Getaway Van Premiere Title-Track of Unchained EP

Posted in audiObelisk on May 1st, 2020 by JJ Koczan

If you’ve ever taken part in any kind of group endeavor — and, since you’re alive and reading this, yes, you have — you already know that there are times when it works and times when it doesn’t. With their new EP, Buying research papers with us is 100% secure and quality is guaranteed. You should buy writing research essays with those only, who are trusted like we. Unchained, Vancouver-based heavy rockers custom essays written for you enter write my admission essay writing write research papers for money Getaway Van are representing a time when it does. Particularly for bands, there is a mythical moment of “locking in” that’s often spoken of with reverence, when all the pieces of which the group is assembled — whether it’s guitar, bass, drums, vocals or some other configuration — come together in the creative process and, wham, the song seems to write itself. I’ve heard it said on more than one occasion that these are the moments a band lives for, and of course they don’t happen every day, every record, or in every career.

Professional http://www.bcontact.it/?want-to-go-to-japan-essay that you can trust. Choose us and evaluate the benefits: affordable price, full confidentiality, 24/7 Getaway Van, then can hardly be blamed for wanting to bottle that lightning, as it were.

The situation was that guitarist/vocalist We will not do that under any circumstances. Instead, when a client comes to us, and asks us http://blog.robohan.net/is-homework-helpful-or-harmful-essay/ cheap?, we make sure that the Derek Lionas and drummer Our website is No. 1 in Academic Writing Service & Custom visit . Feel free to hire us for your academic needs. We are the perfect Devon Sutherland had newly come together with guitarist Who Can I Pay check my site To Do My Homework for Me. TheHomeworkPortal Best online service that can do my homework for me. resume Tanner Reid and bassist The Solution? Resources. Unlike in the recent past, do my homework for me requests are exceedingly becoming more acceptable. This trend is directly favored by rising numbers of people who are working as they study. In such cases students get overwhelmed with responsibilities that overrun their schedule. Fernando Cilento after parting ways with the former half of their band, it, apparently, it worked. getaway van unchainedThey locked in while sharing vocal duties between Our PhD research Get Assignment Help can help you complete your work fast and according to all the requirements. Get a custom research proposal for PhD. Lionas, Watch best videos about Cover Ubiquitous Computing Master Thesis Jobs on our tube site! Reid and correction dissertation bac 2006 Distance Education Essay Writing Zemyx professional papers written cite sources research paper Cilento and decided to get the tracks on tape while they were feeling the right kind of energy.

That’s precisely the vibe — “right kind of energy” — that comes through on “Unchained,” the title-track of the resultant three-song EP due out May 28. The song careens with post- From time to time, I get letters from people thinking seriously about becoming http://ballyshannondrama.com/user-right-assignment/. Some have no idea how to start; some have started but want to know how to get better. I usually respond with a hasty email, so that I can get back to figuring out for myself how to be a science writer. Kyuss riffing and certainly its gruff vocals are up front in a manner that’s striking at first, but soon it all seems to smooth out and by the end of the sub-four-minute track, it’s the hook itself that’s making the most vital impression. In following up their 2019 self-titled debut (review here), Paid essay writing jobs available right now. You can get read this article and earn up to 00 monthly working from home! Getaway Van harness that electricity of being a new band — so new they don’t even have a promo pic yet, though social-distancing guidelines might’ve put the brakes to that as well — and make the most of their still forming dynamic.

As to where they’ll go next, that’s up to them. The point is they’re going.

You can hear “Unchained” on the player below and  How to select a company ace my homework review college . Now you can observe a wide range of companies, which provide college and University papers. Lionas tells the tale from his perspective thereafter.

