Posted in Whathaveyou on July 14th, 2014 by H.P. Taskmaster
Ice Dragon and Space Mushroom Fuzz have more than a few things in common: They share geography in being based out of Boston. They’re both committed to self-releasing albums without charging for them, and they both do so at a prolific clip. Both bands have a varied and open sound, and while Ice Dragon lean more toward a doomed-out psychedelic nod, recorded raw with physical pressing a matter left to the ages — their Dream Dragon(tape review here) has a CD issue coming — and Space Mushroom Fuzz tend toward the progressive and space rocking side of the heavy spectrum while periodically gathering single tracks and other output for collected release — their 2013 double-tape, Back from the Past(review here), brought together four outings — I don’t think there’s anyone who’d argue they don’t make a solid pair.
To be perfectly honest, I was kind of hoping that Crystal Futurewould be a collaborative release from Ice Dragon. As Space Mushroom Fuzz is a one-man project — helmed by Adam Abrams, also known for Blue Aside – it would be easy enough to bring him into an Ice Dragon session, but the four-song release is a proper split, each act on their own. I’m not about to complain. Each band contributes a longer work and a shorter ambient piece, and as ever from both, the resulting EP is available as a free download.
Links, info, Samantha Allen‘s gorgeous cover art and Ice Dragon‘s announcement follow:
We have a new split out with Space Mushroom Fuzz. Their track is most excellent, and definitely gets stuck in your head. Little interlude action in there too, ours is from an old 4-track tape we did on the porch while recording a few Tome tracks.
Posted in Whathaveyou on July 10th, 2014 by H.P. Taskmaster
Based out of Boston, four-piece drone-folk magnates Owlfood, who released their fourth long-player last year in the form of the 27-minute single-track Destroyers of the Moon, have been confirmed for this year’s Gilead Media Fest in Wisconsin on July 19. Accordingly, they’ll head west next week and make four stops along the way with travel time in between, hitting Boston, Brooklyn, Columbus and Chicago before getting to Oshkosh, and sharing the stage with the likes of Windmills by the Ocean and Taiga.
I hadn’t heard Owlfood before the PR wire sent along the info and dates below, but the lineup for the Boston gig on Sunday looks right on, and unless a piano falls on my head between now and then, I’ll be there. More to come.
Until then, check out the Bandcamp stream of Destroyers of the Moonbelow for your fix of moody, dark psychedelics and minimalist, hopefully-no-one-talks-over-it-at-the-gig ambience:
OWLFOOD: Experimental Drone Folk Quartet To Kick Off US Tour En Route To Gilead Fest
Boston-based experimental drone folk quartet, OWLFOOD, will levy their bleached-out desert tones upon adventurous ears beginning next week. The short journey will begin on their home turf on July 13th and run through Brooklyn, Columbus and Chicago. The band will be joined by instrumental psyche rockers Windmills By The Ocean featuring members of Isis and Blacktail as well as the undulating and cinematic Taiga project featuring Bryant Clifford Meyer (Isis, Palms, Red Sparrows) on select dates. OWLFOOD will make their final descent in Oshkosh, Wisconsin on July 19th at Gilead Fest where they will share the stage with the likes of Thou, The Body, Inter Arma, Sea Of Bones and many more.
OWLFOOD will be journeying in support of their fourth LP, Destroyers Of The Moon, self-released last April. Featuring one twenty-seven-minute movement, the soundscape evoked in Destroyers Of The Moon began as a drawing; a graphic landscape. Conceiving the composition in a visual register in which, for example, barren plains give way to mountainous peaks, allowed OWLFOOD to develop a fuller tonality; a sonority richer and more differentiated than any of their previous recordings. Fans of OM and Scott Kelly pay heed. Dubbed “a glorious epic landscape of cinematic swirls,” by Aquarius Records and, “beautiful and exceptionally original,” by Anti-Gravity Bunny, Destroyers boasts a host of collaborators including Greg Moss (27), Meghan Mulhearn (Divine Circles, The Judas Horse, U.S. Christmas), David Bently and Nicholas Giadone Ward (both of Hallelujah The Hills).
OWLFOOD Live Rituals 2014: 7/13/2014 Middle East – Boston, MA w/ Windmills By The Ocean, High Aura’d, Neptune 7/15/2014 Matchless – Brooklyn, NY w/ Windmills By The Ocean, 27, Thurn & Taxis 7/17/2014 The Fuse Factory – Columbus, OH w/ Taiga, DOT 7/18/2014 Burlington Bar – Chicago, IL w/ Taiga, Rare Animals 7/19/2014 Gilead Fest @ Oshkosh Masonic Temple – Oshkosh, WI
Posted in Whathaveyou on July 9th, 2014 by H.P. Taskmaster
It’s been six years since Boston’s We’re all Gonna Die released their third and to-date final outing, Kiss the Ground, Curse the Sky on Underdogma Records, and a half-decade since they last played a show. In the interim, drummer Scott Healey has played in the crusty sludge/thrash outfit Gut, bassist Jesse Sherman has moved onto Tired Old Bones and guitarist/vocalist Jim Healey has been fronting Black Thai and performing as a solo artist. Not like these dudes haven’t kept busy in the meantime, but after five years, We’re all Gonna Die are about due to book a gig or two.
Or three. They’ll play in Allston, Manchester, New Hampshire, and Portland, Maine, over the next month, a Saturday series that will be further marked by the release of new single “Pleurisy,” which was written during their initial run but never released. Among heavy rockers in the middle part of the last decade, We’re all Gonna Die was always a little darker, a little more aggressive than the stoner bunch, but still more melodic than outright sludge would warrant. They toed that line well, and it’ll be good to see them again after so long.
The PR wire brings confirmation:
AFTER FIVE-YEAR HIATUS, BOSTON FAVORITE HARD ROCK TRIO WE’RE ALL GONNA DIE REUNITES FOR THREE SUMMER SHOWS AND RELEASES NEW SONG “PLEURISY”
SPECIAL LIVE IN-STUDIO RADIO PERFORMANCE – BOSTON EMISSIONS, WZLX 100.7, SUNDAY, JULY 13, 11PM
Boston hard-rock favorite trio WE’RE ALL GONNA DIE reunites this summer for three shows at Great Scott (Allston, MA), The Shaskeen (Manchester, NH), and Geno’s (Portland, ME). To celebrate they will also release a new song, “Pleurisy,” recorded this spring and be a special guest performing live on WZLX’s Boston Emissions.
