Delaware heavy rockers Wasted Theory are going for it, and it’s awesome to see. The Band from a Town Called Bear have lined up their longest stretch of tour dates yet as they seek to support their 2016 NoSlip Records-issued second album, Defenders of the Riff (review here), and the shows they’re playing as they do so are awesome. From May 5 through May 20, they’ll be in the road headed into the Midwest with a healthy focus on Texas, sharing the stage with Zed, Wo Fat, Freedom Hawk, Youngblood Supercult, Irata and a slew of others who seem to be drawn from the ‘bands who are awesome’ file, but even the shows they have in April and June on either side of the actual tour rule. Hooking up with Kingsnake, Solace and Backwoods Payback in Atlantic City? Damn that’s a good show. Foghound, Weed is Weed and King Giant in Maryland? Pretty much a festival.

Not that Wasted Theory need kudos from the likes of me, but, well, kudos and best wishes to them as they hit the road. The opening track from Defenders of the Riff, “Get Loud or Get Fucked,” put it all on the line, and it seems the band are working to live up to that ethic. Right on.

Dates and the announcement came off the PR wire:

WASTED THEORY ANNOUNCES U.S. SPRING TOUR DATES

DEFENDERS OF THE RIFF TOUR 2017

American Weed Rockers Wasted Theory are about to hit the road and have announced a North American tour for the Spring of 2017, with several heavy rock masters in alliance such as Wo Fat, Freedom Hawk, and ZED for select dates, as well as local support acts. In promotion of their second full length album Defenders Of The Riff (released 10/2016 on No Slip Records), Wasted Theory’s tour kicks off on April 14th in Wilmington, DE at the Oddity Bar.

Playing select dates from April to June, they’ll trek through 14 states, from Texas to Michigan, coming back around to the current final date in the federal capital Washington, DC on June 10th.

In addition, Wasted Theory recently world-premiered via Facebook their first video from the ‘Defenders of the Riff’ album, for the song “Black Witch Blues”. Self-produced and even filmed by the band themselves, it was shot entirely on an iPhone and created for less than 20 bucks. If you dig dirty rock n’ roll, bikers, black magic, and devil women then you’ll dig this.

WASTED THEORY LIVE:
4/14 WILMINGTON, DE ODDITY BAR (w/Kingsnake, Backwoods Payback, 91’s)
4/15 ATLANTIC CITY, NJ BONEYARD BAR (w/Kingsnake, Solace, Backwoods Payback)
5/5 BALTIMORE, MD THE DEPOT (w/Foghound, Serpents Of Secrecy, Horseburner, King Giant)
5/6 RICHMOND, VA WONDERLAND (w/Freedom Hawk, I Am The Liquor)
5/7 RALEIGH, NC SLIMS DOWNTOWN (w/Irata)
5/8 ATLANTA, GA 529 (w/Bleach Garden, Toker)
5/9 NEW ORLEANS, LA CHECKPOINT CHARLIE’S (w/Saint Roch, Dead Machine Theory)
5/10 HOUSTON, TX: SATELLITE BAR (w/ZED, Stonework, Society Of Bandits)
5/11 SAN ANTONIO, TX LIMELIGHT (w/ZED)
5/12: AUSTIN, TX DIRTY DOG BAR (w/ZED, Greenbeard, White Dog)
5/13: DALLAS, TX: THE GROTTO (w/ZED, Wo Fat, Crimson Stone)
5/14 OKLAHOMA CITY, OK THE BLUE NOTE (w/Turbo Wizard, Fanghorn Leghorn)
5/15 KANSAS CITY, MO RIOT ROOM (w/Youngblood Supercult, Merlin, Orphans Of Doom)
5/17 CHICAGO, IL LIVEWIRE LOUNGE (w/Spyderbone, Black Road)
5/18 DETROIT, MI NEW DODGE LOUNGE (w/Lavamoth, Euphoria, Seax, Vanlade, Sauron, Mammon)
5/19 CANTON, OH BUZZBIN SHOP (w/Stoneslinger, Red Tape Revolution)
5/20 ALTONNA, PA MCGARVEY’S (w/ King Bison, TBA)
6/9 GAITHERSBURG, MD RAW INK LIVE (w/Foghound, Weed Is Weed, King Giant)
6/10 WASHINGTON, DC SLASH RUN (w/Foghound, Weed Is Weed)

Released in October 2016, “Defenders of the Riff” is a behemoth of testosterone-driven, southern fuzzed biker rock. With accolades pouring in from every heavy rock and metal music enthusiast to catch whiff of Wasted Theory’s riffs, they’re wasting no time in getting back on the road. Catch Wasted Theory on tour in 2017, and get your metal hordes ready for American weed rock’s Defenders of the Riff.

