distinguished from the rest of Lillie: F-65 for having lyrics by Wino and not guitarist Dave Chandler — lines like “Her beauty is as timeless as dark forlorn galaxies” were a dead giveaway — it was also faster than a lot of what that record had to offer, songs like “Let Them Fall” and “The Bleeding Ground” more in league with the grueling doom one expects from Chandler‘s songwriting. But it’s a quality track nonetheless, and I recall the first time I saw them play it just being so happy there was new Vitus at all, let alone what it sounded like.
Vitus are performing all of 1986’s classic Born too Late album on this tour — they seem to be spacing it out in the set, rather than performing it front-to-back, so they can still close with the title-track — and I hope at some point to have a full-show, but until then, enjoy “Blessed Night” and have a killer Wino Wednesday:
Saint Vitus, “Blessed Night” Live in Colmar, France, Oct. 9, 2014
Posted in Whathaveyou on October 14th, 2014 by H.P. Taskmaster
UK five-piece Pigs Pigs Pigs Pigs Pigs Pigs Pigs issued their new two-track release, Psychopomp, first as a cassette in an edition of 50 copies, and, somewhat unsurprisingly, they’re gone. Just 48 hours after they came, they went. Fair enough. For the rest of us who let slip their chance to dig into “Psychopomp” or its foreboding, drone-fueled Joseph Curwen remix — each of the two tracks clocking in at 20 minutes, which makes for one hell of a cassingle — Box Records has made it available to stream and download in its freaked-out entirety.
Both “Psychopomp” and its remix — which one would hardly recognize were they not right next to each other — serve as a reminder to pay closer attention next time, as the cumbersomely-named band’s blend of heavy psych, noise and post-rock is one I’d certainly rather not miss. Lesson learned.
This from the PR wire:
Pigs Pigs Pigs Pigs Pigs Pigs Pigs – Psychopomp Available Now
Following their sold out 2013 split 12″ with The Cosmic Dead, Newcastle based psychedelic rocking composers Pigs Pigs Pigs Pigs Pigs Pigs Pigs (members of Ommadon, Blown Out, Khünnt) return with their sophomore opus – Psychopomp. The band once again meld their take on doom, psyche, stoner and classic to offer up 20 plus minutes of solid riffage and towering carnage. Citing so many genres may be cause for concern, but anyone familiar with their acclaimed debut ‘The Wizard and The Seven Swines’ will be aware of the band’s inexplicable ability to emphatically rock out through many styles whilst serving up a completely congruent and engaging listen.
True to form Pigs Pigs Pigs Pigs Pigs Pigs Pigs adhered to the mysticism surrounding their band by presenting ‘Psychopomp’ on Box Records without fan fair on a run of 50 cassettes which sold out in just 2 days. There will be a second run of cassettes released when the planets fall freely through the cosmos and align when random probability dictates. Until then ‘Psychopomp’ is available as a digital download through Box Records which includes a completely mangled remix by Lovecraft inspired droner Joseph Curwen.
Posted in Reviews on October 14th, 2014 by H.P. Taskmaster
Birmingham doomers Alunah make their debut on Napalm Records with Awakening the Forest, their third album. It’s been a long two years since their sophomore outing, White Hoarhound (review here), left such a resounding impression — four since their debut, Call of Avernus (review here), was released — and in that time, some things have changed and others haven’t. The four-piece have traded out bassists, bringing Dan Burchmore aboard, and clocked considerable road time in support of their material, touring in the UK and Europe that’s resulted in a considerable forward movement in their songwriting. Their overarching approach, however, is consistent, as is their presentation. Awakening the Forest, like its predecessor, was recorded by Esoteric‘s Greg Chandler and mastered by Mos Generator‘s Tony Reed, and there’s sonic cohesiveness as a result between the two records. Likewise, Alunah‘s latest maintains the band’s penchant for themes of nature worship, guitarist/vocalist Soph Day here using metaphor and, one imagines, some escapism in coping with the loss of her father, songs like opener “Bricket Wood Coven,” “Heavy Bough” and “The Summerland” evoking an organic feel in lyric and tone alike, a fuller-sounding production from Chandler not taking away from the underlying warmth in Day‘s tone or that of her fellow guitarist David Day, the foursome rounded out by Jake Mason on drums. All told, Awakening the Forest‘s six tracks cover 45 minutes of expansive, rolling doom given an otherworldly feel by Soph‘s echoing vocals and fluid movement between and within the individual pieces.
