Love Gang & Smokey Mirror Release Split Double EP on Glory or Death Records

Posted in Whathaveyou on February 14th, 2019 by JJ Koczan

I think we all know Valentine’s Day is some beat shit. Manufactured to sell greeting cards. And if you love someone and you have to buy into some prepacked sentiment to tell them so, guess what, you’re fucking up, and you should probably be in therapy. You don’t need to wait for some special day to buy someone candy or some corny-ass stuffed bear or whatever other gender-prescribed red-tinted crap they’re hocking at CVS, and frankly, neither should you. Love is all the time, every day.

That said, a new split from Denver’s Love Gang and Dallas’ Smokey Mirror out today through Glory or Death Records is just about enough to get me through this most dopey of faux-holidays — and there’s some stiff competition in that regard; don’t get me started on Mother’s and Father’s Days — bringing three killer tracks from each band out at a name-your-price rate with limited vinyl available for those who’d like to give it the archival treatment. I’ll admit it’s tempting, especially as it’s the first time either band have been pressed to platter and they’ll both have new records out later this year. I don’t know if those will also be through Glory or Death or what, but listening to these tracks, I can rattle off five labels who should be chasing down either band, easily.

So to sum up: Crappy holiday, cool tunes. Take what you can get in this life. Especially when it’s riffs.

From the PR wire:

smokey mirror love gang split double ep

LOVE GANG AND SMOKEY MIRROR SPLIT DOUBLE EP

Valentines day is a mixed bag to say the least but this Special Edition Double EP slab featuring the saturated grooves of LOVE GANG & SMOKEY MIRROR will moisten any undergarment regardless of romantic affiliation. This is the FIRST vinyl offering for either band and will prove to be a gem that leads to both bands highly anticipated 1st FULL LENGTH LP later this year.

Digital release is available today and as a special heart warming gift for those lost in romantic despair the crew at Glory or Death Records along with the Bands alike have made all 6 tracks available to download free-of-charge.

So go downloads some tunes, light one up, and consider yourself the Valentine of both LOVE GANG & SMOKEY MIRROR because blasting these tunes will never end in heartbreak.

GLORY OR DEATH RECORDS to release a first in the “Double Impact” Vinyl series featuring Love Gang and Smokey Mirrors available at https://gloryordeathrecords.bandcamp.com/album/love-gang-smokey-mirror-double-ep

GLORY OR DEATH SPLIT
LOVE GANG & SMOKEY MIRROR
SIDE A:
1. CAN’T SEEM TO WIN
2. BREAK FREE
3. LONELY MAN

SIDE B:
1. SWORD AND SCEPTER
2. SUCIO Y DESPROLIJO
3. A THOUSAND DAYS IN THE DESERT

Limited to:
100 Triple Splatter
100 OBI signed and number by Album Artist
25 Waxmage

https://www.facebook.com/lovegangco/
https://lovegangco.bandcamp.com/
https://www.facebook.com/smokeymirrortx/
https://smokeymirrortx.bandcamp.com/
https://www.facebook.com/Gloryordeathrecords/
https://www.instagram.com/glory_or_death_records/
https://gloryordeathrecords.bandcamp.com
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https://www.gloryordeathrecords.com/

Love Gang & Smokey Mirror, Split Double EP (2019)

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Wo Fat Announce European Tour Dates

Posted in Whathaveyou on July 12th, 2018 by JJ Koczan

wo fat (Photo Necroblanca Photography)

With their having already been announced for Desertfest Belgium 2018, Keep it Low 2018 and Into the Void 2018, a European tour announcement from Texas swampriffers Wo Fat isn’t entirely unexpected. Still welcome news to just about anyone in their path who’s ever nodded to a riff, though, which always seems to be more and more people in their path. The veteran three-piece are two years removed from their most recent studio offering, Midnight Cometh (review here), which for them is about on pace — see 2014’s The Conjuring (review here) and 2012’s The Black Code (reviews here and here), each out with a two-year split between — but I haven’t heard anything yet about a new record. Does that mean it’s not happening? Shit no. Not like I friggin’ know anything. But if it’s coming this year, well, album announcements are into October already, so it would be getting here late. Not to say it can’t happen, just that 2019 seems more likely to my addled, baby-chasing, no-sleep-getting, feeble-to-start-with brain.

