[Click play above to stream Quin Galavis’ My Life in Steel and Concrete in full. Album is out now on Super Secret Records.]
True, the new double-LP My Life in Steel and Concrete from Austin-based singer-songwriter Quin Galavis might be singular in the construction of its title, and in the moniker of the performer who indeed is at its core, but it’s far from a solo offering. Long ways off. The Super Secret Records release, which spans 20 tracks/75 minutes of has-a-lot-to-say varied craftsmanship, instead often boasts the sound of a full four-piece, if not more, and like Galavis‘ prior work under his own name (as opposed to his work with bands like Nazi Gold, False Idol and The Dead Space), it brings in a host of guests from around Austin’s populous weirdo scene, including Thor Harris (Swans), and in the past, Eva Vonne of Sans Soleil.
Songs jump from style to style easily, from the joyous and string-inclusive Wes Anderson-ready indie of “Can’t Erase” to the more raging noise punk of “Dead Born,” blown out vocals and all, but being disjointed seems to be part of the fun for Galavis and company. Each side of the 2LP receives a subtitle — A is ‘The Tragedy of Miss Foster,’ B ‘The Long Walk of Mr. Morrow,’ C ‘The Tears of Lady Guadalupe’ and D ‘The Ancient Fire of Northway’ — but if there’s some narrative connecting them, I wouldn’t dare speculate as to its plotline.
Also worth noting that none of the characters mentioned in those subtitles are Galavis himself, so it’s entirely possible that My Life in Steel and Concrete, despite its autobiographical and somewhat indulgent veneer, isn’t about Galavis at all. Not knowing is part of what ultimately makes the record fun, in a similar fashion to how, as one track moves into the following à la the post-grunge crunch of “Distaste” going right into the Angels of Light-style neofolk of “Glorious Man,” it’s never quite clear what’s coming next. These shifts are stark, as noted, but what anchors My Life in Steel and Concrete across its considerable breadth is the songwriting.
No matter in what form Galavis and company — in the past his band has included Graham Low on bass/cello, Shelley McKann on keys/glockenspiel/vocals and Matt Hammer on drums, but the exact lineup here is unclear — choose to express this kind of post-modern disaffection of caring too much to care at all, it comes through with a defined structure, each track a world that seems to have its own rules and parameters that become clearer as it progresses, from the stomp and jangle of foreboding opener “Hand of Light” through how “Manuel’s Rose Garden” and “Powell’s Rose Garden” seem to mirror each other despite the varied theatrics contained within them.
Galavis is hardly the first songwriter to show range, but even more impressive are the turns of mood My Life in Steel and Concrete makes as it plays out and the fact that as the darkened echoes of “Turn You In” and the wrenching intensity of “Hate” move through the push of “Be Patient” into the minimalist pastoralia of “A Gift for Salt,” there’s no dip in the quality of execution or the seeming purposefulness of the arrangements. As easy as it is to tag Galavis as “experimental” and be done with the issue of classification — about as descriptive as tagging the moon as “round” — there’s very little even in the feedback peppering “Vile and Disgusting” that feels accidental.
Each side ultimately has its personality, though I’ll admit that’s harder to get a handle on in digital form than it probably would be on the vinyl, and a darker ambience unites much of the material, but Galavis saves some brighter moments for the final movement. “Idumea” — the title from a region in Southern Israel — is a retitled take on the 18th century hymn sometimes simply called “And am I Born to Die,” which Neil Young, Steve Von Till and Current 93 have also recorded in years past. Galavis‘ version is a stunner of a violen-led duet following the poetic drama of “Powell’s Rose Garden,” duly mournful but effective in capturing the feeling that they might be leading a chorus in a small, box-shaped church.