It breaks about evenly into two vinyl sides and works that way as well, but I prefer a linear, CD-style listen because it underscores two elements working very much in Awakening the Forest‘s favor: The languidness of groove and the immersiveness of the record as a whole. You could put a platter-flip between “Awakening the Forest” and “The Mask of Herne” — which is the shortest cut included at 5:53 — but I’ll take it front-to-back and really dig into the chance to get lost in Alunah‘s rollout, slower here than on the last album overall but with choruses no less memorable or engaging, an overarching sleepy-woods feel pervading each cut in succession, beginning with “Bricket Wood Coven,” which oozes out choice, open-feeling riffing for its eight-minute entirety, Soph telling tales of a high priestess calling the moon, and by the time it’s over, the spell has been duly cast. The subsequent “Heavy Bough,” while shorter and somewhat more uptempo, is ultimately no less ethereal, and with “Awakening the Forest” and “The Mask of Herne” following — the latter referring to the antlers donned by Herne the Hunter, a ghost said in English folklore to haunt Windsor Forest, referenced in the album’s cover art — Alunah‘s hypnosis is long since complete, the title-track offering a high point in its hook, early soloing and spacious post-midpoint jam, and the latter launching Awakening the Forest‘s second half with particularly graceful vocal layering and a steady affirmation that the consuming fuzz on the songs prior was no fluke. Not that there was any doubt, but the reassurance is welcome all the same ahead of the closing duo, “Scourge and the Kiss” and “The Summerland.”
At 8:39 and 9:05, respectively, “Scourge and the Kiss” and “The Summerland” are the two longest songs on the album, and paired next to each other they make the trance-inducing aspects of earlier cuts all the more apparent. In its structure and focus on the chorus, “Scourge and the Kiss” stands in line with “Awakening the Forest” and “Bricket Wood Coven” as another strong execution of Alunah‘s songwriting, trading off brooding quietness with bigger-toned riffs and layered leads between the two intertwining guitars over the rhythmic foundation from Burchmore and Mason. In its vocals and in those leads, it gives heavy psychedelic flourish to what the band has already accomplished, and in the context of the album, it keeps the momentum moving forward, but the larger impression is made my the closer, which delves as close as Alunah have come to minimalism. A linear build begins soft and sentimental with the guitars, and immediately the focus is on atmosphere more than anywhere else on Awakening the Forest. Soph delivers her first vocals shortly before three minutes in, and though weightier distortion kicks in around the halfway point, a patient sensibility holding firm as “The Summerland” works its way toward its payoff. It never loses its contemplative, melancholy spirit, and that’s how Awakening the Forest ends. They don’t force an adrenaline surge where one doesn’t want to be, and above all, the final moments of Awakening the Forest seem honest in their intent and emotional portrayal. Whatever pagan elements might be at work throughout, Alunah‘s third album doesn’t veer from its human core, and for that, and for its marking the continued growth of the band and their coming into own in what they do, moving beyond their influences to an increasingly individualized approach, Awakening the Forest is their strongest outing yet.
Posted in Whathaveyou on October 14th, 2014 by H.P. Taskmaster
It’s been hours, days even, since the last round of Roadburn 2015 lineup additions, so obviously we’re due. This time around, the venerable Netherlands-based fest adds two sets from volatile New Orleans sludge legends Eyehategod, proggers Focus, Brooklyn genre-twisters Tombs, their Relapse labelmates in Black Anvil and more in Death Hawks and Pekko Käppi and K:H:H:L, who are the kinds of acts who play Roadburn and then I hear them like two months later and really, really wish I’d gotten to see them. Happens every year. It’s part of the thing.
The Roadburn 2015 lineup, as you can see in the flyer above, is wildly diverse but masterfully concocted all the same, and tickets aren’t even on sale yet. The presale — during which they’ll sell out almost immediately, as they always do — starts on Thursday.
Nola’s Eyehategod To Inflict Double The Anguish And Pain On Roadburn 2015
Dutch prog rock legends Focus confirmed for Ivar Bjørnson’s and Einar “Kvitrafn” Selvik’s Houses of the Holistic at Roadburn Festival 2015
Tombs, Black Anvil, Death Hawks and Pekko Käppi & K:H:H:L have also been confirmed for Roadburn 2015.
We’re beyond excited to welcome seminal New Orleans, Louisana sluge-legends Eyehategod back to the 20th edition of Roadburn Festival at the 013 venue in Tilburg, The Netherlands, with two sets of their unique, Southern hardcore-blues-sludge-and-doom on Thursday, April 9 at the main stage, and in Het Patronaat, Friday, April 10.
With its hateful, hopeless, anguished vocals set against extra-slow Iommi-inspired riffing, Eyehategod are credited with founding sludge-core, one of the most vital new genres of metal to emerge from the 1990’s. Countless bands have followed their footsteps, and after more than 20 years of creating some of the most corrosive, vile music known to man, Eyehategod still hasn’t lost the piss and vinegar, propaganda, and despair that fueled them back in 1988.