Please enjoy:

Derek Lionas on Unchained EP:

The band underwent a change in members due to life in late 2019. We found Tanner Reid (lead guitar) and Fernando Cilento (bass, vocals) and the band had this wickid new energy. We figured we should pump out a new EP to capture it. We went into the studio with three songs written and sung by three different strings players. We’ve always attempted to be a collective, because I’m a big believer in “if you got something to say, I wanna hear it.” So we went in and recorded three songs. Tanner wrote “Unchained,” and we recorded it. After hearing it back, we decided to rewrite the lyrics and have me sing it. It really brought out the sound, and were all super happy with it. Mike Slater (who recorded our self-titled album) had us back again, and for this one we absolutely cranked a Traynor Iron Horse thru a Marshall 1960b cab. Then Tanner’s main gain stage is a little Big Muff, plus a couple cool modulation and delays to support (keeping secrets on those). I ran my telecaster through a green Russian Big Muff clone that I hand-soldered myself, I think the tone sounds siiick on that thing. Fernando has this cool 1960s Epiphone reissue guitar he recorded with. We’re stoked on how this song came out — we envisioned driving super fast down a winding road, foot to the floor! — and can’t wait to share the other two off the EP. Keep safe, keep riffin’.

Getaway Van is:
Devon Sutherland – Drums
Fernando Cilento – Bass/vocals
Derek Lionas – Guitar/vocals
Tanner Reid – Lead Guitar/vocals

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Getaway Van website

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Seven Nines and Tens Sign to Willowtip; Over Opiated in a Forest of Whispering Speakers Coming Soon

Posted in Whathaveyou on February 3rd, 2020 by JJ Koczan

Safe to say try here - Put aside your worries, place your task here and receive your professional project in a few days If you are Seven Nines and Tens are about to shake hands with an entirely new audience. The Vancouver-based post-whatever-you-got anti-genre purveyors have inked a deal to release their cumbersomely-titled third full-length — deep breath in — Constant Content's find more info connects you the best freelance blog writers online. Hire a blog writer today and start ordering great unique Over Opiated in a Forest of Whispering Speakers, through Western Pennsylvania imprint Willowtip Records, who are more known for doling out grind and various other forms of extreme metal than heavy or experimentalist rock, but have always had an ear for the forward-thinking. Certainly that tag would apply to Seven Nines and Tens, at least as much as any.

And their music does tend toward extremes, if not blastbeats, in its sonic pursuit. To-date five tracks are recorded and there are two more to put down, and as it’s the band’s first record in four years since Set the Controls for the Heart of the Slums (review here), they seem to be justifiably looking forward to getting it out.

So okay, interesting band signs to interesting label. Why should you be interested? Because I’ve heard the five tracks that are recorded. I recognize that different people like different things, but the basic fact of the matter is if I didn’t think Over Opiated in a Forest of Whispering Speakers was worth my time writing about and worth your time reading about, I wouldn’t be writing about it. That’s the best I’ve got, and since we’re likely a ways away from the record coming out — as it’s not technically done and all — it’s probably best if I reserve further comment, lest I spoil the Boris-style tonal glories or fleet, purposeful stylistic maneuvers too soon.

More to come. Here’s what the band has to say at this point:

Seven Nines and Tens

Seven Nines & Tens’ third record “Over Opiated in a Forest of Whispering Speakers” will be released on vinyl by Willowtip records in 2020, date tba. Over Opiated is produced by vocalist/guitarist Dave Cotton along with Adam Vee, and Matt Roach. It was recorded at Raincity Recorders in the band’s home of Vancouver. The album artwork was created by award-winning African designer Ahmed Emad Eldin. Emad Eldin designed the artwork for Pink Floyd’s final album “The Endless River” as well. We are currently recording two more songs to add to the album before it’s pressed on vinyl. These two new songs would’ve been on our fourth record, so you can hear the future now.

“We spent about a year recording the songs and doing pre-production at our rehearsal space in North Vancouver leading up to going into the studio,” says Dave Cotton. “When we finally recorded the songs in the actual studio there was a definite air of excitement. Myself and the guys had never been that immersed in pre-producing an album before and it seemed to add to the overall quality of the finished product. We are excited to a join Willowtip’s legendary roster and for them to take a bit of a stylistic risk with our music. 13 years into my career of writing music for Seven Nines & Tens, I feel like I’ve only scratched the surface of what we are going to accomplish.”

