On its surface, the track in question is an odd choice for My Diligence‘s new video. The Belgium-based studio trio/live four-piece have hooks a-plenty throughout the entirety of their Sun Rose LP, released this past January through Mottow Soundz. No shortage thereof. And the structures of songs like opener “Resentful” or the speedy “Flying Poney” (sic) are relatively straightforward, the latter owing its speed-into-crash-with-major-key-melody almost purely to Torche. By contrast, “An Asteroidal Arrow” is an atmospheric linear build, departing from the swaying chug of an earlier piece like “Backstabber” or the bounce of the later “So Pretty So Cruel” or even the surging wash of the penultimate “Serpentine” to do its own thing. It doesn’t really represent the rest of the record, which is their second behind 2015’s self-titled, at all. The vocals don’t even come in until, what, after three minutes into a four-minute song?

But then I think maybe that’s the point. And once you actually watch the clip, it makes a little more sense. There’s a story being told with the “An Asteroidal Arrow” video through the actual visuals themselves. Don’t expect a lot of flashing lights with this one — it’s more cinematic, and we see a young dancer failing time and again and eventually finding her way through the routine she’s trying to do. It’s more movie montage than rock video, to put it another way, but “An Asteroidal Arrow” is definitely suited to that kind of presentation, and it makes the alignment between the visual story — there’s no dialogue and none really needed — and the song itself all the more satisfying. My Diligence worked with director Paul Thoreau and dancer Hanne Vand Driessche on the piece and I have to think if there was a vision they started out with, it’s been entirely realized. Story and song each work to enhance the other. You can’t really ask more from a video than that.

Clip follows here, tailed by the credits and more info on the album, which you can also stream toward the bottom of the post.

Please enjoy:

My Diligence, “An Asteroidal Arrow” video premiere

A Lullabies Prod production.
Réalisé avec le soutien de la Fédération Wallonie-Bruxelles

Dancer – Choreographer . Hanne Vand Driessche
Writer – Director – Editor . Paul Thoreau
Production manager . Robin Paul
Director of photography – Colorist . Edouard Chandelle
Set Design – Swiss Army Human . Mathilde Pepinster
Location Manager . Frederic Delescaille
Make up Artist . Kim Glineur
Stylist . Chloe Thielemans
Catering . Pueblo Latino

Rising up from the streets of Brussels, My Diligence is a band that in recent years have come to transcend rock in their native Belgium with a skill and ease reminiscent of their transatlantic peers. For fans already in the know, the progressive rock aplomb of established acts like Torche, Helmet and Elder resonate wildly in their sound. Big, bold and high in intensity, the Belgian trio deliver a non-stop, ass kicking brand of no-nonsense rock ‘n’ roll that scorches the sky, while leveling the playing field.

The success of their 2014 EP, Who Killed The Driver, along with their self-titled debut album from 2015 showcased as much, and at the same time laid down the foundations for Sun Rose, their eagerly awaited follow-up album, due for release this January on Mottow Soundz. Recorded at Studio Pyramide by producer François Vincent (Romano Nervoso, Thot), Sun Rose features a heavy mix of riffs – bigger and more bombastic than ever – interwoven with sincere lyrics and unforgettable grooves, and capture the trio’s fresh and exciting ideas around how they feel rock should sound.

MY DILIGENCE:
John Sailor – Vocals, Guitars
François Peeters – Guitars
Gabriel Marlier – Drums
Romain Lafuite – Moog (live)

My Diligence, Sun Rose (2019)

My Diligence on Thee Facebooks

My Diligence on Instagram

My Diligence on Bandcamp

Mottow Soundz on Thee Facebook

Mottow Soundz website

Whatever else might be going on in The Progerians‘ second album, there’s plenty of crushing to be had. The Belgian four-piece will issue Crush the Wise Men Who Refuse to Submit this Friday, May 24, through Mottow Soundz, and as its willfully unmanageable 62-minute run is set out across four sides of a double-LP, the band bask in a more atmospheric roll lent an immediately socio-political context through from the album’s title. I won’t claim to know where the band stands the right-left spectrum — they’re not wearing yellow vests in their press shot, so that’s something, I guess — but the cover art depicting industrialists as devils, the title and the lumbering atmospheric noise rock that pervades the album itself certainly speak to a given perspective, and though they seem to be treading a fine line in the album’s aesthetic as regards Europe’s history of who takes the blame for such things, delving into that particular discrimination does not necessarily automatically follow from an anti-capitalist stance.

