Dave Heumann Announces European Tour Dates

Posted in Whathaveyou on September 24th, 2015 by H.P. Taskmaster

Arbouretum guitarist/vocalist Dave Heumann has announced a round of European dates to support his debut solo offering, Here in the Deep, set for release Oct. 16 via Thrill Jockey. He’ll be bringing a band along with him that includes Arbouretum keyboardist/percussionist Matt Pierce, and will play support slots for the formidable likes of Chelsea Wolfe and Om. Shows are set for the Czech Republic, Germany, the Netherlands and the UK, and the whole thing kicks off in Prague on Nov. 13.

The heavy folk blend of Heumann‘s main outfit, who are on a hiatus of sorts, is a secret kept only too well, so I’m looking forward to hearing what elements he brings to a solo album and how much it does or doesn’t coincide with Arbouretum‘s approach. Side note, I recently picked up Arbouretum‘s 2007 sophomore full-length, Rites of Uncovering, kind of on a lark, and it has likewise owned a portion of my consciousness since.

Dates and background follow:

dave heumann

Great news for Europe! Arbouretum’s Dave Heumann has announced his first ever Euro tour as a solo artist later this year, including dates with Chelsea Wolfe and Om.

He’ll be bringing a fantastic live band with him on this tour featuring Matt Pierce (Arbouretum), and Alex Neilson and Alasdair Mitchell from Glasgow folk-rockers Trembling Bells.

Fri Nov 13th Prague, Czech Republic – Divadlo Dobeška *
Sun Nov 15th Leipzig, Germany – UT Connewitz ^
Mon Nov 16th Berlin, Germany – Magnet Club
Tue Nov 17th Cologne, Germany – King Georg
Thu Nov 19th Schorndorf, Germany – Club Manufaktur
Fri Nov 20th Utrecht, Netherlands – Le Guess Who? ^^
Sat Nov 21st Oxford, UK – Audioscope Festival
Sun Nov 22nd London, UK – MOTH CLUB **
* w/ Chelsea Wolfe
^ w/ OM
** w/ David Morris & Red River Dialect
^^ Protomartyr

Dave Heumann, leader of the beloved Arbouretum, branches out with his debut solo record, Here in the Deep. While Arbouretum was on a year-long hiatus, Heumann continued writing, finding himself with a collection of material that displayed a different style of songwriting than in his past efforts. The recording of these songs gave Heumann a chance to play with a talented group of friends, including Walker Teret of Lower Dens, drummer/percussionist Mike Kuhl, Wye Oak’s Jenn Wasner, and accomplished pianist Hans Chew, among others. The songs on Here in the Deep were arranged with a mind to explore textures outside of what Arbouretum typically embodies. Significantly, Here in the Deep was mixed by John Parish (PJ Harvey, Tracy Chapman, Giant Sand) whose sense for the deep, warm spaces the songs occupy allowed him to give the album a distinct clarity not found on any Arbouretum album. Here in the Deep is a lush showcase of the considerable lyrical, vocal and guitar talents of Dave Heumann and, for the listener, a rich escape.

In many ways, Heumann’s venture out on his own has brought him back to what’s closest to him in life and music while at the same time blazing forth into a brave new frontier as an artist. “I went out to look for tinder, and found myself on fire,” sings Heumann— a simple metaphor for the flames of inspiration burning throughout Here in the Deep. Sometimes it takes a jump off the cliff to discover you can soar.


Dave Heumann, “Ides of Summer”

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The Flying Eyes to Release Poison the Well / 1969 7″

Posted in Whathaveyou on September 23rd, 2015 by H.P. Taskmaster

the flying eyes

Baltimore heavy psych rockers The Flying Eyes recorded their impending single in Brazil. They’ll release it through a label based in Germany. The cover was shot by a Polish photographer. If they hadn’t yet been cemented as an international act — and they have been, make no mistake — this should probably do it. Following up their 2014 Leave it all Behind Sessions mostly-acoustic collection and their last full-length, 2013’s Lowlands (review here), the H42 Records 7″ finds the four-piece taking on The Stooges in a cover mashed-up with their own “Poison the Well,” a track from their 2011 sophomore outing, Done so Wrong (review here).

