Posted in Reviews on September 30th, 2013 by JJ Koczan
I was on my way back north after seeing Vista Chino in New York the night before, embroiled in an all-too-familiar stretch of I-95. I’d left New Jersey following dinner with my mother and grandmother just past 8PM, and was hitting the 70s exits on the highway well after 10. It was right around then that my brain — clever devil — remembered Maple Forum alums Clamfight had a show in New London at The El ‘n’ Gee as the first of two nights they were doing with Philly rockers Thee Nosebleeds. New London is exit 83 headed northbound on I-95, and I remembered from Stoner Hands of Doom last year that The El ‘n’ Gee is about five minutes off the highway. I called Clamfight drummer/vocalist Andy Martin to ask him if they’d played yet. They hadn’t.Thee Nosebleeds were just going on. It looked like I’d make it.
Indeed, Thee Nosebleeds were on stage when I rolled into the club, hurried and haggard and my blood that specific kind of tense that comes from sitting in the car for a couple hours. At the door, I had to pay two dollars of the eight-dollar cover in quarters because I didn’t have that many singles, but it wouldn’t have made much difference in how much of Thee Nosebleeds I caught anyway. They were well into their set by the time I got there. In my experience, they’re a raw joy to watch once they’re warmed up, and that proved to be the case at The El ‘n’ Gee as well. The show wasn’t crowded, and there were four bands on the bill, but though my timing wasn’t perfect, I probably couldn’t have planned it better if I tried. Thee Nosebleeds are an underrated rager of a band. They don’t get out of Philly much — for that matter, neither do Clamfight; or at least not enough — but in the couple times I’ve seen them, they’ve impressed. I was glad I made it in time to catch their shots-of-something-brown toast at the end of “Crackula.” It was apparently the rhythm section’s birthday. Right on.
The two acts have done more shows together than I think either could be bothered to count — toss in Wizard Eye and you’ve rounded out a three-band bill of dude-on-dude appreciation whose match you’re not likely to find in that City of Bro’ly Love — but it was good to see as they heckled each other that the spark hasn’t gone out. Them Clams loaded onto the stage quickly and proceeded to play their first gig in several months, Martin having taken the summer off to embark on an archaeological dig in Scotland. Yes, that’s true. Rejoined with guitarists Sean McKee and Joel Harris and bassist Louis Koble, Clamfight proved as riotous as ever on the large stage of The El ‘n’ Gee, the sound echoing off the back walls of that cavernous space and creating an even more vicious wash of noise and distortion to go along with their heavy riffing through “Mountain” and “Sand Riders” from earlier-2013’s I vs. the Glacier. Even with Martin‘s ride cymbal winding up broken and looking like Cookie Monster took a bite out of it, they were plenty, plenty loud.
New song “Block Ship” was aired with its insistently nodding groove, and I vs. the Glacierfinale “Stealing the Ghost Horse” was given an extended and classically rocking instrumental intro that brought a whole new feel to the track and gave McKee a chance to show off some of his growth as a lead player, able to affect swagger as much as belt out burly, chugging riffage. Dipping back to 2010’s aptly-titled debut full-length, Volume I, they broke out “Ghosts I Have Known,” with Martin pushing into cleaner singing as called for, but ultimately it was the hyper-aggro “Rabbit” that finished out the set, shouted out by Martin (ever the gentleman) to yours truly. That song goes a long way to portraying the central penchant for groove that makes Clamfight such a special act, and it’s interesting that it endures in their live sets where more immediate cuts like “Fuck Bulldozers” and “Viking Funeral” have been put to rest. I’m sure it doesn’t hurt the cause that it looks like they’re having so much fun playing it.
Empty Vessels were still to come in finishing out the night, but it was getting on midnight and I still had about two hours to go on my trip back to Massachusetts, so I rushed back to the car and back to I-95. As far as driving breaks go, however, I certainly won’t complain. I should be so lucky to have such satisfying detours every time I make that journey. Between this show and Vista Chino the prior evening, I had seen a lot of really good people in a short span of time and it was nice to be reminded that just because you leave a place doesn’t mean you don’t still have friends there.
Posted in Whathaveyou on September 26th, 2013 by JJ Koczan
Returning with a vengeance — and also a new song — after their summer hiatus, Maple Forum alums Clamfight have announced a slew of fall tour dates. In addition to a slot at Stoner Hands of Doom at Strange Matter in Richmond, Virginia, on Nov. 7, the four-piece are doing two gigs THIS. VERY. WEEKEND. with Philly rockers Thee Nosebleeds and in addition to regular-type local stuff, they’ll head south following SHoD to bang out a couple evenings in the good company of Hollow Leg and Shroud Eater, among others.
