Posted in Label Stuff on June 8th, 2013 by H.P. Taskmaster
This CD is sold out. Thank you so much for your support.
Well, we knew we’d get here sooner or later, and I had a feeling it would be sooner, which this is. From my original 105, I’m down to just three remaining CD copies of Clamfight‘s I vs. the Glacier. Three copies, and then they’re gone.
I know I’ve said this before, but I suck as a salesman. I’m not the kind of guy who can get up and start working a room. It’s not my thing. Fortunately, when it comes to Clamfight, the band has been steadily busting its ass to spread the word and play as many shows as possible, and for that, I owe them thanks.
Not nearly as much as I owe them thanks for the record itself, though. There have been just a few releases, but I’m extremely proud to be associated with everything The Maple Forum has helped release up to this point, and I vs. the Glacier has been twice the joy because in addition to being friends with the band for (as we discussed just last night) going on eight years now, I’ve watched them get to the point where they can unleash a bastard of a record such as this. These songs continue to amaze me, these guys continue to amaze me, and I couldn’t be happier with how this album came out. I’m lucky to have been involved in the small way I was.
If you bought a copy because you saw the band posting about it somewhere, be it Facebook or whatever else, or you ran into them at a show, or you saw another review someplace — special thanks to everyone who took the time — it means an awful lot. Thank you for deciding this project is something worthy of your support and for taking the extra step and actually making that support happen. I hope you’ve enjoyed the album as much as I have.
So as always, thank you, thank you, thank you, thank you, and if you pick up one of these last three copies, kudos on getting in under the wire.
Posted in Whathaveyou on June 7th, 2013 by H.P. Taskmaster
UK doomers Alunah parted ways with their bassist Gaz — now focusing on his band General — and have just today announced Dan Burchmore as his permanent replacement. He’ll have a considerable task ahead of him in holding down the band’s low end, which as their 2012 offering, White Hoarhound (review here), stands testament, is a big part of their sound.
Alunah, who will debut their new lineup on July 18 with Karma to Burn in their native Birmingham, have some considerable momentum in their favor thanks to the response to White Hoarhound and the roadtime they’ve put in to support the album, plus signing to Napalm Records. I’d expect the addition of Burchmore to the lineup of Soph Day (guitar/vocals), Dave Day (guitar) and Jake Mason (drums) will only lead to more touring, and if so, all the better.
The band (via the PR wire) take it from here:
New Alunah Bass Player
We are proud to introduce Dan Burchmore as our new bass player, replacing Gaz who recently departed amicably to concentrate on his other band General. Dan hails from Rugby in Warwickshire and has spent the last 7 years playing gigs and touring with various bands up and down the country.
Dan says: “I’ve been a fan of Alunah’s work for a while, so it’s an honour to be part of the band, playing with some great musicians and all round great people. Really looking forward to what the future holds and making some heavy sounds!”
Vocalist Soph commented: “We had a few jam sessions with some potential bassists, all great players but we either had no spark or they couldn’t commit to our schedule. So, we put an ad out and received an amazing response, thanks in large to the amount of people on our social network sites spreading the word. One email stood out to us, and we arranged a jam with Dan. We instantly all hit it off, he’s got a great attitude, is an awesome, tight player with a fat sound, plenty of groove and has added something extra to our existing songs. We can’t wait to get on stage with him and introduce him to everyone”.
The new Alunah line-up will be debuted in Birmingham on July 18th at The Asylum2 with Karma to Burn, Desert Storm and Moghul. Special Alunah fan pricetickets are available here.
Posted in Reviews on June 7th, 2013 by H.P. Taskmaster
There are two ways to look at The Story So Far, the third full-length from Warsaw-based heavy rockers Elvis Deluxe. The first is that it’s working on a meta-conceptual level to celebrate their 10-year anniversary. The second is that it’s not. In following up 2011′s outstanding sophomore effort, Favourite State of Mind (review here), the four-piece have signed to Metal Mind Productions and constructed an album that spans their career in its eight inclusions. Five tracks up front are brand new. The two that follow were recorded in 2003, at the very beginning of the band, and the last — a finale cover of The Stooges‘ “Search and Destroy” — was recorded in 2006, around the time their first album, 2007′s Lazy (review here). So either The Story So Far is a full-length album chronicling by the band of their own creative growth up to now, or it’s a compilation with some new material and some old — an EP or a short LP with bonus tracks. I’m inclined to read it as the last of those — the short LP with bonus tracks — if only because the first five cuts flow so well together and are consistent in their recordings, whereas the other two and then the last one vary in their take and indeed in their lineup, as they feature now-departed guitarist Mechu, where guitarist/backing vocalist BertTrust, still currently in the band, is contributing to the first five. With that reading, The Story So Farisn’t nearly as expansive or as open-feeling as was Favourite State of Mind, but at least it makes sense as an album, whereas to present the songs out of chronological order — jumping from 2013 to 2003 to 2006 — cuts into the narrative Elvis Deluxe might otherwise be constructing in their attempt to live up to the album’s title. They couldn’t very well put the new material last, lest it become the bonus tracks, but the fact that it’s up front only feeds into the idea that the band were looking to do more than just charting their creative growth. So even without factoring in the balance of the album’s runtime toward the present — half an hour of the total 41:31 is the first five new songs — the concept doesn’t hold up.
