Posted in Whathaveyou on September 12th, 2019 by JJ Koczan
These exist and are out on Black Bow Records in November. I’m guessing that if you’ve ever heard either of these superlatively heavy offerings from Conan, that’s probably all the info you need. If you’d like some more though, you might chew on the fact that they come with hand-written lyric sheets or that they’re super-limited in number or that the albums fucking rule or whatever else you want. Or maybe you’d like to do what I’m doing, which is basically use this post as an excuse to spend an hour or two with some of the most righteous riffs the last decade has produced? Yeah, that’s kind of what I figured.
It’s fucking Conan. What more do you want?
Conan to release picture disc versions of classic albums
Legendary British doom band CONAN are pleased to announce that they will release limited edition picture discs of their classic albums Horseback Battle Hammer and Blood Eagle.
Both albums are set to be released in November 2019.
4 brutally heavy slabs of Caveman Battle Doom. Thought of by some as a key moment in the resurgence of ‘modern day’ doom metal.
Picture disks are regular vinyl records but through the middle of the pressed record is a paper sheet with the artwork on. On some picture disks the sound can be less than perfect, but only with certain coloured vinyl and these do not fall into that category.
FIRST 50 ORDERS COME WITH HAND WRITTEN LYRIC SHEET, NOT A PHOTOCOPY.
Blood Eagle is one of Conan’s finest moments. Adding motion and pace to the bludgeoning of Monnos, it quickly rose to the top of most learned doom fan’s lists.
Here we have a ltd edition picture disk copy, in heavy duty plastic sleeve.
***LIMTED TO 150 COPIES WITH INDIVIDUAL HANDWRITTEN LYRIC SHEET*** – NOT A PHOTOCOPY…….. Some copies may contain mistakes.
Lineup: Jon Davis – vocals, guitar (2006-present) Chris Fielding – bass (2013-present) Johnny King – drums (2017-present)
It was only four songs — “Krull,” “Satsumo,” “Dying Giant” and “Sea Lord” — but Conan‘s 2010 EP, Horseback Battle Hammer (review here), was nothing less than a breakthrough, for doom as much as for them as a part of it. The UK-based trio had issued the Battle in the Swamp demo in 2007 and another demo in 2010, but their work on the first EP was the type to earn immediate hyperbole because it was so hyperbolic. It was the omega doom. The doom to end all doom. None heavier. Everyone go home. Conan wins. It’s over. Even today, as a whole league of acts have picked up on their tonal cues and attempted to manifest a similar affect, one can count on a hand the number who’ve managed to do so while manifesting such a sense of utter triumph.
Because that’s the thing about Conan‘s earlier work that often gets lost in the story of how heavy they were. They weren’t just heavy — they were also about heavy. Conan conquered and told tales of conquest. “Worship Krull, within the mountain,” “Bodies flow to the bottom,” “Oceans of graves ebb and flow,” “Sea be lifted sithen” — these lines about struggle and death, worship and the ocean seemed to rise up out of the very murk Conan were creating with their instruments. Founded by guitarist/vocalist Jon Davis, whose voice even then had a surprisingly melodic timbre even in its shouts on “Sea Lord,” with bassist/vocalist John Paul McNulty (now of Coltsblood) and drummer Paul O’Neill, Conan‘s very mission from the start seemed to be to throw down that gauntlet of heavy. From the very launch of “Krull” from the initial wash of cymbals, the focus was clear on what Conan were doing. ‘Heavy’ wasn’t just a tool in their arsenal; it was the foundation of their aesthetic, and they cast it out with superlative revelry, creating a sound that was extreme in its darkness without being a heavy metal caricature and genuinely broadening the scope of what weighted tonality could accomplish.
I don’t think that’s overstating it. Davis has said on multiple occasions he was working under a heavy Slomatics influence, and yeah, that story checks out, and one could likewise argue he was playing to some degree off Floor‘s prior harvesting of the “bomb tone,” but even so, what he did with that influence was his own from the start, and that’s written all over the ensuing rumble of Horseback Battle Hammer. And it’s easy to paint him as the auteur of Conan because he’s the lone remaining original member, but from the swing in O’Neill‘s drumming as “Krull” picked up the tempo at its finish and moved into the holy-shit-did-that-just-happen roll of “Satsumo,” to the tradeoffs made to the lower-register shouts from McNulty — a model Conan would follow with subsequent bassists Phil Coumbe and Chris Fielding — the complete band contributed to the onslaught at all times. “Dying Giant” was a perfect example as McNulty took the forward vocal role at the midpoint and the whole band seemed to emerge from the willful muck of that cut’s early going — not to mention the far-back gutturalisms that pervaded from there and the final surge, with accompanying double-kick from O’Neill.
