Leonov Premiere “I am Lion, I am Yours” Video; Wake out Oct. 26

Posted in Bootleg Theater on October 12th, 2018 by JJ Koczan

leonov

Norwegian atmospheric doomers Leonov are getting ready to release their sophomore collection, Wake, on Oct. 26 through Fysisk Format. “I am Lion, I am Yours” is the leadoff among the included five tracks, and in its haunting melodic echoes and cacophonous wall of sound, it speaks to a duality that plays out across what follows in loud/quiet tradeoffs and patient builds. There are stretches of marked intensity and reaches where minimalism holds sway behind the vocals of Tåran Reindal, which remind a bit of what Sera Timms brought to Black Math Horseman in terms of effects and ambience. Still, through the crunching “Eucharist” with drummer Jon-Vetle Lunden rolling out a nod marked by the low end of bassist Morten Kjelling and the spacious guitars of Ole Jørgen Reindal and Rune Gilje, and into the 10:50 “Shem,” Leonov demonstrate a fluidity in their transitions that smooths out the noted juxtaposition. They’re not any more jagged in a given turn than they want to be.

Part of that is the aforementioned bass, which ties together a lot of the material along with Reindal‘s vocals, but leonov wakepart is the expectation of drift set up in “I am Lion, I am Yours.” That’s brought to fruition in “Shem,” which in its second half marches toward what at first seems to be an apex and turns out instead to be a deconstruction and looped static, and even more so in 15-minute closer “Wake,” but between the two is “Oceanode,” which follows a more distinctly post-metal direction and opens up after about a minute and a half into more a more churning riff that in the second half of the song comes to a head in the most prevalent wash of the record. The title-track follows a more experimentalist but ultimately linear course, offering a highlight vocal performance and subtlety of keys and percussion that bring tension leading to Wake‘s mountainous finish. The depths and heights, however, are clearly foretold in the opener, as is the wash, and Leonov execute their charge with a graceful balance between heft and space. Their methodical delivery seems to have grown in the four years since they made their self-titled debut, and Wake offers sonic spiritual catharsis in its heavier stretches and an otherworldly presence in its quieter moments.

If you’ve got an aversion to high-contrast or flashing lights, you might want to hold the screen out or step back before you hit play on the video below, because there’s definitely some of that going on and I’m not looking to give anyone a headache (honest.). Otherwise, you’ll find “I am Lion, I am Yours,” directed by Simen Skari, on the player immediately following, with some more release info courtesy of the PR wire afterwards, including the preorder link.

Hope you enjoy:

Leonov, “I am Lion, I am Yours” official video premiere

I am Lion, I am Yours is taken from Leonov’s 2018 effort ‘Wake’ out on Fysisk Format October 26th. Pre-order the album here: https://smarturl.it/IamLion

Ever since its formation in 2010, Leonov has found inspiration for its celestial doom in the existential, the darkness and affliction, as well as the curiosity and hope in things beyond our reach and comprehension.

“Wake” is an album that contends with life’s great journey in the face of these forces, from cradle to grave. From the childlike and fundamental quest for belonging, acceptance and affirmation – to the mature recognition that we are ever coming up short and are not in control of our existence, and as a summary, the titular song “Wake” conveys the melancholy and nostalgia over what has been found and lost. The song encloses a celebration of life and a grief over the things left behind, a pain that everything ends and at the same time a hope that death is not final.

Recorded at Taakeheimen Lydrike, with the exception of “Eucharist” recorded at Malabar Studio with Christoffer Gaarder, the band’s second album was later mixed and co-produced by Morten Øby at Taakeheimen.

Leonov is:
Ole Jørgen Reindal – Guitar
Rune Gilje – Guitar
Morten Kjelling – Bass
Tåran Reindal – Vocals/Synth
Jon-Vetle Lunden – Drums

Leonov on Thee Facebooks

Leonov on Bandcamp

Fysisk Format website

Tags: , , , , ,

GIVEAWAY: Win Tickets to Prophecy Fest USA in Brooklyn; Alcest, Year of the Cobra, 1476 & Many More Playing

Posted in Features on October 11th, 2018 by JJ Koczan

prophecy fest lineup

[TO ENTER GIVEAWAY: Leave a comment on this post and make sure your email address is filled in the form so I can contact you if you win. Yup, that’s it.]

