Greenbeard Release Onward, Pillager EP; Touring to Maryland Doom Fest 2019

Posted in Whathaveyou on December 28th, 2018 by JJ Koczan

greenbeard

As-yet-underrated Austin heavy rockers Greenbeard have released a new EP called Onward, Pillager. It’s three tracks and it’s cool. That’s about as simple as I can make it. Each song has its own kind of vibe, there is some guest synth, some guest vocals, and it all works pretty well to give an enticing showcase of where the three-piece are at. Worth your time? Worth your time. Stream it at the bottom of this post, via Bandcamp.

Greenbeard will tour their way out to Maryland Doom Fest 2019 next June. Right on for a few reasons. One, it means I’ll see them at MDDF. That’ll be fun. Two, it means they’re getting out on the road and a bunch of other people will see them at the other shows. Three, that itself means that the fest is having an effect even outside of itself on the heavy underground. Someone shows up to see Greenbeard on tour while Greenbeard are on tour to get to the fest? That’s awesome. That’s making things happen. Nothing but positive all around. And all the more so because the band is killer.

That’s my spiel. Not much critique, I guess, but I call’s ’em like I sees ’em, and to me this only seems like good news:

greenbeard onward pillager

OUT NOW! GREENBEARD’s new ‘ONWARD, PILLAGER’ EP available via Sailor Records; Confirming 2019 Tour Dates

Austin’s stoner/desert rock trio GREENBEARD launched their new EP ‘Onward, Pillager’ via the Denver, Colorado label Sailor Records on December 22nd. ‘Onward, Pillager’ serves as a teaser for an upcoming, full-length release on Sailor Records in 2019.

Both releases are produced, recorded, and mixed with Jeff Henson at Red Nova Ranch, in Austin, Texas. The EP is mastered by Alberto De Icaza. The band once again teamed up with long time collaborator Antoine Defarges of Headbang Design, to continue the Greenbeard tradition of elaborate, striking artwork for all their releases.

Greenbeard had this to say about their upcoming EP:

“It’s been great working with Jeff Henson on this EP! Aside from great recording quality, one of Jeff’s strengths that really works for us is his songwriting vision. We are all on the same page as far as rock and roll goes, and Jeff has been able to see our songs and give them a little extra shape to really make them stand out as some banging tunes. Because of this, we are very excited to release ‘Onward, Pillager’ and continue working more with Henson as we start getting things together for our next full length.”

‘Onward, Pillager’ is available on CD and Digital Download via Bandcamp and is now streaming on most digital outlets.

Order now at: https://greenbeard.bandcamp.com/

Track List:
1. Contact High II (synth by Conrad Keely)
2. WCCQ (background vocals by Felicia Andrews)
3. Kill To Love Yourself

UPCOMING DATES:

Greenbeard’s first confirmed tour dates for 2019 whirlwind around their appearance at the Maryland Doom Fest. More dates, details, and event links will be announced soon.

June 11 – Dallas, Texas
June 12 – Tulsa, Oklahoma
June 13 – Kansas City, Missouri
June 14 – Denver, Colorado
June 15 – Omaha, Nebraska
June 16 – Chicago, Illinois
June 17 – Fort Wayne, Indiana
June 18 – Lexington, Kentucky
June 19 – Cleveland, Ohio
June 20 – Pittsburgh, Pennsylvania
June 21 – Philadelphia, Pennsylvania
June 22 – Frederick, Maryland – MARYLAND DOOM FEST
June 23 – Richmond, Virginia
June 24 – Raleigh, North Carolina
June 25 – Savannah, Georgia
June 26 – Jacksonville, Florida
June 27 – Atlanta, Georgia
June 28 – Nashville, Tennessee
June 29 – Knoxville, Tennessee
July 01 – Sheveport, Louisiana

GREENBEARD:
Chance Allan – Guitar/Vocals
Jeff Klein – Bass/Guitar
Buddy Hachar – Drums

https://www.facebook.com/greenbeardtheband/
https://www.instagram.com/greenbeardtheband/
https://greenbeard.bandcamp.com/
http://www.greenbeardtheband.com
https://www.facebook.com/Sailor-Records-359148970778780/
https://www.instagram.com/sailorrecords/
https://www.sailorrecords.com/

Greenbeard, Onward, Pillager (2018)

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Quarterly Review: Thou, Liquid Visions, Benthic Realm, Ape Machine, Under, Evil Triplet, Vestjysk Ørken, Dawn of Winter, Pale Heart, Slowbro

Posted in Reviews on December 10th, 2018 by JJ Koczan

quarterly-review

We meet again! The second week of this amply-proportioned Quarterly Review begins today as we move ever closer toward the inevitable 100-album finish line on Friday. There is an incredible amount of music to get through this week, so I don’t want to delay for too long, but as we look out across the vast stretch of distortion to come, I need to say thank you for reading, and I hope that you’ve been able to find something that’s kicking your ass a little bit in all the right ways so far. If not, well, there are 50 more records on the way for you to give it another shot.