The album is the follow up to 2016’s “Set the Controls for the Heart of the Slums.” https://sevenninesandtens.bandcamp.com/album/set-the-controls-for-the-heart-of-the-slums-2

Seven Nines & Tens released a career spanning boxset “Satisfy the Faction’ at the very end of 2018 as well. https://coupsurcoup.bandcamp.com/album/satisfy-the-faction

http://www.facebook.com/sevenninesandtens
https://sevenninesandtens.bandcamp.com/
http://www.sevenninesandtens.com/
http://www.facebook.com/willowtip
https://willowtip.bandcamp.com/
http://www.willowtip.com/

Seven Nines and Tens, Set the Controls for the Heart of the Slums (2017)

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We Hunt Buffalo Self-Titled Reissue out Sept. 20

Posted in Whathaveyou on September 5th, 2019 by JJ Koczan

we hunt buffalo

I always feel compelled whenever I write about these guys — and it’s been a couple times now — to say that I don’t think they really hunt buffalo. Not the least because they’re from Vancouver and I don’t think there are any buffalo in Vancouver, as many as there are anywhere. Nonetheless, even as the B.C. trio We Hunt Buffalo continue to support 2018’s Head Smashed In (review here) as they did earlier this year for a trip abroad that included a stop at Desertfest London, the Fuzzorama Records (Sweden) signees continue to make international headway, hooking up with Greek imprint The Lab Records for a vinyl edition of their long-sold-out early-2012 self-titled debut. The platter, which includes a take on King Crimson‘s “21st Century Schizoid Man,” will be pressed up in an edition of 300 copies and released to the public on Sept. 20, but of course since the record’s been out for seven years, it’s streaming now. You can hear it courtesy of We Hunt Buffalo‘s Bandcamp at the bottom of this post.

The PR wire brings word of the reissue:

we hunt buffalo we hunt buffalo

WE HUNT BUFFALO – We Hunt Buffalo ( LAB040 )

Canadian fuzz rockers We Hunt Buffalo to reprint self titled debut on white vinyl (limited edition of 300) with Greece’s The Lab Records.

The 2011 LP has been out of print for some time now and as demand grows for vinyl copies of the album, the band is thrilled to be teaming up with The Lab Records.

“I think it’s so cool how a collaboration like this can happen” says Ryan Forsythe (Vocals/Guitar). “Here we have a band and record label on separate sides of the world coming together to release this record. We really like what The Lab Records is doing and are stoked to be part of the roster.”

Since the self titled LP, We Hunt Buffalo have gone on to release two additional full lengths and an EP. They’ve spent much time touring Europe, supporting Monolord & Truckfighters. Their first headlining Euro tour was a success in spring 2019 so expect to see them back soon (with hopefully, appearances in Greece! ).

Release date 20/09/2019.

https://www.facebook.com/wehuntbuffalo/
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https://www.instagram.com/wehuntbuffalo/
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We Hunt Buffalo, We Hunt Buffalo (2012)

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Hemptress Sign to Cursed Tongue Records; Alchemy Due in October

Posted in Whathaveyou on August 21st, 2019 by JJ Koczan

hemptress

Hemptress issued their debut long-player, Alchemy, earlier this year to a generally warm welcome, and the British Columbia-based four-piece will now release the album through Cursed Tongue Records on vinyl this Fall. Considering the DL version came out in March, that’s a pretty efficient turnaround, and I’m going to guess this one has been in the making since well before right now, when the deal is being made public. I’m sure you’ve heard it by now, because you’re hip like that, but if not, Alchemy can be streamed in full via Bandcamp — you’ll find it below — and though I’ve no doubt a Tony Reed master for vinyl will only make it sound more righteous, there’s no real mystery as to why a label like Cursed Tongue would want to lock in the release. Kind of rules.

