Quarterly Review: Harvestman, Beastmaker, Endless Boogie, Troubled Horse, Come to Grief, Holy Rivals, Mountain God, Dr. Space, Dirty Grave, Summoned by Giants

Posted in Reviews on July 17th, 2017 by JJ Koczan

quarterly-review-summer-2017

Bonus round! I don’t know if you’re stoked on having a sixth Quarterly Review day, but I sure am. Basically this is me doing myself favors. In terms of what’s being covered and how I’m covering it, today might be the high point for me personally of the entire Summer 2017 Quarterly Review. Some of this stuff I’m more behind on than others, but it’s all releases that I’ve wanted desperately to write about that I haven’t been able to make happen so far and I’m incredibly thankful for the opportunity to be able to do so at last. It’s a load off my mind in the best way possible, and as this is the final day of the Quarterly Review, before I dig in I’ll just say one more time thank you for reading and I hope you found something in the past week that really speaks to you, because that’s what makes it all worthwhile in the first place. One more go.

Quarterly Review #51-60:

Harvestman, Music for Megaliths

harvestman-music-for-megaliths

A new Harvestman album, like a harvest itself, is an occasion. Distinct entirely from the solo output released by Neurosis guitarist/vocalist Steve Von Till under his own name, Harvestman’s guitar-led experimentalism and ritualized psychedelia don’t happen every day – the last album was 2009’s In a Dark Tongue (review here) – and with the resonance of “Oak Drone” and the layered, drummed and vocalized textures of “Levitation,” the new collection, Music for Megaliths (on Neurot, of course), lives up to the project’s high standards of the unexpected. Pulsations beneath opener and longest track (immediate points) “The Forest is Our Temple” offer some initial threat, but the electronic beat behind the howling notes of “Ring of Sentinels” and the Vangelis-esque centerpiece “Cromlech” find more soothing ground, and though “Sundown” seems to be speaking to Neurosis “Bleeding the Pigs” from 2012’s Honor Found in Decay (review here) in its atmosphere, the spoken word that tops closer “White Horse” provides a last-minute human connection before all is brought to a quick fadeout. If you told me Music for Megaliths was assembled over a period of years, I’d believe you given its breadth, but whether it was or not, Harvestman’s latest should provide a worthy feast for a long time to come.

Harvestman on Thee Facebooks

Neurot Recordings webstore

 

Beastmaker, Inside the Skull

beastmaker-inside-the-skull

Los Angeles three-piece Beastmaker continue their ascent with their second album for Rise Above Records, the unflinchingly cohesive Inside the Skull. Like its predecessor, 2016’s Lusus Naturae (review here), the quick-turnaround sophomore outing executes a modern garage doom aesthetic and unfuckwithably tight songwriting, this time bringing 10 new tracks that reimagine classic vibes – witness the Witchcraft “No Angel or Demon”-style riff of opener “Evil One” (video posted here) – and touch on some of the same ground pioneered by Uncle Acid without actually sounding like that UK band or sounding like anyone for that matter so much as themselves. They make darkened highlights of “Now Howls the Beast,” “Of Gods Creation,” the crashing “Psychic Visions,” closer “Sick Sick Demon” and the preceding “Night Bird,” which offers some welcome departure into drift prior to the solo in its final minute – all impeccably crisp in structure despite a dirt-caked production – but resonant, memorable hooks abound, and the trio affirm the potential their debut showed and offer a quick step forward that one can only imagine will find them turning more heads toward their growing cult following. They’re still growing, but Inside the Skull is confirmation Beastmaker on a path to becoming something really special.