Here goes.

Quarterly Review #51-60:

Thou, Magus

thou magus

How can something be so raw and forward thinking at the same time? Baton Rouge’s Thou might be the band of their generation who’ve added the most to sludge in terms of pushing the style in new directions and shaping genre to their purposes. Magus (on Sacred Bones), their fourth or fifth full-length depending on whom you ask, is an overwhelming 75-minute 2LP of inward and outward destructive force, as heavy in its ambience as in its weight and throat-ripping sonic extremity, and yet somehow is restrained. To listen to the march of “Transcending Dualities,” there’s such a sense of seething happening beneath the surface of that chugging, marching riff, and after its creeping introduction, “In the Kingdom of Meaning” seems intent on beating its own rhythm, as in, with fists, and even a stop-by from frequent guest vocalist Emily McWilliams does little to detract from that impression. Along with Magus, which rightly finishes with the lurching threat of “Supremacy,” Thou have released three EPs and a split this year, so their pace runs in something of a contrast to their tempos, but whether you can keep up or not, Thou continue to press forward in crafting pivotal, essential brutalizations.

Thou website

Sacred Bones Records website

 

Liquid Visions, Hypnotized

Liquid Visions Hypnotized

Sulatron Records‘ pressing of Liquid Visions‘ 2002 debut, Hypnotized, is, of course, a reissue, but also the first time the album has been on vinyl, and it’s not long into opener “State of Mind” or the grunge-gone-classic-psych “Waste” before they earn the platter. Members of the band would go on to participate in acts like Zone Six, Wedge, Electric Moon and Johnson Noise, so it’s easy enough to understand how the band ties into the family tree of underground heavy psych in Berlin, but listening to the glorious mellow-unfolding-into-noise-wash-freakout of 15-minute closer “Paralyzed,” the appeal is less about academics than what the five-piece of vocalists/guitarists H.P. Ringholz (also e-sitar) and Kiryk Drewinski (also organ), bassist Dave “Sula Bassana” Schmidt (also Fender Rhodes and Mellotron), drummer Chris Schwartzkinsky and thereminist Katja Wolff were able to conjure in terms of being both ahead of their time and behind it. As the album moves from its opening shorter tracks to the longer and more expansive later material, it shows its original CD-era linearity, but if an LP reissue is what it takes to get Hypnotized out there again, so be it. I doubt many who hear it will complain.

Liquid Visions on Thee Facebooks

Sulatron Records webstore

 

Benthic Realm, We Will Not Bow

Benthic Realm We Will Not Bow

The second short release from Benthic Realm behind a 2017 self-titled EP (review here) finds the Massachusetts-based trio of guitarist/vocalist Krista van Guilder (ex-Second Grave, ex-Warhorse), bassist Maureen Murphy (ex-Second Grave) and drummer Dan Blomquist (also Conclave) working toward a refined approach bridging the divide between doom and darker, harder hitting metal. They do this with marked fluidity, van Guilder shifting smoothly between melodic clean singing and harsher screams as Murphy and Blomquist demonstrate like-minded ease in turns of pace and aggression. The penultimate semi-title-track “I Will Not Bow” is an instrumental, but “Save us All,” “Thousand Day Rain” and closer “Untethered” — the latter with some Slayer ping ride and ensuing double-kick gallop — demonstrate the riff-based songwriting that carries Benthic Realm through their stylistic swath and ultimately ties their ideas together. If they think they might be ready for a debut full-length, they certainly sound that way.

Benthic Realm on Thee Facebooks

Benthic Realm website

 

Ape Machine, Darker Seas

ape machine darker seas

Maybe Ape Machine need to make a video with cats playing their instruments or something, but five albums deep, the Portland outfit seem to be viciously underrated. Releasing Darker Seas on Ripple, they take on a more progressive approach with songs like “Piper’s Rats” donning harmonized vocals and more complex interplay with guitar. It’s a more atmospheric take overall — consider the acoustic/electric beginning of “Watch What You Say” and it’s semi-nod to seafaring Mastodon, the likewise-unplugged and self-awarely medieval “Nocturne in D Flat (The Jester)” and the rocking presentation of what’s otherwise fist-pumping NWOBHM on “Bend Your Knee” — but Ape Machine have always been a band with songwriting at their center, and even as they move into the best performances of their career, hitting a point of quality that even producer Steve Hanford (Poison Idea) decided to join them after the recording as their new drummer, there’s no dip in the quality of their work. I don’t know what it might take to get them the attention they deserve — though a cat video would no doubt help — but if Darker Seas underscores anything, it’s that they deserve it.

