Six Organs of Admittance, Companion Rises: Together and Alone

Posted in Reviews on February 19th, 2020 by JJ Koczan

Six Organs of Admittance Companion Rises

As a fan of Ben Chasny‘s sometimes-solo-project/sometimes-band Six Organs of Admittance, I try to be careful not to look at too much of what he says about any given release before I form my own impressions, because what I’ve found over time is that the guitarist/vocalist/synthesist/whatever-else-ist carries a rare level of insight into his own output and brings such a firm sense of consciousness to what he does that how the record comes across in listening invariably ends up hued by what he’s said. In the case of Companion Rises — the follow-up to 2017’s Burning the Threshold (review here) — Chasny is the only player on the album and he weaves songs that vary between layers of intertwining acoustic and electric guitars and periodic washes of synth. It is a solo record, and brings out some of the intimacy of his earlier, bedroom-folk experimentations, but invariably bears the hallmarks of his overarching maturity of craft, and that’s shown early in the nine-cut/39-minute long-player with the at-least-I-think-it’s-keyboard waves undulating in the intro “Pacific” and the subsequent shift into “Two Forms Moving.”

Like good literature, these two songs are more or less giving the listener the information they need to process the context of much of what follows. A decidedly Californian vibe — Chasny is currently listed as being in Holyoke, Massachusetts, but has roots as well in San Francisco — plays out through “Pacific” and in later pieces like “The 101,” the title of which is even phrased in a SoCal manner, in which a busy rhythm of seemingly looped acoustic guitar and a plugged in solo arrives in somewhat manic fashion accompanying a bluesy paean to the coastal highway itself. The frenetic feel there is something of an extension of what happens in “Two Forms Moving” earlier, as the track realizes two progressions at once as the lyrics also tie into the title, and Chasny — who created a mathematical system of guitar playing and in 2015 released a pair of albums called Hexadic, as well as an instructional book for others, is no stranger to such conceptualism — executes acoustic and electric movements at the same time. One, then, is the companion of the other. It all ties in, or at very least can be interpreted as doing so.

With “Two Forms Moving” offering such a willfully multifaceted take, its feel becomes intense by the time the solo and the acoustic lines are shifting through their build. The entirety of Companion Rises doesn’t necessarily hold that pattern, but “The Scout is Here,” which follows directly, does. But the balance of the mix shifts, so that Chasny‘s vocal melody is more prominent, the electric guitar comes in intermittent spurts of solo flourish early on, and later shifts to a complementary role playing off the acoustic part and thus the song is more cohesive and less mindboggling on the whole. There is still forward movement in the two guitars — and there might be more than two by the time the five-minute track gives way to amp hum to close — but it’s still easier for the listener to process than some of what’s come before. “Black Tea” continues that thread, pushing the electric further down and bringing in simple percussion — it might be a hand tapping a guitar — as the singing takes on multiple layers and moves gorgeously through several verses. It is songs like “Black Tea” and the centerpiece title-track right after it that showcase why Six Organs of Admittance is still so often considered folk having long since let go of most genre conventions.

Six Organs of Admittance

If one is thinking of companionship, then that between “Black Tea” and “Companion Rises” makes all the more sense, as well as that of “Haunted and Known” and the penultimate “Mark Yourself,” the former of which takes a subdued, quiet moodiness that is as quintessentially Six Organs of Admittance as one could possibly hope for and blasts it apart after three minutes or so with a consuming wash of synth backed by far-off howls of electric guitar. It is beautiful and cinematic in kind, not rife with drama or pretense, but it feels grand just the same, and “Mark Yourself” answers back by bringing acoustic and electrics forms together once again, this time with other looped vocal arrangements and more besides, but gradually fading to a standalone line of piano, giving way to the drone soundscaping of closer “Worn Down to the Light,” which at four minutes long is an instrumentalist response perhaps to “Pacific,” though decidedly less wavy in its execution. In any case, by then, the album’s theme is well established and brought to fruition through idea and craft alike.

