Posted in Whathaveyou on September 16th, 2014 by H.P. Taskmaster
An interesting spot The Wounded Kings are in, and one that’s really as much new for them as it is old. They’ve been through lineups, multiple, around guitarist Steve Mills over their now-nine tumultuous years, but to my knowledge this is the first time they’ve ever brought anyone back who’s been in the band before. Original vocalist George Birch appeared on the first two The Wounded Kings albums — as a duo with Mills – and the 2010 split with Cough, but then was out. Now, a few years later, he’s back and about to go on tour with the band for the first time. A strange circumstance, I’m sure, being the new guy as well as an original member, but The Wounded Kings have always benefited from an otherworldly sensibility, and I’m sure a little weirdness will only bolster that.
The tour starts Oct. 24 at the venerable The Black Heartin Camden Town, and will include stops at the Into the Void and Dutch Doom Days festivals. Full announcement of the run follows:
This will be our first European jaunt in 2 and half years and our first ever with George back at the helm…it’s the heaviest the band has ever been and it’s so great to be able to play for the first time some of the older classics like Melanthos and Baptism of Atlantis!
We are also heading up to London and Birmingham at the beginning of October (4th and 5th) to play both Candlefest and Fearfest respectively.
Oct. 24 The Black Heart London UK Oct. 25 Into the Void Festival Leeuwarden NL Oct. 26 Helevete Oberhausen DE Oct. 27 Zentralcafe Nurnberg DE Oct. 28 TBC Oct. 29 Trafik Klub Budapest HU Oct. 30 Rockhaus Salzburg AT Oct. 31 Falkendom Bielefeld DE Nov. 1 Dutch Doom Days Festival Boroeg Rotterdam NL Nov. 2 Glazart Paris FR
Here is the Music Player. You need to installl flash player to show this cool thing!
This one’s a couple minutes shorter than the last few have been, but lacks nothing for substance, and particularly after YOB‘s “Marrow,” anything I put at the end would’ve just been filler to meet some imaginary obligation on my part. If you feel like you’re lacking the four minutes, give me a call and we’ll chat about records for the rest of that time. It’ll be a hoot. In any case, I think there’s plenty here to sink into — stuff that for a lot of people, myself included, will be on year-end lists and albums for which 2014 will be remembered when all is said and done. Two of my four current contenders for Album of the Year are featured, first and last.
Parts of this podcast are gorgeous, parts are ugly, but I think everything here holds up in terms of quality and listening back, I like the way this one gets immersive with a mix of longer tracks and shorter ones, slower and faster, etc. As always, I hope you enjoy, and I thank you sincerely for taking the time to check it out.
Lo-Pan, “Regulus” from Colossus (2014)
Steak, “Liquid Gold” from Slab City (2014)
The Well, “Mortal Bones” from Samsara (2014)
Orange Goblin, “The Devil’s Whip” from Back from the Abyss (2014)
Kvlthammer, “Hesh Trip” from Kvlthammer (2014)
Snailking, “To Wonder” from Storm (2014)
Earth, “From the Zodiacal Light” from Primitive and Deadly (2014)
Pallbearer, “Watcher in the Dark” from Foundations of Burden (2014)
Sorxe, “Her Majesty” from Surrounded by Shadows (2014)
Humo del Cairo, “Tres” from Preludio EP (2014)
Joy, “Miles Away” from Under the Spell Of… (2014)
Megaton Leviathan, “Past 21” from Past 21: Beyond the Arctic Cell (2014)
Bong, “Blue at Noon” from Haikai No Ku – Ultra High Dimensionality LP (2014)
YOB, “Marrow” from Clearing the Path to Ascend (2014)
Posted in Whathaveyou on August 15th, 2014 by H.P. Taskmaster
Well, one of the few remaining questions I had about releases in 2014 was whether or not the new Orange Goblin was going to arrive before the end of the year, and it looks like Candlelight Records has taken care of answering that. London’s heavy rock forerunning stalwarts will have Back from the Abyss– I’ll just assume that’s not their statement on touring in the US — out this October, gunning for an autumnal addition to the year-end best-of lists and, I’m sure, getting it. I know I’ll be keeping a slot open. There’s a new track posted at Loudwire that I haven’t listened to yet, but I wanted to get the news posted right away because, well, it’s new Orange Goblin, and that’s kind of a big deal.
They’ll head out on tour in Europe with Saint Vitus immediately following the release. No doubt much boozy destruction will ensue.
The PR wire has it like this:
ORANGE GOBLIN’s New Album Coming This October
Candlelight Records today confirms October 7th as the North American release date for ORANGE GOBLIN’s new album, Back From The Abyss. Recorded earlier this year in London, the album reunites the band with producer Jamie Dodd. It was mastered at Turan Audio in late July. Back From The Abyss will be available for preorder via iTunes and Amazon beginning August 26th. Fans can begin to preorder the CD today via Candlelight’s official webstore and Bandcamp page.
Loudwire.com is celebrating the announcement with an exclusive North American stream of the album’s first single, “The Devil’s Whip.” Vocalist Ben Ward says, “This song is a real old-school banger stuffed full of riffs, sleaze, filth, and speed… just like the best metal should be! It’s Motörhead-style, outlaw-biker rock in all its glory, destined to get heads banging, fists pumping, drinks flowing and asses shaking. If you don’t find yourself breaking the speed limit to this song, desperate to find the roughest bar in town, start a fight and spending the night in a cell, then you are quite clearly already dead. Let’s ride, let loose, let’s rip… that’s right, you can’t escape ‘The Devil’s Whip.'”
