Live Review: The Eye of the Stoned Goat 3 in Brooklyn, 07.27.13

Posted in Reviews on July 29th, 2013 by H.P. Taskmaster

Though most of the acts were out-of-town imports, there was a strong familial vibe at The Acheron even before The Eye of the Stoned Goat 3 got started. Not knowing what traffic wonders awaited on a Saturday evening — could be nothing, could be armageddon — I headed into Brooklyn early so as to catch the start of the nine-band bill and got there well in advance of commencement. Plenty of time to sit outside and chat with fest organizer Brendan Burns, who’d later take the stage with his band Wasted Theory, Pat Harrington of Geezer and the Electric Beard of Doom podcast — who were among the presenters of the show along with The Obelisk, Small Stone Records, Wendigo and Burns‘ own Snakecharmer Booking — the cats from Lo-Pan and plenty of others coming through.

It was still sunny out with a few hours of daylight to come, but people were beginning to assemble. Word of the show had spread pretty well, so although people came and went throughout the evening and seemed to split their time between The Acheron‘s venue room and The Anchord Inn, which occupies the other half of the space, there wasn’t any point where I’d say it cleared out, and right up to when Lo-Pan took the stage as headliners, there was a steady build of heads filling the room. The bar next to the stage was certainly busy all night.

Soon enough, though, it was time to go inside as the night started to get underway with Philly merchants of stone, Wizard Eye. From there, it was a one-after-the-next succession of heavy. Here’s how it all went down:

Wizard Eye

They’re veterans of Eye of the Stoned Goat by now, but where the second installment earlier this year in Delaware had them teamed with fellow Philadelphia natives Heavy Temple, Thee Nosebleeds and Clamfight, in Brooklyn, they were on their own in representing the City of Brotherly Love. Not only that, but it was their third show with new drummer Mike in the trio with the dreaded guitarist/vocalist Erik Caplan and bassist/backing vocalist Dave. If there was any anxiety on their part, they didn’t show it. Wizard Eye seemed as comfortable as ever as they nestled into their thick, air-pushing Sleep-style stoner grooves, Caplan moving from his guitar to the theremin at just the moment when it seemed the former wouldn’t deliver anymore wail than that which had already been extracted from it. My overarching impression of the band remains the same as when I saw them in February — they need to get an album out. It’s time and even being 33 percent new, their presentation was tight enough to make me think they’re more than ready to go. Hopefully soon.

Geezer

If Wizard Eye were the stonerly start, then NYC’s Geezer were the answer for anyone looking for a taste of blues, guitarist/vocalist Pat Harrington working in a liberal use of slide while bassist Freddy Villano and drummer Turco filled out a heavy rocking stomp behind the classically fuzzed distortion and gravelly vocals. The band is still fresh off the release of their impressive 2013 Gage EP (discussed here), and they brought that jammier sensibility to their set, seeming right at home in slower progressions that they made move when they needed them to and offering unpretentious drinkin’ man’s music well met by the getting-started crowd. Harrington‘s was among the most believable “whiskey-soaked” style singing that I’ve heard in years, and he and Villano (who also play in Gaggle of Cocks together) obviously had years’ worth of chemistry working in their favor, despite Geezer being a relatively recent advent. Closer “Ghost Rider Solar Plexus” was a highlight, and as they’re reportedly working on a vinyl release for Gage, they seem to be building some momentum going into whatever they have in the works for after that. A solid blues-based heavy rock jam is something I’ll never argue with, and Geezer had that in spades.

