Sun and Sail Club to Release The Great White Dope in May

Posted in Whathaveyou on March 25th, 2015 by H.P. Taskmaster

sun and sail club

Following up on the project’s 2013 debut, Mannequin (discussed here), Sun and Sail Club will issue their sophomore outing, The Great White Dope, in May, and as you can hear in the teaser clip below, there are some major changes in store. Foremost, where they were formerly a mostly-instrumental trio with some vocoder work by guitarist/project-spearhead Bob Balch — joined in the band by his Fu Manchu bandmate, drummer Scott Reeder, as well as bassist Scott Reeder of Kyuss/The Obsessed/Fireball Ministry fame; living the dream of an all-Scott Reeder rhythm section — they’ve now brought aboard vocalist Tony Cadena, aka Tony Adolescent of The Adolescents, and adopted a suitably punkish mentality.

All in good fun, of course. The idea behind Sun and Sail Club was experimental from the very beginning, so it seems reasonable that would extend to the range of style the band actually plays. Balch offers some comment on the new album in the below info, hoisted from the PR wire:

sun and sail club the great white dope

Sun & Sail Club Announce New Album “The Great White Dope” out May 2015

Sophomore LP features members of Fu Manchu, Kyuss, The Obsessed and Tony Adolescent!

SUN AND SAIL CLUB is a band that features Bob Balch on guitar (FU MANCHU), Scott Reeder on drums (FU MANCHU, SMILE), Scott Thomas Reeder on bass (KYUSS, FIREBALL MINISTRY, THE OBSESSED) AND NOW punk legend Tony Adolescent (THE ADOLESCENTS) on vocals.

When asked how Tony became part of the equation Balch replies…

“On the last record ‘Mannequin’ I recorded all the vocals using my guitar and a vocoder. I’m a big fan on Kraftwerk and Black Moth Super Rainbow and that album reflects that 100%. On this record I wanted to hear a singer. My first idea was Tony from THE ADOLESCENTS. I grew up listening to them. FU MANCHU covered their song “Things Start Moving” and he came up and sang it with us in Orange County. I watched that footage and was way into his voice with our sound. Not to mention his lyrics too! He rules.”

“I had a few riffs floating around, nowhere near a full record. I contacted Tony and he agreed to sing on the record. He hadn’t even heard one note! Once I read that response I was super pumped and wrote almost the entire record in 3 hours with his vocals in mind. The end result is a record that is super inspired and aggressive with songs that get right to the point.”

On the recording process Balch reveals…

“I always wanted to make a record that was punk influenced with big drums and fuzzy guitars. Like ‘What if the BAD BRAINS had to play a set on FU MANCHU’s gear?'”

“I sent the tunes to Reeder (drummer) and then drove up to Orange County to demo them. We jammed once and then we were in the studio the following week to track drums and rhythm guitars. We went with our buddy Andrew Giacumakis’ studio to record drums and rhythm guitars. We got him to mix too. His ears are impeccable. He plays in a band named MOAB and we love the tones he gets. He recorded drums, bass and mixed the last FU MANCHU record “Gigantoid” as well. Then we had Carl Saff at Saff Mastering master the record. He mastered the MOAB stuff and that stuff sounds massive!”

“From there I went to “The Racket Room” to get some vocals with Tony Adolescent and Jim Monroe at the board. Jim recorded guitars on the last FU MANCHU record and recorded the ADOLESCENTS a bunch of times so that decision made perfect sense.”

“Then I headed out to the desert to record leads and bass at Scott Reeder’s “Sanctuary.” It was always my intention and always will be my intention to record there. Not only because Reeder gets the best guitar, bass and drum tones ever, but also that way he can watch me fumble through the tracks on bass then annihilate my tracks by recording some of his own.”

The end result is a record that sounds massive and inspired. How could it not, given the members involved?

SUN AND SAIL CLUB “The Great White Dope” will be released May, 2015.

* Album layout by Peder Bergstrand (Lowrider, I Are Droid), Artwork by Helen Green

Pre-order “The Great White Dope” here!