Back From The Abyss follows the band’s most successful release, 2012’s A Eulogy For The Damned, and the recent reissue of their 2007 album Healing Through Fire. Featuring twelve new songs, it delivers the quartets now internationally respected heavy metal. Decibel Magazine calls the band’s sound, “maximum riffage and turbo doom.” Blabbermouth dubs them, “a big burly bag of rock goodness.” Rocking hard as fans have come expect, Back From The Abyss shows not only the band’s tried-and-true blues and doom but the high caliber of their musicianship.
ORANGE GOBLIN will kick off the Autumn with a European tour alongside doom legends St. Vitus. Set to begin in France on October 9th, the tour will work its way through thirteen countries before concluding in Germany on November 14th. On the tour’s announcement Ward said, “We are extremely excited to be going on tour with our good friends and long-time heroes St. Vitus. Vitus are one of the bands that inspired us to form ORANGE GOBLIN all those years ago and to be able to promote our new album and celebrate their thirty-fifth anniversary at the same time just blows my mind.”
American dates in support of Back From The Abyss are anticipated to start early in the new year. Details to be announced shortly.
Together since 1995, ORANGE GOBLIN has released seven full-length studio albums. A Eulogy For The Damned was the band’s first for Candlelight Records and closed a five year recording hiatus. The album was supported with the most live dates by the band in their history; touring that saw the band on North America soil first alongside Clutch then on a full-scale headline tour that found them on thirty-eight stages across the US and Canada. Two videos were filmed and released for the album, including “Red Tide Rising” and the special Scion A/V video for “Acid Trials.”
Back From The Abyss Track Listing: 1. Sabbath Hex 2. Ubermensch 3. The Devil’s Whip 4. Demon Blues 5. Heavy Lies The Crown 6. Into the Arms of Morpheus 7. Mythical Knives 8. Bloodzilla 9. The Abyss 10. Titan 11. Blood Of Them 12. The Shadow Over Innsmouth
ORANGE GOBLIN is vocalist Ben Ward, guitartist Joe Hoare, bassist Martyn Millard, and drummer Christopher Turner. The band are endorsed by Marshall Amplification, Orange Amplification, Fender Bass Guitars, Natal Drums, Meinl Cymbals, Vater Sticks, Remo Skins, Vans, Volcom, Boss Pedals, Rotosound Strings, and Jagermeister.
Posted in Whathaveyou on June 30th, 2014 by H.P. Taskmaster
Now, if you read the interview that went up last Tuesday with C.O.C. bassist/vocalist Mike Dean, or at least took a look at the comments, you probably figured out it was Bl’ast and Brant Bjork that Corrosion of Conformity would be touring with on the West Coast, but it’s always nice to have confirmation anyway, and as the PR wire informs, Portland death-sludgers Lord Dying will be opening for the trek. C.O.C.‘s new album, IX(short review here), is out tomorrow on Candlelight after a manufacturing delay pushed back the original June 25 release date.
The legendary North Carolinian trio also head to Australia and New Zealand in July. All dates and info below:
CORROSION OF CONFORMITY: North Carolina Crossover Icons Announce North American Live Assault
With the official release of their new full-length, fittingly titled IX, now just days away, North Carolina crossover icons, CORROSION OF CONFORMITY, are very pleased to announce their first North American live assaults in support of the offering. The near two-week run will commence on August 20th in Spokane, and come to a close in Vancouver on September 1st. The band will be joined by Bl’ast!, Brant Bjork & The Low Desert Punk Band and Lord Dying!
The trek follows the band’s live takeovers next month in New Zealand and Australia. “We are really fired up to bring COC back to New Zealand and Australia for the first time in over a decade,” says vocalist/bassist Mike Dean. “I’ve been with Vista Chino and had a great experience on Soundwave and the shows on the side. Our set is shaping up to include songs from IX, Deliverance, the self-titled, and Animosity.”
CORROSION OF CONFORMITY: 7/18/2014 Kings Arms – Auckland, NZ 7/19/2014 Valhalla – Wellington, NZ 7/20/2014 Churchills – NZ 7/24/2014 Crowbar – Brisbane, AUS 7/25/2014 NSC – Sydney AUS 7/26/2014 Reverence Hotel – Melbourne AUS 7/27/2014 Enigma Bar – Adelaide AUS
w/ Bl’ast!, Brant Bjork & The Low Desert Punk Band, Lord Dying 8/20/2014 The Hop – Spokane, WA 8/21/2014 In The Venue – Salt Lake City, UT 8/22/2014 Summit Music Hall – Denver, CO 8/23/2014 Sister – Albuquerque, NM 8/24/2014 Club Red – Mesa, AZ 8/26/2014 Brick By Brick – San Diego, CA 8/27/2014 The Roxy – Los Angeles, CA 8/28/2014 DNA – San Francisco, CA 8/29/2014 Catalyst – Santa Cruz CA 8/30/2014 Dante’s – Portland, OR 8/31/2014 El Corazon – Seattle, WA 9/01/2014 The Rickshaw Theater – Vancouver, BC
Captured by the band alongside long-time friend and colleague John Custer, writing for IX commenced in the early months of 2013 with demoing and recording starting by Summer’s end. Completed in January, IX clocks in at nearly forty-five minutes. Sludge, doom, punk… it’s all in the grooves that fans have come to expect from CORROSION OF CONFORMITY.
