Mondo Generator and Peter Pan Speedrock Tour Starts Tomorrow

Posted in Whathaveyou on October 8th, 2015 by H.P. Taskmaster

Nick Oliveri‘s Mondo Generator and Dutch rippers Peter Pan Speedrock are both celebrating their 20th anniversaries this year, and they’ve joined forces to take what’s sure to be a riotous cross-country trip together this month. It’s Mondo Generator‘s first US run since early 2013, but Peter Pan Speedrock have that beat easy: It’s been 13 years since the last time they came Stateside. Seems only fair to expect they’ll be in lively form to stand up to the occasion.

The PR wire has dates and whatnots:

peter pan speedrock mondo generator tour

Peter Pan Speedrock and Mondo Generator announce US tour in October

High octane powered Dutch machine Peter Pan Speedrock have confirmed and announced a Fall tour in the United States with Los Angeles based punk/metal hybrid Mondo Generator that has the hell ride begin in the city of Brotherly Love and conclude in the Emerald City.


10/9 – North Star (Philadelphia, PA)
10/10 – Wonder Bar (Asbury Park, NJ)
10/11 – Bowery Electric (New York, NY)
10/12 – Ottobar (Baltimore, MD)
10/14 – Hard Rock Cafe (Pittsburgh, PA)
10/15 – Small’s (Hamtramck, MI)
10/16 – Brauerhouse (Lombard, IL)
10/17 – Rock Island Brewing (Rock Island, IL)
10/19 – The 5th Quarter (Indianapolis, IN)
10/21 – Larimer Lounge (Denver, CO)
10/24 – Shredder (Boise, ID)
10/25 – El Corazon Lounge (Seattle, WA)

This tour ends a thirteen year long hiatus and a long awaited return of Peter Pan Speedrock to US soil and it is perfect timing for them to do this. 2015 is a significant milestone in their world as they are marking twenty years strong as a band, the ten year anniversary of their Eindhoven based metal/punk festival Speedfest and a North American release of their latest album Buckle Up And Shove It!(first release in North America since 2005). Their success is accredited to a solid foundation, nonstop touring and a work ethic that’s as heavy as the 2015 lineup for Speedfest.

Their latest album Buckle Up And Shove It! was released across Europe by Suburban Records/Steamhammer and picked up earlier this year by Self Destructo Records for North American audiences. Fourteen powerful tracks that blend crushing metallic guitar, powerful low end bass and hammering drums that were recorded at their new in house recording Mecca Bootleg Studios in Eindhoven, Netherlands. Their career includes ten full lengths along with split albums with names like Zeke, Danko Jones, Batmobile, Gluecifer, V8 Wankers & Death Alley. Their workhorse ethic has taken their live shows across the European, Australian and North American continents with their first visit to the Asian continent occurring in wintertime. With this ethic, they draw themselves closer to their goal of surpassing The Ramones number of live shows played of 2,263.

Mondo Generator is celebrating twenty years as a band as well! Reactivated after being put on ice due to Nick Oliveri’s touring/recording commitments with Bl’ast, Moistboyz and Dwarves, as well as releasing his solo album Leave Me Alone (Schnitzel Recordings) with tours across California and Europe in support. The break also had him rejoining his old band Queens Of The Stone Age on the stage during their final show of 2014 in Los Angeles at The Forum as well as a performance in Portland, OR. This tour will conclude for Mondo Generator at the Day Of The Shred festival in Santa Ana, CA where they will play alongside the likes of Torche, Crowbar, Yawning Man, Saviours, The Body and Nick’s old band mate from the Kyuss years, John Garcia. It will be the first US tour for Mondo Generator since they shared the road with Wino and Saviours back in 2013 in support of their last album Hell Comes To Your Heart (Mondo Media/No Balls Records).

Says Mondo Generator founder Nick Oliveri of the tour: “Looking forward to touring with Holland’s finest motor rock punk kings PPSR, on our 20th year of Mondo Generator being a band.”

Buckle Up And Shove It! is available now from Self Destructo Records on vinyl and CD in North America and through Suburban Records for the rest of the world.

