…Yeah, I know, 24 is a buttload of records to buy in the span of about a month and a half. To do the division, it would mean buying a new album every 2.04 days. Probably not feasible in terms of time, let alone budget, but hell, it’s a nice thought and seeing the onslaught of new stuff coming between now and the end of April, I thought maybe a list would help keep it all straight. Even if I’m only helping myself, I could probably spend my time in worse ways.

Worth noting that even with 24 albums, presented below in order of release, I feel like there’s stuff I’m forgetting. Frankly, it’s an overwhelming amount of material, so if I’ve missed something or there’s something you’d like to see added to the list, as always, that’s why there’s a comments feature.

Okay. These are numbered just for fun, but listed by date:

1. Orange Goblin, A Eulogy for the Fans (March 12)

My understanding is that London’s foremost doom scoundrels, none other than Orange Goblin, have been selling copies of A Eulogy for the Fans since starting their US tour with Clutch on March 8 in Cincinnati, Ohio, but today is the official release date, and I can think of no better place to start than with the four-piece’s ferocious performance at the 2012 Bloodstock festival, captured audio and video in all its bloodsoaked glory. Not to be missed or taken lightly because it’s a live record. Album review here.

2. Borracho, Mob Gathering 7″ (March 13)

Even though it’s comprised of older tracks, the new Mob Gathering 7″ from Borracho is welcome by me for two reasons: I’ve never heard the songs before and Borracho rocks. The Washington D.C.-based riffers recorded “Mob Gathering” and “Short Ride (When it’s Over)” in 2009 and are set to release the cuts on a limited platter in black and orange swirl through Spain’s Ghost Highway Recordings and Germany’s No Balls Records. They’ve been playing live as a mostly-instrumental outfit while guitarist/vocalist Noah is out of the country on what I can only assume is an awesome spy mission, so if you need a Borracho fix — and it’s obvious from the way your hands are shaking that you do — this might be the way to go. More info here.

3. Inter Arma, Sky Burial (March 15)

Like Windhand below, Inter Arma are recent Relapse Records signees from Richmond, Virginia, and Sky Burial will serve as their first release for the label. Literally and figuratively, the album is expansive, topping 69 minutes and pummeling the whole way through with a genre-transcending concoction of bleakness that’s not so much aligned to any particular heavy aesthetic so much as it is set to its own atmospheric purposes. Through this, Inter Arma emerge terrifyingly cohesive where many others would falter, and their second LP behind 2010′s Sundown (review here) leaves a progressive impression despite an almost complete lack of sonic pretense. Mostly, it’s fucking heavy. Track stream and info here.

4. Clutch, Earth Rocker (March 19)

If 2013 ended tomorrow, Clutch‘s Earth Rocker would be my album of the year. That’s not saying the situation will be the same nine months from now when I actually start putting that list together (already dreading it), but as of March 12, it’s the cat’s pajamas and no foolin’. The long-running Marylanders outdid themselves and put together a surprisingly fast, energetic collection of songs that don’t forsake the bluesy tendencies of their last album, 2009′s Strange Cousins from the West, so much as they put some of the jamming on lockdown in favor of all-out pro-grade heavy rock and roll. The velocity is crucial and the wolfman is out, but it feels like the party’s just starting. Look for them on tour sometime between now and forever. Album review here.

5. Black Mare, Field of the Host (March 20)

Black Math Horseman and Ides of Gemini frontwoman Sera Timms (who’s also recently collaborated with Yawning Man‘s Gary Arce in the new outfit Zun) steps further out on her own with the solo-project Black Mare, from whom Field of the Host is the first album. Due March 20 on LP through The Crossing and on cassette through Breathe Plastic, limited in both cases and sure to be gone shortly after release if they’re not already taken through pre-orders. Fans of Timms‘ past works will be glad to hear the misty wash of melody and dreamy, somehow sad, languid roll of “Blind One,” for starters. Audio and info on the forum.

6. Kvelertak, Meir (March 26)

Short of setting themselves on fire, Norwegian triple-guitar six-piece Kvelertak did just about everything they could to get noticed in support of their 2010 self-titled debut LP (review here), and sure enough, their work paid off in getting signed to Roadrunner Records for all territories outside their native Scandinavia (where Indie Recordings holds sway) and trumpeting up a wave of anticipation for their second full-length, Meir. Their energetic, genre-crossing approach might not be for everybody, but the band have turned a lot of heads and I wouldn’t at all be surprised to find them on bigger tours this year with Roadrunner behind them. More info on the forum.

7. Black Pyramid, Adversarial (April 2)

This is actually the first time the Eli Wood cover art for Black Pyramid‘s Adversarial has been seen in full, so you know. The Hydro-Phonic Records release of the third Black Pyramid album and first to be fronted by guitarist/vocalist Darryl Shepard along with bassist David Gein and drummer Clay Neely punctuates the beginning of a new era for the Massachusetts trio. If the advance listen to closing track “Onyx and Obsidian” is anything to go by, they could very well be at their most potent yet, and though I’d hardly consider myself an impartial observer, as a fan of the band, this is one I’ve been looking forward to for a while now. More to come. Track stream here.

8. Moss, Horrible Night (April 2)

I’ve yet to hear the complete album, but UK trio Moss seem poised to surprise with a cleaner vocal approach on Horrible Night, their first offering since 2008′s impressive Sub Templum LP and two EPs in 2009, so in addition to wondering how they’ll pull it off, the level of the shift remains to be seen. That is, how big a deal is it? Should I call my mom? Is this something grandma needs to know about? Time will tell, but for it having been five years since the last time a Moss record reared its doomly head, it seems only fair to give the band a little breathing room on their evolution. More info and video here.

9. Mars Red Sky, Be My Guide EP (April 8)

How glad am I that French fuzz rockers Mars Red Sky have a new EP coming? Well, I’m not as happy that it’s coming as I am that it’s frickin’ awesome. The trio keep the weighted bass tones that gave so much depth to their 2011 self-titled debut (review here), but they’ve also clearly set to work expanding the formula as well, adding stomp to second track “Seen a Ghost” and an eerie repetitive sense to side B closer “Stranger,” while also broadening their melodic reach and taking claim of whichever side of the line they want between fuzz rock and heavy psychedelia while remaining so much more to the ears than either genre descriptor can offer to the eyes. At half an hour, my only complaint with it is it’s not a full-length album. Video trailer and info here.