Ultimately, there is enough depth to Chasny‘s songwriting that the individual listener can decide how deep they want to go in their own read. Companion Rises, which even unto its sunset-thus-likely-moonrise cover art speaks to the notions it puts forth, balances richness and fullness of sound with the aforementioned sense of intimacy that comes in part simply from being a solo LP, even playing much of this material live would require a band or at least a pedal board big enough to accommodate one — a well-programmed laptop would do it too, one guesses. And even as it has to be acknowledged that although so much of Companion Rises is given to considerations of togetherness, it was made by one person alone, it seems clear through the listening experience that what’s being meditated on throughout is a sense of interaction. Place is part of it, as “Pacific” and “The 101” show, but it runs deeper through “Two Forms Moving,” “The Scout is Here” and even “Black Tea” and “Companion Rises” itself, the sweetness of the melody in that title-track at a deceptive peace with the organ line that keeps it company.

One way or the other — or, more likely, both — Six Organs of Admittance manifests loneliness and the excitement at being with others, and even if that interpretation is totally wrong and the album title has nothing to do with anything in the tracks and the whole thing is a lie meant to mislead anyone who takes the record on, it doesn’t matter. The simple fact that these songs can speak to these ideas and potentially others is further proof of how crucial Chasny‘s work is.

>Six Organs of Admittance, Companion Rises (2020)

Six Organs of Admittance website

Six Organs of Admittance on Instagram

Six Organs of Admittance on Bandcamp

Drag City Records website

Drag City on Thee Facebooks

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Black Math Horseman to Embark on “Next Chapter” with Return to Stage Next Month

Posted in Whathaveyou on February 17th, 2020 by JJ Koczan

black math horseman 2009

Okay, the post isn’t long from Black Math Horseman in some grand announcement fashion heralding their return, but there is a bit to unpack, so let’s do that.

First of all, there’s the news. Black Math Horseman have confirmed their first live appearance in seven years will be at The Echoplex in their native Los Angeles with YOB and Unsane-offshoot Human Impact on the bill. Good show.

Second, it’s been just over a year since the much-missed heavy post-rockers put up the picture above, originally from, 2009 as a promo shot for their only LP, Wyllt (discussed here and here), on Thee Facebooks, as well as one of parting clouds, giving the first hint of some kind of activity on the band’s part since 2013. Not an insignificant amount of time, but really, why rush anything?

Third, note that in the post below they don’t just say “come together again,” they say “come together again creatively.” That means making something new. That means new material. New material could mean new album. A “next chapter” could be anything from sporadic live dates on the West Coast to a full two-month European tour of summer fests — neither would really surprise me at this point — but from that, the use of “creatively” and the “there’s more to come” that follows, it seems pretty clear that at very least Black Math Horseman aren’t just testing the waters here. They’re invariably doing that as well, but there’s a plan at work behind the scenes, whatever it might be, that, in keeping with the character of the group, is obscured from outside observation. Mysteries abound.

Conclusion: Who wants to fly to L.A. for the night?

Whatever Black Math Horseman might do next, all we can do is wait to find out.

Show poster and their statement follow as per social media:

black math horseman return show

We are so grateful to have come together again creatively, and to be embarking on this next chapter of Black Math Horseman. Thank you to everyone who has supported us along the way, there’s more to come.

Thank you @church8thday & Yob for having us.

We’re excited!

https://www.facebook.com/Black-Math-Horseman-77475471220/
https://blackmathhorseman.bandcamp.com/

Black Math Horseman, Wyllt (2009)

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Fever Dog Post Two-Song Single from New LP Alpha Waves

Posted in Whathaveyou on February 12th, 2020 by JJ Koczan

Desert-hued, classically progressive and more than a bit glammy, Cali now-duo Fever Dog seem to be packing ideas into their songs by the dozen, and yet to listen to their new two-songer, Solid Ground — issued in advance of their third album, Alpha Waves, which is due out at some point later this year — you can’t call the either “Solid Ground” itself or the organ-laced, exclamatory companion track “Bruiser!” anything other than cohesive. Both are tightly performed and structured, under four minutes long, and the latter has an arena-rock vibe that’s somewhere between Horisont and Roxette, which genuinely isn’t a combination you’re going to hear every day. Thinking about it, I’m kind of amazed Europe isn’t sweating this band harder. Someone needs to lock down German and Swedish distro, stat.

You can hear the new single at the bottom of the post, as well as the prior-posted “Freewheelin’,” which enriches the narrative of the album even further. More to come, as well as, one hopes, an eventual release date.

