Sasquatch Premiere New Single “Rational Woman”

Posted in audiObelisk on April 18th, 2017 by JJ Koczan

sasquatch

Sasquatch will release their new single, Rational Woman, on June 7 via Red Sun Records. The Small Stone Records veterans are still officially based in Los Angeles despite having guitarist/vocalist Keith Gibbs and bassist Jason “Cas” Casanova having traveled across the country to record at Mad Oak Studios in Allston, Massachusetts; also home-base for Craig Riggs, the vocalist for Roadsaw who came aboard as a conveniently-located-on-the-opposite-coast drummer following an apparent split with Rick Ferrante (currently working with Aboleth) sometime since the fourth Sasquatch long-player, IV (review here), came out in 2013. The fact that it’s been four years since IV hit might have something to do with Rational Woman coming together, but whatever the motivation, new Sasquatch is invariably a win for anyone who likes their grooves locked in, their fuzz extra hairy and their hooks surgically implanted on their brains and ready for repeat listens.

That’s basically how “Rational Woman” — already I can’t get Gibbs‘ “She don’t like me anyway…” out of my head — finds Sasquatch operating. Another motivation for the single? This summer marks the second time in two years Sasquatch will head to Europe for a tour, and with slots booked at Stoned from the Underground,sasquatch rational woman SonicBlast Moledo and Red Smoke ahead of a return to the States and a gig lined up at Psycho Las Vegas in August, it’s all the more occasion to make it happen on the back of a new release, even if it’s just a two-songer. It’s not like anybody showing up at one or another of the above festivals is going to complain about new Sasquatch, and particularly with the careening central riff that provides the thrust of “Rational Woman,” the band is quick to let their audience know all cylinders are firing and they’re ready, as ever, to kick ass on any stage that thinks it might be able to contain them.

To that end, I expect Sasquatch will announce more European tour dates as we get closer to the summer, so keep on keeping an eye out for that. In the meantime, Rational Woman, which also features the B-side “In My World,” is set for a one-time-only pressing of 500 copies and available to preorder now from Red Sun Records through Bandcamp (linked below). I suppose the only real question is if there will be any copies left by the time the tour starts.

You can find the premiere of Sasquatch‘s “Rational Woman” on the player below, followed by more info on the release courtesy of the PR wire.

Please enjoy:

Sasquatch on “Rational Woman”:

We’ve never done a 7” before. At some point last year I was feeling nostalgic and remembered the glory days of the Sub Pop Singles Club. I’m not sure if it’s the smartest thing to do, but I wanted to jump off that bridge and put one out, just to say we did it once. Flashback to the year 2014, we ended up in Barcelona on a whim thanks to Red Sun. First time in Spain. We were rookies. I think Red Sun was just getting off the ground back then, but Marc and Lane, the couple who run the booking agency/label, were the nicest, most down-to-earth people. Showed us all of the local spots. They took good care of us and since that trip we’ve kept in contact regularly. Definitely feels like extended family whenever we get to see them. We knew that we wanted to do something exclusively for the Europe tour this summer, and Marc and Lane were the first that came to mind. We asked, and they were actually cool with the idea, so here we are, together… teeing off 2017… 45s or bust.

The Rational Woman 7” will be limited to a one-time print of 500 copies on black vinyl. Grab a copy before it’s too late because once they are gone, they are gone for good!!

Barcelona-based Red Sun Records will be exclusively releasing the album worldwide on June 7th. Pre-orders start today. Get it here: redsunrecordsbarcelona.bandcamp.com.