Opening cut “Frankie Leads to Death” and the subsequent “Destitute” set the tone for the rest of what follows in a viscous groove and moments of harsher bite, shouted vocals presaging some of the more spoken approach on “Hold Your Cross” before the drift of “Oceania” on side B. The most intense moment is reserved for the early going of the semi-title-track “Crush the Wise Men,” but The Progerians demonstrate on the whole a rich take that moves beyond the foundations of noise rock into more complex territory, trading off volume and thrust throughout “Hello World” and “Netjeret” while continuing to stay within the central aggressive mood of “Frankie Leads to Death” — which liquor might be called “Frankie?” — and “Destitute” back on side A. As the album unfolds, it successfully builds a linear course on this, leading to the closer “Your Manifest,” which feels extra weighted despite its melodic vocals and lead guitar cutting through the low-end morass.

Is it very, very heavy? Why yes, it is. Thank you for asking.

And it’s timely, not just for the prior-alluded unrest among Europe’s working populace, but also for the manner in which it presents its take, emphasizing heft and groove but not forsaking melody any more than it wants to in order to do so. It is a consuming offering that by the time it digs into the foreboding layering of guitar in “Hello World” and the subsequent near-mathy chug and big chorus of “Graven” on side C makes its presence felt in a way that would almost seem to indicate The Progerians have outgrown their moniker — they started out as The Fabulous Progerians for their 2015 debut (discussed here) — or at least that they would have were they still not so gosh darn progressive in their approach.

Dig the satisfying brutal blend for yourself on “Destitute” by checking out the video premiere below, followed by more album info from the PR wire.

And please enjoy:

The Progerians, “Destitute” official video premiere

Formally known as ‘The Fabulous Progerians’ and ‘The Mighty Progerians’, the band’s first official release in 2012 was the 6-track EP, Degeneration (Hannibal’s Records). Over the years they worked to hone their sound into a unique sonic signature, one which was crystalized forever more on their 2015 debut album, The Fabulous Progerians. Widely known for their powerful live performances, following the critical success of their debut the band were invited to perform at legendary festivals across Europe, appearing on bills at DesertFest and Roadburn.

Fast forward to 2019 and with the help of Mottow Soundz – another Belgian rock institution and home to heavyweights like My Diligence and cult rockers, La Muerte – The Progerians will serve their second and most ambitious record to date. Standing on the shoulder of sheer ambition, Crush The Wise Men Who Refuse To Submit, invites listeners on a hour-long journey, deep into the depths of spirit and substance in an attempt to sever all ties with inner demons. In no uncertain terms, it’s a devastating record and one you’d be crazy to miss.

Crush The Wise Men Who Refuse To Submit, the brand new album from The Progerians is released on 24th May 2019 on Mottow Soundz and can be pre-ordered here – https://www.mottowsoundz.com/music/progerians-vinyl

THE PROGERIANS:
Fabe – Vocals, Guitar
Piotr – Vocals, Bass Guitar
Thomas – Vocals, Drums
Barto – Guitar

The Progerians on Bandcamp

The Progerians on Thee Facebooks

Mottow Soundz website

I was listening to the new streaming My Diligence track just now as I was getting ready to write this post. I’ve never heard the Belgian band before. They had an EP out in 2014 and a self-titled LP in 2015 — where was I on it? well, I suck, so I was probably around here somewhere and just missed them — but my out-loud response to “Resentful” was to nod my head and say the word “solid.” You’ll hear why about two and a half minutes into the song.