Until then:

fever dog solid ground

Fever Dog – “Solid Ground” (Alpha Waves)

2020 will see the release of Fever Dog’s third full-length studio album “Alpha Waves.” Taking notes from all ends of the Rock and Roll spectrum, songwriters and multi-instrumentalists Danny Graham and Joshua Adams combine the best that the glam, progressive, and desert rock genres have to offer, creating an exciting sound while still retaining a great deal of originality. “Freewheelin’” the first single taken from the album, features both Graham and Adams acting as songwriters, producers, and engineers whilst providing a majority of the instrumentation along with guest musicians Alex Galvan and Ramses Avalos-Lopez.

On the heels of their European tour, Fever Dog re-entered the studio, writing and recording new material. Further developing their desert-psychedelic sound, the group released the 2017 single ”Mainframe” featuring two new songs and a live recording. Shortly thereafter, bassist and song-writing partner Nathaniel Wood departed from the band while Graham and Adams became more focused on songwriting and recording.

“Alpha Waves” will feature material recorded from the “Mainframe” studio sessions with bassist Nathaniel Wood, songs developed from earlier live improvisations, and compositions from both Joshua Adams and Danny Graham. The result of lineup changes, hard drive malfunctions, and an evolution in creative tastes, “Alpha Waves” is Fever Dog’s most passionate collection of material to date. A labor of love three-years in the making, the group has been eagerly anticipating the day they can finally deliver it to you.

SOLID GROUND is the second single taken “Alpha Waves.”

“Solid Ground” Composed by Danny Graham and Joshua Adams
Written by Joshua Adams

Solid Ground Performers:
Danny Graham: Vocals, Guitars, Bass
Joshua Adams: Vocals, Drums, Synthesizers

“Bruiser!” Composed by Joshua Adams
Written by Joshua Adams

Bruiser! Performers:
Joshua Adams: Lead Vocals, Drums, Organs, Piano, Synthesizers,
Danny Graham: Vocals, Guitars, Bass

Produced by Joshua Adams in La Quinta, California
Solid Ground Artwork by Danny Graham

https://www.facebook.com/feverdogrocks/
https://www.instagram.com/feverdogrocks/
https://feverdog.bandcamp.com/

Fever Dog, “Solid Ground”

Fever Dog, “Freewheelin'”

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High Priestess Set April 10 Release for Casting the Circle; Streaming Title-Track Now

Posted in Whathaveyou on February 12th, 2020 by JJ Koczan

high priestess

This one’s a no-brainer. New High Priestess is a yes. It’s been on the gotta-hear list since the band hit the studio last November, and the stream below of the title-track does nothing to negate its position thereupon. The Los Angeles trio reaped praise far and wide for their 2018 self-titled debut (review here), and Casting the Circle will serve as the five-songer LP follow-up. Preorders are up and are here, so really, I don’t even know why I’m still writing. The album exists in pending form, so look forward to it. There. Post done.

PR wire has, you know, actual details and such to follow-up on the nuanced insight above (I know that’s what keeps you coming back):

high priestess casting the circle

HIGH PRIESTESS share heady new track and details about upcoming new album ‘Casting The Circle’ on Ripple Music

Los Angeles-based ritualistic psych-doom trio HIGH PRIESTESS unveil all details about their upcoming sophomore album ‘Casting The Circle’ on Ripple Music. Stream its mesmerizing title track now.

“After playing these songs live for many months, we are pleased to have captured them in their definitive recorded versions for the whole world. We honor gods and goddesses, ancestors and spirits from the past, present and future and sing songs of misfortune. The title song Casting the Circle was written as an opener for shows to bring good energy into the room, we hope you love it as much as we do.” says guitarist and vocalist Katie Gilchrest.

Their 2018 eponymous debut on Ripple Music quickly turned heads in the heavy music underground, leading to tours in the US and Europe. Their sophomore full-length “Casting the Circle,” releasing in April 2020, seasons the psych-doom cauldron with keyboards, tribal percussion, signature harmonies and grandiose prog rock arrangements, all while pushing the boundaries of just how “heavy” heavy music can be. ‘Casting The Circle’ will be available on April 10th through Ripple Music. The artwork was designed by Jill Colbert at Manfish Inc.

