Posted in Whathaveyou on October 1st, 2015 by H.P. Taskmaster
As noted here in August, the 2016 Borderland Fuzz Fiesta will take place Feb. 26-27, expanding from one day to two, in Tucson, Arizona. It will be held at 191 Toole. Aside from seeing the return of the Mad Alchemy Liquid Light Show, the second installment of the heavy rock fest boasts a range of Southwestern styles, from the desert psych of Blaak Heat Shujaa — one wonders if their new album might be ready by then? — to the punked-up garage strangeness of Funeral Horse. Hermano‘s Dandy Brown will also make an appearance, and though the headliner and main support act(s) have yet to be unveiled, it already looks like a damn good time.
More to come as we get closer to the fest itself, still some five months out, but today brothers Wayne Rudell and Joseph Rudell announce the initial lineup and unveil the official poster by the latter’s own Ghost Town Graphics. The central theme? The desert. Makes me wonder in a big way who might be headlining this thing, since it’s looking pretty sandy even as it just gets going.
Borderland Fuzz Fiesta 2016 – First Announcements
We are excited about this year. We have brought in alot of bands I think fans of Stoner Rock, and Psych will love to see. We will have some more announcements in about a month or so for the support and headliners. We will also have info for limited early bird tickets and two day passes.
The flyer design was by Joseph Rudell with his company Ghost Town Graphics. People also might recognize his art from Ripple’s Second Coming of Heavy Series which GTG has been contracted to do the whole series.
Borderland Fuzz Fiesta 2016 Headliner TBA Main Support TBA Waxy Dandy Brown (Hermano) Blaak Heat Shujaa 3rd Ear Experience Cloud Catcher Funeral Horse Fuzz Evil
Posted in Whathaveyou on August 31st, 2015 by H.P. Taskmaster
Helmed by brothers Wayne and Joseph Rudell, the Arizona-based Borderland Fuzz Fiesta has announced its second installment will take place on Feb. 26 and 27, 2016. The Rudells, who double (and triple, I suppose) in Sierra Vista outfits Powered Wig Machine and Fuzz Evil hosted the first Borderland Fuzz Fiesta earlier this year and pulled in the formidable likes of Wo Fat, Mos Generator and Fireball Ministry to headline the bill, which also had Powered Wig Machine, Goatroper, Skulldron, Yeti Ender, Asimov, Conqueror Worm and Methra on its packed one-day lineup.
Immediately the next Borderland Fuzz Fiesta will expand the scope. Doesn’t seem unreasonable to think that the Mad Alchemy Liquid Light Show will make a return appearance — schedule permitting; that dude gets around — and while no bands have been announced yet, already we know that the fest is going from one day to two, so you might say it’s twice as big. Like its predecessor, the 2016 edition will be held in Tucson, which also plays home to the autumnal Southwest Terror Fest, and Wayne Rudell sent along the following announcement confirming the dates.
With the caveat of more to come, here’s what he had to say:
Borderland Fuzz Fiesta Announces Dates for 2016
Tucson, AZ 8/28/2015
“My brother Joseph and I are very thankful for how great the first year of Borderland Fuzz Fiesta turned out. We want to thank all the bands and all the fans from Tucson and afar who helped to make the first year so successful.
“Our goal is to keep making strides with the festival to make it bigger and better each year. We have begun planning next year’s fest; it will be a two day event that takes place in downtown Tucson Feb 26th-Feb 27th. Announcements to come for early band confirmations in the following months.”
[Please note: Press play above to stream Goya’s Obelisk in full. Album is out Aug. 1 on STB Records (CD & tape; LP to follow). Thanks to the band and label for letting me host the stream.]