You can see a video of them playing the mashup live in Germany below, but the studio version was tracked at Estúdio Superfuzz — also where Mars Red Sky recorded their last album — and will be out in three different editions early next year. The label provided the following details:

## The Flying Eyes News ##

After their last years excursion into blues and country-heavy fields, now the The Flying Eyes returns musically to the sound robes of their first albums: Psychedelic Rock!

On their last tour through Brazil, they recorded a mushup of ‘Poison The Well’ and ‘1969’ (Iggy And The Stooges Cover). The Track was mixed and produced by Gabriel Zander in the Super Fuzz Studio in Rio de Janero!

Wojtek Dobrogojski is responsible for the wonderful live shot.

On the occasion of the third anniversary of H42 Records early 2016 the single will be released in three different editions:
– Retail Edition with red artwork
– 3rd Anniversary Edition with orange artwork (Given free only for H42 Records customers)
– Testpress with black/white artwork

More about presale start and street day coming soon….

Adam Bufano- Guitar
Mac Hewitt- Bass and Vocals
Will Kelly- Vocals and Guitar
Elias Mays Schutzman- Drums


The Flying Eyes, “Poison the Well / 1969” Live in Germany

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Wino Wednesday: Spirit Caravan, Dreamwheel EP

Posted in Bootleg Theater on August 12th, 2015 by H.P. Taskmaster

happy wino wednesday

If you’re so inclined, you can go back through the annals of Wino Wednesday and find plenty of Spirit Caravan clips, but their 1999 Dreamwheel EP has never been featured in full. With just five posts left in what’s apparently a series of 200, there’s still some time to correct that and you’ll have to pardon me, but I’m going to take advantage.

Dreamwheel was issued in 1999 as the follow-up to the same year’s full-length debut, the gonna-be-if-it-isn’t-already classic Jug Fulla Sun. No easy feat to be the next release after that record, but Spirit Caravan — then the trio of Wino on guitar/vocals, Dave Sherman on bass and Gary Isom on drums — did themselves a favor in issuing an EP to shift the conversation before moving on to their second and final long-player, 2001’s Elusive Truth. To go with its six-minute opening title-track, the under-20-minute EP, with its strange cover art and songs like “Sun Stoned” and “C, Yourself,” was the first association between Wino and the label MeteorCity, which would continue through the next several years with Spirit Caravan‘s The Last Embrace compilation and the first two albums by The Hidden Hand before that band went on to work with Southern Lord.

Very interested to find out where Spirit Caravan reunion goes in the next several months and beyond. They played the Maryland Doom Fest in June with Ed Gulli (ex-The Obsessed) on drums in place of Henry Vasquez, whose tenure with Saint Vitus continues, but whether or not that’s a permanent change, I don’t know. And further, whether or not they’ll work on new studio material is the real question, if Wino and Sherman will keep going as Spirit Caravan — and one hopes they will — it seems inevitable at some point, but I wonder when or if we might start to hear new songs played live, recording rumors, etc.

We’ll see how it plays out, but until then, here’s Dreamwheel for Wino Wednesday number 196. I hope you enjoy:

Spirit Caravan, Dreamwheel (1999)

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Iron Man Post Live Video of New Song “Eulogy for Queen City”

Posted in Bootleg Theater on July 27th, 2015 by H.P. Taskmaster

iron man

Just what the hell is Dee Calhoun talking about in the new Iron Man song “Eulogy for Queen City?” I have no idea, but man that guy can wail. And “Iron” Al Morris can riff, and bassist Louis Strachan and drummer Jason “Mot” Waldmann groove like madmen, so here we are. Iron Man‘s got a new track out. The rest can be sorted later.

“Eulogy for Queen City” marks the first new song Iron Man have made public since the release of their 2013 full-length and Rise Above Records label debut, South of the Earth (review here). The band have had quite a ride since that album came out, playing the UK for the first time and getting at least a fraction of their due as their tenure moved further beyond the quarter-century mark, but I guess it’s reasonable to have them working on new stuff at this point — been a quick two years since that album showed up.