The subsequent tracks, from the swinging “Tree Burning” to the banjo-inclusive ramble of “Those Little Dreams” and into the Elton John-esque piano ballad of closer “Wake Up” let go of some of the severity of earlier cuts like “Dead Born” or “Hand of Light” or “Hate,” and if there is a narrative thread telling a story in My Life in Steel and Concrete, one imagines the album’s final side is where that story finds its resolution. In this way, ‘The Ancient Fire of Northway’ becomes a kind of exhale through which Galavis et al can at last breathe out, and the sense of relief is palpable from “Idumea” onward to the end.
Could it have been two albums instead of a 2LP? It probably could’ve been three, each with a different aesthetic, but the diversity of the songwriting and the immersiveness of the work as a whole would lose impact were such capitulations toward accessibility made. It’s supposed to be a challenge. That’s the idea.
Posted in Whathaveyou on August 9th, 2016 by H.P. Taskmaster
Having already shown their riffly wares at Heavy Metal Parking Lot 3 at SXSW in their native Austin, Texas, and traveled north to Colorado for the Denver Electric Funeral fest, heavy rock trio Greenbeard have announced intentions to show up in further illustrious spaces — Psycho Las Vegas, Northwest Hesh Fest, Stoned Meadow of Doom — throughout the next month-plus. They’ll reportedly also be recording a new album with Matt Bayles to follow-up their well-received Stoned at the Throne for Sailor Records, which is an action preceded by the new single “Love Has Passed by Me,” for which they also happen to have a new video.
Bottom line? No shortage of news from these cats. By all means, dig in below:
Greenbeard announces video release, tour schedule, and recording of new album.
Sailor Records band, Greenbeard, agrees to upcoming studio session with Matt Bayles in Seattle, WA. Greenbeard is also releasing a music video for their upcoming single, “Love has Passed By Me” with Washington based video production company, The Dead Suits. In addition, the band will be playing a string of high profile shows in the upcoming months. Further action includes a live video/lighting theater tour featuring the visual artwork of Federico Moreno.
Matt Bayles is a Seattle based producer operating his studio, Red Room Recording. Bayles has recorded and produced bands including Isis, Soundgarden, Minus the Bear, Mastadon, Botch, and Fall of Troy. Bayles will be working with Greenbeard on recording their upcoming record (title TBD) which will be released in mid 2017 on Sailor Records.
The Dead Suits is a Washington based video production company helmed by Editor/Videographer, Tony Moser. Greenbeard collaborated with Austin videographers, Jay Conlon and Andrew Simonds, to shoot local footage with the band, which was sent over to Moser to combine with his footage shot in Kennewick, WA. Greenbeard met Tony while on tour, playing a show at Ray’s Golden Lion in Eugene, Oregon. Months later, Tony reached out to the band proposing his interest in producing a music video with them. Coincidentally, Greenbeard was in search of a videographer to produce a music video for their recently recorded single, “Love Has Passed By Me”.
“Love Has Passed By Me” is the new single released by Greenbeard recorded and mixed by Miles Randall in Austin, TX. Eric Wofford of Cacophany Recorders mastered the track. Wofford is an esteemed contributor to Austin’s recording scene. Notable works include The Black Angels, Ume, White Denim, Okkervil River, and Lord Buffalo.
Federico Moreno is a filmmaker, live video projectionist, and lighting artist residing in Austin, TX. Federico has worked with Bob Mustachio, Uncle Acid & The Deadbeats, Dead Meadow, and Austin’s Levitation festival helping to produce living and fluid lightscapes interlaced with video. Moreno and Greenbeard are working together on producing a theatrical video performance to be housed in theaters across the country for late 2017.