Beastmaker on Thee Facebooks

Beastmaker at Rise Above Records

 

Endless Boogie, Vibe Killer

endless-boogie-vibe-killer

One can’t help but think there’s a bit of tongue-in-cheekery at play in the inaccuracy of Endless Boogie titling their latest album Vibe Killer. The seven-track/51-minute No Quarter release follows 2013’s Long Island (review here) and is, of course, doing everything but killing the vibe, as the New York-based outfit proffer their nestled-in raw songs crafted out of and on top of improvised jams, the semi-spoken gutturalisms of guitarist Paul “Top Dollar” Major a defining element from the laid back opening title-track onward. Moody rock classicism persists through “High Drag, Hard Doin’” and the more active “Back in ’74,” but the true peak of Vibe Killer comes in the 11-minute “Jefferson Country,” which unfolds hypnotic drone experimentation that’s as willfully ungraceful as it winds up being flowing. Bottom line: dudes know what’s up. Endless Boogie’s languid roll is second to nobody and Vibe Killer is a vision of cool jazz reinvented to feel as much at home in rock clubs of the basement and of the chic see-and-be-seen variety. Very New York, in that, but not at all given to elitism. Everyone’s invited to dig, and dig they should.

Endless Boogie on Thee Facebooks

No Quarter Records webstore

 

Troubled Horse, Revolution on Repeat

troubled-horse-revolution-on-repeat

There were a few minutes there where one probably wouldn’t have been wrong to wonder if Örebro, Sweden’s Troubled Horse would have a follow-up at all to back 2012’s Step Inside (review here), but with Revolution on Repeat (out via Rise Above), the four-piece led by dynamic vocalist Martin Heppich prove among the most vital of the many heavy rock acts to emerge from their hometown, known for the likes of Witchcraft, Graveyard, Truckfighters and countless others. Heppich, lead guitarist Mikael Linder (also bass on the recording), guitarist Tom and drummer Jonas start with the boogie-fied opening salvo “Hurricane” (video premiere here) and “The Filthy Ones,” and run madcap through the memorable hooks of “Which Way to the Mob” and “Peasants” en route to the mid-paced “The Haunted” and into a second half marked by the semi-balladry of “Desperation” and “My Shit’s Fucked Up.” Soon, the standout chorus of “Track 7” (yup, that’s the title) and the penultimate funk of “Let Bastards Know” lead to a nine-minute epic finish in “Bleeding” – and all the while Troubled Horse hold firm to groove, momentum, poise, crisp production and songwriting as they tie varied landmarks together with an overarching sense of motion, Heppich’s charismatic soulfulness and deceptively subtle flourishes of arrangement to make an absolutely welcome return.

Troubled Horse on Thee Facebooks

Rise Above Records website

 

Come to Grief, The Worst of Times

come-to-grief-the-worst-of-times

Sometimes you just have to toss up your hands and say, “Well, that’s some of the nastiest shit I’ve ever heard.” To step back and consider them at some distance, Come to Grief aren’t near the most abrasive band on the planet, but when you’re actually listening to their debut EP, The Worst of Times, that’s much harder to believe. Launching with “Killed by Life,” the four-tracker finds the Boston outfit led by former Grief guitarist Terry Savastano – here joined by drummer Chuck Conlon, bassist Justin Christian and vocalist/guitarist Jonathan Hebert – plodding out scream-topped filth that’s actually fuller-sounding than anything Grief did back in their day and all the more devastating for its thickness. The seven-minute “No Savior” is excruciating, and though shorter, “Futility of Humanity” and even the slightly-faster closer “Junklove” bring no letup whatsoever from the onslaught. Think accessible, then go the complete other way, then bludgeon yourself. It’s kind of like that. Absolute brutality delivered by expert and unkind hands.

Come to Grief on Thee Facebooks

Come to Grief on Bandcamp

 

Holy Rivals, Holy Rivals

holy rivals holy rivals

The question of whether noise rock and sludge can coexist is largely one of tempo and tone, and recently-signed-to-BlackseedRecords Pittsburgh trio Holy Rivals’ self-titled debut answers in forceful fashion. Amid more aggro punch of opener “Locked Inn” comes the crust-laden grunge of “Voices,” and whether they’re rolling out the more spacious “Sleep” or sprinting through the post-Bleach raw punkery of “Dead Ender” on their way to the more ambient and patient seven-minute finale “Into Dust,” guitarist/vocalist Jason Orr (also T-Tops), bassist Aaron Orr (whose tone features well on the closer) and drummer Matt Langille – whose adaptability is essential to the Helmet-style starts and stops of “Loathe” that emerge from the preceding roll of “Sleep” – Holy Rivals put a superficial harshness to use as a cover for what’s actually a diverse songwriting process. They’ll reportedly have a new record out in Fall 2017, so this 2016 self-release may soon be in hindsight, but in setting the foundation for growth, it offers exciting prospects caked in an abidingly raw presentation.