No word on what Hemptress‘ plans are for a follow-up, but recall that Alchemy is still pretty new, so I wouldn’t necessarily expect any at this point. In the meantime, the news that this one is getting a proper look is welcome, and most certainly deserved. Release date is Oct. 11.

Here’s the announcement from the label:

CANADIAN RIPPERS HEMPTRESS SIGN TO CURSED TONGUE RECORDS FOR A WORLDWIDE VINYL RELEASE OF THEIR SCORCHING DEBUT ALBUM ‘ALCHEMY’ OCTOBER 2019

Cursed Tongue Records is damn proud to announce the signing of Kamloops, British Columbia, Canada based stoner-fuzzing and heavy-doom-tripping quartet Hemptress. Cursed Tongue Records is dead-set on a mission to bring ‘Alchemy’ and its maple-syrup-dripping, iron-chopping, metal encrusted stoner-doom hymns to a wider audience across the global Heavy Underground ensuring that any heady, heavy music worshipper is reached!

It’s with a fierce fury that Hemptress convey their fuzzed out and amped up riffs that are dragging us head first in the mud to make sure our ears are firmly embedded in the furrows of the sonic landscape conjured up by their alchemistic rituals. Only one listen and we knew that these wizards had actually managed to create gold.

The band has delivered a blistering collection of wild and far-out bluesy stoner rock with enough grit and meat to keep you full for countless spins of their gripping take on an old but well-executed formula. Rest assure these guys know that not all that glitters is gold, but whatever rips and fuzzes like a lazer-tazed bull surely has a lasting impact!

As the band expresses it: “Hemptress is like being saddled on a beastly rock n roll engine trailed by flaming tumbleweeds down a southern psychedelic desert highway, fresh outta hell with the devil’s tears in a hip flask, riding high with a crooked grin while Lady Luck kisses your neck and the wild wind wonders where you’ve been.”

Hemptress debuted their ‘Alchemy’ album digitally on Bandcamp back in March 2019 to general accolade amongst stoner heads and reviewers of the Heavy Underground it is therefore with much joy that Cursed Tongue Records can roll out the red carpet and give this badass beast of an album its well-deserved vinyl treatment. We open the doors for the tangible wonders of alchemy this fall with a slated vinyl release in early October. Pre-orders will run from the latter half of September. More info, details and dates as we approach the witching hour!

‘Alchemy’ has been mastered for optimal vinyl playback by Tony Reed (of Mos Generator fame) and will sport brand spanking new and bewitching artwork by Shane Jones of Shane Horror design. The vinyl release will be out on vinyl via Cursed Tongue Records in October 2019. Pre-orders to commence a few good weeks in advance of release – more on that soon…

CTR-025 Hemptress – ‘Alchemy’; vinyl official release date slated for October 11. 2019.

All tracks written and performed by Hemptress
Recorded, mixed and mastered by Jon Matthies
Artwork & design by Shane Jones
Mastering for vinyl by Tony Reed at HeavyHead Rec.
Additional layout & design by Michael Andresakis

Track listing:
Side A
1. I Hear You Howlin’
2. Moonlight Gunnin’
3. Alabaster
4. When The Sun Goes Down
5. Electric Fire
Side B
1. Mind Corruptor
2. Maniac
3. Alchemy

Hemptress is:
Jesse Mac Taylor – Vocals/Guitar (+ Drums on ‘Alchemy’ album)
Jordan David Easson – Bass
Jordan Peter Bennee – Guitar
Matthew Michael John Bayley – Drums (new member, not on ‘Alchemy’ album)

https://hemptressband.bandcamp.com/
https://www.facebook.com/Hemptress-1430126427206913/
https://instagram.com/hemptressband
http://cursedtonguerecords.bigcartel.com/
https://www.facebook.com/CursedTongueRecords/

Hemptress, Alchemy (2019)

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Getaway Van Premiere “Lord I’ve Been Running” Video