The planned June 24th release date of IX was moved to July 1st with the 180-gram vinyl pressing expected later in the month. Fans that preordered the CD directly from Candlelight should be finding their copy in post boxes now as the eleven-song digipak continues to garner glowing reviews critics nationally.
Posted in Reviews on June 24th, 2014 by H.P. Taskmaster
Northern England trio Coltsblood launched last summer with the Beyond the Lake of Madness demo tape (review here) and immediately demanded attention via their crushingly slow, excruciatingly heavy, thoroughly doomed approach. That two track release, as though eaten by a larger undersea monster, has been subsumed into the three-piece’s Candlelight Records debut full-length, Into the Unfathomable Abyss, which furthers the brutal largesse of the demo, stretching out to nearly an hour’s runtime and finding some variety — in sound if not overall mood — by incorporating a few faster parts here and there. The album, which was recorded at Skyhammer Studios with Chris Fielding (Electric Wizard, Conan, Primordial, etc.) and features nightmarishly detailed cover art by former Grief bassist/vocalist Eric Harrison, pits longer pieces like “Beneath Black Skies” (14:09) and “Abyss of Aching Insanity” (12:29) from the demo against shorter ones, those two together with the penultimate “Ulfeonar” (a paltry 11:31) forming an unholy trio of slow-cooking heft that provides atmosphere the way one thinks of water filling lungs. Shorter cuts are interspersed around them, though by the end of the record, the timing works out that even the “shorter cuts” have topped eight minutes, as the closer “Return to the Lake of Madness” (8:31) rounds out no less grueling than “Ulfeonar” before it. Still, earlier on, the noisy intro “Valhalla Awaits” (2:17) the faster “Blood” (2:20) and the building instrumental “Grievous Molestation” (6:52) are well placed to give a breath of air before the next dive back into the heart of the titular abyss, which at its grimmest could rival anything put forth by Ahab, but seems bent toward more sonic diversity. Comprised at the time of bassist/vocalist John McNulty (ex-Conan, ex-Black Magician), guitarist Jemma McNulty and drummer Steve Primeau – the latter since replaced by Jay Plested, also of Black Magician — Coltsblood affirm the potential of their demo while distinguishing themselves among the more extreme end of doom’s practitioners.
Play slow enough and things just start to sound like they’re falling apart. Nothing against that, but Coltsblood never quite get there, even as John‘s throaty shouts echo over the crawling earlier stretches of “Ulfeonar.” The intent is vicious, tectonic heaviness, but Into the Unfathomable Abyssstill has a groove to it. One can hear shades of Conan‘s tonal dominance in the quicker parts of that song or “Blood” earlier on, but as the blackened scream about halfway through “Beneath Black Skies” and the bulk of Coltsblood‘s lumbering rollout shows, they’re on a different trip, even if they do manage to sneak a shuffle riff in there every now and again. The McNultys make a devastating pair, tonally, and when Jemma‘s guitar takes an airy solo over the steady rumble, the effect is more mournful than psychedelic, a noisy chaos emerging in the last two minutes of “Beneath Black Skies” to set up the blastbeaten charge of “Blood,” which is in and out in nearly one-seventh of the time but no less wretched-sounding — and yes, I mean that as a compliment. Even here, Coltsblood aren’t void of melody, but even that seems to have been twisted into something dark, a drawn out, plotted lead reminding of some of Nile‘s grandiose soloing. As a centerpiece, “Abyss of Aching Insanity” provides the album’s least compromised lurch, feedback and crash working in tandem to seer the consciousness before the next measure cycles through, Primeau more or less taking the opposite approach from “Blood” and playing as slow and open as possible. About halfway through, everything drops out but the bass, and for a moment, the album leaves you alone in the desolation, presumably to ponder how on earth you ever went so deep to start with. Jemma takes a layered solo when the guitars and drums return, but there isn’t really meant to be any release of the tension, and there isn’t.
Posted in Features on June 24th, 2014 by H.P. Taskmaster
Next Tuesday, July 1, is the release date for Corrosion of Conformity‘s aptly-titled ninth album, IX, which also serves as the band’s second full-length through Candlelight Records since their reboot with the trio lineup of bassist/vocalist Mike Dean, guitarist Woody Weatherman and drummer/vocalist Reed Mullin, following on the heels of their 2012 self-titled (review here) and subsequent, Scion A/V-sponsored Megalodon EP. The latter, which was also released in 2012, seemed to solidify many of the ideas of the former, and helped to affirm the grooves and the varied approach that C.O.C., now 30 years on from their first album, Eye for an Eye, would present. IX(short review here), is consistent in progressing this roughness of sound and steady, rolling feel, but as cuts like “Denmark Vesey” and “Tarquinius Superbus” show, C.O.C. never completely let go of their roots in hardcore punk. Knowing that at any point they could immediately take off at top speed adds an element of danger to the proceedings, and Dean, Weatherman and Mullin sound only too happy to revel in it.