Was Conan metal? Oh yes. But instead of beating their chest to tell you about it, they were stomping your skull.
To wit, “Sea Lord.” The only cut on Horseback Battle Hammerto top 10 minutes, it started at an especially grueling pace and instead of taking off at any point, it really just descended into noise and became even filthier by the close. It took its own extremity, its own inaccessibility, and turned it into a clarion, and not only did it do so at just the right time to capture the attention of an emerging mobile social media landscape — something out of the band’s direct control, but which they’ve made work for them just the same — but it came from a place that was for the underground by the underground in a way the previous generation of acts simply couldn’t have been. Conan were something new when something new was needed, and their work was unto itself in its execution and rawness, its purposefully simple, impressionistic lyrics telling stories of violence in lines that sometimes didn’t need to be more than one or two words as the telling itself became so much a part of the narrative, with voices buried under a wall of riffs that other bands are still trying to climb. You listened to it and knew it was something special. I think you still do.
The vinyl was on Throne Records and the first CD on Aurora Borealis, but Horseback Battle Hammer has been reissued a couple times, including by Head of Crom Records, Conan‘s current label Napalm Records and Davis‘ own Black Bow Records, so it’s readily available (like on Bandcamp; see above). Of course, Conan released their split with Slomatics (review here) and then signed to Napalm before offering their debut full-length, Monnos (review here), in 2012. From there, the world was pretty much theirs for the spoils. They toured hard in Europe and set a foundation of American fandom before crossing the Atlantic, and across their next three albums — 2014’s Blood Eagle (review here), 2016’s Revengeance (review here) and last year’s Existential Void Guardian (review here) — they’d move away from some of the all-out tonal bludgeoning of Horseback Battle Hammer, but hold firm to the central modus the EP laid forth.
With Davis, Fielding on bass and Johnny King on drums, Conan just wrapped another string of US touring that included a stop to headline the final night of Maryland Doom Fest (review here), where yes, they dominated, and they’ll tour again this Fall in Europe, playing Desertfest Belgium, Heavy Psych Sounds Fest, Soulstone Gathering and much more besides. And even as Davis has begun to show off a ’90s noise fetish in Ungraven and founded the Blackskull Services management/promotion company, which he runs in addition to Black Bow Records — shooting for that “hardest working man in show business” thing — writing has also reportedly started on Conan‘s fifth long-player which is currently expected through Napalm in May 2020. Mark your calendars, kids.
As always, I hope you enjoy. Thanks for reading.
—
Today at 1PM Eastern is a new episode of The Obelisk Show on Gimme Radio. It’s a good one. Don’t miss out: http://gimmeradio.com
Holy crap there’s a lot going on next week. Here are the notes:
MON 08/05 HOLY GROVE PLAYLIST; THE LEGENDARY FLOWER PUNK VID PREMIERE; THE GRAND MAL PREMIERE/ANNOUNCE
TUE 08/06 OBLIVION REPTILIAN REVIEW; MONSTROID VIDEO PREMIERE
WED 08/07 NOTHING IS REAL TRACK PREMIERE
THU 08/08 FROZEN PLANET 1969 REVIEW
FRI 08/09 HELLSINGLAND UNDERGROUND VID PREMIERE
Busy. You know how it goes.
Feeling a little vulnerable after the essay I put up before, but I guess that’s to be expected. Week was up and down. We took off on Wednesday and went to watch the Yankees play the Diamondbacks with my oldest nephew and my cousin and mother-in-law and The Pecan, who I think had a good time. It started to rain in the middle of the game and we left. I was running with his stroller in the downpour with my cousin and nephew and it was a lot of fun. Something we’ll tell The Pecan about when he’s older and goes to games. He already knows the words “bat,” “ball” and “mitt.” He has a little tee in the living room and he hits balls off it and claps for himself. It’s awesome, though as yet I’m having trouble getting him to throw left-handed.
Always work for a lefty out of the bullpen. And if you can throw a knuckeball, you can live forever.
But hey, baseball, right?
Nice deflection.
I hope you enjoyed that Conan above. It’s kind of interesting to me to close out the week with records I wrote about a long time ago. I’ve been doing “Friday Full-Length” since like 2013 or something like that, and for a while I didn’t want to do anything from after I’d started the site, but yeah that’s pretty much gone out the window. There’s just too much out there to not, and when it’s something I reviewed at the time, it gives me a chance to look at it in a different context — as in this case — and I think that’s interesting. I hope you agree. Plus, there’s always other stuff I missed at the time and this gives me another shot at it. So yeah. As far as I’m concerned it’s all fair game now.