Ape Machine on Thee Facebooks

Ripple Music on Bandcamp

 

Under, Stop Being Naive

under stop being naive

Stockport, UK, three-piece Under bring a progressive edge to their pummel with their second album, Stop Being Naive (on APF), beginning with the deceptively thoughtful arrangement of crushing opener and longest track (immediate points) “Malcontent,” which unfurls a barrage of riffs and varied vocals contributed by guitarist Simon Mayo, bassist Matt Franklin and drummer/keyboardist Andy Preece. Later cuts like “Soup” and “Grave Diggers” tap into amorphous layers of extremity, and “Happy” punks out with such tones as to remind of the filth that became grindcore in the UK nearly 40 years ago, but while “Big Joke” rolls out with a sneer and closer “Circadian Driftwood” has a more angular foundation, there’s an overarching personality that comes through Under‘s material that feels misanthropic and critical in a way perhaps best summarized by the record’s title. Stop Being Naive is sound enough advice, and it comes presented with a fervent argument in its own favor.

Under on Thee Facebooks

APF Records webstore

 

Evil Triplet, Have a Nice Trip

evil triplet have a nice trip

Trimming the runtime of their 2017 debut, Otherworld (review here) nearly in half, Austin weirdo rockers Evil Triplet present the six-song/38-minute single LP Have a Nice Trip on Super Secret with classic garage buzz tone on “A Day Like Any Other,” a cosmic impulse meeting indie sneer on opener “Space Kitten” and a suitably righteous stretch-out on “Aren’t You Experienced?” — which is just side A of the thing. The pulsating “Open Heart” might be the highlight for its Hawkwindian drive and momentary drift, but “Pyramid Eye”‘s blown-out freakery isn’t to be devalued, and the eight-minute capper “Apparition” is dead on from the start of its slower march through the end of its hook-topped jam, reminding of the purpose behind all the sprawl and on-their-own-wavelength vibes. A tighter presentation suits Evil Triplet and lets their songs shine through while still highlighting the breadth of their style and its unabashed adventurousness. May they continue to grow strange and terrify any and all squares they might encounter.

Evil Triplet on Thee Facebooks

Super Secret Records website

 

Vestjysk Ørken, Cosmic Desert Fuzz

Vestjysk orken Cosmic Desert Fuzz

To a certain extent, what you see is what you get on Vestjysk Ørken‘s debut EP, Cosmic Desert Fuzz. At very least, the Danish trio’s three-tracker first outing is aptly-named, and guitarist/vocalist Bo Sejer, bassist Søren Middelkoop Nielsen and drummer Thomas Bonde Sørensen indeed tap into space, sand and tone on the release, but each song also has a definite theme derived from cinema. To wit, “Dune” (11:41) samples Dune, “…Of the Dead” (9:13) taps into the landmark George Romero horror franchise, and “Solaris” (14:15) draws from the 1972 film of the same name. The spaciousness and hypnotic reach of the latter has an appeal all its own in its extended and subtle build, but all three songs not only pay homage to these movies but seem to work at capturing some aspect of their atmosphere. Vestjysk Ørken aren’t quite rewriting soundtracks, but they’re definitely in conversation with the works cited, and with an entire universe of cinema to explore, there are accordingly no limits as to where they might go. Something tells me it won’t be long before we find out how deep their obsession runs.

Vestjysk Ørken on Instagram

Vestjysk Ørken on Bandcamp

 

Dawn of Winter, Pray for Doom

Dawn of Winter Pray for Doom

I have no interest in playing arbiter to what’s “true” in doom metal or anything else, and neither am I qualified to do so. Instead, I’ll just note that Germany’s Dawn of Winter, who trace their roots back nearly 30 years and have released full-lengths on a one-per-decade basis in 1998, 2008 and now 2018 with Pray for Doom, have their house well in order when it comes to conveying the classic tenets of the genre. Issued through I Hate, the eight-track/51-minute offering finds drummer Dennis Schediwy punctuating huge nodder grooves led by Jörg M. Knittel‘s riffs, while bassist Joachim Schmalzried adds low end accentuation and frontman Gerrit P. Mutz furthers the spirit of traditionalism on vocals. Songs like “The Thirteenth of November” and the stomping “The Sweet Taste of Ruin” are timeless for being born too late, and in the spirit of Europe’s finest trad doom, Dawn of Winter evoke familiar aspects without directly worshiping Black Sabbath or any of their other aesthetic forebears. Pray for Doom is doom, because doom, by doomers, for doomers. The converted will be accordingly thrilled to hear them preach.