HIGH PRIESTESS ‘Casting The Circle’
Out April 10th on Ripple Music

Preorder: https://ripplemusic.bigcartel.com/product/high-priestess-casting-the-circle

TRACK LISTING:
1. Casting The Circle
2. Erebus
3. The Hourglass
4. Invocation
5. Ave Satanas

High Priestess is:
Katie Gilchrest – guitars, vocals, organ
Mariana Fiel – bass, vocals
Megan Mullins – drums, percussion

https://www.facebook.com/highpriestessmusic/
https://www.instagram.com/highpriestessmusic/
https://highpriestessmusic.bandcamp.com/
http://www.ripple-music.com
https://ripplemusic.bandcamp.com
https://www.facebook.com/theripplemusic/

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High Tone Son of a Bitch Premiere “Wicked Threads” from New Compilation Lifecycles

Posted in audiObelisk on February 6th, 2020 by JJ Koczan

high tone son of a bitch

You know the origin story of High Tone Son of a Bitch, right? It’s complicated and full of ups, downs, love and loss and all that other deeply human-type stuff. A life story, as it were. The band revitalized circa last year and spent much of the ensuing return period getting their lineup situated and getting their feet under them in terms of stage presentation, but they had a wealth of material to draw from in that regard that went even further than what actually ever saw proper release. On March 20, Tee Pee Records — which also stood behind brothers Paul and Andrew Kott for Kalas‘ lone studio album — will issue Lifecycles: EPs of HTSOB, a new compilation of songs that span the original era of the band from 2002 through about 2005, preceding Andrew Kott‘s death in 2007.

High Tone Son of a Bitch have two four-trackers currently available. Their Better You Than Me originally came out on CD through Shifty Records in 2003 and though Velocipede was recorded in 2004 it didn’t actually see proper release until 2018 when they put it up on Bandcamp. Last June brought the new single Death of a New Day / Eye in the Sky (discussed here) that was the band’s first proper offering in 16 years and preceded a stop at the opening night of thehigh tone son of a bitch lifecycles eps of htsob inaugural Desertfest NYC (review here) at Saint Vitus Bar. I don’t know how much if any of that material will be included in Lifecycles when it comes out, but there was still plenty more of stuff recorded that apparently never made it to the public, and thus we have the arrival of “Wicked Threads.”

As to what the original plan for the song might have been, I couldn’t say, but with a militaristic snare and wistful guitar and mellotron lines at the outset, the song sets an immediately brooding spirit. Gritty vocals arrive in emotive fashion and give direction to the arrangement, which remains dramatic if not theatrical in such a way as to pull back from the central regret being expressed. The title refers — no, not to your new jeans — to part of a concept that encompasses the entirety of the three-song progression from which the track comes. It’s not as immediately aggressive as they were on stage when I saw them last Spring or as noise-rocking as some of their other material is, but “Wicked Threads” gives some sense of High Tone Son of a Bitch‘s atmospheric resonance and the general breadth of what they used to do. Part of the story, much like this release itself is a part of their overarching narrative.

When it comes to what they’ll do next, however, I’ve no idea. I don’t know if they’re actually signed to Tee Pee or if there’s a new album or another EP or something else brewing, or to what or where their tour plans might take them and when, but even as they look back with Lifecycles: EPs of HTSOB, they make it clear they’re beginning that cycle anew, and moving forward.

Again, the release is March 20. Some more background follows the track below.

Please enjoy:

Paul Kott on “Wicked Threads”:

The Wicked Threads EP is a concept album that spans the past 12,000 years of human history in three songs. It examines the impact of the emergence of class systems, including believing in gods and the development of organized religions, priesthoods, rulers and ruled, and economic classes, has had. The song “Wicked Threads” is set in the modern era of late-stage capitalism, in the wake of thousands of years of these systems of control holding sway over humanity. It’s viewed through the lens of my experience growing up in a dead textile mill town called Lewiston, Maine. Many generations of the people of who live and die in these towns all across America and the world have a long history of being fucked over by wealthy elites. Many of these same people (not everyone, mind you), having been exploited, sucked dry, and ultimately abandoned, seem to fawn over and venerate those who are exploiting them, to adore them. There is almost a worship of the idea of a return to the days when the mills were running full steam and the bosses rang bells to tell them what to do and when. It’s like Stockholm Syndrome, to love your captors, love your abusers.