I’ve also started plotting out the next Quarterly Review. Five days so far and I’m going to see if I can’t keep it to that. I’m thinking Sept. 16-20, maybe? We’ll see.
Alright, that’s gonna do it for me. I hope you have a great and safe weekend. Thanks again for reading, please don’t forget the Gimme show if you get to check it out and please hit up the forum, Radio and merch.
Yeah, I know, Maryland Doom Fest 2019 was like a month ago. Quit livin’ in the past and all that. Well, this show was supposed to air July 5, so whatever. It got pushed back because apparently July 4 is some kind of holiday now — what.ever. — and it was kicked down the line to two weeks later with re-runs on in the interim. Did anyone notice? Did anyone care? I did. But I’m glad to have had the chance to pay homage to MDDF one way or the other, since it was such a killer time and boasted a lineup of so many good bands.
Of course I had to lead off with Beelzefuzz and Foghound, two staples of the Frederick diet, and the show unfolds from there with new stuff from Zed and Lo-Pan and Kings Destroy amid the likes of Devil to Pay and Earthride and Backwoods Payback and Greenbeard. I made sure to put Solace and Freedom Hawk and Horehound and Toke and Witchkiss in here because their sets were particularly righteous — not to mention Year of the Cobra! — and in addition to representing the headliners in Conan, Mothership and Earthride, I had to include WarHorse since their reunion set was something so particularly special and such a huge part of the festival.
For those who didn’t hear the show, Gimme Radio runs the ‘Gimme Brigade’ which you can sign up for. I think it’s $5 a month or something like that, but you get access to their full archive and help them with hosting costs, etc., so fair enough. If you got to hear this one, thanks. If not, the basic point of the thing was that Maryland Doom Fest 2019 kicked ass, which I sincerely hope also came across in the reviews.
Here’s the full playlist:
The Obelisk Show – 07.19.19
Beelzefuzz
All the Feeling Returns
Beelzefuzz (2013)
Foghound
Known Wolves
Awaken to Destroy (2018)
Zed
Chingus
Volume*
Lo-Pan
Savage Heart
Subtle*
BREAK
Devil to Pay
Ten Lizardmen and One Pocketknife
Fate is Your Muse (2013)
Kings Destroy
Yonkers Ceiling Collapse
Fantasma Nera*
Earthride
Vampire Circus
Vampire Circus (2005)
Witchkiss
Seer
The Austere Curtains of Our Eyes (2018)
Year of the Cobra
Cold
Burn Your Dead (2017)
BREAK
Solace
Khan (World of Fire)
The Black Black (2007)
Backwoods Payback
Whatever
Future Slum (2018)
Toke
Blackened
Orange (2017)
Greenbeard
WCCQ
Onward, Pillager (2018)
Conan
Battle in the Swamp
Monnos (2012)
Apostle of Solitude
Ruination Be Thy Name
From Gold to Ash (2018)
The Age of Truth
Come Back a God
Threshold (2017)
BREAK
Horehound
Dier’s Dirge
Holocene (2018)
Freedom Hawk
Danger
Beast Remains (2018)
Mothership
Midnight Express
High Strangeness (2017)
Warhorse
Lysergic Communion
As Heaven Turns to Ash (2001)
The Obelisk Show on Gimme Radio airs every other Friday at 1PM Eastern, with replays every Sunday at 7PM Eastern. Next show is Aug. 2. Thanks for listening if you do.
It’s about quarter to two in the morning, and I walked into the AirBNB where I’m staying a little bit ago, and have been doing that thing where you dick around on social media because you feel like you want to be doing something else but you’re not so you just lose yourself in the scrolling. Waste of time. I’d rather do this.
The end of Maryland Doom Fest 2019 is bittersweet. This one felt good, and I’m tired, but I’m sorry to see it done. The bands were great, of course — always — but more than that, it’s the people. People so generous with their time, open, kind. Incredible people. Hew-mons.
I was walking out of the venue after Conan and got down the road and I just sat on a step in front of some shop for a couple minutes and put my head between my knees — crash position — to try and process it. I didn’t succeed. I only got up when a roach walked past, otherwise I’d probably still be there, trying to hold on a little bit to tonight, to not resign it to the vapor of my memory. Sets were good, but it was the experience of being here, feeling for a few minutes as much as I’ve ever felt like a part of a thing. It’s beautiful, and raw, and it doesn’t come easily to me. Thank you. In the past, I’ve felt like an interloper in this scene. A tourist. Sitting in this room by myself now, I feel stunned. I feel like I got hit by the best train ever.