The latter track, which appears deep into IX‘s side B sandwiched between the high-grade Southern heavy rock of “The Hanged Man” and “Who You Need to Blame,” is particularly interesting for how directly it plays one side off the other, its five-and-a-half-minute runtime split between raging forward motion and righteous nod. It serves to summarize what C.O.C. have done best since coming back as a trio, which is to foster an approach simple enough in its elements but based around a quality of songwriting that speaks to the band’s legacy both in albums like 1985’s Animosityand 1996’s Wisebloodwhile still forming something new from them. In both their style and how they’re developing within it, Corrosion of Conformity circa 2014 are geared toward a natural sound and focused on capturing a live feel in their recordings. As an album, IXnot only succeeds in this, but shows the band sounding more comfortable and confident in their approach as well.
We were on a bit of a rough line in terms of connection, but in the interview that follows, Dean discusses how they’ve arrived where they are, including their longtime collaboration with producer John Custer, with whom Dean worked on this album as an audio engineer, the progression they’ve undertaken since the self-titled was put together, touring, and how finalizing material in the studio as it’s being recorded can help give a record a sense of spontaneity. Also discussed at the end is Dean‘s time in Kyuss-offshoot Vista Chino and what the future might hold there. After some drama with the booking, Corrosion of Conformity will head to Australia this summer, and they have plans in the works for a West Coast tour this fall and will no doubt continue to support IXfor the foreseeable future, keeping their momentum going at a clip to match their speediest riffing.
Posted in Whathaveyou on June 23rd, 2014 by H.P. Taskmaster
The tenure of UK doomers The Wounded Kings — now approaching the decade mark — has been tumultuous to say the least. Multi-instrumentalist and founder Steve Mills has gone from working in a duo, to a full band, to a completely different full band, to being the lone founder, and today, to welcoming back his co-founder, vocalist George Birch, who sang on the band’s earliest studio recordings, including their 2008 Embrace of the Narrow House debut.
If I mention that album specifically, it’s because that album is specifically worth mentioning. It was the foundation point for the often bizarre, murky and cultish progression The Wounded Kings would subsequently undertake. Now, Birch rejoins the band as a replacement for frontwoman Sharie Neyland, whose eerie croon was key to the atmospheric complexities of 2011’s In the Chapel of the Black Hand(review here) and earlier-2014’s excellent Consolamentum(review here) full-lengths.
The Wounded Kings are slated to headline Dutch Doom Days at the end of October and have other touring commitments in the works, so it looks like Birch has his work cut out for him in coming back. The band announced Neyland‘s departure and his return thusly:
As of now, Sharie Neyland is no longer a member of the band. She has left for personal reasons. Obviously this came as a shock as we have show commitments and a European tour with dates to honour. With all this in mind we knew we had to bring out the big guns…
ORIGINAL TWK VOCALIST GEORGE BIRCH IS BACK! (Embrace of the Narrow House, Shadow over Atlantis and An introduction to the Black Arts Split 12”with COUGH)
If you wondered what George would have sounded like, what his take would have been on the new material, or you never got to see tracks like ‘The Baptism of Atlantis’ performed live… Well this is your chance!!!
FOR THE FIRST TIME EVER…. OUR LIVE SET WILL FEATURE SONGS FROM ALL 4 OF OUR ALBUMS…….
SEE YOU THERE…………
Please share this with anyone you feel will be interested to know.
Posted in Whathaveyou on May 8th, 2014 by H.P. Taskmaster
Presumably it’s Orange Goblin‘s plan to have their new album ready to roll out by the time they hit the road with Saint Vitus on the latter’s European tour celebrating their 35th anniversary. The kings of London’s heavy scene are currently in the studio making said album (as the pic above proves), and in the meantime, they’ve announced that Candlelight will reissue their 2007 outing, Healing through Fire, with bonus tracks on June 10 in North America and May 26 everywhere else.
Makes sense. Healing through Fire was a brilliant record that never got its due Stateside, considering its release was just around the time Sanctuary Records was imploding. After coming to the US to support 2004’s Thieving from the House of God, the four-piece never got back to support it either beyond an appearance at the 2009 Planet Caravan festival in North Carolina, and by then the album was already two years old. It’s been more or less begging for a reissue since, despite having been included in Orange Goblin‘s 5CD box set in 2011.
Nice to be mentioned in the press release below, so thanks to Candlelight for that, even though I’m not at The Aquarian anymore and the noted interview with Ben Ward appeared here in its full, unabridged form. I’ll take what I can get, I guess. Ward had some interesting stuff to say about Healing through Firein that interview, so if you get the chance, it might be worth a look ahead of this reissue.
The PR wire takes it from here:
‘HEALING THROUGH FIRE’ TO BE RE-ISSUED!!
While fans await the new album from England’s ORANGE GOBLIN, Candlelight is set to reissue the misisng piece from the band’s stateside catalog. Originally released in 2007, the Mark Daghorn produced Healing Through Fire was issued via Sanctuary Records. The album closed a 3 year recording gap for the band (previous album Thieving From The House of God released 2004 via Rise Above Records) and would be the only album the quartet would release for Sanctuary.
Talking with The Aquarian Weekly’s JJ Koczan in 2011, vocalist Ben Ward noted, “it would have been nice to play for our US fans and promote Healing Through Fire, but for some reason or another, it just never materialized.” ORANGE GOBLIN would not return to America until 2011; the tour put together to promote the release of a limited 5-cd box set released by Rise Above/Metal Blade Records. It was during The Aquarian Weekly interview that Ward enthusiastically said, “we’re finally going to get the opportunity to play the material from Healing Through Fire for American audiences. We’re going to go out and play four or five songs off that record for the crowd.”