“The Great White Dope” Track List:
1. Krokodil Dental Plan
2. Dresden Fireball Freakout Flight
3. Baba Yaga Bastard Patrol
4. Migraine With A Chainsaw Reduction
5. Level Up & Shut It Down
6. Fever Blister & The Great White Dope
7. Full Tilt Panic
8. Alien Rant Factory
9. Inside Traitor Outside View
10. Cypherpunk Roulette

For more information, visit:
http://sunandsailclub.bigcartel.com/product/sun-and-sail-club-the-great-white-dope-cd-and-vinyl
facebook.com/SunAndSailClub

Sun and Sail Club, Album Teaser #2

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Wino Wednesday: Lost Breed Jam with Wino, Jan. 2015

Posted in Bootleg Theater on March 25th, 2015 by H.P. Taskmaster

wino wednesday

Pretty god damn clever to record in front of a green screen so you can go back and put different backgrounds in afterwards and make a video of it. Kudos to Van Nuys, California, doomers Lost Breed, who have been working on new material the last several months after overseeing Shadow Kingdom Records reissues in the past couple years of their two albums, 1993’s The Evil in You and Me and 1995’s Save Yourself, both originally put out by Hellhound Records, as well as one on At War with False Noise of their 1989 Wino Daze demo. That demo was recorded with Scott “Wino” Weinrich on vocals as his time in Saint Vitus was winding down — they’d put out V, their last (pre-reunion) album with Wino as frontman, in 1990 — and prior to his reigniting The Obsessed with their self-titled full-length, also in 1990. Initially released in 2007 by Helltown Records, it’s had a sort of cult presence all along thanks in no small part to Wino‘s involvement, so as Lost Breed put together new songs, it’s not surprising that Pat Lydon and Jamie Silver might call Weinrich up to come play some guitar and vocals.

Lydon handles bass on the unnamed track, and Silver drums, and what was recorded at SPL Studios in Van Nuys and credited songwriting to Wino is simply called “Wino Jam” according to the post. Aptly enough titled. The cut has a laid back groove, smooth in the weaving of bass and lead and rhythm guitar, and an easy flow that’s less trad doom than quiet contemplation. I’m not sure whether or not it will surface on whatever it is Lost Breed are culling, be it a new full-length, EP, or whathaveyou, but it’s new music, anyway, and a “Wino Jam” isn’t something I’m going to complain about. Wino‘s time in Lost Breed was pretty short, but their material both with and without him has managed to endure — a “lost album” called World of Power from 1989 is due out in June on Blood and Iron Records, who also issued a collection of recordings that would’ve been a third Lost Breed full-length last year with the title Bow Down — so I don’t see any reason why a new album doesn’t hold promise. The video for “Wino Jam” is hardly the highest-production -value clip you’ll ever see, but the song itself is studio clear and has a classic, distinctly Wino touch.

Enjoy:

Lost Breed, “Wino Jam,” Jan. 18, 2015

Lost Breed on Thee Facebooks

Pat Lydon’s YouTube channel

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Wake Up Lucid Stream Gone with the Night EP in Full

Posted in audiObelisk on March 24th, 2015 by H.P. Taskmaster

wake up lucid

Last time we heard from Los Angeles trio Wake Up Lucid, they were issuing a heartfelt invitation to “Get Fucked.” That song (streamed here) is the nine-minute penultimate jammer on the half-hour Gone with the Night EP, which is set to release on March 31 through the band’s own WUL Records. And as one of the six tracks on the offering, it’s no less a standout than it was on its own, but as fate has it, “Get Fucked” is only one slice of the stylistic whole of Gone with the Night, and Wake Up Lucid – cousins RyanIan and Jamie Baca – range even further outside genre bounds on songs like “Don’t Fear” and “White Collar Love,” incorporating elements out of Americana, grunge, fuzz punk and shoegaze for an enticing and varied approach that offers full-length flow across what’s still billed as a shorter release.