Holy Rivals on Thee Facebooks

Holy Rivals on Bandcamp

 

Mountain God, Bread Solstice

mountain god bread solstice

Around what would seem to be the core duo of guitarist/vocalist Ben Ianuzzi and bassist/keyboardist Nikhil Kamineni, Brooklyn psychedelic post-sludgers Mountain God have undergone numerous lineup shifts en route to and through the release of their debut album, Bread Solstice (on Artificial Head Records). To wit, drummer/vocalist Ryan Smith (also Thera Roya), who appears on the dark, unrelenting and abyss-crafting 40-minute six-tracker, has already been replaced by Gabriel Cruz, and there have been other changes in vocalist, keyboardist and drummer positions even since they offered their 2015 EP, Forest of the Lost (review here) to set the stage for this deeply-atmospheric, it’s-acid-rock-but-with-sulfuric-acid first long-player. In light of that tumult and the overarching commitment to abrasive noise Mountain God make in pieces like the 11-minute “Nazca Lines,” “Junglenaut” or even the brooding tension of airy instrumental “Unknown Ascent,” it’s all the more impressive that Bread Solstice is as cohesive in its cerebral horror as it is, constructing a harsh and churning vision of doom as something worthy of post-apocalyptic revelry. Far from easy listening, but of marked purpose. They should play exclusively in art galleries, no matter who winds up in the band.

Mountain God on Thee Facebooks

Artificial Head Records on Bandcamp

 

Dr. Space, Dr. Space’s Alien Planet Trip Vol. 1

dr-space-dr-spaces-alien-planet-trip-vol-1

Perhaps best known for his work in spearheading the improvisational Denmark-based Øresund Space Collective, modular synth wizard Scott “Dr. Space” Heller weirds out across four cuts on the solo release Dr. Space’s Alien Planet Trip Vol. 1, which both underscores in its scope how essential he is to the aforementioned outfit and oozes beyond that group’s parameters into electronic beatmaking and waves of synthesizer drone. Pulling influence from classic progadelia, Heller unfurls longform tripping on 24-minute opener and longest track (immediate points) “5 Dimensions of the Universe” and veers into and out of somewhat abrasive swirl on “Rising Sun on Mars” before landing in the more steady atmosphere of “In Search of Life on Io” and launching once more outward with the five-minute finale “Alien Improv 2.” Just how many alien planet trips the good doctor will be undertaking remains as yet a mystery, but the breadth of this first one makes it plain to the listener that Heller’s sonic universe is wide open and, seemingly, ever-expanding.

Øresund Space Collective on Thee Facebooks

Space Rock Productions website

 

Dirty Grave, So Fall and Crawl Away

dirty-grave-so-fall-and-crawl-away

Brazilian doomers Dirty Grave issue the three-song single/EP So Fall and Crawl Away (bonus points for the Alice in Chains reference) ahead of making their full-length debut reportedly any minute now with an album called Evil Desire. Comprised of two studio tracks in the eight-minute “The Black Cloud Comes” and the four-minute Howlin’ Wolf cover “Evil (Is Going On)” and with the live cut “Unholy Son – Live” as a kind of bonus track, it’s a sampling behind two similar short releases, 2014’s Vol. II and 2013’s Dirty Grave (which featured a studio version of “Unholy Son”), that sleeks through eerie doom loosely tinged with psychedelia and smoked-out vibing. “Evil (Is Going On)” is more uptempo, perhaps unsurprisingly, but is giving a likewise treatment all the same, its final solo shredding into oblivion with stoned abandon. “Unholy Son – Live” is rawer but still carries through its melody in the vocals amid a prevalent crash, and if it’s a portend of things to come on Evil Desire, then So Fall and Crawl Away serves as a warning worth heeding.