Lyrically inspired by The Great Plague and London ’s Great Fire of 1666, the band still considers it to be one of their best albums. Ward says, “this album has been very hard to find in recent times. We are glad that people can once again hear what I consider to be one of our finest albums. Songs like “The Ballad of Solomon Eagle,” They Come Back,” “Vagrant Stomp,” and many more that are regularly featured in our live set can now be heard again. As a band, we are delighted.”
Currently recording the follow-up to the mega-successful A Eulogy For The Damned, ORANGE GOBLIN are expected to return to the US to tear up clubs later this year. Working again with Jamie Dodd, bass guitar and drums have been tracked with guitars and vocals expected to be completed by May 17. The final mix is anticipated by early June . The band announced last week a full European tour with doom legend Saint Vitus. Set to begin in France on October 9, the tour will work its way through 13 countries before concluding in Germany on November 14. On the tour’s announcement Ward said, “we are extremely excited to be going on tour with our good friends and long-time heroes Saint Vitus. Vitus are one of the bands that inspired us to form ORANGE GOBLIN all those years ago and to be able to promote our new album and celebrate their 35th Anniversary at the same time just blows my mind. This tour is going to be awesome.”
The reissue of Healing Through Fire includes two live bonus tracks taken from the band’s studio performance at BBC’s famous Maida Vale studio in London for the Radio One Rock Show in August 2007.
ORANGE GOBLIN’s still untitled new album is anticipated for release in October.
Band Ben Ward – vocals Joe Hoare – guitar Martyn Millard – bass Chris Turner – drums
Tracklisting 1. The Ballad of Solomon Eagle 2. Vagrant Stomp 3. The Ale House Braves 4. Cities of Frost 5. Hot Knives And Open Sores 6. Hounds Ditch 7. Mortlake (Dead Water) 8. They Come Back (Harvest of Skulls) 9. Beginners Guide to Suicide 10. The Ballad of Solomon Eagle (live at the BBC, bonus) 11. The Come Back (Harvest of Skulls) (live at the BBC, bonus)
Posted in Reviews on January 30th, 2014 by H.P. Taskmaster
Consolamentum is the fourth full-length from increasingly progressive UK-based doomers The Wounded Kings and also their debut on Candlelight Records. It’s also their most consistent album-to-album lineup in the band since 2010’s The Shadow over Atlantis (review here) followed 2008’s Embrace of the Narrow Housedebut with just the founding duo of guitarist/keyboardist Steve Mills and bassist/vocalist George Birch, who was out following The Wounded Kings‘ 2010 split with Cough, An Introduction to the Black Arts(review here), as Mills constructed a more complete lineup of the band that would be able to play live. The third album, 2011’s In the Chapel of the Black Hand(review here), arrived with a markedly quick turnaround considering that apart from Mills it was entirely new players involved — vocalist Sharie Neyland, drummer Myke Heath, bassist Jim Willumsen and guitarist Alex Kearney – and particularly with Neyland‘s haunting vocal resonance, tapped into dark elements of cult metal to coincide with three extended pieces the doom of which was complete and encompassing. On Consolamentum, all parties but Willumsen return, and though it’s somewhat ironic that with largely the same group they’d also have their longest break between records to date (three years), with Al Eliadis on bass and Chris Fielding producing, The Wounded Kings have created an album that feels like their most band-oriented work yet, recorded live and brimming with atmospheric density.
Like In the Chapel of the Black Hand, Consolamentum finds The Wounded Kings working with and around an extended trinity of songs. Opener “Gnosis” is the longest of the bunch (immediate points) at 13:20, and its complemented by the centerpiece title-track at 9:08 and the penultimate “The Silence” at 12:14. All three work at the hypnotic crawl one might expect from The Wounded Kings‘ past work — though “Gnosis” picks up toward the end and each seems to offer a payoff of its own — but there’s development evident not just in how well the five-piece work together over the course of Consolamentum‘s 47 minutes, but also in where they go. Each of the longer works is complemented by a shorter one, and as “Elige Magistrum” starts with a pickslide that such a perfect port of that from the beginning of Black Sabbath‘s “Into the Void” that I wondered at first if it might be a sample (it isn’t), it becomes clear that not only are The Wounded Kings reveling in the bleak, deep-running murk of their own tones and the ritual elements that Mills brings to tracks like “Lost Bride” with long-held Hammond notes, they’re also having fun doing it. Completely instrumental, “Elige Magistrum” (1:29) is essentially the band jamming on a riff. It just so happens that when The Wounded Kings do it, it sounds like the end of the world. The subdued “Space Conqueror” (2:23) follows “Consolamentum” and while the actual sound of it is minimalist and arguably the most brooding stretch on the record, it’s also called “Space Conqueror,” so, you know, it’s not without a sense of levity.
Posted in Whathaveyou on January 22nd, 2014 by H.P. Taskmaster
Hearty congratulations to UK trio Coltsblood on aligning themselves with Candlelight Records for the release of their upcoming debut full-length, Into the Unfathomable Abyss. They made it pretty clear on their Beyond the Lake of Madness demo tape (review here) that they were in it for a considerable slog, and with the LP recorded by Chris Fielding at Skyhammer Studio, they’re likely to emerge with precisely that.