10. Blaak Heat Shujaa, The Edge of an Era (April 9)

A sample of the poet Ron Whitehead — who also featured on Blaak Heat Shujaa‘s late-2012 debut EP for Tee Pee Records, The Storm Generation (review here) — comes to clarity just in time for the gonzo Boomer poet to let us all know that, “America is an illusion” (that may be, but it’s an illusion with an army of flying killer robots), and from there, the youngin’ desert transplants embark on a low-end-heavy freakout topped with sweet surf rock guitars and set to use in intricate, sometimes surprisingly jagged, rhythmic dances. Mario Lalli of Fatso Jetson guests, Scott Reeder produced. Review is forthcoming, but till then, there’s more info here.

11. Devil to Pay, Fate is Your Muse (April 9)

Fate is Your Muse serves not only as Indianapolis rockers Devil to Pay‘s Ripple Music debut, but also as the double-guitar foursome’s first outing since 2009′s Heavily Ever After. With tales of lizardmen attacks and the alleged end of the world, it’s got its fair share of personality, and set to the chugging riffs, melodic vocals and straightforward heavy grooves, that personality still goes a long way. I’ll have a review up before this week is out (I hope), but still, I wanted to make sure to include Devil to Pay here too, since their songs command both attention and respect. To wit, I just can’t seem to get “This Train Won’t Stop” out of my head. Video and info here.

12. Cough & Windhand, Reflection of the Negative Split (April 15)

Virginian doomers Cough and Windhand share a hometown in Richmond, a love of volume, a bassist in Parker Chandler and now a label in Relapse Records, so yeah, a split makes sense. Reflection of the Negative will be Windhand‘s first release through Relapse ahead of their sophomore full-length, scheduled for later this year (info here). For Cough, this split marks their first outing since 2010′s An Introduction to the Black Arts split with UK masters The Wounded Kings (review here), and they’ll present the 18-minute “Athame,” while Windhand bring forth “Amaranth” and “Shepherd’s Crook.” More info here.

13. Uncle Acid and the Deadbeats, Mind Control (April 15)

What the last Uncle Acid and the Deadbeats album, 2011′s Blood Lust (semi-review here), did so well was capture the atmosphere and the grainy imagery of late ’60s/early ’70s psychedelic horror and put it into audio form. For that, Blood Lust earned massive praise, but I still think that without the central core of songwriting underneath the genre trappings, it would’ve fallen flat. When it comes to Mind Control, the question waiting to be answered is if the band wants to stick to the blueprint they’ve established or go brazenly into uncharted weirdness. I’m not really sure they can lose, either way. Info and music here.

14. Kadavar, Abra Kadavar (April 16)

Their debut on new label Nuclear Blast and the quick-arriving answer to my pick for 2012 debut of the year, Abra Kadavar arrives with plenty of anticipation leading the way. The retro-rocking German trio have their work cut out for them in following that self-titled, but however it turns out in the comparison, it will be fascinating to learn how Kadavar develops the band’s sound and whether or not they prove able to push the boundaries of their aesthetic while simultaneously setting a new standard for promo photos. New video here.

15. Spiritual Beggars, Earth Blues (April 16)

I guess when it comes to these long-running Swedes, everybody’s got their favorite lineup, their favorite tunes, etc., but for me, I’m just impressed that Michael Amott — now more than 20 years on from starting Spiritual Beggars as a side-project while still in grindcore pioneers Carcass — still has any interest in keeping the classic rock Hammond-loving outfit grooving. Their last outing, 2010′s Return to Zero (review here), was the first to feature vocalist Apollo Papathanasio, formerly of Firewind, and though those songs were solid, I wouldn’t be surprised if they’re more settled in on Earth Blues when it drops via InsideOut Music on April 16. More info on the forum.

16. Beastwars, Blood Becomes Fire (April 19)

Alternating between periods of brooding intensity and all-out crushing heaviness, the second full-length from New Zealand’s Beastwars, Blood Becomes Fire, is nasty, nasty, nasty. It’s nasty when it’s quiet and it’s nasty when it’s loud. It’s the kind of record you put on and you’re like, “Damn that’s nasty.” And you’re not wrong. The four-piece — touring shortly with Unida — upped their game even from 2011′s self-titled debut (review here), and for anyone who heard that record, you know that’s saying something. I’m still in the “getting to know it” phase, but so far all that nasty feels pretty right on. More info here.

17. Ghost, Infestissumam (April 19)

Man, this one just kind of happened, huh? I suck — and I mean S-U-C-K suck — at keeping up with band hype. I’m the dude who hears the record three months later and goes, “Yeah, I guess that’s cool,” as countless reviews here can attest, including the one for Ghost‘s 2010 debut, Opus Eponymous, but with the Swedish cult heavyweights, all of a sudden I turned around and blamo, major label deal, semi-name change to Ghost B.C., and enough slathering over the impending Infestissumam to make the first album seem like less than the hyperbole it was treated to initially. Funny how that happens. Out in April? I’m sure I’ll review in June and go, “Yeah, I guess that’s cool.” More info on the forum.

18. One Inch Giant, The Great White Beyond (April 19)

Now signed to Soulseller Records, Swedish heavy rockers One Inch Giant will unveil their debut full-length on April 19 and as three of my favorite words in the English language are “Swedish heavy rockers,” I’m excited to find out how this Gothenburg four-piece follow-up their Malva EP, and if they can capture some of the extreme dynamic they brought to their live show when they toured the US last summer — a run of shows that included a stop at SHoD. Hard not to pull for a band after they come over to play club dates. More info and music here.

19. The Heavy Co., Midwest Electric (April 20)

It was actually the other day writing about The Heavy Co.‘s Midwest Electric that I had the idea for this feature, so however high the profile might be for some of these albums — Ghost walks by on their way to cash a check — it was these unpretentious Hoosier rockers and their new outing, Midwest Electric, that started me off. From what I’ve heard so far, the new collection sounds a little more confident in exploring psychedelia than did the trio’s 2011 debut EP, The Heavy (Please Tune In…) (review here), so I’m looking forward to hearing if and how that plays out over the course of the whole thing. Video trailer here.