“Resentful” opens the full-length Sun Rose, which will be released Jan. 25 on Mottow Soundz, and sets up a pretty broad cast of influences they’re working from, so this is the part where I tell you I’m interested to hear the rest of the record. If you are too, preorders are up now, and I’m quite sure there will be more audio unveiled before the record itself, so, you know, keep an eye out.

Here’s info from the PR wire:

Belgian heavy psych trio MY DILIGENCE to release new album on Mottow Soundz | Stream and share new song ‘Resentful’ now!

Pre-order HERE

Rising up from the streets of Brussels, My Diligence is a band that in recent years have come to transcend rock in their native Belgium with a skill and ease reminiscent of their transatlantic peers.

For fans already in the know, the progressive rock aplomb of established acts like Torche, Helmet and Elder resonate wildly in their sound. Big, bold and high in intensity, the Belgian trio deliver a non-stop, ass kicking brand of no-nonsense rock ‘n’ roll that scorches the sky, while leveling the playing field.

The success of their 2014 EP, Who Killed The Driver, along with their self-titled debut album from 2015 showcased as much, and at the same time laid down the foundations for Sun Rose, their eagerly awaited follow-up album, due for release this January on Mottow Soundz. Recorded at Studio Pyramide by producer François Vincent (Romano Nervoso, Thot), Sun Rose features a heavy mix of riffs – bigger and more bombastic than ever – interwoven with sincere lyrics and unforgettable grooves, like those found on ‘Resentful’, and capture the trio’s fresh and exciting ideas around how they feel rock should sound. As drummer Gabriel Marlier explains:

“‘Resentful’ was actually the first song we wrote when we started writing our second album. We wanted to push things forward and become heavier than ever and this song in particular signals a rebirth of My Diligence. My Diligence Mk. II. After our previous bassist’s departure we just wanted to two guitarists, one drummer and a chance to get rid of the past and focus on the future. The song is about addiction and we had no doubt about it, it had to open Sun Rose.”

Fully realised and breath-taking in its execution, Sun Rose is a remarkable take on twenty-first century rock ‘n’ roll and one that will capture the hearts and ears of those seeking more.

My Diligence’s new album, Sun Rose, will be released on Friday 25th January 2019 on Mottow Soundz and the band will host an official release party at Botanique, Brussels on Wednesday 30th January – https://www.botanique.be/fr/activite/my-diligence-s-o-r-o-r-300119

Album art by Elzo Durt – www.elzodurt.com

Recorded at Studio Pyramide by François Vincent
Mixed at Studio DHEE by Kasper De Sutter
Mastered at MyRoom par Raphaël Bovey

TRACK LISTING:
1. Resentful
2. Hunt the Hunter
3. Backstabber
4. An Asteroidal Arrow
5. Flying Poney
6. Lecter’s Song
7. So Pretty So Cruel
8. Serpentine
9. Unreal

MY DILIGENCE:
John Sailor – Vocals, Guitars
François Peeters – Guitars
Gabriel Marlier – Drums

http://www.facebook.com/mydiligence
https://www.instagram.com/mydiligence/
https://twitter.com/mydiligence
https://vi.be/mydiligence
https://mydiligence.bandcamp.com/
https://www.facebook.com/MottowSoundz
https://twitter.com/mottowsoundz
https://www.mottowsoundz.com/

Belgium’s Slow isn’t the first one-man outfit to wade into the aural cess of funeral doom metal by any means, but it goes in particularly resonant fashion. Helmed by multi-instrumentalist, vocalist and recording engineer Déhá Amsg — whose lengthy pedigree of projects includes Clouds, El Camino, Yhdarl and We all Die (Laughing), among a slew of others — the band’s name is properly written as the all-caps acronym SLOW, standing for ‘Silence Lives Out/Over Whirlpool,’ which was also the subtitle of the first full-length I from the project in 2009. The five-track/57-minute V – Oceans is the latest release, issued by GS Productions earlier in 2017 and picked up by Italian imprint Code666 for wider distribution, and it is a gloriously grueling affair.