Obelisk is the well-titled second full-length offering from Phoenix, Arizona, three-piece Goya. Set for release through respected purveyor STB Records, it follows 2013’s 777 debut and their initial 2012 demo (review here), as well as a 2014 EP, Satan’s Fire (review here), and an early 2015 split with Seattle’s Wounded Giant (review here) that found them dug deep into Electric Wizard-style plod on the extended “No Place in the Sky.” What was an early version of the track there is refined on Obelisk and given due reverence in its position as the 14-minute closer, following a swath of dirge riffing, devil-worship and malevolent churn.
I can’t quite decide if the album knows how much fun it’s having as it conjures its darkened chaos-swirl, but suffice it to say, a song like opener “Nothin’ but Dead Stuff” might not be a laugher in terms of its lyrics, but from the opening watery guitar provided by Jeff Owens (also vocals) that unfolds Oborn-again over the swinging ride of drummer Nick Lose — Jirix-Mie Paz plays bass on the record but seems to have since been replaced by Ben Clarkson — to the penultimate “Echo from Space” interlude of feedback before “No Place in the Sky” takes hold, it becomes abundantly clear that Goya are absolutely dug into the grooves of their own making and are enjoying the crap out of the heavy roll they enact across Obelisk‘s nine-track/55-minute span.
That being the case makes it much easier to follow suit. Goya have their variety in structure and approach — the aforementioned “Echo from Space” serves well as a late interlude, and the quiet ritualized vibe of “The Star” after second track “The Devil’s Pray” does likewise, while “300 Eyes” cuts to the heart of their songwriting with an acoustic modus and layered vocals and “The Sun,” which follows, is a standout for its speed alone — but the crux of Obelisk‘s overarching atmosphere and the impression it leaves resides in cuts like “Nothin’ but Dead Stuff,” “The Devil’s Prey,” “Beyond Good and Evil” and “No Place in the Sky,” Goya making a case to establish their own witchcult in bouncing riffs and Satanihilist vibing. Taken on their surface, these parts of Obelisk aren’t especially surprising — 777, Satan’s Fire, that Wounded Giant split and even the early demo carried a similar influence base, but it’s what the trio have managed to bring to it of their own that distinguishes their work.
To wit, the patience of the 7:46 title-track, “Obelisk,” becomes a defining moment for more than the simple fact that the song also shares its name with the album. Its slow unfurling is deceptively graceful, and while one hesitates to call Goya subtle since that doesn’t really seem to be what they’re going for, they’ve cleverly managed to begin a process whereby having mastered their influences, they’re starting to move beyond them. That’s not necessarily a one-album process, but if you listen to the shifts between “Obelisk,” “300 Eyes,” “The Sun” and “Beyond Good and Evil,” it becomes clear there’s more to the band’s approach than buzzsaw tones and space-echo vocals.
Not to say neither of those elements aren’t present and/or put to good use, just that they’re not exclusives for the band at this stage in their development. The effect that has is that when the quicker push of “The Sun” gives way to the lumbering, weighted crash of “Beyond Good and Evil,” the latter is all the more righteous. Likewise, back on side A, the gradual buildup of “Obelisk” is all the more worth appreciating after “The Devil’s Pray” and “The Star” lead into it — bottom line: the album isn’t short at 55 minutes, but it is impeccably structured to highlight Goya‘s tonal and conceptual strengths. When it comes around, “No Place in the Sky” fuzzes to life with Owens‘ guitar setting the pace and sets itself to the complex task of tying the various sides of Obelisk together.
Cohesive as the album is atmospherically — and it is — that’s not an easy task to ask of one song, even at 14 minutes. Still, “No Place in the Sky” reinforces the mood the band has worked with for the duration, the godlessness that served as theme in “The Devil’s Prey” and “Beyond Good and Evil,” and the rolling rhythms of those tracks and the opener without losing sight of making its own impression, which it does in the second half centering around memorable cycles through and around the line, “It doesn’t fucking matter.” I’m not sure the fuckall is quite the guiding principle the band would have the listener believe — if it was, they probably wouldn’t have paid so much attention to the flow of the record between its songs — but you gotta end somewhere and, as I say, “No Place in the Sky” makes for a memorable finish, rounding out its last minute with a slowdown and crash that lets the amp buzz carry Obelisk to its conclusion.