Wasted Theory


Up from their home in Bear, Delaware, double-guitar unit Wasted Theory handled themselves well on The Acheron‘s stage, as Eye of the Stoned Goat 3 organizer Brendan Burns sat back for drums behind guitarist/vocalist Jackson, lead guitarist M. Kramer and bassist J., the four-piece striking hard on a balance of post-Down Southern metal and more driving stoner fare. They seemed in good spirits after having performed about a month ago at the Moving the Earth festival in Baltimore, and as they hit into songs off this year’s GodSpeed EP and Jackson swung his guitar around his back, they seemed to have come far even since I got my first glimpse of them earlier this year, locking in some fervent Pepper Keenan-style chugging on guitar while J. gave the riffs a thick foundation to rest on. They were energetic and engaged the whole way through, and though they didn’t pull in the biggest crowd of the night, they capped off with a motor-boogieing new song, Jackson half on guitar, that positioned them well coming out of GodSpeed. By the time they were done with their short set, the fest seemed like it was moving along quickly.

Borracho


I’d reviewed it the day before, so I don’t think Borracho‘s second album, Oculus, would’ve been any fresher on my mind if I’d listened to it on the way to the show. The D.C.-based trio had been out the weekend before for a set of four gigs with Lo-Pan, so I expected they’d be pretty tight and they did not disappoint. Owing to time constraints, they only played three or four songs, starting out with “Empty” and “Stockpile,” the opener and centerpiece from Oculus. Guitarist Steve Fisher has taken to the vocalist role well, and he seemed right at home on both of the Oculus cuts, the set as well giving me a whole new appreciation for the richness of bassist Tim Martin‘s tone. Dense and packed with low end push, it created the waves on which Borracho‘s slower grooves rode, punctuated and given further physicality during the jammier stretches of “Stockpile” by drummer Mario Trubiano. Dipping back to their 2011 debut, Splitting Sky, the trio capped off with the quick burst of “Concentric Circles,” Fisher showing no hesitation to deliver the lines shouting up into a dangling microphone, Motörhead-style. The earlier sets were all pretty short — 25 minutes for the first couple bands, then 30 for the next several — but Borracho had enough time to pack in maximum riffage and give anyone there who’d never seen them before a good idea of where they were coming from as a three-piece.

Lord Fowl

Here’s where I’m at with New Haven, Connecticut, four-piece Lord Fowl. They’re so tight and so professional that on stage they look like they could be playing one of those all-day amphitheater commercial radio shows with a goofy name. You know the ones: “WFUK presents the Summer Fling this Saturday at the Giant Corporate Bank Park,” and so on. Only snag is Lord Fowl don’t suck and all those bands do. It’s been over two years since I first saw them, and while they may not have the same kind of surprise factor going as they did that night, my enjoyment for what they do has only increased as they’ve gotten signed to Small Stone and last year released, Moon Queen (review here). Opening with the same wow-that-cop-is-saying-some-racist-shit sample that starts the song on the album, they kicked into the funk-riffed “Dirty Driving” as guitarists Vechel Jaynes and Mike Pellegrino traded off vocal parts, setting the tone for the rest of their all-too-short set. “Split” and “Hollow Horn” were welcome inclusions, bassist John Conine and drummer Don Freeman locking in with the starts and stops of the latter, balancing classic rock and modern heavy off each other with born-to-do-it ease. I asked Jaynes afterwards and he said a new record’s in the works, which was some of the best news I heard all night.

Supermachine

To my knowledge, no such award was handed out, but if Eye of the Stoned Goat wanted to start handing out prizes for the prettiest guitars, one would almost certainly have gone to Supermachine‘s Jay Fortin. I don’t even play guitar and the sight of his gold-trimmed, hollow-body Gretsch had me in awe, both in look and sound. As Fortin, bassist Dave Jarvis, drummer Mike McNeil and vocalist David Nebbia stepped into the New Hampshire biker rock groove of “Buffalo,” I could hear a touch of the tonality Fortin and Jarvis brought to their prior outfit together, Scissorfight, and while I’m not sure I’ll ever be able to listen to Supermachine and not consider that context — which isn’t really fair to the band, who are going for a different style altogether; it’s also why I’ve not to date reviewed their self-titled debut — there’s no doubt they’re a crisp, clear-headed and heavy four-piece who can put together a dead-on, ballsy set. “Crutch” was absurdly catchy and correspondingly full sounding, new song “Broiled Alive” was, well, also those things, and I came away from their set glad I had seen them before and had some sense of what to expect, since it allowed me more of a chance to relax and take Supermachine in on their own level. That being the case, I wondered if maybe repeat exposure would continue the trend, and if so, I could think of far worse things.