In their typical style, the band sent along this update:
We’re back gang….and find ourselves another season’s worth of Neolithic archaeology lyrical fodder richer, but one gall bladder poorer.
So it goes.
Here’s where to get palm muted/yelled at about rock art:
This weekend we’re out and about and possibly falling over with Philly’s best rock and roll band, THEE NOSEBLEEDS (sorry, rock that nasty requires all caps).
Friday 9/27 we’re at the El ‘N’ Gee in New London, Connecticut with Thee Nosebleeds, the Cryptics, and Empty Vessels.
Saturday 9/28 we’re at the Firehouse Saloon in Rochester, New York with Thee Nosebleeds, Baba Yaga, and Pink Elephant.
October 26th we’re at the Boot and Saddle in Philadelphia with Screaming Rattler and Wizard Eye (who a little bird with 6 foot long dreadlocks tells me are hitting the studio shortly to record a new full length).
November 7th we’re at Strange Matter in Richmond, Virginia for the opening night of Stoner Hands of Doom 13 with A.P.F, Pill Buster, Compel, and more In honor of how excited we are to be part of such an amazing festival (the rest of the weekend includes Wizard Eye, Beelzefuzz, Admiral Browning, Lo-Pan, Backwoods Payback, Faces of Bayon, Second Grave, Wasted Theory and many, many more) we’ll pressing 100 copies of a seven inch of our new song “Bathosphere.” We have no plans to release it in any other format and once it’s gone, it’s gone.
November 8th we’ll be in Orlando Florida to challenge Hollow Leg and Shroud Eater in between some serious air boat racing/alligator wrasslin’ we’re going to play a show at a location to be announced.
November 9th we’re at the Jinx in Savannah Georgia with Hollow Leg and Shroud Eater and Crazy Bag Lady.
November 12th we’re at JR’s in Philadelphia with Devil to Pay, Heavy Temple, and the Cloth.
November 22 we’re at Mojo Main in Delaware with Braincandle and Count Von Count.
Everybody knows these Clamfight guys are jerks, but they’re also some of my favorite jerks, so even though all the copies of their second album, I vs. the Glacier, that I was selling through The Maple Forum are gone, and even though I saw them last week, I just can’t seem to stop myself from nerding out on their doings. Their Clammery, if you will. You probably won’t.
They’re about to take a bit of a break as drummer/vocalist Andy Martin departs to dig up fossils (yes, really) in Scotland. Last I heard, he was looking for the cave with the alien doodles from Prometheus — because that’s just how much he l-o-v-e-d that movie and found it to be a well-crafted addition to the Alien mythos — but he might’ve found it last year. In any case, before he splits out for the remainder of the summer, Clamfight will be sharing a bill July 6 at the North Star Bar in Philly with Skeleton Hands and Wizard Eye.
From what I gather and have witnessed, all those dudes are pretty tight, so I expect nothing but sloppy manhugs and shout-launched beerspittle, but if you’re in the neighborhood it should be a good time.
Even more importantly, the Clambros have posted the entirety of I vs. the Glacieron their Bandcamp page. It’s up their with their first record, Vol. 1, and obviously I consider them both recommended listening. If you didn’t get to pick up a physical copy while they were being sold on The Maple Forum, there are limited quantities available from what Clamfight were selling at shows, and I’m told a CD repress is in discussion while an outlet for vinyl is also sought out.
But if you want the first edition of I vs. the Glacier, once however many the band has are gone, that’s it. And if you never got the chance to take a listen to the album while I was plugging it, here’s that full stream on some terrible, wasn’t-broke-but-we-just-fixed-it new kind of player from Bandcamp:
Tropical Storm Whoever was raging outside — and by that I mean it was raining hard — but there was no way I was going to miss the Kings Destroy release party for their second album, A Time of Hunting, at the St. Vitus bar in Brooklyn with Windhand, Clamfight and Belus. The record, out on War Crime Recordings, is a killer, and as I was watching the last of the Clamfight CDs go from the Maple Forum store even as I stood in front of the stage to see them play, it was the perfect occasion at the perfect time.