Track Titles:
Side A) Rational Woman
Side B) In My World

Sasquatch
Keith Gibbs – Guitar/Vox
Craig Riggs – Drums
Jason Casanova – Bass

Sasquatch on Thee Facebooks

Sasquatch website

Red Sun Records on Thee Facebooks

Red Sun Records on Bandcamp

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Avon Premiere New Single “Six Wheeled Action Man Tank”; UK/EU Tour Starts April 26

Posted in audiObelisk on April 14th, 2017 by JJ Koczan

avon

Desert rock trio Avon begin their next round of tour dates in the UK and Europe on April 26. Anytime you can write words about a group like, “features former members of Kyuss/Queens of the Stone Age/Yawning Man,” that’s a noteworthy opportunity not to be missed, but Avon — which in addition to drummer Alfredo Hernandez, who played in the three landmark acts above at one point or another (as well as Brant Bjork‘s underrated and shortlived Che), also includes English transplant James Childs (Vic du Monte’s Persona Non Grata) and Waxy’s Charles Pasarell — prove to be more than the sum of their pedigree. Having made their debut in 2016 with the full-length Mad Marco on their own Spira Records, the band mark their return trip abroad this spring with a new single on H42 Records, given the righteous title Six Wheeled Action Man Tank.

Should you ever doubt that the roots of desert rock are in a grown-up version of punk: don’t. The hook of Avon‘s “Six Wheeled Action Man Tank,” catchy and as straightforward as it could possibly be, is a fervent reminder otherwise. Unpretentious in tone and straightforward in its structure, the song and its B-side counterpart, “The Kurgan” (like inavon six wheeled action man tank The Highlander!), both stand at right around three and a half minutes long, both are catchy as hell and neither neglects melody in their delivery of that catchiness. Taken one into the next, they demonstrate how unnecessary tonal trickery is when you have quality songcraft, and whether it’s the garage-style push of “Six Wheeled Action Man Tank” or the warmer vision of grunge in “The Kurgan,” ChildsPasarell and Hernandez give a quick showing of groove and push in these tracks that, while they probably don’t need to do much convincing anyway, should have no trouble lodging themselves in the frontal lobes of their audiences for the coming run in the UK, Germany and Belgium.

That tour, by the way, includes stops at Desertfest London and Desertfest Berlin 2017, and plenty of clubs besides, so while “Six Wheeled Action Man Tank” may or may not actually be about a plastic toy, the three-piece seem to be using it as a standard to live up to as well. Fair enough. May they roll over anything and everything in their path. You know, with rock and roll. Not actually with a tank. That would be weird and probably illegal.

Go ahead and get Avon‘s “Six Wheeled Action Man Tank” stuck in your head by streaming the premiere of the track on the player below. I hear tell they’ll have copies on hand from H42 Records by the time they get to Desertfest.

Comment from Childs on the track and the tour dates follow beneath.

Please enjoy:

James Childs on “Six Wheeled Action Man Tank”:

After getting back from our recent Mad Marco tour, right away we knew that we needed to record “Six Wheeled Action Man Tank” as the song killed it on every show! We are very excited about H42 Records releasing the track on 7″ limited vinyl and super stoked about being invited to Desertfest both in London and Berlin along with 18 more tour dates for us to smash out!

AVON UK & EU Tour Dates:
April 26 The Old Ham Tree Holt UK
April 27 The Greyhound Midsomer Norton UK
April 28 The Old Road Tavern Chippenham UK
April 29 Desertfest London UK
April 30 Desertfest Berlin DE
May 1 Jagerklause Berlin DE
May 3 Schaubude Kiel DE
May 04 Bambi Galore Hamburg DE
May 5 Chemiefabrik Dreden DE
May 6 Ragga Oelsnitz DE
May 7 Black Label Leipzig DE
May 8 Cosmic Dawn Jena DE
May 9 Alltra Chemnitz DE
May 10 Limes Cologne DE
May 11 Gerber 3 Weimar DE
May 12 Rare Guitar Munster DE
May 13 Freak Show Essen DE
May 14 JH Tijl Diest BE
May 16 Radio Benelux Paal BE

Avon are:
Alfredo Hernández (Ex-Kyuss, Queens Of The Stone Age, Che)
James Childs (Vic Du Monte’s Persona Non Grata, Airbus, Little Villains)
Charles Pasarell (WAXY)

Avon website

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H42 Records on Thee Facebooks

H42 Records on Twitter

H42 Records on Bandcamp

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Review & Track Premiere: Brume, Rooster

Posted in audiObelisk, Reviews on April 13th, 2017 by JJ Koczan

brume rooster

[Click play above to stream the premiere of ‘Reckon’ by Brume. Their debut album, Rooster, is out April 20 on DHU Records and Doom Stew Records ahead of a UK tour (info here) including a stop at Desertfest London 2017.]