Saturday, July 19, 2014 Great Scott Allston, MA Doors @ 8:30pm $10 21+ with special guests Cocked N’ Loaded, Murcielago, The Humanoids, and Wolfsmyth
Saturday, August 2, 2014 The Shaskeen Manchester, NH Doors @ 9pm 21+ with special guests Thunderhawk and Hey Zeus
Saturday, August 9, 2014 Geno’s Portland, ME 21+ with Murcielago and special guests Blackwolfgoat
WE’RE ALL GONNA DIE formed in 1998, recorded three full-length albums on Underdogma Records: Kiss the Ground, Curse the Sky (2008), The Wreck of the Minot (2005), and Go to Hell (2004). They toured the U.S. and Ireland before going on hiatus after their September 2009 performance at the Stoner Hand of Doom festival in Frederick, MD. The trio’s current line-up features Jim Healey on vocals and guitars (also plays in Black Thai and the Jim Healey Band), Jesse Sherman on bass (also plays in Tired Old Bones), and Scott Healey on drums (also plays in Gut and Give Up!).
“We haven’t played in 5 years,” says WE’RE ALL GONNA DIE front-man Jim Healey. “I felt it was time to get together, play a few shows, and see where things went from there. The band will probably only ever play a few shows a year, but it’s great to play together, and see the fans.”
“We recorded a ‘new’ song (written in 2007, but never rerecorded) called “Pleurisy,” Healey says. “It will be available for download along with 5 other unreleased WAGD tracks, spanning the history of the band in all its member formations.”
Posted in On Wax on June 20th, 2014 by H.P. Taskmaster
I don’t want to come off like I’m tooting my own horn, but I feel like Gozu‘s The Fury of a Patient Man is a record I know pretty well by now. The Boston-based outfit’s 2013 sophomore outing was reviewed early last year, wound up on my Top 20 for the year, and was an album that I never strayed too far from as the months passed. As I got to see the band live more often, the material was fresh stayed fresh in my head and even more than their 2010 debut, Locust Season(review here), I considered The Fury of a Patient Manone I more or less had a handle of in terms of its perspective and where the band was coming from.
Listening back now to the Small Stone vinyl version of it — 500 copies pressed to 180g platters in a thick-stock sleeve with one transparent green LP and one solid purple LP — my impression of the songs themselves hasn’t changed all that much. It’s still a very, very good album, whether you listen to it linear on a CD or mp3s, or whether you get up after a couple songs to turn over between “Salty Thumb” and “Disco Related Injury.” When I first heard it, I remember thinking how much heavier it was than LocustSeason, which already lacked nothing for sonic beef. Now, after seeing the band as much as I have since I first heard it (live reviews here, here, here, here, here, here and here), I’m likewise astounded by how much heavier they’ve become live.
Part of that has to be the lineup. In the time since The Fury of a Patient Manwas recorded, Gozu guitarists Marc Gaffney and Doug Shermanhave solidified their rhythm section with bassist Joe Grotto and drummer Mike Hubbard, but on the 2LP, Grotto is one of three bassists who appears – Jay Canava and Paul Dellaire are the other two — and he’s only on the three bonus tracks included on side D. Hubbard is an even more recent addition than that, and even on those bonus cuts, Barry Spillberg handles drums. The new players have had a significant impact on Gozu‘s sound, so although it’s only a little over a year old, The Fury of a Patient Manalready marks a point in the band’s progression which they’ve already moved past.
“Moved past” is the wrong phrase. It’s not like Gozu have outgrown these songs — they still make up the majority of what they play live, and cuts like “Bald Bull,” “Ghost Wipe,” “Irish Dart Fight” and “Signed, Epstein’s Mom” are perennial highlights — but the circumstances have changed. They’re not the same band they were when this album was recorded. Nonetheless, The Fury of a Patient Manremains an unmistakable hallmark of the quality in what Gozu do, and they’ve always been a different act live anyway, putting aside some of the vocal harmonies and layering fromGaffney and opting for a more straightforward, at times pummeling, approach, blended with the thick grooves and a relentlessly forward thrust.
Both offer a rich listening experience, and I find in revisiting The Fury of a Patient Manthat my appreciation for it hasn’t diminished. What was a driving opening salvo of “Bald Bull,” “Signed, Epstein’s Mom,” “Charles Bronson Pinchot” and “Irish Dart Fight” now makes up the majority of side A with “Salty Thumb” hinting at some of the sonic branching out side B will hold, and the unabashed pop catchiness of “Ghost Wipe” and “Traci Lords” stand out well with “Snake Plissken”‘s shuffle on the back half of the green record. I was curious prior to listening what they might do with the 23-minute “The Ceaseless Thunder of Surf,” but it appears here uninterrupted as the entirety of side C and preserves its claim as the album’s most get-lost-in-it moment.
The aforementioned bonus tracks, particularly “Break You,” which is the middle of the three, are of particular note for being the band’s most recent recordings. Teaming with Lo-Pan vocalist Jeff Martin, Gozu open side D with a cover of the title-track to D’Angelo‘s 1995 debut, Brown Sugar that incorporates parts of “Shit, Damn, Motherfucker” as well. If it’s a goof, it’s far from Gozu‘s first — see also almost all of their song titles — but they’ve always had a touch of soul in their approach anyway, so “Brown Sugar (Shit Damn Motherfucker)” speaks to that, offers a thick groove from Grotto‘s bass and takes on a classic funk-jam kind of feel, Gaffney and Martin working well enough alongside each other so that I hope it’s not their last collaboration.
Arriving prior to a Simply Red cover “Holding back the Years,” “Break You” is the only one of the bonus tracks that’s a Gozu original, and it starts with Gaffney‘s voice with the guitars, bass and drums swelling up behind before moving into a dreamier verse in a linear kind of structure that’s still not devoid of a hook, the chorus, “I don’t want to break you/I only want to shake you,” etc., standing up to any of its counterparts on the album proper and still leaving room for Sherman to rip into a solo marking out the apex prior to a final slowdown and some well falsetto’ed last-minute crooning . Their take on “Holding back the Years” is decidedly more open, reinterpreting the cut from Simply Red‘s 1985 debut, PictureBook, with an airy, psychedelic sprawl, guitar and voice echoing alike over a solid but languid rhythmic foundation that spreads the four-minute original to nearly twice its original length.
It’s a more adventurous cover if less of a party than the D’Angelo track, but frankly, both have their appeal and show more than a little effort on Gozu‘s part to make them their own. Together with “Break You” and the rest of The Fury of a Patient Manitself, the 2LP edition of the album becomes not only a reminder of one of last year’s best outings, but a celebration of it as well and a look for fans at a band who continue to get more and more vibrant as they continually defy their comfort zone. As familiar as I’ve felt with these tracks, I’ve yet to make my way through them without hearing something new.