The clip below — prepare yourself for some cymbals early on — was filmed at the first annual Maryland Doom Fest last month in Frederick, MD, which also featured the likes of Spirit Caravan and The Skull. As much as Iron Man have done in their time, it’s hard to imagine them being at home anywhere more than at a Maryland Doom Fest. Their career is more or less an analog for the entire MD doom scene at this point: Quality over profile, vastly underrated. They certainly seem to be in their element in the video, which was filmed by Michael “Lucifer Burns” Lindenauer.


Iron Man, “Eulogy for Queen City” live at Maryland Doom Fest

Upcoming Iron Man shows:
August 15- Tennessean Sludge Fest (Murfreesboro)
August 28 – All That Is Heavy, Ottawa, ON Canada
August 29 – Toronto (benefit)
Sept 3 – Shadow Kingdom Records Riot (Cleveland)
Sept 26 – Shadow Woods Metal Fest (White Hall, MD)
Oct 2 – Sidebar Baltimore

Iron Man on Thee Facebooks

Iron Man on Twitter

Rise Above Records

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Quarterly Review: Horsehunter, Church, Corpse Light, Sunder, T-Tops, The Space Merchants, Etiolated, Blown Out, Les Discrets, Beast Modulus

Posted in Reviews on June 30th, 2015 by H.P. Taskmaster

the obelisk summer quarterly review

Day one down and feeling good so far. Day two continues the thread of mixing more known quantities with bands either self-releasing or putting out demos, etc., and I like that. More than last time around — last quarter, if you want to use the business-y sounding language for it — I tried to really get a balance across this batch of reviews, posted yesterday and coming up over the next couple days. We’ll see how it works out when it’s over. It remains a ton of stuff, and I hope you dig it. Day two starts right now.

Quarterly review #11-20:

Horsehunter, Caged in Flesh

horsehunter caged in flesh

Pushing their way to the fore of Melbourne’s heavy surge, double-guitar four-piece Horsehunter proffer oppressive tonal crush on the four tracks of their 2LP Magnetic Eye Records debut, Caged in Flesh. The story goes that, unsatisfied the initial recordings weren’t heavy enough, the band – guitarists Michael Harutyanyan (also vocals) and Dan McDonald, bassist/vocalist Himi Stringer and drummer Nick Cron – went back into the studio and redid the entire thing. Mission accomplished. By the time 16-minute opener and longest track (immediate points) “Stoned to Death” is done, lungs are suitably deflated, spines are cracked, skulls cleaved, and so on. They’re hardly the only ones in the world to conjure formidable tonal heft, but it’s the deft changes in vocals – clean here, shouts there, more abrasive at the start of the title-track – and the sense of atmosphere in the three-minute penultimate interlude that really distinguish Horsehunter, as well as how smoothly that atmosphere integrates with the pummel in the second half of closer “Witchery,” attention to detail and awareness of the need for more than just sonic weight boding well for future progression.

Horsehunter on Thee Facebooks

Magnetic Eye Records on Bandcamp

Church, Unanswered Hymns

church unanswered hymns

A staggeringly heavy debut full-length from Sacramento, CA, five-piece Church, Unanswered Hymns was initially released digitally by the band and quickly picked up for a cassette issue by Transylvanian Tapes and forthcoming LP through Battleground Records. One gets the sense listening to the three extended tracks – 19-minute opener “Dawning” being the longest of the bunch (immediate points) – that those won’t be the last versions to come. Psychedelic doom blends seamlessly with vicious sludge extremity, creating a morass engulfing in its tones, spacious in its breadth and unrepentantly heavy, making it one of 2015’s best debut releases, hands down, and a glorious revelry in bleak tectonics that challenges the listener to match its level of melancholy without giving into an impulse for post-Pallbearer emotive theatrics. As thrilling as they are plodding, expect the echoes of “Dawning,” “Stargazer” and “Offering” to resonate for some time to come, and should Church show any predilection for touring in the next couple years, they have the potential to make a genuine impact on American doom. Yes, I mean it.