A dense fog comes to rest over the 51 minutes of Brume‘s Rooster. By the end of the 10-minute opening track, it has settled in despite — or perhaps because of — the pervasive thrust the San Francisco trio have conjured, and it remains a factor for the six-track duration. Fortunately, the three-piece of bassist/vocalist Susie McMullin, guitarist Jamie McCathie and drummer Jordan Perkins-Lewis chose the most capable of navigators, Billy Anderson (NeurosisMelvinsAcid KingSleep, need I go on?), to help guide them forward. Rooster, issued through Perkins-Lewis‘ own Doom Stew Records on CD, tape and download with vinyl forthcoming from DHU Records, winds up not so much getting lost in this fog as inhaling it, plugging in, and riffing out with marked force, thickness and presence.

Their 2015 debut EP, Donkey, was a showcase of promise, and Rooster is a longer one, but in stepping forward to give their building audience a first real chance to take in the scope of what Brume — who got together in 2014 — can and will be as a band, they do not flub the opportunity. With longer pieces “Grit and Pearls” (10:06) and “Tradewind” (11:48) as bookends at the outset and finish, the fervent plod of “Harold” (7:30), “Reckon” (9:13) and the rolling “Call the Serpent’s Bluff” (9:29) between, as well as the penultimate acoustic-based “Welter” (2:55) leading into the closer, Rooster realizes the potential of the prior EP and moves forward with it, successfully melding together influences into what Perkins-Lewis might call a “doom stew” of their own recipe.

For those new to the band, with the airy, soulful melodicism of McMullin‘s voice echoing spaciously over the molasses riffery, one might hear them at first as spiritual successors to the recently-defunct Uzala, but the turns of “Grit and Pearls” immediately widen this impression with rhythmic stops drawn from the post-YOB sphere of cosmic doom and Mike Scheidt‘s particular style of angularity. The key, though, is immersion. By the time “Grit and Pearls” has finished its 10-minute course, shifting from vast plod into quiet atmospherics and back through the faster ending that’s the source of the YOB comparison above, they’ve managed to hook the listener with a repetitive nodding groove. Their sense of pacing and willingness to vary tempos emerges as something of a theme throughout, but Rooster never becomes more monotonous than it wants to be. Monolithic, perhaps.

brume

“Harold” begins by teasing the lighter strum-and-pluck that “Welter” will later bring before crashing in at full weight and unfolding its first ethereal verse, slower and more doomed than “Grit and Pearls” before it — I keep hearing early Cathedral in McCathie‘s guitar progression, but I can’t place it exactly — and they settle into a consuming roll as they move past the halfway point, the last minute of the song being the real point of departure as the central rhythm gives way to feedback and ambient noise with Perkins-Lewis‘ drums behind, a grueling end that perfectly sets up the doom-gone-TwinPeaks-barroom-blues launch of “Reckon.” The third of Rooster‘s six cuts fascinates conceptually as McMullin plays off the country music trope of the cowgirl singing the tale of meeting a mysterious stranger, but instead of a sharp-eyed, all-chin guy on horseback, he’s got a beard and rides a beat-up motorcycle. Nonetheless, the vibe that results makes “Reckon” a standout, as does its more prevalent hook and open-feeling, drum-and-chanting midsection break that swells to an apex with a layered-over guitar lead that recalls “Grit and Pearls” in its intent without necessarily retreading what’s already been done.