Easily-enough split into two vinyl-ready sides, Gone with the Night opens with the immediate rush of the aforementioned “White Collar Love,” with its tense chugging and buzzsaw leads, punker snarl and underlying moodiness. Some sonic similarity to the post-Queens of the Stone Age garage-isms of Elvis Deluxe‘s 2011 outing, Favourite State of Mind (review here), but wake-up-lucid-gone-with-the-nightit’s a passing thing, and by the time they’re into “Let it Roll,” Wake Up Lucid are on a more languid trip, a rolling groove persisting for the 4:50 span that transitions smoothly into the subtly organ-laced ramble of “Don’t Fear,” as pretty as it is threatening. “I Want” follows, reigniting the sexualized energy of the opener, and serves more or less as a manifesto for the mindset from which the entire EP emanates, drenched in attitude and wah guitar, thrusting into a crash-wash apex that closes out the first half of the release with a fade of feedback.

Side B goes every bit as far, if not farther, aesthetically, but in the span of two tracks. The extended “Get Fucked” opens, and a 5:45 title-track closes, but between the two there’s a significant amount of ground covered. “Get Fucked” remains a serious, significant jam built on a foundation of gorgeous bass tone and wide-open drum swing. It has its upbeat moments, builds to a head early and shifts through verses, but the primary impression is a heavy hypnosis, thick on vibe and getting into a wash of noise in the second half before transitioning back to its central groove in the last minute and fading into the quieter strum of “Gone with the Night” itself. The closer teases an explosion but is ultimately restrained in the spirit of “Don’t Fear”‘s rural grunge, electric guitar layered in to fill out the atmosphere more than to serve as a focal point, as well as to make the final statement in a soulfully fuzzed last solo.

Their varied approach turns out to be one of Wake Up Lucid‘s best-used assets on Gone with the Night, but that shouldn’t necessarily discount the individual performances either. Whatever level you want to take it on, the EP moves with deceptive efficiency, and for something that’s only half an hour long, it’s awfully easy to be caught up in its changing currents.

Please find Gone with the Night in its entirety on the player below, followed by some more background on the band courtesy as ever of the PR wire, and enjoy:

On their upcoming fourth release Gone With The Night, Los Angeles gutter rock trio Wake Up Lucid puts it simply: “Give us something real, something we can feel. Or get fucked.” This statement resounds as both rejection of fakery and pursuit of honest music, which have remained Wake Up Lucid’s only guidelines for writing and performing throughout the half decade’s worth of their existence. The new album was produced by Icarus Line’s Joe Cardamone at his studio, Valley Recording Co. in Burbank and is being released March 31 on WUL Records.

Gone With The Night is a sampling of the fruits of the group’s determined efforts to develop further as song-writers, offering songs that are much more focused and realized, and diversely dynamic — a departure from the band’s usual m.o. of grit and groove hammered-out at high volumes — while still maintaining the inimitable Wake Up Lucid vibe that has crept around L.A. for the past few years.

Their authenticity and immediacy as writers and performers is rooted in their experience of growing up together in the same extended family—a musical one to boot. After pursuing their respective musical aspirations in other outfits, they formed their own some six years ago, distilling their now matured, ripened abilities into the woozy juggernaut that is Wake Up Lucid.

Wake up Lucid on Thee Facebooks

Wake up Lucid on Twitter

Wake up Lucid’s website

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Hot Lunch Premiere “China Banks” from Slappy Sunday Scion A/V EP

Posted in audiObelisk on March 24th, 2015 by H.P. Taskmaster

hot lunch

If living the dream makes you want to scream, San Francisco four-piece Hot Lunch invite you to “live the nightmare” in one of the several infectious hooks on their new Scion A/V EP, Slappy Sunday. Out next week, March 31, the five-song release follows Hot Lunch‘s appearance on the Riley Hawk-curated (also for ScionNorthwest Blow Out compilation alongside KadavarThe Black Angels and Loom, as well as their Who Can You Trust? Records self-titled debut, released in 2013, an EP for Heavy Psych Sounds and other sundry appearances on splits the last couple years to go along with slots at Scion Rock Fest and the venerable daydream Duna Jam in Sardinia. If it seems like a lot of people are ready to get behind the band, they are, and it won’t take long into the Slappy Sunday EP before you figure out why.