What will be a readily accessible listen for the already converted, Goya‘s second offers evidence of growth undertaken, provides glimpses of what might develop down the line, finds the band reveling in their processes and hits like a hammer made of pills. There is little one might ask of it that it does not deliver.
Posted in audiObelisk on July 7th, 2015 by H.P. Taskmaster
When Fuzz Evil‘s debut album arrives early in 2016, “Born of Iron” probably won’t be on it. That’s the whole idea. The Arizona three-piece made their debut late last year via a split 7″ with Chiefs (streamed here), and as much as the trio of guitarist/vocalist Wayne Rudell, bassist/vocalist Joey Rudell and drummer Marlin Tuttle have done to support that single, between touring alongside Switchblade Jesus earlier this year and founding and overseeing the inaugural Borderlands Fuzz Fiesta in Tucson, one imagines their full-length will hit with some fanfare. You might say it’s starting early with the premiere below of “Born of Iron.”
The six-minute fuzzblaster, as I said, isn’t intended for Fuzz Evil‘s LP, which will be released on Battleground Records, but from what I understand, the recording is complete. Album’s in the can. “Born of Iron,” with its easy rolling groove, weighted nod and last-minute wah overload, was cut at the same session, and a celebration of their two-year anniversary as a band and as a precursor to any concrete word about the full-length — up to and including its title, which has yet to be revealed — the Rudells (who both also play in Powered Wig Machine) and Tuttle, have decided to give the song away. In addition to the premiere on the player below, it will also be available as a name-your-price download through their Bandcamp, where one can also pick up the aforementioned split with Chiefs.
If you happen to be in that part of the universe, Fuzz Evil will be supporting Acid King at this year’s Southwest Terror Fest the weekend of Oct. 15-18 in Tucson, and no doubt more shows will surface between now and then as well. “Born of Iron” is up for digging in below, and underneath that, Wayne Rudell offers some comment on the first two years of Fuzz Evil and what the trio have been through in that time.
Wayne Rudell on Fuzz Evil’s second anniversary:
“I can’t believe it has been two years. It really has been a non-stop party with Fuzz Evil. We have such a great chemistry and we have been writing a lot of music. The band really hit the ground running from the start and a lot a lot of great opportunities opened up for us. We got picked up by Battleground Records, who put out our 7” split with Chiefs. Shortly after that, we shared the stage with Fu Manchu, Crobot,The Truckfighters. Nick Turner’s Hawkwind, Witch Mountain, Lord Dying, Jucifer, Midnight Ghost Train, Electric Citizen, Black Pussy,and Mothership. That’s a pretty surreal list of great artists to have performed with in the short period of time Fuzz Evil has been around. We like to stay pretty busy and have some pretty cool things on the horizon. We are really looking forward to playing Southwest Terror Fest this year with Acid King. I have always been a big fan of their stuff and am thankful for the the opportunity to play with such a talented band. I can’t reveal too much yet, but I can tell you Fuzz Evil will be making an appearance at this year’s Borderland Fuzz Fiesta. We are gonna try and get the new record out in time for the festival, but if it isn’t in the cards, you can expect it definitely around Spring 2016.”
The currently untitled Fuzz Evil full-length will be released by Battleground Records in early 2016 on 180 gram colored vinyl and digital. More details to come. Fuzz Evil/Chiefs split 7″ available atwww.battlegroundrnr.com.