Church on Thee Facebooks

Transylvanian Tapes

Battleground Records

Corpse Light, Without Form

corpse light without form

Recorded in a day and released by Grimoire Records, the four-track Without Form is slated as the debut from Baltimore atmospheric doomers Corpse Light, but the band have had tracks come out in drips and drabs since getting their start as Ophidian in mid-2012, even if this is their first proper release. Either way, “The Fool” sets up an immediate and grim ambience, the churning lurch from guitarists Keiran Holmes and Don Selner and bassist Aurora Raiten set to roll by Lawrence Grimes (The Osedax) and given earthy aggression by the vocals of Jim Webb. “Lying in State” fleshes out these morose aggro vibes, but it’s with the drop-everything-and-kill peak of the subsequent “R Complex” that Corpse Light hit their angriest mark. If Without Form was just about that, it would be the highlight, but the album’s 29 minutes have more to offer than pissed off tonally-weighted post-hardcore, as closer “Kenophobia”’s clever turns and deceptive forward momentum demonstrate, though a touch of that kind of thing never hurts either.

Corpse Light on Thee Facebooks

Grimoire Records on Bandcamp

Sunder, Demo

sunder demo

Heavy psych four-piece Sunder will make their debut this summer through Tee Pee and Crusher Records with a 7” for “Cursed Wolf,” so consider this notice of the tracks on their not-for-public-consumption demo a heads up on things to come. Their “Deadly Flower” was streamed here this past April, and the band’s previous incarnation, The Socks, released their self-titled debut (review here) on Small Stone in 2014, but with songs like the key-laced stomper “Bleeding Trees,” the ‘70s rusher “Against the Grain,” and the Uncle Acid-style swinging “Daughter of the Snows,” the Lyon, France, outfit continue to refine a style drawing together different vibes of the psychedelic era. “Deadly Flower” was also distinguished by its key work, and as for “Cursed Wolf” itself, the melody reminds of proto-psych Beatles singles (thinking “Rain” specifically), but the groove still holds firm to a sense of weight that’s thoroughly modern, and by that I mean it sounds like 1972. Keep an eye out.

Sunder on Thee Facebooks

Tee Pee Records

T-Tops, T-Tops

t-tops t-tops

Granted not everyone is going to make this immediate association, but when I first saw the moniker T-Tops, I couldn’t help think of like C-grade generic stonerisms, songs about beer and pretending to be from the South and all that. If you experienced something similar in seeing the name, rest easy. The Pittsburgh trio of guitarist/vocalist Pat Waters (ex-The Fitt, Wormrigg), bassist Jason Orr (Wormrigg) and drummer Jason Jouver (ex-Don Caballero) are down with far more sinister punk and noise on their self-titled, self-released debut full-length, riding, shooting straight and speaking truth on cuts like “Wipe Down” and the catchy “Pretty on a Girl” after the tense sampling of “A Certain Cordial Exhilaration” turns over the power-push to “Cruisin’ for a Bruisin’.” “Ralphie” is probably an inside-joke if not a Christmas Story reference, but point is these guys are way less about-to-sing-about-muscle-cars than the name implies and their tight, crisp rhythmic turns come accompanied by vicious tonal force and an utter lack of bullshit, which is a scenario far preferable to that which one might otherwise expect.

T-Tops on Thee Facebooks

T-Tops on Bandcamp

The Space Merchants, The Space Merchants

the space merchants the space merchants

Issued by Aqulamb in the imprint’s standard 100-page art book/download format, the self-titled debut from fellow Brooklynites The Space Merchants seeks to draw a line between psychedelic rock and country. And not pretend country like people with a Johnny Cash fetish because he covered that Nine Inch Nails song one time – actual, bright, pastoral, classic country. Call the results psychtwang and applaud the effort, which works oddly well in a thoroughly vintage context to come across on “Mainline the Sun” like something from a lost ‘60s variety show. Parts of “One Cut Like the Moon” and the later fuzz of “One Thousand Years of Boredom” give away their modernity, but The Space Merchants’ push toward a stylistic niche suits them well, and the intertwined vocal arrangements from guitarist Michael Guggino, bassist Aileen Brophy and keyboardist Ani MonteleoneCarter Logan drums to round out the four-piece – add to the rich, welcoming feel that remains prevalent even as the eight-minute “Where’s the Rest of Life” slips into wah-soaked noise to finish out.