Couple that with the stylistic leaps Elvis Deluxe have made over the course of their decade, and one wonders why they’d decide to include older material in the first place unless they were under a contractual obligation to have an album of a certain length out by a certain time. That’s not to disparage the older material. Both “Out of Life” and “The Hope,” the 2003 tracks, are engaging presentations of genre, nestled somewhere in the sphere of European heavy between the post-Kyuss earlier output of Dozer and the let’s-go-ride-these grooves Lowrider brought to the table subsequently. And a Stooges cover, well done, is never something to complain about. Bassist/vocalist Ziemba still takes a clear Stooges influence if album opener “Your Godfreed” is anything to go by, so it makes sense. But neither past era can do justice to what Ziemba, Trust, guitarist Bolek and drummer Miko are constructing in the present, which takes the garage-rocking Queens of the Stone Age desert spontaneity of Favourite State of Mindand thickens the tones to add a heavy psych undercurrent, and so a clear line is drawn, especially jumping from the 8:51 “Something to Hide” — which closes out the set of new songs — to “Out of Life,” and if it’s to be taken as a complete full-length album, The Story So Farproves uneven, even if the songs that comprise it are as accomplished as they are. Perhaps it’s out of a desire to like it that I’d try to give it an alternate position — that being the short new LP with bonus tracks — but I think what the foursome were able to achieve two years ago on Favourite State of Mindearns that benefit of the doubt. Not to mention, if The Story So Farwas intent on giving a narrative flow to Elvis Deluxe‘s career to date, they left out a hell of a chapter in taking nothing from the time around their second album. Maybe there wasn’t anything left, but if the last three tracks on The Story So Farare leftovers from the band’s demo and first full-length days, respectively, what’s to be gained by adding them to the newer songs here, which are more dynamic and which create a flow of their own? Certainly they ground the songs. “Your Godfreed” opens with a linear heavy psych build and languid guitar interplay rife with organic tonality and a live feel, and that’s mirrored in the new-material closer “Something to Hide,” but “No Reason,” which brings Trust to the fore on vocals, is a relatively straightforward clap-along stomper that proffers pro-grade attitude with the smokier voice of the newcomer guitarist.
Posted in Whathaveyou on June 7th, 2013 by H.P. Taskmaster
I assume the drummer position in Weedeater will once again be filled by Travis Owen (Whores), who took on the role for the trio’s short tour around Maryland Deathfest a couple weeks ago replacing founding member Keith “Keko” Kirkum, as well of course as for the fest itself, though I guess you never know. Maybe they found a permanent replacement. Maybe it’s him. One way to find out would be to show up at the gig, I suppose.
So it goes. As volatile as their on-stage persona can be, Weedeater had a better run with their original lineup than most. Joining them throughout the summer dates below are ASG, whose new record Blood Drive has apparently been met with a welcome reception, and Lo-Pan, who are currently on the road with Torche.
Here’s the latest from the PR wire:
WEEDEATER AND ASG ANNOUNCE U.S. TOUR
ASG’S BLOOD DRIVE MARKS N.C. BAND’S HIGHEST DEBUT
Weedeater and ASG have announced a four-week tour across the United States, kicking off on June 27 in Savannah, Ga. at The Jinx.
The tour comes as ASG celebrate their highest charting and most critically acclaimed album to date, the breakthrough release Blood Drive. The twelve-song collection landed at #15 on Billboard’s Heat Seeker chart and also had impressive debuts on the trade magazine’s Hard Music (#32) and Indie (#67) charts. The album is streaming via Bandcamp at asgnation.bandcamp.com.
Weedeater & ASG presented by Brooklyn Vegan and Invisible Oranges June 27 Savannah, GA The Jinx June 28 Atlanta, GA The Earl June 30 New Orleans, LA One Eyed Jacks July 1 Houston, TX Fitzgeralds July 2 San Antonio, TX Korova July 3 Austin, TX Red 7 July 4 Denton, TX Rubber Gloves (Free Show) July 5 Norman, OK The Opolis July 7 Tempe, AZ Pub Rock July 9 San Diego, CA Soda Bar July 10 Los Angeles, CA The Whiskey July 11 Santa Cruz, CA Catalyst July 12 Oakland, CA Oakland Opera House July 13 Portland, OR Ash St. Saloon July 14 Seattle, WA The Highline
ASG only July 16 Denver, CO Larimer Lounge July 17 Lawrence, KS The Replay Lounge July 18 Oklahoma City, OK The Conservatory July 19 Nashville, TN Springwater July 20 Asheville, NC Broadway
Weedeater July 16 Vancouver, BC Electric Owl July 18 Calgary, AB The Palamino July 20 Edmonton, AB The Pawn Shop July 23 Winnipeg, MB Windsor Hotel July 24 Fargo, NC The Aquarium July 25 Great Falls, MT Machinery Row July 27 Missoula, MT Farmageddon Festival July 30 Denver, CO Marquis Theater
Weedeater & Lo Pan August 1 Chicago, IL Ultra Lounge August 3 Nashville, TN Exit/In August 4 Johnson City, TN Hideaway August 6 Asheville, NC Broadways August 7 Charlotte, NC Chop Shop August 8 Richmond, VA Strange Matter August 9 Raleigh, NC The Maywood August 10 Wilmington, NC Soapbox
Posted in On the Radar on June 6th, 2013 by H.P. Taskmaster
You know how it goes by now. Very few people are born into stoner rock or doom. Most come to it via some other kind of underground music, be it punk or metal. In the case of Tumbleweed Dealer founding guitarist/bassist Sébastien Painchaud, it’s the latter. Painchaud was a member of metalcore technicians Ion Dissonance and has played with The Last Felony among a host of others. Last year — so the story goes — he got high and then Tumbleweed Dealer happened. Tale as old as time: Beardy and the Riff.