Tapping into grandiose classic doom and wah-drenched psychedelic heavy rock, Austin, Texas, four-piece Destroyer of Light are gearing up to release a new split 2LP with Godhunter that, as of today, is available to preorder through Battleground Records. Titled Endsville and limited to 300 copies available via Battleground and Destroyer of Light‘s Heavy Friends Records imprint, Endsville comprises four sides, two for one band, two for the other, each with original material and one cover track between them. No strangers to the road after having gone coast-to-coast last fall supporting their Bizarre Tales Vol. 2 EP, which was the follow-up to their 2012 self-titled debut (review here), Destroyer of Light will team up with Godhunter for a lengthy run of the East Coast this July/Aug. that includes a stop at the Death to False Metal festival in Connecticut on Aug. 15.
A lot of information in that paragraph, so I’ll sum up — two good bands paired up for a split, preorders now, tour next month. Hopefully that sorts out the basics, which, if you’re going by “Electric Shadows,” which leads off their two-song side C of the Endsville vinyl, obviously aren’t a problem for Destroyer of Light. Guitarist/vocalist Steve Colca, guitarist Keegan Kjeldsen, bassist Jeff Klein and drummer Kelly Turner have their Sabbath worship down pat, but there’s more to the track for those who’d dig in, and over the course of its six minutes, they’re able to smoothly shift between wrenching doom and ’70s-style shuffle, a catchy boogie of a guitar lead taking hold in the second half to steer toward a surprisingly upbeat, if somewhat sudden, finish. The band prove just as ready to jam as doom out, and though they’re playing one side against the other, in the middle third of the track, they seem to find a riffy middle-ground that eases the transition, subtle effects swirls behind plodding riffs before Klein‘s bass announces the arrival at the next stage.
Endsville is out July 28, but “Electric Shadows” is available for those who’d check it out to hear in a new lyric video put together by Erik Bredthauer that I’m happy to be able to premiere today. You’ll find it on the player below, followed by the tracklisting for the split, the tour dates Destroyer of Light will undertake with Godhunter starting on July 29, and much more info, culled from the PR wire.
Hope you enjoy:
Destroyer of Light, “Electric Shadows” lyric video
GODHUNTER vs. DESTROYER OF LIGHT: Endsville Split Double-LP to see release in a gatefold setup on two different colors of vinyl through Battleground Records and Heavy Friends Records on July 28th, 2015.
Double album featuring brand new music from Godhunter and Destroyer of Light, plus a cover song from each band.
Godhunter (Sides A/B) pressed on 180 gram translucent green vinyl, Destroyer of Light (Sides C/D) pressed on 180 gram translucent red vinyl. Both records are housed together in a two pocket, deluxe gatefold package featuring art combining sculpture work by Bestia Dentro and photography by Andrew Weiss. Includes a digital download card for the album. Limited to 300 copies pressed worldwide.
Godhunter Side A 1. End Time Blues 2. Divided States 3. Dull Knives, Weak Handshakes Side B 4. Cassandra Complex 5. Anthropophobia 6. The Emptiness That Is Left
Destroyer of Light Side C 1. Electric Shadows 2. Coffin Hunter Side D 3. Forever My Queen 4. Valley Of The Dead
GODHUNTER vs. DESTROYER OF LIGHT: Endsville bears twenty minutes of new material and a cover track from each band. Tucson/Vancouver-situated sludge faction, GODHUNTER, captured the tunes for their platter at WaveLab Studios in Tucson by Dana Fehr (North, Juarez), the newest in a steady line of titles since their 2014-released debut LP, City Of Dust, including their GH/OST:S split LP with Secrets Of The Sky and The Outer Dark collaborative 7” with Amigo The Devil. The adjoining slab by Austin-based psychedelic doom outfit, DESTROYER OF LIGHT, follows the band’s 2012-released self-titled debut album and 2014’s Bizarre Tales Vol. II EP, recorded at Orb Recording Studios in Austin, engineered and mixed by Matt Meli. The entire album was then mastered by James Plotkin. The two 12” EPs will be united in a gatefold setup on two different colors of vinyl, in addition to a digital release, the cover artwork to feature custom sculpture art by Bestia Dentro and photography by Andrew Weiss.