Posted in Bootleg Theater on April 22nd, 2019 by JJ Koczan

getaway van

When you’ve got a hook, use it. That lesson would not seem to be lost on Vancouver four-piece Getaway Van, whose recently-issued self-titled debut has a bunch to go around, from the bloodshot repetitions of “Branches” down through the catchy mid-paced sway of “So Long” at the record’s pre-outro conclusion. “Lord I’ve Been Running” might be the most infectious of them, however — though I wouldn’t take away from “Ugh” or the prior “Follow Me,” either — though it’s certainly in resonant company, and though it’s the means by which Getaway Van are making their debut, having formed in 2017, the interplay of vocal arrangements between guitarists Derek Lionas and Charlie Cole and bassist Zach Fox show a care in composition that speaks directly to intentional songcraft. That is, it’s not just verses and choruses piled on top of each other. There’s thought behind what they’re doing, and in listening to the album, it sounds like the work of multiple songwriters, or at least multiple contributors around a central idea for each track. Drummer Devon Sutherland, accordingly, provides the restlessness at the foundation to keep everything moving while still tying the songs together.

Somehow, because it’s in Canada and not Portland, Oregon, or Seattle, Washington, Vancouver seems to be often-unconsidered when it comes to the thriving Pacific Northwest heavy underground. That’s a mistake, obviously. On a song like “Blacktop Mistress,” Getaway Van tap into Red Fang-style forward momentum while the earlier “Comin’ Back” demonstrates more melodic complexity in straightforward, Ripple-style heavy rock, but what makes it all work together is the focus on songwriting at root in what they do. While “Lord I’ve Been Running” takes its central theme from the blues, it makes its impression with its sharply-executed bounce of rhythm and, indeed, its hook.

They are not shy with it, and neither should they be. The video (with videography by Matej Ceska) finds them arriving, loading in and playing a gig at The Bourbon in Gastown, Vancouver, as well as in the rehearsal space where Fox professes, “Somebody’s been practicing,” when complimented on his play. That’s a fun moment in a fun song with a kind of dark theme presented in a manner that borders on maddeningly catchy and appears on an album that functions much the same. “Lord I’ve Been Running” inherently can’t convey the entire scope of Getaway Van‘s songcraft — you know, being one song and all — but in the vocal swaps and its pristine construction, it represents the self-titled well. Probably why they chose it as a single, and further proof these cats know what they’re up to.

Some quick comment from the band follows. Dig in and have fun:

Getaway Van, “Lord I’ve Been Running” official video premiere

Getaway Van on “Lord I’ve Been Running”:

“‘Lord I’ve Been Running’ is the second single from our debut full-length album. Written by bassist Zack Fox, this is a song about the tribulations of life, and the toll it can take on a person. We’ve all always loved this song due to the high energy and its almost desperate nature. The powerful vocals and incessantly running guitars really seem to get people moving, and help make it a memorable track. It’s certainly a song that everyone can find a connection to on a personal level, and as such, it was the natural choice for our first music video to come from this album.”

Getaway Van is:
Devon Sutherland – Drums
Zach Fox – Bass/vocals
Derek Lionas – Guitar/vocals
Charlie Cole – Guitar/vocals

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Getaway Van website

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Heron and Seven Nines and Tens Split Tape Available Now

Posted in Whathaveyou on January 4th, 2019 by JJ Koczan

Tonight in Vancouver, Seven Nines and Tens and Heron will play the release show for a new split tape on Coup Sur Coup Records that’s been given the title, Passages of the Pacific Northwest. The label’s Bandcamp page has 10 handmade copies available, at least one of which was gone before this morning. The bands will each also have 10 copies for sale at the show, which is to be held at Astoria Hastings, and that seems to be it for the pressing. Well, you know I’m a sucker for a ultra-limited tape, so here we are. 30 copies definitely hits that standard.

Fortunately, even if you’re not the Walkman type, the label — which also released a varied noise/ambient comp called Feedback Through a Magnifying Glass Volume I that boasted a few familiar names — is streaming the release in full, and you can make your own passage at the bottom of this post.