Tumbleweed Dealer partners Painchaud with fellow former The Last Felony member Felix Roberge, who handles bass live, and drummer Carl Borman of respectable Quebecois stoner-doomers Dopethrone, and the resulting debut full-length plays out with some underlying semblance of technicality, but sacrifices nothing in overlying groove to get there. Painchaud adds smooth bass fills to hypnotically repetitive guitar lines, and though some turns feel jagged on the gleefully bud-reverent “How to Light a Joint with a Blowtorch,” Tumbleweed Dealer‘s entry to the sphere of capital-’h’ Heavy is a formidable one in more than just the length of some of its track titles.
The band made their debut with last year’s Death Rides Southwards — distributed through Moshpit Tragedy Records — but as a first album, Tumbleweed Dealer finds their sound well cohesive, active but laid back, and not too insistent in its changes, but not redundant either. Shades of newer-school Southern metal twang show up in some of the post-Baroness guitar work, but Painchaud gives “March of the Dead Cowboys” a slower, moodier sensibility at the record’s center, and the context gets richer for it. Later, as “The Sacred Mushroom and the Cross” and “Dark Times a’Comin’” trade off Earth drones and post-rock crescendos, respectively, I can’t help but wonder if Tumbleweed Dealer are just beginning to show their hand stylistically with these seven tracks and what sonic shifts future outings might offer.
I guess we have a while to go before we get there, since Tumbleweed Dealer‘s Tumbleweed Dealer was just released at the end of April, but for an album so brimming with potential, it’s hard not to speculate on what the future might hold.
Posted in Whathaveyou on June 6th, 2013 by H.P. Taskmaster
To be fair, I don’t think bands making albums available as downloads existed in 2008 like it does now. Who can remember? Sure you could sell some mp3s with Paypal on your MySpace page and email individual buyers links, or kow tow to the gods of iTunes or Amazon, but yeah, it’s probably overdue that UK riff bashers Rise to Thunder should make their ’08 long-player, Slagnoramus, and its curiously Rastafarian-color-schemed artwork available as a download for the first time through a newly-minted Bandcamp page. Better late than never.
Cheers to Lee Edwards from The Sleeping Shaman for putting me onto these cats, as their super-heavy three-song salvo has been punching me in the gut all afternoon. Here’s the news swiped from that venerable outlet and hosted here, mostly as an excuse for posting the Slagnoramus tracks, which — if the point hasn’t gotten across yet — are heavy heavy. That’s twice-over heavy.
Rise to Thunder have a new one due out this year on Future Noise Recordings, so there’s no time like the present to get caught up:
RISE TO THUNDER: 2008’s ‘Slagnoramus’ Now Available As A Digital Download
Stoke-on-Trent’s warriors of psychedelic doom RISE TO THUNDER have been quiet of late, but rest assured the 3 piece are scurried away writing & recording their, as yet untitled, new album which will be released via Future Noise Recordings in 2013.
As a stop gap, until this haze fuelled recording is released, the band have now set up a Bandcamp page and made their 2008 opus ‘Slagnoramus’, which was originally released via Negatropolis Records, available as a Digital Download for the measly sum of £2, now stream it below and download from their Bandcamp pageHERE.
Posted in Reviews on June 6th, 2013 by H.P. Taskmaster
Based in Lafayette, Indiana, heavy rock outfit The Heavy Company made their debut in the form of the 2011 EP, The Heavy (Please TuneIn…). It was a release that, despite raw self-production, had a number of things working in its favor — most notably a prevailing lack of pretense and natural sensibility. When it comes to hearing the follow-up first full-length, Midwest Electric, the discovery that those elements have carried over from the EP (review here) comes with some measure of relief, since it’s precisely this modest ethic that stands The Heavy Co. out from the bulk of their peers. If anything, it’s amplified on the seven-tracks of Midwest Electric, which is out on a limited CD run through the band’s own DPR Records in hopes of financing a vinyl pressing, and the album nestles itself easily into an overarching groove while maintaining sonic and structural diversity between its individual pieces. The band, down to the duo of guitarist/vocalist/bassist Ian Gerber and drummer/vocalist/guitarist Jeff Kaleth from their original trio incarnation — bassist Scott Gilkey plays on the first half of the album — elicit a strikingly organic, jammed sensibility, resulting in a full-album flow that’s unmistakably aware of European heavy psychedelia but hardly at all reaching for it sonically, instead weaving into and around American-style riff rock with understated finesse, here a Clutch groove, there an organ-laced tribute to Neil Young that sounds more like Mark Lanegan, at least in terms of the vocals. The Heavy Co. remain underproduced, but what’s encouraging about that in terms of the manageable 37-minute stretch of Midwest Electricis they turn that roughness into a part of their aesthetic, so that the opening push of “The Humboldt County Waltz” comes across with a garage sensibility, like a less urban The Brought Low underscored by a steady rumble of stoner-rocking low end, indicative perhaps of some of the sonic shifts to come as the songs play out. They never quite touch on Americana, and they never quite touch on retro ’70s rock, but there are pieces of both brought into the melting-pot-stew of their sound.