Greenbeard’s upcoming show schedule is filled with exciting festivals, and the band will be rubbing shoulders with a number of class acts. – 08/24/16. Psycho Las Vegas (Hard Rock Hotel & Casino, Las Vegas, NV) — w/ Fatso Jetson, Mac Sabbath, Electric Citizen, Mothership, and Mudhoney… – 09/02/16. Stoned Meadow of Doom (The Slowdown, Omaha, NE) — w/ Weedeater, Egypt, Wofat… – 09/09/16. Video collaboration with Federico Moreno (Texas Theater – Dallas, TX) – 09/24/16. Northwest Heshfest (Dante’s, Portland, OR) — w/ Red Fang, Deafheaven, Uncle Acid & The Deadbeats, American Sharks…
Posted in Whathaveyou on August 5th, 2016 by H.P. Taskmaster
Austin-based heavy rockers Duel made their debut earlier this year with Fears of the Dead (review here) on Heavy Psych Sounds, and today the band announces that the booking wing of the same concern has lined up their European tour, set to include slots at Desertfest Belgium 2016, Keep it Low and the Heavy Psych Sounds Fest as well, where Duel will join Fatso Jetson and others in Parma, Italy, ending their run in the same country where it will have started.
Joining Duel for the stretch will be Komatsu from the Netherlands, who are getting ready to release their new album, Recipe for Murder One, on Sept. 23 via Argonauta Records.
Heavy Psych Sounds announced the dates thusly:
HEAVY PSYCH SOUNDS Records & Booking is proud to announce the dates for the upcoming European Fall Tour of DUEL. The band will be supported the entire tour by Komatsu band from Netherlands.
Tour Supported by Soz Sozconcerts
The tour will feature two great festivals: Desertfest Belgium and Keep it Low Festival!
Tour Dates: 11.10.2016 IT Pescara-Scumm 12.10.2016 IT Viterbo-Secret Show 13.10.2016 IT Ravenna-Bronson 14.10.2016 IT Treviso tba 15.10.2016 IT Lago di Como tba 16.10.2016 BE Antwerp-Desert Fest Belgium 17.10.2016 DE Lichetenfeld-Paunchy Cats 18.10.2016 CH St Gallen-Rumpeltum 19.10.2016 AT Wien-Das Bach 20.10.2016 CH Basel-Hirschneck 21.10.2016 CH Luzern-Bruch Bros 22.10.2016 DE Munich-Keep It Low 23.10.2016 AT Feldkirch-Graf Hugo 24.10.2016 AT Salzburg-Rockhouse 25.10.2016 DE Dresden-Tba 26.10.2016 DE Berlin-Urban Spree 27.10.2016 DE Leipzieg-Liwi 28.10.2016 CH Olten-Coq D’Or 29.10.2016 IT Parma-Mu/HPS Fest 3
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!
Posted in Whathaveyou on July 21st, 2016 by H.P. Taskmaster
As noted earlier this year, Austin rockers Heavy Glow signed to respected German imprint Kozmik Artifactz for the release of their next album. I’m not sure on the status of that next outing, but before they get there, they’ve just reissued their 2014 sophomore outing, Pearls and Swine and Everything Fine (review here), with the label’s usual deluxe, limited edition vinyl treatment. It’s available now and comes either in black or black and orange marble with a matte gatefold cover. Pretty snazzy, and if you’ve heard the record before you already know it has hooks to match.
From the PR wire:
Heavy Glow’s 2nd Album Re-Released!
Heavy Glow’s “Pearls & Swine and Everything Fine” re-released through Kozmik Artifactz (Germany.)
A message from our label in Germany announcing the re-release of our 2014 album “Pearls & Swine and Everything Fine” on very special edition colored 180 gram vinyl, with new artwork, full lyrics, new photos, and gatefold packaging:
Heavy Glow from Austin, Texas are a classic rock trio and they deliver their rock with a fresh and modern vibe. Heavy Glow constructs “Pearls & Swine” on a foundation of fuzz-fueled hard rock, appointed with psychedelically-tinted blues and beautifully textured washes of Motown/Memphis soul. Simultaneously, a punkish verve cattle prods the retro rock vibe squarely into right now.
“Pearls & Swine and Everything Fine” features Joe’s exquisite bass runs while Jared plugs his guitar into rock’s heavy history with nods to Jimi Hendrix, Ritchie Blackmore, and Tony Iommi. At the same time, melodic pop subtlety underpins the album’s heaviest chord stomp moments; witness the swinging soul delicacy of “Fat Cat.”
