Live Review: YOB, Occultation and Ecsatic Vision in Brooklyn, 12.13.14

Posted in Reviews on December 16th, 2014 by H.P. Taskmaster

YOB (Photo by JJ Koczan)

The Saint Vitus Bar stage is as tall as my leg just a little bit above the knee. This is a thing I know because when I returned to the by-now-infamous Brooklyn venue for the second of YOB‘s two nights this past Saturday and was once again pressed up against the stage by the packed-in crowd, I could feel the bruises from when the same thing happened the evening prior. Apart from a standard-operating-procedure stiff neck and maybe lingering road fatigue, I was unailing. I’d taken better care during the day to drink water, brought ibuprofen, ate some food of substance. Friday night’s amateur-hour shit was out the window. Like I’ve Ecstatic Vision (Photo by JJ Koczan)never done this before. Embarrassing.

Support acts were switched, Kings Destroy and Tombs tagging out and Occultation and Ecstatic Vision tagging in, the latter making their way up from Philadelphia to open with added intrigue because of their recent signing to Relapse Records, through which they’ll issue their debut full-length next year. I’d hit protest traffic on my way across Manhattan, a sign-carrying sea of humanity flanked and backed by police escort, but couldn’t even hold it against them. I’ve protested before and have found it ultimately a hollow reminder of how little voice a public can actually have, but I get the impulse to get in public and shout your cause into that unlistening, unconcerned abyss. When I got to the Queens-Midtown Tunnel, I saw a police staging area with cops decked out in riot gear, the shields, the plastic masks, the batons out and at the ready. It was not hard to identify one side’s position on the other.

Got to the venue early anyway. Ecstatic Vision went on a little before nine amid murmurings of the Vitus Bar‘s midnight karaoke start ecstatic vision 2 (Photo by JJ Koczan)time and kicked smoothly into a heavy psych groove that, while formative, only became more engaging as their set went on. The trio recently-down-from-a-four-piece have been announced as openers for YOB‘s upcoming March 2015 major-market tour with Enslaved, so the two acts will feature on the same bill again soon enough, but their space-rock push propelled by rope-lit drummer Jordan Crouse meshed well with their flashing lightshow, colors bouncing off the black walls and curtains of the Vitus Bar stage, guitarist/vocalist Doug Sabolik (who, like Crouse, is a veteran of metal outliers A Life Once Lost) periodically running the headstock of his guitar through the chimes hanging off his mic stand, eventually hard enough to knock one or two off them off.

Sabolik‘s effects and pile of amps were impressive enough, but as with most heavy psych, it’s the low end holding it all together, and bassist Michael Connor did so fluidly, his lines providing the foundation of Ecstatic Vision‘s Hawkwindian-style jams while still finding room for righteous fills. It was my first time seeing the band. It won’t be my last. They played a somewhat abbreviated opening set, but it was a prime sampling of an emergent sound and stage presence that seems likely to continue to grow in all the right directions as their instrumental dynamic takes shape. No doubt by the time they get off that March tour, they’ll be even more on their way. Occultation, who followed, Occultation (Photo by JJ Koczan)would boast a significantly less colorful aesthetic.

Native to Brooklyn, Occultation released their second album, Silence in the Ancestral House, this year on Profound Lore. A cult-rocking studio trio, live they play as a four-piece with Viveca Butler (ex-Aquila) on vocals and keys, Annu Lilja on bass, Edward “Nameless Void” Miller on guitar, and M.D.V. on drums, and much of what they hit into seemed to come from the new record. Fair enough. They’re a name that has been tossed about more and more as the year has started to wind down, and they brought a significant sense of atmosphere to their live presentation, their sound somewhere between Ghost‘s clean riffing and more extreme metallic forms. It was a leap in aesthetic from where Ecstatic Vision had started things off, but clearly that was the intent, and no stretch to hear why they’ve gotten the critical response they have.

They played longer than had the openers, and the Vitus Bar crowd knew them and welcomed them, Occultation (Photo by JJ Koczan)and what they had in common with Ecstatic Vision was a current of potential. I was on the fence for most of the set, but eventually their hoods-up cultistry and hooks won me over, as well as the variety they brought to their songs. Whatever it was they closed with, they picked the right tune. Their style is in a tough spot and it can be hard for a group with similar influences to really distinguish itself from the pack, I saw nothing to make me think Occultation couldn’t get to that point. The room was packed by the time they finished, and they gave a solid local lead-in to YOB, who took the stage greeted as returning heroes.

I don’t know how many people in the crowd had also been there on Friday night, but I imagine it was a decent portion. Last time YOB were in Brooklyn, early in 2013, they did a similar two-show stint (review here), and I know from that they got a lot of return business. Provided one doesn’t have any pressing real-life obligation, who wouldn’t want to see YOB two nights in a row? Or 15? They changed the setlist some from the evening prior, pulling back from playing this year’s Clearing the Path to Ascend (review here) in full by switching out “Unmask the Spectre” for churning The Great Cessation opener “Burning the Altar,” which, following “Marrow,” felt like the beginning of a second set more than the continuation of one already in progress. “Prepare the Ground,” which opened 2011’s Atma, led the way into the newer cuts — “In Our Blood,” “Nothing to Win” and the YOB (Photo by JJ Koczan)aforementioned “Marrow” — and “Burning the Altar” was itself backed by Atma‘s “Adrift in the Ocean” and set-closer “Quantum Mystic,” from 2005’s The Unreal Never Lived.

If nothing else, the set emphasized YOB‘s propensity for badass opening tracks. Between “Prepare the Ground,” “In Our Blood” (which is more stylistically ranging than some of their bigger-riff-focused hooks of the past, but still fits the bill), “Burning the Altar” and “Quantum Mystic,” four out of the seven songs guitarist/vocalist Mike Scheidt, bassist Aaron Rieseberg and drummer Travis Foster played were album leadoffs. That material has always been some of the band’s most immediate and, in their way, accessible, so it’s exceedingly satisfying live. I’d argue “Nothing to Win” works in a similar vein, albeit more angrily and with Foster‘s drums and Scheidt‘s misconception-shattering screams as its primary modes of impact.

Positioned with the contrast of “Marrow” and “Adrift in the Ocean” — two longer pieces marked out by sections of quiet, finger-plucked guitar exploration and a sense of linear build — it was as dynamic a YOB set as I’ve seen, YOB (Photo by JJ Koczan)showcasing both their sonic individuality and their presence on stage as one of the foremost American heavy acts of their generation, relentlessly forward moving with aural heft and passion to match, whether it’s Scheidt throwing two fists in the air to share in the audience’s excitement, Rieseberg sharing a between-song chuckle with the front row before his face once again disappeared into his hair or Foster raising his arms high over his head for the next crash. Whatever else they may be — and on the heels of Clearing the Path to Ascend, they’ve been met with a swell of critical and fan acclaim, with more to come I’m sure — YOB are a special band. You could hear it in how quiet the Saint Vitus Bar crowd got after cheering each song, waiting to hear the first note of what was coming next.