Funeral doom has never been and will never be for everyone. By its very nature, it is an extreme form of music. With Slow, the pieces on V – Oceans each top 10 minutes, and the only time there’s much of an escape from the ultra-lumbering, churning tempo is in the 14-minute centerpiece “Déluge,” which veers eventually from its piano/keyboard intro into blastbeats. Otherwise, songs like “Ténèbres” and opener “Aurore” carry forth a wrought emotionalism through largely indecipherable echoing growls and dramatic but not necessarily theatrical arrangements, placed in such a way next to each other as to evoke an overarching linearity to which a lyrical narrative is also set — the theme, of course, drawing on the image of the ocean.

This also isn’t exactly new ground for the style — Germany’s Ahab and defunct UK practitioners Undersmile spring readily to mind, but there are many other examples of groups donning watery themes in funeral doom — but the manner in which Slow takes up this charge is emblematic of what distinguishes Déhà‘s work on the whole throughout the album. In the case of the lyrics, it is the specificity of the imagery put to the songs, the thread of plot that gets woven across “Aurore,” “Ténèbres,” “Déluge,” “Néant” and closer “Mort” that helps make it so immersive, just as it is the nuanced depths of the mix and the intricately balanced arrangements of guitar, keys, bass, drums, vocals, etc. that take place therein that so effectively complement the aquatic mindset.

For the first time with the band, Déhà brought in an outside party — Lore Boeykens, with whom he also founded the Ter Ziele blackened doom duo in 2016 — to work with him on lyrics, and the results are stunning and evocative. The first line of “Aurore” is “Moving into deep waters,” and in a way, that’s the story right there. That’s what’s happening in that song and all that follow, whether it’s the hypnotic undulations that cap “Déluge” or the flourish of spoken work in that song and “Ténèbres” before it or the patient unfolding and foreboding piano that starts the dirge march of “Néant” after. It is no coincidence that the tracklisting moves from “Aurore,” translating from French to ‘dawn,’ to “Néant” (‘nothingness’) and “Mort” (‘death’), as that is precisely where the story of V – Oceans winds up. It is a drowning told through poetry.

As beautiful, serene and resolved as it is sonically brutal and punishing, V – Oceans lets Déhà and Boeykens explore this resounding bleakness of spirit with a conceptual splendor, and as “Néant” resigns itself with the lines, “These dark seas now feel almost comfortable/I give in/May this darkness absorb me,” there’s a swell of keyboard melody that has an almost choral effect (just past the 10-minute mark), as if reaffirming the decision that’s been made. This is a crucial moment for Slow thematically, and perhaps the apex of the album, but to call it that is an oversimplification of the work, which is clearly meant to be taken in its entirety and experienced for the fullness of the headphone-worthy wash it presents. “Mort” caps with a post-death vision of one’s body in the water — “Here my remains drift for everyone to see/This wreck/My failure/Begone with the ebb” — following a description of the undersea voices that lured the protagonist/speaker into the sea in the first place set to chugging guitar, and another choral swell to answer that of “Néant” prior arises at about four minutes in to mark the shift into the final phase of V – Oceans, which stands out for its multi-tiered sense of weight and for the sense of conclusion it brings to the proceedings in their entirety.

I do not know how V – Oceans was composed, i.e., whether it was written as a single song or as individual cuts that Déhà and Boeykens subsequently worked to tie together in both the plot and instrumental presentation, but among the album’s most prevalent features is an overwhelming feeling of completeness, of a front-to-back arc — beginning, middle, end — that concludes in heartrending fashion in its final chapter. Maybe this shouldn’t be a surprise coming from an project that’s been around for a decade and released a full-length on every odd year like clockwork since 2009, but it is as realized in concept as in execution, and while it may not be groundbreaking in the grander scheme of the genre, it nonetheless brings forward the elements that can make funeral doom at its best so affecting.