iTunes: https://music.apple.com/us/album/lifecycles-eps-of-htsob/1496428597?ls=1&app=itunes
Apple Music: https://music.apple.com/us/album/lifecycles-eps-of-htsob/1496428597?ls=1
Download: http://amazon.com/dp/B08469W2FX
Unlimited: http://music.amazon.com/albums/B08469W2FX

Originally formed by brothers Paul and Andrew Kott from the ashes of Oakland prog/doom sludge masters Cruevo, and preceding the Matt Pike-fronted Bay Area metal “supergroup” Kalas, High Tone Son of a Bitch (HTSOB) is a “supergroup” unto itself. Since its founding, HTSOB has pulled together members and collaborators from bands like Noothgrush, Kalas, Hammers of Misfortune, Men of Porn, Melvins, Hawkwind, Neurosis, High on Fire, Sleep, Necrot, The Skull, Worshipper and more. When Andrew Kott died unexpectedly in a tragic fall in 2007, HTSOB disbanded – seemingly forever.

Paul Kott revived the band – at the urging of his Latin Grammy-winning nephew Juan Herrera (Andrew’s step-son) – in 2019. Through lineup changes and regular collaborations that have included some of the most important underground musicians of the modern era, Paul has allowed his brother’s inspiration to live on, carrying the psychedelic hard rock and post-doom vision of HTSOB forward – all the while remaining uncompromisingly true to the musical roots the brothers established years ago.

High Tone Son of a Bitch transcends not only genre archetype but death itself, to weave an essential portrait of the dualistic nature of our lives. This retrospective of 4 EPs simultaneously speaks to the fragility and resilience of the human experience as it spans the years covering the formation of the band, its musical growth, the death of Andrew Kott (one of 2 co-founding brothers), and the path to a rebirth and new life in music and beyond by surviving brother Paul Kott.

High Tone Son of a Bitch on Thee Facebooks

High Tone Son of a Bitch on Bandcamp

Tee Pee Records website

Tee Pee Records on Thee Facebooks

Tee Pee Records on Bandcamp

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Stoned and Dusted 2020 Announces Lineup with Corrosion of Conformity, Los Dug Dugs, Masters of Reality, Brant Bjork, Earthless & Many More

Posted in Whathaveyou on February 6th, 2020 by JJ Koczan

stoned and dusted 2020 banner

So let me get this out of the way and say that the whole friggin’ Stoned and Dusted 2020 lineup is incredible. Kudos to the California Desert Wizards Association, which is the mysterious entity putting on the festival out in the Mojave, both at Pappy and Harriet’s and in the open air itself, taking place outside with camping and all the rest of it. Whole thing, great job. Okay. But seriously, at the first night of the thing, they’ve got Los Dug Dugs from Mexico City playing, and if you’ve never dug-dug into their stuff, it’s yet another lost classic of the heavy ’70s that’s begging to be heard. That’s an impressive get through and through. Nicely done.

Now, onto the rest. Yawning ManBrant BjorkCorrosion of ConformityMasters of RealityDead MeadowEarthlessMos GeneratorBig Scenic Nowhere, The Well. The inclusion of all of the last three I assume means that Tony Reed of Mos Generator and Ian Graham and Lisa Alley of The Well will take part in the Big Scenic Nowhere set — could be a package tour in the making there — and it doesn’t seem unreasonable to expect Mario Lalli might be on hand to play bass either, as Yawning Man will be playing the first night.

Toss in Hippie Death CultHelms AleeThe Heavy EyesBALAJesika von RabbitSean WheelerHammer of the Ozz and a few more TBA, not to mention Mad Alchemy doing the lights, and you’ve got a three-night desert party that’s very, very clearly going to be something special for those fortunate enough to be there to witness it.

To that end, tickets go on sale Saturday, as per the PR wire:

STONED AND DUSTED 2020 LINEUP

Yeah buddy! Here it comes again! Are you ready?! Finally the scoop on this year’s Stoned and Dusted party, brought to you by your California Desert Wizards Association.

In 2020 we have THREE NIGHTS of fun: Friday May 22nd; Saturday May 23rd; and Sunday May 24th.