That’s evidenced on “The Humboldt County Waltz” well enough, but more so on the subsequent “A Groove a Mile Wide,” which is longer and more psychedelic thanks in part to a guest solo by Michael Rafalowich of Brooklyn’s Strange Haze. A cut in the tempo gives Kaleth‘s drums some sense of bounce, and the vocals seem content to ride the laid back groove through the verses, making room for ascending and descending guitar runs in between. There’s an undercurrent of psychedelic noise and effects that’s subtle, but there all the same, and it rises to prominence just before two minutes in when Rafalowich‘s solo takes hold. Gerber joins and the two guitars hold something like a mini-freakout, departing as quickly as they game as watery vocals return over more present low end and backwards cymbal washes. They cap “A Groove a Mile Wide” by delivering the title line and then seeking to embody it, and but for some of the tastier riffs to come on “Greasy Mush” and “One Big Drag,” I’d be inclined to say they got there, but the instrumental ending of “A Groove a Mile Wide” serves its purpose well nonetheless, and by the time the moodier “Neil Young” arrives, it has become abundantly clear that The Heavy Co. are working with a much wider sonic breadth this time around than on The Heavy (Please Tune In…). Quiet guitars strum out cleanly amid rising and falling organ swells and smoky vocals — could be Kaleth taking the fore from Gerber, I don’t know, but the style is different enough to make me think it’s someone else — and though distortion never feels far off, by the time it arrives, the band has successfully widened their scope and given a lonelier vibe to more accomplished songwriting. Lead notes echo out behind “Neil Young”‘s final moments, and the song ends with guitar and organ in quick succession, which does little to setup the shift into the fervently stonerized groove of “Greasy Mush,” but obviously recognizes that the latter is so immersive it doesn’t matter anyway. A riff easily mouthed along with, “Greasy Mush” makes the most of its central figure, stretching upwards of six minutes and peppering an open-sounding instrumental chorus with some of Midwest Electric‘s best bass work — the “voom”s in the would-be verses are a nice touch as well, as the band themselves say when the jam has ended. Before they get there, the guitars lead the way down an extended heavy psych jam that keeps its soothing sensibility even as it moves further away from the song’s initial idea, which is brought back at the end to excellently bookend the proceedings.
Posted in Whathaveyou on June 6th, 2013 by H.P. Taskmaster
Well, if Vista Chino (the former Kyuss Lives!) are going for a desert vibe in their artwork, it’s easy enough to imagine the cover of their forthcoming full-length debut, Peace, painted on the side of a chipped-away wall, so yeah, I guess they got there. The band are playing Metallica‘s Orion Festival this weekend in Detroit, and have announced some European dates, but the title and the art are the big news for the day, and presumably there’s more news to come before the release on Napalm Records.
So says the PR wire:
VISTA CHINO Announce Album Title, Unveil Artwork
First North American Performance This Weekend at “Orion Festival”
VISTA CHINO the band formed by John Garcia and Brant Bjork (formerly of Kyuss) have finished work on their new album. Today the band has unveiled the album title as well as the cover art for the record. The album is titled Peace and the artwork for the album was created by the renowned California art collective – The Date Farmers.
Drummer Brant Bjork commented about working with The Date Farmers:
“The Date Farmers are native to the desert where we are from. It is an honor to work together with such prolific artists!”
VISTA CHINO’s first North American performance will take place this Sunday June 9th at the “Orion Festival” in Detroit, MI curated by Metallica. VISTA CHINO will appear on the “Frantic Stage”. A full North American tour will be announced shortly
Recently the band debuted the “Dargona, Dragona” on their Facebook Page. When visiting the page, clicking the “like” button will enable the audio.
Rising from the desert sands that birthed Kyuss Lives, VISTA CHINO’s sound is instantly familiar. With the trademark soulful vocals of John Garcia, the songwriting and production of Brant Bjork (drums) and the fuzz-laden riffage of imported guitarist Bruno Fevery, VISTA CHINO’s debut is one of the year’s most anticipated heavy rock albums. A new band born of a storied past, right now it’s about these players playing these songs.