Black Black Black

The first two words in the page of notes I took during the Black Black Black set were “holy” and “shit.” The only New York band on the bill besides Geezer — also the only other act playing Eye of the Stoned Goat 3 besides Geezer that I hadn’t seen live before — Black Black Black took the stage in unassuming-enough fashion and proceeded to demolish the space around them. It was like they decided to bring their self-titled debut (see here, here and here) to life and then punch everyone in the face with it. “Light Light Light” crushed in a manner that threw down a gauntlet that dared Gozu and Lo-Pan to match its weight, and “Pentagram On,” “Wisdom, Knowledge and Fucked,” the raging “ReDeath” and “Son of Bad” brought a zero-genre-allegiance sonic versatility that was lethal in kind to the band’s presentation of the material. As their time wore on — it went quickly, make no mistake — and guitarist Jacob Cox manipulated feedback to add atmosphere to the pummel, I tried to think back to the last time I got a recommendation as good as when Jesse Bartz from Lo-Pan put me onto them. I couldn’t come up with anything. With no loss of energy or assault in their delivery, Black Black Black – Cox, vocalist Jason Alexander Byers, bassist Jonathan Swafford and drummer Jeff Ottenbacher – included two new songs near the end, the latter of which offset a shuffling riff with vocals that bordered on airy before they shifted into their final round of intense bludgeoning. It was, in short, a fucking delight.

Gozu

It made a strange kind of sense to me as I watched Boston’s Gozu load onto the stage that, last weekend, I should be in Boston watching The Brought Low at a show which members of Gozu were attending just to hang out, while this weekend, I’m in New York watching Gozu, who are from Boston, and here’s Ben Smith from The Brought Low, come to check out the gig. I feel like there’s some element of symmetry there and I just don’t have a brain able to process mathematics complex enough to enjoy it. Nonetheless, at The Acheron, Gozu played the heaviest set I’ve ever seen them play. Whether it was “Bald Bull,” the thrashing “Charles Bronson Pinchot” or the boogie-ready “Snake Plissken” from this year’s The Fury of a Patient Man (review here), or “Regal Beagle” from their 2010 Locust Season debut, everything they played seemed to pack some extra bite, and particularly in the case of drummer Barry Spillberg, the band hand-delivered a rager that set back some of their soul influence in favor of showing off hardcore roots, closing out with “Mr. Riddle” from Locust Season, which had thrust enough to its groove alone to justify Gozu’s place on the bill. I don’t generally think of Gozu as putting such an emphasis on heaviness — yeah, they’re a heavy rock band and guitarists Marc Gaffney and Doug Sherman and bassist Jay Grotto obviously have heft to their tones — but this was a different league entirely. They were almost metal, but if metal pulled its head out of its ass and remembered how good it felt to groove every now and again. Whatever symmetry I may have enjoyed in seeing them in New York this weekend, that was trumped easily by their actual performance, which was downright threatening.