In the literal sense of amazement, amazed.
My plan is to get up tomorrow (later today) and get out of here and at some point write about the last day of the fest, which was today — have fun with that math — but I don’t know when or how or where that’s happening. And I reserve the right to delete this entire thing and replace it with some staid bullshit if I so choose, but as slapdash as my consciousness is right now, I wouldn’t trust my judgment on the matter enough to decide.
Thanks for everything. It was so real.
— Morning now. Let’s hit it:
Witchkiss
My first time seeing Witchkiss, and I hope not my last. The NY-based founding duo of drummer/vocalist Amber Burns and guitarist/vocalist Scott Prater were operating as a two-piece for a minute there, but they’ve brought in bassist Tyler Irish, and though I hadn’t seen them before, it was hard to argue with the result of their doing so. They were less an assault with volume than a gradual unfolding, and presumably because it was early it took a song or so for them to really dig into what they were doing, but they got there, and the atmosphere wasn’t lost for the weight of tone, with Burns‘ headset mic cutting through that morass and Prater‘s growls adding to the post-sludge feel as they progressed. Their 2018 debut, The Austere Curtains of Our Eyes (review here), made a splash, and rightly so, but they’ve announced intentions toward a follow-up for next year, and they seem to be ready to move forward, both in terms of sound and in the fact that they’re touring with Conan and very obviously putting work in to get their name out. I expect if they come back Maryland Doom Fest at some point, they’ll be playing in a well-earned later slot.
Shadow Witch
Barefoot showman/shaman/frontman Earl Walker Lundy said from the stage that Shadow Witch‘s next long-player won’t arrive until 2020, which is fair when one takes into account the busy schedule of their label, Italy’s Argonauta Records, but they played two new songs in “Witches of Aendor” — which is neither to be confused with Endor, from Star Wars, or Andor, from Star Trek — and “Shifter,” and both sounded right on coming out of the recognizable strains of “Beneath the Veil” from late-2017’s Disciples of the Crow (review here). Lundy, dancing, kinetic, probably in need of a good foot-wash, is very much a focal point for Shadow Witch‘s live presentation — and yeah, he’s the singer, so that happens — but guitarist Jeremy Hall, bassist David Pannullo and drummer Justin Zipperle are ultimately responsible for the niche Shadow Witch have carved for themselves in a kind of dark heavy rock vein, sometimes aggressive, but not metal, sometimes doomed, but not doom. It would suit a narrative to say it was true of the new songs, but it was true of the old as well that Shadow Witch revel in that individuality of purpose, and as much Lundybecomes the personification of it, it’s the whole band making it work.
Faith in Jane
The Thurmont, Maryland, power trio have been this scene’s best kept secret for the last few years at least. They’ve put out records at a good clip since 2012 — last year’s Countryside (review here) is their fifth; recording live helps — and legitimately at this point are a band who should be bigger than they are, stretching their legs on tour, opening for national acts coming through, and so on. Watching them on stage at Cafe 611, my impression wasn’t all that different than when I saw them here in MD four years ago: they have a shit-ton of potential. The difference is now they kind of need to decide what to do with it, how they’re going to dig into the heavy grunge vibes and push forward with maybe more straightforward songwriting of songs like “Mountain Lore,” which closed the set, meandering into and out of jams along the way. Figuring out where they want to be. As it was, when they were done, I went to their merch table and bought a copy of every CD they had for sale. I’m pretty sure I already own Countryside and 2016’s Rhythm of Elevation, but screw it, I wasn’t taking the chance. Next time Earthless rolls through Baltimore, Faith in Jane should be opening. Then they should spend the next three years solid on the road and become the best heavy band that Maryland ever produced.
Horehound
Faith in Jane were on a different trip, but neither Shadow Witch nor Witchkiss were wanting for atmosphere. Pittsburgh’s Horehound took that to a different level. I’ve lost track at this point how many labels the four-piece have worked with between 2018’s Holocene (review here) and their 2016 self-titled debut (review here), but it’s definitely enough to be called “several,” including frontwoman Shy Kennedy‘s own Blackseed Records. The band are all the more ambassadors for the Steel City underground for the fact that Kennedy runs the Descendants of Crom fest there — while we’re giving a CV, she also did a t-shirt design for this site — and they excelled in that role, honing the most immersive sound I would hear all weekend. It’s not just that it was a wash, but their balance of hypnosis and bash was something I felt fortunate to behold in person and gave new character to the growl-laced “L’Appel du Vide” from Holocene, as guitarist Brendan Parrish, bassist Nick Kopco and drummer JD Dauer dug into a combination of lurch and semi-angular progressions, always seeming to wind their way back to the right spot to start again. They were striking in their patience as well, unwilling to let go of the mood they worked so hard to craft, even when at their most pummeling.