It seems likely that “Call the Serpent’s Bluff” will mark the start of the vinyl’s side B after “Reckon” finishes the album’s longer-by-two-minutes side A, and that break between the two songs feels somewhat essential as a factor in the flow throughout Rooster as a whole. That is, the effect of Perkins-Lewis‘ drums returning to start “Call the Serpent’s Bluff” is best experienced with the breath-catching moment provided to the listener by flipping a record. Even the digital version of “Reckon” has a couple seconds of silence at the end, and that feels very much on purpose and very correct. When it gets going, with the rumble of McMullin‘s bass and feedback from McCathie‘s guitar soon enough joining the tom runs to draw the listener into the patient groove, “Call the Serpent’s Bluff” swirls out hypnotic, doomedelic nod, an early lead giving way to more insistent pulse before spacious vocal melody transitions into slower riffing, a quiet introduction of the back-half hook and build back to the crawling, crashing finish recitations, ending with the vocals as a standalone element. That subtle moment of minimalism makes an effective transition into “Welter”; the shortest cut and starkest contrast to its surroundings, sonically if not in overall mood.

Backed by acoustic strum, McMullin echoes the bluesier feel of “Reckon” in another context, surrounded by a flourish of keys for a neofolkish stretch one might relate to Windhand but that serves all the same to further widen the breadth of Rooster ahead of “Tradewind,” which comes to life slowly over likewise quiet strum and cymbal wash before the full heft arrives at around two and a half minutes in to commence a series of loud/quiet tradeoffs that once again find Brume working in a varied structural context even as they reinforce the brooding feel of the record as a whole and offer one last deceptively catchy chorus. The nature of their craft, with a focus on longer songs meting out grueling and at times otherworldly doom, doesn’t necessarily lend itself toward the expectation of hooks, but Brume have a few throughout Rooster, as “Tradewind” duly reminds, and that seems an avenue where the trio might continue to grow as they take the lessons of their debut forward into whatever might come next. Along with the cohesive ambience and fluidity of their presentation on the whole, this underlying foundation of songwriting gives them another tradition to make their own as they begin to do in these tracks.

Brume website

Brume on Bandcamp

Brume on Thee Facebooks

Brume BigCartel webstore

Doom Stew Records website

DHU Records webstore

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New Sasquatch 7″ Available to Preorder

Posted in Whathaveyou on April 12th, 2017 by JJ Koczan

sasquatch

Want to do some fun math? Here’s one for you: 2017 means it’s now been more than a decade since Los Angeles heavy rockers Sasquatch released their landmark second album, II (discussed here). Their self-titled debut? Yeah, it turns out 2004 was 13 years ago. III (review here) came out in 2010, and even IV (review here) turns four later this year. Maybe those numbers don’t astound you — and if not, congratulations on your enduring awareness of the passage of time — but it seems to me that as the three-piece move toward another European tour that will find them at Stoned from the UndergroundSonicBlast Moledo and Red Smoke this summer in addition to their previously-announced slot at Psycho Las Vegas, it’s time to start giving these dudes the respect they deserve as veterans of the scene.

I guess I was still thinking of them as the same upstarts who kicked my ass with “Money Man” and “Chemical Lady” in summer ’04. Go figure. Astute observation: I am old.

They have a new single coming out on Red Sun Records called Rational Woman that’s available to preorder now and which I’m just going to assume tells the story of a lady making responsible career and personal decisions and leading a fulfilling and mindful existence of self-actualization and equal pay for equal work. That’s the assumption I’m making. It’s what I choose to believe. You believe whatever you want.

No audio yet to prove me wrong, but here’s art and info from the PR wire:

sasquatch rational woman

The crew here at Red Sun Records is excited to announce that we will be releasing a limited edition 7” from long-standing Los Angeles rockers, Sasquatch, on June 7th as a pre-launch to their upcoming European summer tour. The band, known for their massive riffage and magnificent out-of-the-90s melodies and powerful grooves, will be showcasing their first new material since releasing their fourth record (appropriately titled “IV”) back in 2013.