20. Gozu, The Fury of a Patient Man (April 23)

I have an interview slated for later this week with Gozu guitarist/vocalist Marc Gaffney, and I’m even more excited for this time than I was when we last spoke, around their 2009 Small Stone debut, Locust Season (review here), since in everything but its goofball song titles, the sophomore outing marks a huge developmental step in the band’s melodic reach and songwriting chemistry. Stay tuned for that interview and check out the Bandcamp stream included with the album review here.

21. Yawning Man & Fatso Jetson, European Tour Split 7″ (April 26)

Note: I don’t actually know that April 26 is the day that what’s sure to be 2013′s most desert-rocking split is due to arrive, I just know that it’s Fatso Jetson and Yawning Man‘s European tour split, and that’s the day the Euro dates start — with performances at Desertfests London and Berlin, to be more specific. Given both the greatness of Fatso Jetson‘s last record, 2010′s Archaic Volumes (review here), and of Yawning Man‘s own 2010 outing, Nomadic Pursuits (review here), the bands’ shared lineage and the relative infrequency of their touring, it doesn’t seem unreasonable to hope that, even for a single, they pull out all the stops. And starts. And riffs. More info on the forum.

22. Serpent Throne, Brother Lucifer (April 29)

Philly-based instrumental heavy rockers Serpent Throne will follow-up 2010′s White Summer/Black Winter (review here) with Brother Lucifer, and while no one can ever really know what to expect, it’s a safe bet that the dual-guitar outfit will have the solos front and center once again. Having seen them do a couple new songs back in December, I can’t blame them in the slightest. Looking forward to letting these songs sink in for a while and having those solos stuck in my head. Track stream here.

23. Melvins, Everybody Loves Sausages (April 30)

Hey wow, a Melvins covers album. Finally, an opportunity for the band to let their hair down and go wild a bit, right? I mean, at long last, they can really feel free to indulge a little and explore their musical roots in a free and creative way. Okay, you get the point. In all seriousness, it’s a pretty cool idea and anything that teams the Melvins with Scott Kelly to do a Venom song is probably going to be a worthy cause. The most amazing part of it is they haven’t already done a version of “Black Betty.” More info on the forum.

24. Revelation, Inner Harbor (April 30)

Their most progressive outing yet and their first album since 2009, Revelation‘s Inner Harbor (review here) is bound to surprise some who thought they knew what to expect from the Maryland doom stalwarts who double as the classically rocking Against Nature. Good thing Inner Harbor had a digital release last year through the band’s Bland Hand Records to act as a precursor to this Shadow Kingdom CD issue. Rumor has it vinyl’s on the way as well, so keep an eye out, since John Brenner‘s guitar tone should be heard on as natural-sounding an apparatus as possible. More info here.

–

Okay, so you’re saying to yourself, “Golly, that’s a lot of stuff.” You’re absolutely right. But even as I was typing up this feature, I got word of a new Queen Elephantine full-length coming in April, so even as much as this is, it’s not everything. And that’s not even to mention May, which will bring a new Shroud Eater EP, a new Kylesa record and a new Mark Lanegan collaboration, among however much else. Tons of stuff to keep your ears out for, and like I said way back at the top of this thing, if you have something to add, a comment’s always appreciated.

Thanks for reading.

The immediate implication in the title of Orange Goblin‘s new live record, A Eulogy for the Fans, is that the fans in question — those who attended the Bloodstock festival on Aug. 11, 2012 — are dead. More specifically, that Orange Goblin killed them. An actual death toll for Bloodstock 2012 has yet to be released to my knowledge, but at least figuratively, over the course of their hour-long set, the British riff brutalizers did in fact hand the festival its own ass — thus “killing,” thus requiring a eulogy, thus making the title even more of a clever play on words than its relation to the band’s 2012 opus, A Eulogy for the Damned (review here). Brash and drunk as they might be, never let it be said Orange Goblin aren’t also up for a good pun every now and again.

This one comes especially well timed. A Eulogy for the Damned, which was the foursome’s first studio outing in half a decade following 2007′s righteous Healing through Fire (it provided little healing, but much fire), marked a resurgence point for Orange Goblin, who’d been hinting at their own demise more or less from the moment they got through the touring cycle. Aligned to new label Candlelight Records, the band — vocalist Ben Ward, guitarist Joe Hoare, bassist Martyn Millard and drummer Chris Turner — emerged as forerunners of a potent UK heavy rock underground, their influence spread wide in their absence, and hit the road hard to support the album, which was their most sleekly-produced to date and full of landmark choruses like that of “The Fog” and the anthemic “The Filthy and the Few.” At Bloodstock, at Desertfest, and elsewhere, Goblin met an enthusiastic response and so, arriving just as they get ready to hit the road in the US alongside Clutch, A Eulogy for the Fans (also released by Candlelight) couldn’t be better timed.

Along with an audio CD of the Bloodstock set — which, as advertised, is a killer — A Eulogy for the Fans also includes a DVD with complete video coverage of that, their set at the 2012 Hellfest in France, the promo clip for A Eulogy for the Damned leadoff track “Red Tide Rising” — which also starts the set here — and a behind-the-scenes look at making that video, playing Hellfest. There’s also reportedly a photo gallery and other content included, but because we live in an age of digital wonder, I have no idea about any of that stuff and can only speak to the audio of the thing. If it’s any consolation (it isn’t), here are a few things I’m sure one would notice on the DVD: Ben Ward is tall and spends a lot of time with his arms raised, the Bloodstock crowd loved Orange Goblin, and the band very much enjoy the taste of liquor. I’d love to do a tally of how much is actually consumed throughout the DVD, but again, digital wonder. Did you know my cellphone keeps tabs on where I buy pants? Digital wonder.