Hot Lunch tap into a blend of proto-heavy rock and punk that’s so seamless it practically rewrites history. Slappy Sunday has five tracks — “Slappy Sunday,” “Expectations,” “China Banks,” “Pot of Gold” and the prior-alluded “Living the Nightmare” — and by the time its 17 minutes are through, the band has offered classic hot lunch slappy sunday eptwo-guitar soloing Thin Lizzy-style (as on “Pot of Gold”), introduced the Ramones to Jimi Hendrix (with “Expectations”), conjured simple, raw brashness (on the title-track) and even found room for some acoustic work (on “Living the Nightmare”). With “China Banks” as its centerpiece, Slappy Sunday shows off an impressive range, but even more, there’s little to no hiccup in terms of how the songs relate to each other. Classically styled and analog-sounding, Hot Lunch make difficult stylistic turns sound easy; a molten aesthetic that shifts according to the whims of deceptively complex songwriting.

Today I have the pleasure of hosting “China Banks” for stream and download ahead of the Slappy Sunday release next week. The last of an initial three songs all under three minutes before the final two cuts reach past the four-minute mark, it’s a bombastic hook that melds shuffle and thrust smoothly as it works its way to a quick, somewhat understated conclusion. Hot Lunch – the lineup of Eric SheaAaron NudelmanRob Alper and Charlie Karr — have places to be, and even in the longer tracks, they don’t linger, but “China Banks” should still provide a solid look at what’s on offer with their new Scion EP, and one doubts it will be the last we’ll hear from them this year.

Please enjoy “China Banks” on the player below, followed by the link to the EP at Scion A/V and some comment from the band, courtesy of the PR wire:

Hot Lunch, the San Francisco-based band, releases the Slappy Sunday EP on March 31 via Scion Audio Visual.

The EP’s title track, “Slappy Sunday,” is available now for free download via Scion Audio Visual’s Soundcloud page (http://www.scionav.com/2015/03/16/download-hot-lunch-slappy-sunday-brand-new-track-release).

“We’re beyond stoked about this latest batch of tunes,” said Hot Lunch drummer Rob Alper. “Both structurally and sonically they’re true to Hot Lunch form, but we can’t help feel that this five-headed beast is of a new breed. Born of an all night rock ‘n’ roll house party? Or following a ferocious Sunday curb-skating session? We know not from whence it came. We’re honored to continue working with Scion A/V to bring high-energy punk ‘n’ roll music to the people! The Slappy Sunday EP is up-to-the-very-minute Hot Lunch in all its fuzzy, monstrous glory!”

Hot Lunch on Thee Facebooks

Slappy Sunday at Scion A/V

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Acid King Premiere “Coming Down from Outer Space” from Middle of Nowhere, Center of Everywhere

Posted in audiObelisk on March 23rd, 2015 by H.P. Taskmaster

acid king (Photo by Raymond Ahner)

San Francisco trio Acid King will release their fourth album, Middle of Nowhere, Center of Everywhere (review here), on April 14 through an alliance with Svart Records. The three-piece’s first record in a decade reunites them with producer/engineer Billy Anderson and finds them both doing what they do best — riffing classic nod with nigh-unmatched fuzz — and expanding the sound, delivering a more psychedelic groove than their last offering, 2005’s III, had on hand. Nothing against III at all, but Middle of Nowhere, Center of Everywhere has a freshness to its sound that makes it an immediate standout in Acid King‘s catalog, and for the generation who have discovered them in the last 10 years, it marks a new beginning. After years of replays for III, their 2001 split with The Mystick Krewe of Clearlight, 1999’s classic second album, Busse Woods, and their 1995 debut, Zoroaster, and years of discussion about the prospect, there’s finally some new Acid King to put on and bliss out.