Leave Me Alone and Hell Comes To Your Heart are available through the Nick Oliveri webstore.

Mondo Generator, “The Last Train” official video

Peter Pan Speedrock, “Get You High” official video

Tags: , , , , ,

Friday Full-Length: Yawning Man, The Birth of Sol: The Demo Tapes

Posted in Bootleg Theater on October 2nd, 2015 by H.P. Taskmaster

Yawning Man, The Birth of Sol (2009)

Still kind of surprising that a physical pressing of Yawning Man‘s demo collection, The Birth of Sol, has never surfaced. There was talk for a while of doing one, but it never manifest, and the persistently-underrated, due-for-their-due desert rock progenitors oversaw a digital version in 2009 through Cobraside that remains as close as The Birth of Sol has come to-date. Granted, the material is pretty rough. Recorded over the course of 1986-’87 — or somewhere around there, anyhow — it’s basically pre-digital rehearsal-space recordings. You can hear the warped tape as you listen through the near-90-minute span of 24 tracks (as well as a couple CD skips, oddly), which span avant jazz weirdness to a brand of bouncing punk that’s indistinguishable from that would shortly become Fatso Jetson, all the more for Mario Lalli‘s even-then-recognizable voice and quick-turning rhythmic progressions. It would be nearly two decades before Yawning Man put their first album out — that was Rock Formations, in 2005 — but like Across the River‘s even-earlier 1985 Demo Tape (discussed here), The Birth of Sol is an integral document of what was coalescing in the California desert at the time.

I’ll gladly argue that Yawning Man‘s most pivotal days, sound-wise, were still ahead of them when they tracked the material on The Birth of Sol, but even if you listen through these songs, you can hear that desert rock, as it was, was already something different from punk, from the heavy metal of its day, and even from the post-hardcore slowdowns that, soon enough, would become grunge. Even in their rawest form, Yawning Man stood apart from that, and that makes a release like The Birth of Sol all the more special.

The band’s last full-length was 2010’s Nomadic Pursuits (review here), and while the years since have seen a flurry of activity from founding guitarist and principle figure Gary Arce (2012 interview here) both in Yawning Man — who did a split with Fatso Jetson in 2013 — and outside of it, in collaboration with Hotel Wrecking City TradersYawning SonsWaterWays or Zun, whose debut stands among my most anticipated releases for 2016, word of Yawning Man proper’s next full-length has yet to materialize outside of some long-teased Raymond Pettibon art, the title Gravity is Good for You, and the occasional snippet or rough mix. Come to think of it, that’s plenty of word. I guess what I’m looking for is a release date.

When/if I happen upon one or one happens upon me, I’ll let you know, but until then, enjoy The Birth of Sol and take it for what it is. There’s plenty to get lost in, and from where I sit, it’s still worth hoping it gets pressed up one way or another one of these days.

As I write this, it’s actually Thursday night, a little bit before 11:30PM. I’m taking a half-day from work tomorrow (today by the time this gets posted) and figured I’d sleep better if I didn’t have this hanging over my head. Plus I miss writing at night, headphones in, the little dog Dio and The Patient Mrs., the latter of whom has been suffering from a cold for most of the week, both conked out. It’s already a seven-post day — rare, even rarer for the end of a week — but the holdover from yesterday was the Eight Bells news, and I thought it seemed tacky to post something about Portland when they obviously had bigger things going on in Oregon, what with the mass shooting and all.

And as to that, it seems pretty clear to me that we as a people, Americans, don’t give a fuck about it. We’re willing to sacrifice bunches of people for the illusion of what we’re told is a freedom. Trust cops. Buy more. Eat what they feed you. I don’t care anymore either. Not when there’s so much on Netflix to see! Until somebody picks up a molotov cocktail and starts a revolution — violent uprising is not the only way of producing substantive cultural change, but you can’t argue with a decent track record — nothing will change. Because we don’t want it to. Pumpkin spice! Selfies! Internet snark! Mass murder. Hallmarks of our season and our age.

What was I doing? Oh yeah, putting the blinders back on.