Posted in Whathaveyou on June 13th, 2014 by H.P. Taskmaster
Doomsayer, the debut long-player from Black Pyramid-offshoot The Scimitar, is now available to preorder from Hydro-Phonic Records. The Michigan-based label, which has a penchant for creative packaging and dedication to vinyl, has the record coming in July in a number of limited pressings and editions, including one that also houses a CD with an alternate mix of the album. If you’d like to hear the regular mix so you have it to compare by when the time comes, the band has made it available for streaming and pay-what-you-will downloading on their newly-launched Bandcamp page.
These’ll probably go, so if you want one, a preorder probably isn’t a terrible idea.
Details follow, courtesy of Hydro-Phonic:
The Scimitar come swinging with their debut LP, “Doomsayer”. Featuring Gein and Darryl from Black Pyramid (along with new drummer Brian Banfield) turning out some Sabbath-Maiden-Motorhead influenced heavy riffs.
The Striped Deluxe Edition comes on white wax with a black stripe through the center. The jacket is printed on black cardstock, so the inside will be black instead of the normal white. The Deluxe Edition also comes with a CD featuring and alternate mix/master of the album. Will include other extra goodies as well!
The Clear/White Edition comes on Ultra Clear wax with a White blob in the center. The jacket is printed on black cardstock, so it will be black instead of the normal white inside the jacket.
By popular demand, we will release for the first time to the public a chance to own a test pressing of this release. This is limited to 20 copies in cool handmade covers by the HPRX staff. Limited to ONE COPY PER PERSON and will surely be extremely collectible as our test pressings often sell for $100 – $250 on ebay.
Also available now at the bands Bandcamp page that will go live very soon!
Posted in Whathaveyou on June 12th, 2014 by H.P. Taskmaster
Fresh off a European run that included both Desertfests and a stop at Freak Valley, Massachusetts heavy psych rockers Elder have announced they’ll make their return to US stages this September with a few regional Northeast shows and plans for more thanks to a new alliance with Tone Deaf Touring. I know a lot of the country has waited a long time to see Elder, and it looks like that opportunity will finally come about if the three-piece gets out on the road supporting their next record.
Speaking of, that third album and the follow-up to the most-excellent 2011 LP, Dead Roots Stirring (review here), and subsequent 2012 10″, Spires Burn/Release (review here), will be put to tape in September with Justin Pizzoferrato. I’ll be curious to see the timing of the release — one to watch for early in 2015, I’d think — and how that might play into the touring side of things for the band. Kind of a cool to imagine Elder really making a go of it next year. It’s been an unfortunately long time since I heard about MeteorCity putting anything out, so I wouldn’t be surprised if a new label announcement was to follow in the coming months — time to step up, Napalm Records – and all the better if that comes together at the same time as they kick it into gear touring. Exciting prospects for a band whose listeners have been itching to give them their due.
Dates and info culled from their Thee Facebooks, with the promise of more to come:
Some news from camp Elder:
We are stoked to announce our recent partnering with Tone Deaf Touring as our official US booking agency! It’s been a while since we’ve been around the States and we’re looking forward to getting back at it. US promoters – please contact email@example.com for booking inquiries.
We will also be entering Sonelab studios this September to record our third full length with Justin Pizzoferrato. If you want to get a preview, check out an upcoming show…
September 19th Cambridge, MA @ the Middle East W/ ROZAMOV, Summoner, SET
September 20th NYC @ St. Vitus w/ ROZAMOV
October 10th Philadelphia, PA Boot & Saddle W/ HIVELORDS, Bardus
I’ve done my absolute best these last six months or so to buy as little music as humanly possible. As I’ve lost jobs and seen my income go from what it was last year at this time to half that, to less than half that, to nothing, it’s felt like the very least I can do to stop scrolling through online shops or thumb my way through record bins trying just basically looking for one more thing to own. Just out of fairness to The Patient Mrs., if the actual financial concern isn’t enough. I won’t lie: I’ve missed it. And it hasn’t been easy. Between new stuff that’s come out in the last year — I’ve got a running list on a post-it note on my wall and it goes back a ways by now — and the joy of actually going to a store and finding something used I never expected to see and sometimes didn’t even remember I wanted, I’ve felt like something that I used to really enjoy, I can no longer do because I don’t have the money to spend.
At least I ever did, right? I’m not saying I’ve got it tougher than anyone — ever — because basically I don’t. My point is that when I ran into the pre-release version of Isis‘ 2000 full-length debut, Celestial, yesterday at Armageddon Shop in Boston, it was something I knew I shouldn’t buy. I knew it was there. They had three of them at one point — Celestial, 1998′s preceding Mosquito Control (it might’ve been The Red Sea) and 2001′s subsequent SGNL>05EPs — and I had seen them a few months back last time I was in the store, in the case at the counter in a small box of oddly-shaped or rare CDs. You have to ask to look. Yesterday, after perusing the wall of discs and feeling positive about a three-dollar copy of Cavity‘s On the Lam, I decided to take another gander at the Isis discs. I knew what they were, I didn’t imagine they were gone, and I knew how much they cost: $29.99. Not cheap for anything at this point, let alone an album I’ve already owned for more than a decade.
I suppose I could say that it was the fact that Mosquito Controlwas gone from the box that called me to action in buying Celestial– getting both that and SGNL>05would’ve been absolutely out of the question, and given the choice, I’ll take the full-length — and maybe that was a factor, but the root of it was more that I miss buying records. I miss going to a store, picking up something like this and delighting at the prospect of making it mine. I wanted it. It was overpriced, but the inside liner confirms that, indeed, there were only 40 of them made (mine is number 24), and put out by Escape Artist Records in advance of the album itself. Yeah, the cover art hijacked from the self-titled Godflesh EP was also a factor, my enjoyment of that blatant acknowledgement of influence made only more fervent by knowing they used the same cover for these versions of the other releases as well. All three sitting there, daring anyone who’d look at them to recognize that face.
That’s not to take away from the impact of Celestialsonically. I think we’re probably still a couple years too close to post-metal’s overexposure — bands taking no small measure of influence from Isis‘ largely unfuckwithable first three long-players; Celestial, 2002′s Oceanic and 2004′s Panopticon — and just hammering those ideas into the ground, but Celestialstill remains about as close to “atmospheric sludge” as anyone has ever come, an aggression metered out across varied, lurching cuts like “Deconstructing Towers” and the later “Collapse and Crush” interspersed with ambient interludes titled to maximize a theme that would soon enough tie in with the follow-up EP. A breath-stealing undertaking at over 51 minutes, the pre-release version advises, “Listen to this goddamm (sic) thing the whole way through for best results,” but with a record as densely packed and, at times, vicious as Celestialwas at the time, they weren’t by any means making it easy. Then based on the East Coast, Isis were a direct answer to the Bay Area’s Neurosis at their most unbridled, and while their musical paths would diverge, that influence, as well as that of Godflesh, would remain a typifying factor throughout much of Isis‘ career, for better or worse.