Lo-Pan

It had been a long day. Lo-Pan were slated to hit the stage at midnight, and by the time they did — give or take a few minutes, but basically on time — I was long since beat, but already eight bands deep, there was no way I was missing anything the Ohio fuzz rockers had to offer. And I was even gladder I didn’t cut out early once they actually started playing; the setlist was packed with new material. “Eastern Seas” and “Colossus” were aired — familiar titles from recent shows — but “Hunters,” which if I’m not mistaken Jeff Martin said was being played for the first time (don’t quote me), brought out guttural, soulful shouts from the singer powerful enough to cut through the volume of the three players — bassist Scott Thompson, drummer Jesse Bartz and guitarist Brian “It’s His Tone, We’re Just Living in It” Fristoe — positioned in front of him. Light moshing occurred, which I guess is what happens when people 25 and under show up to gigs. New songs were joined by the familiar rush of “Deciduous” and “Generations” from 2011’s there’s-no-hyperbole-left-for-me-to-use-so-I’ll-just-say-it’s-fucking-awesome Small Stone debut, Salvador (review here), but Lo-Pan returned to new material to close out, ending off their set with “The Duke,” on which Martin‘s voice was presented sort of answering itself in delay. The final locked-in groove of that song justified its position as the finale, but when Lo-Pan were done, the shouts of “one more!” were immediate. Bartz had already gotten off the stage, but he came back up and Martin said they’d only do one more if someone bought Scott a shot of whiskey. It arrived during the first verse of “Kurtz” and was fed into his mouth as he played. More moshing ensued — heathens! — and Lo-Pan capped a killer night with a spectacle well worth sticking around to see. Until next time.

The efforts of Brendan Burns in making Eye of the Stoned Goat 3 happen are worth reiterating and commending. The Acheron also made an excellent host for the show — the sound straight through left nothing wanting in either volume, devastation or clarity — and each of the bands stepped up to deliver a fitting answer to the one in front of them, starting with Wizard Eye and ending with Lo-Pan. I got out of Brooklyn on the quick since it was already pushing 1AM, got back to my humble river valley a little after two and crashed out, satisfied that there was no more I could’ve asked of the night.

More pics after the jump. Thanks for reading.

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Black Black Black Interview with Jason Alexander Byers: Acquiring Targets

Posted in Features on May 31st, 2013 by H.P. Taskmaster

The self-titled debut from Brooklyn’s Black Black Black arrived with minimal fanfare. There was no hype machine at work to herald its coming or viral video campaign to tease song snippets. First there wasn’t an album and then there was.

By the account of vocalist Jason Alexander Byers, this follows suit with the general ethic at the heart of the band to be as bullshit-free as possible at all times. His telling of how Black Black Black got together — he moved to Brooklyn from Ohio, knew guitarist Jacob Cox from their shared tenure in Disengage and they started the band with bassist Johnathan Swafford and drummer Jeff Ottenbacher — and his recollections of the three-month songwriting process for the album’s 12 tracks and the two-week recording with Andrew Schneider are the epitome of sans drama. They wanted to make these things happen, and they happened.

For that being the case, however, Black Black Black‘s Black Black Black – you’ll never guess what color the cover is — charts a surprisingly diverse course across its span, from the vaguely ritualized overtones of the “Seance for a Sucker” intro and the noise rock boogie of “Pentagram On,” to which Unsane‘s Dave Curran contributes guest screams, on through the blistering punk intensity of “Redeath” and the dreamy ’90s-style alt melodies of “Lexipro Devil.” Through all this runs a thread of heavy tones captured at their most crisp by Schneider‘s production and a still-lighthearted attitude that comes through in clever titles like “Light Light Light” and “Drum 0))))” even as Byers‘ graphic contributions to the album — a 40-page artbook released with the vinyl through Aqualamb Records, detailed here — leave grim, lasting impressions.

Byers‘ explanation? “You don’t want to do a steady 4/4 all the time. It gets boring.”

Fair enough. Black Black Black will be joining the likes of Lo-Pan, Gozu, Borracho and Supermachine at the Eye of the Stoned Goat 3 fest at The Acheron in Brooklyn on July 27 (more info here) and a follow-up to the self-titled is already in the works. In the interview that follows, Byers gives the background on the band’s origins and some of his theories on how the visual and aural sides tie together.