It’s all welded together by Jared’s totally now perspective, his innate ability to focus his love of rock/soul/psychedelia through a contemporary lens to create Heavy Glow’s modern classicism. Heavy and melodic, raucous & guitar-driven: That’s Heavy Glow!
Vocals/Guitar – Jared Mullins Bass – Joe Brooks Drums – St. Judas
Available as CD & limited vinyl
VINYL FACTZ – 166x black marbled orange (exclusive mailorder edition, handnumbered) – 150x black – plated & pressed on high performance vinyl in Germany – matte laquered 300gsm gatefold cover – special vinyl mastering
TRACKS A1. 45 Shakedown A2. Look What You’re Doing To Me A3. Mine All Mine A4. Fat Cat A5. Love Ghost
B1. Domino (Black Flowers) B2. Hello September (Goodbye April) B3. Got My Eye On You B4. Nerve Endings B5. Headhunter
Posted in Whathaveyou on June 29th, 2016 by H.P. Taskmaster
There hasn’t been any kind of official announcement from the PR wire about it, but savvy social media types that they are, both The Well and RidingEasy Records have been dropping hints about the former’s follow-up to 2014’s most excellent debut, Samsara (review here). The most solid word from the label has come down to confirm the title of the Austin, Texas, trio’s second outing as Pagan Science and an Oct. 14 release date. Preorder info, reportedly, is coming soon.
The Well — bassist/vocalist Lisa Alley, guitarist/vocalist Ian Graham and drummer Jason Sullivan — toured hard behind Samsara, so it seems reasonable to expect that Pagan Science will benefit from that. Like its predecessor, Pagan Science seems to have been tracked at Ohm Recording Studio in Austin, though if it was Mark Deutrom (also of Bellringer) once again at the helm as producer and Chico Jones engineering — the team that handled Samsara — I don’t know for sure. Doesn’t seem unlikely, considering how well that album captured the band’s live sound.
Doesn’t seem at all unlikely either that they’ll hit the road hard once again either before, after or during the release of Pagan Science, but The Well also recently had a song feature as the opening theme of Ride with Norman Reedus, starring the titular actor best known at this point for his role as Dale on The Walking Dead. That’s not likely to hurt exposure-wise either, especially leading into a new record.
RidingEasy‘s announcement was short and to the point. Will keep you posted when I hear more about a firm release date, tour in the US or abroad, or any of that other good stuff.
For now, here’s what the label had to say and the Samsara stream if you’d like a refresher:
[UPDATE 6/30: The PR wire sent the album art as well. It follows here.]
Stay tuned for @thewellband pre-sale info on the new album “Pagan Science” out worldwide October 14th. Are you ready for some new Jams?
Posted in Reviews on June 24th, 2016 by H.P. Taskmaster
This one’s for all the marbles. Or at very least tiddlywinks. The last day of The Obelisk’s Summer 2016 Quarterly Review begins. I’ll admit that when I was planning this out — started soon after the last Quarterly Review was finished in early April; that one ran late, this one has run early — I decided to take it easy on myself the last day. Still 10 reviews, so not that easy, but in terms of what’s included today, a lot of is stuff I feel pretty comfortable talking about, whether it’s bands I’ve covered before (which a lot of it is, now that I look at the list) or whatever. If you’ve been keeping up this week, thanks. I hope you found some cool music.