I’m not sure there was any question of Orange Goblin‘s destructive force in the live arena, but as they’ve gone more than 15 years since their first LP, Frequencies from Planet Ten, was released without showing official documentation of it, A Eulogy for the Fans is probably overdue. Nonetheless, there’s more to the band’s presentation at this stage of their career than simply bashing either the crowd at Bloodstock or you, the vigilant consumer listening or watching at home, over the head with their riffs, grooves and gruff vocals. Opening with a blistering trio of rockers in “Red Tide Rising,” “The Filthy and the Few” and “The Ballad of Solomon Eagle” (the latter culled from Healing through Fire), Orange Goblin use that initial burst of energy as setup for a comedown groove that commences with “Time Travelling Blues” — the title-track of their 1998 second album — before running an up/down course with “Some You Win, Some You Lose” from 2004′s Thieving from the House of God and “The Fog” from A Eulogy for the Damned, which Ward rightly announces as a doom number, though to a certain extent the same could be said about everything Orange Goblin play and probably when they walk down the street to get a sandwich. Pretty much everything they do is doom.

“Some You Win, Some You Lose” is a longtime personal favorite, but I won’t discount the sing-along appeal of the ending to “Time Travelling Blues” or “Round up the Horses,” which follows “The Fog.” By that point, Orange Goblin are in the thick of their set, Hoare giving an especially raging performance while Turner‘s drums have that sound only heard at pro-recorded fests, somewhere between tinny in the snare and the fullness one might hear at a studio — better than most live recordings but still not quite all the way clean — and Millard runs circles around the central riffs in Sabbathian tradition. Not as immediate as some from A Eulogy for the Damned, “Acid Trial” proves a highlight of A Eulogy for the Fans, well-suited to the inherent grit of a live album and played perhaps slightly faster than it might be on the studio version. Hoare‘s solo and lead lines shine through again, and Ward rides the groove and eggs the audience on to do the same — paying off some of the between-song “Go fuckin’ crazy”-type banter — leading to “They Come Back,” which is shouted out to fans of zombie movies.

Actually, the line there is, “Let’s hear it for zombie movies!” and indeed, if it’s zombie movies that brought to life the chorus of “They Come Back,” then let’s hear it for them. That song, also a highlight of Healing through Fire, signals the final stretch of A Eulogy for the Fans, Ward going to his most guttural delivery for the line “The dead cry out in hellbent misery” before giving Lee Dorrian‘s horror-scream a run for its money in the bridge on the way to the final verse and chorus. From there, Orange Goblin depart from recent triumphs to answer back the fresh-faced material they began with by dredging up the time-hewn sludge revelry of “Blue Snow” — “‘Cos when the dream is over/Blue snow will fall on you” — from Time Travelling Blues and “Quincy the Pigboy” and “Scorpionica,” the opening duo (presented in reverse order) from 2000′s landmark third full-length, The Big Black. In perspective almost as much as their sound, these songs summarize the crux of what Orange Goblin does, and though they’ve just spent the better part of an hour delivering at top speed, Ward, Millard, Hoare and Turner can’t help but give their closing argument its due adrenaline.

It’s probably a good thing Orange Goblin were headlining the Sophie Lancaster Stage that night (Machine Head and Testament were reportedly on the Ronnie James Dio Stage; woe to Machine Head if they played following), as I can’t imagine anyone getting on stage after them and saying, “Okay, now here’s this.” The crowd chanting their name as they take the obligatory onstage photo following “Scorpionica,” the band prove victorious yet again, perhaps with a few nicks in their battle-axes, but only from so many beheadings. As anyone who’s seen them will probably tell you louder than you want to hear it, Orange Goblin are an unfuckwithable live act, and even though they don’t really need to prove that at this point in their career, it’s handy to have A Eulogy for the Fans as a means of serving notice to the not-yet converted or those who’d simply like to revel in their riffery one more time. Like me, as I press play for another run through this Bloodstock set. Fucking right on.

Orange Goblin on Thee Facebooks

Candlelight Records

Last heard from in their 2011 split with Ominous Black, Philly duo Sadgiqacea will release their Candlelight Records debut, False Prism, on May 7. The two-piece are gearing up to hit the road as well, so keep an eye out for much more to come. Till then, the PR wire has it thusly:

SADGIQACEA Album Confirmed For Release

Candlelight Records today confirms May 7 as the North American release date for False Prism, the debut full-length from SADGIQACEA. Produced by Chris Grigg (Woe), the album’s four mammoth songs will pummel listeners for close to 40-minutes. The album follows their 2011 EP, Submerged in Manichea (Horror Pain Gore Death Productions) and two regarded split recordings with Ominous Black and Grass (Anthropic).

Heavy Planet says, “While destroying everything in their path, Philadelphia-based SADGIQACEA creates an inspiring assault of devastation. Crushing riffs and ambient beauty swirl as the vocals bark… epic and full-on sludge.” Fueled by the duo of Evan Schaefer (vocals/guitar) and Fred Grabosky (vocals/drums), the band has already proven themselves road savvy. Plans are already in order to return to the road for the album’s springtime release. “We are honored to be working with Candlelight Records and ready to spread our music to masses with their support,” says the band. “We are currently planning our second full American tour with our Philadelphia brothers Hivelords for Summer 2013.”

Formed in 2010, SADGIQACEA (pronounced sad-juh-kay-sha) forge a diverse sonic palette that has been likened at times to Neurosis, Intronaut, Weakling, and Kylesa. Musically and artistically, the band draws from a melting pot of influences that together presents a lush yet tension-filled sound. They call it, “music for our trodden minds and sodden souls.” SADGIQACEA has performed alongside 40 Watt Sun, Floor, Cough, Weedeater, Fight Amp, Mose Giganticus, ASG, Funeral Pyre, Hull and countless others in their still short history.

Recorded early September 2012 at Gradwell House in Haddon Heights, New Jersey, False Prism features sparring use of overdubs; the band wishing to preserve the authentic recording quality of the live performance. Writing and performing as a duo, the unique band is committed to their craft. Discussing the album SADGIQACEA says, “The album has themes of inner struggle, spirituality, and our own reflections on the dualistic nature of the evil that we all see and experience in our lives.”

Falm Prism will be released on CD and vinyl (under license to Anthropic Records).