But the highlight of the record isn’t its release date. The highlight of the record is the record. The sound of the thing and the molten, fluid vibe theAcid-King-Middle-of-Nowhere-Center-of-Everywhere band conjures throughout. I’ve reviewed it, so I’ll spare you running through track by track, but at 55 minutes it never loses track of where it’s headed or what an individual song needs to accomplish to feed into the whole, but at the same time, it offers a listening experience so completely immersive that by the time you hit the swing-buzz epilogue of “Outro,” guitarist/vocalist Lori S., bassist Mark Lamb and drummer Joey Osbourne have practically created an entire world in which the record has taken place. It is a journey in metaphysics, and frankly, I look forward to continuing to shower it in the hyperbole that I feel it richly deserves for however long to come. More than a simple resurgence, it is a thrust forward into a galaxial unknown, transcendent and, like space itself, able to pull the air out from your lungs without a second thought.

Today I have the extreme pleasure of hosting the premiere for “Coming Down from Outer Space.” It’s the shortest track on Middle of Nowhere, Center of Everywhere that’s not the intro or outro, but, counter to my usual modus, I specifically asked for it because of how brilliantly it encapsulates the album’s righteousness into one ultra-lysergic hook, “Hey, you found your way/You’re coming down from outer space.” One of Acid King circa 2015’s most resonant choruses and a choice groove besides, it hits immediately and doesn’t let up throughout its 5:47 run, which you can hear in its entirety — followed by some comment from Lori S. about the song — on the player below.

Please enjoy:

Lori S. on “Coming Down from Outer Space”:

It’s less than six minutes, which is short for us. I’ve always been into space-related music like the score from 2001: A Space Odyssey. There’s a feeling of loneliness out there. This basically captures what it’s like to be up there lost alone. It’s a metaphor for finding your way back in life.

Acid King on Thee Facebooks

Svart Records

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Acid King, Middle of Nowhere, Center of Everywhere: Reborn in Fuzz

Posted in Reviews on March 19th, 2015 by H.P. Taskmaster

Acid-King-Middle-of-Nowhere-Center-of-Everywhere

San Francisco riff pioneers Acid King put out their last album, III, on Small Stone in June 2005, which means that the April release of Middle of Nowhere, Center of Everywhere — their fourth full-length and first for Svart Records — is just two months shy of exactly one decade later. The entire climate for heavy rock has changed in that time, a generational shift that has seen stoner riffs go from the fodder of empty barrooms to headlining major festivals, and to say that Acid King‘s return has been awaited is to understate it. The trio have played new songs live for some time, and a new album has been in the works for at least six years, but to actually have it materialize is, particularly for fans — and make no mistake, I’m writing as a fan of the band — something genuinely special after so long. And as much as the story of the album is that it finally exists, one could just as easily read it as the reunion of one of heavy rock and roll’s most successful collaborations; that between Acid King and producer/engineer Billy Anderson. If Lori S.‘ guitar tone is a gift from the gods of fuzz, Anderson‘s production is the means by which it’s translated for human consumption, and neither is less essential to the ultimate success of Middle of Nowhere, Center of Everywhere than the other. Together with drummer Joey Osbourne and bassist Mark LambLori oversees nearly an hour of languid, lava-flowing riffage on Middle of Nowhere, Center of Everywhere‘s eight tracks/54 minutes, and the four-minute “Intro” isn’t done before the album engulfs the listener in a wash of gorgeous tonal warmth that only recedes with the last feedback of “Outro” about an hour and a galaxy later.