The Rational Woman 7” will be limited to a one-time print of 500 copies on black vinyl. Grab a copy before it’s too late because once they are gone, they are gone for good!!

Barcelona-based Red Sun Records will be exclusively releasing the album worldwide on June 7th. Pre-orders start today. Get it here: redsunrecordsbarcelona.bandcamp.com.

Track Titles:
Side A) Rational Woman
Side B) In My World

Sasquatch
Keith Gibbs – Guitar/Vox
Craig Riggs – Drums
Jason Casanova – Bass

https://www.facebook.com/sasquatchrocks/
http://www.sasquatchrock.us/
https://www.facebook.com/redsunrecords
redsunrecordsbarcelona.bandcamp.com

Sasquatch, “Let it In” Live in Athens, Greece, 2016

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Sixes Post New Single; Debut Full-Length Coming Soon

Posted in Whathaveyou on April 11th, 2017 by JJ Koczan

One doesn’t necessarily associate Southern California with snow-capped anything, but I guess if you look hard enough on enough mountaintops, anything’s possible. Sludge extremists Sixes have posted a new song that, at 10 minutes, seems likely to consume a substantial portion of their impending debut long-player, and as they proffer the ethic of ‘Worship amps, not gods,’ the track “A Cross to Burn” (uh, really? burning crosses? did we think this one through? am I crazy?) boasts enough feedback, noise and grit to embody the tagline. If you’ve got 10 minutes and want to have the foulness of your mood reinforced, the four-piece work in defiance of their regional climate to kick the shit out of your ears for a while. Sure enough, it’ll make your sunny day dark.

They’ll be in Los Angeles supporting Conan and North on May 10, as the PR wire — which also brought the aforementioned new track — dutifully informs:

sixes

Sixes – Worship Amps, Not Gods.

Blackened, Doom, Sludge outfit Sixes have just released their new single ‘A Cross To Burn’.

After trudging their way through Anaheim’s backyard scene, this long awaited release has proven that Sixes will be a force to be reckoned with in 2017. Recorded deep in the snow covered mountains of Southern California at 13 O’ Clock Studios, during one of the coldest winters California has seen in a long time, A Cross To Burn captures the essence of what blackened doom is, and will be to come.

This quartet was formed in 2016 and quickly got to work laying down their unique brand of doom, using unconventional amplifier and cabinet combinations to create unique tones that make this band stand at the forefront of what California doom is all about. Expect to see a lot more from Sixes in 2017, as this is only the beginning. Full length due for release late 2017.

Sixes are:
Hannes Bogacs (guitar)
Eddie Estrada (drums)
Stephen Cummings (vocals, guitar)
Zander Reddis (bass)

See Sixes live opening for Conan on May 10th at The Complex in Los Angeles.

www.facebook.com/sixesdoom
IG: Sixesdoom
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Track Premiere: Brown Acid: The Fourth Trip Sampler Megamix by Ben Westbeech

Posted in audiObelisk on April 11th, 2017 by JJ Koczan

brown-acid-the-fourth-trip

It would’ve been really easy for the Brown Acid compilation series to go the way of many, many others in either becoming academic retreads or simply fizzling out. Much to its credit, it’s done neither. Brown Acid: The Fourth Trip, out April 20 via RidingEasy Records, is as the title suggests the fourth installment in the collection focused on the years immediately following the heyday of psychedelia — circa 1970-1975 — which it has alternately called the “comedown era” or, as on the cover here, the “Underground Comedown.”