This time, I managed to stay up front the whole set, and I’m glad I did. They made the trip down to Brooklyn and back to Massachusetts easily worthwhile, and since there’s a good chance the Saturday show was the last gig I’ll see in 2014, I couldn’t think of a better way for the year to go out, so thoroughly consumed by YOB as it has been.

More pics after the jump. Thank you (again) for reading.

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Live Review: YOB, Tombs and Kings Destroy in Brooklyn, 12.12.14

Posted in Reviews on December 15th, 2014 by H.P. Taskmaster

yob friday 1 (Photo by JJ Koczan)

At around 11AM, I started to get antsy. By the time I left Massachusetts, it was 12:30PM, and it would be five and a half hours later that I rolled down Manhattan Ave. in Brooklyn to the Saint Vitus Bar for the first of YOB‘s two-night residency with support from Tombs and Kings Destroy. It would be the first time I’d see the Eugene, Oregon, trio since the release of their much-lauded 2014 Neurot Recordings debut, Clearing the Path to Ascend (review here), and I wasn’t going to miss it. yob soundcheck (Photo by JJ Koczan)I did not stop for food or drink on my way south.

YOB were soundchecking when I got in, and there’d be some time yet before the show actually started. I watched them bust through a couple fuses on the Sunn bass head on loan from Kings Destroy and get their sound dialed in through the Vitus Bar P.A., noticing that the shape of the venue’s stage had changed since last I was there. It’s been added to in the front, what used to be a jut-out in the middle is not even all the way across. Since the show was sold out, there were no seats on the side either. It looked like a pro shop, which of course it is whether the booths are there or not, and there were few people milling around, getting drinks and whatnot. It was a boon to me at that point not to be in the car anymore.

By my count this was the 20th time I watched Kings Destroy play a set in 2014. That is not an kings destroy 1 (Photo by JJ Koczan)exaggeration. Possibly the only thing I can say about them at this point — and I mean it as a high compliment — is that if they were playing tonight somewhere near me, I’d go. They also had a soundcheck and got started shortly after 9PM, soon thereafter announcing from the stage that their third, self-titled album will be out on War Crime Recordings in April as they ran through a couple of its highlights, “Smokey Robinson,” “Mr. O.,” “Embers” and “Green Diamonds,” opening with “The Whittler” and rounding out with “Blood of Recompense” and “Turul,” a one-two punch culled from last year’s A Time of Hunting.

The latter was particularly charged and since it’s not one they play all the time, I was glad to see them break it out as a finale. Of all their material, it’s probably the oddest song they have, but the weirdness suits them and underscores the impressive amount of sonic ground they cover and the efficiency with which they cover it. They played mostly in the dark, with a projector screen behind, but after seeing them on the West Coast, the East Coast and in between, the home turf was a fun way to round out the year. I should be so lucky to go another 20 in 2015.

Somehow — and I’m not 100 percent sure this is true now that I’m saying it — I’ve never seen Tombs. At least not that I can remember. Thetombs 1 (Photo by JJ Koczan) Brooklynite outfit, led by guitarist/vocalist Mike Hill, released their third album, Savage Gold, this year on Relapse, and were duly in command of their genre-blending style, a potent, metallic-vibed stew of blackened squibblies, doomly atmospherics and thrashing intensity. His foot on the monitor or his guitar held out in front of him, Hill was every bit the frontman, but the whole band was air-tight, bassist Ben Brand and drummer Andrew Hernandez II, and recently-added guitarist Evan Void (also of Sadgiqacea) crisp in the delivery of cuts like “Edge of Darkness” and “Seance” from the new album en route to the closeout, “Path of Totality,” the title-track from Tombs‘ 2011 sophomore breakout full-length. They were a band I always figured I’d run into sooner or later. I wish it had been sooner.

I came into the show thinking of it as the first of two nights, so it was hard to consider Friday a standalone, but even if you take into account Saturday’s lineup, with Occultation and Ecstatic Vision opening, there was a varied but still tombs 2 (Photo by JJ Koczan)cohesive spirit to both bills. It gave Friday a carefully curated vibe, and that carried over to Saturday too. These weren’t just bands who would draw, they were bands someone wanted you to see. It made a difference in the mood of the show, and by the time Tombs were wrapping up after Kings Destroy and before YOB, the Vitus Bar was so packed in that clearly the plan had worked.

Earlier this year, I was fortunate enough to watch YOB play three-fourths of Clearing the Path to Ascend at Roadburn in The Netherlands, and doubly fortunate to have heard the record beforehand. But I didn’t know the songs at that point, hadn’t spent any significant amount of time listening to them, and absent from that set was the album-closer “Marrow,” which, if you’ve heard it, you know is a big difference. It’s my pick for song of the year, for whatever that’s worth, but there was no guarantee it would make an appearance either night. Still, was worth a shot. As it turned out, after opening with the unearthly rolling groove of “Ball of Molten Lead,” which continues to sound as weighted as its title, guitarist/vocalist Mike Scheidt, bassist Aaron Rieseberg and drummer Travis Foster played Clearing the Path to Ascend front to back, in its entirety, closing out with the yob friday 2 (Photo by JJ Koczan)scorchingly noisy “The Lie that is Sin” from 2009’s return, The Great Cessation, and the title cut from 2011’s Atma.

Whatever they played, I’m sure I’d have been into it, but having watched them play full-album sets previously for The Great Cessation, 2005’s The Unreal Never Lived and 2003’s Catharsis, I’m glad to be able to put Clearing the Path to Ascend in that category as well. The four songs, “In Our Blood,” the drum-led tempest “Nothing to Win” — which Foster made look easy, in defiance of both logic and physics — “Unmask the Spectre” and “Marrow” itself, were a worthy focal point, and the flow of the material was no less palpable live than it is listening to the album. Being faster and more aggressive, “Nothing to Win” got a particularly fervent response (myself included), but I don’t think I was the only one appreciating what it meant to be watching “Marrow” and seeing YOB‘s most progressive moment to date come to life right there on the stage. To call it powerful would be understatement.