The show is put on by The Collective Agency. Info follows:

heron seven nines and tens split

Vancouver Avantgarde-Jazz-Stoner Metal Masters Seven Nines and Tens return to Astoria Hastings on January 4th with HERON, Lucia, and The Ship Of.

Doors @ 8pm
Bands @ 9pm
$10 in ADV at Red Cat Records or from the bands
$13 at the Door

Split is: High-bias cassette tape, of random colours, dubbed one by one in Castlegar, BC. Includes unreleased material and songs never released on physical format. Only 10 copies available here, and both bands will have 10 copies at their joint show January 4th 2019!

1. Heron – Tears of the Sun 05:57
2. Heron – Parallels of a Knife 07:03
3. Heron – Uncomfortable Silences 07:38
4. Seven Nines And Tens – Castles on St-Clair’s Beach ( Unreleased song ) 05:06
5. Seven Nines And Tens – Rave Up (Live) 06:11
6. Seven Nines And Tens – Kemptville (Live) 02:55

Coup Sur Coup also recently issued the compilation “Feedback Through A Magnifying Glass Volume I” featuring Kevin Hugnagel, J.D. Pinkus, Vision Eternel and others. Available here.

http://www.sevenninesandtens.com/
sevenninesandtens.bandcamp.com

https://www.facebook.com/herondoom
https://heronvan.bandcamp.com/

https://www.facebook.com/coupsurcouprecords
http://www.instagram.com/coup_sur_coup_records
https://coupsurcoup.bandcamp.com

Heron & Seven Nines and Tens, Passages of the Pacific Northwest

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Empress and Piece Stream New Split in Full; Tour Starts This Weekend

Posted in audiObelisk on November 1st, 2018 by JJ Koczan

empress

piece

Canadian trio Empress and German foursome Piece are hitting the road together in Germany and the Czech Republic starting this weekend. The final show of the tour, Nov. 9 in Piece‘s hometown of Berlin, will mark the release of a split 12″ they’re sharing to mark the occasion. It’s heavy. And it’s metal. So what else to call it? The sense of severity doesn’t take long to grab the throat with Empress‘ tracks arranged as the initial assault, as though Piece were telling them “it’s okay, guests first.” Both bands conjure a decent sense of barrage, make no mistake, but there’s no lack of distinguishing character between them and they’re by no means chasing after the same goals. Empress, who call Vancouver, British Columbia, home, tap into Pacific Coastal extremity ever so slightly in “At Peace to Burn the Gathering,” and while I wouldn’t necessarily call the track subtle on any level if only for the inherent volume of its execution, the fact that in the first 90 seconds it goes from crashing sludge riffs to Cascadian-style black metal and then turns again to a kind of post-metallic atmosphere is not to be overlooked just for the fluidity for which it’s done.

“At Peace to Burn the Gathering” and the accompanying “Zwölf” are both well over six minutes long, so there’s plenty of time to flesh out such genre interplay, and Empress demonstrate that malleability plainly en route to the gradual deconstruction of the first cut and into the chug that begins “Zwölf,” which does well in bringing the varying sides together ahead of a midsection break to drum-pushed ambience that introduces clean vocals put to effective use as the full force of tone returns. Is it right to think of a two-song release having an apex? I don’t know, but it does, and like their first track, Empress gradually bring down “Zwölf” before Piece take hold with the suitably introductory “Oblivion.”

All told, the split is 27 minutes long, and that’s pretty evenly divided between Empress (a little shorter) and Piece (a little longer). While both bands should be noted for the flow they conjure during their time, Piece take the extra step of using “Oblivion” to set the stage for side B of the vinyl, which makes gives a glimpse at the tonal foundation and riffy grandstanding at play before “Blood Eagle” (no relation to the Conan album of the same name) gallops in with a marked, defining High on Fire influence. I mean, it’s prevalent, and Piece aren’t trying to hide it. Their black wings are blessed and their communion is with death. No complaints. Blown-out vocals help disassociate, and the ease with which they work their way into a slowdown later — still over double-kick drumming — helps them make an impression of their own before “Blood Eagle” ends cold and leads to the near-eight-minute “Primordial Void.”