The Space Merchants on Thee Facebooks

Aqualamb on Bandcamp

Etiolated, Grey Limbs, Grey Skies

etoliated grey limbs grey skies

The undercurrent of black metal coursing beneath the surface of Etiolated’s debut full-length, Grey Limbs, Grey Skies, eventually comes to the surface in 10-minute opener “Internal Abyss” and 16-minute eponymous closer, which bookends, but in part it’s the tension of waiting for those rampaging surges that keeps one hooked to the Armus Productions release. Guttural death growls echo up from dense tonal reaches, and tempo shifts, whether in those longer tracks or three-minute lumbering slice “Futility” are fluid, the North Carolina five-piece executing a slow-grinding chug in centerpiece “Exsanguinate,” which seems like a murk without end until the 1:47 “For Your Hell” kicks into a speedier, more blackened rush, guest vocalist Ryan McCarthy joining guitarist/vocalists James Storelli and Walls, bassist Cody Rogers and drummer Elliot Thompson in furthering the already prevalent sense of extremism before “Etiolated,” after a surprisingly peaceful if brooding midsection, plods the album to a close. To say “not for the faint of heart” would be putting it lightly, but if I had a vest and if Etiolated had patches, the two parties would definitely meet up at some point in the near future.

Etiolated on Thee Facebooks

Armus Productions on Bandcamp

Blown Out, Planetary Engineering

blown out planetary engineering

It has not taken long for the discography of UK psych jammers Blown Out to become a populated murky cosmos of its own. Planetary Engineering is released on Oaken Palace Records and finds the three-piece of guitarist Mike Vest (also Bong, etc.), bassist John-Michael Hedley (also Pigs Pigs Pigs Pigs Pigs Pigs Pigs) and drummer Matt Baty (also the head of Box Records) exploring two mesmeric and sprawling instrumentals – one per side – that bend and flourish and hypnotize in organically-concocted swirl. Side A’s “Transcending Deep Infinity” tops 20 minutes and shifts from its spacey build to a low key groove at about 7:30 in, pulsing forward once more amid head-turning repetition, deep echoes and longform nod, culminating in a two-minute fadeout that brings forward “Thousand Years in the Sunshine,” an immediate bass groove and interstellar swirl no less trance-inducing than its predecessor. Cyclical drum fills morph over time behind the guitar and bass, and Planetary Engineering seems to push continually further out until, of course, it disintegrates, presumably as it crosses the galactic barrier.

Blown Out on Thee Facebooks

Oaken Palace Records on Bandcamp

Les Discrets, Live at Roadburn

les discrets live at roadburn

I was fortunate enough to have been in attendance at Het Patronaat in Tilburg when French post-black metallers Les Discrets took the stage at Roadburn 2013. As such, it’s with some trepidation I approach their Live at Roadburn recording on Prophecy Productions – the impression they made live wasn’t something I’d want potentially spoiled or brought to earth by a document proving it was just another set. With Neige of Alcest on bass with guitarist/vocalist Fursy Teyssier, Les Discrets proved to be something really special to those who, like me, were there to catch them, and the eight-track Live at Roadburn – fortunately – captures both the majestic lushness they brought with them and the underlying weight that seemed to add impact to the material. What might sound like post-production mixing on “L’Echappée” or the wash of “Chanson D’Automne” isn’t – it really was that beautiful and that perfectly balanced coming from the stage. A vastly underrated act and a document that reminds of how stellar they were without sullying the memory in the slightest.