I was, by then, a wreck. That whole not-eating-or-drinking-anything-all-day thing? Yeah, it caught up with me right around the time they hit into “Unmask the Spectre.” I couldn’t keep my head up without getting dizzy yob friday 3 (Photo by JJ Koczan)and pressed up against the stage up front, I was fiercely nauseous and feeling like I was going to pass out. I leaned over on the stage during “Marrow” and headed to the back of the venue thereafter, getting two rounds of two waters from the bar and putting my head down on my arm to recover. I heard a good-spirited “Man down!” from someone. I wasn’t even drunk, just dehydrated. It made me glad I was sticking around the area for the second show, since watching “The Lie that is Sin” and “Atma” from way in the back wasn’t how I was hoping it would go down, but even so, I can’t and won’t complain. I was lucky to be there at all.

And I’d be lucky to go back for more the next night. More on that tomorrow. For now, more pics after the jump and thanks for reading.

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Blind Idiot God to Release Before Ever After in Early 2015

Posted in Whathaveyou on December 1st, 2014 by H.P. Taskmaster

blind idiot god (Photo by Peter Gannushkin)

Veterans of SST Records and the band that spawned drummer Tim Wyskida, who would go on to be the coal burning to propel the mega-lurch that was minimalist doomers Khanate, Brooklyn instrumentalists Blind Idiot God are set to release a new album early in 2015. Titled Before Ever After and recorded by Bill Laswell, it’s the first Blind Idiot God album since 1992 and it will be out on guitarist Andy Hawkins‘ recently formed label, Indivisible Music. The cover art is by Seldon Hunt, and reportedly the band will be playing live, or at very least, they went ahead and added bassist Will Dahl to make that a possibility. Seems likely they’ll show up somewhere or other.

The PR wire tells the tale and far be it from me to delay:

blind idiot god before ever after

BLIND IDIOT GOD SET TO RELEASE NEW ALBUM CO-PRODUCED BY BILL LASWELL

All Instrumental Full Length With Original Artwork By Seldon Hunt
Three tracks featured in Alex Winters’ HBO documentary, Downloaded
Before Ever After slated for early 2015 street date

Indivisible Music announces new Blind Idiot God (BIG) studio album co-produced by Bill Laswell. “Andy Hawkins is a nut, a perfectionist for his amplification and the guitar, and we recorded it right,” Laswell explains about the new record. “Every detail is there. It’s probably the best thing they’ve done.” The 74-minute opus titled, Before Ever After, is slated for an early 2015 street date. The gatefold double-vinyl LP artwork was created by noted artist Seldon Hunt (Neurosis, Earth, Melvins, Sunn). Formats will include vinyl, CD and digital. The release will be celebrated with live performances in and around New York and will be co-promoted by MerchTable, local vinyl retailers and others TBA.

Blind Idiot God is Andy Hawkins on guitar and Tim Wyskida (Khanate) on drums. Gabe Katz, the band’s original bass player is featured on the album but moving forward Will Dahl is the band’s new bass player live and in the studio. Touring in support of the new album is planned for 2015. “Moving from the studio to the stage is always great,” Hawkins explains, “the music opens up dynamically, both performance wise and sonically. The human ear has a much greater dynamic range than any recorded medium and we excel at taking full advantage of that fact.” The band has shared the stage with artists like John Zorn (a collaborator who released their third album on Avant Records), Helmet, Black Flag, The Minutemen, Sonic Youth, Die Kreuzen, Don Caballero, Jesus Lizard, Napalm Death, HR, Eekamouse among many others.

The band has three previous studio full-lengths, two EPs and has been featured on several film soundtracks, including the opening credits for the Alex Winter cult film Freaked (with Henry Rollins on the track as guest vocalist). “I was able to record with them once,” says Rollins, “I know it is rare for them to have vocals in their music, so I felt lucky to have been an exception. I remain a fan.” Three tracks from album (“Barrage,” “High And Mighty,” and “Shutdown”) are featured in Alex Winters’ new HBO documentary about the rise and fall of Napster titled, Downloaded. “One of the most revered and influential bands to come out of the SST era,” Alex Winter enthuses, “they are as great and bold today, as ever. This is a spectacular album.”

The thirteen tracks on Before Ever After are 1. “Twenty Four Hour Dawn,” 2. “Night Driver,” 3. “Antiquity,” 4. “Earthmover,” 5. “FUB,” 6. “Barrage,” 7. “High and Mighty,” 8. “Voice of the Structure,” 9. “Under the Weight,” 10. “Ramshackle,” 11. “Wheels of Progress,” 12. “Strung,” and 13. “Shutdown.”

Indivisible Music is helmed by Andy Hawkins and is based in Brooklyn, NY. The label was established in 2014 “to promote that which cannot be divided, the elemental idea of music for its own sake. Guiding the elemental idea of music through all obstacles, physical or otherwise. The end of genre or classification, recondite musical knowledge declassified for direct effect.” Visit the label online at indivisiblemusic.com.

https://www.facebook.com/pages/Blind-Idiot-God/143091995750556
indivisiblemusic.com

Blind Idiot God, Blind Idiot God (1987)

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Mountain God to Release New EP in February

Posted in Whathaveyou on November 19th, 2014 by H.P. Taskmaster

By the time it comes out, it’ll be about a year since the first announcement from Brooklyn’s Mountain God of their forthcoming EP, Forest of the Lost. Why the delay? Well, aside from playing shows, which they’ve done all year, most recently at Brooklyn’s Sludgefeast this past weekend alongside Naam for their final gig, It’s Not Night: It’s Space and an impressive assemblage of others, they’ve also had a few lineup changes, trading out drummer Ian Murray for Ryan Smith (also of Thera Roya) and losing keyboardist Jon Powell to a move, only to fill the gap with noisemaker/vocalist Chris “Dickler” Dialogue, formerly a bandmate of Mountain God bassist Nihil Kamineni in AlkahestKamineni, who also handles recording for the band, and guitarist/vocalist Ben Ianuzzi remain from the original lineup (pictured above), and though both Murray and Powell played on Forest of the Lost, it seems like Mountain God‘s expanding conceptual basis — not to mention their biography — is only going to get more complex as time goes on.

If you look out the right side of the plane, you’ll see this off the PR wire:

mountain god logo.jpg

On February 20th, 2015, Mountain God will release its sophomore record, “Forest of the Lost”. The EP is a concept record, consisting of a single song broken down into different movements.

The diverse track twists and turns over the course of 20 minutes, focusing on the plight of a medieval village, located somewhere in the deepest recesses of mankind’s history. The village children, left to their own devices, disappear into the night searching for proof of a local witch, all the while their parents engage in acts of depravity and debauchery.

As the story reaches a climax, the listener is challenged into thinking about the cast of characters, and the true nature of good, evil, neutrality, and indifference. Musically, the record is a melding of 60s and 70s psychedelics and aesthetics with the heaviness, crunch, and shattering riffs of traditional doom and metal.

“Forest” builds on the ground covered in “Experimentation on the Unwilling” (released July 2013), exploring new sounds and textures, all the while continuing down the pathway of socially conscious topics.