Grim Brooklynite trio Belus opened the evening’s four-band bill, their feet firmly planted in a blackened type of doom that was brooding one minute, raging the next, but never quite letting go of its tension completely. They were already on by the time I got there, but I saw enough to get a basic feel for their approach, varied in tempo more than atmosphere but still effectively done in bringing a frigid feel through warmer tones than one would probably expect. They had demo tapes for sale, and though I didn’t get to pick one up (kind of backlogged on tapes, believe it or not), they gave a solid showing to the early arrivals at the St. Vitus, broiled in a specifically crusted malevolence that gave an extreme start to the proceedings.
They were more or less a surprise, but the rest of the night was about knowing what was coming and being thrilled at the twists. Clamfight and Kings Destroy are friends, bands about whom I couldn’t be impartial even if I had any interest in trying, and even Windhand I’ve seen a couple times by now, so yeah, familiarity reigned. It hadn’t even been that long since I last saw Clamfight in Philly with Borracho, Been Obscene and SuperVoid (review here), but being the nerd I am for the band, I’ll take whatever opportunities I can get, particularly as they’ve started now writing for the follow-up to I Versus the Glacier.
Speaking of, new song “Block Ship” was trotted out and fit in well with the band’s established bashers from their first two albums. Their plan for the track last I heard was to include it on a split they’re putting together in honor of their appearance in November at Stoner Hands of Doom XIII in Virginia, but I have the feeling they’re going to decide it’s too good to leave just for that and I wouldn’t be surprised if it shows up on the inevitable next Clamfight full-length as well. Along with that and regular suspects “Sand Riders” and the motor-grooves of “Mountain” from I Versus the Glacier, the Philly foursome tossed in a curve with “Ghosts I Have Known” from their 2010 Volume Idebut.
That wound up being the highlight of the set for me personally, with the slower, semi-Southern sludge feel and the interplay of shouts, growls and screams over top from frontdrummer Andy Martin, not to mention the guitarmonies of Joel Harris and Sean McKee. I caught bassist Louis Koble and Harris laughing on the far side of the stage during the faster section of the song while the band thrashed out behind McKee‘s squibbling solo, and it only underscored for me the good time being had by all. They’ve gotten to be pretty tight with the Kings Destroy cats following a couple weekenders and other shared gigs, so it was cool to see those guys up front digging the Clamfight set as well. It seemed too much to hope for that Clamfight would bash into “Rabbit” after “Ghosts I Have Known,” and it was, but “Stealing the Ghost Horse” made a suitable closer as it does on the record, its build vicious and clean-vocal payoff never failing to exceed expectation.
It was, it’s worth repeating, Kings Destroy‘s record release show for A Time of Hunting — their second album behind the 2010 debut, …And the Rest Will Surely Perish, which like Clamfight‘s I Versus the Glacier, was issued on The Obelisk’s in-house label, The Maple Forum — and there was no doubt by the time the five-piece dug into “The Toe” and “Casse-Tête” whose party it was. The band, in addition to being a legitimate draw at this point, seemed to import a variety of family and friends for the occasion, and but for the title-track and “Shattered Pattern,” they played the record in its entirety, if out of order, putting “Stormbreak,” which starts A Time of Hunting, after “Casse-Tête” and following it with “Decrepit,” track four on the new one, and “The Mountie” from the first album.
With those last two in succession particularly, Kings Destroy demonstrated just how far they’ve come in the last three years. After shows up and down the East Coast, a tour through Europe and more to come — not to mention the pedigree of the band’s members, which is an exhaustion to contemplate, let alone type — they are locked in as a band and full-on in a way I’d credit few NYC-based acts as being. True to their name, they destroyed, drummer Rob Sefcik holding “Decrepit” steady on stage with guitarists Carl Porcaro and Chris Skowronski and bassist Aaron Bumpus while vocalist Steve Murphy hopped off stage — introducing yours truly in the process; I caught “This is JJ, he’s an awkward metal guy,” but the rest didn’t come through — to walk through the crowd during the quieter break and the melodic later vocals, repeating the line “Hold on…” and talking of a brand new start. The lyrics are runes in the liner notes to the album. Good luck with that.