VISTA CHINO Live: 6/9: Detroit, MI @ Orion Festival 7/25: Tienen, Belgium @ Suikerrock 7/26: Feldkirch, Austria @ Poolbar Festival 7/29: Vienna, Austria @ Rock Im Wald Festival 7/31: Pinarella di Cervia, Italy @ Arena 8/3: Lierpop, Holland @ Rock Planet 8/7: Munich, Germany @ Backstage (Free & Easy Festival) 8/8: Geneva, Switzerland @ Usine 8/9: Puttlingen, Germany @ Rocco del Schlako 8/10: Eschwege, Germany @ Open Flair Festival
Posted in Radio on June 5th, 2013 by H.P. Taskmaster
Some bands who take on a seafaring thematic prefer to embroil listeners in a tidal sway of overwhelming tone. Most, in fact. For New London, Connecticut, bass/drum duo Bedroom Rehab Corporation, however, the idea is different. The twosome’s self-released full-length debut, Red over Red, offers a more sonically diverse attack, far less beholden to genre and more driven by a nascent, still-coalescing individualized sensibility.
Take, for example, “S.O.S. (Son of Siren),” as it departs from the full-toned heavy rock push of the preceding “Basilosaurus” in favor of an ambient, wandering build that only gives some hint of the kick-in to come for how held together it is by drummer Meghan Killimade. Joined in the band by bassist/vocalist Adam Wujtewicz, Killimade proves no less able than her counterpart to affect a change in atmosphere across the course of the album. Whether it’s the repurposed Zeppelin stomp of “Caught in the Bite”‘s open-room feel or the ’90s-style crunch of the subsequent “Splice the Main Brace,” Red over Redworks in a vaster array of colors than its title might indicate.
Recorded, mixed and mastered by Justin Pizzoferrato (Elder, Black Pyramid, Dinosaur Jr.), it’s still very much a first album, and one expects that through future songwriting the band’s sound will continue to build its cohesion from many of the elements cast out in this material, but even so, Bedroom Rehab Corporation construct a flow befitting their theme over the course of these 12 tracks that take listeners from “Low Tide” to “High Tide,” and the variety within winds up being one of the core appeals.
It’s with the thinking that someone might stumble on one of the cuts in the playlist and want to investigate further that I decided to make Bedroom Rehab Corporation the Add of the Week for The Obelisk Radio, though of course if you’re not feeling quite that spontaneous, you can just check Red over Redout on the player below, snagged from their Bandcamp page:
Posted in audiObelisk on June 5th, 2013 by H.P. Taskmaster
Last week, I put up a rather lengthy post extolling the virtues of The Sacred Above, the Sacred Below, the recently-released fifth album by Michigan bludgeon-your-brains-in instrumental guitar/drum duo Beast in the Field. That semi-review was, in itself, drawn from another about buying one of the band’s earlier records, and the most immediate response I got to it was, “Where can I hear it?”
A totally valid question in this age of hear-now-buy-now digital media, and I didn’t have an answer for it. Beast in the Field put out The Sacred Above, the Sacred Below on CD through Saw Her Ghost Records in March, but as I hadn’t seen much of anything in terms of streams or YouTube clips to spread around, it seemed a solid course of action to step up and see if the label would be kind enough to let me host the record for me to check out.
I consider myself lucky they said yes, since although I do plenty of streams around here, there are far fewer instances in which I’m directly reaching out and asking to host something strictly because I believe it deserves to be heard by as many ears as possible. Of course, if I don’t think something is worth checking out, I won’t cover it at all, but in the case of Beast in the Field‘s The Sacred Above, the Sacred Below, it’s something I stand behind recommending and I hope you give it the opportunity to cleave your skull with its jet-landing tonality and tectonic crashes, because contrary to what you might think from that image, you’re gonna frickin’ love it.
Enjoy The Sacred Above, the Sacred Belowin its entirety:
Here is the Music Player. You need to installl flash player to show this cool thing!
Special thanks to Saw Her Ghost Records for the permission to host the stream. The Sacred Above, the Sacred Belowis available now from them on CD, with a vinyl release coming soon via Emetic Records. Beast in the Field is Jordan Pries on guitar and Jamie Jahr on drums, and the album was recorded Oct. 19-20, 2012, produced by the band, Johnny Hiwatt and Tommy Schichtel with mixing by the latter two and engineering and tape operation by Schichtel.
Posted in Whathaveyou on June 5th, 2013 by H.P. Taskmaster
It’s a short list of albums released in this young century that have been more influential in the heavy underground than Isis‘ Celestial. As spent as the post-metal breadth can seem at times, the band — who were then based in Boston and are now defunct — cast a wide net with their first three albums and their slew of EPs, live albums, and a lot of bands got caught up in it.
I didn’t know Celestialwas out of print, I guess I hadn’t really thought about it, but with more than a decade past since its release and some apparent scarcity in the physical realm, it’s probably worth getting it back out there to be appreciated all over again.
Celestialis out July 9 on Ipecac. The PR wire has details:
ISIS REISSUE CELESTIAL ON JULY 9
RE-MASTERED RELEASE FEATURES NEW ARTWORK
ISIS reissue their landmark full-length debut, Celestial, on July 9 via Ipecac Recordings.
The hard to find and long out-of-print release will be reissued with new artwork from Aaron Turner as well as the audio having been recently remastered by James Plotkin.