You can buy tickets now for the first-ever Prophecy Fest USA, being held Nov. 2-3 in Brooklyn, NY, at the Knitting Factory, and I’m not going to dissuade you from doing that, but if you leave a comment on this post, you can also just win a pair and go that way. I know money’s tight, so if you’ve got room in your heart for the likes of Novembers Doom and Alcest, Kayo Dot and Year of the Cobra over the course of two nights — and well, I think you do — then yeah, you might just want to go for this one.

I want to keep this post short, so I’ll spare you the wax-critique of the varied and righteous bill and just let you see it for yourself. The schedule as per the fest:

prophecy fest usa 2018 new posterFriday, November 2nd
7-7:30 || Völur
8-8:30 || Xasthur
9-9:30 || Kayo Dot
10-10:45 || So Hideous
11:15-End || Novembers Doom

Saturday, November 3rd
7-7:30 || 1476
8-8:30 || Year of the Cobra
9-9:30 || Crowhurst
10-10:45 || Eye Of Nix
11:15-End || Alcest

Pretty badass, and again, this is the first time Prophecy Fest is being held on American soil, so all the more worth showing up.

And I don’t know if I have to say this at this point, but I will anyway: if you enter a contest here, I don’t keep your email. You’re not added to a list. Your information isn’t sold. I wouldn’t know how to do that if I wanted to, and I don’t want to, so yeah. The lizard people already have your information, but I didn’t give it to them.

Thanks to all who enter.

And if you don’t win, buy tickets here: http://us.prophecy.de/prophecy-fest/prophecy-fest-us-ticket.html

https://www.facebook.com/events/228554127792687/
http://us.prophecy.de

[TO ENTER GIVEAWAY: Leave a comment on this post and make sure your email address is filled in the form so I can contact you if you win. Yup, that’s it.]

Prophecy Fest USA trailer #2

Tags: , , , , , , , , , , ,

John Garcia & The Band of Gold Announce Exclusive US Appearance

Posted in Whathaveyou on October 11th, 2018 by JJ Koczan

john garcia

He’s doing one US gig and he’s making it count. John Garcia will appear with his Band of Gold on Nov. 29 on the Vinyl stage at the Hard Rock in Las Vegas. He did a show in Calgary earlier this year, but so far as I know, this is it for US appearances for the time being. Joining desert rock’s most pivotal frontman are Death in Pretty Wrapping, featuring Garcia‘s Unida bandmate Arthur Seay, and Luna Sol, with Garcia‘s Hermano bandmate David Angstrom, as well as Garcia‘s former Kyuss/Vista Chino bandmate, Nick Oliveri.

It’s set to be a career-spanning show, as Garcia‘s former bandmates will join him on stage for songs from their respective outfits — Garcia notes in the video below that members of Slo Burn will be on hand for the occasion as well — and one can also expect new tunes from John Garcia and the Band of Gold, whose debut album is now completed and expected to release sometime soon on Napalm Records. Will it be out in time for this show? I doubt it, but probably concurrent to Garcia‘s impending European stint early next year. If you’ll recall, that run was rescheduled to Jan./Feb. to allow for their studio time. If the photo of Garcia and Kyuss producer Chris Goss (also Masters of Reality) posted on social media means they collaborated on the album, then yeah, I’d call that worth putting off some shows. Working toward the greater good, and all that.

The show is presented by Vegas Rock Revolution and the following came down the PR wire:

john garcia show poster

John Garcia & The Band of Gold Announce Special Las Vegas Show

Desert Rock Master John Garcia & The Band of Gold have announced a special once in a lifetime show, set to take place on Thursday November 29th in Las Vegas, NV at Vinyl in The Hard Rock Hotel & Casino. The Band of Gold features (Ehren Groban on Guitar, Mike Pygmie on Bassand Greg Saenz on drums). This will be the band’s only North American appearance this year and will be a night, not to be missed.

Support on this special evening will come from bands that have a played a role in Garcia’s legendary career including Nick Oliveri, Luna Sol (featuring Dave Angstrom of Hermano) and Death in Pretty Wrapping (featuring Arthur Seay of Unida). Fans can also expect to see additional special guests from Garcia’s bands from over the years.