So yeah, Celestialcrushes, and it still crushes, and between that and the added nerdout factor of the swiped artwork, the limited release and my own wistfulness at the thought of leaving it there again, I picked it up. I won’t say I don’t feel guilty, because money really is tighter than would allow for such things, but cash comes and goes and this is mine now.
Running a pretty wide gamut this week, but I don’t think that’s a bad thing. This week is a pretty good example of one where there’s way more added than just what’s listed here, so make sure you check the updates page to see the full list of everything that went on the server. Next thing I knew, I turned around and there was a ton of awesome stuff waiting to go up. Tough times.
It’s been a few weeks doing the adds this way and I’m digging it so far, so I’m going to keep it up, at least until I think of something else or it gets to be a pain or whatever. Thanks for reading and checking out the radio stream.
Adds for June 6, 2014:
Wolves in the Throne Room, Celestite
The much-awaited follow-up to 2011′s Celestial Lineage finds Washington US black metal forerunners Wolves in the Throne Room not quite ready to let go of that album yet. Celestite is intended as a complement to its predecessor, and as the first release on the band’s own Artemesia Records imprint, it comes as a particularly bold move for a band clearly looking to shirk expectation. Its five included tracks are cinematic, ambient set-pieces — instrumental works that, when played at the same time as Celestial Lineage, enhance the atmospheres of those already dense songs. Of course, cuts like the 11-minute opener “Turning Ever Towards the Sun” and the centerpiece “Bridge of Leaves” have value on their own as well, but there’s little denying that the apex of Celestial Lineagein “Prayer of Transformation” is pushed further by Celestite closer “Sleeping Golden Storm” and vice versa. Anyone expecting forest screams or raging blastbeats is in for a surprise, but those who approach with an open mind will be rewarded, which has always been the case with Wolves in the Throne Room‘s work. On Thee Facebooks, on Bandcamp.
Milligram, Live on Pipeline (WMBR)
A band with a reach that has lasted much longer than their actual six-year run, Milligram retain a presence in heavy rock consciousness despite having really only gotten together to open for Kyuss Lives! in 2011 since calling it quits in 2002, prior to Small Stone‘s issue of their This is Class Warfull-length. Accordingly, the version of “Not Okay” included on this collection of live recordings from the radio station WMBR sounds like a blueprint for some of the soulful heavy vibes Lo-Pan would conjure in their early going. Also included are covers of the Misfits (“We are 138″) and Black Flag (“Jealous Again”), so in addition to hearing Milligram – which in 2000 when Live on Pipeline was recorded was comprised of vocalistJonah Jenkins (see also Raw Radar War), guitarist Darryl Shepard (see also Hackman, Black Pyramid, Blackwolfgoat, The Scimitar, etc.), bassist Bob Maloney and drummer Zephan Courtney — tear into some of their own material, there’s also a look at their punkier roots. Shepard has begun a series of digital releases of his bands with this, so look out for more. All are available for name-your-price download through his Bandcamp. On Thee Facebooks, on Bandcamp.
Damo Suzuki Møder Øresund Space Collective, Damo Suzuki Møder Øresund Space Collective
Captured live and largely improvised on Valentine’s Day 2013, the 3LP Damo Suzuki Møder Øresund Space Collective indeed proves a match meant to be. The Danish/Swedish space jammers and the krautrock legend — Damo Suzuki has released decades’ worth of solo output and collaborations, but is still best known for his contributions to Can — offer no single piece under 14 minutes long, so I guess as jams go, these worked out. The six inclusions are immediately exploratory, and while at just over two hours, the meeting of these expanded-mind entities can feel a bit like traveling through a wormhole where you snap back to consciousness on the other side and wonder how you got there, each piece also takes on a life and movement of its own, propelled by ceaselessly creative guitar work, engaging rhythmic nod and, naturally, a near-constant swirl of effects. Suzuki‘s voice echoes through “Dit Glimtende Øje” as though beamed in from another galaxy, and his first contact with Øresund Space Collective results in vibrant, cosmic jams that push through the psychedelosphere. On Thee Facebooks, on Bandcamp.
A Sad Bada, White Rivers and Coldest Chains
Chilean four-piece A Sad Bada specialize in post-sludge that is lurching and atmospheric in kind. White Rivers and Coldest Chains is their first full-length, with it they offer five extended tracks of crushing density and grueling nod. They skirt the post-metal line — guitarists Gastón Cariola and Fernando Figueroa, who founded the band in 2008, keep a steady supply of airy echoes on hand throughout — but as a cut like the 11-minute “Hide and Grieve” shows, they’re never quite looking to get away from the sludgy churn of their slower-than-thou progressions, bassist Roberto Toledo and drummer Alejandro Ossandon expertly holding together the songs as Figueroa offers vicious, throaty growls over top. White Rivers and Coldest Chains (out on Australis Records) is intended as a slog, and it is one, but the soundscape that A Sad Bada enact over the course of the album has more appeal than just its tonal weight or extremity. There’s a darkness at its heart that comes from more than just the music itself, and that bleeds from the speakers with every oozing riff. On Thee Facebooks, Australis Records.
Phant, The Octophant Pt. II
Newcomer Swedish trio Phant return with their second self-released, digital-only EP in less than a year’s time, bringing their eight-armed elephant mascot deeper into a heavy-riff melee over two more extended tracks and an outro with The Octophant Pt. II. Like their predecessors on The Octophant Pt. I(review here), “Nativitas/Hakaisha” (13:53) and “Magna Cael” (9:31) blend cosmic doom and heavy rock tendencies, finding a cohesive balance of aggression and groove along the way, subtly adding effects amid echoing vocal interplay from bassist Jesper Sundström and guitarist Anton Berglind while drummer Elias Sundberg taps into reaches no less spacious via a constant-seeming wash of cymbals. Found sounds, samples and other sundry weirdness caps The Octophant Pt. II in “Outro Pt. II,” with tales of UFOs and government coverups. How long Phant might continue this series of EPs, I don’t know — they can at least get a trilogy out of it if they want; I’d take another 26 minutes of this no problem — but the heft the three-piece bring to bear across “Nativitas/Hakaisha” and “Magna Cael” also shows they’re more than ready to tackle their debut full-length, should they decide to go that route next. On Thee Facebooks, on Bandcamp.
Other adds to The Obelisk Radio this week include Novembers Doom, the four-way split between Naam, White Hills, Black Rainbows and The Flying Eyes, as well as Recitation, Sunwolf, Godflesh, Dylan Carlson of Earth‘s solo-project, Drcarlsonalbion. For the full list, check the updates page.