But the dichotomy: To go right from that into the raw, viscerally doomed groove of “The Mountie” highlighted for me the expansion in Kings Destroy‘s sound and how well they can carry across ideas, be they simple or complex. There was some not-quite-moshing going on in front of the stage, but everything was self-contained and everyone was familial, having a good time and so forth, myself included in my awkward metal guy way. Closing out with “Blood of Recompense” and their own album finale, “Turul” — the working title for the record itself — Kings Destroy saved the weirdest for last. I still hear “Too Many Puppies” in the vocal cadence for “Turul,” whether it’s meant to be there or not. There was a good portion of the room for whom the night was over when Kings Destroy were finished. The rest reaped the volume excess of Windhand as a reward.
I’d seen the band before, true, but this was the first time I’d caught them with Parker Chandler of Cough on bass. I picked up a CD of the recent split between the two acts prior to their set, and heard nothing in Windhand‘s ultra-thick double-guitar drudgery to make me regret the purchase. Frontwoman Dorthia Cottrell paced back and forth with manic intensity while Chandler, drummer Ryan Wolfe and guitarists Asechiah Bogdan and Garrett Morris emitted wave after vicious wave of low-end riffage. If even a fraction of that energy comes across on their Relapse label debut full-length (it’ll be their second LP overall), the album is going to be one that well earns its anticipation.
Only snag as regards Windhand‘s set was that I had an hour-plus ride home and had to be up in about five hours to head north to Massachusetts and continue my hunt for housing, so while I might’ve liked to stay and lost myself further in the rise and crash of each cresting undulation, I had to run. In the rain. To my car. And then drive for a long time, sleep for not a long time, then drive for a really long time. Still, it was a gig that more than justified what I considered mandatory attendance, and for seeing good friends doing good work, I was glad to be there to bear witness.
This CD is sold out. Thank you so much for your support.
Well, we knew we’d get here sooner or later, and I had a feeling it would be sooner, which this is. From my original 105, I’m down to just three remaining CD copies of Clamfight‘s I vs. the Glacier. Three copies, and then they’re gone.
I know I’ve said this before, but I suck as a salesman. I’m not the kind of guy who can get up and start working a room. It’s not my thing. Fortunately, when it comes to Clamfight, the band has been steadily busting its ass to spread the word and play as many shows as possible, and for that, I owe them thanks.
Not nearly as much as I owe them thanks for the record itself, though. There have been just a few releases, but I’m extremely proud to be associated with everything The Maple Forum has helped release up to this point, and I vs. the Glacier has been twice the joy because in addition to being friends with the band for (as we discussed just last night) going on eight years now, I’ve watched them get to the point where they can unleash a bastard of a record such as this. These songs continue to amaze me, these guys continue to amaze me, and I couldn’t be happier with how this album came out. I’m lucky to have been involved in the small way I was.
If you bought a copy because you saw the band posting about it somewhere, be it Facebook or whatever else, or you ran into them at a show, or you saw another review someplace — special thanks to everyone who took the time — it means an awful lot. Thank you for deciding this project is something worthy of your support and for taking the extra step and actually making that support happen. I hope you’ve enjoyed the album as much as I have.
So as always, thank you, thank you, thank you, thank you, and if you pick up one of these last three copies, kudos on getting in under the wire.
I was asked to take the above pic shortly before Borracho went on at Kung Fu Necktie Saturday night. It was the last of three shows the three bands in question — Borracho, Pittsburgh’s SuperVoid and Austria’s Been Obscene — were playing together, so it was an end-of-tour kind of deal. Been Obscene had done a fuller tour out on the West Coast alongside Ape Machine, and with just the trio of dates on the Eastern Seaboard before they headed back to Europe, I felt lucky to catch them as I did. They had just finished playing, second after SuperVoid with Borracho still to come and current Maple Forum interlocutors Clamfight closing out the night as the local act on the bill.
Actually, they weren’t closing out the night, exactly. Word had come down earlier in the week that the venue had a late-night gig starting at 11, so the four bands would all need to be finished by 10:30PM. On my end, it was nothing but convenient; from a morale standpoint, it’s much easier to start the two-hour drive back north from Philadelphia at 11PM than it would be at 1AM or sometime thereafter. If it was the final gig of three before I left the country, say, or even if I’d come from Pittsburgh or Washington D.C. to play, I might have felt differently about it, but a club’s gotta stay in business to put on good shows in the first place, and if that’s what it takes, then so be it. Like I said, it worked to my benefit as someone with a long ride ahead.