A more distinctly sludged opening riff rolls out there during the initial couple minutes topped with echoing barks of vocals and pushed with a rhythmic fervency that foreshadows the gallop soon to resume. That conversation between tempos plays out again before “Primordial Void” opens up to a more spacious solo just past its halfway point, and though brief, it has the effect of adding a new context for the song, which is soon to hit into an even bigger slowdown that sneakily introduces the organ that will be the last remaining element after the final march recedes into residual amp noise and feedback.

Both acts released debut EPs in 2017, and each approaches their half of the outing with suitable intensity. The tour is eight shows — seven in Germany, one in the Czech Republic — and I expect by the end of it there will be a couple raw throats and a couple tired drummers, but there’s no way that Berlin gig won’t be a good time. You can stream the entire split below courtesy of SoulWrecked Records, which is handling the release, and see all the dates and more info thereafter.

Please enjoy:

SoulWrecked Records will be Putting out this release on November 2nd 2018 on Digital and 12” Vinyl formats. This will be Empress’s first time touring Europe.

Empress & Piece on tour:
Nov. 2. Cottbus -Piece, Hedger, Empress
Nov. 3. Leipzig – Empress, Piece, Spleen Flipper
Nov. 4. Liberec – Ned?lní vzývaní Cthulhu: Empress [Ca] * Piece [De] *
Nov. 5. Jena – Castle / Empress / Piece
Nov. 6. Karlsruhe – Stoner Metal // Piece + Empress // P8
Nov. 7. Essen – Empress (CAN), Piece, Second Sight | Emokeller Essen
Nov. 8. Kiel – Piece & Empress – Kieler Schaubude
Nov. 9. Berlin – Piece & Empress & Weedruid – Split Record Release Show
*Czech Republic

Drawn by the call of Cthulhu, PIECE have created a concept EP that sounds more Bayou than Berlin, more Swamps than Spree and unlike anything else that made it out of a dusty rehearsal room in Germany?s capital city. Deeply rooted in the DIY Hardcore Punk scene, Piece prove that they are able to create a sound that resembles Crowbar or High On Fire and wanders far off the respective sub-genres of their members? previous or still active bands such as Demonwomb, Scarred Mind, Sleep Routine, Soulground, Trapjaw and Waterlvngs.

The three-headed beast EMPRESS from Vancouver, B.C. was born after guitarist/vocalist Peter Sacco (SEER) and drummer Chris Doyle attended a show headlined by doom mavens ELDER. Inspired by the massive wall of sound and psychedelia they encountered on that fateful night, the pair enlisted bassist Brenden Gunn (CRATERS) and set out to create their own brand of stoner/sludge metal. The trio, whose collective history dates back nearly a decade, went immediately to work. Within two months EMPRESS wrote and recorded the five tracks now collectively known as Reminiscence. With this debut EP, EMPRESS harvests a hybrid strain of monolithic groove, over-amped sludge and mutant prog.

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Review & Track Premiere: We Hunt Buffalo, Head Smashed In

Posted in Bootleg Theater, Reviews on September 20th, 2018 by JJ Koczan

we hunt buffalo head smashed in

[Click play above to stream the premiere of We Hunt Buffalo’s lyric video for ‘The Giant’s Causeway.’ Their new album, Head Smashed In is out Oct. 26 on Fuzzorama Records and New Damage Records.]

As images go, ‘head smashed in’ is as vivid as it is succinct and violent. We Hunt Buffalo, who made their debut on Fuzzorama Records in 2015 with their second album, Living Ghosts (discussed here), return with Head Smashed In as a nine-song/43-minute collection of beefed-up modern progressive-styled heavy, bordering often on metal in songs like “Angler Must Die” with the popping snare of drummer Brandon Carter backing the dual-vocal hook from guitarist Ryan Forsythe and bassist Cliff Thiessen, or in the lumbering moments of finale “God Games.”