The announcement came through this morning, so by all means, dig in:
Candlelight Records sign UK monolithic doomers Coltsblood
Candlelight Records today announces the signing of UK monolithic doomers Coltsblood.
“Coltsblood is the sound of the past, the voices of ancestors, terrifying legends once roared with passion from around fires beneath open skies, fuelled by mead and ale; it is the darkest depths of the human mind and the great journey into the unknown of which we all face. Like Celts thundering into war, Coltsblood take up their weapons and summon colossal riffs loud enough for their ancient Gods to hear. Somewhere in the past, war drums thunder, there bellows a blood curdling cry, fires roar, terror resonates, there is freedom, death, life, meaning. Coltsblood feels the need to recreate the strength and power of these spiritual memories.
Coltsblood formed in Northern England in 2010 but did not surface until 2013 when a demo tape entitled ‘Beyond the Lake of Madness’ was self-recorded and released. Ulthar Records released this demo on vinyl soon after. Coltsblood spent months pillaging the lands, guzzling mead and sharing the stage with many greats within the UK underground as well as Indesinence, Vomitor and Watain. The band recorded and self-released another cassette tape, a four track split with Crypt Lurker which featured a cover of Celtic Frost’s ‘Procreation (Of The Wicked). During this time, the band earned a storm of reviews comparing the music with all genres from funeral doom to black metal and hailing Coltsblood as monolithic, crushing, filthy, bleak, melodic, devastating, other-worldly and horrific.
On the Full Moon of September 2013, Coltsblood entered Skyhammer Studio with Chris Fielding (Primordial, Winterfylleth, Napalm Death, Electric Wizard) and recorded its first full length entitled ‘Into The Unfathomable Abyss’ over the sacred Autumnal Equinox. The album was mastered by James Plotkin due to his extensive work with bands such as Khanate, SunnO))), Indesinence and Isis. Coltsblood was honoured to ask bassist/vocalist and artist Eric C Harrison to create exclusive artwork for the music due to a long time respect for the band Grief.
In 2014 Coltsblood sign to Candlelight Records for the release of ‘Into The Unfathomable Abyss’.”
“It is a sheer honour to sign to the mighty Candlelight Records and join an incredible roster featuring legends such as Orange Goblin and Emperor alongside many of the greatest bands in the UK and a diverse mix of extreme bands from all corners of the world, many of which we feel a real affinity with. Candlelight has been amazingly supportive and welcoming from the word go and we are looking forward to being a part of such a great label.”
Last year, Corrosion of Conformity‘s Scion A/V-sponsored Megalodon EP continued to win the long-running North Carolina outfit favor in the wake of their 2012 self-titled (review here), their first album as a trio since 1985’s Animosity. As the studio footage of drummer Reed Mullin recording some vocal parts demonstrates, work on a follow-up is underway now.
It’s funny to think of a band who’ve been at it since 1982 — and who are back in their original lineup — as having something to prove, but with the C.O.C. audience contingent who can’t or don’t want to move beyond the fact that guitarist/vocalist Pepper Keenan isn’t in the band at this point and may or may not rejoin them at some future date (he’s in Down if you’re looking for him), the three-piece of bassist/vocalist Mike Dean (also Vista Chino), Mullin and guitarist Woody Weatherman seem to still be pushing against expectations born of their Deliverance era. I’m not going to argue that’s not a great, landmark record, but it was also 20 years ago, and you’re only cheating yourself if you miss out on the quality output from modern C.O.C. – who, again, are also the original C.O.C. – because of Keenan‘s absence.
My two cents. Check out Mullin belting out a new song below, followed by some PR wire info courtesy of the band’s label, Candlight Records and the link to the event page for their upcoming show at The Underworld in London on March 13:
C.O.C., Back in the Studio
Raleigh, North Carolina legends Corrosion Of Conformity are recording their next album, the follow-up to the well-received self-titled record issued via Candlelight Records in late February 2012, the reissue of their “Eye For An Eye” debut, and the released Scion A/V EP “Megalodon”. The forthcoming CD, untitled at this time, will again feature the trio of vocalist/bassist Mike Dean, guitarist Woodroe Weatherman, and drummer Reed Mullin. A new video clip from the studio can be seen below.
The initial work on the new album found the band not long out of the recording studio, having recently completed their “Megalodon” EP. The special EP was included free to all customers to the band’s official webstore. Dean said: “The EP was written, recorded, and released in two months’ time. It really challenged us in a good way.”
Formed in Raleigh in 1982, CORROSION OF CONFORMITY quickly transformed heavy music. Politically charged and socially aware, the band has influenced countless others and today remains humble about their accomplishments. With over 1.1 million albums sold in the United States, the band continues to find new fans via nonstop touring.
Posted in Whathaveyou on December 11th, 2013 by H.P. Taskmaster
That each album by UK doomers The Wounded Kings would sound different from the one before it makes sense — for the most part it’s been a different lineup on all of them. But it goes deeper than that. Founding guitarist Steve Mills has always brought a fervently progressive mentality to his songwriting, since the band’s 2008 debut, Embrace of the Narrow House, and it extended right up to 2011’s In the Chapel of the Black Hand(review here), which was the first LP from the band to feature frontwoman Sharie Neyland. Consolamentum will be the second, and with live-recorded production from Chris Fielding and Candlelight Records behind it, I can’t wait to hear how it’s turned out.