All of the band’s and Garcia’s friends cannot wait to play this show:

“Johnny rocks. All of his band’s rock. We all know that he’s a monster …but having John as a friend is really amazing to me. He’s such a great guy, father, husband, bandmate and brother. His vocals rock me to the core …they always have. I can’t wait to hang and share the stage with Johnny and the onslaught of monstrous players and characters joining forces in Vegas on Nov 29th. It’s going to be a throw down, for sure…my ears are already ringing. Let’s bring the rock!” says Dave Angstrom

Stay tuned for more news from John Garcia & The Band of Gold, and see if you can begin to the put the puzzle together for yourself…

john garcia and the band of gold logo

https://www.facebook.com/JohnGarciaOfficial/
https://www.instagram.com/johngarciasolo/
https://shop.napalmrecords.com/

John Garcia, Las Vegas show announcement

Tags: , , , , , , ,

Clutch Announce Holiday Tour; Will Spend New Year’s in Cleveland

Posted in Whathaveyou on October 11th, 2018 by JJ Koczan

clutch (photo by Dan Winters)

It just wouldn’t be the holidays without Clutch. Would you believe Book of Bad Decisions (review here) has been out for over a month and I still haven’t bought the CD? Isn’t that the saddest little story you ever heard? Money’s tight, but that’s like an existential crisis for me. A genuine moral quandary. Makes me feel like I’ve gone two days without showering.

Anyway, my only question as regards Clutch‘s holiday tour — New Year’s Eve in Cleveland this time; nifty — has to do with the poster below: What’s up with “featuring Small Upsetters?” I know “Small Upsetters” a Clutch song, and it’s a good one, but would they put that on the poster if it was going to be in the set? Could we be talking about a horn section to fill out “In Walks Barbarella” from the new album, maybe? Some keys? Some additional something or other? What’s that all about? Gonna have to dig into the social media thing and see if I can find an answer, but for now, mystery abounds.

Clutch are on tour now, of course, and that seems to be their last batch of shows until December. No doubt more to come next year.

Dig it:

clutch holiday tour

CLUTCH NEW DECEMBER “HOLIDAY” TOUR DATES ANNOUNCED

Clutch has announced their annual “Holiday” tour dates for December with The Messthetics, Lionize and Mike Dillon Band supporting the tour. Radio pre sale tickets go on sale this Thursday, October 11th at 10:00am and public on sale starts Friday October 12th at 10:00am. The “Holiday” tour starts December 27th and ends with their New Years Eve show in Cleveland on December 31st.

Jean-Paul Gaster on the package said “We are very excited to have our friends Lionize, The Mike Dillon Band and The Messthetics be a part of this year’s Clutch Holiday Run. Each band brings something special to the bill and with so many great players in one place there’s bound to be some surprises. Come out early and celebrate with us!”

All ticket links are available at the official Clutch Facebook facebook.com/clutchband and www.pro-rock.com.

Clutch Holiday Tour Dates:

Thu/Dec-27 Baltimore, MD @ Rams Head Live!
Fri/Dec-28 Sayreville, NJ @ Starland Ballroom
Sat/Dec-29 Portland, ME @ Aura
Sun/Dec-30 Clifton Park, NY @ Upstate Concert Hall
Mon/Dec-31 Cleveland, OH @ Masonic Auditorium at Temple Live

CLUTCH is currently on tour until November 1st supporting “Book of Bad Decisions”.

Tickets available at www.pro-rock.com

Tue/Oct-09 Portland, OR Roseland Theater
Thu/Oct-11 San Francisco, CA The Regency Ballroom
Fri/Oct-12 Los Angeles, CA El Rey Theater SOLD OUT
Sat/Oct-13 San Bernardino, CA Glen Helen Amphitheater w/SOAD ***
Sun/Oct-14 San Diego, CA North Park/Observatory
Mon/Oct-15 Tempe, AZ The Marquee
Wed/Oct-17 Tulsa, OK Cain’s Ballroom
Thu/Oct-18 Sauget, IL Pop’s Nightclub
Fri/Oct-19 Grand Rapids, MI 20 Monroe Live
Sat/Oct-20 Detroit, MI The Filmore Detroit
Sun/Oct-21 Pittsburgh, PA Stage AE
Tue/Oct-23 Toronto, ON Rebel
Thu/Oct-25 Worcester, MA The Palladium
Fri/Oct-26 New York, NY Irving Plaza SOLD OUT
Sat/Oct-27 New York, NY Irving Plaza SOLD OUT
Sun/Oct-28 Philadelphia, PA Electric Factory
Tue/Oct-30 Raleigh, NC The Ritz
Wed/October-31 Norfolk, VA The NorVa*
Thu/Nov-1 Atlanta, GA The Masquerade *