Twenty years on from their debut, Zoroaster, and 16 post their landmark sophomore outing, Busse Woods – for my money among the finest stoner rock records ever made — it’s hard not to cast Middle of Nowhere, Center of Everywhere in hyperbole. Its spacier moments, like the penultimate semi-title-track “Center of Everywhere,” or the howling post-intro opener “Silent Pictures” lend atmosphere to the unbridled sonic heft of Lori and Lamb‘s tones, and the vocals play into the laid back, echoing sphere brilliantly, layers swirling around each other as though laced one into the other, the mix huge and warranting excessive volumes. “Into” feeds into “Silent Pictures,” which feeds into “Coming Down from Outer Space” a shorter cut at under six minutes but one of the record’s most essential and commanding hooks — setting up the full-album flow that continues for the duration, songs as immersive as they prove memorable over repeat listens, the choruses simple and subtle in the wash of heaviness, but speaking on an almost subconscious level as the nod unfolds. “Silent Pictures” wails and careens, seems to have little flourish but is brilliantly psychedelic, and the biker-movie rollout of “Coming Down from Outer Space” is nothing if not classic Acid KingOsbourne‘s swing and crash propelling the more grounded verse and chorus, leading to “Laser Headlights,” which seems to find some compromise between the two positions, solos at its midpoint and conclusion serving as mile-markers for just how far into the cosmos the three-piece have ventured so far, beacons for a subspace message back to command HQ. The second half of “Laser Headlights” beams (get it?) with dense, fossil-fueled riffing, and though they end cold and sudden, maybe to signal a side or LP switch, the shift into “Red River” is no less fluid than anything before it, which is to say… what was I talking about? — Exactly.

acid king (Photo by Raymond Ahner)

With the next three tracks, the aforementioned “Red River,” “Infinite Skies” and “Center of Everywhere,” Acid King push Middle of Nowhere, Center of Everywhere over the line between victorious resurgence and masterpiece. Between them and the subsequent “Outro,” they comprise a second half of the album that expands the breadth of spaciousness established on “Silent Pictures” and “Coming Down from Outer Space,” making offerings of unfuckwithable groove and all-that-is-right-in-the-world vibe that move seamlessly one into the next. Each piece is distinct within the whole it creates — “Red River” marked out by a particularly resonant vocal performance and choice basslines, “Infinite Skies” by its thickness, hook and later solo work, and “Center of Everywhere” by its bubbling nebulousness — but the real pleasure lies in being carried across the duration by the smooth and engrossing overarching feel of the material. Middle of Nowhere, Center of Everywhere becomes almost like two albums in one, in classic 2LP style, but even taken in a linear format, its entirety more than satisfies. “Center of Everywhere” is perfectly placed as the (pre-)conclusion, its nod is expansive and a slow-moving swirl makes a fitting complement to “Intro” and “Silent Pictures,” slamming to a halt as it wraps with just Lamb‘s bass remaining to fade out before Osbourne‘s drums lead the way into the final jam of “Outro,” a refrain of “Intro” that underscores both the full-album intention and just how effective Acid King are in pulling off that intention after a decade away. I’ll say flat-out that Middle of Nowhere, Center of Everywhere is the best record I’ve heard so far in 2015, and that Acid King‘s return isn’t just a win for them, but for the style of heavy they helped establish years ago. With almost a second-debut’s spirit and freshness, it offers a vital look at a band not so much readopting a form as pushing forward boldly to top it, and its reach has the potential to span distances even greater than those its tones create. A complete, front-to-back triumph. Recommended.

Acid King, “Red River”

Acid King on Thee Facebooks

Svart Records

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Wino Wednesday: Premonition 13 Jamming at Born-Free 3 Chopper Show, June 2011

Posted in Bootleg Theater on March 18th, 2015 by H.P. Taskmaster

wino wednesday

Uh, it’s Wino jamming out at a vintage motorcycle show. Really, the only question I have is how this clip of Premonition 13 from the Summer 2011 Born-Free 3 chopper show hasn’t already been featured for Wino Wednesday. I mean seriously, what is this, amateur hour? Get your head in the game, me. Wino and motorcycles. They go together like… well… like Victor Griffin and motorcycles. You get the idea.