Dawn of Winter on Thee Facebooks

I Hate Records website

 

Pale Heart, Jungeland

pale heart jungleland

Semi-retroist Southern heavy blues boogie, some tight flourish of psychedelia, and the occasional foray into broader territory, Stuttgart three-piece Pale Heart‘s StoneFree debut long-player, Junegleland is striking in its professionalism and, where some bands might sacrifice audio fidelity at the altar of touching on a heavy ’70s aesthetic, guitarist/vocalist Marc Bauer, key-specialist Nico Bauer and drummer Sebastian Neumeier (since replaced by Marvin Schaber) present their work in crisp fashion, letting the construction of the songs instead define the classicism of their influence. Low end is filled out by Moog where bass might otherwise be, and in combination with Hammond and Fender Rhodes and other synth, there’s nothing as regard missing frequencies coming from Jungleland, the nine songs of which vary in their character but are universally directed toward honing a modern take on classic heavy, informed as it is by Southern rock, hard blues and the tonal warmth of yore. A 50-minute debut is no minor ask of one’s audience in an age of fickle Bandcamp attentions, but cuts like the 12-minute “Transcendence” have a patience and character that’s entrancing without trickery of effects.

Pale Heart on Thee Facebooks

StoneFree Records website

 

Slowbro, Nothings

Slowbro Nothings

UK instrumentalist three-piece Slowbro‘s full-length debut, Nothings, brings forth eight tracks and 51 minutes of heavy-ended sludge rock notable for the band’s use of dueling eight-string guitars instead of the standard guitar/bass setup. How on earth does something like that happen? I don’t know. Maybe Sam Poole turned to James Phythian one day and was like, “Hey, I got two eight-string guitars. So, band?” and then a band happened. Zeke Martin — and kudos to him on not being intimidated by all those strings — rounds out on drums and together the trio embark on cuts like “Sexlexia” (a very sexy learning disability, indeed) and “Broslower,” which indeed chugs out at a considerably glacial pace, and “Fire, Fire & Fire,” which moves from noise rock to stonerly swing with the kind of aplomb that can only be conjured by those who don’t give a shit about style barriers. It’s got its ups and downs, but as Nothings — the title-track of which quickly cuts to silence and stays there until a final crash — rounds out with “Pisscat” and the eight-strings go ever so slightly post-rock, it’s hard not to appreciate the willful display of fuckall as it happens. It’s a peculiar kind of charm that makes it both charming and peculiar.

Slowbro on Thee Facebooks

Creature Lab Records website

 

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Monte Luna Update on Progress for Second Album Due in 2019

Posted in Whathaveyou on November 5th, 2018 by JJ Koczan

Normally I’d probably play it lazy and just include the video studio update from Monte Luna at the bottom of this post and leave it at that, but you know what? Their 2017 self-titled debut (review here), which was picked up by Argonauta Records and issued on vinyl earlier this year, is definitely worth another visit with its assault of longform sludge and doom groove, so yeah, I pretty much had to include that too. So much for lazy. Three or four extra clicks and one cut and paste later, I’m profoundly exhausted, not to mention riffed to a pulp.

The good news, though, is that the Austin, Texas, duo are nearly done with the record. They’ve finished the process of actually recording — a big step, I think we can all agree — and they’re having the album mixed before sending off to Chris Fielding at Skyhammer for mastering. As it happens, Fielding also mastered the debut, so if you’re wondering what that might sound like, again, the player’s at the bottom.

I’ll hope to have more to come on this one as we get closer to the release. Looks like there’s plenty of good news to come.

From the PR wire:

monte luna

STUDIO UPDATE: MONTE LUNA TO FINALIZE BRAND NEW ALBUM!

MONTE LUNA is the experience for the experienced spirits, reaching deep into your soul with a sledge of the heavy as hell doom sounds. After their critically acclaimed debut album self-released in 2017, the Austin-based duo and brainchild of James Cl and Philip Hook have signed a worldwide deal with Argonauta Records, who re-released MONTE LUNA’s debut on Vinyl this summer and who are set to release the band’s sophomore album during 2019!

Currently in the Matador Studios in San Antonio Texas, the band has now checked back with some update! “Hello everyone! James and Phil here from the Studio! The album is coming along smoothly! We have been able to record all of the album tracks, in addition to that, we have recorded 3 songs that will not be featured on the album! What we will do with those songs is unclear at this time. Once we have the album mixed we will be sending it off to Chris Fielding at Skyhammer Studios for Mastering. We could not be more excited to show you all the new music! It is not going to be the same album as our self titled, some things have changed, but at its core it is still Monte Luna. Much love to you all! We can’t wait to give you some new music!”