* = no Sevendust/ TB&TSD main support
** = date w/ System of a Down/ no Sevendust/ no TB&TSD

CLUTCH:
Neil Fallon – Vocals/Guitar
Tim Sult – Guitar
Dan Maines – Bass
Jean-Paul Gaster – Drums/Percussion

www.facebook.com/clutchband
www.instagram.com/clutchofficial
www.twitter.com/clutchofficial
www.pro-rock.com
www.youtube.com/user/officialclutch

Clutch, “In Walks Barbarella” official video

Tags: , , , ,

Uncle Acid and the Deadbeats, Wasteland: Living in It

Posted in Reviews on October 11th, 2018 by JJ Koczan

uncle acid and the deadbeats wasteland

Along with the stylistic innovation of their general aesthetic, the creepy harmonies and melodic centrality of guitar and vocals, raw fuzz of their tones, their information-age mystique earlier in their career and their classic-but-obscure sound overall, Uncle Acid and the Deadbeats‘ work has never been without a corresponding sense of nuance. As they move into album number five, Wasteland — released, as ever, by Rise Above Records — the fine sonic details of their work seem to come through the recording regardless of where an individual goes structurally. The flourish of keys in “Stranger Tonight,” the organ in the ultra-hooky “Bedouin” later in the record, the mellotron and faded-in-drums of the title-track, the VHS-style sampled intro to opener “I See Through You” that set up the arrival of further samples later in “No Return,” after the bell-chord-laden marching plod of that nine-minute track has receded into a long, fog-covered fadeout, and so on.

All of these things become part of the world created at the behest of guitarist/vocalist/ringleader Kevin R. Starrs, and brought to bear with the production of Geoff Neal at Sunset Sound in Los Angeles, there’s a balance created between Uncle Acid‘s long established wash of filthy fuzz grit and the melodies that are no less central to who they are as a band. Recording in the same studio where The Beach Boys tracked Pet Sounds and The Doors did Strange Days is something of a direct departure from  2015’s The Night Creeper (review here), which Starrs recorded himself and was the barest-sounding offering since their 2010 debut, Vol. 1 (reissue review here), and they flourish in the grander setting while holding to the eerie, sneaking-around-the-corner vibe that’s always been prevalent and has only helped their influence spread as it has over the better part of the last decade. With eight tracks and 47 minutes, Wasteland is the shortest offering Uncle Acid have made 2011’s world-breaking Blood Lust (discussed here), as both 2013’s Mind Control (review here) and The Night Creeper topped 50 minutes, and in addition to that, there seems to be some shift in how the band are using that time.

Consider for a moment the circumstances of Wasteland‘s release. On a more general level, between Brexit and anti-immigration populism in their native UK and an ever-present sense of disheartening political chaos in Europe and the US — the band’s two central markets — could easily justify the title alone, but when it comes to the actual songs and the album’s arrival, it’s being released at the Desert Daze festival in Los Angeles, and long before any details about Uncle Acid‘s fifth LP were made public, tour dates in Europe and the UK were announced for late-2018/early-2019.

We had “the Wasteland tour” before we knew what Wasteland was. For an act of Uncle Acid‘s profile — and at this point it’s safe to call them one of underground heavy’s most essential bands in terms of influence and their general audience reach — that they’d have a well coordinated release isn’t a surprise, but it’s all the more worth noting because so much of the focus throughout Wasteland seems to be on playing live. Of course it’s a two-sided LP and it splits more or less evenly into half with four tracks on each side. Fine. But to take the totality of the tracklisting as a linear whole from “I See Through You” to the militaristic-snare-into-empty-wind (blowing, no doubt, over the titular wasteland) finish of “Exodus,” the entire album seems to be geared toward playing live. It feels like a live set.