Thousand Vision Mist
Guitarist/vocalist Danny Kenyon (ex-Life Beyond), bassist/vocalist Tony Cormulada and drummer Chris Sebastian also played Maryland Doom Fest in 2018 (review here) and 2016 (review here), so it’s more than fair to call them veterans at this point. Their sound is a dug-in form of heavy progressive rock, managing to hold to a lack of pretense even as Kenyon‘s guitar wanders off to parts unknown only to snap the crowd back into consciousness as he rejoins Cormulada and Sebastian in the underlying groove. They’re not a band trying to take over the world, which kind of put them in direct contrast with Toke, who followed, but they pulled a good amount of the local faithful and had three new songs on offer alongside “Prince of Grace” from their debut album, 2017’s Journey to Ascension and the Loss of Tomorrow (review here), and “Tears of the Moon” from their prior 2015 demo. In my experience, they’ve never been anything but solid live, and a check-in annually works just fine by me. I have to wonder though at some of their themes, if somebody in the band is a pilot. “We Flew too High,” “Tears of the Moon” or “Final Flight of Fall” and “Skybound and Beyond” from the album. Someone writing this stuff would seem to spend an awful lot of time in the sky.
Toke
The reigning princes of North Carolinian sludge took the stage at Cafe 611 like they owned the place and then went on to prove that, indeed, they did. Their second album, 2017’s Orange (discussed here), continues to shit hot fire on the weed-worshiping social-media-word-of-mouth contingent, which is nifty, and the band — in addition to providing a recent lesson on PR crisis management by getting out in front of a sexual harassment claim against their now-former drummer — with guitarist Tim Bryan and bassist/vocalist Jason “Bronco” Pierce as the remaining founders will do shows later this year with Black Label Society, have already been out with Church of Misery this year and continue to build a reputation based on ultra-stoned, crusty-jeans riffs. They had plenty on offer for the willing nodders at Maryland Doom Fest — which was basically everybody in the place — and they tapped their inner Sourvein in order to coat the assembled in moss-coated weedian groove. I think of them at this point kind of where Monolord were a few years back. They’re a band tapping into something primal, breaking their ass in every way possible to reach as many people as possible with it, and there’s no real perceptible limit to how far they can go with it. I don’t know if anyone has signed them for their next record yet or what, but they probably should.
Kings Destroy
This marked the third time I’ve seen Kings Destroy in the last couple months playing material from this year’s excellent Fantasma Nera (review here), and while they didn’t have their we’re-on-tour-thousand-yard-staredown — because yes, in that scenario, they’re staring down everything within that thousand-yard omnidirectional radius — they still did thorough justice to their most rock-based collection of songs to-date. Citing “Unmake It” as their “doom song” — compared to “Barbarossa” or “Bleed Down the Sun,” maybe — they followed with “Seven Billion Drones” and a near-constant sense of melody between the guitars of Carl Porcaro and Chris Skowronski and the vocals of Steve Murphy, a duty he shared more with bassist Aaron Bumpus than even this Spring. As I recall it, the only song Bumpus didn’t step up to the mic for was the speedy “Mr. O” from their 2015 self-titled (review here), and it was easy to hear where the harmony might’ve fit if he had. I won’t take away from their delivery of that cut or any other, the propulsion in Rob Sefcik‘s drums able to slash pace in half at a measure’s notice and still not lose the thread, and the finale of “Yonkers Ceiling Collapse” once again provided the riff-based hook that tied the entire set together and gave it a sense of movement that has been the band’s own all along, whatever styles they’ve been fitting into and not fitting into — mostly the latter — over the last decade.
Zed
Before San Francisco’s Zed went on, webernets metal radio guru and regular Doom Fest master of ceremonies Dave Benzotti led the band, the crowd, and pretty much everyone in the place in a sing-along of Journey‘s “Lights.” And I mean, the place kind of went off. Belting it out. They play that at sports events and such in San Francisco — I guess it would be like playing anything by Springsteen, or, you know, Journey, in New Jersey — so alright, but more importantly, when Zed took the stage, they did so at an immediate sprint that swept the Cafe 611 along with it, and once they started moving, they did not stop, save for a quick tune-up before the next max-intensity forward thrust. I haven’t had the pleasure of hearing their new album, Volume, yet — it’s out next month on Ripple — but I feel like I got to know it a bit anyhow as they played songs like “The Other Kind,” “The End,” “Wings of the Angel,” “Poison Tree” and “Chingus,” so that was welcome. They were clearly known to the bulk of people in front of the stage but even for those who wouldn’t have seen them last year, Zed made a readily convincing argument in their own favor, the energy of their performance serving as an infectious final shot of adrenaline to hold a long-weekend crowd over until the bludgeoning soon enough to come. All this and Journey too. Sometimes life is genuinely weird, but it works.