Known for their interminable doom tracks, although the new album songs may be shorter than usual and the record will mark a change for the band, MONTE LUNA will keep leading you into another dimension and a challenging trip to fill your musical voids, and are hard at work to deliver their strongest work to date. Recommended for fans of Yob, Conan, Cough among many more heavyweights of the doom, the album release date alongside cover art work and some first tunes will be unleashed over the next upcoming months. Stay tuned for many more news as well as extensive tour plans by the band to be unveiled soon!

www.facebook.com/pg/MonteLuna666
www.monteluna666.bandcamp.com
https://www.instagram.com/monte_luna_tx/
www.argonautarecords.com

Monte Luna Studio Update

Monte Luna, Monte Luna (2017)

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Mark Deutrom Sets Jan. 4 Release for The Blue Bird; Streaming “The Happiness Machine”

Posted in Whathaveyou on October 25th, 2018 by JJ Koczan

mark deutrom

You know, I could go on about Mark Deutrom‘s career, his history as a solo artist, that time he played bass when the Melvins were good, or the stuff he did in Clown Alley, or with Bellringer — the latter of which is being reissued — but the bottom line is pretty simple: He does good work, you should listen to it. Okay. Fair enough.

His upcoming LP on Season of Mist is called The Blue Bird, and the details for it are out now as well as the streaming song “The Happiness Machine.” I haven’t had the pleasure of digging into the full record yet, but the art deco cover is killing me and the leadoff single — also the penultimate track on the album — is right in line with what Deutrom does best: foster traditionalist songcraft with just an edge of the weird running alongside. If you have the chance, it’s well worth your time.

The cover is by Jennifer Deutrom and the info came down the PR wire. Preorders are up now:

Mark Deutrom The Blue Bird

MARK DEUTROM (ex MELVINS bassist) will release his highly anticipated new album ‘The Blue Bird’ on January 4, 2019. The first work under the Texan’s own name in almost six years, ‘The Blue Bird’ is a full album listening experience; it explores melody, space, nuance, and volume as it flows from track-to-track like a prismatic audio storybook. From the classic unconventional heaviness of tracks such as “The Happiness Machine”, to the fever dream haziness of the “Somnambulist”, through the moody “The Day Has Come”, Deutrom moves from strength to strength without ever letting his foot off the gas. ‘The Blue Bird’ is rock grandeur, oozing poise and purpose, and has all the Deutrom hallmarks to be an abiding piece of heavy rock history.

DEUTROM is sharing the first new track from ‘The Blue Bird’ titled “The Happiness Machine” now.

Regarding the track and album unveiling, MARK DEUTROM comments, “Happiness is defined as the following: pleasure, contentment, satisfaction, cheerfulness, merriment, gaiety, joy, joyfulness, joviality, jollity, glee, delight, good spirits, lightheartedness, well-being, enjoyment; exuberance, exhilaration, elation, ecstasy, jubilation, rapture, bliss, blissfulness, euphoria, transports of delight; Hollywood ending”

He continues,

“An observation of the machinery at work, and possibly the ghost in that machine. Happiness, always being pursued is perpetually ethereal and elusive.

” in the air, on the web,
on the chain in your head”

The album is about the nature of happiness…or is it?”

‘The Blue Bird’ will release January 4, 2019. Pre-orders for the album are available here.

The artwork, created by Mark’s wife Jennifer Deutrom, and track list for ‘The Blue Bird’ can be found below:

Track List:
1. No Space Holds the Weight
2. Futurist Manifesto
3. Radiant Gravity
4. O Ye of Little Faith
5. Our Revels Now are Ended
6. Hell is a City
7. Somnambulist
8. Maximum Hemingway
9. Through the Ringing Cedars
10. They Have Won
11. On Father’s Day
12. The Happiness Machine
13. Nothing Out There

DEUTROM recently announced the reissue of “Bellringer”, the last in the series of reissues via Season of Mist. The prolific musician’s forward-thinking album titled ‘Bellringer’ will be available again worldwide on November 30. Pre-orders for ‘Bellringer’ are available here.

https://www.facebook.com/markdeutrom/
https://markdeutrom.bandcamp.com/
https://www.facebook.com/seasonofmistofficial
https://www.twitter.com/seasonofmist

Mark Deutrom, “The Happiness Machine”

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Kyle Shutt of The Sword Announces First Solo Album Due in 2019

Posted in Whathaveyou on October 12th, 2018 by JJ Koczan

As always when a band calls it quits, there’s some question as to what’s next for its component members. Some do nothing. Some form other groups with other former members of other former bands. Every now and again, someone goes solo, and that would seem to be the intent — or at least one of the intents — of The Sword guitarist Kyle Shutt, who in the wake of his main outfit going on hiatus is both taking his heavied-up Pink Floyd tribute project Doom Side of the Moon on the road for select dates this Fall and embarking on a first-ever, he-plays-everything solo album set to release in May 2019. He’s got a crowdfunding campaign set up for the album now wherein, among other assorted rewards, he offers for $3,000 to cover any song you want, and in the video he dares someone to raise the money on GoFundMe and make him do “Total Eclipse of the Heart.” Fair.