Directly in conjunction with the release of Endsville, GODHUNTER and DESTROYER OF LIGHT will collaborate on a major widespread tour together, which will see them both raiding the East Coast US for the first time. While previously only the rough skeletal city itinerary of the trek has been announced, this week nearly every one of the twenty-five venues on the tour has been declared. The tour includes both bands’ participation in the first Death To False Metal Festival in Hamden, Connecticut on August 14th and 15th with Whiplash, Krieg, Secrets Of The Sky, Valkyrie, Imperial Triumphant, Nightbitch, Immortal Bird, Secret Cutter and more.
Godhunter and Destroyer of Light on tour: 7/29: Tucson, AZ – Club Congress 7/30: Tempe, AZ – Yucca Tap Room 7/31: El Paso, TX – The Sandbox 8/1: Albuquerque, NM – The Launchpad 8/2: Denver, CO – Seventh Circle 8/3: Omaha, NB – TBA 8/4: Minneapolis, MN – Triple Rock 8/5: Chicago, IL – Livewire 8/6: Kalamazoo, MI – Fat Guy Fest 8/7: Indianapolis, IN – Fifth Quarter 8/8: Louisville, KY – Magnolia Bar 8/9: Raleigh, NC – Pour House 8/10: Charleston, WV – The Empty Glass 8/11: Pittsburgh, PA – Gooski’s 8/12: Buffalo, NY – Mohawk Place 8/13: New York, NY – Saint Vitus 8/14: Salem, MA – KoTo 8/15: New Haven, CT – Death To False Metal Festival 8/16: Philadelphia, PA – Kung Fu Necktie 8/17: Baltimore, MD – The Depot 8/18: Greenville, SC – Thomas Creek Brewery 8/19: Atlanta, GA – The Basement 8/20: Little Rock, AR – Vino’s 8/21: New Orleans, LA – Saturn Bar 8/22: Austin, TX – Holy Mountain
Posted in Whathaveyou on June 10th, 2015 by H.P. Taskmaster
Great googly-moogly. The full lineup — and set times, because apparently that’s how on their shit these cats are — for this year’s Southwest Terror Fest have been posted, and it’s breathtaking. Sleep and Acid King and Bongripper among the headliners, with the likes of Dropdead and Thou and the Body and Brothers of the Sonic Cloth strewn about a four-day span for the fourth edition of the festival, which in accordance with doomly mandate and the Order of Things has been dubbed Southwest Terror Fest Vol. 4. I doubt I’ll get to Tucson to witness it, but it looks like a hell of a time.
As the PR wire puts it:
SOUTHWEST TERROR FEST Vol. 4: Entire Lineup Of Annual Arizona Underground Metal Festival Announced; Tickets Available
Sleep, Thou & The Body, Acid King, Dropdead, Bongripper, Xibalba, Brothers Of The Sonic Cloth And More Confirmed
The entire itinerary for the fourth edition of the annual SOUTHWEST TERROR FEST has been disclosed, as the 2015 installment is confirmed to consume Tucson, Arizona for four days once again this October.
SOUTHWEST TERROR FEST VOL. 4 will run from October 15th through 18th, with events scheduled at three Tucson venues — The Rialto Theatre, Club Congress and 191 Toole. The festivities will begin on Thursday, October 15th with a nighttime kickoff show, followed by both matinee and late club shows on Friday the 16th, and the main events on Saturday the 17th and Sunday the 18th, and the running orders for each show has now been posted. The confirmed acts include headliners Sleep, Thou & The Body, Acid King, Dropdead and Bongripper, as well as Xibalba, Landmine Marathon, Brothers Of The Sonic Cloth, Graves At Sea, Cult Leader, Call Of The Void, Demon Lung, Immortal Bird, In The Company Of Serpents, Abstracter, Gale, and more. Additionally, soloist Amigo The Devil will perform impromptu sets throughout the weekend once again.