Speaking of convenience, the trip south to Philly also provided a decent excuse to stop at Vintage Vinyl in Fords, NJ, and pick up a few odds and ends that I’ll have more on hopefully later this week. Even with that detour, I got to Kung Fu Necktie early. One thing about these last several months of not drinking: It’s way harder to kill time at a bar — even after paying a cover to get in — if you don’t order a beverage. I met and chatted with the cats from Been Obscene for a while, who’d been staying in New York and told me they had a new song included in their set called “Pilot the Pirates” that turned out to be one more reason I was glad I made the trip.
Soon enough, SuperVoid got going with some new material of their own along with the screamier “Wake the Smoke Jumper” from their 2012 debut EP, Endless Planets (review here). These three shows represented the first the band were playing outside their native ‘burgh, so it was expected that the five-piece would seem to be getting their bearings on stage, but they still ran through their songs well and showed personality from within their double-guitar framework. Vocalist Brian showed more melodic range live than on the EP, which bodes extremely well, and the interplay of lead and rhythm guitars balanced metal and rock influences while the rhythm section of John (bass) and Greg (drums) locked in heavy foundational grooves. At one point, they seemed to find their niche between Kyuss and Mastodon, and if that’s going to be their starting point for whatever might come next from them, they could do a hell of a lot worse.
I’d have been happy enough to watch a show with Borracho, Clamfight and SuperVoid on the bill, and might’ve even hiked to Philly to see it, but the chance to catch Been Obscene, and catch them so close to home, was something special even before they started to play. Their two albums to date — 2010’s The Magic Table Dance(review here) and 2011’s Night o’ Mine(review here) — have gotten multiple return visits, and though their set was short, they represented themselves well for the growing populace who made it out to Kung Fu Necktie. There was an eight-band fest happening upstairs, so people were coming and going between the one and the other, but I didn’t move.
I know I already said it was something special to see them make the trip over, and more so to be able to see the last show, but really, it’s worth saying again. Been Obscene played four songs — opening with “Alone” (it also could’ve been “Snake Charmer,” and I’m hoping someone tells me which, as both have been stuck in my head) before hitting their stride in “Demons,” unveiling the jagged desert hues of “Pilot the Pirates” and closing out with Night o’ Mineopener “Endless Scheme,” the clarion lead lines of which were presented perfectly fuzzed in spite of the fact that the four-piece — guitarist/vocalist Thomas Nachtigal, guitarist Peter Kreyci, bassist/backing vocalist Philipp Zezula and drummer Robert Schoosleitner — were running through Borracho‘s gear. But even as an abridged sampling of their warm heavy psych grooving, it was immediately clear they were running on a different wavelength. I dug the hell out of it, and was reminded of some of the other acts from modern European fuzz set that I’ve been fortunate enough to see: Sungrazer, The Machine, Mars Red Sky, Samsara Blues Experiment and of course the godfathers of the sound, Colour Haze.
As someone who enjoyed how Been Obscene grew into their sound on Night o’ Mine, to be able to see them bring that sensibility and confidence to the naturalist jams of “Demons” from the first album, Nachtigal‘s “Watch the weather changing/Is it my fault” proving standout lines that carried me home after the show nearly as much as I-95. “Pilot the Pirates” was less outwardly jammy, featuring some solid backing arrangements from Zezula on vocals, but still had room for a bit of meandering amid a straightforward Queens of the Stone Age start-stop given vitality and fitting attitude from Kreyci rocking out with Schoosleitner. I’m sure it wasn’t the best gig they played in the States — doubtless that happened out west in a clime more fitting to the open space in their aesthetic — but who the hell knows when or if they’ll come back, and even if they do, aren’t the circumstances bound to be different? On a certain level, every show is a once-in-a-lifetime experience. This one more so than many.
When they were done, it was picture time as noted above. Borracho were in the process of setting up their gear, but they ran out to take part and then back inside in time to start their set. Similar to the last couple times I’ve seen them — in October in Manhattan and at SHoD in Connecticut — they played as a trio, but in the last few months, guitarist Steve Fisher has further stepped up as a vocalist in place of the fourth in their four-piece, Noah, who last I heard was out of the country and may or may not still be involved in the band on some level. Either way, Fisher — whom I’ll admit I didn’t at first recognize without his long beard — more than held his own in the frontman role, taking on Noah‘s parts without doing an impression of the missing party and sounding comfortable as well in what I discerned to be newer material, presumably from a forthcoming release.