It launches with two immediate, standout, catchy hard rockers in “I See Though You” — a firm reminder to the audience of who Uncle Acid are and what they do — and “Shockwave City,” which comes across as something Scorpions might’ve conjured as filtered through Starrs‘ secrets-in-the-basement ideology of sound with scorching guitar work and a tightness of structure and central riff that stands tall among their finest singles. Momentum is built and slashed as “No Return” takes hold with a quiet and tense but slower progression and unfolds its nodding roll over an extended stretch replete with wailing vocals and a wash they’ve not yet brought to bear. It’s telling that at about six and a half minutes in, “No Return” drops to atmospheria, a kind of residual drone taking hold as the samples arrive. This ostensibly isn’t the end of side A — unless I’m way off as regards the placement of the songs on the vinyl; possible — but it does bring to a close the first of three movements happening throughout Wasteland.

Uncle Acid and the Deadbeats (Photo by Ester Segarra)

Think of it this way: two rockers up front, longer song, two more rockers, longer song, and the finale duo of “Bedouin” and “Exodus” to end out. Three tracks, three tracks, two tracks.

This dynamic throughout the album, apart from considerations of physical format, makes Wasteland seem all the more built to be played live. “Blood Runner” and “Stranger Tonight,” like “Shockwave City” before them, barely top four minutes, and as the former taps some surprising NWOBHM gallop, the latter seems to be composed as the quintessential Uncle Acid track, from its threat of violence in the lyrics — it’s noteworthy that Wasteland is unmistakably the band’s album that’s least about killing ladies; perhaps a sign of Starrs having an ear to the ground as to the moment — to the sweep of its hook that only seems to grow more infectious with multiple listens. These in turn lead to “Wasteland” itself, which is unmistakably a forward step in the creative growth of the band.

They’re not strangers to using acoustics or turns to mellower fare, but across its nearly eight minutes, “Wasteland” takes what songs like “13 Candles” and “Black Motorcade” have done in the past to offset more raucous material directly bridges the gap between the two sides. For a band who’ve always, always, been about songwriting, it’s a new level of achievement in that. From the swaying early verses, effectively arranged with the aforementioned mellotron and harmonized vocals, other keys, guitar, bass flourish, etc., to the build that takes hold with the arrival of the drums at the halfway point and moves into an absolute apex for the album as a whole, it’s as gorgeous it is covered in grime, and its relatively quick fade seems to cut short what could’ve easily been a longer section. No mystery how it got to be the title-track; it’s the whole point. “Bedouin” fades in even more quickly than “Wasteland” went out, and begins the last of the three salvos, which works to bring the other two together somewhat.

It’s shorter than the opener at 5:41, but “Bedouin” nonetheless makes its impact with a strutting chorus and the organ in its verses, as well as highlight lead guitar work that recalls “Shockwave City” earlier but is more tripped-out with effects in its ending. But it’s a rager, and as it gives way to the slower-swinging “Exodus” — residing that rhythmic pocket that so many in the garage doom set try to capture but can’t quite do in the same way that comes so naturally to Uncle Acid — there’s a palpable sense of an encore happening. The closer lands squarely between the shorter and longer cuts, but moreover, it has a sense of finality to it that speaks to the band’s ever-cinematic sphere of influences. That is to say, roll credits.

But, more to the occasion, it’s the grand finale of the live set that is Wasteland as a whole, and though there’s nothing lacking by the time it’s done, the fact that the two prior salvos are three songs and the last one is only two seems to tip-hat to the notion of leaving the audience wanting more. Hence the sudden cut at the end of “Exodus” itself and the shorter overall runtime. It works. The danger coming into Wasteland was whether or not Uncle Acid and the Deadbeats would be seen to have run their stylistic course. Could they make their sound do something new? They haven’t yet made their Sgt. Pepper — or, if they were after my own heart, their Rubber Soul — and they may not have interest in doing so, but what Wasteland does is to bring a refreshed vitality to their approach while willfully tightening the songcraft at the same time they push forward into new ground. There will be a lot that’s familiar to established listeners, but as always with Starrs‘ work, the deeper you dig, the more you find, and Wasteland more than earns such excavation. It’d be a show to remember.

Uncle Acid and the Deadbeats, “Stranger Tonight”

Uncle Acid and the Deadbeats website

Uncle Acid and the Deadbeats on Thee Facebooks

Rise Above Records on Thee Facebooks

Rise Above Records website

Tags: , , , , ,

Nibiru Sign to Ritual Productions; New Album in 2019

Posted in Whathaveyou on October 11th, 2018 by JJ Koczan

Italian cult sludgers Nibiru released their gruesome Qaal Babalon (review here) album last year on Argonauta Records, and the news has come in that their next offering will be made, suitably enough, through Ritual Productions. They’re the second roster addition to Ritual in the last week or so behind Brazil’s Basalt (info here), and if the UK-based label is on a binge, they certainly know what they’re looking for in terms of bands who, indeed, bring a sense of ritual to their sound. That’s basically been Nibiru‘s thing all the more on each of their releases, and with a new one due sometime next year, I wouldn’t at all expect that to subside.