Posted in Reviews on May 21st, 2014 by H.P. Taskmaster
The problem with reviewing a Fu Manchu show is picking highlights. “Uh, yeah, the best part was when Fu Manchu showed up and played. That kicked ass.” Review over.
With Ohio Sabbath devotees Electric Citizen and supporting and Boston’s own Gozu – who played with Fu Manchu their last time through as well, also at The Sinclair, if I’m not mistaken — as the opener, the evening promised a three-band bill with no filler. My first time at The Sinclair – getting to know venues has been both terrifying and exciting — it turned out to be a cool space. Pro shop. The location is all Harvarded-out. I laughed seeing a kid get on a college shuttle bus carrying a 30-pack of Keystone Light at the notion of “higher” education, but restaurants and bars and whatnot line kind of a side-street near the same square where one finds Armageddon Shop. You go up stairs outside to enter and a couple more to step up to the stage area. There’s a balcony in back that seemed like prime real estate, and the stage, high, well-lit, boasted solid sound even up front. It was a cool place to see a show, and a cool show to see. I felt like I’d won just by virtue of being there.
Of course, that feeling only amplified once Gozu went on. Back less than a month from a European tour that took them from Roadburn, where they destroyed, to Desertfest Berlin, they were still in excellent form, and while it was early, they got a hero’s welcome from the local types present as they ran through a well-oiled set that included the regulars “Irish Dart Fight” and the always-appreciated “Jan-Michael Vincent,” as well as the Locust Seasoncloser “Alone” to round out. That song, slower, longer, distinct from a lot of Gozu‘s other material, seemed to show particularly how much fun bassist Joe Grotto and drummer Mike Hubbard are apparently having in the rhythm section. Their styles are well-suited to each other, Hubbard‘s seemingly inherent swing a vast departure from former drummer Barry Spillberg (Wargasm)’s metallized precision. Grotto rides those grooves well, and as Gozu are probably the band I’ve seen most since moving to the area last year, I’ve dug being able to watch that dynamic develop.
It wasn’t a particularly long set, but it was precise, and guitarists Marc Gaffney and Doug Sherman offered crunch tones and shredded leads to start the night off right. It was Tuesday — as one ultra-clever showgoer near the front would tell Scott Hill later, it was “Fu-Manchuesday” — so I don’t know how many people were in it for a party to start out, but Gozu laidthe foundation for one anyway and their tightness gave Electric Citizen a heavy lead-in. The Ohio foursome had a different vibe, and after checking out their debut EP last year and their newer Light Years Beyond7″ released for this tour ahead of their first long-player, Sateen, which is due in July, I was curious to see how their retro mindset would play out on stage. There aren’t a lot of bands in the States — at least not nearly as many as seem to be floating around Europe these days — who’ve picked up on what the likes of Graveyard have done to revitalize ’70s heavy. The model is less firmly planted here. I wondered how that might affect Electric Citizen‘s delivery.
In short, it didn’t. I guess between acts like Blood Ceremony, Blues Pills, Jex Thoth, etc., there’s enough for a new band like the Cincinnati troupe to match with their own creative whims in terms of aesthetic. If there was any continuity from Gozu, it was in drummer Nate Wagner‘s swagger and swing, though Electric Citizen put it to more boogie-fied use. On stage, they came across as even more Sabbathian than their recorded material, to the point that I was somewhat surprised to see guitarist Ross Dolan playing through Oranges instead of Laneys, but he got his point across anyway. His leads seemed to do that Iommic double-layer effect, though of course he was only playing once, and well-fringed vocalist Laura Dolan carried the rush-grooves with more than capable melodicism. A more subdued presence, bassistNick Vogelpohl was the anchor around which the rest of the band boiled, and in addition to “Shallow Water” from the new album, they made a highlight out of the single “Light Years Beyond,” ending their set with its memorable bounce and stomp. The vibe was a bit rawer without the organ that accompanies their recorded output, but Electric Citizen made plenty of new friends anyway.
And, well, Fu Manchu, right? I mean, if you know the band, you know what you’re going to get. For two decades, they’ve been among the top ranks of fuzz purveyors, beaming in riffs from the cosmos to vibe out earthlings everywhere. Their new one, Gigantoid(review here), was the occasion, but as with any band that has such a backlog of killer material, it was really just an all-around celebration of what they do. Highlights? Yeah, there were some. I’ll never, ever, complain about hearing “Boogie Van” live, or “Evil Eye” from 1997′s The Action is Go, or anything from 1996′s In Search Of…, from which “The Falcon Has Landed” and “Regal Begal” were aired, but seriously, it was Fu Manchu. Whatever they wanted to play, they’ve got more than enough to fill a set. Dudes up front kept yelling for “Hotdoggin’” from 2000′s King of the Road — guitarist/vocalist Scott Hill finally had to address it: “We’re probably not gonna play ‘Hotdoggin’,’ that’s right, I’m the asshole” — but who was about to argue with “Weird Beard” or “Hell on Wheels?” Nobody, if the crowd-surfing and moshing were anything to go by. Further proof that picking tunes for the set is best left to the professionals.
That said, there were a couple requests honored as the Fu tore through their planned set. “Weird Beard” was one, and “Superbird” from the band’s 1994 debut, No One Rides for Free(recently reissued on vinyl; review here), was another, and they broke it out like it was nothing. “Oh yeah, here’s a 20-year-old song that we had no intention of playing, watch us completely nail it.” So, playing in front of a backdrop of the Keiron Copper cover art and Peder Bergstrand logo for Gigantoid the band did leave a bit of room before closing out with “King of the Road,” leaving stage and coming back for an encore of “Saturn III” from The Action is Go, the song seeming in contextlike a jammy precursor to the new album’s finale, “The Last Question,” guitarist Bob Balch swirling out effects while Brad Davis and Scott Reeder held down the groove and Hill headbanged like a man with stock in Advil. They didn’t play “The Last Question” — no need to double up on the jam — but “Invaders on My Back,” “Dimension Shifter,” “Triplanetary” and “Anxiety Reducer” represented the new album well. I’d been hoping for “Radio Source Sagittarius,” but again, there’s that issue of there simply being too much Fu Manchu for one show. They should do two nights in every city they play.
Vinyl for Gigantoid, which the band has released on their own At the Dojo Records label, is reportedly forthcoming, though they had No One Rides for Freeat the merch table. I bought a CD of the new record and made my way back out into a chilly spring night to walk down the block to where I parked. It wasn’t too long before I cracked open that copy of Gigantoidand put it on, either. Some bands, you just can’t get enough.