Dirty Grave on Thee Facebooks

Dirty Grave on Bandcamp

 

Summoned by Giants, Stone Wind

summoned-by-giants-stone-wind

If you have a convenient narrative for what West Coast heavy rock has become over the last decade, Summoned by Giants’ debut album, Stone Wind, is probably too aggressive on the whole to fit it neatly. Their cleaner parts, the rolling second cut “Diamond Head” and samples throughout have aspects of that post-Red Fang party vibe, but to listen to the rawness of the bass tone that starts “Return” or closer “I Hate it When You Breathe,” or even the slurring “come at me, bro”-style rant sampled at the seven-track/27-minute album’s launch, a will toward violence is never far off. Couple that with the thickened noise punk of “Saturn” and the Weedeater sludge of the penultimate “Dying Wish,” and Summoned by Giants – guitarist/vocalist Sean Delaney, guitarist Jordan Sattelmair, bassist/vocalist Patrick Moening and drummer Mel Burris – seem more interested in doling out punishment than kicking back, making a silly video and having a good time. Well, maybe they’re having a good time, but they’re doing so while kicking your ass.

Summoned by Giants on Thee Facebooks

Summoned by Giants on Bandcamp

 

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Molasses Barge Self-Titled Due July 28 on Blackseed Records

Posted in Whathaveyou on July 17th, 2017 by JJ Koczan

After wrapping up the recording, mixing and mastering process at the very end of last year, Pittsburgh’s Molasses Barge have aligned to Blackseed Records to issue their self-titled sophomore full-length on July 28. The band, which features members of Argus and Monolith Wielder, are the latest regional representation for the upstart label that shares their hometown and has thus far stood behind offerings from locally-based groups like Horehound, Holy Rivals, Fist Fight in the Parking Lot, Enhailer and Del Rios — it’s enough to make one wish Supervoid were still active; they’d finally have somewhere to go — and the album comes with a bonus CD of covers the tracklisting for which I’d be very interested in seeing given the tease in the info below.

Note the mastering job by the venerable Chris Kozlowski, because any time you see that dude’s name on anything it’s worth noting.

Word came down the PR wire confirming the release:

molasses barge

Molasses Barge release Self Titled album 7/28

Nothing conjures the image of slow and heavy like the moniker Molasses Barge. And true to form, the Pittsburgh natives have been crafting blues-drenched doom metal licks with fierce, smoky vocals for years, opening for the likes of Elder, Freedom Hawk, Windhand, Saint Vitus, Pentagram, and Truckfighters, among others. Comprised of Brian “Butch” Balich on vocals, Amy Bianco on bass, the twin grind of Dave Fresch and Justin Gizzi on guitar, and Wayne Massey’s pounding drums, Molasses Barge have been a mainstay in the thriving Pittsburgh metal scene.

On July 28th, Blackseed Records will release Molasses Barge’s self-titled, sophomore album, recorded by Jason Jouver at +/- studio in Pittsburgh, and mastered by Christopher Kozlowski at Polar Bear Lair studio in Middletown, Marlyand. The 8 song album will also include a bonus CD of classic rock and metal covers, Covered in Molasses, recorded by Matt Schor at Warroom and mastered by Zach Moore. In addition to the Molasses Barge sound they’ve cultivated and evolved, fans will be treated to their take on songs by The Obsessed, Black Sabbath, Deep Purple, and many others.

Available for purchase via the Molasses Barge Bandcamp page or the Blackseed Records website 7/28/17.

Molasses Barge:
Brian “Butch” Balich – Vocals
Amy Bianco – Bass
Dave Fresch – Guitar
Justin Gizzi – Guitar
Wayne Massey – Drums

https://www.facebook.com/molassesbargedoom/
https://molassesbarge.bandcamp.com
https://soundcloud.com/molasses-barge
blackseedrecords.com
https://www.facebook.com/blackseedrecords/
https://blackseedrecords.bandcamp.com/

Molasses Barge, “Emerging Void”

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Fist Fight in the Parking Lot to Release 714 on July 14

Posted in Whathaveyou on July 6th, 2017 by JJ Koczan

fist fight in the parking lot

They’ll play the release show in Pittsburgh on July 28 with Blackseed Records labelmates Molasses Barge, but one could hardly conjure a more suitable issue date for Fist Fight in the Parking Lot‘s debut long-player, 714, than July 14. An attitude-soaked rocker from the first stomping minutes of “Miss Emma” onward, the album drifts into bluesy heft on “Downward Sampson” and finds a triumph of lead guitar in the later reaches of the jammy “Big Chief,” and Blackseed will have the physical edition ready to roll out by the end of the month, Chris Smith cover art and all.