Quarterly Review #41-50:
From the Finnish hotbed of Tampere, Atomikylä made a striking impression with their 2014 Svart Records debut, Erkale (review here), giving a take on psychedelic black metal that was immediately and truly their own in its balance of elements. The band, featuring members of Dark Buddha Rising and Oranssi Pazuzu, return with doom-jazz fervor on sophomore full-length, Keräily, with three songs covering yet-unnamed stylistic reaches and offering a get-to-the-studio-and-see-what-happens experimentalism to go with their plotted course on 18-minute opener and longest track (bonus points) “Katkos,” which is followed by the building horn freakout “Risteily” (9:15), from which a space rock push takes hold on drums, resulting in maddening guitar swirl – because of course – and closer “Pakoputki” (6:55), which consumes with a darker thrust and more up-front blackened vibe that still holds onto some of the psychedelia in its layers of guitar. Keräily progresses effectively from Atomikylä’s debut and highlights just how individualized they are as a group. They continue to have the potential to do really special work, and the argument is easy to make they’re already doing it.
As opener and longest track (bonus points) “Beasts of Prey” careens toward its apex finish near the 12-minute mark and the title-track begins is crashing, harmonized intro before moving into an Alice in Chains-via-stoner verse, the distance Poland’s Sunnata cover on their second full-length, Zorya, begins to really unveil itself. There doesn’t seem to be a genre within the heavy sphere that’s off limits. They never get into death metal, but heavy rock, doom, psychedelia, prog, sludge – it’s all in play at one point or another in Zorya’s five-track/50-minute run. The reason the album works and isn’t just a haphazard mash of styles is because Sunnata, who’ve been active in Warsaw since the last decade, make each one their own and thus bend genre to suit their purposes and not the other way around. They continue to impress through the rush of “Long Gone,” the airy expanse of “New Horizon” and the more brooding closer “Again and Against,” conjuring effective flow from what in less capable hands would be disparate components.
I have kind of a hard time with White Dynomite. Not musically – the Boston five-piece’s new EP, Action O’Clock (on Ripple) typifies their accessible punk rock; a reminder of a time when the style used guitars – but conceptually. Their lineup features bassist Tim Catz and vocalist Craig Riggs (on drums) of Roadsaw, as well as guitarist Pete Knipfing (also Hey Zeus, Lamont), vocalist Dave Unger and guitarist John Darga, and while I can’t argue with the charm of a track like “Werewolf Underwear” or “Evil Ballerina” — the lyric “Tutu woman, too too much for me” alone makes Action O’Clock worth the price of admission, let alone “I got fangs in my pants” from “Werewolf Underwear” – but I haven’t yet been able to listen to the band in the context of it having been six years since the last time Roadsaw released an album, and thinking about years passing, priorities and whatnot. They sound they’re having a blast all the way through, and I won’t begrudge them exploring other influences, I guess I just miss that band.
Pittsburgh newcomers Horehound formed just last year, so one might go into their self-titled debut full-length thinking it’s an early arrival, but in an unpretentious seven-track/33-minute collection of straightforward but engaging doom rockers, the five-piece demonstrate a clear idea of what they want to do sonically. While it may not represent where they’ll ultimately end up as a band, its songs sound fleshed out in terms of direction and the resultant feel on the release is much more album than demo. So be it. A particular highlight is “The Waters of Lethe,” on which a sweeter melody emerges in the guitar and vocals, but neither will I discount the low-end crunch and vocal call-and-response in closer “Waking Time” or the more uptempo thrust of second cut “Sangreal.” Not that Horehound don’t have room to grow, but their initial offering preaches well to the converted and should give them a solid foundation to work from in that process.
Beyond the Hollow Mountain is the first full-length from Portuguese mostly-instrumentalists Sulfur Giant, who bring together influences from classic progressive rock, psychedelia and heavy rock so that when they dip into Iommic riffing on “Vertigo,” it’s no stranger than the peaceful jamming of “Whisper at Dawn,” which follows. Friendly if not exactly innovative, Sulfur Giant’s debut makes its chief impression with the four-piece’s instrumental chemistry, which brings about an easy flow within and between the eight tracks, which having already been issued digitally will see vinyl release later this year on Pink Tank Records. It’s hard to ignore what organ adds to “Evermore,” but “Sea of Stone” sneaks in some vocals amid its thicker-riffing and Sungrazer-style exploration, and “Magnolia” and the galloping “Unleash Fears” follow suit, so Sulfur Giant have a few tricks up their collective sleeve they hold back from the initial roll and gallop of the opening title-track. All the better.