Posted in Reviews on May 19th, 2014 by H.P. Taskmaster
Outside Boston’s Royale, elaborately made-up young women in expensive-looking dresses stood waiting in a line while bearded-types smoked cigarettes on the sidewalk. Royale, which hosted Swans on Saturday, is a nightclub in what I guess was Boston’s theatre district. There are at least two rooms in the place, maybe more. Swans played upstairs, a larger hall, good lights, good sound, an elevated area in front of the stage that it took me a second to realize would become a dance floor as soon as 10PM hit and the weirdo contingent shuffled out to let the clubbers lang — if that can be a verb for what one does when clubbing at the risk of betraying my inexperience in this regard.
And indeed, 10PM. The show was even earlier than I anticipated it being from the Royale‘s website saying doors at 6, show at 7. In the rare and appreciated company of The Patient Mrs., I rolled in at about 6:50 and found Jenny Hval on stage, maybe halfway through her set. Who knew? A lot of people, judging by the crowd. I didn’t find out about that whole “out by 10″ thing until I was already there, and needless to say the evening made more sense afterwards. For Hval‘s part, the Oslo native and her accompanying duo of Håvard Volden and Kyrre Laastad ran a line between moody alternative pop and more experimental indie ambience. Probably not something I’d have gone to see were Swans not coming on next, but creative and well-presented from the few songs I saw. I wouldn’t have minded showing up earlier if I’d been so lucky.
Hval and Co. played in front of Swans‘ elaborate setup — a pedal steel was brought out later for Christoph Hahn, but drummer Phil Puleo and multi-instrumentalist Thor Harris already had their stations ready, and amps for guitarist/vocalist Michael Gira, bassist Chris Pravdica and guitarist Norman Westberg were prepositioned — and that made the changeover shorter than it probably would’ve been otherwise, but still, barely being 8PM, it hardly felt like they needed to rush. Supporting their newly-released third full-length since reactivating, To be Kind(review here), the Swans tour was newly begun. A night in D.C., a night in Philly, then Boston, followed by Manhattan and Brooklyn as a warmup for a longer stretch through the UK taking them through the rest of May into early June, with a longer summer US tour to follow mid-June into July.
My expectations for Swans were high. I remembered well the teeth-vibrating heaviness they conjured at Roadburn 2011, playing material from 2010′s don’t-call-it-a-comeback My Father Will Guide Me up a Rope to the Sky(review here) as well as some early versions of songs like “The Apostate,” which would appear on 2012′s The Seer. “The Apostate” was aired at the Royale as well, making it the oldest song in a set that included two-point-five from To be Kind in “Oxygen,” “A Little God in My Hands,” and a mutated take on “Bring the Sun,” which appears as the first half of the 34-minute “Bring the Sun/Toussaint l’Ouverture” on the record, and two new songs, “Frankie M.” and “Don’t Go.”
The impulse with Swans since they started playing again — Gira transitioning from Angels of Light back to Swans as he shifted in 1997 from Swans to Angels of Light — has been to think of how apocalyptic they sound, to delve into drone-as-shattering-consciousness hyperbole. I’ve done it too more than once. I think it says much more about who these people are as artists and the deep creative need at work that, the same week their new album is released, they’re already remolding the material and playing two brand new, yet-unrecorded cuts, one of them opening the set. I don’t know whether “Frankie M.” or “Don’t Go” will wind up on the next Swans studio outing, and if they do, I’d expect they’ll be retooled in one manner or another, but just the fact that that’s how Swans go about their business where they could just as easily be plugging the t-shirts and vinyl at the merch booth said a lot about their priorities and how passion-driven they are.
Most likely, two nights into what will be several months of shows, Swans would tell you the show will get tighter. Gira hinted at same in mentioning how the stuff was all pretty new after “Don’t Go,” before he put his guitar down and danced like the mad conductor Jim Morrison wanted to be when he grew up for the bulk of “The Apostate,” directing Harris to hit this or that effect, maybe go for the flute, the horn, the gong, the chimes, or any number of other of the instruments he had in the little box constructed around him next to Puleo‘s also-expansive drum kit, or matching eyes with Pravdica in timing out measures for the insistent slams that start “Bring the Sun.” This lineup of Swans, inexperienced though they may be with bringing To be Kind to the stage, have been playing together for a few years now and it shows. Gira‘s signals, whether it’s a reeled-back leg kick to time a hit for the whole band or a subtle eye-glance to one player or another around him, are well read, and the fullness of sound Swans craft when they choose to do so is as consuming as their reputation would have you believe.
“A Little God in My Hands” was the second song played, behind “Frankie M.,” and offered an early bit of accessibility for what would soon turn into an amorphous spread of builds and crashes. “Oxygen” has form, and so does “The Apostate,” but live the bleed from one piece into the next was only distinct when it came to a silent finish, and while “The Apostate” seemed when they were done like that was it, “Bring the Sun” justified its place as the finale by giving an interpretation of drone-as-ritual that few I’ve seen live could rival. Whatever that track is going to turn into by the time Swans are done doing shows for To be Kind remains to be seen, but hopefully some recording of it surfaces somewhere along the line. It was distinct from the album version not just for dropping the “Toussaint l’Ouverture” half, but also it seemed to be finding its way as it went on — not a jam exactly, but live exploration unfolding in real-time swells of volume and tension. A solid 90 minutes had passed when they were done. I was surprised to look at my watch and see it was 20 after nine.
Downstairs at Royale, thudding dance beats pumped through the wall and as the art students, aged-out goths, metal intellectuals, kids who Pitchfork told to be there, stoners, girlfriends, industrial heads and others poured out of the front door, I spied some sidelong glances from those waiting to go upstairs and… well, whatever it was. So be it. If palpable, willful deviance from the norm was to be the vibe given off, then Swans made perfect figureheads for the evening.
Some more photos after the jump. Thanks for reading.
Posted in Reviews on May 13th, 2014 by H.P. Taskmaster
It wasn’t a house show exactly, and it wasn’t a secret show exactly. Dragon’s Den is a studio/arts space in a building somewhere in South Boston that prefers its exact location to be kept quiet and that does shows sporadically with the hope of not attracting too much attention. It is decorated like an arts space and has a theatre-style stage, deep and wide, that, in the case of a show like this one with The Body, Whitehorse, Rozamov and SET, held audience and band alike. Still, it was a small, personal space, so while it wasn’t a house show, it had that vibe, and while it wasn’t a secret show, neither was it one promoted to bring out as many people as possible. It was somewhere in between.