Slow, V – Oceans (2017)

Slow on Thee Facebooks

Slow on Bandcamp

Code666 on Thee Facebooks

Code666 website

I think at this point there are few who would challenge the supposition of Amenra‘s dominance when it comes to European post-metal. The strobe-prone Belgian outfit released their latest masterwork, Mass VI, last month through Neurot Recordings and Consouling Sounds, and in the New Year, they’ll team up with Japanese experimentalist heroes Boris for a full run of co-headlining dates in the UK and EU. Boris of course are out supporting their own 2017 offering, Dear (review here), which was issued to coincide with their 25th anniversary, as if they needed an excuse to be brilliant.

For whatever it’s worth — and by my estimate, not much — I’m not the hugest Amenra fan, but their live presentation is a spectacle to behold if you have the opportunity to do so. They’re not strangers to touring in Europe, but the pairing with Boris would seem to make this run all the more of an occasion.

From the PR wire:

AMENRA Announces Co-Headlining 2018 European/UK Tour With Boris

Heavy music luminaries AMENRA and Boris have announced co-headlining European and UK tour for early 2018. The two acts will tour from February 14th through March 4th, marking the first full UK tour for AMENRA.

Mass VI is out now on Neurot Recordings. The European version has a different mix and master, as well as different artwork and design than the US version, mixed and mastered by Jack Shirley (Deafheaven, Oathbreaker) at the Atomic Garden, San Francisco. The deluxe edition 2xLP 45rpm 180-gram album is available in different limited colors. Order Mass VI in the US through Neurot Recordings and via Consouling Sounds in Europe.

AMENRA Tour Dates:
12/01/2017 De Leest – Izegem, BE (acoustic)
1/13/2018 Gaité Lyrique – Paris, FR
1/19/2018 Stevenskerk – Nijmegen NL
1/20/2018 Doornroosje – Nijmegen NL
1/28/2018 Festsaal Kreuzberg – Berlin, DE
1/29/2018 Colos-saal – Aschaffenburg, DE
2/14/2018 Thekla – Bristol, UK w/ Boris
2/15/2018 Heaven – London, UK w/ Boris
2/16/2018 Arts Centre – Norwich, UK w/ Boris
2/17/2018 Rescue Rooms – Nottingham, UK w/ Boris
2/18/2018 Gorilla – Manchester, UK w/ Boris
2/19/2018 St. Lukes – Glasgow, UK w/ Boris
2/20/2018 Brudenell Social Club – Leeds, UK w/ Boris
2/21/2018 Aeronef – Lille, FR w/ Boris
2/22/2018 Drucklufthaus – Oberhausen, DE
2/23/2018 Beatpol – Dresden, DE w/ Boris
2/24/2018 Progresja – Warsaw, PL w/ Boris
2/25/2018 Palac Akropolis – Prague, CZ w/ Boris
2/26/2018 A38 – Budapest, HU w/ Boris
2/27/2018 Kino Siska – Ljubljana, SL w/ Boris
2/28/2018 Locomotiv – Bologna, IT w/ Boris
3/01/2018 Monk – Rome, IT w/ Boris
3/02/2018 Santeria Social Club – Milan, IT w/ Boris
3/03/2018 Jubez – Karlsruhe, DE w/ Boris
3/04/2018 Patronaat – Haarlem, NL w/ Boris
4/06/2018 Depot – Leuven. BE
4/07/2018 Durbuy Rock Festival – Durbuy, BE
4/08/2018 Cactus Club – Brugge, BE
4/13/2018 Eden – Charleroi, BE
4/14/2018 MOD – Hasselt, BE

http://www.churchofra.com
http://www.ritualofra.com
http://www.facebook.com/churchofra
http://www.neurotrecordings.com
http://www.facebook.com/neurotrecordings