Headed to CT this weekend because I hear there’s a hurricane coming and fuck it, that’s how I wanna go out. Bedroom Rehab Corporation play the release show for their new one on Saturday in New London and it’s a killer lineup, so I’ll be at that, and look for a review on Monday. Also next week, reviews of Clutch and Graveyard. Both are late, but seriously, I reviewed 50 fucking records this week — more if you count streams, which at this point I do — so if that’s not enough for you I don’t know what to say. If I have time, I might do Monster Magnet or Snail as well, but we’ll see if I get there. Both are on the docket though either way. Also got an Admiral Browning tape that I’d very much enjoy writing up. Might save that for next Friday and treat myself a bit. And the interview with Lori S. from Acid King. That will be up somewhere in there as well. Busy week all of a sudden.

There are a lot of shows coming up I wish I could see. I will not get to all of them, but I will do my best. It bums me out deeply and sincerely to report that I’ll be unable to make the trip to Munich for Keep it Low. Car trouble for both The Patient Mrs. and I has severely sapped funds that would’ve otherwise gone toward a plane ticket, and my student loans are apparently in default if the increasingly disturbing emails I get from Navient: Or Whatever the Fuck They’re Called this Week can be remotely trusted. Whatever. Amnesty now for immigrants and students. Too big to fail is too big to exist. Let them dock my pay if they want my money so fucking bad.

Got myself all jazzed up tonight. So much for sleeping.

Have a great and safe weekend. Please. Consider it a favor to me. And while you’re doing me favors, please check out the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

Tags: , , , , ,

Goatsnake and Pelican Announce Dec. Tour Dates

Posted in Whathaveyou on September 28th, 2015 by H.P. Taskmaster

goatsnake (Photo by Samantha Muljat)


Well shit. I guess, if you’re Goatsnake, and you’ve never played Chicago before, the band you want to team up with to do so is Pelican. The reunited riffers’ sporadic touring to support their 2015 return full-length, Black Age Blues (review here), will continue in December as they hit spots in the Midwest to coincide with their previously announced West and East Coast shows. Europe next year? I wouldn’t be surprised to find them at Temples or some other fests around in the spring, but nothing’s been revealed in that regard as yet. Seems like they have plenty to keep them busy in the meantime.

And fucking Pelican. You’d think they would get exhausted being awesome all the time, but nope. Their latest EP, 2015’s The Cliff, is right on as ever.

To the PR wire:

goatsnake pelican bongripper

GOATSNAKE And PELICAN Confirm Midwest December Tour Dates

Southern California’s raging doom quartet, GOATSNAKE, will join up with atmospheric post-rock artisans and Southern Lord labelmates, PELICAN, for a run of tour dates through the Midwest US together this December, marking GOATSNAKE’s first time performing in the region.

The GOATSNAKE and PELICAN tour festivities will begin in Indianapolis on December 12th, the show also featuring Bongripper and more. Post-show, an afterparty has been scheduled to take place at the local Kuma’s Corner spot, where the bands’ prior special burgers will be made available as a trio of miniatures, the event also featuring DJ Sets by Greg Anderson of GOATSNAKE and Dustin Boltjes of Skeletonwitch. The next show takes place on December 13th in Columbus, followed by Ferndale on the 14th and Chicago for the final show on the 15th with Cloakroom and Canadian Rifle.

9/24/2015 Catalyst Atrium – Santa Cruz, CA w/ Black Breath, Battalion Of Saints, Obliterations
9/26/2015 Highline – Seattle, WA w/ Black Breath, Battalion Of Saints, Obliterations
9/27/2015 Hawthorne Theater – Portland, OR w/ Black Breath, Battalion Of Saints, Obliterations
10/11/2015 TRIX – Antwerp, BE @ Desertfest
10/13/2015 Kung Fu Necktie – Philadelphia, PA w/ YDI, Big|Brave
10/14/2015 Black Cat – Washington, DC w/ YDI, Big|Brave
10/15/2015 Saint Vitus Bar – Brooklyn, NY w/ YDI, Big|Brave
11/19-22/2015 Le Guess Who? Festival – Utrecht, NL
12/12/2015 5th Quarter Lounge – Indianapolis, IN w/ Pelican, Bongripper, Rlyeh, Sacred Leather
12/13/2015 Ace of Cups – Columbus, OH w/ Pelican
12/14/2015 The Loving Touch – Ferndale, MI w/ Pelican
12/15/2015 ThaliaHall – Chicago, IL w/ Pelican, Cloakroom, Canadian Rifle