Conan
You know, Conan headlining Maryland Doom Fest is a big fucking deal, and it’s worth recognizing that. They’re a UK band. They played Sunday night, having just on Friday took stage before 8,000 people at Hellfest in Clisson, France — and much to their credit, come to the venue on Saturday night just to hang out and get the lay of the land — and not only are they among the planet’s most crushing live acts, but they’re a legitimate international enterprise. They might be the biggest band who’ve ever played the festival, and their involvement is emblematic of the growth of Maryland Doom Fest as a whole over the last five years and most especially in 2019. Also helping Conan‘s case? They. Fucking. Killed. I’ll be honest, once the moshing started behind me while I was taking pictures up front, I was gonna check out before the set was done, try and sneak in some work before crashing, but I stayed through the entire set (not up front), and they were nothing less than spellbinding. Cafe 611 was probably the smallest room I’ve seen Conan play since the first time I saw them in 2012, and it was like their tonal onslaught had nowhere to go, so the vibrations from Jon Davis‘ guitar and Chris Fielding‘s bass and the thud of Johnny King‘s drums just kept bouncing off the walls and looping back on themselves. Earplugs? Useless. Why bother. There was no getting away. I stood to the side and watched the pit go and go, a couple dedicated crowdsurfers carried here and there and back again, but Conan were unbelievable. Davis‘ guitar cut out early in the first song, but they got it worked out and there was no letup from there. “Foehammer” into “Battle in the Swamp” into “Paincantation” into “Satsumo.” It was that kind of evening. The perfect blowout sendoff for Maryland Doom Fest 2019 and a reinforcement of Conan‘s long-established dominance over damn near everything.
—
That’s it, it’s done. You already know what I did after the show last night — I went and held my head and then wrote the intro above, if you missed it — and that was that. I was up at six this morning to start writing and sorting pictures having finally keyed down enough to sleep a little before three. Take that, brain. Ya jerk.
Before I do the “more pics after the jump” thing and sign off, I want to thank JB Matson for the incredible work he does in putting this festival together. What’s he’s built has become something truly special, and the future only seems to get brighter as he goes. All the best for 2020 and I hope to be able to be back in town for it. Lineup announcement on Halloween, maybe? I’ll keep an eye out.
And I want to thank The Patient Mrs. for taking over full-on childcare duties to allow me to go and blow off some steam in Frederick and get my head right and hear all the nice things people said about the site and see killer bands and not eat, and not sleep, and wear silly-ass pants and have a good time. Thank you.
And thank you for reading. You guessed it: more pics after the jump.
Posted in Whathaveyou on June 5th, 2019 by JJ Koczan
Conan have already hit the road hard this year, mostly the US where they’ve shared stages with Black Label Society, The Atomic Bitchwax and I don’t know how many others along the way. They’ll continue that thread starting in about two weeks at the Maryland Doom Fest — where I’m looking forward to seeing them — and they’ll do a run of headlining shows with Witchkiss after that, and now they’re announcing a headlining run with Un and Sixes for Europe this Fall that will begin at Desertfest Belgium on Oct. 20 and run through mid-November as they tear ass across the continent for the better part of a month.
My only question is whether they’ll have a new album out by the time that tour hits. You’ll recall at the start of the year they talked about a new release in 2019. I’ve no idea when they would have had time to record such a thing, but that doesn’t mean they didn’t yet or won’t after this next tour. I don’t know. Maybe their plans have changed. I hear plans do that sometimes.
Either way, the more eardrum decimation, the merrier, so here are the dates:
CONAN – !!!EUROPEAN TOUR ANNOUNCEMENT!!!!
OCTOBER / NOVEMBER SHOWS.
We are delighted to head out into the mainland with two of the USA’s finest and heaviest bands.
Un and Sixes join us for what will be a very heavy run of shows…..