Over the years, Eyehategod have had more than their fair share of hardship, and recently suffered the tragic loss of drummer and founding member, Joey LaCaze. The new, self titled release from Eyehategod, the follow up to 2000’s Confederacy Of Ruined Lives, sees LaCaze’s drum tracks appear posthumously on this classic of the genre.
The album personifies desperation and addiction in the various backwaters of forgotten America, punctuated by the N’awlins sound of rebellion and pollution resulting in triumph over adversity. Come experience transcendence through malevolence as Eyehategod deface Roadburn 2015.
We’re equally excited to announce that Dutch prog rock legends Focus have been confirmed for Houses of the Holistic, Ivar Bjørnson‘s (Enslaved) and Wardruna’s Einar “Kvitrafn” Selvik‘s curated Roadburn event on Friday, April 10 at the 013 venue in Tilburg, The Netherlands.
With their unique brand of progressive rock, Focus established themselves at the start of the 70s as the most successful and appreciated of all the Dutch pop-rock exports. Fronted by founding member Thijs Van Leer, and best known for their hits “Hocus Pocus”, “House of The King” and “Sylvia”, as well as critically acclaimed albums Moving Waves, Focus 3 and Hamburger Concerto, Focus regrouped with a fantastic new line up in the early 2000s, which resulted in several well received albums, like Focus 9 / New Skin and Focus X.
Focus today consists of Thijs van Leer on vocals, flute and keyboards, and famed Focus drummer Pierre van der Linden, who joined the group on their second album Moving Waves in 1972. Internationally renowned for his rhythmic skills, Pierre remains a defining factor in the Focus sound. Bassist Bobby Jacobs, who comes from an acclaimed Dutch musical family and guitarist Menno Gootjes, who participated in Focus at an earlier stage, complete the band’s current line-up.
“If you know anything about prog beyond “old Genesis, not the new stuff”, you know Focus – an extremely influential band for any band in the progressive tradition that came after them; whether its progressive Metal like we try to fool around with, or purer retro-prog (a funny combination of concepts, by the way)”, says Enslaved’s Ivar Bjørnson. “Focus embodies everything that is true “Prog” for me: the incorporation of the classical elements, the tongue-in-cheek playfulness across times, genres and geography – and of course extraordinary musicianship. These highly vital legends has also shown amazing form live these days, so having freakin’ FOCUS accepting our invitation for our curated day. To put it simple, straight-forward and un-proggy: a dream come through!!!”
Pekko Käppi & K:H:H:L and Death Hawks have also been confirmed for Ivar Bjørnson’s and Einar “Kvitrafn” Selvik’s Houses of the Holistic on Friday, April 10.
As huge admirers of Tombs blackened ferocity, we simply couldn’t resist bringing this primordial killing machine back to the 20th edition of Roadburn on Saturday, April 11.
Straight from the filthy sewers of New York City, Black Anvil will hail death at Roadburn 2015 on Saturday, April 11.
In related news: Tickets for the 20th edition of Roadburn Festival, set for April 9 – 12 at the 013 venue in Tilburg, The Netherlands, will go on sale on Thursday, October 16, 2014.
Set your alarm and get ready to score your tickets at 21:00 CET! (20:00 UK | 22:00 Finland, Greece | 3pm East coast | 12pm West coast).
For everyone in the Netherlands and Belgium: we are aware that your local ticket outlets will not be open when pre-sales start, which is why we are throwing another pre-sales party at the 013 venue in Tilburg (NL). From 19:00 CET – 20:30 CET you will be able to purchase a maximum of four paper tickets for Roadburn Festival 2015. Guaranteed!
In addition to making it easy to get tickets, the pre-sales party is going to be a blast! This year, we have invited The Machine and Radar Men From The Moon to provide the soundtrack. More infoHERE.
Curated by Ivar Bjørnson (Enslaved) and Wardruna‘s Einar “Kvitrafn” Selvik, Roadburn Festival 2015 (including Fields of the Nephilim, Skuggsjá, Enslaved, Wardruna, Claudio Simonetti’s Goblin performing Dawn of The Dead and Susperia in its entirety, Zombi, Sólstafir, White Hills, Bongipper, Floor, Eyehategod and The Heads as Artist In Residence among others) will run for four days from Thursday, April 9 to Sunday, April 12 at the 013 venue in Tilburg, The Netherlands.