The PR wire brings word of these sundry doings and more:

kyle shutt (Photo by Mateo Leyba)

The Sword Guitarist Kyle Shutt Announces Plans to Release Solo LP

Acclaimed Musician Launches Incentive-Driven Kickstarter Campaign to Fund Solo Debut; Album Slated for May 2019 Release

Celebrated guitarist and multi-instrumentalist Kyle Shutt has announced plans to release his first-ever solo album in the spring of 2019. Shutt, who has spent the last 12 years touring the world as guitarist for the award-winning hard rock band The Sword, and just last year launched Doom Side of the Moon: a Heavy Metal Tribute to Pink Floyd, plans to play all of the instrumentation on the solo release and handle vocals, as well. The musician has launched a fan-friendly Kickstarter campaign to fund the project, which is slated for a May, 2019 release date. For full details on the campaign, which runs through October 31, visit this location.

“I love producing albums and rolling up my sleeves to tackle big challenges,” says Shutt. “While wondering what to do with a mountain of material not necessarily fit for any band that I am in, I heard a tiny, very loud voice telling me to make a solo album in that very sense, solo! I’ll be hitting those drums, slapping that bass, singing those lyrics, and absolutely shredding that guitar. If there’s something that makes a noise I like, I’m playing it. Now, while making albums is a load of fun, it’s also a load of work that, in 2018 doesn’t come cheap. That’s why I thought I’d ask you all be a part of the launching of this wacky solo career, which isn’t just stopping with this initial album. I’m starting with this record and will go wherever my inspiration takes me.”

“It‘s not easy being an artist these days, and I truly couldn’t do this without your support,” Shutt continues. “So if you have the faith in me to do my part in saving rock ’n’ roll, pick up a record and a shirt and LET’S DO THIS THING!

Shutt’s Austin-based Doom Side of the Moon project will perform its first-ever national live shows this December with just-announced gigs in Dallas, Denver and Brooklyn in addition to an encore performance in ATX. The autumn itinerary is as follows:

Doom Side of the Moon tour dates:

November 30 Austin, TX Emo’s
December 1 Dallas, TX Gas Monkey Live!
December 3 Denver, CO Bluebird Theater
December 4 Brooklyn, NY Warsaw

“Taking Doom Side of the Moon on the road, and to the sky for that matter for these fly in dates, is certainly the biggest project I’ve ever attempted, and I’d be lying if I said I wasn’t nervous,” Shutt states. “I can only imagine what Pink Floyd felt like taking a show like ‘The Wall’ on the road. Those guys had such astounding ambition, I hope I do them justice by putting on the best tribute I can to their timeless catalog.”

https://www.kickstarter.com/projects/kyleshutt/kyle-shutt
https://www.facebook.com/DoomSideoftheMoon/

Doom Side of the Moon album visualizer

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Duel Touring to Descendants of Crom Fest

Posted in Whathaveyou on September 18th, 2018 by JJ Koczan

duel

After touring Europe last Fall and appearing earlier this year at the Maryland Doom Fest, kickass Texas four-piece Duel will make their way north this month to Pittsburgh to take part in the festivities at Descendants of Crom 2018. They join a lineup there that features Mos Generator, Come to Grief, Worshipper, Forming the Void, Curse the Son and a vast slew of others, and they go supporting their indelicately-titled 2017 sophomore outing Witchbanger (review here), having also followed that up this past Spring with the live album, Live at the Electric Church (review here).

That live record made a pretty good case for seeing Duel onstage, but they’re quickly and rightly earning a reputation either way, and it seems that the more they tour, the more they should. Being on the road only helped them to solidify their approach between their 2016 debut, Fears of the Dead (review here), and the subsequent offering, and one only hopes the thread of progression in songwriting and performance will only continue as they perhaps work toward a new album in 2019. Pure speculation there, but they’d be due.

Anyway, it’s a quick string of dates around Descendants of Crom and you’ll find them below, courtesy of the PR wire:

Duel septmeber US tour 2018

DUEL ON TOUR

DUEL is heavy psychedelic stoner doom metal from Austin, Texas. Hugely influenced by the darker sounds of early 70’s Proto-metal. Features two ex Scorpion Child (Nuclear Blast)members. Their sound is menacing and brutally old school. Total purists, their tunes cut right to the bone with heavy, deep groove and blistering tone. Tough and Loud! Hard rock as it should be!

Our beloved “apple” rockers DUEL will smash US in 3 weeks, you can’t miss them !!!