PELICAN Tour Dates:
10/25/2015 High Noon – Madison, WI w/ Zebras, Jon Mueller
12/12/2015 5th Quarter Lounge – Indianapolis, IN w/ Goatsnake, Bongripper, Rlyeh, Sacred Leather
12/13/2015 Ace of Cups – Columbus, OH w/ Goatsnake
12/14/2015 The Loving Touch – Ferndale, MI w/ Goatsnake
12/15/2015 Thalia Hall – Chicago, IL w/ Goatsnake, Cloakroom, Canadian Rifle
12/18/2015 Sticky Fingers – Gothenburg, SE @ Scorched Tundra Festival

Goatsnake, Black Age Blues (2015)

Pelican, The Cliff EP (2015)

Tags: , , , , ,

Golden Void, Berkana: Whirling

Posted in Reviews on September 22nd, 2015 by H.P. Taskmaster

golden void berkana

Among the most striking aspects of the 2012 self-titled Golden Void debut (review here), was just how distinct it was in personality from Earthless despite the presence of Isaiah Mitchell on vocals and guitar. Known for the blow-the-roof-off sprawl and classic rocking righteousness of the latter instrumental outfit, Golden Void‘s Golden Void was by and large a humbler affair, and as their second album for Thrill Jockey, Berkana follows suit on a stylistic level. The lineup of Mitchell, keyboardist Camilla Saufley-Mitchell (also of The Assemble Head in Sunburst Sound), bassist Aaron Morgan and drummer Justin Pinkerton returns, and though the core of Golden Void‘s sound remains intact, it’s not as though they’re mere continuing along the same lines.

At seven tracks/41 minutes, Berkana is the same number of songs but a full six minutes longer than its predecessor, and one can find the extra time in the spacey wanderings of “Astral Plane” and “I’ve Been Down,” both casting a wide berth sonically still without sounding overblown or needlessly grandiose. Saufley-Mitchell adds backing vocals on “Silent Season” and the aforementioned “Astral Plane,” and the hooks are all the more resonant for it, the Bay Area four-piece finding a comfortable place between catchy craftsmanship and hypnotic instrumental meandering that gives Berkana a flow distinct from the debut and a sense of the progression the band has undertaken over the last three years. Recorded by Tim Green (The Fucking Champs) at his Louder Studios, the album retains a natural, live-sounding vibe that rests well alongside its overarching pastoral feel.

There is a deceptive amount of movement throughout. Across its span, Berkana stays relatively fluid — that is, there isn’t much to pull the listener out of the front-to-back experience, even with a side split between “Astral Plane” and “I’ve Been Down” — but the ways in which it keeps its momentum shift almost song by song. True to the album’s title, which derives from a rune of growth and fertility (also represented by birch trees as seen on the cover), it expands and branches out as it moves forward from the opening bounce and swing of “Burbank’s Dream,” weaving memorable impressions of itself along the way, whether it’s in a chorus or exploratory-feeling progression. It seems fair to call it a more patient record than the debut, but neither was in any rush, and as Morgan‘s air-pushing low-end fuzz begins “Silent Season,” soon topped by dreamy wisps of guitar and keys with some underlying tension in Pinkerton‘s drums, it’s pretty clear Berkana is constructed for headphones and tilted-head/closed-eye hearing.

golden void

“Silent Season” provides one of the more immediate choruses, building as it pushes through its five minutes but ultimately guided by Mitchell with a casual prog atmosphere. As happens throughout, that atmosphere sets up the jump into the quicker “Dervishing,” a song that conjures whirl in lyric and instrument alike, dizzying but undizzied, a mix providing enough depth to give a spiral impression without the band getting lost in the process. There are moments, as in the change from “Silent Season” to “Dervishing” and “Dervishing” to the following “Astral Plane,” where their holding it together seems miraculous when you step back and look at the ground they’ve covered, but the truth is they very deftly keep a foot in heavy psychedelia throughout, so that as far as the material seems to range, it’s never so far as to completely untie itself from its surroundings.