New Planet Trampoline, Dark Rides and Grim Visions
Never say never in rock and roll. From Cleveland, Ohio, the psych-rocking four-piece New Planet Trampoline called it quits in 2008, leaving behind an unfinished album. After coming back together for 2014’s The Wisconsin Witch House EP, the ‘60s-stylized outfit set themselves to the task of finishing what became Dark Rides and Grim Visions, basking in the glow of early Floyd, Beatles and others of the ilk while keeping a harder edge to songs like “Grim Visions” and a healthy cynicism to “We’ll Get What We Deserve” and the tongue-in-cheek keyboard-laced closer “Haunted as Fuck.” Of the several more extended tracks, the nine-minute “Acts of Mania” is the longest, and provides suitable patience and atmospherics to stand up to its scope. All told, Dark Rides and Grim Visions is a formidable journey at 13 songs/68 minutes, but after more than half a decade away, it’s hard to hold New Planet Trampoline having their say against them, particularly when that say is as lush and dreamy as “This is the Morning.”
With their second LP, Cold Winds (on Crusher Records), Gothenburg’s Hypnos seem to be betting that the next step in the retro game is NWOBHM. They make a convincing argument; it’s kind of how it went the first time around, and their songwriting offers a top-notch look at the moment where Thin Lizzy bounce became Iron Maiden gallop, as on second cut “I’m on the Run,” just minutes after opener “Start the Hunt” featured a flute solo. Broken into two sides, each one works its way toward a longer finale – “Det Kommer en Dag” (7:23) on side A and “1800” (8:32) on side B – but sonic diversity and changes in song structure throughout do much to keep Cold Winds from feeling overly plotted, and like their countrymen in Horisont, Hypnos offer a seamless melding of classic heavy rock and metal, soaring and scorching on “Descending Sun (Unrootables White)” and swinging and swaggering immediately thereafter on “Cold September,” both accomplished with unwavering command.
Texas boogie rockers Honky were last heard from with 2012’s 421 – which I’ll assume is the “going to 11” equivalent for getting high – and their eighth outing, Corduroy, finds bassist JD Pinkus (Butthole Surfers, Melvins) and guitarist Bobby Ed Landgraf (Down) hooked up with drummer Trinidad Leal of Dixie Witch and Housecore Records for the release. To call is business as usual for the underrated outfit in the classic swing and grit they hone would only be a compliment, songs like “Baby Don’t Slow Down,” “Bad Stones” and the harmonized “Double Fine” offering soul as much as push, ‘70s influences given a modern kick in the ass throughout as a swath of guests, including Melvins drummer Dale Crover, come and go, perhaps none making their presence felt as much as Rae Comeau, whose work on “Bad Stones” makes that song a highlight – not to take away from the a capella cover of Led Zeppelin’s “Moby Dick,” here retitled as “Mopey Dick,” that closes. Chicanery ensues, booze flows, good times are had for those who’ll have them.
Distinguished as on centerpiece “The Rambler” by their use of organ amid a semi-retro heavy boogie style, French five-piece Cheap Wine recorded Sad Queen – as the cover art says – live for Celebration Days Records. It’s somewhere between an EP and album, and strips away some of the individual track length of their 2013 debut, Mystic Crow, in favor of maximizing the energy put into each piece, the subdued “Intro” and “Opening” that start sides A and B, respectively, aside, though as “Opening” feeds cleanly into the quiet, airy and soulful beginning of the title-track, even that seems to have a tension that builds toward its eventual release, different from the shuffling raucousness of the post-“Intro” opener “Cyclothymic” maybe, but palpable nonetheless. They close somewhat melancholy on “Yesterday’s Dream,” but the complementary guitar of Valentin Constestin and keys of Ahn Tuan aren’t to be missed, nor how well work in concert with vocalist Mathieu Devillers, bassist Valentin Lallart and drummer Louis Morati.