As to whether or not it’s a coincidence of concurrent pickups or Ritual Productions is actively building a roster and more announcements are to come, I don’t know and won’t speculate at this point. Two bands in a week is a lot. If there’s another in the next month or so, I’ll be ready to call it a boom. Keep an eye out.

Info from the PR wire:

nibiru

RITUAL PRODUCTIONS INITIATE NIBIRU INTO THEIR ROSTER; LIVE RITUALS INCOMING THIS WEEK

With immense pleasure Ritual Productions amplify its roster with the addition of grim psych alchemists Nibiru, with UK rituals imminent!

The Italian three-piece immerse listeners within their terrifically hypnotic realm of mind-altering heavy psychedelic sonics, where deep Enochian chants seamlessly infuse with phenomenally sublime ritualistic tones. The result induces an entrancing and magick ambience that simultaneously conjures awe and wonder with foreboding danger and terror, speaking profoundly to your subconscious. Extreme in all elements, Nibiru continue to reach higher musical prowess with each aural offering.

Nibiru are equally excited to join Ritual Production’s prolific roster – with their first rite for the label scheduled for 2019 – saying:

“It’s hard to find words that express how thrilled and proud we are to announce this signing. It goes without saying that Ritual Productions represents our philosophy. We needed a label who would understand us and our music, so we are happy to have found our new home with them. Joining their incredible roster of artists who we love is simply a dream come true. We are grateful for this opportunity and are looking forward to this collaboration which feels like the beginning of a new, exciting chapter in the history of Nibiru!”

For those uninitiated to Nibiru’s sound, the band formed in 2012 with shared spiritual and emotional knowledge existing between the three members. This knowledge transmuted, and every energy concentrated, into a totally impetuous creative approach with their subsequent sonic sorcery conjuring a ritualistic psychedelia. To date, Nibiru has four releases that have met exceptional praise from the worldwide press – Caosgon, Netrayoni, Padmalotus and Qaal Babalon, respectively. The band have also hosted a string of soaring gigs across Europe, including an excellent performance at the 2016 edition of the highly esteemed Roadburn Festival.

Nibiru play four live UK rituals commencing at the Black Heart, London on October 11th – do not miss these shows! Dates below:

NIBIRU – RITUALS OVER UK TOUR 2018
11/10 – The Black Heart, London
12/10 – Star and Garter, Manchester
13/10 – Hammer and Anvil, Birmingham
14/10 – The Old Salutation Inn, Nottingham

Cryptic, stimulating, progressive and expansive, Nibiru will entrance you into their ever-imploding yet tremendous cataclysm. Join the ritual and stayed tuned for news and offerings, with the band’s first rite for Ritual Productions incoming during 2019.
NIBIRU ARE:
Ardat – Guitars, Percussion & Vocals
Ri – Bass, Drones & Synthesizers
L.C. Chertan – Drums

https://www.facebook.com/nibiruritual/
https://www.instagram.com/nibiru_ritual/
https://nibiru667.bandcamp.com
http://www.nibiruritual.com/
http://www.ritualproductions.net
https://ritualproductions.bandcamp.com/
http://www.facebook.com/ritualproductionsuk
www.twitter.com/ritualmusic
www.instagram.com/ritualproductions

Nibiru, Qaal Babalon (2017)

Tags: , , ,

Year of the Cobra Tour Starts Tonight; Playing Prophecy Fest USA in Brooklyn

Posted in Whathaveyou on October 10th, 2018 by JJ Koczan

year of the cobra

Seattle’s Year of the Cobra have a slot booked at the first-ever Prophecy Fest USA in Brooklyn on Nov. 3, and because they’re Year of the Cobra, they’re turning it into a tour of the East Coast and Midwest. The band signed to Prophecy Productions earlier this year after issuing 2017’s Burn Your Dead EP (review here) through Magnetic Eye Records, and they’re set to have their sophomore full-length out in 2019, for which the EP teased multi-directional growth in style and songwriting. The duo have put in massive amounts of road work over the last couple years at home and abroad, and it seems like they’re in a place where they’re ready to step up to the task ahead of them in their next record and see where it takes them. My guess as regards to that? More touring.