Celestial track listing: 1. SGNL>01 2. Celestial (The Tower) 3. Glisten 4. Swarm Reigns (Down) 5. SGNL>02 6. Deconstructing Towers 7. SGNL>03 8. Collapse and Crush 9. C.F.T. (New Circuitry and Continued Evolution) 10. Gentle Time 11. SGNL>04 (End Transmission)
Posted in Bootleg Theater on June 5th, 2013 by H.P. Taskmaster
About a year ago, I asked former Earthride/Weed is Weed frontman and former Spirit Caravan bassist Dave Sherman to list out his five favorite Spirit Caravan tracks for a special Wino Wednesday post. He did not disappoint, and included in his list was “Sea Legs” from 1999′s classic Jug Fulla Sundebut full-length. Sherman noted in his pick that in the lyrics, Wino was talking about him and drummer Gary Isom with the line, “A well done iguana and a real heavy gnome.”
The line has stuck with me ever since, one of those things that floats in the head and comes and goes, so I decided for this week’s Wino Wednesday to grab a clip of Spirit Caravan doing “Sea Legs” and focus on the lyrics to the song. I didn’t type these out myself, but as you can see, that above quote is far from the only golden line in here. Between the talk of magic crafts and sacred trees, the “two-wheeled sled of molten chrome” and escaping the deluge, it comes through loud and clear that Wino took his motorcycle pretty seriously at the time. Right on.
Here are the words:
Sea Legs From the warm unknown into the cold beyond Message of spirit is what’s drivin’ me on Climbing through the sea On a magic craft from a sacred tree Sea legs, earthfin Bolt and hammer gonna do them in I’ve got a two-wheeled sled of molten chrome A well done iguana and a real heavy gnome Gliding over fear, the opposite of beyond is here From the paradise driven To escape the deluge Revealed the mysteries given In exchange for refuge Climbing through the sea In my side car rides my Atlantean queen Trick it out!
And here’s Wino, Sherman and Isom performing “Sea Legs” live in Cleveland, Ohio, an astounding 13 years ago. Have a great Wino Wednesday:
Spirit Caravan, “Sea Legs” Live in Cleveland, OH, 2000
Posted in Whathaveyou on June 4th, 2013 by H.P. Taskmaster
Just one New York show? Maybe on the return trip? Hell, I don’t even care if it’s New York. I’ll drive to wherever on the East Coast. Unfortunately for me, nothing of the sort has been announced, and Chris Goss (interview here) and the rather considerable Masters of Reality lineup he’s put together around himself and long-tenured drummer John Leamy — including Mathias Schneeberger and Dave Catching — will be heading straight to Europe later this week and by all revealed accounts straight back to the desert from whence they came when they’re done.
The tour includes stops at Download and Sweden Rock and other fests and dates with Queens of the Stone Age, which is a bill I’d like to see anywhere, let alone Paris.
This from the PR wire:
Chris Goss’ Masters of Reality Announce European Tour
Including Dates with Queens of the Stone Age
Masters Of Reality will embark on a European Summer Tour starting June 8. The trek will include stops at the Sweden Rock Festival, Download Festival and dates with Queens Of The Stone Age. Frontman Chris Goss was most recently a featured musician in Dave Grohl‘s all-star lineup band for his historic Sound City 2013 tour which had a set list including some of Grohl’s favorite Masters Of Reality songs. The band is currently at work on their as yet untitled new studio album.
Originally signed by Rick Rubin to Def Jam in 1988, Masters Of Reality have toured the world releasing nine critically acclaimed albums, five of them released on Mascot Records. Goss is regarded by many to be the godfather of the California desert rock scene and is a well respected producer known for seminal albums by Kyuss and Queens Of The Stone Age, as well as other acts such as Soul Wax, UNKLE, The Cult, and The Duke Spirit. 2013 started off quite abuzz for Goss, being featured in three current documentaries including the award winning Ginger Baker documentary Beware of Mr. Baker, the soon to be released Soul Wax documentary, and Dave Grohl’s Sound City.
Goss will be joined on the Masters Of Reality tour by longtime collaborator and drummer John Leamy (Surgery, Dr Mars). The live band also includes David Catching (Eagles Of Death Metal, Queens Of The Stone Age, Earthlings?) on guitar, Mathias Schneeberger (Gutter Twins, Twilight Singers, Earthlings?) on keys, and Paul Powell on bass.
Masters Of Reality Tour Dates 06/08/13 Sweden – Sweden Rock Festival 06/09/13 Denmark – Copenhagen – Pumpehuset (w/ SAFI) 06/11/13 Germany – Cologne – Luxor (w/ SAFI) 06/12/13 Holland – Amsterdam – Bitterzoet 06/14/13 Holland – Pinkpop Festival 06/16/13 UK – Download Festival 06/17/13 UK – Glasgow – Cathouse (w/ The Mighty Stef and SAFI) 06/18/13 UK – London – Islington Academy (w/ The Mighty Stef and SAFI) 06/19/13 France – Paris – Trianon (w/ Queens Of The Stone Age) 06/21/13 Germany – Southside Festival 06/22/13 Germany – Berlin – Citadel (w/ Queens Of The Stone Age) 06/23/13 Germany – Hurricane Festival 06/25/13 Switzerland – Dudingen – Bad Bonn (w/ The Shit and SAFI) 06/26/13 Switzerland – Zurich – Komplex Klub (w/ The Shit and SAFI) 06/28/13 Belgium – Leffinge – De Zwerver (w/ SAFI) 06/29/13 Luxembourg – Rock-a-Field Festival 07/01/13 Germany – Munich – Strom (w/ SAFI) 07/02/13 Austria – Vienna – Stadthalle (w/ Queens Of The Stone Age)
Posted in Bootleg Theater on June 4th, 2013 by H.P. Taskmaster
I continue to dig the hell out of Baltimore heavy psych rockers The Flying Eyes. The still-youngin’ four-piece will release their third full-length, Lowlands, on July 26, 2013, through Berlin’s Nois-O-Lution Records. To herald its arrival and precede a European tour with Brooklyn’s Golden Animals (more on that in the coming weeks), The Flying Eyes have just posted a new video for the song “Under Iron Feet” from Lowlands, that you can find below with some background on the band in case you missed their two albums to date, 2011′s Done So Wrong(review here) and their 2009 self-titled debut (review here).