Gurt & Trippy Wicked and teh Cosmic Children of the Knight, Guppy
The UK heavy scene excels at not taking itself too seriously. To wit, Gurt and Trippy Wicked and the Cosmic Children of the Knight get together for a split (on When Planets Collide for CD and HeviSike cassette) and, they call it Guppy and the first two songs are “Owlmegeddon” and “Super Fun Happy Slide.” It kind of goes from there. Recorded together, sharing a drummer and collaborating on the centerpiece, “Revolting Child,” it’s basically two outfits who are close friends coming together to have a good time, but that doesn’t take away from Gurt’s sludgy intensity on “I Regret Nothing” or the nodding heavy rock Trippy Wicked hold forth on closer “Reign.” Taking its title from the two band names put together, one can only wonder if this will be the last conjoined offering Gurt and Trippy Wicked will make, or if there might be a whole school of guppies in the future. Frankly, this sounds like too good a party to only throw it once.
Posted in Whathaveyou on June 24th, 2016 by H.P. Taskmaster
As announced last month, Austin’s Bellringer will make their full-length debut this summer. In addition to that release on Rock is Hell, Bellringer mainman Mark Deutrom will have a vinyl split with Australia’s Dead tomorrow. So what’s new? Well the title of that Bellringer offering is Jettison — presumably calling it “release” would’ve been too straightforward — and two Melvins records that Deutrom played bass on, Stag and Stoner Witch, will be reissued tomorrow on Third Man Records. And that’s enough for me.
The PR wire has it like this:
BELLRINGER: Texas Act Formed By Ex-Melvins/Clown Alley Guitarist Mark Deutrom To Issue Jettison LP Via Rock Is Hell In August
Austin, Texas-based BELLRINGER, founded by guitarist/vocalist Mark Deutrom, has completed the brand new Jettison LP, and is preparing for it to strike this August through Rock Is Hell.
The live vehicle for the music of Deutrom – formerly of West Coast hardcore punk outfit, Clown Alley, and Prick/Stoner Witch/Stag/Honky-era Melvins, and others – BELLRINGER currently also embodies the contributions of musicians James Flores, Aaron Lack, Monique Ortiz, and Brian Ramirez. Recorded in Austin earlier this year, the outfit’s swanky new Jettison album was fully written and produced by Deutrom. The six expansive tracks traverse an immense volume of genre territory with nearly forty minutes of action, fusing elements of psychedelic and exploratory rock with bluesy and jazzy jam elements, all coalescing in the signature Mark D style. Outer-cosmos radioactive dust cloud soundscapes go head-to-head with lush, organic, earthling grooves, while a quirky edge stimulates hallucinations of animated characters colonizing psychedelic parallel existences.
Partnering once again with trusty label counterpart Rock Is Hell, who also released Deutrom’s Brief Sensuality & Western Violence LP+7″, Ruckus Juice 12″, The Value Of Decay 2xLP, as well as titles from his wife Jennifer Deutrom, Burmese, Bulbul, Shit & Shine, and others, BELLRINGER’s Jettison LP will see release am an offset/hand-screened limited edition LP and digital download on August 1st. Stand by for the cover art, audio samples, a video trailer, an official video, preorders, and more as the LP nears release in the coming weeks.
In related news, Mark Deutromhas a split LP with Australian outfit DEAD which sees release on WeEmptyRooms Records this Friday, June 24th, the release limited to 250 copies on 180g vinyl with a hand-screened cover. This will be a vinyl only release, with no digital available in any form. A promo video is available HERE, and is the only way to hear any audio from the release online. The preorder is up HERE for USA customers, and HERE for Australia/Oceania customers.
Additionally, this Friday, June 24th, Third Man Records is reissuing the classic Melvins titles, Houdini, Stoner Witch, and Stag, the latter two of which Deutrom performed on, which sees any of these albums being pressed on vinyl for the first time in over two decades; preoreders are live HERE.