https://www.facebook.com/wastedtheoryband/
https://www.wastedtheory.bandcamp.com/
http://www.instagram.com/wastedtheory/
https://twitter.com/WastedTheory
https://www.facebook.com/NoSlip-Records-866622996702190/
http://nosliprecords.bigcartel.com/

Wasted Theory, “Black Witch Blues” official video

I don’t even know what to say about Roadburn 2017 at this point, which means the annual pilgrimage must be getting close. There comes a moment every year where I just kind of have to throw my hands up, be in awe of the festival’s scope, and leave it at that. As Roadburn announces the lineup for its annual Hard Rock Hideout and who’ll be at the Cul de Sac venue over the subsequent four days — that Thursday lineup pretty much invites one to camp out there all day, but as ever, Roadburn will mean hard choices in terms of schedule — as well as art shows and other odds and ends for its bill, with more still to come, it’s safe to say we’ve hit that point. Hard to type with your hands thrown in the air, and yet here we are.

Most of the fest is sold out, which is about as surprising as a sunrise, but a few single-day tickets remain for those who want to get whatever piece of the action they can. Can’t say I’d blame you. I’ll be there. If you’re going, say hi. I’m the dude with the beard.

From the PR wire:

Cul-de-Sac line up, art exhibitions and more announced for Roadburn 2017

With weekend and Saturday day tickets already sold out for Roadburn 2017 and other day tickets not far behind, there are only a handful of acts and exhibitions still to announce. Following the below additions, there will be just one further announcement ahead of the festival.

CUL DE SAC & NEW ADDITIONS

In keeping with what has become Roadburn tradition, the festival’s fifth and most intimate stage returns to Cul de Sac. Once again, in collaboration with Never Mind The Hype (an independent Dutch music platform for everything heavy, alternative and deviant), we will focus on bringing you the most promising Dutch and Belgian bands, plus others from futher afield. Positioned just around the corner from the 013 venue, the intimate surroundings of the Cul de Sac mean you can get up close and personal with some of the most exciting bands the underground scene has to offer, squeezed in alongside some established acts too!

In 2017 the band that Roadburn is specifically choosing to showcase to our audience is Utrecht’s LASTER. The spotlight of Roadburn Introduces… this year will fall on this Dutch trio; to call them black metal doesn’t do justice to the complexity of each horrific layer of putridity they heap upon our senses. Don’t say you weren’t warned.

CUL DE SAC LINE UP
Thursday:
Ritual Object
Joy
Harsh Toke
Verwoed
Ortega
Bathsheba

Friday:
Ritual Object
Kuro
Zaum
Telepathy
Jonkoklapper

Saturday:
Laster
Bear
Hedonist
Lotus
Mantis
Slow Crush

Sunday:
Sink
Stone in Egypt
Faal
MNHM
Jaye Jayle
Turia

In addition to the full Cul de Sac programme, two more bands have been added to the main Roadburn programme.

Describing their addition to Roadburn 2017 as “a dream come true”, California’s ATALA will bring their hypnotic riffing to the festival ahead of the release of their new album, Labyrinth of Ashmedai, this Spring.

ANTROPOMORPHIA plan to let the murky brutality of their intricate yet straightforward-sounding death metal to do the trick when they welcome Roadburners to their own home town.

ART EXHIBITIONS

Another Roadburn tradition is a commitment to visual arts alongside musical offerings and 2017 is no different. A diverse selection of artists will exhibit at Roadburn Festival this year.

The Two Worlds of MARALD VAN HAASTEREN: Born in Leiden, The Netherlands in 1970, Marald is best known for his collaborative work with John Dyer Baizley on the images and packaging artwork of Baroness latest album, Purple. Being part of the DIY underground scene since the late 80’s, Marald has also been making art for the likes of High on Fire, Kylesa, and Bolt Thrower to name but a few. His distinctive blend of jaw-dropping craftmanship and delicate, compositional sensibility ranges from black and white ink works to full colour paintings, enhanced by digital media – though the basis for Marald’s stunning technical masterpieces, remains hand drawn imagery.

FURSY TEYSSIER – Exhibition of Drawings: Hailing from France, Fursy Teyssier is a visual artist and composer who has refined his talents over the years to entwine a strong artistic identity with mesmerizing aural creations. Teyssier’s band, Les Discrets, is the culmination of all his artistic endeavours, whether it’s his take on shoegaze, post-rock and, of course, black metal, or his work as an illustrator, painter, or animated film director. The band conveys his art, and in turn Teyssier’s artwork captures Les Discrets’ dream-like approach.

Got No Obvious Direction: A Visual Art Exhibition by GNOD: Established in 2007, psychedelic, anarcho, sonic pioneers GNOD celebrate their tenth anniversary as artist in residence at Roadburn 2017. In conjunction with their musical explorations, there will be outsider art on display at the 013 venue by various GNOD-bods.Since 2009, GNOD have based their operations from Salford’s premiere arts venue, Islington Mill. Being influenced by the static and transient artistic community the building has hosted, some pieces have been featured on the band’s early releases, as well as artwork used for their Tesla Tapes label.