Neither Fist Fight in the Parking Lot nor Blackseed are streaming any tracks from 714 yet, but there’s a fervent flow from song to song that effectively creates common ground between the post-C.O.C. aggro chug of centerpiece “Open Slopes” and the subtle effects play beneath the solo scorch and apex-topping spoken word of closer “What About Drugs,” and I’m not saying I’ve heard it or anything, but the first impression is positive. Keep an eye on the band’s Bandcamp, linked below.

Release art and info comes courtesy of the PR wire:

fist-fight-in-the-parking-lot-714

Fist Fight in the Parking Lot – 714

Album Artwork & Layout by Chris Smith
Released on Blackseed Records & Recordings
Engineered, Mixed, Mastered by Chris Ruane

While on hiatus from live performances in which vocalist/guitarist Abby Krizner pumped out a real live human baby, Fist Fight in The Parking Lot was hard at work in the studio crafting a mighty return with a booming, bright, and haunting album about change, loss, and fighting back. Eight years into the band’s history, their newest album “714” channels the lilting groove of Queens of the Stone Age, the open atmosphere of Soundgarden, and punchy rock all their own.

Remember, scars add character. Enjoy with whiskey.

“714” will be digitally released on July 14th, 2017.

Dual CD Release Party with fellow Blackseed Recordings & Releases artist Molasses Barge on July 28th at Brillobox in Pittsburgh, PA.

Fist Fight In The Parking Lot are:
Abby Krizner – Vocals/Guitar
Jason Sichi – Guitar
John McCallough – Bass
Chris Ruane – Drums

Photo Courtesy: Rich Frollini | Coda Photography

https://www.facebook.com/fistfightintheparkinglot
https://twitter.com/FFITPL
https://fistfightintheparkinglot.bandcamp.com/
https://www.facebook.com/blackseedrecords/
http://www.blackseedrecords.com/store.php

Fist Fight in the Parking Lot, “I Had a Name”

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Holy Rivals Sign to Blackseed Records; New Album Due this Fall

Posted in Whathaveyou on June 12th, 2017 by JJ Koczan

Pittsburgh natives Holy Rivals made their sludgy intentions known with their self-titled debut last year, rolling out six tracks of socially-conscious and thick-toned grunge nodding at the likes of Helmet and Nirvana while keeping in mind the grit of Eyehategod and the power that sonic dirt can have when wielded properly. The trio, which features guitarist/vocalist Jason Orr of T-Tops, will reissue the CD via emergent hometown imprint Blackseed Records (see also: Horehound, Del Rios, more to come) in short order and then follow-up with a new, yet-to-be-named full-length this Fall. More info on that as I get it.

Keep your eye out for news there and more on Blackseed in general. Helmed by Horehound‘s Shy Kennedy, the label is coming together at the same time Kennedy is working to establish the Descendants of Crom fest (info here) and to build a presence in and wider awareness around the Pittsburgh underground generally. No doubt at some point the label’s reach will extend beyond its local scene, but Kennedy is off to an impressive and prolific start, so yeah, expect more to come all around as we move through the rest of 2017, which is already half over, and into next year.

Just a side note. Here’s info on Holy Rivals:

holy rivals

Holy Rivals bring a refreshingly punishing attitude of grunge, sludge, and punk to their self-titled debut. Grinding chord progressions, raspy vocals, and concrete riffs harken back to early Nirvana and The Melvins, while keeping minds in the present.

Jason Orr (of T-Tops notoriety) takes on guitar and vocals, with Aaron Orr on bass and Matt Langille on drums. Though relative newcomers, Holy Rivals are gaining traction in the Pittsburgh scene, having already opened for Scott Kelly of Neurosis and Child Bite.