Things to watch for: The Conan-esque wheel being pushed while the band plays atop, silhouettes, and grade A heavy psych rock that shows The Flying Eyes have obviously been paying attention to how it’s done during their extensive road time in Europe.
Enjoy:
The Flying Eyes, “Under Iron Feet” official video
THE FLYING EYES are a heavy, psychedelic rock band hailing from Baltimore, Maryland. Their name comes from a 1962 science fiction novel about giant, disembodied eyes that descend from outer space to control humanity.
The Flying Eyes have played supporting gigs with national acts such as Dead Meadow, The Raveonettes, The Black Angels and Dan Auerbach among many others. They founded and host “Farm Fest”, a DIY music festival in the Maryland countryside. Farm Fest 2012 (“Farmageddon”) featured Black Moth Super Rainbow, Celebration and White Hills.
The Flying Eyes have achieved a notable following in Europe with sold out club tours and highlights including: the Burg Herzberg Festival (sharing the main stage with Jeff Beck and Hawkwind), an appearance on the legendary Rockpalast television show, the Orange Blossom Special festival (DE), Stoned From The Underground (DE) and Trutnov Open Air (CZ). They are currently finishing their album “Lowlands” (produced by Rob Girardi and mixed by “Frenchie” Smith who discovered them at SXSW), which was paid for entirely through the support of their loyal social media following. The band plans to support the release of the album with another European tour in late Summer 2013.
02.08.2013 – DE Bad Kötzting, Voidfest 03.08.2013 – DE Stuttgart, Zwölfzehn 04.08.2013 – DE Dresden, Chemiefabrik 06.08.2013 – DE Halle/Saale, Hühnermanhattan 07.08.2013 – DE Berlin, Festsaal Kreuzberg 08.08.2013 – DE Frankfurt/M., Nachtleben 09.08.2013 – CH Vinelz, Open Air am Bieler See 10.08.2013 – CH Sargans, Out In The Gurin 13.08.2013 – DE Kassel, H.Schmiede 14.08.2013 – DE Riegsee, Private Open Air 15.08.2013 – DE Ludwigshafen, Club London Underground 16.08.2013 – DE Nürnberg, Misty Mountain Festival 17.08.2013 – DE Groß Lindow, Open Air Groß Lindow 19.08.2013 – PL Szczecin, Morion* 20.08.2013 – PL Zielona Gora, Rock-Out* 21.08.2013 – PL Poznan, Pod Minoga* 22.08.2013 – PL Gdynia, Desdemona* 23.08.2013 – PL Warszawa, Harenda* 24.08.2013 – PL Krakow, tba* 29.08.2013 – DE Jena, Black Night * 30.08.2013 – DE Schüttorf, Komplex* 31.08.2013 – BE Brussels, DNA Café * 01.09.2013 – BE Wortel, Jeugdklub ‘t Slot* 02.09.2013 – DE Hannover, Mephisto @ faust * 03.09.2013 – DE Bremen, Meisenfrei* 04.09.2013 – DE Bielefeld, Forum* 05.09.2013 – DE Ahaus, Logo * 06.09.2013 – DE Siegen, Vortex* 07.09.2013 – DE Hamburg, Haus III70* 09.09.2013 – DE Freiburg, White Rabbit * 10.09.2013 – DE München, Backstage * 17.09.2013 – CH Genève, Le Kab * 18.09.2013 – ES Barcelona, Rocksound* 19.09.2013 – ES Madrid, La Boite* 20.09.2013 – ES Leon, Taberna Belfast* 21.09.2013 – ES Hondarribia, Psilocybenea* 23.09.2013 – FR Chambéry, Brin De Zinc * 24.09.2013 – DE Konstanz, Kulturladen* 27.09.2013 – DE Kiel, Schaubude* * = w/ Golden Animals
The Flying Eyes Adam Bufano- Guitar Mac Hewitt- Bass and Vocals Will Kelly- Vocals and Guitar Elias Mays Schutzman- Drums
Posted in Whathaveyou on June 4th, 2013 by H.P. Taskmaster
Book, saddle and go. As ever, Maryland groove stalwarts Clutch are hitting the road. The foursome continue to kick it in support of their tenth album, Earth Rocker (review here), released earlier this year on their own Weathermaker Music. On Friday, they start a European run that’ll take them into mid-July. Word has also come out of a North American stint that’ll bring them across the land and back. Those dates and more info can be found below, hot off the PR wire:
CLUTCH Gear Up For European Tour — New North American Tour Dates Announced!