ROLAND SCRIVER – Familiar Ink: Not content with levelling small buildings and causing tectonic shifts via the power of six deadly strings, erstwhile Serpent Venom guitarist Roland Scriver is also a visual wizard who works magickal art under the name Familiar Ink, art with an unexpected lightness – both of touch and imbued within the art itself. Come let the light in with Roland Scriver, AKA Familiar Ink, at Roadburn 2017!

HARD ROCK HIDE OUT

Whilst many Roadburners arrive in Tilburg on Thursday, the first official day of the festival, hundreds more arrive the day before. And to keep them out of trouble, or at least contain it, we’re thrilled to announce that The Hard Rock Hideout, Roadburn’s official pre-show party will return on the Wednesday evening at Cul de Sac.

Forging 80s inspired thrash metal, Holland’s own DISTILLATOR, black’n’roll veterans, HERETIC, and Californian riff masters ATALA – yes, them again – will crack one (or more) open and kick off the festival in style.

Artists already announced for Roadburn 2017 include Coven, Warning (playing Watching from a Distance in full), Artists in Residence – GNOD, My Dying Bride (performing Turn Loose The Swans in its entirety), Ulver, Hypnopaz?zu (David Tibet & Youth), Zeal & Ardor, Mysticum, Deafheaven, Chelsea Wolfe, and our 2017 curator, John Baizley who will perform with Baroness, plus many more. Roadburn Festival will take place 20-23 April, 2017 at the 013 venue, Tilburg, The Netherlands.

Tickets (and campsite tickets) are on sale for Roadburn 2017 and can be purchased from this link.

4 day – SOLD OUT
3 day (Thu, Fri, Sat) – SOLD OUT
Thursday only – 59 Euro
Friday only – 59 Euro
Saturday only – SOLD OUT
Sunday only – 54 Euro

http://www.roadburn.com/
https://www.facebook.com/roadburnfestival
https://twitter.com/roadburnfest

Atala, “Levity” official video

It’s a mission so up-front it’s almost blinding. No less so with Wasted Theory‘s second record, Defenders of the Riff, than it was with Judas Priest‘s Defenders of the Faith some 32 years ago, and in no small part because as regards Wasted Theory, the riff and the faith are one and the same. Burl has been a defining feature of the Delaware four-piece’s approach since their inception, and was certainly front and center on Death and Taxes (review here), their self-released 2014 full-length debut.

The crisp 10-track/46-minute run of Defenders of the Riff, which sees vinyl issue through NoSlip Records, might leave one to wonder just exactly from whom “the Riff” is under attack and how an apparent dudeliness-for-dudes defense strategy might play into working against that attack, but the record nonetheless presents a marked forward step in sound from where Wasted Theory were two years ago, bringing a sense of spaciousness to the roll and nod and thrust brought to bear by guitarist/vocalist Larry Jackson, Jr., drummer/lyricist Brendan Burns, bassist Dave McMahon, and guitarist Rob Michael.

With a vibrant, heavy tonal largesse captured over a period of months by Paul Janocha at Ken-Del Studios and Nick Rotundo (who also mixed) at Clay Creek Studio — both of whom also worked on the first LP — a mastering job by Mos Generator‘s Tony Reed and cover art by Alexander von Wieding, there isn’t an angle from which Defenders of the Riff doesn’t demonstrate a more professional, coherent vision of Wasted Theory‘s intent, and, simply put, it brings them to a new level in style and substance alike.

There are a few lyrical themes that emerge as the album plays out. Women and cry-for-help levels of whiskey consumption are two big ones. Seven of the 10 tracks contain some reference to drinking, and at least five to whiskey specifically — notable in that regard is “Belly Fulla Whiskey” — while we hear corresponding tales of devil women, gypsy women, a fire woman in second cut “Black Witch Blues,” a black-hearted woman in “Gospel of Infinity” and, in “…And the Devil Makes Three” alone, a hard-luck woman, a hard-headed woman and a smokestack woman.

Add to those references to fast cars — a GTO makes an appearance in West Hollywood in “AmpliFIRE!” — and nods to heavy rock/metal new and old in “Atomic Bikiniwax” (The Atomic Bitchwax, also Jimi Hendrix‘s Electric Ladyland), “Belly Fulla Whiskey” (mention of a gallows pole and a live wire, à la Led Zeppelin and Mötley Crüe, respectively), “Under the Hoof” (a fever of 103 is exactly what Foreigner had), “…And the Devil Makes Three” (Scissorfight were too drunk to fuck when they covered the Dead Kennedys song of the same name), the penultimate “Throttlecock” (Slayer also showed no mercy) and closer “Odyssey of the Electric Warlock” (more Zeppelin with Avalon and Evermore, some Tool with an undertow and even Mos Generator‘s cosmic ark makes an appearance), and elsewhere, and Wasted Theory seem to be shooting for a very specific notion of consistency, and from the catchy swing at work behind leave-it-all-out-there opener “Get Loud or Get Fucked” and the “Shake Like You” C.O.C.-style boogie of “Belly Fulla Whiskey” to the crunching repetitions of the start-stop riff in “Throttlecock,” they know what they want to represent.