Tickets for all SOUTHWEST TERROR FEST VOL. 4 events have been posted and are linked below alongside the running order for the entire weekend. Additionally, there are 100 VIP passes being sold this year, which are disappearing quickly; get them before they’re goneRIGHT HERE.
SOUTHWEST TERROR FEST VOL. 4 Lineup:
Thursday, October 15th // Kickoff show at 191 Toole (All Ages): Main Stage: 10:15 – End — Thou & The Body 8:45 – 9:30 — In The Company Of Serpents 7:30 – 8:00 — Heat Dust 6:30 – 7:00 — Gale Side Stage: 9:30 – 10:15 — Dead To A Dying World 8:00 – 8:45 — Abstracter 7:00 – 7:30 — Hanta 6:00 – 6:30 — Methra
Friday, October 16th // Matinee show at 191 Toole (All Ages): Main Stage: 10:20 – End — Dropdead 9:10 – 9:50 — Landmine Marathon 8:00 – 8:40 — Xibalba 7:00 – 7:30 — Immmortal Bird 6:00 – 6:30 — Gatecreeper Side Stage: 9:50 – 10:20 — Call Of The Void 8:40 – 9:10 — Bastard Feast 7:30 – 8:00 — 908 6:30 – 7:00 — Swamp Wolf 5:30 – 6:00 — Warmonger
Friday, October 16th // Late show at Club Congress (21+): 12:20 – End — Bongripper 11:10 – 12:00 — Graves At Sea 10:20 – 10:50 — Skycrawler 9:30 – 10:00 — Naught
Saturday, October 17th // Main show at The Rialto Theatre (All Ages): 10:30 – 12:30 — Sleep 9:10 – 10:10 — Brothers Of The Sonic Cloth 8:10 – 8:50 — Cult Leader 7:20 – 7:50 — Goya 6:30 – 7:00 — Languish
Sunday, October 18th // Closing show at Club Congress (All Ages): 10:30 – 12:00 — Acid King 9:20 – 10:10 — Demon Lung 8:20 – 9:00 — Night Demon 7:20 – 8:00 — Fuzz Evil 6:30 – 7:00 — Ice Sword
Now in its fourth consecutive year, 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, vendors and businesses, in order to bring a full-bore event to underground music fans. Each year the event expands into new directions and brings a massive variety of internationally-known headliners together with incredible acts from across the Southwest and beyond.
Posted in audiObelisk on March 13th, 2015 by H.P. Taskmaster
This week marks the vinyl release of Arizona outfit Powered Wig Machine‘s sophomore full-length, Supa-Collider. Initially self-released, the LP version of Supa-Collider (review here) arrives courtesy of AZ kingpins Battleground Records, and boasts the vinyl-only bonus track “Highish Noon.” Fitting the cover artwork by Rudy Flores and bassist Joseph Rudell, the 300-copy pressing comes in translucent green with black and orange splatter, 180g housed in a gatefold with a download. And as if overseeing the release of this beast weren’t enough, Joseph Rudell and his brother, guitarist/vocalist Wayne Rudell also organized and executed the recent Borderlands Fuzz Fiesta with Wo Fat, Mos Generator, Fireball Ministry, etc., which by the accounts that I saw was a badass time.
Joined in the band by guitarist Dusty Hinkle, drummer Daniel Graves and keyboardist/guitarist Brian Gold, the Rudells stood at the helm of Supa-Collider‘s rolling grooves and bluesy feel, casting off desert-based expectation in favor of thicker tone and meatier vibing. The results were well met to say the least, and the fuzz and organ fluidity of “At the Helm of Hades” and big-stage-ready blues-jam starts and stops of “Mother Rocker” established a course for the album that was classic and accessible but also modern and based around a well-developed songwriting process. I’m not sure if “Highish Noon” was recorded at the same time as the rest of Supa-Collider or later, but it’s in line with the rest of the band’s material in being catchy as well, switching on a dime from winding heavy riffery to airy psych jamming and back again before kicking into wah-soaked layered-solo righteousness and arriving, finally, in a swaying groove that seems to be asking what would’ve happened if Clutch wrote “Dragonaut” instead of Sleep. It’s an issue worth exploring.