Recorded at +/- Studios in Pittsburgh, mixed and engineered by Jason Jouver, they self-released their debut album in May of 2016, and have now acquired management under Blackseed Records. Purchase a copy today via Holy Rivals Bandcamp or Blackseed Records.

Holy Rivals is:
Guitar/Vocals- Jason Orr
Bass- Aaron Orr
Drums- Matt Langille

https://www.facebook.com/holyrivalsband/
https://holyrivals.bandcamp.com/
https://twitter.com/HolyRivals
https://www.instagram.com/holyrivals/
http://www.holyrivalsband.com/
blackseedrecords.com
https://www.facebook.com/blackseedrecords/
https://blackseedrecords.bandcamp.com/

Holy Rivals, Holy Rivals (2016)

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Del Rios to Release Blood River on Blackseed Records

Posted in Whathaveyou on May 29th, 2017 by JJ Koczan

del rios

Punk-edged heavy rockers Del Rios initially put out their second album, Blood River, last December via the customary means — Bandcamp. Half a year later the Pittsburgh-based outfit — which features former Penance guitarist Matt Tuite — have teamed up with Blackseed Records in order to give the record a physical presence on June 1 the arrival of which will be celebrated a short while later, June 9, at Gooski’s, also in Pittsburgh. It is the follow-up to Del Rios‘ 2013 debut, Lobos, and in addition to Penance, the group boasts members of Delian League and Iron Crown.

You can hear the album in full via the Bandcamp player below and Blackseed will have purchasing options available this week, so keep an eye out. Here’s info from the PR wire:

del rios blood river

Del Rios – Blood River – Blackseed Records

“Made of steel… forged in hell”, the tagline accompanying Del Rios’ Blood River offering, is as apt a description as any to describe the sound of these metal monsters. Taking the role of lead singer and adding an additional guitar to their already heavy arsenal, Grae Hall, formerly of Bang Camaro fame, adds a welcome NWOBHM influence to the chimera punk/metal sound they’ve cultivated to date. Rounding out the lineup are Metal Matt (Penance, Behind Enemy Lines), Sammy the Fish, and Nick Rivers. Having established themselves as a punk metal tour de force in Pittsburgh, Del Rios can be found deluging audiences with their sonic attack at The Smiling Moose, Howler’s, and Club Café.

On June 1st, 2017, Del Rios, joining forces with noise/experimental label Blackseed Records (Enhailer, Heiðrún, Horehound), will release physical copies of Blood River. Get yours on the Del Rios Bandcamp, at Blackseed Records, or at their June 9th record release show at the infamous Gooski’s, Pittsburgh, PA.

Del Rios are:
Nick Rivers: Drums
“Metal Matt” Tuite: Guitar
Sam “Sammy the Fish” Pesce: Bass
Grae Hall: Vocals, Guitar

https://delrios.bandcamp.com/
https://www.facebook.com/delrios666
blackseedrecords.com
https://blackseedrecords.bandcamp.com/

Del Rios, Blood River (2016/2017)

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Enhailer Release Debut Album Grisaille

Posted in Whathaveyou on September 30th, 2016 by JJ Koczan

enhailer

Over the last couple nights, Ohio’s Enhailer have journeyed east for shows in Brooklyn and Philadelphia alongside the likes of Caustic Casanova, Fashion Week and Clamfight. They’ll wrap that mini-tour tonight in Aliquippa, Pennsylvania, and pick up in October with a couple more dates as the Akron-based outfit set out to support the Blackseed Records CD issue of their debut album, Grisaille. Released digitally earlier this year and already sold through an initial pressing of discs, it finds the instrumentalists chugging out in the way of neo-progressive metal, but keeping a keen sense of groove as they go. If I called it heavy, you’d probably be like, “well yeah,” but it’s heavy. You can hear it for yourself in the stream below.

Blackseed sent over the following word on the release:

enhailer-grisaille

ENHAILER – GRISAILLE: Debut CD on Blackseed Records

Enhailer is a “mid-paced, sludge, experimental, stoner, doom metal, progressive, misanthropic dirt rock” outfit based in Akron, Ohio. They’ve been together since 2014 and produced their first record, Grisaille (gri-sigh) in the summer of 2016. Filled with instrumental arrangements that simultaneously destroy and restore your faith in sonic healing, the band sold out of their self-produced debut CD in short order while playing out in a number cities with bands such as Goatwhore, Eyehategod, Black Breath, Lo-Pan, Childbite, Ringworm, Weedeater, and became a crowd favorite packing spots like Ralph’s (MA), The Grog Shop (OH), and the 31st Street Pub(PA).