In that way, Berkana feels more like a complete album than Golden Void, but it’s more of a symptom of the progress of the band overall than the end-result. At nearly seven minutes, “Astral Plane” leads the way toward Berkana‘s immersive back half, side B opening with a companion-piece in “I’ve Been Down” as the two tracks provide, in a linear format (CD or digital), the record’s most satisfying chillout. That’s not to say either is a languish. “Astral Plane” strikes in both its chorus and the interplay of keys and flute in its midsection jam, and “I’ve Been Down” echoes the bounce of “Burbank’s Dream” without repeating it and breaks down after the three-minute mark to launch a singularly engaging ground-up build, patient, progressive and still drippingly psychedelic. At first “The Beacon” seems to echo its otherworldly vibe, but turns toward its own earthy, fuzzier vibe, more forward rhythmically and in Pinkerton‘s insistent snare.

One could almost call Mitchell‘s bombastic solo at the end snuck in, but there’s nothing sneaky about it, comprising the better part of the song’s final two minutes, teasing an end then kicking back in for another go and giving Berkana a due apex before “Storm and Feather” closes the album on a more subdued but not at all sour note. The slowest inclusion, it’s also arguably the most spacious, with what feels like an extra layer of echo on the vocals and a loose-head tom sound in Pinkerton‘s drums, expansive guitar and bass tones and a gradual swirl that gets brought to bear with a late arrival of overlaid Floydian acoustics near the finish. I don’t know whether it was Golden Void‘s intent to cap Berkana as far as possible away from the opening crashes of “Burbank’s Dream,” but they would seem to have come pretty close to that either way, showing on the journey between the two that the identity of the band is not only individualized but on its own creative path in ethereal space rock, more drift than thrust but still explosive when it sees fit to be so.

Golden Void, Berkana (2015)

Golden Void on Thee Facebooks

Golden Void on Bandcamp

Golden Void at Thrill Jockey

Tags: , , , , , ,

Behold! the Monolith, Architects of the Void: Poison for Protection (Plus Album Stream!)

Posted in audiObelisk, Reviews on September 17th, 2015 by H.P. Taskmaster

behold the monolith architects of the void

[Please note: Behold! the Monolith release Architects of the Void on Sept. 29, with vinyl to follow in December. Thanks to the band and PR for permission to host the album stream.]

Exclamatory genre-blenders Behold! the Monolith made their full-length self-titled debut in 2009. Then a trio, the Los Angeles-based outfit would follow that album with Defender, Redeemist in 2012, and now, three years later, they offer their third long-player in Architects of the Void. That would seem to be right on schedule, but the truth is much harsher, guitarist/vocalist Matt Price and drummer Chase Manhattan having lost bassist/vocalist Kevin McDade in a car accident shortly after the second album was released. With Architects of the Void, Behold! the Monolith — now a four-piece with bassist Jason “Cas” Casanova (also Sasquatch, ex-Tummler) and standalone vocalist Jordan Nalley — prove that not only do they have it in them to persevere after the tragic death of one-third of their original lineup, but that they’re able to do so in vital and righteously heavy fashion.

Taking cues from a variety of metallic styles from black, death, doom, thrash, post-Mastodonic crunch, and so on, Behold! the Monolith partnered with producer Billy Anderson (Sleep, Acid King, Neurosis, so many more) and constructed a seven-track/50-minute excursion into oppressive atmospherics and somehow-regal tectonics. The core of Architects of the Void is wildly aggressive, but the band’s application of that aggression is manifest in the Candlemass-style mournfulness of “Lord of Bones” and the manner in which death-doom ambience of opener “Umbral Vale” feeds into the tense intro of “Philosopher’s Blade” that precedes a thrashing gallop and some of Nalley‘s harshest, most biting vocals on the record.