One could push back against the politics of some of it for sure, but what’s inarguable is the development in Wasted Theory‘s general level of craft. Songs range from four to five minutes — the full thrust of “…And the Devil Makes Three” is the longest at 5:29 and uses its extra time wisely in a relatively extended instrumental groove and solo in its second half — and are noteworthy for their straightforward, on-the-one attack.

A “nuthin’ too fancy” approach is basically what the band heralded on Death and Taxes, but Defenders of the Riff builds on that fluidly across its span and brings new depth of production that, since it’s essentially the same team working on it, can only be said to have been purposeful on Wasted Theory‘s part. That development is crucial to understanding their sophomore album, and what it ultimately accomplishes in moments like the solo of “Atomic Bikiniwax” and the slowdown of “…And the Devil Makes Three” is a broadening of Wasted Theory‘s dynamic that stays within the growing range of their songwriting. Near-virulent hooks populate Defenders of the Riff, Jackson‘s vocals indeed snarl up from under a barrage of top quality heavy riffing, and their presentation is thick, full and professional across the board.

I know I’ve said on multiple occasions there are times when listening to Wasted Theory when I don’t feel dudely enough to really appreciate the kind of tire-screeching testosterone-soaked rock and roll they’re metering out, and that holds true at moments on Defenders of the Riff as well — “Belly Fulla Whiskey” with lines like “C’mon little darlin’/C’mon little tease/C’mon and get down on your knees,” or “Atomic Bikiniwax”‘s one-two punch of “And she knows when it’s on/Shake that ass and I’m gone” — but I wouldn’t attempt to deny that for what they’re doing, they’re doing it well and clearly moving forward in their creative processes.

The momentum they build and the structures they inhabit throughout Defenders of the Riff will no doubt feel familiar to experienced listeners, but more than they have to this point, Wasted Theory make those spaces their own and begin establishing their identity in and from them. They don’t sound like they’re finished growing, but they don’t sound like they want to be either, and that might be the most encouraging aspect of Defenders of the Riff overall. Again, I don’t know who’s attacking the Riff, but it should ultimately be glad it’s got Wasted Theory on its side.

Wasted Theory, Defenders of the Riff (2016)

Wasted Theory on Thee Facebooks

Wasted Theory on Bandcamp

NoSlip Records webstore

NoSlip Records on Thee Facebooks

Delaware-based heavy rockers Wasted Theory have signed to NoSlip Records and will issue their second album, Defenders of the Riff, on Oct. 30 through the label. I had the fortune of seeing the four-piece outfit at the third night of Maryland Doom Fest back in June (review here), and much of what they played at Cafe 611 in Frederick was new material that presumably will show up on this follow-up to their debut, Death and Taxes (review here), which was self-released in 2014.

It seemed at that show like they’d really stepped up their game in terms of songwriting and the intensity of their performance, and a Judas Priest-referential title would seem to nod further at the more metal take I sensed from their set, so I guess we’ll just have to wait and see how it plays out when Defenders of the Riff hits the inbox, hopefully sooner rather than later.

I asked drummer Brendan Burns for a quote about the new album, and you’ll find that with the band’s announcement below:

*** New Album & Signing Announcement!!! ***

We are absolutely thrilled as fuck to announce our new album “Defenders of the Riff” will be out October 30th!!!

What’s fucking cooler than that? In the coming months we’ll be releasing the vinyl through none other than NoSlip Records!!!

Ten brand new songs to fuck your earholes with. More info coming down the wire soon… until then, be sure to checkout the badass cover art done by the incomparable Alexander von Wieding!

“We had such a great response to the last album that we knew we had our work cut out for us with this one,” says drummer Brendan Burns. “Writing ‘Defenders’ was the first time we had a consistent and solid lineup intact for the entire writing process. The result, we felt, was a more cohesive album from top to bottom.

“It’s definitely heavier, meatier, faster at times, and has way more balls than anything else we’ve ever done. We bolted the doors of our rehearsal room shut for 8 months, and we wrote the best album that we could. I really think everyone will definitely dig the vibe of this one!”

http://wastedtheory.bandcamp.com/
https://www.facebook.com/wastedtheoryband
https://www.facebook.com/NoSlip-Records-866622996702190/
http://nosliprecords.bigcartel.com/

Wasted Theory, Death and Taxes (2014)