Amenra, “A Solitary Reign” official video

Boris, “Absolutego” official video

Crunching riffs and crunching numbers, Belgian heavy noise rockers The Progerians return with a brand new video to teach us all some basic addition. The track comes from the Brussels-based trio’s 2015 debut full-length, The Fabulous Progerians, and is a quick burst at an instrumental three minutes, but gets the point across that a lot of that album was making in its overarching sense of rush and the forward-coursing winding riff it uses to create such motion. It was posted in the late hours of last year (one is trying to get used to 2017 as the present instead of the future tense), but the band has said that they’ve got a new record in the works for this year as well, so it could be that “2+6” is their way of kissing their debut goodbye.

If so, it’s a grim farewell. I’m not entirely sure what’s happening in the plot, but the main character is being chased by a series of flying rocks — stoner rock itself? I sometimes feel that way — back to his living room where he seems to try to fight off an attack with a knife and maybe some occult spells? I don’t want to spoil the ending, because frankly, three minutes isn’t too much for the band to ask of your time without me giving it all away, but let’s just say it doesn’t turn out so hot for the dude in question. I guess according to The Progerians, stoner rock wins. You won’t find me mounting a counterargument.

On the off-chance you missed their record — which I know you didn’t, because you’re on your game like that all the time — it can be streamed via the Bandcamp page linked below, and I’ve included their bio, just for background should you want some.

And by way of another spoiler, “2+6” makes eight.

Enjoy:

The Progerians, “2+6” official video

Directed and edited by Nicolas de Viron
Starring Xavier “Xray” Decoster
Cinematography: Yassin Serghini
Assistant Camera: Lucas Sevrin

The Fabulous Progerians are a three-piece that radiates throughout the Brussels’ underground and its surroundings. This heavy and fat paving block seeks to translate youth’s anxiety, agonising in unemployment and lust offered by the modern world for lack of a future.

Their influences go far back into prehistory, but it’s somewhere between Punk and Sludge that the band likes to find its secret harmonies.

Known for powerful performances, they are usually joined by other musicians who widen even more the sound spectrum and universe of the band.

The Progerians on Thee Facebooks

The Progerians on Bandcamp

The new video from Belgian heavy rock progressives A Supernaut repurposes footage from Alejandro Jodorowsky‘s 1973 festival-of-weirdness The Holy Mountain, and as such, I might recommend not checking it out immediately if you, say, share a cubicle with someone or are otherwise generally employed in a place where there are other people who might walk past and not fully appreciate avant garde filmmaking, let alone the rock-thump-goes-disco pulsations of “Ice,” which is the first tune to be revealed from the Brussels outfit’s impending album, LaMenace, which is due out early in 2017. You never know who’s gonna wind up being a philistine, and I’d hate to have anybody shitcanned for checking out something on this site. Times are tough and we’re a long way — only getting farther — from post-scarcity economies. So just be careful is all I’m saying.

As you make your way through the track and subsequent bio info below, you might notice that A Supernaut — who prove beyond the shadow of a doubt that if you’re smart enough you don’t need more than a single letter to make something your own — ultimately bear little resemblance to the descriptions of their bio. It’s weird enough, especially in this context, but I wouldn’t call “Ice” particularly psychedelic. Nor would I say it sounds like ZZ Top or Grand Funk Railroad. The band underwent an overhaul early last year, becoming a trio for what seems to have been the first time, and to compare “Ice” to a song like “The Fog” (the video for which is on YouTube here), I think you can hear outright the rather significant shift in sound between the two. With the questionable relevance, you might wonder why I bothered including said info at all. Fair enough. It made sense to me in terms of acknowledging how a group’s mission can change in so short a time. You’re certainly entitled to make of it what you will.