I’d dug them as a mostly-instrumental outfit, but as Fisher tossed off a joke about memorizing lyrics and bassist Tim Martin and drummer Mario Trubiano ran through “Concentric Circles” from their 2011 debut full-length, Splitting Sky, they made a more than solid power trio, and I’d be interested to see how they continue to develop if indeed they stay a three-piece. By the time they were done, Kung Fu Necktie was pretty full. It hadn’t been dark outside for all that long. The SuperVoid and Been Obscene guys were hanging out — I bought their two albums on vinyl and paid in Euros I had leftover from Roadburn last year — and people were up and down the stairs, in and out of the door, back and forth. Some knew what was coming, some were entirely unassuming.
And then it happened. Like the primordial riff-thrashing bastards that they are, Clamfight took the stage. Having helped release their second album, I Versus the Glacier(buy one here), on The Obelisk’s in-house semi-label, I won’t even feign impartiality where they’re concerned, but as I see it, a Clamfight set is always a good way to cap an evening. They got off to a rough start — bassist Louis Koble playing usual opener “The Eagle” where guitarists Sean McKee and Joel Harris and drummer/vocalist Andy Martin had decided to go with “Mountain” instead — but once they locked it in, they were lethal as ever. They dipped back to their first album, 2010’s Volume 1for “Viking Funeral” and the set closer “Rabbit,” but the highlight for me was new song “Block Ship,” which in the span of about five minutes affirmed my suspicions that I Versus the Glacierwas the realization of just a fraction of their overall potential. No bullshit, I got chills up my spine twice.
But as I said, I’m hardly an unbiased observer, so take that for what it’s worth. When their whiplash melee was done, I said a few quick goodbyes and headed back to my car. I know it wasn’t the optimal situation for the bands involved, but for me, it was my favorite kind of show — not because it was early, because it was something I may or may not ever get the chance to see again. Compared to Floor the evening prior, it wasn’t nearly so crowded in Philly, but doesn’t that just make it more exceptional for the people who are there? Maybe it’s the wrong attitude, but I think it does. Been Obscene were obviously a standout, but the whole night delivered, front to back. It was everything I could’ve asked it to be and then some.
Once again, if you’ve managed to pick up a copy of Clamfight‘s new CD, I Versus the Glacier, either using the Paypal button above or through the Maple Forum BigCartel store, you have my sincere thanks as well as that of the band.
We’re in the home stretch — a scant 21 copies remain in my possession and they’re going at a steady pace. If you’ve been on the fence, it’s a get-it-now-or-regret-it-later kind of deal. The Maple Forum doesn’t do second runs. It’s in the charter. Okay, there isn’t a charter, but seriously, the discs are moving, so thank you for that and they won’t be around for much longer. I guess that’s the point.
If you’re in Philly this coming weekend, as I know I’ll be, catch them Saturday, March 30 at Kung Fu Necktie with Borracho, Been Obscene and Supervoid. Friday, they’re at Cafe 611 in Frederick, MD, with Ichabod, War Injun, Beelzefuzz and Hollow Leg, and the band has sent along word of more shows to come, including confirmation that they’re looking to hit the West Coast this summer and news about new material in progress!
Anyone can bring you a Clamfight update with show news. Here’s one from drummer/vocalist Andy Martin that has a unicorn:
Forgive me for the bullet points folks, but I’m bashing this out on a borrowed laptop in a hotel somewhere deep in the wilds of Pennslytucky, and time is of the essence…
We’ve got two great shows this weekend, we’re at Cafe 611 in Fredrick Maryland with Ichabod, War Injun, Beelzefuzz, and Hollow Leg on Friday the 29th, and we’ll be hooking up with Supervoid, Been Obscene, and Borracho at Kung Fu Necktie in Philly on Saturday, March 30.
April 6th we’re atThe Depot in York PA with Crobot, Kingsnake, and Witch Hazel.
April 25th we’re back at Kung Fu Necktie with Holly Hunt, Sunburster, and the mighty Shroud Eater, in a show that’s sure to start our great southern weekender off with aching heads and rumbly tummies.
April 26th-29th with our bosom chums/band-I-am-also-in, Heavy Temple, we’ll be rampaging through the southeast. Friday the 26th sees us both at the Oasis in Charleston, South Carolina, with Compel, Greenseer and possibly one more TBA, Saturday will likely see us in Virginia (details still getting ironed out on that one), and Sunday the 29th we’ll be wrapping it up with the Akris at Lallo’s in Knoxville Maryland.