Not to be understated is the fluidity of these changes and how easy Behold! the Monolith make it sound to mesh various stylistic elements. “Philosopher’s Blade” is a standout for its uptick in pace, but more so its sense of control, the class with which the four-piece execute their marauding progression and give way into the eight-minute “The Mithriditist,” wherein far-back-but-cleaner shouts, screams, growls, airy acoustic guitars, back-breaking heft, heavy rock swing and black metal all seem to find common ground to suit the band’s purposes. Among the most singularly impressive of Architects of the Void‘s tracks, it’s worth remembering that “The Mithriditist” is still just a piece of the overarching whole-album flow. A vicious part, though, and its wash of feedback and noise at the end fades to let “Lord of Bones” call to mind “The Samarithan” with its central riff but retain entirely more ill-meaning purposes, insistent and crushing largesse taking hold early in back and forth tempo shifts until, in the second half of the song, they dip full-on into blackened thrash extremity only to end cold and precise and sudden, churning to a head and then cutting out relatively quick.

behold the monolith

That brings about “Black Days of…,” which is the shortest of the tracks at 2:41 and more of an interlude, though one that retains the heavier material’s lung-deflating claustrophobia amid its samples, weaving-in-and-out feedback and drone, and in turn recedes into the bludgeoning of “Between Oder and the Vistula.” Alternately stampeding in its gallop, grooved in its doom and, at its most intense, all-out grinding, it fits with the wide breadth of “The Mithriditist” and “Lord of Bones” earlier, and it hits a grandiose crescendo in its midsection that I can’t help but associate with a Strapping Young Lad influence, especially vocally, before letting Price carry the bridge with a standout solo. Big, angry, fast, angrier. The real achievement is how Behold! the Monolith manage to offer something so wildly different-sounding in structure across these cuts while keeping the mood so consistent. Imaging being blinded with rage seven different ways.

Sounds exhausting, and by the time they get around to the 14-minute closing title-track, Architects of the Void will no doubt have lapped plenty of listeners. Still, it’s worth sticking it out for the finale not because it reaffirms the frenetic course of what comes before it, or because it pushes further from the manic pieces of “Between Oder and the Vistula,” but because its build is so clear in its linearity and because in their final movement, Behold! the Monolith seem less concerned with the multifaceted nature of their attack than with what a single progression put to its best use can accomplish. That’s not to say “Architects of the Void” doesn’t have its changes, or that the other songs don’t have a clear idea of where they want to be or what the varying pieces are working to accomplish, just that the balance shifts in a way that reinforces precisely that notion that the band are doing more across the album’s span than simply putting parts next to each other and calling it heavy.

The closer ends on a long fade topped by an obscure, manipulated sample that winds up being the last element to go, its human roots barely recognizable. After so consuming a trip, it feels as though Behold! the Monolith are leaving the listener in the void they’ve blueprinted, but when the smoke clears, the prevailing impression is less about what influences the band has mashed together than about what they’ve managed to build out of that mash. While keeping to a three-year timetable, Behold! the Monolith have overcome a tragedy that would be the undoing of many acts and moved forward on Architects of the Void with a sound that doesn’t at all forget where it came from, but keeps its intentions geared toward future growth.

Behold! the Monolith on Thee Facebooks

Behold! the Monolith on Bandcamp

Behold! the Monolith’s website

Tags: , , , , ,

Six Organs of Admittance Announce Nov. Release for Hexadic II

Posted in Whathaveyou on September 16th, 2015 by H.P. Taskmaster

six organs of admittance (Photo by Elisa Ambrogio)

Seems unlikely that it was Ben Chasny‘s intent going into the project, but with the acoustic Hexadic II, a foll0w-up to earlier 2015’s Hexadic (review here), what Chasny is basically doing is marrying his current experimental forms with the folk intimacy for which Six Organs of Admittance is most known. Again, doubtless he went into the studio thinking, “I’m going to marry my current experimental forms with the folk intimacy” blah blah blah or whatever I just said. More likely, he just felt there was more to say with the Hexadic songwriting system he developed — which is legit — but it does feel that way listening to the newly-revealed “Exultation Wave.”