And it’s a lot of ground to cover in a little under five minutes, but Powered Wig Machine hold it together smoothly, which (like the rest of the album) bodes well for their third outing, for which word of intent has begun to surface. In the meantime, having just shared a stage with Uriah Heep, Powered Wig Machine will hook up with the touring Ape Machine at JR’s Bar in Sierra Vista on March 17 for a St. Patrick’s Day special with Ghetto Blaster. Info on that one is here.
I have the pleasure today of hosting “Highish Noon” for streaming in honor of the Supa-Collider vinyl release on Battleground. Please find it on the player below, followed by more info on the LP from the PR wire:
Battleground Records has confirmed the label’s impending ninth release, announcing the deluxe vinyl version of the gnarly Supa-Collider, the second full-length from fuzz/stoner rock champs, POWERED WIG MACHINE.
In March of 2014, POWERED WIG MACHINE took it to the next level with the monstrous follow-up to Bearded Goddess, delivering the fantastic jams of their sophomore album, Supa-Collider. The band’s dexterous diversity and empowering tactics shine brighter than the blazing sun which ignites their desert surroundings on the album, putting the listener on cruise control into the furthest reaches of the planet and beyond, the tunes infiltrated with a slight flux of sci-fi otherworldliness. Self-recorded by the band and mixed by Brian Gold at Primrose Studio in Sierra Vista, mastered by Chris Goosman at Baseline Audio, and bearing artwork by Joseph Rudell and Rudy Flores, PWM independently released Supa-Collider digitally and on CD last year, yet the beast has yet to be unleashed in its primal vinyl form… until now.
One year after its initial release, Battleground Records will issue Supa-Collider on high-quality wax, the record pressed on 180-gram translucent green vinyl with orange and black splatters, limited to 300 copies and housed in a deluxe gatefold package. In addition to the original seven tracks, this new edition will also include a new LP-only bonus track, “Highish Noon”, with all eight tunes available for free high-quality digital download included in the parcel.
No lie, part of the reason I picked this clip of The Obsessed playing “The Way She Fly” at the Downtown Performance Center in Tucson, Arizona, on July 31, 1992, was for the comedic value. I watched the whole thing front to back — it’s two minutes long, so not a major commitment time-wise, but still — and there’s no shot of the bass player. None. Most of the thing is Wino cam. It’s hilarious, and almost a little creepy, but you never see the bassist in the video, and even the shots of drummer Greg Rogers seem sort of happenstance, like from where the camera is positioned, you have to catch him on a wider shot to see Wino playing guitar and singing. I had to laugh.
Seeing nothing but the bassist’s headstock — and that only intermittently — is of particular interest since I’m not sure who was in the band at that time. Scott Reeder played on 1991’s Lunar Womb alongside Wino and Rogers, but either before or after this was filmed in 1992, he left the band and joined up with Kyuss, replacing Nick Oliveri (who now may or may not have his own project going with Wino, called Royale Daemons), only to have his spot on The Obsessed filled by Guy Pinhas. But I don’t know the exact date on when Reeder departed The Obsessed or if it’s him or Pinhas or someone else playing this show, so yeah, nearly 23 full years later, it might’ve been helpful if whoever shot this clip had at any point seen fit to pan a little bit to the left. No dice.
Sometimes you just gotta toss your hands up and shrug, and if you need me, that’s what I’ll be doing. “The Way She Fly,” which is almost complete here, comes off The Obsessed‘s 1990 self-titled full-length debut. Mark Laue played bass on it, if you’re wondering. Enjoy and have a great Wino Wednesday:
The Obsessed, “The Way She Fly” Live in Tucson, Arizona, July 31, 1992