Conan Live: June 23 Frederick, MD – Maryland Doom Fest June 27 Portland, ME – Geno’s ^ June 28 Montreal, QC – Turbo Haus ^ June 30 Cleveland, OH – Now That’s Class ^ July 01 Columbus, OH – Ace of Cups ^ July 02 Indianapolis, IN – Black Circle ^ July 05 Omaha, NE – Slowdown July 06 Rapid City, SD – Haycamp Brewery ^ = w/Witchkiss
Conan Fall Tour w/ Un & Sixes: 20.10 Desertfest Antwerpen, Antwerpen, BE 21.10 Magasin 4, Brussels, BE 22.10 Schlachthof, Wiesbaden, DE 23.10 Junkyard, Dortmund, DE 24.10 Funbureau, Hamburg, DE 25.10 Alte Meierei, Kiel, DE 26.10 1000 Fryd, Aalborg, DK 27.10 Truckstop Alaska, Gotenborg, SE 28.10 Vega, Copenhague, DK 29.10 Zukunft Am Ostkreuz, Berlin, DE 31.10 Gazwerk, Winterthur, CH 01.11 Bad Bonn, Dudingen, CH 02.11 Heavy Psych Sounds Fest, Innbruck, AT 03.11 Legend Club, Milano, IT 04.11 Gala Hala, Ljubjlana, SL 05.11 Cluc Mocvara, Zagreb, HR 06.11 Arena, Vienna, AT 07.11 Durer kert, Budapest, HU 08.11 Kulturak, Bratislava, SK 09.11 Kabinet Muz, Brno, CZ 10.11 Soulstone Gathering Festival, Kravow, PL 11.11 Chemiefabrik, Dresden, DE 12.11 Underdogs, Praha, CZ 14.11 Baroeg, Rotterdam, NL 15.11 Gibus, Paris, FR
Lineup: Jon Davis – vocals, guitar (2006-present) Chris Fielding – bass (2013-present) Johnny King – drums (2017-present)
Posted in Whathaveyou on May 20th, 2019 by JJ Koczan
Hey, anyone else kind of notice Heavy Psych Sounds taking over the world? Don’t get me wrong, I’m not opposed to the idea, but as the Italian imprint continues to expand its reach to things like a US West Coast package tour and a return to Austria that includes a second venue, I can’t help but notice the spreading influence. Global dominance may or may not be an intent — frankly, we should be so lucky — but as Heavy Psych Sounds Fest hits Innsbruck again, an initial lineup of Conan, Ecstatic Vision, Gozu, Sapo and Oreyeon bodes well immediately. Again, they’ve got two venues to fill this time around, so I believe the poster when it says “more bands tba,” but even just that top three is a fine start as far as I’m concerned, and as we see the busy Fall fest season in Europe spill over into November, the march toward every-weekend-of-the-year festival paradise seems inevitable. So be it.
Here’s the PR wire announcement for the first five bands, and yeah, more to come:
Conan, Ecstatic Vision, Gozu and more confirmed for HEAVY PSYCH SOUNDS FEST in Innsbruck this November 1 & 2
After the great success of last year’s HEAVY PSYCH SOUNDS FEST that took place in Innsbruck, Austria, the Italian fuzz rock label has just announced to return to the hills and capitol of Tyrol in 2019!
With locations and hot-spots all over Europe, including London, Brussel, Deventer as well as the recent, first edition of Heavy Psych Sounds Fest even in the US with headlining bands such as Red Fang, Nebula and many more, the underground cult label has become an important live and festival institution; with a brisk participation from heavy rock fans all over the Globe, celebrating the almighty riffs in all that is heavy, doom, sludge and stoner rock.
In cooperation with Poison For Souls, the Heavy Psych Sounds Fest-series will once again turn the Austrian venues, PMK and this time also Jellyfish, into a psychedelic wonderland. The first and high class acts have just been announced! Get ready for doom heavy weights CONAN, psychedelic fuzz rockers ECSTATIC VISION, as well as GOZU, OREYEON and SAPO to round up this first line-up announcement in style, with many more bands to be revealed soon!
The 2nd edition of HEAVY PSYCH SOUNDS FEST INNSBRUCK will be taking place between November 1st & 2nd 2019, tickets are now availableHERE!
Posted in Whathaveyou on May 8th, 2019 by JJ Koczan
I don’t at all think you need me to tell you to go see Conan whenever the opportunity should happen to present itself. With the brand-newly-announced secret show with Yatra and False Gods at the Saint Vitus Bar as an offshoot from their tour with Black Label Society and The Atomic Bitchwax, that’s one more chance to do so. The UK three-piece have made a couple stops at the venerable Brooklyn institution at this point — I saw them there in 2015 (review here) — but it’s a sight to behold and sound to… well, have your ears blown out by. Their volume, in that room. Safe to say you’ll be hitting the water cooler in back by the bar once or twice during the set. Or, you know, just drinking more generally.