False Prism Track Listing:
1. False Segments
2. False Cross
3. False Prism
4. True Darkness

It’s probably fortunate that Orange Goblin decided to release their upcoming A Eulogy for the Fans CD/DVD/LP/8-track/Reel-to-Reel/Edison cylinder/etc. live collection in March, since as soon as they hit the road alongside Clutch they’re going to kill us all anyway. What a way to go. The British destroyers have this fine evening made public a video-type trailer for the release, which will be out on Candlelight and cull material from their 2012 performances at Bloodstock Open Air and Hellfest.

More details are available here, but before you click over, check out the trailer below:

Okay, so in addition to embarking later this month on a stomp-your-ass UK tour before returning to the States for a stomp-your-ass run of shows supporting Clutch, London-based ass-stompers put out word today that they’re getting ready to — you guessed it — release a stomp-your-ass live album. Dubbed A Eulogy for the Fans, the CD/DVD set captures their Bloodstock performance from last year and is due out on Candlelight on March 11. Hot damn.

Here’s the announcement from Orange Goblin‘s Thee Facebooks:

‘A EULOGY FOR THE FANS – ORANGE GOBLIN LIVE 2012′ TO BE RELEASED ON MARCH 11th 2013 via CANDLELIGHT RECORDS!!

CD/DVD set features:

Disc 1 (CD) – Complete set live at Bloodstock Open Air Festival, 11th August 2012

Disc 2 (DVD) – Complete pro-shot sets live at Bloodstock Open Air Festival, 11th August 2012 and Hellfest, France, 15th June 2012.

Plus promo videos, the making of ‘Red Tide Rising’ documentary, ‘Highway to Hellfest’ short film, photo galleries and more…

The live audio from Bloodstock Open Air Festival will also be released as a double gatefold vinyl.

Artwork by Jimbob Isaac.

Kudos to Vegas doomers Demon Lung on signing with the venerable Candlelight Records for the release of their next album. Their debut EP, Pareidolia (review here), crawled forth earlier this year and for the follow-up full-length, the four-piece have enlisted Billy Anderson to produce. Not too shabby.

One more to look forward to in 2013. Until then, I leave it in the informative hands of the PR wire:

DEMON LUNG Signs To Candlelight

Candlelight Records today confirms the worldwide signing of DEMON LUNG. The Las Vegas-based quartet, featuring guitarist Phil Burns, bassist Patrick Warren, drummer Jeremy Brenton, and vocalist Shanda Fredrick, is scheduled to begin recording of their full-length debut at Sharkbite Studios in Oakland, California with producer Billy Anderson (Sleep, High on Fire, Eyehategod) in the coming weeks. It is anticipated for a Spring 2013 release date.

Metal Hammer called the band’s self-released 4-song demo Pareidolia, “earthy yet horror-themed doom metal a la Candlemass with an Acrimony Groove.” The magazine calls Fredrick a “wild-eyed, satanic songstress.” Popular music and film site Ave Noctum notes, “DEMON LUNG has a deft touch and solid sound. Their music is clearly from the soul. Fair to say they are a welcomed addition to the ranks of the doomed.” Teeth of the Divine adds, “Fredrick has the requisite sultry pipes that keep a steady, hazy tone. She has a deep, bluesy voice that fits the languid music perfectly.”

The band comments, “we are very honored to join the Candlelight roster. To be included among such talented artists is very humbling, and we thank the great people at Candlelight for giving us the opportunity.”

DEMON LUNG has shared the stage alongside Pentagram, High on Fire, Jucifer, Witch Mountain, and Castle and will resume performing once recording has been completed.

A video for the song “Lament Code’ is available. The clip was directed by Dustin Mills, the mastermind behind The Puppet Monster Massacre.

Something tells me that the next year or so is going to bring a lot of Orange Goblin tour news. Nothing wrong with that. As reported last week, the UK’s drunkest will head out starting late in January 2013 on a UK tour that will begin the full onslaught in support of 2012′s A Eulogy for the Damned and will mark Orange Goblin‘s emergence as a full-time band. Wild stuff.

Here’s the latest:

ORANGE GOBLIN ANNOUNCE UK & IRELAND TOUR FOR JANUARY / FEBRUARY 2013

Following ORANGE GOBLIN’S amazing shows supporting DOWN across the UK we are happy to announce that the band will be hitting the road for a full UK & Ireland headline tour in January and February 2013. Dates are as follows:

January
26 – Dublin, Workman’s Club
27 – Belfast, Limelight 2
30 – Cardiff, Clwb Ifor Bach
31 – Brighton, The Haunt

February
1 – Southampton, Talking Heads
2 – Plymouth, White Rabbit
3 – Bristol, Fleece
5 – Norwich, Waterfront Studio
6 – Wolverhampton, Slade Rooms
7 – Sheffield, Corporation
8 – York, The Duchess
9 – Manchester, NQ Live
11 – Glasgow, King Tuts
12 – Liverpool, o2 Academy 2
13 – Nottingham, Rock City Basement
15 – London o2 Academy Islington

Special guests to be announced.

It’s a pretty ballsy move after 17 years in the game to leave the comforts of love and life behind and hit the road full-time, but if Orange Goblin have ever been anything, it’s ballsy. The London-based four-piece just got off the road with Down, and if the photo above from this year’s Bloodstock festival didn’t tip you off, their momentum has never been higher.Well fucking earned.

Frontman and occasional Obelisk contributor Ben Ward posted the following tour dates and info on his Thee Facebooks this morning, and it seemed the least I could do to share. They’ll hit the road starting in January on their first headlining run through the UK.

Dig it:

I’ve been banging on for years that Orange Goblin fans are the best in the world. Now it’s time to prove me right people, please go out and buy your tickets and let’s sell out this first tour as a full-time band. Get all your mates and mates, mates to buy them as well! That would rule!

All venues are on sale now except Liverpool, which goes on sale at 9am on Friday!

Within the next couple of weeks we will also be announcing dates in Ireland, the USA and Canada, then a full European touring and festival schedule will be announced in 2013.

Shrouded figuratively and literally, multinational outfit The Devil will issue their Candlelight Records self-titled debut on Nov. 20. The masked band are committed to mystery even to the point of remaining instrumental, letting various samples do the talking for them throughout The Devil‘s 13 component tracks, which vary some in approach but stick largely to a cinematic style touching on the dramas of ’90s Euro doom.