The start time was listed as 7PM sharp, and fool that I am, I believed it. I left at 4:50 for what’s usually a half-hour trip and sat in two solid hours of traffic to get into town, thinking I was pushing it as I walked into the building. Not quite. Neither SET, nor Rozamov, nor half the people volunteering their time to run the gig were there yet. I found a chair and sat in it and killed time on my phone while The Body and Whitehorse loaded in their merch, set up on long tables to my left — The Body with a vinyl collection all their own and a tote bag to put it in and Whitehorse with a limited tape recorded on the other side of the planet in their native Australia. I thought about doing some shopping, refrained. I’d paid for parking already and cash is scarce.
A little over an hour passed before SET went on, shortly after eight. At that point, it was still less than a week since I’d last (and first) seen the Worcester four-piece at The Eye of the Stoned Goat 4 (review here) in their hometown, so although I hardly know their stuff, songs like “Valley of the Stone” and “Sacred Moon Cult” – Tom from Rozamov doing an impromptu guest spot on vocals for the latter — rang familiar nonetheless. They had left one of the Stoned Goat fest’s most favorable impressions, particularly as one of the few acts on that bill I’d never caught before, and Dragon’s Den found them no less impressive, a little more stoned-out than thrashing, maybe, but still with a subtly complex blend of Sleep-y impulse and more metallic tendencies. They’d struck me as a quality band the first time out and they did so again, which is always reassuring.
People were starting to fill up the room. Most of those who’d show up for the show were there by the time Rozamov went on, BYO’ing sixers in brown paper bags for liberal enjoyment on some found-looking furniture in front of the LED lightboard or off in some corner, otherwise standing around, chatting amiably about the shifting of this or that paradigm in the way that young white people do when they’re in it, of it. I flipped through photos and waited for Rozamov, who — also at Stoned Goat (review here) — had demonstrated trio proficiency the weekend prior and whose more brutality-minded metallurgy served as a fitting transition from SET‘s opening push into the two touring acts who’d cap the night.
Also making a highlight of “Famine” from their 2013 Of Gods and FleshEP, Rozamov rounded out with the same new song that had left a mark the weekend prior, their blend of thrash, sludge and periodic stoner groove hitting like an adjustment of the balances at work in SET‘s aesthetic, both bands using two vocalists to their advantage, guitarist Matt Iacovelli and bassist Tom Corino – who traded out instruments smoothly mid-song after breaking a string — perhaps most effective in driving Rozamov as they worked in tandem screams on the aforementioned closer, drummer Will Hendrix holding a steady, quickened pulse behind. For an evening that held the promise of overwhelming volume, Rozamov fit right in.
My understanding is that Whitehorse were/are in-country to play Maryland Deathfest. So be it. I had missed them at Roadburn, and while I dig The Body, I’ve seen them before, so along with the locals, Whitehorse were what drew me to the show. Playing almost completely in the dark, the Melbourne six-piece unleashed a vicious, molasses-toned barrage of extreme sludge, lurching groove topped with burly growls. Their appeal was as immediate as their rumble, two guitars, bass, noise, drums, vocals all working toward a single goal of sonic annihilation. In decibels and extremity, they were every bit a match for The Body, and their huge, slow-running tones only made the material more consuming. Fucking heavy. Very fucking heavy.
There were three, maybe four photographers taking pictures up front, where I also was, most of them using flashes to do so. I’ll admit I turned mine on to try and get a couple shots as well, it was so dark. About three songs in, impressively-bearded Whitehorse vocalist Peter Hyde pointed to two or three photographers and me — literally, pointed his finger — and said they’d had enough of the flashes, told us we needed to leave so that people who actually wanted to see the show could move forward. It was belittling and humiliating, a first for me, and it felt utterly needless. I’d sat in an awful lot of traffic to show up an hour early for somebody who apparently didn’t want to see the show, and if the flash photography was a problem, an easy fix might’ve been to ask for no more flash. I guess that wouldn’t have been punk rock enough. Melbourne to Boston is a long way to go to make someone feel like an asshole for liking your band.
I bummed out pretty quick and pretty hard, made my way to the back and would’ve headed out the door but for reminding myself of those two hours I’d spent getting to the show, so I stood instead and watched Whitehorse finish and waited for The Body to go on. I took a couple pictures of the Portland-by-way-of-Providence duo, stayed for maybe three songs and then left, feeling mostly like a jerk for having shown up in the first place. Still audible from the ground floor outside the Dragon’s Den building, The Body were delivering the aural punishment that has served as the basis of their well-earned reputation, but any chance I had of being into it had evaporated. I was glad I got to see SET and Rozamov again, Dragon’s Den was a cool space and if I caught wind of another gig there, I’d go. I guess that after the Stoned Goat fest and the Floor show earlier in the week I was behind on my quota of unnecessary bullshit, but whatever. Some you win, some you lose. At least the roads were clear on my way home.
Some more pics of SET and Rozamov after the jump. Thanks for reading.
I knew when the guy behind the Icelandair check-in counter called me “dude” that everything was going to be okay. Actually, the first words out of his mouth when he saw my passport were, “You know about the delay, right?” Yup. Just an hour, though that in combination with the lack of traffic compared to what I thought I’d hit made me absurdly early. Security was a breeze, even carrying a bevvy of electronics. Still no idea how long it takes to get anywhere in Boston.
First to Reykjavik and then to Amsterdam, then to Tilburg. Have been sitting here two hours now and have two more to go until the new takeoff time. I don’t mind. The batteries on everything are charged, including the book I brought, and but for being warm and smelling the mass-produced whathaveyou being served at the restaurant to my left – some name I don’t know – it’s fine. A breeze from somewhere. Is Logan Terminal E big enough for wind?
Remembering travel stuff. Don’t look at anyone too long or they’ll look back. Put the computer in the back with the bottom facing out so that it and the camera can be upright in when the bag is laid down. Lessons already learnt, remembered situationally to no doubt be filed away again soon.
I enjoy people-watching as much as the next pseudo-creative, but it gets disheartening after a while, feeling very apart. In my head I hear cop voices in stern teenager-bound derision: “You think you’re special, son?” It’s the opposite. These people have made it. Front to back, they’re here, they’re in it, they’re human. They’re special. I’d be fooling myself if I thought I could ever do or be that thing. It just wouldn’t work. Some will tell you everybody feels that way, like they’re the muck. Maybe that’s true, but they don’t live it. Existence as an awkward-fitting pantsuit.
But the place I’m going is where it works at least well enough to pretend. To put me back into position of righteousness from which to designate the squares. Not the only congregation anymore, but maybe the most revered. It’ll be a quick few days at Temple Roadburn, but fucking hell I’m ready. Please, please get me there. Get me to no sleep and vicious tone. To the wind pushing on through Weirdo Canyon, the mad stench of the 013 on Saturday night. Get me there. In red block letters at my 12: “REYKJAVIK: Delayed.”