Whatever the name given, it’s that vision of the early ’70s that we see Johnny Depp as Raoul Duke explain in Fear and Loathing in Las Vegas: the darker years that followed in the wake of the Summer of Love when the war kept going and distortion got meatier. Brown Acid: The Fourth Trip basks in this vibe in the heavy blues of “Carry Me On” by Headstones and “Oceans Inside Me” by Stone Garden and groups included like Bungi, Axas and Zekes — the latter who are making their second appearance in the series with the eight-minute, cowbell-infused, Leaf Hound-style raw jam “Comin’ Back” at the outset of side B — set up a flow across the 10-track/35-minute LP span that’s as much about feeding one groove into the next as it is giving its audience of the converted among the converted a “betcha never heard this before” challenge. To wit, the full tracklisting:

VA, Brown Acid: The Fourth Trip:
01. Kanaan, “Leave It”
02. Stone Garden, “Oceans Inside Me”
03. Headstones, “Carry Me On”
04. Wrath, “Rock ‘n’ Roll Fever”
05. Bungi, “Numbers”
06. Erving Forbush, “The Train”
07. Zekes, “Comin’ Back” (previously unreleased)
08. Bad Axe, “Coachman”
09. Ash, “Warrant”
10. Axas, “Lucifer”

As ever for Brown Acid, the prevailing sensibility throughout is one of careful curation made to sound like someone’s just putting on rad singles they found one after the other, like a DJ set where the guy actually out-obscures the room instead of just putting on Atomic Rooster‘s “Death Walks Behind You” and desperately looking around for knowing nods of approval. Working in tandem with Los Angeles’ Permanent RecordsRidingEasy sets up these rarities not to show them off as trophy acquisitions, and not as lessons for their audience in the origins of riffs — because damn it, by now the audience for this stuff knows where riffs come from — but as explorations of cool heavy vibes and songs that kick ass.

I’m not even sure how, but Brown Acid: The Fourth Trip manages to be the heavy ’70s “lost tracks” comp that doesn’t come across as self-important or over-inflating in terms of its celebration of its contents. Nobody’s claiming the wah-soaked leads of Kanaan‘s “Leave It” invented anything. Nobody’s shying away from how much Axas‘ “Lucifer” owes directly to Black Sabbath‘s “N.I.B.” All that stuff is right there for the listener to hear. Whether it’s the motor-chug of Wrath on “Rock ‘n’ Roll Fever” (they have pills for it now), or the crotch-thrust boogie of Erving Forbush‘s “The Train,” the progression of songs wants neither in energy nor flow, and that only serves to emphasize the underlying effort put into making this chapter in the apparently-ongoing series. They make it sound easy. One doubts it actually is.

To herald the comp’s arrival — again, on April 20 — RidingEasy and Ben Westbeech have put together a 12-minute sampler platter of what’s in store on Brown Acid: The Fourth Trip, and today I have the pleasure of unveiling the thing, which runs through the included tracks and ties them together with old biker-movie samples (which are not actually featured on the comp itself). You can check it out in its entirety below, followed by more info from RidingEasy off the PR wire about the process of making this beast happen.

Hope you enjoy:

If you thought we were getting close to the end of the Brown Acid series with our last Trip, you were dead wrong…we’re only just getting rolling. The well of privately released hard rock, heavy psych, and proto-metal 45s is deep and we are nowhere near tapped out. Most of these records were barely released and never properly distributed so they ain’t easy to find, but they’re out there if you’re willing to dig…and we aren’t afraid to get our hands dirty. Hard calluses have formed from handling the shovel and we’ve sifted through a lot of dirt, but we’ve dug up another ten tremendous records to share with all the heavy heads out there. This volume brings together eight insanely rare and skull-crushingly heavy 45s as well as two previously unreleased bangers.

You may remember the Zekes’ jaw dropper “Box” from the First Trip. If you don’t, you better go back and refresh your memory, you stoner. That song rips! And so does this previously unheard recording we legally obtained from the Beverly Hills records vaults. “Comin’ Back” is the longest tune we’ve yet to include on this series and it’s a full-on rager! The only surviving copy of this recording came to us on the original 1/4″ master tape from Hollywood’s long-defunct Demars & Duffy Music. We did our best to preserve the recording and we think you’ll appreciate the rawness.