The band was picked up by Candlelight after their singles “Universe” and “Extinction Level Event” went viral and received accolades from across the cult-minded underground, and sure enough, the appeal of The Devil‘s The Devil is plain to see — perhaps as much related to aesthetic and their presentation as to the music itself, but nonetheless tapping musically into a niche that’s largely unexplored in modern doom’s scope. No doubt the album will garner comparisons to Sweden’s Ghost for the look and Satanic theme, but where Ghost ultimately is an exercise in pop construction, The Devil are chasing something more nefarious in terms of sound.

Today I’m glad to have received permission to premiere the track “Alternative Dimensions” from the album. It’s the penultimate cut and one of the heaviest on the record, with atmospheric synth washes and quotes from Carl Jung and others. You’ll find it on the player below, followed by some background on the track courtesy of the band.

Please enjoy:

The Devil on “Alternative Dimensions”:

“Alternative Dimensions” is one of the heavier pieces on The Devil album and deals with some heavy subject matter. Human evolution has taken a turn in the wrong direction and become very distracted from it’s true purpose. Humanity is suffering from a collective amnesia, we have forgotten our origins and we have forgotten what we really are. Human beings in the modern age use only 10% capacity of the mind. Imagine the potential if humans were to unlock the remaining 90% power of the mind. There is significant scientific evidence that supports the hypothesis that consciousness can exist independently of the physical body. If that is the case, then this entire physical reality we have come to believe is real… is just an illusion.

The self-titled debut from The Devil will be released Nov. 20 on Candlelight Records. Thanks to the label for letting me host the premiere. For more on the band, check out their website or the label’s website.

The idea of a masked, anonymous band of Satanic cult rockers is already something pretty well branded by Sweden’s Ghost, but London’s The Devil seem to have a pretty good grip on what it takes to pull off this kind of thing, if their video for the song “Universe” below (which has over 250,000 views on YouTube) is anything to go by. Candlelight Records will release The Devil‘s self-titled debut in North America on Nov. 20, with touring reportedly to follow next year.

Behold the musings of the PR wire:

THE DEVIL: Self-Titled Debut Set For North American Release

Candlelight Records, in cooperation with The Silent City, today confirms November 20 as the North American release date for The Devil, the self-titled debut album from the London-based sextet. The masked, all-instrumental band self-produced the entire recording.

THE DEVIL is not a typical metal band. Combining traditional/classic heavy metal with select historical, political and conspiracy-laden oracles, the anonymous masked and cloaked musicians present a cinematic soundscape that is sure to strike the fancy of the curious. The 13-track album was crafted at six different recording studios and possesses a sound that is unlike any other you will encounter. Earlier this year, the internationally assembled band launched the beginning of the album campaign via two select videos. Since initiation, over half a million YouTube views have been logged.

Two songs from The Devil have already been tapped for soundtrack inclusion; “Extinction Level Event” licensed to upcoming film E.S.P. expected late 2012 and “Divinorium” licensed to upcoming film The Fury. The Fury is being directed by James Colmer (Superman Returns, House of Wax, See No Evil, will feature Erica Leerhsen (Blair Witch Project, Texas Chainsaw Massacre) and is expected early 2013.

Director James Colmer comments on his attraction to THE DEVIL for the upcoming feature film. “Choosing a track for a feature film is often times a difficult task. For us it was a quest of finding a song that could convey the driving, thematic and ominous presence of this psychological thriller in the opening scenes. When I first heard ‘Divinorum,’ I immediately felt the connection I was looking for. It was as though it had been composed specifically for this film. I truly believe you can change the entire feeling and structure of a scene by making the right choice when it comes to music. I know we have made the right choice with THE DEVIL.”

The Devil Track Listing:
1. Divinorum
2. Universe
3. Astral Dreamscape
4. World of Sorrow
5. Devil & Mankind
6. The Silent City
7. Akashic Enlightenment
8. Extinction Level Event
9. Intervention
10. Illuminati
11. Transcendence
12. Alternative Dimensions
13. Ascension

THE DEVIL plans to begin touring to support the album in early 2013. Collectively they note, “It is great to finally see the light at the end of the tunnel, having worked on this band and album for years. We look forward to bringing our unique live show to audiences around the world.”

It’s fucking awesome to see Orange Goblin go for it like this. After years of slogging it out and being thoroughly under-appreciated in the general metal consciousness while releasing album after kickass album, the British four-piece will slam into five different continents next year, covering North America, South America, Europe, Asia and Australia in support of this year’s excellent A Eulogy for the Damned (review here).

No doubt heads will be collected, bottles broken, and livers destroyed. Here’s the news and a fancy new press shot, courtesy of their Thee Facebooks:

ORANGE GOBLIN TO TOUR THE WORLD IN 2013!

BAND ANNOUNCED FOR SOUNDWAVE FESTIVAL in AUSTRALIA!

2013 will see Orange Goblin embark on their biggest touring schedule EVER as they continue to promote the critically acclaimed ‘A EULOGY FOR THE DAMNED’ album, released in February 2012 on Candlelight Records and hotly tipped to be a contender for the album of the year polls.

This one’s been a while coming, but below you’ll find the debut column from Orange Goblin frontman Ben Ward. In it, he discusses a few of the band’s European gigs in support of their latest album, A Eulogy for the Damned, and a smattering of the drunken shenanigans for which he and bandmates Joe Hoare, Martyn Millard and Chris Turner are legendary. Behold:

National Lampoon’s Orange Goblin European Vacation! — Part 1 — April 2012

So after 17 years of peddling my wares with Orange Goblin, somebody has asked me to write a regular blog feature. I have to say that I’m amazed for a couple of reasons! Firstly because until a few months back I didn’t even really know what a “blog” was? Secondly I’m amazed because I didn’t think there would be anyone out there that is remotely interested in anything I have to say or do… ever! So, for the past few weeks I’ve been wracking my brains trying to think of something I could talk about that people that read The Obelisk may find entertaining. After all sorts of ridiculous ideas, I have decided to write about what I know best… being in Orange Goblin. Being in Orange Goblin as we travelled around Europe playing various club shows and festivals in lots of different countries, to be precise! It’s been a pretty busy summer by our usual standards with shows in Germany (a few times), Ireland, Italy, Spain, Austria, Sweden, France, Switzerland and more!!