Les Discrets on Thee Facebooks

Prophecy Productions

Beast Modulus, Beast Modulus


Brooklynite foursome Beast Modulus seem to care less about meshing with ideas of genre than sticking them in a meatgrinder and seeing what comes out. To wit the riotous chugging of “Cowboy Caligula,” and the blackened thrust of “WaSaBi!” on their self-released, self-titled outing, which leads to dueling growls and screams on the tonally weighted post-hardcore “Fabulous,” and the appropriately mathy turns of the thrashing “Tyranny of Numbers.” Inventive in their stylizations and in where the six songs included on the release actually go – hint: they go to “heavy” – the lineup of vocalist Kurt Applegate, guitarist Owen Burley, bassist Jesse Adelson and drummer Jody Smith have some post-Dillinger Escape Plan vibe in the calculated chaos of “Kalashnikov,” but closer “Killing Champion” is too impatient to even be held by that, the prevailing manic angularity of Beast Modulus ultimately crafting its own identity from the physical assault the music seems intent on perpetrating upon the listener.

Beast Modulus on Thee Facebooks

Beast Modulus on Bandcamp


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Alone Time Stream Bored EP in Full

Posted in audiObelisk on May 21st, 2015 by H.P. Taskmaster

alone time

Chaos, noise, chaos. Or is it noise, chaos, noise? Either way, Baltimore noise rock five-piece Alone Time will issue their debut EP, Bored, on May 26. Tracked, mixed, mastered and put out under the banner of Grimoire Records, the five-song outing clocks in at a vicious, feedback-soaked 14 minutes, and alternates between Black Flag-style lyrical rawness — see “Routine” — and thick-toned ’90s pummel as three three-and-a-half-minute cuts play out with two two-minute cuts between them, surprisingly orderly in its structure and flowing from one song to the next à la a live set even as Alone Time twist and turn and blow out tubes and slay and chaos, noise, chaos. Or is it noise, chaos, noise?

A sudden surge of feedback at the launch of opener “Advice” tells the tale, and all the more so because that’s actually the song starting, not just a kind of introductory formality. The lineup of Adam, Spencer, Ted, Jess and Austyn waste little time in establishing as raw a foundation as possible, and the point seems to be less about holding the material together than letting go of the impulse to try. “Advice” is house-show madness, and the invitation to “Come and See” that follows answers fire with gasoline, a more forward rhythmic drive offset by mathy fret runs and distorted shouts delivered at feverish pace, cycled through twice before “Routine” slams in with its own vaguely directed sear. A alone-time-boredhardcore punk progression emerges from the fray running at full sprint, but it’s soon enough given over to churning thrust as the wheels once again come off and the track tears itself apart.

That, of course, is the idea. Happy accident? Not so much as disaffected expression, but whatever you want to call it, Alone Time have it in spades. Their sound is restless fitting to the EP’s title, and nestled between punk, hardcore, noise and angular technicality — they are playing notes in all those unhinged squibbly parts, after all — it hits on a balance both challenging and familiar, building momentum all the while knowing there’s a brick wall up ahead. “Pills” follows “Routine” and is the shortest piece at 1:54 and the jazziest, but a lurching groove lies beneath all that Eastern Seaboard intensity and that carries through into closer “Drunk at Work,” which begins with what sounds an awful lot like Echoplex before playing intermittent blasts and open, swinging verse lines off each other on the way to an oblivion well earned. It may be the product boredom, but ultimately, the EP doesn’t last long enough to inflict that on the listener. Rather, its frenetic pulse courses through fast and is gone with little ceremony or circumstance, and it’s only afterwards that one might realize how much of the chaos, noise, chaos — or was it noise, chaos, noise? — was by design.

Grimoire has Bored out on tape May 26, limited to 100 copies, recorded, mixed and mastered by Noel Mueller. Full stream follows for the daring. Enjoy:

Alone Time is Adam, Spencer, Jess, Ted and Austyn.

“Bored” was recorded on 3/07/2015 at Hour Haus by Noel Mueller of Grimoire Records. Mixed and mastered by Noel Mueller/Grimoire Records. Cover art by William Chapman. © 2015 Grimoire Records.

Amazing audio quality from the masters of tape, at National Audio Company. B/W 2-sided j-card, white shells with black imprint, shrink wrapped with love. Edition of 100.