They’ll be playing new songs on the tour, and that’s nifty to be sure, but I’m really looking forward to hearing what they might bring to a new record with Jack Endino producing. I’m keeping my fingers crossed the album gets here on the earlier end of next year.

From the PR wire:

year of the cobra tour

SEATTLE DOOM DUO, YEAR OF THE COBRA, ANNOUNCE NORTH AMERICAN TOUR DATES

*BAND TO PERFORM AT INAUGURAL “PROPHECY FEST USA” IN BROOKLYN ON NOV 3RD*

Seattle’s heavyweight stoner doom duo, Year of the Cobra, has announced they’ll be hitting the road for a North American tour this fall. The band will kick of the excursion with a hometown show in Seattle on October 10th and will wrap up the run in Lawrence, KS on November 6th. The tour will include a performance at the inaugural Prophecy Fest USA, alongside labelmates 1476, Crowhurst, Eye of Nix and Alcest, at Knitting Factory in Brooklyn, NY on November 3rd. Tickets for the fest are available now at http://bit.ly/2OCPQ9P.

Year of the Cobra’s upcoming tour will give fans a taste of music to come from the band’s forthcoming 2nd full-length record that’s due out next year.

“We’ve been hermits since our last U.S. tour this past August and have hunkered down and written a ton of new music… going to road test quite a few new songs on this run. Jack Endino will be producing and engineering the next record, which will come out in 2019 on Prophecy Productions. Tours and other exciting news are in the works. Stayed tuned!” – Year of the Cobra

Formed in 2015, Year of the Cobra became a rapidly ascending, radiant star in the horizon of the doom/stoner-scene for a reason: This powerhouse duo, consisting of Amy Tung Barrysmith (vocals/ bass) and Jon Barrysmith (drums), use their limitation in instrumentation to their advantage. Leaving space for every instrument to breathe and to shine, they create a vast, larger than life sound aesthetic. Their songs drift relentlessly from classic epic doom laments into oppressive heavy riff architecture; from catchy, almost upbeat rock moments into transfiguring psychedelia.

Year of the Cobra Tour Dates:
10.10.18 – Seattle, WA. – El Corazon w/ Monster Magnet
10.20.18 – Boise, ID. – The Shredder
10.22.18 – Denver, CO. – Streets of London
10.23.18 – Omaha, NB. – Lookout Lounge
10.24.18 – Oshkosh, WI. – Reptile Palace
10.25.18 – Chicago, IL. – Cobra Lounge
10.26.18 – Toronto, ON. – Coalition: T.O.
10.27.18 – Jewett City, CT. – Altones
10.28.18 – Ottawa, ON. – Cafe Decuf
10.29.18 – Buffalo, NY. – Mohawk Place
10.30.18 – Providence, RI. – Alchemy
11.1.18 – Philadelphia, PA. – Barbary
11.2.18 – Washington D.C. – Altas Brew Works
11.3.18 – Brooklyn, NY. Knitting Factory – Prophecy Fest
11.4.18 – Pittsburgh, PA. – Gooski’s
11.5.18 – Indianapolis, IN. – Black Circle Brewing
11.6.18 – Lawrence, KS. – Replay Lounge

https://www.facebook.com/yearofthecobraband/
https://twitter.com/yearofthecobra
https://yearofthecobra.bandcamp.com/
https://www.facebook.com/prophecyproductions/
https://prophecy-de.bandcamp.com/
https://en.prophecy.de/

Year of the Cobra, Burn Your Dead (2017)