Posted in audiObelisk on October 14th, 2014 by H.P. Taskmaster
At one point or another, Weed is Weed members Dave Sherman (vocals/guitar), Gary Isom (guitar) and Rob “Cougin” Brannigan (drums) were members of the underrated Maryland doom act Wretched, but that’s just one of the lines of connection between them. Isom, who also played drums in Pentagram for a time, was Sherman‘s bandmate in the original lineup of Spirit Caravan, and it’s safe to say that these dudes, as well as guitarist Jason Fisher, bassist Darren Waters and guitarist Rob Portillo – yeah, that’s right, up to four guitars — have been kicking around the underbelly of MD’s fertile doom underground for a while. Today marks the Ripple Music issue of their 2013 debut album, Blunt Force Trauma (review here), initially self-released.
What do you get with Weed is Weed? Weed. A lot of it. Also riffs. Their multi-guitar attack provides some density to the album’s 10 tracks but much of what you need to know about Blunt Force Trauma you can get from looking at the cover. It’s raw stoner fuckery, riffs leading the way with punkish abandon and Sherman‘s distinctive gravelly vocals tossing out simple but effective hooks on cuts like the opener “Weed is Weed,” the more Southern-styled “Alligator Crawl,” the shuffling “Goin’ Down to Harlem” and “Low to No,” which sleeks out a winding sort of groove while paying homage to Sabbath, Ozzy and, of course, reefer. Most of the songs deal with or at least mention weed on one level or another — it’s a steady theme — but they change it up musically some along the way and by the time they get down to “One Hit Wonder” and “Blunt Force Trauma,” the riffs win out. I won’t say much for “Eat Pussy” — though it’s important in a relationship to be attentive to your partner’s needs, and I’ve certainly heard worse advice than “Eat that pussy don’t you be no jerk” — but its alternate lyric, “Eat Cookies,” rounds out as a bonus track with no shortage of smirking cleverness and charm.
It’s one for the converted, but between half the band’s pedigree and the nod-ready riffs the six-piece ride into smoked-out oblivion, Blunt Force Trauma outstones the stoners and is a mean boogie the whole way through. They had it up somewhere at some point, and I already said it came out last year and was available from the band on CD, so I wouldn’t exactly call this a premiere, but I’m happy to be able to feature Weed is Weed anyway on the day of the Ripple release, and you’ll find the album in its entirety on the player below.
Here is the Music Player. You need to installl flash player to show this cool thing!
Weed is Weed‘s Blunt Force Trauma is out now on Ripple Music. More info at the links.
Posted in Whathaveyou on October 14th, 2014 by H.P. Taskmaster
Haven’t heard much from Brooklyn crunch specialists Family since their 2012 release, Portrait (discussed here), but they’ve obviously spent the two years since it came out making good friends. From Moon Tooth and Weedeater to Lunglust, The Cloth, Beak, Hosoi Bros., Laser Flames on the Great Big News, Order of the Owl and Horseskull, their upcoming tour is rife with badass accompaniment. They’ll alternate between sharing the road time with Order of the Owl and Beak, and that’s already some pretty nifty shakes, but this is one of those lists of tour dates where you go back and check out the acts listed as being played with in each town, since it’s obvious some effort was put into curating each of these bills. Very cool stuff.
The tour starts Nov. 5 out on Long Island and takes off from there around the East Coast and Midwest, with the routing as such:
FAMILY FALL 2014 TOUR DATES
Wed 11/5 – Long Island, NY – Amityville Music Hall w/Meek is Murder, Bangladeafy, Moon Tooth Thurs 11/6 – Philadelphia, PA – Kung Fu Necktie w/Sunburster, Bardus, The Cloth Fri 11/7 – Brooklyn, NY – Saint Vitus Bar w/Weedeater, Full of Hell, Lazur/Wulf, Tiger Flowers Sat 11/8 – Cambridge – TT the Bear’s w/Tiger Flowers, Lunglust, Jack Burton vs. David Lo Pan Wed 11/12 – Pittsburgh, PA – Gooski’s w/Slaves BC, Edhochuli Thurs 11/13 – Columbus, OH – Ruby Tuesday w/Denounce Your Martyr, All My Friends Are Dead, Silence the Ocean, Asylum Effect Fri 11/14 – Chicago, IL – Township w/Beak, TBD Sat 11/15 – St. Louis, MO – Fubar w/Beak, Quaere Verum, Ashes and Iron, Fumer Sun 11/16 – Memphis, TN – Hi-Tone Cafe w/Beak, Hosoi Bros, Hombres Mon 11/17 – Nashville, TN – Springwater w/Beak, Sheep Shifter, Laser Flames on the Great Big News Wed 11/19 – Atlanta, GA – 529 w/Beak, Order of the Owl, Dead Register Thurs 11/20 – Charlotte, NC – The Milestone w/Beak, Order of the Owl, Viajando Fri 11/21 – Wilmington, NC – Reggie’s w/Beak, Order of the Owl, Mountain Thrower Sat 11/22 –Raleigh, NC – The Maywood w/Beak, Order of the Owl, Horseskull