STONED AND DUSTED WELCOME PARTY: On Friday May 22 we have a very special lineup at California’s most famous cantina, Pappy & Harriet’s. Friday’s show is on the indoor stage and we are proud to present 1970’s psych legends from Mexico City, Los Dug Dugs, with desert legends Yawning Man and more TBA.

STONED AND DUSTED ROADHOUSE: On Saturday May 23 we are doing it up again at Pappy & Harriet’s Pioneertown Palace (outside stage), our favorite dusty, desert roadhouse. Pack your earplugs, rolling papers and bring a designated driver for this insane lineup: Corrosion of Conformity, Masters of Reality, Brant Bjork, Helms Alee, BALA and a late show inside from Jesika von Rabbit.

STONED AND DUSTED CAMPOUT: On Sunday May 24 we invite you to a generator party – a Memorial Day concert, cookout and campout at a secret desert location. You can camp on site and party with your friends and fellow desert wizards late into the night. The boulders are there; we are bringing the rock! Dead Meadow, Earthless, Big Scenic Nowhere, The Well, The Heavy Eyes, Mos Generator, Sean Wheeler Y Los Caminos, Hippie Death Cult and Hammer of the Ozz. The Mad Alchemy Liquid Light Show will light up the desert once again this year.

General on-sale begins late this Saturday night, Feb 8, around midnight into Sunday morning. Go to our website and join our email list for more information.

STONED AND DUSTED PRE-PARTY $22
STONED AND DUSTED ROADHOUSE $60
STONED AND DUSTED CAMPOUT $230

For the STONED AND DUSTED CAMPOUT, we also offer a camping gear add-on for those who can’t fly with a tent and want to camp out under desert skies.

https://www.facebook.com/StonedandDusted/
https://www.instagram.com/stonedanddusted
www.StonedAndDusted.com
http://www.californiadesertwizardsassociation.com/

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Masters of Reality Announce European Tour

Posted in Whathaveyou on February 5th, 2020 by JJ Koczan

Any sort of activity on the part of Masters of Reality is nothing but welcome news, as far as I’m concerned, and as the band have already been confirmed for Desertfest in London and Berlin, Sonic Whip in the Netherlands and Kristonfest in Spain, it’s maybe not such a surprise that they’re announcing tour dates to tie those appearances together, but still, I’ll take it. Do I think it’s going to lead to a full surge of activity on the part of Chris Goss and company, new album blah blah blah? I don’t know. It’s been over a decade now since the last Masters of Reality LP, 2009’s Pine/Cross Dover (review here), and though there have been reissues since then and Goss posted some songs circa 2018, I’m not exactly holding my breath for the album if you know what I mean. 2021 will mark 40 years of existence in one form or another for the band. I’ll take what I can get at this point.

And not that I’ll be fortunate enough to see these shows, or that I’ve ever seen Goss perform, much to my chagrin, but I’m glad they’re happening, and yeah, I hope there are more to come, and a record, and all that stuff. Would be awfully nice.

The PR wire takes it:

masters of reality

MASTERS OF REALITY return with a full European tour and festival appearances this May

The legendary desert rock project driven by the unique creative force of guitarist and vocalist Chris Goss, MASTERS OF REALITY, return strong in the spring of 2020 with a series of European shows including festival appearances.

Chris Goss formed MASTERS OF REALITY with Tim Harrington as a two-piece in Syracuse, New York in 1981. He is also widely known for being the cornerstone producer of many behemoths of the Palm Desert scene, including Kyuss, Queens of the Stone Age, Mark Lanegan, Mondo Generator and the Desert Sessions.

The band has released six studio albums and two live albums between 1988 and 2009, punctuated by countless tours across Europe and North America. However, their name has remained a landmark of the Heavy Rock age, this is why MASTERS OF REALITY have decided to return to Europe to blow fans’ minds again this spring, with a series of shows including headlining performances at Desertfest London and Berlin, Kristonfest and Sonic Whip Festival.