Posted in Whathaveyou on April 7th, 2014 by H.P. Taskmaster
This week, Boston’s own Gozu fly to Europe to begin a tour that will carry them for the next two weeks from Roadburn to the Desertfest in Berlin. It’s an enviable trip with what’s sure to be extra-righteous beginning and endpoints, and though it will have only been about half a month since I last watched them play, I consider Gozu among my gotta-see Roadburn bands. Why? Because everybody brings it toRoadburn. Tired? Jetlegged? Whatever the circumstances are, if you’re ever gonna kill, you’re gonna kill there. I’m looking forward to it.
Dates and whatnots follow, as dictated by the PR wire:
GOZU: Massachusetts Riff Rockers To Embark Upon First-Ever European Tour; The Fury Of A Patient Man Limited Edition Vinyl Out Now
Massachusetts hellions, GOZU, will take their riffs overseas next week for their first-ever European takeover! Set to begin at the legendary Roadburn Festival, the band will wage a full-on volume ambush through ten select locales in the Netherlands, Germany, Slovenia and Italy, concluding with a performance at Desertfest in Berlin.
GOZU will be touting the fruit of their The Fury Of A Patient Man full-length released last Spring via Small Stone. The self-produced ten track monster earned widespread praise for its Chris Cornellian vocal swells and robust, heavy rock swagger.
A special deluxe edition of The Fury Of A Patient Man was recently released via Small Stone in celebration of the upcoming European journey. Limited to 500 copies, the 2XLP set comes on 180-gram wax with a wide spine jacket, poly-lined sleeve, and two colors – LP one is “clear green” while LP two is “solid purple.” Sides one, two and three feature tracks from the original album, while side four offers up exclusive vinyl-only numbers with one original tune (“Break You”) and GOZUed renditions of Simply Red’s “Holding Back The Years” and D’Angelo’s “Shit, Damn, Motherfucker.”
GOZU Spring Tour 2014: 4/12/2014 Roadburn – Tilburg, NL 4/13/2014 Hafenklang – Hamburg, DE 4/15/2014 Feierwerk – Munich, DE 4/16/2014 Channel Zero – Ljubiljana, SI 4/17/2014 Magnolia – Milano, IT 4/18/2014 E20 Underground – Montecchio, IT 4/19/2014 TBA 4/20/2014 TBA 4/22/2014 Das Bette – Frankfurt, DE 4/23/2014 Musicon – Den Haag, NL 4/24/2014 The Underground – Cologne, DE 4/25/2014 Astra Kulturhaus Desertfest – Berlin, DE
Order the vinyl edition of The Fury Of A Patient Man atTHIS LOCATION.
Posted in audiObelisk on April 3rd, 2014 by H.P. Taskmaster
Doomsayeris a fitting title for the forthcoming debut from Boston trio The Scimitar. The band build on the methodologies of BlackPyramid, the trio from which they splintered off last yearwith bassist Dave Gein and guitarist/vocalist Darryl Shepard picking up drummer Brian Banfield in the process, but craft their own identity as well in the blend of catchy songs and plodding, thudding doom. As a riffer and lead player, Shepard – also of Blackwolfgoat, Milligram, Hackman and too many others to count — sounds right at home on Doomsayer, though it might be the heaviest aesthetic in which he’s yet resided. Black Pyramid‘s 2013 outing, Adversarial(review here), which had Shepard and Gein in the lineup with drummer Clay Neely, is probably the closest comparison point, and Doomsayeris altogether a heavier album. Less bound by the expectations of stepping into someone else’s frontman spot, Shepard flourishes on cuts like “The Taker” and “World Unreal,” and the pummel the trio elicit only lets up on the acoustic interlude “Attrition.”
So it’s heavy in heavy’s element. Fair enough. As the first audio to surface from Doomsayerin its finished mix, “World Unreal” sets up a lot of what works really well about the album, but it doesn’t tell the whole story. In the High on Fire-style thrash of “Babylon,” they heavy-rock-grooving centerpiece take on Motörhead‘s “Metropolis” and the thunder-weighted payoff of closer “Crucifer,” The Scimitar distinguish themselves from Black Pyramid and showcase a songwriting process that’s started from a position of considerable accomplishment and only likely to come further into its own. With lyrics criticizing a conspiracy-minded view of the world — the lines “You’re seeing patterns that don’t exist/You think that everyone’s an enemy” stand out — a steady, rolling groove and metallic undertone in the chorus, “World Unreal” makes a striking introduction to the outlook and heft of Doomsayer, and while the version of the song that I have the pleasure of premiering isn’t mastered, it should still be plenty loud enough to get its point across.
Doomsayer was recorded by Glenn Smith at Amps vs. Ohms Studios and mixed by Benny Grotto at Mad Oak. The Scimitar will release Doomsayerin the coming months through Hydro-Phonic Records. Shows are rare, but the trio will take part in the Eye of the Stoned Goat 4 festival, May 3 and 4 at Ralph’s Rock Diner in Worcester, Massachusetts. More info at the links.
Posted in Whathaveyou on March 24th, 2014 by H.P. Taskmaster
Prolific Boston garage-doomers Ice Dragon have issued a new single called “Demons from Hell” in their traditional write-it-record-it-toss-it-out-there fashion. Word arrived last night of the cut, which steps back from some of the psychedelic experimentation of their latest full-length, 2013′s Born a Heavy Morning (review here), and follows in the nastier-riffing footsteps of their prior two-tracker, Steel Veins b/w Queen of the Black Harvest (discussed here), taking a dark and metallic approach to axe-swinging heaviness.
Like everything they do, “Demons from Hell” was recorded by the band at their home studio, Ron’s Wrecker Service, and in addition to underscoring the breadth of sound they’re able to capture on their own — one probably wouldn’t listen to 2012′s Dream Dragonand think “Demons from Hell” was captured in the same room — the new track drives home just how much the lo-fi production sound has become an essential part of their aesthetic, whether it’s Ron‘s howling vocals or the sharp-edged turns of Joe‘s bass, Brad‘s drums and Carter‘s guitar. When the latter takes a noise-caked solo over steady tom runs, you can practically hear the tape hiss, even on the digital stream.
I don’t know whether or not “Demons from Hell” will be part of Ice Dragon‘s next full-length, which is reportedly in the works, or if its sound portends what that album might sound like — when it comes to these guys, any speculation is just setting yourself up to look dumb later — or if it will receive any kind of physical release to make the most of its Zé Burnay cover art, but it’s a catchy, raw cut that stands well with the band’s earlier outings, three of which are due for release on CD through PRC Music in May (plus Ingot Eyefrom ultra-bleak side-project Tentacle). As always, the song is available as a pay-what-you-will download from their Bandcamp page.