The band will play a record release show February 20th in Brooklyn, and the track will have a physical release. Mountain God will release more information about each of these points later in the year.

https://www.facebook.com/MountainGodBand
http://mountain-god.bandcamp.com/releases
http://archaicrevivalrecords.bandcamp.com/

Mountain God, Live at Sludgefeast, Brooklyn, NYC, Nov. 15, 2014

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Here’s Kings Destroy Doing “Smokey Robinson” in Rhode Island

Posted in Bootleg Theater on November 17th, 2014 by H.P. Taskmaster

kings destroy (Photo by Tim Bugbee)

Here’s a fun fact: I fucking hate videos I’m in. Photos too. Really anything. If I can go without seeing, hearing, reading myself, seeing my name, feeling like I exist, escaping for 20 seconds from crippling neurotic self-awareness, whatever, that’s the way to go. The conundrum here is that even by saying that, I’m pointing out the fact that I’m in this video, but I think even if you didn’t know it was me and you watched it, you might be wondering to yourself, “Who’s the longhair dick up front taking pictures?” I’m that dick. That’s the guy. Get him.

I didn’t write about it in the tour report, but before the doors opened at The Met in Providence, I was sitting at the bar with The Patient Mrs., and one of the dudes who works there or owns the place or whatever came up and started asking where we got our passes all in an accusing tone of voice and shit, like we broke into the Pentagram show and stole them off the table or something. I was like, “The guy standing next to you gave them to us,” and then asked him if he wanted to fight about it. Got a winner of a look for that one — and rest assured, if he or the dude with him had wanted to fight, I’d have gotten my ass handed to me — but whatever. By then I’d been 12 nights out of 12 nights on that run and wasn’t ready to greet dickitude with anything other than the same.

Hope you enjoyed the digression. The mind makes these associations, event with place, place with time, song with season, and so on. To the best of my achingly limited understanding, this is the first video of Kings Destroy playing the song “Smokey Robinson.” It comes from that Providence show and was filmed by Pentagram drummer Sean Saley. I’m happy to report that even though I pollute the thing early on with my existence, the giant head that shows up right in front of the camera at the end belongs to someone else. We have to take our victories where we can get them.

Kings Destroy‘s next show is Dec. 12 at Brooklyn’s St. Vitus bar with YOB and Tombs. I am hoping to attend. “Smokey Robinson” will be featured on their third album, which will be out next year, and has been stuck in my head for the better part of the last three weeks even though I know about one-third of the words, and that’s being generous. It’s not something I’m posting because I feel obligated, or to fill space, or whatever. It’s a quality song and I had something to say about the video, so fucking there you go.

Dig:

Kings Destroy, “Smokey Robinson” Live at the Met, Providence, RI, Nov. 2, 2014

Kings Destroy on Thee Facebooks

Kings Destroy on Bandcamp

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Arik Roper and Skinner Art Show Opens Tonight in Brooklyn

Posted in Whathaveyou on November 14th, 2014 by H.P. Taskmaster

Brooklyn’s Cotton Candy Machine will be hosting a gallery show for the next few weeks featuring the works of Brooklyn-based Arik Roper and Oakland, CA’s Skinner. Dubbed “New Maps of the Abyss,” the show plays Roper‘s sometimes murky, darker-toned visualizations off of Skinner‘s vivid, otherworldly sharpness, both working in an epic style but obviously playing off different influences. If you happen to be in that part of the world tonight, they’re doing an opening whathaveyou this evening, and if you’re going to be sometime in the next few weeks, the show will be going on until Dec. 7. Anytime you get to see Roper‘s work in person and appreciate the detail, it’s worth doing so, and I’m not sure, but I guess there’s always a chance Skinner might be showing some of his patches and/or figurines along with the prints, and whatever winds up being there, you don’t really lose.

Info comes courtesy of Cotton Candy Machine:

arik roper and skinner

ARIK ROPER AND SKINNER

November 14th – December 7th

New Maps Of The Abyss is a two man show presenting new bodies of work by Arik Roper and Skinner, two of the most distinct voices in proto fantasy art today. Two distinct styles covering the more distant spaces on the spectrum of bizarre visionary art. Illustrative, fantastic and one of a kind, these two mind freaks have naturally gravitated towards each other to form this amazing show.

The installation they have created at the Cotton Candy Machine will transport you to a place where you could experience these visions in their natural habitat! Welcome to new maps of the abyss!

Presale for the show is live now and selling fast. Visit our event page here to preview the available works!

Please email info@thecottoncandymachine.com with a list of paintings you would like to purchase. Do include alternates choices in case the pieces you are after have been sold.

Join us for the opening event!

Skinner challenged himself to create new visions of classic Dungeons and Dragons characters in a new illustrative reconnection to himself in an homage to the things that have ignited his mind as a youth! An indulgent look at his heart held influences.

An outstanding 38 original paintings now fill the walls with Skinners insane vision and rebirth of these classic monsters.

Cotton Candy Machine will be releasing a new limited edition print from Skinner tomorrow at the opening first come first served. So come early!

For New Maps Of The Abyss, Arik Roper has created scenes and entities that one would encounter when traveling into the subconscious abyss! All in his incredibly beautiful otherworldly style.

At the opening event we will be releasing a print of the album art fromSleep’s Dope Smoker. This print has never been released and the quantities are very limited at opening. We will be releasing these large 36″ x 17″ prints first come first served along with a new print from the show at the opening so come early!

Join us for the opening event!

Opening Event Friday November 14th
7pm – 11pm

235 South 1st Street (between Roebling and Havemeyer)
Brooklyn, NYC 11211
718.387.3844

http://www.thecottoncandymachine.com/events/show/arik-roper-and-skinner
https://www.facebook.com/theartofskinner
http://www.theartofskinner.com/
https://www.facebook.com/arik.roper.7
http://www.arikroper.com/
https://www.facebook.com/events/710182209063523/

Arik Roper and Skinner Art Show Trailer

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The Golden Grass Euro Dates Confirmed; New Single Details

Posted in Whathaveyou on October 21st, 2014 by H.P. Taskmaster

the golden grass

Hot on the heels of their new EP, Realisations, which was released a few weeks back to help raise funds for their impending European tour, Brooklyn classic rocking trio The Golden Grass have shored up the run of that tour and have revealed the details of a new 7″ that they’ll have along with them containing the tracks “A Curious Case” and “The Pilgrim.” Like their earlier-2014 self-titled debut (review here), the single will be under the banner of Svart Records, and though the official street date isn’t until later in November, the band will have copies to sell on the road, their tour including a stop at Yellowstock Winter Fest in Belgium on Nov. 29. Surely they’ll be bringing the warm vibes with them wherever they go.