Duel live:
25.09.2018 – Growlers / Memphis TN
26.09.2018- Best Friend Bar / Lexington KY
27.09.2018 – 1984 Club / Wilmimgton DE
28.09.2018 – Ortlieb’s / Philadelphia PA
29.09.2018 – Descendants of Crom Fest / Pittsburg PA
30.09.2018 – Little Harpeth Brewery / Nashville TN

DUEL are:
Tom Frank – Guitars / Vocals
Shaun Avants – Bass / Vocals
Jeff Henson – Guitars
Justin Collins – Drums

https://www.facebook.com/DUELTEXAS/
https://duel3.bandcamp.com/
https://www.facebook.com/HEAVYPSYCHSOUNDS/
http://www.heavypsychsounds.com/

Duel, Witchbanger (2017)

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ST 37 Premiere “War Fever” Video

Posted in Bootleg Theater on September 10th, 2018 by JJ Koczan

st 37 (Photo by John Foxworth)

Every now and then a band comes along to remind that if you’re looking for it to make sense, sometimes you’re the one with the problem. Granted, Austin’s ST 37 are past the 30-year mark in offering said reminder, so I don’t necessarily know if “comes along” is the right phrase so much as “was already there,” but you get the point.

With an amalgam of freaked-out noisy punk and even more freaked-out psychedelic freakouts, improv-style and otherwise — there’s time for a little bit of everything in the 14-minute “KBDP,” nestled into side C of the 2LP as it is, let alone anything else in the record’s total 12 tracks/79 minutes — the vibe swings way, way open quickly as the jangly “War Fever” fuzz-grooves its way into a wash with a swath of voices and a deceptively playful bouncing rhythm, some sax, and echoing noise, eerie whispers and pretty much whatever else you want to hear in it. From there, it’s headfirst into the swirling made-up-on-the-spot “Shaper of Worlds” and the massive, organ-led eight-minute linear build of the Elegant Doormats cover “Grey Area,” before another cover, this one of The Vast Majority‘s “Hollywood Cemetery,” adds early-punk fervor to the proceedings.

The grounding effect of that cover, plenty swirling though it is, isn’t to be understated. It’s a kind of structural variety throughout ST 37 that speaks to the narrative circumstance of the album’s making, with recordings begun in 2015 and finished last year after a month-long tour with Japanese weirdo-legends Acid Mothers Temple. Not that ST 37 were exactly hurting for doing-whatever-the-hell-they-want anyway, but there’s an inspired spark behind the drifting rhythm and soaking wet overlaid lead guitar on “Shadesty,” as well as the manic laughter peppered into the later “Rooster Feather Paycheck,” and the tension of the repetitions in “Boss” that give way to the sleepy nine-minute improv “Inward, Please” speak to a will to throw the listener off-course that makes ST 37 both a challenge and an enjoyable listening experience.

In its makeup as well as its runtime, in the horror-surf harmonica of “Snootle y Choobs,” in the maybe-everything’s-backwards “Vengeance of Faces” and the space-consuming resolve of closer “Informed by Death,” there’s a refusal on the part of ST 37 to compromise with itself, and that gives it both an overarching sincerity of expression and a sheen of hypercool that’s an immediate weedout for lighter-weight heads. Real deal noise. You can try not to pass out, but I’m not entirely sure that isn’t the whole idea anyway.

ST 37 came out in late July on Super Secret Records, and I’ve got the privilege of hosting a premiere for the video of “War Fever,” which makes its statement pretty plain in the grainy news footage from a variety of military conflicts — so many to choose from! Interspersed with some live footage of the band in its final minute — you can see founding bassist Scott Telles in the midst of all that churning fluidity — it’s a fitting-enough representation for the track, though as noted above, that’s only the beginning of what the album soon unfurls.

PR wire info follows the clip below. Please enjoy:

ST 37, “War Fever” official video premiere

Super Secret Records proudly presents the new ST 37 double album (following up last year’s 12″ split with Acid Mothers Temple on our subsidiary label Self Sabotage Records).

After playing 30 shows in 31 days all over the US and Canada with Acid Mothers Temple in 2015, ST 37 felt an immediate need to decamp for Ohm Studios to capture some shit-hot lightning in a bottle with Chico Jones at the helm in an attempt to translate the incredible energy that was exchanged between these two psychedelic juggernauts as they battled their way across North America. It seemed as if the Japanese sonic wizards and the Texas space rockers were rubbing off on each other: AMT guitarist Makoto Kawabata guested live several times with ST 37 on the Twin Peaks cover “Just You” and the bands made immediate plans to issue a TP-themed split 12″ 45 with AMT’s version of “Sycamore Trees” (Self Sabotage Records SS-08); AMT bassist Atsushi Tsuyama found himself channeling ST 37 bassist Scott Telles’s lyrics onstage at the Mercury Lounge in Mahattan; and Telles suddenly started adopting Mitsuru Tabata’s idiosyncratic vocal style.