Release date for Hexadic II is Nov. 20. Write it down so you don’t forget or just bite the bullet and place a preorder. Either way, not one to miss:

six organs of admittance hexadic ii


Sounding forth from a resonating body, the music of Six Organs of Admittance seems to reach us from an ancient remove. Ben Chasny’s 6OOA vehicle is a wide-ranging craft, spanning over a dozen albums whose gaze is always shifting, but whose focus never wavers. With Hexadic II, Ben Chasny’s unique touch on acoustic guitar is brought back to our ears after what feels like a kind of forever. What may identify to some ears as folk music is caught in an equally compelling undertow of powerful subterranean energy.

Hexadic II is ultimately what the listener hears it to be – a darkly spiritual listen, filtered through their ears and their perceptions and choices. As ever, Chasny has a head-full of ideas that are driving him; Hexadic II simultaneously explores the same charts and paths that gave birth to its predecessor, while creating music of a totally different order. The Hexadic II songs have direct correlation to the Hexadic songs, yet are much more than mere acoustic versions. “Exultation Wave”, for example, simmers with an undercurrent of ethereal transcendence, the strings bending under the virtue of Ben’s voice. Think of them as distant cousins to the songs on Hexadic, obsessed with greek choir, the desert, and the sea.

Simultaneously more inviting and challenging than Hexadic, Hexadic II is a powerful musical journey into the enigma of interpretation and inspiration; begin the journey on November 20th.

You can purchase the Hexadic bundle (including cards, instruction book and the first record) via Drag City, and place orders for Hexadic II.

Six Organs of Admittance, “Exultation Wave”

Tags: , , , , ,

Goatsnake Announce East Coast Tour Dates

Posted in Whathaveyou on September 8th, 2015 by H.P. Taskmaster

Been waiting for this one to get announced. I think if anything it shows how pitiful the East Coast is at this point. Granted, Goatsnake are a West Coast act, but three dates? One’s at the Saint Vitus Bar, naturally, and one’s at Kung Fu Necktie in Philly, and one’s at the Black Cat in D.C. — kind of a homecoming there for vocalist Pete Stahl, formerly of Scream — but man, that’s it. I can’t even argue. We knew Goatsnake were going to do some limited touring, so there it is. If the shows aren’t already sold out, they invariably will be.

From the PR wire:

goatsnake (Photo by Samantha Muljat)

GOATSNAKE Confirms Three East Coast October Shows With YDI And Big|Brave Following West Coast Southern Lord Tour

Supporting their acclaimed Black Age Blues LP, released in June, closing a fifteen-year gap between full-length albums, Southern California’s GOATSNAKE has just announce a trio of headlining East Coast performances in mid-October, with shows in Philadelphia, Washington DC and Brooklyn confirmed. This stint of shows will fall in line just two weeks after the band headlines a ten-city West Coast Southern Lord Tour.

First up, GOATSNAKE will headline the Southern Lord West Coast Tour, boasting opening support from an array of labelmates including direct support from Seattle’s Black Breath, supporting their third LP, Slaves Beyond Death, as well as longtime San Diego-based hardcore punk icons, Battalion Of Saints and Southern Cali punk/hardcore henchmen, Obliterations. From September 16th through 27th, the bands will caravan through Los Angeles, Long Beach, Ventura, San Diego, Mesa, San Francisco, Sacramento, Santa Cruz, Seattle and Portland.

Two weeks following the West Coast Tour, GOATSNAKE will return to Europe for a one-off performance at Desertfest in Antwerp, Belgium set to perform on Sunday, October 11th, joining the likes of Bongzilla, Ufomammut, Valient Thorr, Dozer, Orange Goblin, labelmates Earth and more at the three-day event.

Upon returning to the US post-Desterfest, GOATSNAKE will raid the East Coast for three special gigs, which, outside of their performance at Maryland Deathfest this year, will be the band’s first run of East Coast shows. October 13th, 14th and 15th will see the band headlining Philadelphia, Washington DC and Brooklyn, with support on all three shows provided by additional labelmates, including Philly’s longtime hardcore punks, YDI, and Montreal art-rock trio, Big|Brave.