Complete interview is after the jump. Please enjoy:

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The Eye of the Stoned Goat 3 to Hit Brooklyn’s The Acheron July 27

Posted in Whathaveyou on May 6th, 2013 by H.P. Taskmaster

I’m very, very proud to be involved in helping promote The Eye of the Stoned Goat 3 in the way that I am. After checking out the second in the festival series back in February, it’s an honor to have signed on to help spread the word about the third, which boasts a strong lineup of bands at a choice venue on what I’ve no doubt will be a sweltering weekend night of heavy rock and roll. The fest sent over a victory lap of a press release, which you’ll find below:

The Eye of the Stoned Goat 3 set for Brooklyn, NY

Snake Charmer Booking announces its 3rd installment of its stoner rock and doom metal themed concert event “The Eye of the Stoned Goat”. The event will take place at The Acheron in Brooklyn New York on Saturday, July 27th 2013 at 6pm.

The Acheron, known to the locals as “the second coming of CBGB’s” is the perfect spot to host such a powerhouse line up, including Small Stone Records bands: Lo-Pan, Gozu, SuperMachine, and Lord Fowl. Washington, D.C.’s own Borracho, Delaware band Wasted Theory, and Philadelphia’s Wizard Eye will be making the trip up, while local support will be provided by Brooklyn’s Black Black Black, and Kingston, New York’s own Geezer.

In February 2013, Snake Charmer Booking hosted the second Eye of the Stoned Goat show in Delaware, home of event organizer Brendan Burns. Only a month later, Burns teamed up with Pat Harrington at the ‘Electric Beard of Doom’ podcast to announce that they would be bringing the event to New York.

Some of the bands who have previously played the ‘Stoned Goat events include- Pale Divine, Iron Man, Clamfight, Beelzefuzz, Blackhand, Skeleton Hands, Thee Nosebleeds and Black Cowgirl to name a few. “I’ve been fortunate being able to work with so many great bands, and this time around is no different” according to Burns. “This roster of artists are bands that I enjoy listening to regularly, and I am just absolutely thrilled to be working with them, it’s a promoter’s dream to work with bands that you listen to in your daily life”. Burns has also begun working on his roster for the Eye of the Stoned Goat 4 for 2014.

This summer’s event will also features such sponsors as Small Stone Records, The Obelisk, Wendigo Promotions and Electric Beard of Doom Podcast.

Tickets go on sale May 1st 2013 for $12.00 (online price), and will also be available at the door for $15.00 to first come first served.  For more information, visit www.TheEyeoftheStonedGoat.com.

Ticket Link:
www.ticketfly.com/event/265667-eye-stoned-goat-2013-lo-brooklyn/

Facebook Event Page:
https://www.facebook.com/events/353125964803490/

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The Eye of the Stoned Goat 3 Coming to Brooklyn in July

Posted in Whathaveyou on March 14th, 2013 by H.P. Taskmaster

Presented by Snakecharmer Booking, Small Stone Records, the Electric Beard of Doom podcast and yours truly once I manage to track down my hi res Obelisk logos, the Eye of the Stoned Goat 3 is set to take place July 27 at The Acheron in Brooklyn. It will have only been months since Eye of the Stoned Goat 2 suckerpunched Delaware upside its still-bragging-about-being-the-first-state head (review here), but with a lineup that includes Lo-Pan, Gozu, Supermachine, Black Black Black, Borracho, Wizard Eye, Lord Fowl, Geezer and Wasted Theory, I’m not about to complain.

As I’ll be helping present the damn thing, expect much more to come, including interviews with the artists, reviews and updates on their whathaveyou and maybe even a giveaway if I can square it with the powers that be. Till then, stare at the preliminary flyer below marvel at the wonders summer will bring:

More info at the Thee Facebooks event page, and the Eye of the Stoned Goat website.

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Black Black Black Come to Life with “Redeath” Video

Posted in Bootleg Theater on January 17th, 2013 by H.P. Taskmaster

The day’s wearing on and I was just starting to drag a bit ago when along came this brand new video from Brooklyn’s own Black Black Black for the song “Redeath” from their self-titled album (sort of reviewed here and also here) to wake my ass up and get me through the rest of the day. Black Black Black (which boasts ex-members of Disengage) will release the aptly-named Black Black Black on Aqualamb Records, and just as soon as I stop hemming and hawing over every single fucking letter of every single fucking question, I promise I’ll get a Six Dumb Questions email interview going with them because the album kicks ass. Also hope to see them live at some point in the near future, so keep an eye out for much more to come either way.