Here’s the release announcement, courtesy of the PR wire:
THE WOUNDED KINGS Deliver The Goods With Consolamentum
Candlelight Records today confirms February 25th as the North American release date of Consolamentum, the label debut from English doom metallers, THE WOUNDED KINGS. Produced by Chris Fielding (Electric Wizard), the album will be available for preorders via iTunes and other digital platforms beginning January 14th.
Discussing the album earlier this year, guitarist and band founder Steve Mills revealed, “this album will be our most expansive and heaviest.” Indeed it is. Consolamentum’s opening song, “Gnosis,” clocks in at a mammoth thirteen minutes. From there it latches on to your soul as it travels a dark and desolate sonic terrain. “The entire album was recorded and mixed in six days during the hottest week of the year in a studio miles from anything in the Cornish countryside,” shares producer Chris Fielding. “Recorded completely live, it captures the natural feel of the band. I find it to be a real step forward musically and very rewarding.”
Overcoming numerous lineup shifts since their formation in 2005, Mills and the KINGS have amazed audiences with their powerful stage personae. To date the Dartmoor-based five piece has released three full-length studio albums and a well-received split album with Richmond, Virginia’s Cough. The band has been finding a growing American audience since the release of their 2011 album, In The Chapel Of The Black Hand. It is the first to feature Neyland.
Consolamentum Track Listing: 1. Gnosis 2. Lost Bride 3. Elige Magistrum 4. Consolamentum 5. Space Conqueror 6. The Silence 7. Sacrifice
THE WOUNDED KINGS is guitarist/keyboardist Steve Mills, vocalist Sharie Neyland, guitarist Alex Kearney, bassist Al Eliadis, and drummer Myke Heath.
Posted in Whathaveyou on September 9th, 2013 by H.P. Taskmaster
Including a two-show day on Sept. 21 covering the Indianapolis Metalfest III and later that evening in Dayton, Ohio — just a thrilling trip down I-70 away — Sadgiqacea are once again hitting the road in support of their 2013 Candlelight Records debut, False Prism, and they’re bringing along the also-difficult-to-spell-but-in-a-subtler-way Haethen for the trip. It’s a week of shows that start next Wednesday and they’ve aptly called it the “Week Long Tour.” Truth in advertising.
Also sprach the PR wire:
SADGIQACEA: September Eastern US Tour Dates Confirmed
While still unpacking from their massive recent Summer trek which saw the duo occupying more than forty cities across the country with cohorts Hivelords, this week Philadelphia-based spiritualistic sludge duo SADGIQACEA confirms yet another new tour in support of their Candlelight Records debut False Prism.
Originating in Boston on Wednesday, September 18th, the new bout of East Coast performances will take SADGIQACEA on a six-city trek through Washington, Columbus, Indianapolis and Dayton before the final show in Pittsburgh on Sunday the 22nd. SADGIQACEA will be performing alongside their comrades Haethen for all shows except the Indianapolis Metalfest III where they’ll play alongside the likes of Incantation, Decrepit Birth, Byzantine and more, but following their early set at the fest the duo will trek over to Dayton, Ohio to meet back up with Haethen for a second show that day.
SADGIQACEA Fall Tour w/ Haethen: 9/18/2013 Roggies – Boston, MA w/ The Binary Code, Scaphism, Brain Famine 9/19/2013 The Pinch Bar – Washington, DC w/ Caustic Casanova 9/20/2013 The Summit – Columbus, OH w/ Swarm 9/21/2013 Old National Centre – Indianapolis, IN @ Indianapolis Metalfest III (*no Haethen) 9/21/2013 Blind Bob’s – Dayton, OH w/ Half Ghost 9/22/2013 The Smiling Moose – Pittsburgh, PA w/ Dendritic Arbor, Wrought Iron, Dutchguts, Ubasute, Dope Lake
SADGIQACEA draws from a melting pot of influences that together presents a lush yet tension-filled sound. Their debut full-length, False Prism, is a forty-minute journey bearing four mammoth tracks, captured without the use of overdubs to preserve the authentic recording quality of their live performances, recorded and produced by Chris Grigg of Woe. False Prism was released via Candlelight on CD and limited edition vinyl via Anthropic Records in May.
Posted in Whathaveyou on July 25th, 2013 by H.P. Taskmaster
Well, they said it was coming. Not sure yet if guitarist Joe Hoare will be healed up from his recent Achilles tendon injury (though reportedly he’s doing well and didn’t need surgery), but one way or another, Orange Goblin are once again storming North American shores this fall, this time as headliners on their own tour with Holy Grail and Lazer/Wulf.
Whilst you’re pre-booking your liver transplant, dig the following off the PR wire:
ORANGE GOBLIN To Return To North America This Autumn
Britain’s premier stoner metal band ORANGE GOBLIN will return to perform at venues throughout North America this Autumn. Following the band’s huge success earlier this year as main support for Clutch on their Earth Rocker North American tour, the Brits return for a full headlining run. Kicking off in New Orleans on September 27, the band will visit 38 cities around the United States and Canada before concluding in Nashville on November 9. Support on the tour will come from Holy Grail and Lazer/Wulf.
The trek finds ORANGE GOBLIN continuing a year-long commitment to performances in support of their latest studio album, A Eulogy For the Damned (2012), and first live CD/DVD released earlier this year. This rigorous schedule has seen them perform in over 25 countries across the globe, ensuring that the band is firing on all cylinders and maintaining their reputation as one of the fiercest and most exciting live acts on the planet! In fact, Clutch’s own Neil Fallon was recently seen on That Metal Show wearing an ORANGE GOBLIN shirt and proclaiming them to be one of his favorite bands!