The PR wire has details and the friggin’ awesome cover art for the single by Flatbush Brown:

the golden grass a curious case

THE GOLDEN GRASS to tour Europe next month, to release special 7″ single

Swamp Booking, in conjunction with Svart Records, is proud to announce the debut European tour by one of the most exciting new groups of the global underground heavy rock scene, The Golden Grass. Formed in early 2013 by Adam Kriney (La Otracina) and Michael Rafalowich (Strange Haze/Whooping Crane/Tav Falco’s Panther Burns), the band came together to write uplifting and feel-good heavy boogie rock music, complete with soaring soulful harmony-laden vocals, epic psychedelic/prog passages, Southern/country vibrations, and top-notch musicality.

Before The Golden Grass had even played a single show, their infectious classic sound caught the ear of Beastmilk’s Mat McNerney, who heard some early demos, and within weeks, the group was signed with Svart Records. The band has toured the Eastern USA extensively, playing with a slew of bands across the underground heavy/rock/psychedelic/metal scenes, resonating with headbanger and hippie alike, establishing an instant cult following wherever they performed.

The Golden Grass will bring their incredible live concert experience to Europe this November. Confirmed dates/venues are as follows:

November 13 – Liege, Belgium @ Inside Out
November 14 – Charleroi, Belgium @ Le Vecteur
November 15 – Drachten, Holland @ Iduna
November 16 – TBA
November 17 – Bruxelles, Belgium @ Spione Bar
November 18 – Haag, Holland @ Dystopia Den
November 19 – Hamburg,Germany @ Rock Cafe
November 20 – Copenhagen, Denmark @ Stengade
November 21 – Aalborg, Denmark @ 1000fryd
November 22 – Lund, Sweden @ Rocknroll Klubben
November 24 – Helsinki, Finland @ On the Rocks
November 25 – Tampere, Finland @ Klubi
November 27 – Malmo, Sweden @ Grand
November 28 – Siegen, Germany @ Vortex
November 29 – Geel, Belgium @ Yellowstock Winter Fest

Hot off the heels of this maiden European tour, The Golden Grass will release a special two-song 7″ vinyl single via Svart Records. Featuring two dazzling new tunes,”A Curious Case”/”The Pilgrim” showcases the band’s abilities to bring those feel-good times with soulful hard-rockin’ grooves. But as you CAN and SHOULD expect with each new release from The Golden Grass, you’ll meet unexpected new musical ideas from this power trio. The group’s artwork and graphic design is always a priority, and with this release, it is no exception, as it features absolutely hilarious illustrations by Brooklyn artist Flatbush Brown that truly complete that feel-good vibe of the band. Set for release on November 28th but available for sale during the tour, cover and tracklisting are as follows:

Tracklisting for “A Curious Case”/”The Pilgrim”
Side A: A Curious Case
Side B: The Pilgrim

https://www.facebook.com/thegoldengrass
http://thegoldengrass.bandcamp.com/
http://www.svartrecords.com/

The Golden Grass, Realisations (2014)

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Family Announce Tour Dates with Beak, Order of the Owl and More

Posted in Whathaveyou on October 14th, 2014 by H.P. Taskmaster

Family Tree FINAL

Haven’t heard much from Brooklyn crunch specialists Family since their 2012 release, Portrait (discussed here), but they’ve obviously spent the two years since it came out making good friends. From Moon Tooth and Weedeater to Lunglust, The Cloth, Beak, Hosoi Bros., Laser Flames on the Great Big News, Order of the Owl and Horseskull, their upcoming tour is rife with badass accompaniment. They’ll alternate between sharing the road time with Order of the Owl and Beak, and that’s already some pretty nifty shakes, but this is one of those lists of tour dates where you go back and check out the acts listed as being played with in each town, since it’s obvious some effort was put into curating each of these bills. Very cool stuff.

The tour starts Nov. 5 out on Long Island and takes off from there around the East Coast and Midwest, with the routing as such:

family tour flyer

FAMILY FALL 2014 TOUR DATES

Wed 11/5 – Long Island, NY – Amityville Music Hall w/Meek is Murder, Bangladeafy, Moon Tooth
Thurs 11/6 – Philadelphia, PA – Kung Fu Necktie w/Sunburster, Bardus, The Cloth
Fri 11/7 – Brooklyn, NY – Saint Vitus Bar w/Weedeater, Full of Hell, Lazur/Wulf, Tiger Flowers
Sat 11/8 – Cambridge – TT the Bear’s w/Tiger Flowers, Lunglust, Jack Burton vs. David Lo Pan
Wed 11/12 – Pittsburgh, PA – Gooski’s w/Slaves BC, Edhochuli
Thurs 11/13 – Columbus, OH – Ruby Tuesday w/Denounce Your Martyr, All My Friends Are Dead, Silence the Ocean, Asylum Effect
Fri 11/14 – Chicago, IL – Township w/Beak, TBD
Sat 11/15 – St. Louis, MO – Fubar w/Beak, Quaere Verum, Ashes and Iron, Fumer
Sun 11/16 – Memphis, TN – Hi-Tone Cafe w/Beak, Hosoi Bros, Hombres
Mon 11/17 – Nashville, TN – Springwater w/Beak, Sheep Shifter, Laser Flames on the Great Big News
Wed 11/19 – Atlanta, GA – 529 w/Beak, Order of the Owl, Dead Register
Thurs 11/20 – Charlotte, NC – The Milestone w/Beak, Order of the Owl, Viajando
Fri 11/21 – Wilmington, NC – Reggie’s w/Beak, Order of the Owl, Mountain Thrower
Sat 11/22 –Raleigh, NC – The Maywood w/Beak, Order of the Owl, Horseskull

www.familyslays.com
www.familyslays.bandcamp.com
www.facebook.com/family.slays
www.twitter.com/familyslays
www.soundcloud.com/familyslays/sets/family-portrait

Family, Portrait (2012)

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The Golden Grass Release New EP Realisations; Euro Tour Fundraiser Underway

Posted in Whathaveyou on October 9th, 2014 by H.P. Taskmaster

the golden grass

I know they’re just band-recorded four-track takes, but the way the swelling electric solo gives way to the acoustics in “The Robin Song,” which leads off The Golden Grass‘ new digital EP, Realisations, is killer anyway, and for the rawer sound, that track is even more ’70s stylized. The Brooklynite good-vibes trio are pretty fresh on the brain, for having seen them just last weekend, but I’m not about to complain about something new to dig into as well, and Realisations comes as part of a fundraiser they’ve got going to help fund their first European tour, set to start Nov. 13 and cap Nov. 29 with a slot at Yellowstock‘s Winterfest. They have limited physical pressings as incentives for the crowdfunding whathaveyou, which are tempting both for the songs and the collectible hierarchy of “I have it and you don’t,” as well as a slew of other merch packages.