Alone Time on Thee Facebooks

Grimoire Records on Bandcamp

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Moving the Earth Fest III Set for June 6 with Borracho, Mos Generator and More

Posted in Whathaveyou on May 6th, 2015 by H.P. Taskmaster

The same tour that’s bringing Mos Generator and Wounded Giant east for the Eye of the Stoned Goat out on Long Island will also make a stop at Moving the Earth III in Baltimore. The West Coast acts will top the bill, which is rounded out by a who’s-who of Baltimore and nearby bringers of heavy, including Philly’s Wizard Eye and Delaware’s Wasted Theory. I’m expecting news any minute now about the new Foghound record, and they just played Sludgement Day in MD as well and will also be at the Maryland Doom Fest. I’d paint it as different festivals vying for supremacy — I haven’t mentioned Autumn Screams Doom or Vultures of Volume yet — but I think it’s more just that there’s a ton of killer heavy shit from Baltimore and the surrounding area, so getting together a bill of seven or 15 or 30 righteous acts makes more sense than not. Hell, if I lived there, I’d probably do it too. Plus, the door’s dirt cheap, so what the hell?

Lineup for Moving the Earth III and poster by Bill Kole of Ol’ Time Moonshine follows, yanked from the Thee Facebooks event page:

moving the earth iii

Moving The Earth Fest 3!!!

Saturday, June 6
The Sidebar
218 E Lexington St, Baltimore, Maryland 21202

Moving The Earth Fest’s 3rd edition features 2 kickass bands on tour from the great northwest in MOS GENERATOR and WOUNDED GIANT!!!

Moving The Earth Fest 3 headliners MOS GENERATOR ( Ripple Music/ Small Stone Records) are coming all the way from the Great Northwest to rock your face off!

Joining them on this edition are…
DC sonic bulldozers, *BORRACHO*
Delaware’s riff slinging sons-a-bitches *WASTED THEORY*
Bmores own heavy/fuzz/riff-rock destruction machine, *FOGHOUND*
Philly heavy/stoner rock spellcasters, *WIZARD EYE*
Annapolis heavy/psych mountain movers *MOUTAINWOLF*
And last but not least… Charm City’s *PEARLY GOATS* kick things off in smokin’ style!

will also be spinning killer vinyl all night long between sets!

Kickass event poster by Bill Kole!

Come early, stay late! All killer, no filler!

Doors at 6pm + $13 ( cheap!)


Borracho, “I’ve Come for it All”

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Corpse Light Announce Without Form LP to Be Released May 19

Posted in Whathaveyou on March 31st, 2015 by H.P. Taskmaster

corpse light

If you’d like a quick lesson in efficiency — and hey, I know we all would — look no further than going Baltimore concern Grimoire Records. Earlier this month, a mere 16 days ago, the label’s Noel Mueller and Phil Doccolo had fellow Baltimore natives Corpse Light into the Grimoire studio. The five-piece band recorded four songs with Mueller at the helm, they were subsequently mixed and mastered. At some point in there, artwork happened and bam, a May 19 release date has been set for Without FormCorpse Light‘s full-length debut, through Grimoire Records. Not a bad a-to-z in 16 days.

Grimoire was threatening notice of the mix’s heft as early as March 17, and the eight minutes of “Lying in State,” which was unveiled today as the first audio to come from the album, make good on that promise, taking post-sludge and doom cues and putting them to punishing use. Slow guitar triumph plays out over a pretty significant span, but I have my doubts that “Lying in State” is the whole story when it comes to Without Form, and that Corpse Light have a couple more tricks up their sleeves than the formidable rumbling and growling on hand here. Or, you know, if not, this is still probably enough to carry them through a record. We’ll see when it hits, I guess.

Info on the recording is below, followed by “Lying in State” itself:

corpse light without form

Epic, pummeling doom from Baltimore for fans of Neurosis, Cult of Luna, Mouth of the Architect. Available 05/19/2015 on CD/cassette/digital download through Grimoire Records.

Corpse Light is Jim Webb {Vox}, Larrigold Grimes {Drums}, Aurora Raiten {Bass}, Keiran Holmes {Guitar}, and Don Selner {Guitar}. Guest vocals on Lying in State by Noel.

“Without Form” was recorded on 03/15/2015 by Noel Mueller of Grimoire Records. Mixed and mastered by Noel Mueller/Grimoire Records.


Corpse Light, “Lying in State”

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