In the meantime, here’s the clip for “Redeath,” which will probably take you less time to watch than it took to read the paragraph above:

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Nice Package: Black Black Black’s Black Black Black Artbook

Posted in Visual Evidence on January 4th, 2013 by H.P. Taskmaster

Ahead of the Aqualamb Records release of Black Black Black‘s self-titled debut on Feb. 5 (details here), the label was kind enough to send a promo of the NYC-based heavy/noise rock band’s album. Included as well in said promo was a copy of the limited 40-page artbook designed by vocalist Jason Alexander Byers (ex-Disengage), also a visual artist who’s had gallery showings in Miami, his native Ohio, and current residence in Brooklyn as well.

One of the most impressive aspects of Black Black Black‘s Black Black Black (review here) is how widely the band’s personality varies between tracks, whether it’s the strong hooks of “Wisdom, Knowledge and Fucked,” or the raging NY-style noise of “Pentagram ON,” on which Dave Curran from Unsane contributes guest vocals, or the later despondency of “Lexipro Devil,” memorable for its melody even as it feels detached from reality in a manner befitting its chemical allusion. Elsewhere, chugging riffs like that of “Night Moves” and the even-more-plodding “Light Light Light” give a modern heavy sensibility offset by touches of ’90s alt rock, but no matter which angle you try to approach it from, Black Black Black shows little interest in easy categorization.

So it goes as well with Byers‘ work in the artbook, which ranges from horror schlock to the target-minded interpretations that form the basis of a lot of his style and indeed, the band’s logo above, which draws the eye toward the center and the heart of the work. Also including the liner notes credits, a table of contents and thanks, pages are broken up by each song, with lyrics handwritten over culled and distorted images:

“Pentagram ON”

“Mishandled Cult Funds”

“Soar Like a Spider”

You can see in the sample shots above that the mood is pretty dark across the board, but that the images themselves vary, and I’d say that’s true of the album as well. If nothing else, the book makes an excellent companion to the tracks on the record — which aren’t exactly lacking atmosphere on their own but are made even more vivid all the same. This being Black Black Black‘s first full-length, I hope the blend of aural and visual is something Byers and his bandmates, Jacob Cox (guitar), Johnathan Swafford (bass) and Jeff Ottenbacher (drums) continue to experiment with, since it offers a level of engagement with the material rarely seen in these days of digital minimalism.

Black Black Black‘s Black Black Black is due out Feb. 5 on Aqualamb Records. For more on the band, check out their Thee Facebooks or the label’s site, and for more of Byers‘ art, his website is here.

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Black Black Black Self-Titled Debut Due Feb. 5

Posted in Whathaveyou on December 5th, 2012 by H.P. Taskmaster

Previously On the Radar-ized Brooklyn noisemakers Black Black Black will release their self-titled full-length on Feb. 5, 2013 — the future! — on Aqualamb Records. Strictly speaking it’s somewhere between a reissue and an official pressing, but good for the band either way.

The band features Jason Alexander Byers, formerly of Disengage, on vocals and Black Black Black was recorded by Andrew Schneider, whose studio took a hit from Hurricane Sandy and could use your support here.

As always, the PR wire informs:

BROOKLYN DEATH ROCK BAND BLACK BLACK BLACK’S SELF-TITLED DEBUT OUT FEBRUARY 5 ON AQUALAMB RECORDS

FEATURES MEMBERS OF DISENGAGE

The self-titled debut from Brooklyn-based death rock group Black Black Black is due February 5 via Aqualamb Records. Produced by Andrew Schneider (Unsane, Converge, Pelican, Cave In), the album will be available digitally on iTunes as well as via www.aqualamb.org alongside a vinyl LP and limited-edition 40-page art booklet designed by Black Black Black frontman and former Disengage vocalist Jason Alexander Byers. The record also features a guest vocal performance by Unsane’s Dave Curran on the track Pentagram On. Please see below for full tracklist, album art is attached.