Info on the EP follows with the stream from their Bandcamp:

the golden grass realisations

“Realisations” is a newly assembled collection of 4-track cassette recordings, spanning the past year and a half of the band, specially selected and curated to help raise funds for our 2014 Euro Tour in November. It consists of 4 of our warm/analog home-studio-recorded tracks, including 2 demos, a sound-collage experiment, and 1 alternate version! A 33 minute EP of feel-good analog vibes!

This album is available (at this price) until Dec 01, 2014 only. After that date, the album will go up to $15 for digital download.

You can also get a digital download of this album for only $10 via The Golden Grass 2014 European Tour Indiegogo Fundraiser here (until fundraiser ends!): www.indiegogo.com/projects/the-golden-grass-2014-european-tour-fundraiser/contributions/new?perk_amt=10&perk_id=2315698

This album will also be available in a VERY limited edition lathe-cut vinyl run of 30 copies on a clear 11″ record! That’s right, only 30 copies, clear vinyl, and an 11″ record! Only available through the Indiegogo fundraiser here (until fundraiser ends): www.indiegogo.com/projects/the-golden-grass-2014-european-tour-fundraiser/contributions/new?perk_amt=100&perk_id=2315806

“REALISATIONS”

1. The Robin Song
[Lyrics: Kriney | Music: Kriney]
2. Wheels (June 2013 Demo)
[Lyrics: Kriney | Music: Rafalowich/Kriney/Noval]
3. A Curious Case (Alternate Version/April 2014 Demo)
[Lyrics: Kriney | Music: Noval/Kriney/Rafalowich]
4. Down The Line (April 2014 Demo)
[Lyrics: Kriney | Music: Kriney]

Adam Kriney – Drums [All Tracks] / Vocals [All Tracks]
Joe Noval – Bass Guitar [All Tracks]
Michael Rafalowich – Guitar [All Tracks] / Vocals [3] / Acoustic Guitar [1] / Wurlitzer [1]
Recorded/Mixed/Produced By Adam Kriney
Mastered By Andrea Zavareei
Cover Artwork By Psydefects
Band Logo By Adam Burke

https://www.indiegogo.com/projects/the-golden-grass-2014-european-tour-fundraiser
https://thegoldengrass.bandcamp.com/album/realisations
https://www.facebook.com/thegoldengrass

The Golden Grass, Realisations EP (2014)

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Naam Announce Extended Hiatus

Posted in Whathaveyou on October 9th, 2014 by H.P. Taskmaster

Just days after returning from a month-long European tour, Brooklyn four-piece Naam have effectively announced they’re calling it quits. The heavy psych/space rock forerunners have left the door open — or maybe that’s just wishful thinking — to regrouping at some point, but their headlining slot at the previously-announced Sludgefeast next month will serve as their final live appearance. No word as yet on whether the members of the band, guitarist/vocalist Ryan Lee Lugar, bassist John Preston Bundy, drummer Eli Pizzuto and keyboardist John Weingarten, will pursue other projects. I guess it’s early for that kind of thing.

Naam made their debut in 2009 with the Kingdom EP (review here), which sounds raw now compared to what the band would become over the course of their tenure but is nonetheless a landmark in the development of Brooklyn’s heavy scene. Signing to Tee Pee RecordsNaam released their self-titled debut full-length later that year (discussed here) and through years of work on the road, positioned themselves both among the label’s best acts and among Brooklyn’s most quality exports.

They’d go on to put out a 7″ of Nirvana covers, another EP in 2012’s The Ballad of the Starchild (review here) and a follow-up full-length in last year’s Vow (review here), which affirmed their status at the fore of American heavy space rock, the addition of Weingarten‘s keys not only distinguishing Vow from its predecessor, but becoming a crucial element in the band’s sound. More touring ensued — I think the best show I ever saw them play was at Desertfest London in 2013 — and Naam pushed their sound even further into cosmic manipulations earlier this year on a split with The Flying EyesBlack Rainbows and White Hills (review here). At the time, that seemed to herald continued growth and a new experimental bent in their approach that one hoped would continue on their next album.

Whether or not Naam regroup at some point, their legacy is set in their two albums and slew of other releases — they have a physical pressing of their Live in Berlin EP coming next year — but also in the grind they did on the road, touring for a month at a clip either in Europe or the US, pushing themselves to and apparently past the brink in an effort to get their music to as many people as possible. Their greatest statement was always made on stage, and as much as it’s a bummer to think they won’t have another studio outing anytime soon, the thought of not seeing them live again is even more of a downer. Brooklyn’s brand of heavy would not be what it is today without Naam‘s example to follow.

They announced the end thusly:

naam

We regret to inform you all that we have decided to take a very long hiatus and will not be performing or writing for many years and possibly ever again. We love all of you and greatly appreciate all of the support and good times you have given us over the years.

We will be playing our final show on November 15th in Brooklyn, New York at Sludgefeast with our buddys White Hills. We suggest buying your tickets now at the link below. We plan on going out with a bang.

Thanks again for everything and we will see you around. Peace.

http://www.ticketfly.com/purchase/event/683149?utm_medium=460163
https://www.facebook.com/KingdomOfNaam
https://twitter.com/Naamsongs

Naam, Vow (2014)

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Naam and White Hills to Headline Brooklyn’s Sludgefeast Next Month

Posted in Whathaveyou on October 6th, 2014 by H.P. Taskmaster

naam

A local fest, with local headliners, but because it’s in Brooklyn, that also means those headliners are world class acts who’ve been around the globe and then some. Naam and While Hills will take the stage at The Paper Box on Nov. 15 to cap a fest that’s been dubbed Sludgefeast. It’s not all Brooklyn bands — the geographical radius seems to have been about two hours north or south with acts from New Paltz, New Haven and Philly — but it’s a strong showing of what Brooklyn heavy has to offer anyway, even apart from the headliners, with BlackoutEidetic Seeing and Mountain God featured, among others. I don’t know the venue, or at least I don’t think I do (I saw Wolves in the Throne Room one year on my birthday in Brooklyn in a place I might describe as a paper box, but to be honest with you, I don’t remember much else about it), but a good time is a good time and Sludgefeast for sure looks like one of those.