BELLRINGER Live: 7/22/2016 Andy’s Bar – Denton, TX 8/19/2016 Curtain Club – Dallas, TX 9/03/2016 Bang Bang Bar – San Antonio, TX
Posted in Whathaveyou on June 13th, 2016 by H.P. Taskmaster
Austin-based heavy rockers Sweat Lodge recently announced they’d hit the road with Monolord and Beastmaker this August. The band, who released their full-length debut, Talismana (review here), last year on Ripple Music, just completed a long weekender alongside Crypt Trip, and word has come down that they’ve been picked up by Brutal Panda Records for a vinyl reissue this summer.
Already this qualifies them for “got a lot going on” status, but Sweat Lodge will also record a new short release titled Tokens for Hell — presumably you need them on the subway to get there, or maybe you can exchange them for prizes once you arrive — that will follow-up on the Brutal Panda version of Talismana, which again, is due in the coming months.
The PR wire confirms the above:
SWEAT LODGE Sign to Brutal Panda, Announce Talismana Reissue + Upcoming Tour Dates
Brutal Panda Records is proud to announce the signing of Austin, TX quartet SWEAT LODGE. Formed in 2010, the Hard Rock / Heavy Psych / Progressive Rock / Proto-Metal band have released a self-titled EP (2013) and a full-length Talismana (2015), the latter of which will see a vinyl reissue via Brutal Panda this summer. SWEAT LODGE are known for their vigorous live shows and have performed with YOB, Acid King, Earthless, The Sword, Pentagram and many others.
SWEAT LODGE are currently on the road with fellow Texan hard rockers Crypt Trip and have been announced as support for the upcoming summer tour with Sweden’s Monolord and California’s Beastmaker. A full listing of dates is available below.
Additionally, SWEAT LODGE will enter the studio later this year to record a new EP entitled Tokens for Hell, which will see a late 2016 release via Brutal Panda. Details will be announced shortly.
The band commented on the signing:
“Sweat Lodge is really excited about the vinyl reissue of Talismana and our new EP. Killer roster, killer people! Look out for us this summer with Monolord and Beastmaker!”
SWEAT LODGE Live: *All Dates 8/5 – 9/10 with Monolord & Beastmaker* 8/5 Seattle, WA – Barboza 8/6 Bellingham, WA – The Shakedown 8/8 San Franciscio, CA – The Chapel 8/9 Los Angeles, CA – The Viper Room 8/11 San Diego, CA – Soda Bar 8/12 Scottsdale, AZ – The Rogue Bar 8/13 Albuquerque, NM – Launchpad 8/15 Dallas, TX – The Rail Club 8/16 Austin, TX The Sidewinder 8/17 Houston, TX – White Oak Music Hall 8/18 San Antonio, TX – The Korova 8/19 New Orleans, LA – Siberia 8/20 Tampa, FL – The Orpheum 8/21 Ft. Lauderdale, FL – Kreepy Tiki Bar & Lounge 8/22 Orlando, FL – Will’s Pub 8/23 Atlanta, GA – The Masquerade 8/24 Richmond, VA – The Broadberry 8/26 Baltimore, MD – The Windup Space 8/27 Brooklyn, NY – Saint Vitus Bar 8/28 Philadelphia, PA – Voltage Lounge 8/30 Boston, MA – Great Scott 9/1 Toronto, ON – Coalition: T.O 9/2 Cleveland, OH – Grog Shop 9/3 Chicago, IL – The Empty Bottle 9/4 Minneapolis, MN – The Cabooze 9/5 Omaha, NE – Lookout Lounge 9/6 Denver, CO – Lost Lake 9/7 Salt Lake City, UT – Metro Bar 9/8 Sacramento, CA – Starlite Lounge 9/9 Portland, OR – Ash Street Saloon 9/10 Vancouver, BC – Astoria Hastings