Tags: , , ,

Constant Lovers Premiere “Meow Meow Meow” from New Album Pangs

Posted in audiObelisk on October 10th, 2018 by JJ Koczan

constant lovers

Based in Seattle and Tacoma, Washington, good-time weirdo noisemakers Constant Lovers will release their third album, Pangs, on Oct. 26. It’s an 11-track outing, and from the sax-laced opening of “The Wound up Get Down” to the beach sounds of closer “Pang Time,” there are three ways you can listen to it. You can sit and pick apart every move the four-piece make, analyze and overthink every stop and shove in “It’s Electric” or the sharp rhythmic turns of “Lullaby,” and wax poetic as regards the intricacy of the interaction between the guitars of Joel Cuplin (also vocals) and Eric Fisher (also percussion) on the penultimate “Amouse Bouche.” You can do that. It’s fine. Or you can simply not. You can find the overarching groove — it’s there, to be sure — that locks in with funky aplomb on “The Wound up Get Down” propelled by the bass of Gavin Till-Esterbrook and drummer Ben Verellen, as well as that sax, and holds firm as “Meow Meow Meow” sets the go-where-the-hell-they-want-tone with a cast of PNW noise that’ll give silly comfort to ears who never quite recovered from the loss of Akimbo however many years ago and leads into the churn of “Ceiling Sweats” as Pangs unfolds along solid geometrical lines. You can go deep, or you can not. The third way? It’s a little bit of both.

I’m not going to advocate one or the other, frankly. With the play to anticipation in the we-dig-Fugazi-you-dig-Fugazi “Rally Cry for the Pang in Your” and the Rob Crow-style quirk of “Know the Knot” preceding, the mania in the lyrics of “You are Dinner” and its constant lovers pangsimmediate companion-piece “Bone Shard Fashion,” Constant Lovers make arguments on all sides. Any way you might want to go has its appeal, and far more important is that the depth of Pangs holds up to whatever level of scrutiny you might want to bring to your experience of it. In the intensity of “Lullabye,” the band resolve toward the frenetic, and one could point to any number of stretches throughout and hear hardcore punk roots growing up and — let’s face it — getting interesting along the way. But even as they let themselves draw down the tempo just a bit more on “Pang Time,” which is also the longest track at 5:29 and finishes with an ending so eased-out you wouldn’t be wrong to think of it as “gentle,” they don’t let the academic overcome either the adventurous spirit of the songwriting or the energy in their delivery of the material. A production that’s raw-er but still well broad enough to let their tones breathe — one has to wonder if they use Verellen amps — brings through the deceptive balance, sneaky balance, sometimes purposefully unbalanced balance, of elements instrumental and aesthetic, and, well, sometimes you want to have some fun. That’s legit. It’s okay to do that.

Clearly they are, so why not follow suit?

Or, more likely, t-shirt.

Not at all without a melodic presence despite the forward nature of its rhythms, Pangs arrives some four-years after the band’s second offering, Experience Feelings, which itself came just one year later as the follow-up to their 2013 debut, True Romance. Whyever the fourfold increase in span between their releases, Constant Lovers obviously relish the opportunity that Pangs gives them to explore the outer reaches of their approach, and regardless of how the listener chooses to take that on, doing so only proves to be an engaging, exciting and let’s-go-again-worthy experience.

Get your digs with the premiere of “Meow Meow Meow” below, followed by some preliminaries on the release courtesy of the PR wire.

Enjoy:

Constant Lovers, “Meow Meow Meow” official track premiere

Seattle, WA quartet Constant Lovers announce their forthcoming sophomore album, Pangs.

Constant Lovers’ Pangs was created during a sustained period of unrest punctuated by moments of intense inspiration. The result is an album where delight collides with angularity, chaos morphs into play, and humor and strangeness are, as always, just beneath the tough exterior. At once a celebration of the heavier sounds featured in their last album, Experience Feelings, Pangs also signals a turn towards a more exploratory nature. With the addition of saxophone and the use of improvisation in both recording and recent live shows, Constant Lovers are pushing at their boundaries.

Pangs will be available on LP and download on October 26th, 2018.

Artist: Constant Lovers
Album: Pangs
Record Label: Self-released
Release Date: October 26th, 2018

01. The Wound Up Get Down
02. Meow Meow Meow
03. Ceiling Sweats
04. It’s Electric
05. You Are Dinner
06. Bone Shard Fashion
07. Know The Knot
08. Rally Cry For The Pang In Your
09. Lullabye
10. Amuse Bouche
11. Pang Time

Constant Lovers is:
Joel Cuplin: Guitar/ Vox
Eric Fisher: Guitar / Percussion
Ben Verellen: Drums
Gavin Tull-Esterbrook: Bass / Vox

Constant Lovers on Thee Facebooks

Constant Lovers on Instagram

Constant Lovers on Twitter

Constant Lovers on Bandcamp

Constant Lovers website

Tags: , , , , ,