Maryland rockers clutch are off to Europe this week for a five week tour that includes festival dates and club shows. CLUTCH have announced the next North American legs of the “Earth Rocker” World Tour. The tour starts in Edmonton Alberta for the Alberta’s Own Festival. The US run of dates kicks off September 14th in Baltimore, MD with an appearance at “The Shindig Festival”. Support on the headline tour in September will come from The Sword and Crobot. Support on the October and November shows will be provided by The Sword and American Sharks. Tickets for fan club members go on sale Wednesday June 5th and for the general public on Friday June 7th and Saturday June 8th. Go to pro-rock.com for fan club early ticketing.
In addition to the new dates, CLUTCH has also confirmed that they will be returning to the newly opened Starland Ballroom (which was severely damaged by Hurricane Sandy), this December as part of their annual holiday tour. Dates for the rest of the holiday shows will be announced later.
Any fan’s dream is to know what it’s like to be on the road with a Rock and Roll band, but you may be surprised to see what it’s really like – long periods of boredom, broken up by brief periods of intense activity and most of all hard work. The working man’s Rock and Roll Band, CLUTCH will be posting a tour blog throughout their European tour on how it really is. The first post is available today and can be read on the band’s Facebook Page andhttp://www.pro-rock.com.
European Summer Tour Dates 6/7: Zeppenlinfeld, Germany @ Rock im Park* 6/8: Nurburgring, Germany @ Rock Am Ring* 6/10: Potsdam, Germany @ Waschhaus 6/11: Heidelberg, Germany @ Karlstorbahnhof 6/13: Madrid, Spain @ Gloos Club 6/14: Barcelona, Spain @ Music Hall Barcelona 6/15: Bilbao, Spain @ Sala Santana* 6/17: Bordeaux, France @ Le Krakatoa 6/18: Lyon, France @ Transbo Club (at Le Transbordeur) 6/19: Milan, Italy @ Flame Festival* 6/20: Zurich, Switzerland @ Earshakerdays @ Volkhaus* 6/21: Schmitten, Switzerland @ Scmittnet Openair Festival* 6/22: Cognac, France @ Les Anciens Abattoirs 6/23: Clisson, France @ Hellfest* 6/26: Thessaloniki, Greece @ Principal Club Theater 6/27: Athens, Greece @ VOX IERA Odos 6/29: Bremen, Germany @ Tower 6/30: Dessel, Belgium @ Graspop Metal Meeting* 7/1: Deventer, Netherlands @ Burgerweeshuis 7/2: Eindhoven, Netherlands @ Effenaar 7/4: Hisingen, Sweden @ Metaltown* 7/6: Munster, Germany @ Vainstream Rockfest* 7/7: Luxembourg @ Kulturfabrik 7/8: Norwich, UK @ Waterfront 7/9: Nottingham, UK @ Rock City 7/10: Manchester, UK @ The Ritz 7/11: London, UK @ The Forum
North American Dates 8/31: Lacombe, AB @ Alberta Downs – (Alberta’s Own)* 9/14: Baltimore, MD @ Carroll Park – “The Shindig” * 9/15: Asheville, NC @ The Orange Peel 9/16: Birmingham, AL @ Iron City 9/17: Jacksonville, FL @ Freebird Live 9/19: Raleigh, NC @ Lincoln Theatre 9/20: Raleigh, NC @ Lincoln Theatre 9/21: Vienna, WV @ Fishbone Gill & Grill 9/22: South Bend, IN @ Club Landing 9/24: So. Burlington, VT @ Higher Ground 9/25: Buffalo, NY @ The Town Ballroom 9/26: Port Chester, NY @ The Capitol Theatre 9/27: Huntington, NY @ The Paramount 9/28: Hampton Beach, NH @ Hampton Beach Casino Ballroom 10/27: Charleston, SC @ The Music Farm 10/28: Athens, GA @ Georgia Theatre 10/29: Chattanooga, TN @ Track 29 10/31: Louisville, KY @ Expo Five 11/01: Memphis, TN @ Minglewood Hall 11/02: Oklahoma City, OK @ Diamond Ballroom 11/04: Corpus Christi, TX @ House of Rock 11/05: Austin, TX @ Emo’s 11/07: Albuquerque, NM @ Sunshine Theater 11/08: Tucson, AZ @ Rialto Theatre 11/09: West Hollywood, CA @ House of Blues 11/10: San Diego, CA @ House of Blues 11/11: Sacramento, CA @ Ace of Spades 11/13: Grand Junction, CO @ Mesa Theater & Club 11/14: Denver, CO @ Ogden Theatre 11/15: Wichita, KS @ The Cotillion 11/16: Columbia, MO @ The Blue Note 11/17: Bloomington, IL @ The Castle Theatre 11/19: Joliet, IL @ Mojoes 11/20: Madison, WI @ Orpheum Theatre 11/21: Ft. Wayne, IN @ Piere’s 11/22: Columbus, OH @ The LC Pavilion 11/23: Detroit, MI @ The Fillmore Detroit 12/27: Sayreville, NJ @ Starland Ballroom