Alright, now that we’re all duly buckled in and justified and disclaimered-out, don’t forget that LeMenace will be released in the first part of next year and please enjoy:

A Supernaut, “Ice” official video

ICE, first release from “LAMENACE” A Supernaut upcoming ALBUM (early 2017). A video footage by © Micheline Des Bois (facebook.com/micheline2000). Recorded at the studio americain (Brussels) by Mike Black and A Supernaut / Mixing and Mastering by Remy Lebbos at Rare Sound Studio (Brussels).

Bio:

Reborn in February 15, A Supernaut is a band made up of 3 Brussels bred musicians, that has been brought to the height of notoriety thanks to its heavy presence on the Brussels scene. Skinny gits rather than greedy buggers, eager socks- and-sandals wearers, branding the Atomnium tattooed in place of the heart and sporting crotch high teeny weeny shorts, the spectacle of their Brussels’ psychedelia is definitely worth the trip.

But let’s talk music, and what can one say other than it does exactly what it says on the tin. It’s Rock, it’s soul, it’s Psychedelia and it’s pure love. Some harsh rock wounded by life, psychedelia that tastes like candy apples and love that will make your head swirl faster than a rollercoaster. It’s beautiful, it shakes you up, it reminds you of ZZ Top – only without the beards – or Grand Funk Railroad that’s slightly derailed; in short it’s a kick in the face with a big ol’ cowboy boot.

But above all it’s Brussels, city of their untamed rock ‘n roller hearts, that their transporting music, oozing energy, contradictions, the fusion of what’s good and bad pays a dark and magic homage.

A Supernaut is:
Thomas Venegoni (Bruxelles (BE)) – Guitars, Vocals
Nicolas Dekeuster (Bruxelles (BE)) – Bass, Vocals
Jean-François Hermand (Bruxelles (BE)) – Drums, Vocals

A Supernaut on Thee Facebooks

A Supernaut on Twitter

A Supernaut at Vi.Be

It’s after midnight as I write this. I should be asleep to get up with the alarm, set for about seven hours from now so I can get to work on time, though I’m holding out for a first-day-of-spring snowday. Fingers crossed. I can hear the dog snoring in the lulls of All Them Witches‘ new live release, Brussels, Belgium 3/3/16, issued via their Bandcamp. They’ve done that kind of thing before, always a cool vibe from these guys. I feel like the fact that my eyes are irritated from being awake for too long and the harsh light of my bedside lamp as I write this is fitting for the version of “Call Me Star” here, or “Mountain.” Some shit is just worth being awake for.

All Them Witches have been on tour more or less since late last year, supporting their 2015 third album, Dying Surfer Meets His Maker (review here), a substantial portion of which is represented here. Like I said, they’ve put up live show recordings in the past, though I don’t recall many of them sounding quite as professional as Brussels, Belgium 3/3/16. Maybe they upgraded whatever gear they’re using for the purpose. Maybe Europe is the difference. I wouldn’t speculate. In any case, they say there are others to come, and while there’s not much lacking in this 95-minute set, I’m cool with more en route.

I should go see this band again.

Art, tracklisting and links follow, if you’re up now or for later. Either way:

All Them Witches – Brussels, Belgium 3?/?3?/?16

We will be posting the audio from most of the shows on Bandcamp for FREE DOWNLOAD. Stay tuned.

1. Death of Coyote Woman 10:21
2. Funeral/God 07:01
3. Dirt Preachers 03:31
4. Marriage of Coyote Woman/Elk Blood Heart 11:19
5. Call Me Star 04:47
6. Open Passageways 03:39
7. Talisman 07:49
8. Blood and Sand/Milk and Endless Waters 14:39
9. Mountain 08:02
10. Heavy Like A Witch 05:01
11. Charles William 07:21
12. Middle Name is the Blues 11:39

The instruments and voices that you hear in All Them Witches:

Ben McLeod
Robby Staebler
Michael Parks, Jr.
Allan Van Cleave

https://www.facebook.com/allthemwitches/
http://allthemwitches.bandcamp.com/album/brussels-belgium-3-3-16
http://www.allthemwitches.org/

All Them Witches, Brussels, Belgium 3/3/16