Released March 12, A Eulogy For The Fans/Orange Goblin Live 2012 includes ORANGE GOBLIN’s complete performances from England ’s Bloodstock Open Air and France’s Hellfest. The package’s DVD includes the official Tom Cronin directed videos for “Red Tide Rising” and “Acid Trial,” the latter courtesy of Scion A/V. It further includes the Matt Chance directed “Red Tide Rising” documentary and Gaetan Chataigner directed “Highway to Hellfest” documentary. Art and design was provided by Jimbob Isaac under the direction of vocalist Ben Ward. The live album follows the release of A Eulogy For The Damned, now ORANGE GOBLIN’s highest selling album in North America. Produced by Jamie Dodd and mastered by two-time Grammy-nominated engineer Andy Jackson (Pink Floyd), the album entered the UK charts at position 96 and for the US landed on Billboard Magazine’s Heat Seekers chart at position 38.Tickets for the tour are set to go on sale via all appropriate ticket agencies and venue box offices next week. Confirmed dates are below.
ORANGE GOBLIN w/ Holy Grail, Lazer/Wulf 09/27/2013 One Eyed Jacks – New Orleans, LA 09/28/2013 Red 7 – Austin, TX 09/29/2013 Fitzgerald’s – Houston, TX 09/30/2013 Club Dada – Dallas, TX 10/01/2013 Sister Bar – Albuquerque, NM 10/02/2013 Yucca Tap Room – Tempe, AZ 10/04/2013 The Catalyst – Santa Cruz, CA 10/05/2013 The Satellite – Los Angeles, CA 10/06/2013 Soda Bar – San Diego, CA 10/08/2013 The Observatory – Santa Ana, CA 10/09/2013 Oakland Opera House – Oakland, CA 10/10/2013 Oak Street Speakeasy – Eugene, OR 10/11/2013 Fall Into Darkness Festival – Portland, OR 10/12/2013 The Highline – Seattle, WA 10/13/2013 Rickshaw Theater – Vancouver, BC 10/15/2013 The Palomino – Calgary, AB 10/17/2013 The Pawn Shop – Edmonton, AB 10/18/2013 Amigos – Saskatoon, SK 10/19/2013 Windsor Hotel – Winnipeg, MB 10/20/2013 The Aquarium – Fargo, ND 10/21/2013 Triple Rock – Minneapolis, MN 10/22/2013 Reggie’s – Chicago, IL 10/23/2013 Pyramid Scheme – Grand Rapids, MI 10/24/2013 Now That’s Class – Cleveland, OH 10/25/2013 Rockstar Arena – Dayton, OH 10/26/2013 Rex Theater – Pittsburgh, PA 10/27/2013 London Music Hall – London, ON 10/28/2013 The Opera House – Toronto, ON 10/29/2013 Mavericks – Ottawa, ON 10/30/2013 Foufounes Electriques – Montreal, QC 11/01/2013 Empire – Springfield, VA 11/02/2013 Saint Vitus – Brooklyn, NY 11/03/2013 The Note – West Chester, PA 11/05/2013 Strange Matter – Richmond, VA 11/06/2013 Tremont Music Hall – Charlotte, NC 11/07/2013 Broadway’s – Asheville, NC 11/08/2013 The Earl – Atlanta, GA 11/09/2013 Exit/In – Nashville, TN
ORANGE GOBLIN is vocalist Ben Ward, guitarist Joe Hoare, bassist Martyn Millard, and drummer Chris Turner. The band is endorsed by Fender Guitars, Marshall Amps, Meinl Cymbals, Vater Sticks, Lace Pick Ups, Orange Amps, Natal Drums, Rotosound, and Jagermeister.
Posted in Whathaveyou on July 17th, 2013 by H.P. Taskmaster
A speedy recovery to Orange Goblin guitarist Joe Hoare, who’s forced to sit out live dates after an injury to his Achilles tendon in Italy. Orange Goblin continues their international assault in support of 2012’s punch-you-in-the-face-it’s-so-good A Eulogy for the Damned(review here), and filling in for Hoare on the current round of Euro shows for the London four-piece will be guitar tech Neil Kingsbury.
The band toured the US earlier this year with Clutch and are slated to play Paris next month with Mondo Generator and Eyehategod. No word yet on when Hoare will be able to rejoin the band.
Here’s the latest:
We regret to report that the injury Joe sustained to his Achilles’ tendon yesterday is far more serious than first feared.
Joe completed yesterday’s show in Calenzano, Italy and was then taken to hospital in an ambulance where they confirmed that he has completely ruptured his Achilles. He is now in a cast to his knee and is being flown home today where he will require emergency surgery to repair the tendon.
Orange Goblin will endeavour to complete the rest of the summer tour in Europe with guitar tech and good friend Neil Kingsbury filling in on guitar. We thank Neil for taking this on at such short notice and hope you will come out and support him.
We wish Joe a safe journey home, a successful operation and a very, speedy recovery. Please leave him get well messages here to cheer him up.
“What doesn’t kill us, makes us stronger in the long run.” – Stand For Something (Orange Goblin)
Orange Goblin, “Stand for Something” from A Eulogy for the Damned (2012)