November sees the band back in Europe at the 2015 SUNN O)))-curated installment of Le Guess Who? Festival in Utrecht, Netherlands, running from November 19th through 22nd,. This sees the band joining the likes of Chelsea Wolfe, Om,Wavves, Blanck Mass, Ought, Liima, Lubomyr Melnyk, Deaf Center, Ho99o9, Demdike Stare, Charlemagne Palestine, Marissa Nadler; Demdike Stare, Circuit des Yeux and more, as well as Southern Lord artists Martyrdöd, The Secret, Today Is The Day and Big|Brave, in addition to GOATSNAKE.

Listen to GOATSNAKE’s Black Age Blues in its entirety now RIGHT HERE; maximum volume yields maximum results!

Black Age Blues on CD, 2xLP in a Stoughton gatefold jacket with two exclusive bonus tracks and more can be ordered at the new Goatsnake store, and the album is available digitally via BandCamp and iTunes.

9/16/2015 Mystery Box – Los Angeles, CA*
9/17/2015 Alexs’ Bar – Long Beach, CA*
9/19/2015 Brick By Brick – San Diego, CA*
9/20/2015 Club Red – Mesa, AZ*
9/22/2015 Elbo Room – San Francisco, CA*
9/23/2015 Boardwalk – Sacramento, CA*
9/24/2015 Catalyst Atrium – Santa Cruz, CA*
9/26/2015 Highline – Seattle, WA*
9/27/2015 Hawthorne Theater – Portland, OR*
10/11/2015 TRIX – Antwerp, BE @ Desertfest
10/13/2015 Kung Fu Necktie – Philadelphia, PA+
10/14/2015 Black Cat – Washington, DC+
10/15/2015 Saint Vitus Bar – Brooklyn, NY+
11/19-22/2015 Le Guess Who? Festival – Utrecht, NL
* = Southern Lord West Coast Tour w/ Black Breath, Battalion Of Saints, Obliterations
+ = w/ YDI, Big|Brave

Goatsnake, Black Age Blues (2015)

Tags: , , , ,

Wino Wednesday: Saint Vitus, Thirsty and Miserable EP in Full

Posted in Bootleg Theater on September 2nd, 2015 by H.P. Taskmaster

Happy Wino Wednesday.

Don’t get me wrong, I dig Saint VitusThirsty and Miserable EP for what it is, but I think the bigger impact of the 1987 release has to be what it said about who the band were and the ground it so brazenly tread upon, namely that of Black Flag. Now, Vitus had been putting stuff out through Greg Ginn‘s SST Records since their 1984 self-titled debut, and maybe having them take on Black Flag‘s track “Thirsty and Miserable,” which appeared on that band’s Damaged full-length in 1981, was an idea that came up as a way of bridging the gap between the ultra-Sabbathian Saint Vitus and SoCal’s punker elite, which famously hated the band. I wasn’t there, but my understanding is it didn’t work.

Nearly 30 years later, however, the Thirsty and Miserable EP holds a special place in Saint Vitus lore. Complemented by the two originals “Look Behind You” and “The End of the End,” the EP’s titular cover isn’t about meeting a fanbase halfway so much as showing the fuckall that had rooted itself into the band’s approach by this time — somewhat ironic since that very same fuckall is precisely what they had in common with the punk of the day. Coming off their third album, Born too Late, the band sound assured on Thirsty and Miserable of their sound and style, and listening to them run through “Thirsty and Miserable” and “Look Behind You” — both of which wind up pretty fast — and the swinging “The End of the End,” they make a convincing argument that if the world doesn’t get it, it’s the world’s problem. In hindsight, it’s easy to hear that statement and view it as being correct. Plus, they talk about breaking into a liquor store, and that’s hilarious.

This is Wino Wednesday number 199 out of 200. Next week we’ll wrap up the series and hopefully end on a positive note. Since this is the last time Saint Vitus will be featured as a part of it, I thought it important to include something special. Enjoy:

Saint Vitus, Thirsty and Miserable (1987)

Tags: , , , , , ,