The PR wire has lineup and other info for the calendar marking:

sludgefeast poster

The Bent Unit and Some Pig Present: SLUDGEFEAST

A day of heavy music in Brooklyn, NY
Saturday, November 15
The Paper Box: 17 Meadow St, Brooklyn NY 11206

Brooklyn-based music review blog The Bent Unit and booking agency Some Pig Presents are proud to announce the first annual one-day heavy music festival SLUDGEFEAST. SLUDGEFEAST was conceived as a way to celebrate the best in metal, sludge, doom, psych rock and more from Brooklyn and beyond. In a city where indie, electronic, and revivalist genres dominate the airwaves, SLUDGEFEAST looks to give heavy music its rightful claim, especially as metal and its subgenres see a renaissance of sorts in other parts of the country.

Headlining the inaugural SLUDGEFEAST are Brooklyn’s own NAAM and White Hills. Both are torch-bearers of New York’s heavy scene, and no strangers to the international touring circuit. Since 2009 NAAM has been putting their unique brand of pummeling psychedelia to wax courtesy of Tee Pee records, and are currently awaiting release of their third full length. SLUDGEFEAST will see them newly returned from a 6-week European tour, including appearances at the Berlin Swamp Fest and Valada Reverence Festival. White Hills, described by NPR as a “relentlessly heavy psych-rock band with scorching wah-wah and fantastic outfits,” will hold the festival’s penultimate time slot, and is internationally reputed as a forerunner of modern, heavy space-rock.

Filling out the bill will be Brooklyn-based bands including noise/sludge outfit No Way, self-proclaimed “cave” rockers Blackout, psych-drone shamans Eidetic Seeing, doom titans Mountain God, sludge punkers Wonderbreed, and hardcore/metal masters Blackest. Joining us from the vast outside are Chimpgrinder (Philadelphia, blues/doom), It’s Not Night: It’s Space (New Paltz, space/drone), Grizzlor (New Haven, sludge/noise).

SLUDGEFEAST 2014 is more than a concert: it’s an unholy celebration of the dark, the heavy, the infernal. It’s the dawn of a new reign of heavy music in Brooklyn…

http://www.ticketfly.com/purchase/event/683149?utm_medium=460163
https://www.facebook.com/events/1469229753358544/
www.sludgefeastny.com
www.thebentunit.com
www.somepigpresents.com

Naam, Live in Brooklyn, June 1, 2014

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Tombs Deconstruct the Psyche in New “Seance” Video

Posted in Bootleg Theater on August 11th, 2014 by H.P. Taskmaster

Jam room.

Oft-and-loudly-lauded Brooklyn genre benders Tombs received their customary round of praise for their new album, Savage Gold, and like last time, they earned it. They’ll hit the road in support of the record this fall alongside Pallbearer and Vattnet Viskar on what I’m sure will be one of the season’s most-sought-after tickets, and today, they premiered a video for the track “Seance,” one of the most biting from the record.

That in itself is certainly enough to pique interest — it exists, therefore watch — but I got a special thrill out of seeing the clip was directed by Jaclyn Sheer. About a thousand years ago, Ms. Sheer and I worked together, she in PR and I in editorial, and it always warms my cold, dead heart to see excellent people doing cool things. Like directing Tombs videos. If you’re epileptic or otherwise sensitive to flashing lights, you might want to take care, but otherwise, dive in and enjoy:

Tombs, “Seance” official video

TOMBS Premiere Video For “Seance”

TOMBS released their critically acclaimed album Savage Gold this June via Relapse Records. They have completed work on the album’s first video for the song “Seance”. The video was directed by Jaclyn Sheer and can be viewed HERE.

Front man Mike Hill on the video:

“Watching the video is like observing this realm dissolve as you pass into a higher level of consciousness.”

TOMBS have released an official IPA beer with Tired Hands Brewing Company in Ardmore, PA. The Savage Gold beer is an imminently refreshing and crushable IPA. Brewed with red wheat and oats. Hopped intensely and aggressively with Nelson Sauvin and Hallertau Blanc. Enormous notes of white grape, green pepper, mango, and marijuana. 5.2% abv.

Additionally, frontman Mike Hill has launched a specialty coffee company, Savage Gold Coffee, inspired by his love for high quality, organic coffee. The first roast, Savage Gold Prime, is an Ethiopian Yirgacheffe coffee bean grown between 6,000 and 6,500 feet above sea level. It is an aromatic and dynamic coffee roasted to perfection with a large flavor profile. It is sourced from a co-op of Ethiopian farmers and is 100% Fair Trade, certified organic and wet (mechanically) processed. More info on the coffee is available via the official Savage Gold website HERE.

In support of Savage Gold, TOMBS will hit the road this fall for a three week tour with Pallbearer and Vattnet Viskar. The shows kick off on October 17th in Nashville, TV and run through November 9th in Dallas, TX. A complete list of dates can be found below.

Tombs Tour Dates:

***All dates w/ Pallbearer and Vattnet Viskar***

Oct 17 Nashville, TN Exit/In
Oct 18 Lexington, KY Cosmic Charlie’s
Oct 19 Champaign, IL High Dive
Oct 20 Madison, WI The Frequency
Oct 21 Detroit, MI The Magic Stick Lounge
Oct 23 Cleveland, OH Grog Shop
Oct 24 Toronto, ON Lee’s Palace
Oct 25 Montreal, QC Il Motore
Oct 26 Boston, MA Great Scott
Oct 27 Brooklyn, NY Saint Vitus
Oct 29 Philadelphia, PA Black Box at Underground Arts
Oct 30 Baltimore, MD Metro Gallery
Nov 01 Atlanta, GA The Earl
Nov 02 Tampa, FL The Orpheum
Nov 05 Houston, TX Fitzgerald’s Downstairs
Nov 09 Dallas, TX Three Links

Tombs on Thee Facebooks

Relapse Records

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Naam Announce European Tour Dates and New Live in Berlin EP

Posted in Whathaveyou on August 1st, 2014 by H.P. Taskmaster

Brooklyn cosmic rock originals Naam are headed back to Europe next month. They made two trips over last year in support of their 2013 sophomore Tee Pee Records full-length, Vow (review here), and will bring with them a new free live EP, Live in Berlin, that was presumably recorded on one or the other of those runs. Between that EP, Vow‘s continued resonance in the consciousness of their audience and their participation in Heavy Psych Sounds‘ four-way split with Black RainbowsThe Flying Eyes and fellow New Yorkers White Hills, they’ve got plenty of cause to spend some time abroad, and from this tour it looks like they’ll be making the most of it.

Of particular note are appearances at this year’s ReverenceBlizzard Mountain and Up in Smoke festivals. As we begin to move out of summer and into the fall, the common perception is that festival season is over, but it’ll be October as Naam close out this run — though they warn that this is an “initial” batch of dates, which could just as easily mean more will be added — at Up in Smoke in Pratteln, Switzerland, so clearly summer-only rules no longer apply. I’m a little surprised the four-piece aren’t sticking around another week to play Desertfest Belgium after doing London (review here) and Berlin in 2013, but if there are more dates to come, I wouldn’t rule anything out entirely just yet.