There have been numerous groups named Bad Axe over the years, but the one you hear here is the baddest. This five-piece fresh outta high school kicked out this jam (and a few others) in a Chicago studio in 1973 just for the hell of it. As a garage band, they were previously named The Burlington Express and they went on to be known as Bitch, but these dudes hit their stride as Bad Axe and “Coachman” is their crowning achievement. It went completely unreleased until 2014 when Permanent Records issued it and “Poor Man, Run” as a limited edition 45 with a killer picture sleeve. It’s long out-of-print and only obtainable now on Brown Acid.

The rest of the records included on this volume vary in rarity, but at least two of them were virtually unknown until we discovered them. You’ll win the lottery before you find copies of all of the original 45s in even the best record stores. Many of the records included in this volume are owned only by the members of the bands and some of the band members don’t even have personal copies. That’s just how hard these guys hit it back in the day! We’re lucky some of these guys are still alive and well enough to give us permission to use their masters.

RidingEasy Records website

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RidingEasy Records on Twitter

RidingEasy Records on Soundcloud

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Castle Announce Even More West Coast Dates

Posted in Whathaveyou on April 11th, 2017 by JJ Koczan

castle

As they continue to work on the follow-up to 2016’s Welcome to the Graveyard (review here), subgenre-defier metallers Castle have announced another slew of shows in the Western half of the US. Their last tour? Last month. So yeah, I guess they’re about due. When last we heard from them at the end of February, they had moved to the Mojave Desert in order to put the next record together, and while I look forward to hearing the kind of desolation that might bring out in their sound, I can’t help but wonder just how much time they’re actually getting to spend there with all the touring they’ve done so far this year and no doubt will continue to do in the months to come.

Of particular note? Check out that Wyoming show. Secret location? Outdoor show? High altitude? Kind of sounds awesome, right? It’s called Fire in the Mountains. Also consider the Shadow Woods Metal Fest in Maryland, which has a spectrum broad enough that it might be the only place on the planet Castle actually fit in.

That’s not to take anything away from the other shows — hey, they’re playing with Year of the Cobra in June, and that’s awesome — I’m just saying Castle have some cool stuff coming up throughout the next few months. Hopefully their album arrives before the end of the year to make the most of it, though if it doesn’t, they’re hardly likely to stop touring in 2018 or anything like that.

From the PR wire:

castle tour poster

CASTLE ANNOUNCE U.S. WEST TOUR, BAY AREA DATES

Newly relocated to the Mojave Desert where writing for a fifth full length is currently underway, genre bending doom-metallers CASTLE have announced their Stormbringer tour, a 10 date headlining romp through the Western United States. The tour will kick off Friday, June 30 at The Viper Room in West Hollywood, CA and include an appearance on July 8 at Fire In The Mountains – a 2 day outdoor concert taking place near Jackson Hole, WY in an as-of-yet undisclosed location.

The band have also announced a trio of Bay Area shows leading up to the July run with Seattle doom duo Year of the Cobra. In addition, CASTLE, who are currently touring in support of their most recent offering Welcome to the Graveyard, are slated to appear at Shadow Woods Metal Fest in White Hall, Maryland, Sept 14-17.

6/1 San Jose, CA – Back Bar SoFa *
6/2 San Francisco, CA – Bottom of the Hill *
6/3 Santa Cruz, CA – Blue Lagoon *
6/30 West Hollywood, CA – Viper Room
7/1 Sacramento, CA – Starlite Lounge
7/2 Portland, OR – High Water Mark
7/3 Bend, OR – 3rd St. Pub
7/4 Boise, ID – Shredder
7/5 Spokane, WA – The Pin
7/6 Great Falls, MT – Back Alley Pub
7/7 Billings, MT – Bones Arcade
7/8 Jackson Hole, WY – Fire in the Mountains
7/9 Las Vegas, NV – Beauty Bar
9/15 White Hall, MD – Shadow Woods Metal Fest
* w/ Year of the Cobra