A lot of bands will tell you that there is never a dull moment when you’re on tour but that’s an outright lie! There are loads of dull moments and the only way to relieve the boredom of those dull moments is to drink, smoke or make up ridiculous little games and in-jokes that the outside world would consider completely insane. In Orange Goblin we have practically invented a new language that only we understand, it’s the perfect juncture of absolute genius and utter morons!! I suspect most people would think it tends to lean heavily towards the latter.

I’m gonna start the report back in April 2012. We’d just finished a very successful UK tour (with our good friends Grifter in support) including headlining the first-ever Desertfest in London, when we jetted off for three shows in Germany, Ireland and Northern Ireland. Here’s what happened:

 

Thursday 19^th April – Desertfest, Berlin, Germany

We’d already played the Desertfest in London a couple of weeks earlier at the start of our UK tour so with an equally impressive lineup of bands we were pretty sure the Berlin version was going to be just as good. Over the course of the three days the stage would see the likes of Ancestors, Colour Haze, Wino & Conny Ochs, Motorpsycho, Red Fang, Black Tusk, Ufomammut, Brain Police as well as many, many others, including us.

Our travel party varies depending on where we play for but for this jaunt it consisted of six of us. Chris, Joe, Martyn and myself obviously, accompanied by Alastair Riddell (our tour manager, guitar tech and self-proclaimed Nordic God of Chips!) and Elena (Martyn’s better half, who sells the merchandise and worships Lynyrd Skynyrd!). Joe and I were actually early for a change so we went and got a McDonald’s breakfast before we all met up at a ridiculous hour in a cold, wet car park in Southall (West London), a few miles from Heathrow (the closest long-stay parking you can get to such a retarded airport!) and boarded a bus to Terminal 1. The shocking London traffic didn’t dampen our spirits but upon arrival at Terminal 1 it emerged that we should’ve gone to Terminal 5 and now had to carry all our gear and merchandise across the airport. Not the best start to the day, but we arrived at the correct place and everyone managed to remain calm and quite upbeat about the whole debacle. I have to say at this point that I absolutely hate airports. I hate the tedious ritual of checking-in, going through various security and passport checks, but most of all I hate the people in airports. They seem to be a different species. I have an unfiltered vehemence for both the staff and especially my fellow passengers (bandmates and crew aside!), all desperate to get ahead of the next person so that they can board the plane before anyone else. The worst are the people in the departure lounge who feel the need to stand right next to the check-in gate, so they’re at the front of a nonexistent queue an hour before we’re due to take off, the ones that make all the other sheep think that something is happening and then all of a sudden you have a massive queue of people all standing around doing nothing for an hour waiting to board the plane that will inevitably be late anyway! Add to that the fact that we always seem to be surrounded by THAT family that can’t control their four screaming kids and I think you know what I mean! Thank God for noise-reducing headphones!

We all had the customary breakfast of a pint and a fry-up in Weatherspoons (all except Alastair who had about 35 rounds of toast and marmalade!) then Joe and I gratefully sampled the free whiskey being handed out in the airport departure lounge before we took off and after an uneventful flight we arrived at Berlin Tegel. From there we were driven to a very smart hostel, which seemed like some kind of travellers campus (but with Rabbits roaming free… very odd!). Luckily it was located right in the Bohemian part of Berlin (I think it’s called Kreuzberg?) so we didn’t have to walk far to find a decent café / bar selling us a cheap lunch (kebabs for us, chips for Alastair obviously!) and a couple of beers! Everyone then went back to the hotel to get some rest and/or freshen up before heading to the venue.

I really like Berlin. I think that it’s up there with New York and Rome as one of my favourite cities to visit. It’s very colourful and vibrant and despite its recent past it is very easygoing and friendly. Upon arrival at the venue, we were well fed and plied with our (very generous) rider. As it was a festival there was no sound-check, just a quick line-check before playing so after a couple of photoshoots and interviews, we all just hung out backstage and caught a few of the other bands playing. I’d heard a lot of good things about the band Ancestors so I made a point of going to watch them and I was blown away. They’re a great band that brings to mind a cross between Pink Floyd and Neurosis at their most melodic. They were killer guys too and we made light work of a few bottles of whiskey together! Our show was good, I remember the venue being very full and very hot and it was great to get such an enthusiastic response from a crowd that had been standing around all evening watching the rest of the festival bill. I always appreciate that when we headline. This was also the first show outside the UK in which we had aired a whole load of material from the A Eulogy for the Damned album, so it was satisfying to see that material go down so well with a lot of people already knowing the words to the new material.

After the show, it got a bit messy and I remember Scott Batiste from Saviours turning up before we were all shoved into a shuttle bus and driven back to the hotel. A few of us then headed out to the same bar we’d been to for lunch to get the much-needed late-night Doner Kebab and a few nightcaps! I remember trying to be clever and taking what I thought was a shortcut back to my room but I ended up getting completely lost in the hostel complex and had to phone Alastair to come and find me and take me back!! That’ll learn me!

Friday 20^th April – The Pint, Dublin, REP. OF IRELAND

The next morning we had a ridiculously early start as we had to be at Berlin Airport for 9AM! Again, the airport ritual was a tortuous affair that we could have all done without so early in the morning when you’re nursing a hangover. Anyway, we had the luxury of flying via Aer Lingus (as opposed to fucking Ryanair!) and we managed to catch our flight on time, landing in Dublin just a couple of hours later. The majority of our flights have been very comfortable for me this year, bearing in mind that I am 6’ 5” tall! This is due to the fact that Alastair is one of those people that HAS to get on the plane first, even if you have designated seating! Anyway, the fact that he does this means that he has been able to procure the seats in the emergency exit rows that have the extra legroom. I can therefore take my time getting to my seat, safe in the knowledge that no one in their right mind is going to want to sit next to Alastair, meaning him and I usually have three seats between the two of us and we can stretch out! Joe doesn’t usually mind where he sits as he’s only a little fella and can sleep anywhere, which is why we call him Bagpuss! (For those who don’t know who Bagpuss is, he’s a character from an old English kids TV show, look him up.)