MASTERS OF REALITY European Tour 2020:
01.05.20 – LONDON (UK) Electric Ballroom
02.05.20 – NIJMEGEN (NL) Sonic Whip Festival
03.05.20 – BERLIN (De) Desertfest Berlin – Arena
05.05.20 – ASCHAFFENBURG (De) Colos Saal
06.05.20 – MUNICH (De) Strom
07.05.20 – DÜDINGEN (Ch) Bad Bonn
09.05.20 – MADRID (Sp) Kristonfest – La Riviera
10.05.20 – VITORIA (Sp) Jimmy Jazz
12.05.20 – PARIS (Fr) La Maroquinerie
13.05.20 – COLOGNE (De) Art Theater
15.05.20 – SINT-NIKLAAS (Be) De Casino
16.05.20 – LEUVEN (Be) Depot
17.05.20 – KORTRIJK (Be) De Kreun

https://www.facebook.com/mastersofreality/
http://www.mastersofreality.com/

Masters of Reality, “John Brown”

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Great Electric Quest to Release Live at Freak Valley March 27

Posted in Whathaveyou on February 4th, 2020 by JJ Koczan

great electric quest

I’m not usually the type to go in on a release on the basis of one song, but let’s face it, Great Electric Quest covering Deep Purple‘s “Highway Star” could hardly be more appropriate. And they nail it as they wrap their set on Live at Freak Valley. Well established across their two studio full-lengths as being rad in the long-running West Coast tradition of heavy rock radness, the four-piece took to European stages last summer and included a stop at the Siegen, Germany-based festival that was captured and will see issue through Ripple Music on March 27. The cover isn’t streaming yet, if it will at all in advance of the release, but they’ve got “Seeker of the Flame,” taken from 2018’s Chapter II: Of Earth (review here), available to check out down below and it gives a pretty good sense of the energy they bring to the stage.

Never having had the pleasure myself, I’m nonetheless aware of the reputation for bombast Great Electric Quest have when it comes to performing live. It’s not hard to imagine them climbing amps and going all-in for this one as you listen.

From the PR wire:

great electric quest live at freak valley

GREAT ELECTRIC QUEST share details for upcoming “Live At Freak Valley” album on Ripple Music!

The mighty rock’n’roll crusaders have returned! After touring extensively in North America and Europe, San Diego’s one and only GREAT ELECTRIC QUEST return with their blazing hot “Live From Freak Valley” album this March 27th on Ripple Music. Listen to a first excerpt now!

With “Live At Freak Valley”, GREAT ELECTRIC QUEST are about to establish their mighty reign over the heavy rock underground for good. If headbanging to their first two albums “Chapter I” and “Chapter II” wasn’t enough, you are about to experience the exhilarating force of their live shows through this absolutely must-have live record. Clocking in at one full hour, the band delivers with maestria those epic vocals, high-flying solos, proto-metal grooves and jam-laden turnarounds they are known for: electricity instantly fills the air while the crowd jubilates… You’ve just been thunderstruck by the sheer awesomeness of Rock’n’Roll’s saviours GREAT ELECTRIC QUEST.

Guitarist Buddy Donner comments: “Ahhhhhhhh yeah! Freak Valley Festival 2019 was the absolute highlight of our three-month “Beer Wars Tour”. Journeying from the west coast of North America to Canada and all over Europe, nothing topped the vibe at Freak Valley Festival in Netphen, Germany. A sold-out gathering of 2500 people, but it felt like everyone knew each other. One massive Rock’n’Roll Family. It was an honor to share the stage with Corrosion of Conformity, Wolfmother, Brant Bjork, Dead Lord, DeWolff and so many more. We are quite excited to release a live version of our performance at this event, and most honored to be releasing this with the mighty Ripple Music! It’s been a long time coming!”

GREAT ELECTRIC QUEST “Live At Freak Valley” Out March 27th on Ripple Music

TRACK LISTING:
1. In The Flesh
2. Seeker Of The Flame
3. Of Earth Part I
4. Of Earth Part II
5. Of Earth Part III
6. Victim Of Changes
7. The Madness
8. Heart Of The Son
9. Wicked Hands
10. Highway Star (Deep Purple cover)

GREAT ELECTRIC QUEST is
Tyler “T-Sweat” Dingvell – Vocals
Buddy Donner – Guitar
Daniel “MuchoDrums” Velasco – Drums
Jared Bliss – Bass

https://www.facebook.com/electricquest/
https://electricquest.bandcamp.com/
http://greatelectricquest.bigcartel.com/
https://www.facebook.com/theripplemusic/
https://ripplemusic.bandcamp.com/
https://www.ripple-music.com/

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