Credit where it’s due, the footage of Premonition 13 — the short-lived outfit featuring Wino and Jim Karow duking it out on guitar — was shot by Obleas Photography on what looks to have been a gorgeous day, June 25, 2011, in Silverado, California. The Born-Free Motorcycle Show is held every year, with this year’s set for June 27 and 28, in Southern CA, and I guess four years ago, Premonition 13 stopped through on their way supporting their lone full-length, 13 (review here), also released in 2011. That album was more than solid in its groove — maybe a Wino record for Wino fans, admittedly — and the band was done shortly thereafter, their final release being a 2012 Volcom split with Radio Moscow and Earthless (some good company to keep).

In some ways, though — and certainly this is a hindsight perspective — it seems like 13 was almost hurt by the level of songwriting on it. Not that cuts like “Hard to Say,” “La Hechicera de la Jeringa” (the video for which was the first Wino Wednesday), “Modern Man” and “Deranged Rock ‘n’ Roller” weren’t memorable, but that maybe they were a little too much so. In seeing the band live and even going back to their early live videos, their heart was clearly in jamming out as they do in the clip below. I’m not saying that they’d still be going if they put out an album of nothing but instrumental jams, but it seems likely they’d at least have wound up with something unique within the vast, ever-growing Wino discography. And who knows? Maybe another record or two as well.

I’d take an album of this.

Enjoy the jam:

Premonition 13, Live at Born-Free 3, Silverado, CA, June 25, 2011

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Hot Lunch: Slappy Sunday Scion A/V EP Due March 31

Posted in Whathaveyou on March 17th, 2015 by H.P. Taskmaster

hot lunch

The forthcoming Slappy Sunday EP will be the third collaboration between San Francisco outfit Hot Lunch and Scion Audio Visual, after participating in the Riley Hawk-curated Northwest Blow Out and previously issuing a limited 7″. They seem to be shooting for “house band,” which is probably a pretty good gig to get. “Slappy Sunday,” the boogie-ready title-track from the aforementioned new EP, has been made available as a free download ahead of the full release on March 31.

An invitation to dig comes via the PR wire:

hot lunch slappy sunday ep

HOT LUNCH RELEASE SLAPPY SUNDAY EP VIA SCION AUDIO VISUAL

TITLE TRACK AVAILABLE NOW FOR FREE DOWNLOAD; FULL EP AVAILABLE MARCH 31

Hot Lunch, the San Francisco-based band, releases the Slappy Sunday EP on March 31 via Scion Audio Visual.

The EP’s title track, “Slappy Sunday,” is available now for free download via Scion Audio Visual’s Soundcloud page (http://www.scionav.com/2015/03/16/download-hot-lunch-slappy-sunday-brand-new-track-release).

“We always welcome the opportunity to work with bands early in their careers,” explained Jeri Yoshizu, manager of sales promotions at Scion. “Hot Lunch is exactly the type of artist we like to align ourselves with: smart, talented and hard working.”

Hot Lunch’s history with Scion Audio Visual extends back to the band’s origins with the quartet having played Scion Rock Fest 2013, Scion Rock Show in Los Angeles and Scion Rock Fest 2014. The Bay Area band was also part of the recent Riley Hawk curated Northwest Blow Out EP, with the song “Uprooted” and previously offered up the song “There’s Nothing Like Revenge for Getting Back at People” via a limited edition 7-inch single.

“We’re beyond stoked about this latest batch of tunes,” said Hot Lunch drummer Rob Alper. “Both structurally and sonically they’re true to Hot Lunch form, but we can’t help feel that this five-headed beast is of a new breed. Born of an all night rock ‘n’ roll house party? Or following a ferocious Sunday curb-skating session? We know not from whence it came. We’re honored to continue working with Scion A/V to bring high-energy punk ‘n’ roll music to the people! The Slappy Sunday EP is up-to-the-very-minute Hot Lunch in all its fuzzy, monstrous glory!”

Hot Lunch’s Slappy Sunday EP track listing:

Slappy Sunday
Expectations
China Banks
Pot of Gold
Living the Nightmare

http://www.scionav.com/2015/03/16/download-hot-lunch-slappy-sunday-brand-new-track-release/
https://www.facebook.com/HotLunchRocks

Hot Lunch, “Slappy Sunday”

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