It’s past time to start thinking of Naam as one of the US’ finest heavy psych exports, and great to see them getting out again:

Naam European Tour 2014

02.09 Berlin 8MM (DJ Set)
05.09 Oslo Psych Fest
06.09 Naumburg Sallepartie
07.09 Kassel Secret Show
08.09 Munich Feierwerk
09.09 Karlsruhe Alte Hackeri
10.09 Dresden Ost Pol
11.09 Lisbon Reverence Warm Up
12.09 Valada Reverence Festival
14.09 London The 100 Club
17.09 Mannheim 7 ER Club
18.09 Jena Kulturbanhof
19.09 Berlin Swamp Fest
20.09 Rotterdam Baroeg Open Air
23.09 Copenhagen Loppen
26.09 Helsinki Bar Loose
27.09 Oulu Nuclear Night Club
30.09 Hamburg Hafenklang
02.10 Chambery Blizzard Mountain Festival
03.10 Weil der Stadt Kloster
04.10 Pratteln Up in Smoke Festival

https://www.facebook.com/KingdomOfNaam
https://twitter.com/Naamsongs
http://teepeerecords.com/

Naam, Vow (2013)

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Hercyn and Thera Roya to Release All this Suffering is Not Enough Split CD

Posted in Whathaveyou on July 25th, 2014 by H.P. Taskmaster

A heads up from my beloved Garden State in that Jersey City atmospheric black metallers Hercyn are about to issue a limited split CD with Brooklyn post-metallers Thera Roya. You might recall Hercyn released a 24-minute single-track EP last fall called Magda (review here), which they’ve since followed up with an acoustic version, and the allegiance between the two acts gets even more traction with the fact that Thera Roya used to be known as The Badeda Ladies, whom I was fortunate enough to see late in 2012 at The Grand Victory in Brooklyn (review here).

I’ll be interested to hear what kind of growth the moniker swap has brought that trio, and Hercyn have already proved themselves to be stylistically adventurous, so their inclusion on All this Suffering is Not Enough is one to look forward to as well. It’s out Aug. 5 and they’re playing a release show in Jersey on Aug. 2, should you happen to be in that part of the world:

Hercyn and Thera Roya releasing split CD

This spring, Jersey City’s epic black metal band Hercyn joined together with Brooklyn’s own gloomy doom band Thera Roya to record a a CD split entitled “All This Suffering Is Not Enough” on the DIY outfit Ouro Preto Productions.

The release finds both American bands contrasting Hercyn’s epic atmosphere and weaving black metal with Thera Roya’s gloomy and sorrowful doom / post-metal. Hercyn deliver Dusk and Dawn, a 14 minute sprawling black metal piece with sub-layers of synth and acoustic strings. Thera Roya’s side of the split features Gluttony, a 9 minute slowly thundering song drenched in emotion. Both bands have worked in private on the creation of the split. All production and recording was handled’s by Hercyn’s Tony Stanziano (ex-Annunaki, ex-Blood Feast). “All This Suffering Is Not Enough” follow’s Hercyn’s 2013 self-released 24 minute epic Magda (listen here) and Thera Roya’s self-titled (listen here).

The split will see an official summer release of August 5th in hand numbered CDs and will be highly limited to 333 total copies. Pre-orders will be announced shortly here.

In celebration of the split, both bands will share the same stage August 2nd at the Lamp Post in Hercyn’s hometown (382, 2nd street, Jersey City). The release show is free, music starts at 10pm. Opening the show is special guest, Bible Gun – a dramatic piano and saxophone duo from Montclair, New Jersey (listen here). Early copies of the split CD will be available for purchase at the show.

Follow Hercyn and Thera Roya on Facebook.

Hercyn, Magda (2013)

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The Golden Grass Premiere “All You Have Grown” from Sweet Times Vol. 2 Four-Way Split

Posted in audiObelisk on July 24th, 2014 by H.P. Taskmaster

Just before the song starts, there’s a backwards vocal sample at the start of The Golden Grass‘ “All You Have Grown,” and I won’t spoil the party by giving away what it says when you reverse it, but the band make it easy to agree with the sentiment. The track comes from Who Can You Trust? Records‘ upcoming Sweet Times Vol. 2 release, a four-way split with the Brooklyn trio share with Italy’s Sultan BatheryMetalleg (which features members of Dirty Fences) and The Admiral Sir Cloudesley Shovell-offshoot Gorilla. It’s a lot of lovin’ to pack onto a 7″ platter, but it’ll be out by the end of August, and as the first recording from the feelgood rockers since their self-titled debut (review here) was released earlier this year on Svart, it offers an interesting look at where they might be headed from here.

First of all, it’s short. With four bands sharing a 7″ release, everybody’s gotta keep it brief, so if you’re coming into “All You Have Grown” looking for a 12-minute jam à la “Wheels” from the self-titled, that’s not what’s going on here. In the quick three minutes, though, The Golden Grass – guitarist/vocalist Michael Rafalowich, drummer/vocalist Adam Kriney and bassist Joe Noval – do manage to create an awful lot of texture. The song itself is still structured for maximum hookage, but some upped psychedelic wash in the guitar layering sits gorgeously alongside the vocal harmonies, making the band’s approach sound even brighter than before. Naturally, it’s a sound that’s perfect for summer, and while I’d never expect these guys to do one thing exclusively for a whole album’s duration, they’re already showing a desire to reach beyond what they’ve already done stylistically.

You can listen to “All You Have Grown” to get a sense of the progression, or listen because it’s a good time. That’s up to you. Either way, it’s three minutes you won’t regret. Thanks to the band and Who Can You Trust? Records for letting me host the premiere.

Dig it:

Sweet Times Vol. 2 will be out late August in an edition of 500 copies. First 100 include 3D glasses. The Golden Grass are shortly to announce a European tour for November and have a few upcoming gigs in the meantime:

Aug 2 – Brighton Bar, Long Branch, NJ w/ BANG + YEOMAN
Sept 12 – Bar Matchless, Brooklyn, NY w/ MIDNIGHT GHOST TRAIN + KING BUFFALO + GEEZER
Oct 3 – No Problemo, New Bedford, MA w/ KIND (members of ELDER)
Oct 4 – Acheron, Brooklyn, NY w/ ANCIENT SKY + KIND (members of ELDER)
10/17 – Kung Fu Necktie, Philadelphia, PA w/ NEEDLE POINTS + THE ORANGE DROP

European Fall Tour
11/13 – 11/30
Currently being organized by Swamp Booking.

The Golden Grass on Thee Facebooks

Who Can You Trust? Records

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