Since the release of Welcome To The Graveyard, issued last summer via Ván Records – CASTLE’s massive 150 date world takeover has included tours of the U.S., Europe, Canada and the bands first ever tour of Japan in December. Welcome To The Graveyard was captured by Billy Anderson (Sleep, Neurosis, Brothers Of The Sonic Cloth, Eyehategod, Ommadon et al) at Type Foundry Studios in Portland, Oregon and is currently available at THIS LOCATION.

heavycastle.com
facebook.com/CastleSF
https://heavycastle.bandcamp.com/
https://www.van-records.de/
https://www.facebook.com/vanrecs/
https://vanrecords.bandcamp.com/

Castle, “Down in the Cauldron Bog” official video

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Neurosis Announce Summer Tour with Converge and Amenra

Posted in Whathaveyou on April 10th, 2017 by JJ Koczan

You know, the trouble is, Neurosis announce a summer tour — or pretty much anything — and then I go to their merch webstore, and then I stare longingly at the half-oxblood/half-black vinyl reissue of The Eye of Every Storm AGAIN. And then I get sad. So yeah, don’t get me wrong, I’m stoked at the prospect of seeing them play again, maybe in Connecticut, maybe in Montreal if I’m unemployed and doing the bohemian thing by then, or maybe a trip to Brooklyn is in order, but wherever it happens, my enjoyment of that prospect is tempered by the simple fact that I don’t own that LP. It’s even on sale right now through the end of the month. The Patient Mrs. response? Literally, “Buy it. I don’t give a fuck.” But she does. I hear we haven’t paid the water bill in six months.

My fiscal concerns notwithstanding, we’ll see if I last through April without placing that order. In the meantime, you can check out the latest tour dates for the post-metal forebears below. They go supporting last fall’s scathing Fires Within Fires (review here) and in the substantial company of Converge and Belgian acolytes Amenra, as the PR wire affirms:

neurosis tour poster

NEUROSIS: North American Summer Tour With Converge And Amenra Announced

NEUROSIS declares new tour dates for 2017, announcing a new run of North American Summer performances with Converge and Amenra.

As the band continues to perform the works from their acclaimed eleventh studio album, Fires Within Fires, the upcoming tour will find NEUROSIS bringing their immersive live experience to the East Coast and Midwestern US, and Southeastern Canada. The tour will embark out of Chicago on July 28th, with shows in Detroit, Pittsburgh, Montreal, Toronto, New Haven, Brooklyn, Boston, and Philadelphia confirmed through August 7th. Iconic punk/metal experimenters Converge will supply direct support for NEUROSIS, and leading the charge will see Neurot labelmates Amenra making their long-awaited return to North American shores.

NEUROSIS is also confirmed to headline the Days Of Darkness festival in Baltimore, Maryland on October 28th and 29th, the two-day gala also including sets by Warning, Manilla Road, Elder, Gost, Unearthly Trance, Dälek, and Bongripper, and more. Additional NEUROSIS tour dates are to be expected.

Released in September, NEUROSIS’ acclaimed Fires Within Fires is available now on CD, LP, cassette, and all digital platforms through the band’s own Neurot Recordings; see all bundles and options RIGHT HERE.

NEUROSIS Tour Dates:
7/28/2017 Thalia Hall – Chicago, IL w/ Converge, Amenra
7/29/2017 St Andrews – Detroit, MI w/ Converge, Amenra
7/30/2017 Rex Theatre – Pittsburgh, PA w/ Converge, Amenra
8/01/2017 Metropolis – Montreal, QC w/ Converge, Amenra
8/02/2017 Danforth Music Hall – Toronto, QC w/ Converge, Amenra
8/03/2017 College St. Music Hall – New Haven, CT w/ Converge, Amenra
8/04/2017 Warsaw – Brooklyn, NY w/ Converge, Amenra
8/06/2017 Royale – Boston, MA w/ Converge, Amenra
8/07/2017 Union Transfer – Philadelphia, PA w/ Converge, Amenra
10/28-29/2017 Ram’s Head Live – Baltimore Maryland @ Days Of Darkness

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Neurosis tour trailer

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