We were met at the airport by two very good friends, James, the Irish promoter that has booked us over there for the best part of a decade and Paul, another old friend from England that now lives in Belfast and plays in the hardcore band By Any Means, who were supporting us on these Irish shows as well as supplying us with backline (as well as accommodation and breakfast, more on that later!) We went straight to the venue and were greeted by the Republic of Ireland’s Number One Orange Goblin fan who had brought a million things for us to sign (including Ravens Creed material that none of us played on!) and we had photos with him before walking to the nearby hotel for a spot of lunch. It’s a very predictable thing to do in Dublin but we all had to sample the Guinness as well. There was talk of walking to St. James Gate to visit the Guinness factory, do a bit of sightseeing and have our photos taken with the Phil Lynott statue in the city but the pissing rain soon put us all off that idea and decided to grab a few hours sleep instead.

We managed to get through sound-check and then had a nice dinner overlooking the River Liffy, laughing and taking the piss out of everyone outside in the pouring rain, before the doors opened and the show started! First band of the night were a young Irish band called Wizards of Firetop Mountain, who were very impressive, a cross of classic rock and metal with a real AC/DC feel to it. By Any Means were next up and they were great too, playing a vicious brand of hardcore and whipping the crowd into a frenzy! By this time the small venue was heaving and the very drunk Dublin crowd gave us a great reception, as always. This was great to see, as this was the first time we’d played in Dublin for quite a few years. Again, everyone played well and the new material was received just as well as the older stuff.

The after-show was a bit of a blur but I seem to remember it taking what seemed like hours to leave the venue with more and more people buying us drinks and forcing us to stay! I also remember talking to a lot of strangers and smoking the worst tasting cigarettes in the world during the load-out, they were so bad that I had to drink neat vodka to disguise the taste! There were more drinks back at the hotel and I don’t remember getting back to my room. I was sharing with Chris and must’ve woken him up as he’d gone to bed before me but I woke the next day feeling fantastic. Results!!

 

Saturday 21^st April – Spring & Airbrake, Belfast, NORTHERN IRELAND

The hotel in Dublin did an awesome cooked breakfast, which we all took advantage of. Chris was the only one that got collared to pay for his, the rest of us accidentally walking away from the table assuming that it was included in the hotel deal. Around midday we hit the road for a short drive north to Belfast, accompanied by an AC/DC mix in the van that had everyone rocking and desperate for beer. Before that though we wanted to drop in on Paul’s farm just outside of Belfast to see his pigs. Yes, his pigs. It’s a little known fact, but all of us in Orange Goblin are big fans of rural life, probably born of living in London and detesting everything about the city, and we all wanted to spend an afternoon feeding the pigs and chickens. We were due to be staying at Paul’s farm that night so it gave us a chance to meet his family, drink more Guinness and see what we’d be eating for breakfast the following morning. Paul had promised us fresh bacon, eggs and sausages that he makes himself and I for one could not wait! We spent a good hour or so on the farm and Elena made friends with a rabbit that she christened Syd Barrett for some unknown reason, but eventually we had to leave for the venue.

This was a show that I had been looking forward to ever since it had been booked. We have a lot of friends in Belfast and it always ends up as a big party every time we play there. Soundcheck was the usual boring affair and then we went to the pub next door to watch the Saturday football. Martyn’s team (QPR) were playing a very important fixture in the live televised game so he spent the next hour and a half yelling obscenities at the screen, much to the bemusement of the locals that had just popped out for a quiet pint on a Saturday evening! Anyway, QPR won and we all celebrated by sending Alastair to Nandos with the buy-out money for a load of chicken and chips, which were devoured in the dressing room – ah, the romance! There’s nothing better than the smell of a rancid venue dressing room mixed with hot, greasy chicken, stale beer and an overworked lavatory! I find it hard to believe we don’t get more groupies that wanna hang out backstage!!

The gig itself was an absolute blinder with a few girls on the front row very keen to flash their breasts. This isn’t unheard of at rock shows (actually, it is unheard of at OG shows) but I was very surprised by the two girls that had chosen to just wop them out and leave them hanging over the crowd barrier at the front for the duration of our set, like a couple of pairs of fleshy spaniels ears! Strange behaviour! Joe ended the gig being carried around the stage on Paul’s shoulders, Angus-style, much to his surprise whilst the rest of us tried to stop laughing at the boob display down the front! After the gig the real carnage began. There were many whiskeys and lots of photos with the very friendly Belfast crowd before we managed to squeeze about 27 people into the van and headed back to Paul’s farm for an all-night party! I think the entire time was spent talking utter-bollocks until it became clear that Paul and I were gonna have to head back into the city to get more “party supplies!” This involved a 4AM drive to the Shankill Road area of Belfast, not the best place for a pissed-up Englishman to be at any time, let alone as the sun is coming up on a Sunday morning! Paul had warned me to keep my voice down and but as soon as we arrived I fell out the van shouting, “Can I use your toilet, I’m dying for a piss!” Paul later told me that he thought we were gonna get shot but we managed to get out of there unscathed and I remember driving back to the farm at about 100mph down dark, winding country roads, AC/DC blasting out the stereo, thinking “I’m gonna die!” We got back to the farm and the party continued for a bit longer until everyone finally passed out at about 8AM.

After about four hours’ sleep, breakfast the next morning was everything I’d hoped it would be as Paul cooked up a treat of fresh bacon, sausage and eggs. Eventually and very reluctantly we had to say goodbye to everyone and we drove to Belfast Airport. The highlight of the day was spotting the heavyweight, British TV and Radio celeb Vanessa Feltz, who was strolling through the airport like a silver and leopard-skin clad behemoth.

I think I actually managed to sleep on the flight home and before we knew it, we were back at Heathrow and back to a world of shit. The rain was pissing down and we had to spend nearly an hour standing around in it waiting for the stupid bus to take us back to our cars in the long-stay car park. From there we all headed our separate ways, getting ready to go back to work first thing in the morning. Welcome home indeed!! I bet Led Zeppelin never had to do that!

Next month: Morrowfest, two shows in Italy and Sonisphere Spain!