Those stretches, though, aren’t without contrast, and We Hunt Buffalo wind up with a sneakily dynamic style that takes on heavy rock directly in cuts like “Keep it Refreshing,” which to my New England-dwelling ears seems to have a bit of Roadsaw in its chorus, and centerpiece “Industry Woes,” which engages harsher vocals but has a classic round of starts and stops that not only shows a tightness on the part of the band instrumentally, but easily crosses genre lines in a way that sounds natural and familiar while still remaining stylistically nuanced. That nuance is in part thanks to the production, which is crisp and brings out a tension in a way that Living Ghosts seemed more open and looser on the whole, but is full in its overall affect and massive sounding especially in the guitar and bass tones.

Big choruses pay off dug-in movements, and from opener “Heavy Low” through “Angler Must Die” and “Prophecy Wins” and into the instrumental “Get in the Van,” the balance between proggy detail-making, weighted force of tone and rhythm and traditional-feeling earwormery makes Head Smashed In true to its titular sense of impact without necessarily the direct one-on-one violence that “smashed” brings to mind. In the end, there are many ways to cave in a skull.

we hunt buffalo

The shouts in “Industry Woes” feel well-enough earned by that song’s theme, and they have a likewise well-placed effect on the context of the record as a whole, speaking to roots in the Mastodon-informed sphere of modern underground thrust, but for the most part, Head Smashed In works at a comfortable pace. Later, “God Games” takes on an almost post-rocking feel in its subdued verses, but even “Prophecy Wins” — the longest cut at 6:12 and the last chapter of the opening salvo — has a steady, obviously-in-control rollout that never flies too far off the handle on its way to its engaging melodic finish. “The Giant’s Causeway” finds Carter double-timing his ride cymbal in the chorus, and that adds a sense of urgency, but in that song as well there’s no danger of We Hunt Buffalo losing their way. They might be at their speediest on “Get in the Van,” but the same applies, and ultimately, the range on Head Smashed In is more about volume and melody than about tempo.

That’s not to say there’s no changing it up, as the back-to-back run of “Anxious Children” into “God Games” demonstrates, just that the impression the tracks make draws more from the trades between Forsythe and Simpson on vocals and the shifts between louder and quieter parts than playing grind on one track and doom on another. Their pacing helps draw the material together and create a flow that moves the listener from start to finish, and it’s in how they work within that sphere that We Hunt Buffalo emanate a maturity in their approach that even just three years ago they simply didn’t have. It might not come across as such on a first time through, but Head Smashed In is actually pretty classy. The performances are sharp, the mix is deep and allows for emotional resonance in the melodies that are so crucial to the memorable nature of the songs, and there is an overarching groove that results in an all-the-more coherent vibe. Very much a third album. Very much the product of a group who know what they want to do, who are steady in their approach, confident in the studio, working how they want to work and able to bring a sense of energy to their output regardless of the outward push. It’s not the kind of record a band could make their first time out.

And maybe that’s part of the idea behind the title — to mask some of that intricacy in a notion of brute force. Fair enough. Influences from the likes of Elder situate We Hunt Buffalo in a forward-thinking heavy sphere with the likes of Forming the Void, and like the lines in its cover art, which also features a smashed head or two, it’s the pinpoint details in the songs that make their third LP succeed in the manner it does. They bolster the strong choruses of cuts like “Prophecy Wins” and “The Giant’s Causeway” and “Keep it Refreshing,” while giving those who’d rightfully return for multiple listens all the more reason to keep coming back. It’s songwriting. But just like one might look at the name of the album and prejudge an expectation of what’s coming, there’s more to the proceedings in the individual pieces than their plus-sized riffs and stories about monsters. Though there’s plenty of that too for anyone who’d readily take them on.

We Hunt Buffalo, Head Smashed In (2018)

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