Enhailer quickly found a collaborating enthusiast in Grisaille and decided to join forces with a mainly noise/experimental label Blackseed Records (Vomir, Macronympha, Zaimph, o Heidrun, Last Rape, Agathocles).

This September 26th, 2016 that collaboration is born in an official release of Grisaille, in which Blackseed believes will be a great first edition in the label’s realm of projects focused in the dark and the heavy, the doomed and the tuned down, the tranquilizing and the raw.

The current line-up is drummer Chadd Beverlin and bassist Michael Gilpatrick (both of Rue, Cultist, Mockingbird) and with guitarist Mike Lorenz (Iron Jawed Guru).

You can pick your copy up at a show listed below, on the Enhailer Bandcamp, or at Blackseed Records.

9/30 Aliquippa @ Fallout Shelter w/ Only Flesh, Dismoprphia, Murder For Girls, Disobey
10/20 Columbus @ Space Bar w/Drones
10/28 Pittsburgh @ Gooskis w/Horehound, Horseburner

Enhailer are planning to tour with Come to Grief throughout the Midwest in months to come.

https://www.facebook.com/enhailer/
https://enhailer.bandcamp.com/
http://www.blackseedrecords.com/
https://www.facebook.com/blackseedrecords

Enhailer, Grisaille (2016)

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Horehound Release Self-Titled Debut April 20

Posted in Whathaveyou on April 11th, 2016 by JJ Koczan

horehound (Photo by Paul Werkmeister)

Pittsburgh natives Horehound will release their self-titled debut full-length on April 20 via Blackseed Recordings and Releases. Dense riffs, doomly vibes and an overarching ethereal spirit typify the first long-player from the five-piece, who formed 14 months ago and have unveiled a rolling-groove teaser to herald the album’s arrival. They’re reportedly looking to hit the road a bit this summer in the Midwest and Mid-Atlantic, so there’s one to keep an eye out for there as well. Will be interested to see how much touring they do in support of the record.

You know the drill: New band, cool sound, some potential as they go forward. Info follows, courtesy of the PR wire:

horehound horehound

Horehound Debut Record Release

Blackseed Records & Releases’ artist HOREHOUND, the Doom Metal/Hard Rock outfit from the Steel City of Pittsburgh, PA have been ripping up the metro scene throughout the past year with their live shows. Well-known clubs such as Gooski’s, 31st Street Pub (R.I.P.), Howlers and Club Café have seen the band move up the ranks opening for genre mainstays Karma to Burn, Foghound, and Cavern while developing a concrete foundation and fan base along the way.

Formed in February 2015, the band quickly pooled their experiences and influences to create their heavy yet heavily approachable sound. Vocalist Shy Kennedy explodes into her debut role as front-woman and brings her unique and haunting style to each song. The band’s dual guitar grind comes via Mike Altopiedi (rhythm) and Brendan Parrish (lead), both formerly of the band Perish. On drums is JD Dauer, who brings many years of heavy-hitting to the band while also a regular with rockabilly outfit Memphis Mike & The Legendary Tremblers. David “Wes” Westfall brings a devastating low-end onslaught as bassist and is also currently a guitarist for the band The New Casual.

2016 pushes the 5-piece even further with their debut 7-song LP slated for release April 20th, 2016. A regional tour this summer including dates in OH, PA, MD, and NY are in the works and opening slots for national headliners Order of the Owl, Graves at Sea, and Prong are booked!

The momentum is building at lightning speed. With new music, shows, tours and promotions, HOREHOUND is on the rise, ready for the world to come!

https://www.facebook.com/horehoundband/
http://horehound.bandcamp.com/
https://twitter.com/horehoundband
https://www.facebook.com/blackseedrecords/
http://www.blackseedrecords.com/

Horehound self-titled promo

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