Black Black Black consists of Cleveland ex-pats Jason Alexander Byers (vocals), Jacob Cox (guitar), Jeff Ottenbacher (drums) and Johnathan Swafford (bass).

Black Black Black, the new clan of Brooklyn-by-way-of-Ohio doomsters offer up a big, nasty salute to gas tanks and goat hooves on their self-titled debut that’s ridiculously fun and gritty.

BLACK BLACK BLACK

1. Séance for a Sucker
2. Pentagram On
3. Wisdom, Knowledge & Fucked
4. Light Light Light
5. Mishandled Cult Funds
6. Night Moves
7. Redeath
8. Fever Is Law
9. Soar Like a Spider
10. Lexipro Devil
11. Drum 0)))))))
12. Son of Bad

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On the Radar: Black Black Black

Posted in On the Radar on July 20th, 2012 by H.P. Taskmaster

One thing about getting a phone call from Lo-Pan‘s Jesse Bartz is that the dude is almost always going to have a band recommendation, and generally speaking, it’s a tip you want to follow. Most recently, Bartz put me onto Brooklyn rockers Black Black Black, who feature in their ranks former Disengage vocalist Jason Alexander Byers and guitarist Jason CoxCox also handles Rhodes throughout Black Black Black”s self-titled debut full-length, which was self-released digitally through their Bandcamp page and as a download that comes with an accompanying art book — presumably of Byers‘ work, since he’s a noted visual artist who’s had gallery shows in New York, Ohio and Florida.

The band is rounded out by drummer Jeff Ottenbacher and bassist Johnathan Swafford, but for anyone who encountered Disengage, especially either as they were on 2000’s Obsession Become Phobias or 2005’s Application for an Afterlife swansong, at least some elements remain consistent in the new band. Songs are short and vary in intensity levels but remain consistently intelligent no matter the musical context, and bolstered by Andrew Schneider‘s production and guest appearances from Dave Curran (Unsane) and others, tracks like the catchy earlier cut “Pentagram On” or the later, punkier “Soar Like a Spider” (which boasts one of the record’s best choruses) have substance to back their crisp presentation.

“Pentagram On” opens with a kind of punker shuffle, and the ensuing “Wisdom, Knowledge and Fucked” reminds in its melodicism of some of what made Red Fang‘s Murder the Mountains so potent hook-wise, but the post-doom crashing of “Light Light Light” is coupled with a subdued verse melody and very quickly it becomes apparent that Black Black Black are not looking to be limited sound-wise. “Mishandled” takes the Andrew Scheider drum sound and pairs it with a bassline from Swafford that brings to mind the evocative tidalisms of Akimbo‘s Jersey Shores, and the album wraps with the strong closing trio of “Lexipro Devil,” “Drum 0)))))))” — which, yes, is a drum solo, but an awesomely named one — and “Son of Bad,” which adds Moog and organ to an already potent melody in the guitar and vocals.

As hard as that kind of thing always is to pin down, there are some grunge-type melodies in “Son of Bad,” which “Lexipro Devil” also works to set up with minor key progressions in its intro from Cox and restrained vocals from Byers throughout, which even with the malevolent churn in the bridge is a far cry from the 1:23 punch of “Redeath,” but even that is followed by the bass-heavy “Fever is Law,” the verse of which seems to nod at Arc of Ascent. Clearly it’s a pretty wide breadth they’re working with, and as the record was released in March, I thought I’d pass on Bartz‘s tip in case anyone else wanted to check it out. Here’s Black Black Black, courtesy of the Bandcamp stream:

Black Black Black on Bandcamp

Black Black Black on Thee Facebooks

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