Conan continue to support their 2018 album, Existential Void Guardian (review here), and are working toward the release of yet another new record this year, all the while coming back to the States in June around an appearance at Maryland Doom Fest 2019 where, as one would expect, they’ll be headlining. Hard to argue with the logic there, and whenever I hear something about the next Conan LP showing up, I’ll let you know. Unless it’s a secret. I can keep secrets.
Not this one though:
CONAN – Semi-Secret Show at Saint Vitus Bar
CONAN Live: May 09 Hampton Beach, NH – Hampton Beach Casino # May 10 Brooklyn NY – Saint Vitus Bar May 12 Richmond, VA – The National # May 13 Baltimore, MD – Ram’s Head Live # May 14 Toronto, ON – Opera House # May 15 Toronto, ON – Opera House # May 22 Los Angeles, CA – El Rey Theater # May 23 Los Angeles, CA – El Rey Theater # # = w/Black Label Society * = w/Atomic Bitchwax
June 23 Frederick, MD – Maryland Doom Fest ^ June 26 Boston, MA – Great Scott ^ June 27 Portland, ME – Geno’s ^ June 28 Montreal, QC – Turbo Haus ^ June 30 Cleveland, OH – Now That’s Class ^ July 01 Columbus, OH – Ace of Cups ^ July 02 Indianapolis, IN – Black Circle ^ July 03 Chicago, IL – Reggies ^ July 04 Rock Island, IL – RIBCO July 05 Omaha, NE – Slowdown July 06 Rapid City, SD – Haycamp Brewery July 07 Denver, CO – Hi-Dive ^ = w/Witchkiss
Lineup: Jon Davis – vocals, guitar (2006-present) Chris Fielding – bass (2013-present) Johnny King – drums (2017-present)
Posted in Whathaveyou on March 13th, 2019 by JJ Koczan
UK trio Conan have been chipping away at the West Coast since the latter part of last month, and they’ll wrap up that run at SXSW ahead of heading out once more in April, this time in the company of The Atomic Bitchwax and Black Label Society for a tour that will end in May. THEN they’ll be back in the US AGAIN in June to play more dates around their stop headlining at Maryland Doom Fest 2019. That is a significant amount of touring and, unless they’ve opened up a US headquarters and I didn’t know about it — could happen — a significant amount of travel across the Atlantic to do it.
All of this is set to precede the arrival of their next studio album, which, if it was going to be out this Spring would most likely already have seen its release date announced. Maybe summer? Maybe fall? I don’t know, but Conan are for sure keeping busy as they head toward the release, which of course one looks forward to in that special way that one anticipates Conan records like a boot to the skull. Which is to say, yes, very much.
From the social medias:
CONAN – NEW US DATES
Check out our dates during April / May / June / July…….
See you in the pit (or to one side with your arms folded, nodding your head).
CONAN Live: March 12: Taos, NM @ Taos Mesa Brewery Mothership March 13: El Paso, TX @ Rockhouse March 15: Austin, TX SXSW @ Lost Well
Apr 24 Denver, CO – Oriental Theater #* Apr 25 Denver, CO – Oriental Theater #* Apr 27 Dallas, TX – Canton Hall #* Apr 28 Dallas, TX – Canton Hall #* Apr 30 Chicago, IL – Concord Music Hall #* May 01 Chicago, IL – Concord Music Hall #* May 02 Lexington, KY – Cosmic Charlie’s * May 03 Chattanooga, TN – The Signal #* May 04 Asheville, NC – Odditorium * May 06 New York, NY – Bowery Ballroom #* May 07 New York, NY – Bowery Ballroom #* May 08 Hampton Beach, NH – Hampton Beach Casino #* May 12 Richmond, VA – The National #* May 13 Baltimore, MD – Ram’s Head Live #* May 14 Toronto, ON – Opera House #* May 15 Toronto, ON – Opera House #* May 22 Los Angeles, CA – El Rey Theater #* May 23 Los Angeles, CA – El Rey Theater #* # = w/Black Label Society * = w/Atomic Bitchwax
June 23 Frederick, MD – Maryland Doom Fest June 27 Portland, ME – Geno’s ^ June 28 Montreal, QC – Turbo Haus ^ June 30 Cleveland, OH – Now That’s Class ^ July 01 Columbus, OH – Ace of Cups ^ July 02 Indianapolis, IN – Black Circle ^ July 05 Omaha, NE – Slowdown July 06 Rapid City, SD – Haycamp Brewery ^ = w/Witchkiss
Lineup: Jon Davis – vocals, guitar (2006-present) Chris Fielding – bass (2013-present) Johnny King – drums (2017-present)