Thus: a band changed translates this newfound energy into a brand new double LP and CD, three years in the making from the initial basic tracks at Ohm through more sessions with Evan Kleinecke at 5th St. Studios to numerous efforts at various band members’ home studios. The new eponymously-titled record is in effect both current (new songs like War Fever, Boss and Shadesty) and timeless, as the band explores its roots with tracks like Houston punk chestnut Hollywood Cemetery and the old Elegant Doormats classic Grey Area.

ST 37 is available on 2xLP vinyl, CD and download on July 27th, 2018 via Super Secret Records.

Bobby Baker – guitars, synare
Bob Bechtol – electronics, tapes, backing vox
Lisa Cameron – drums, percussives, electronics
Joel Crutcher – guitars, lead vox on “Informed By Death”
SL Telles – bass, vox, drones
Matthew Turner – guitars, electronics, tapes
Chris “Sauce” Sorrentino – saxophone on “War Fever”
Michael Chamy – electronics on “Shaper of Worlds” and “Vengeance of Faces”
Kirk Laktas – piano on “Shadesty”
Walter Daniels – harmonica on ” Snootle y Choobs”

ST 37 on Thee Facebooks

ST 37 website

ST 37 at Super Secret Records webstore

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The Well Headed Back to Europe in October

Posted in Whathaveyou on September 5th, 2018 by JJ Koczan

the-well-photo-by-david-brendan-hall

Maybe you’re saying to yourself, “Gee, but didn’t The Well tour Europe just last month?” Correctamundo, your inner-dialogue. That was the Summer tour. This is the Fall tour. And anyway, the thing about going to Europe is once you go, it’s pretty much all you want to do. You get over there and everything’s awesome and old and different looking and they have different cars and not everything is slapped with a corporate logo on it — The Roman Coliseum, brought to you by Supercuts — and yeah, it’s not really much of a mystery why The Well would be headed back so soon. Plus, they’re booked for Up in SmokeDesertfest Belgium and Keep it Low, so who’s gonna argue with their turning it into a three-week run? Jerkwads, that’s who.

They head back over still supporting 2016’s candlelit-good-timer Pagan Science (review here) on RidingEasy Records, and though I was speculating for the summer tour that maybe they’d have a new record out — their debut, Samsara (review here), was released in 2014, so a two-year span between LPs would be on target — I still haven’t heard anything about such doings, so I’ll keep my speculations to myself this time. Lesson (probably not) learned.

Dates and whatnots from the PR wire:

THE WELL TOUR

***THE WELL – EUROPEAN FALL TOUR 2018***

Austin-based power trio The Well blossomed when guitarist/vocalist Ian Graham was fired from his previous band. Determined to redirect his musical focus, Graham hooked up with bassist Lisa Alley and the two began picking out riffs in their east-side garage. Rounding out their sound, they stole drummer Jason Sullivan from Graham’s old band in a tale of vengeance and karma. His solid groove and reckless tribal beat gave the three-piece their ideal primal attack.

Due to their psychedelic doom edge, The Well reap comparisons to Black Sabbath, Sleep, Electric Wizard and Uncle Acid and the Deadbeats. As fans of cult horror films, they embrace the sinister, revel in dark themes and find inspiration in haunting echoes. The dual vocals of Graham and Alley evoke an ancient language that carries a mystic spell..

THE WELL EUROPEAN FALL TOUR 2018:
04.10.2018 IT Roma-Traffic
05.10.2018 IT Pisa-Albatross
06.10.2018 CH Basel-Up In smoke
10.10.2018 FR Lorient-Le Galion
11.10.2018 FR Nantes-La Scene Michelet
12.10.2018 FR Paris-Olympic Café
14.10.2018 BE Antwerp-Desert Fest
15.10.2018 DE Osnabruck-Darty+Dancing
16.10.2018 DE Tubingen-Shedhalle
17.10.2018 CH Basel-Hirschneck
18.10.2018 AT Salzburg-Rockhouse
19.10.2018 DE Augsburg-City Club
20.10.2018 DE Munich-Keep It Low Fest
22.10.2018 DE Berlin-Toast Hawaii
23.10.2018 DE Erfurt-Tiko
24.10.2018 DE Frankfurt-DKK
25.10.2018 CH Olten-Coq D’Or
26.10.2018 CH Frauenfeld-Kaff
27.10.2018 CH Rorschach-Treppenhaus

THE WELL ARE
Ian Graham – Guitars / Vocals
Lisa Alley – Bass / Vocals
Jason Sullivan – Drums

http://www.facebook.com/thewellband
http://thewellaustin.bandcamp.com/
https://www.facebook.com/ridingeasyrecords/
http://www.ridingeasyrecs.com/
https://www.heavypsychsounds.com/

The Well, Pagan Science (2016)

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