The other massive (for us anyway) show news is that we will be slipping the surly bonds of the east coast this summer. We can’t say when or with who but trust us, Clamfight will be heading west this summer.
The final bit of big news is that we are actively writing the next record. We’ve demoed about 25 minutes of material and have rolled out one new song, “Block Ship” live. Obviously things are very premature at the moment but we’re aiming to be in the studio by next winter. Saying much more would almost feel like cursing a process that’s been going really, really well for us, so we’ll just say this, we aim to be studio bound not long after hitting Richmond, Virginia, for Stoner Hands of Doom XIII this November.
Speaking of SHOD and “Block Ship,” we’ll be heading back to Gradwell House as soon as our schedules allow to record both “Block Ship” and a reworked version of a tune that shall remain nameless (for the time being) from our first record for our special SHOD-only split with Wizard Eye and Allthing.
Finally we’d just like to say one last thanks to Thump Box, Brain Candle, The Workhorse 3, Black Hand, and the many, many friends who came out to see us in Delaware last week. Delaware’s somehow always been incredibly cool to us and due to our show/my digging schedule last week’s show may have been our last in Delaware till the fall. Fear not first staters… We shall return.
Posted in Label Stuff on February 13th, 2013 by JJ Koczan
37 21 Copies Left.
Thanks to everyone who ordered a copy of Clamfight‘s I Versus the Glacier, either by clicking the Paypal button above or hitting The Maple Forum‘s Official BigCartel Store. I’ve been floored by the response to the record and couldn’t be more psyched to have so many people in agreement about its badassery. As of this post, I’ve got 37 copies of the record left, and I don’t expect them to last.
Clamfight have been busting their collective hump to get word out about the album, taking ass and kicking names along the way, and as anyone lucky enough to witness their assault this weekend at The Eye of the Stoned Goat 2 in Delaware can tell you, the dudes are firing on all cylinders at this point. More shows are in the works — I’ve heard rumors of touring outside the Eastern Seaboard over the summer, though nothing’s confirmed yet — and they’re currently writing new material as well ahead of their appearance at this year’s Stoner Hands of Doom, set to take place in Richmond, Virginia, Nov. 7-10.
Oft-shirtless frontdrummer/drunk-hugger Andy Martin has issued an update on the band’s multi-pronged doings that we should all tremble to behold. So, uh, do that:
This last Saturday we played the “Eyes of the Stoned Goat 2” fest in Delaware. It was an incredible show and we shared the bill with a lot of good friends from Philly and Delaware such as Thee Nosebleeds, Heavy Temple (a band I’m also in), Skeleton Hands, Blackhand, Wasted Theory, Wizard Eye, and some of Maryland doom’s heaviest hitters, Beelzefuzz, Iron Man, and PA’s Pale Divine.
The show was a great time, Delaware’s always been kind to us, and it was ten hours of beers, buxotic babes, and hugging bearded dudes, and was a preview of the madness that will be SHOD. Thanks to Brendan Burns of SnakeCharmer Booking for making it happen, the guy should be commended for pulling that show off.
Speaking of SHOD madness—
We’ll be doing a split with Wizard Eye for SHOD. They’re an amazing Philly band and also happen to be some of our closest friends, and this split’s a celebration of how stoked we are to be playing such an incredible festival together. Not sure of the exact format yet (most likely CD), but the pressing will be limited to 100 copies, forever, and as of yet we don’t have any plans of making it available for download post SHOD, so it’s get it off us at SHOD or get it never.
It’ll be two songs from both bands, with a bridge tune in between featuring Erik Caplan of Wizard Eye and Sean from us on guitar, myself on drums, and since we didn’t want to pick between our own bass players, Elyse Mitchell of Heavy Temple on bass. Vocals will be handled by some unholy combination of Erik and I.
Upcoming Clamfight Shows: 03/15 Mojo Main, Newark, Delaware, with Thump Box, Braincandle, Workhorse 3, and Black Hand 03/29 Cafe 611, Fredrick, Maryland, with Ichabod, War Injun, the mighty Beelzefuzz and our brothers from Southern mothers, Hollow Leg 03/30 Kung Fu Necktie, Philly with Supervoid, Been Obscene, and Borracho 04/25 Kung Fu Necktie, Philly with Holly Hunt, Sunburster, and Shroud Eater
April 26 Begins a weekender with Heavy Temple in South Carolina that will end on the 28th in Fredrick, Maryland. Details on venues and other bands coming very soon.