Either way, their touring Europe is more than enough excuse to revisit Midnight Cometh, so you’ll find that at the bottom of this post, courtesy of Ripple Music‘s Bandcamp. News comes from the PR wire:

wo fat tour poster

Texan heavy rock legends WO FAT announce “Electric Conjure Man Tour” across UK/Europe this October

To purchase tickets for available dates, please click HERE

Having already secured their legendary status within the stoner rock community over a sonic odyssey of six studio albums, Wo Fat has stayed true to the deep, dark blues that wail from within. Following on from the critical success of their last album, Midnight Cometh, and continuing their partnership with the equally formidable California-based record label Ripple Music, European fans that have yet to experience the full force of the Wo Fat experience will be able to get a taste of what they’ve been missing this October.

“Playing in Europe is always an amazing experience for us and it’s been a couple years since we last made the trip, so we’re really excited to be coming back,” explains Wo Fat’s vocalist/guitarist, Kent Stump.

“We are particularly stoked to be able to play three different festivals, all killer, on this run; Desertfest Belgium, Into the Void and Keep It Low. We’ll also be playing some new places as well as returning to some favourites, like The Underworld in London and Le Glazart in Paris. And even better, about half the shows will be with the mighty Sasquatch along with shows with Elder and The Devil and the Almighty Blues. We’ll be rolling out some new songs on this tour and it will be our first European trip with Zack playing bass so I think our fans in Europe will really dig the heavy groove he brings.”

Brought to you by Ripple Music and Sound of Liberation, Wo Fat’s “Electric Conjure Man European Tour 2018” will kick off on 11th October 2018 at The Underworld, London. For a complete list of dates, see below.

Wo Fat “Electric Conjure Man European Tour 2018”

11/10/18 – The Underworld, London, UK [w. The Devil & the Almighty Blues]
12/10/18 – Desertfest Belgium, Antwerp, BEL
13/10/18 – Engelsburg, Erfurt, DE Stoned From the Underground [w. Sasquatch]
14/10/18 – Cassiopeia, Berlin, DE
15/10/18 – Schlachthof, Wiesbaden, DE [w. Sasquatch]
16/10/18 – Fabrik, Zurich, CH [w. Sasquatch]
17/10/18 – Les Caves Du Manoir, Martigny, CH [w. Sasquatch]
18/10/18 – Le Glazart, Paris, FRA [w. Elder and Sasquatch]
19/10/18 – Into the Void Festival, Leuwaarden, NL
20/10/18 – Keep It Low Festival, Munich, DE

https://www.facebook.com/wofatriffage/
https://twitter.com/HouseOfWoFat
https://www.instagram.com/wofatriffage/
https://wofat.bandcamp.com/
ripple-music.com

Wo Fat, Midnight Cometh (2016)

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Review & Track Premiere: Mountain of Smoke, Gods of Biomechanics

Posted in audiObelisk, Reviews on June 21st, 2018 by JJ Koczan

mountain of smoke gods of biomechanics

[Click play above to stream ‘Tyrell’ from Mountain of Smoke’s Gods of Biomechanics. Album is out July 7.]

Crush wins the day quickly on Mountain of Smoke‘s second album, Gods of Biomechanics. The Dallas-area duo of bassist/vocalist Brooks and drummer PJ bludgeon efficiently on the 10-track/33-minute outing, and expand their lineup through working with pedal steel guitarist Alex, filling out the bass/drum sound with an atmospheric breadth that can be heard on songs like “Caesium Beams,” making the material all the more memorable as well as being brutal and extreme. As with their 2014 self-titled debut, which was issued through Do for It Records, the theme that ties all the songs together is drawn from Ridley Scott’s 1982 sci-noir classic Blade Runner. Songs are based around the story of Ray Batty (Rutger Hauer) and named after characters from the film — “Leon,” “Tyrell,” “Zhora” — and as the band already seem to have covered the main characters in their debut with “Decker,” “Rachel,” “Pris,” and so on, and they also begin to dig into ideas expressed in the movie, places or other elements.

Accordingly, we get “Tannhauser Gate” which is mentioned in a sample of Rutger Hauer at the end of the subsequent and pummeling “Orion’s Shoulder,” “Incept” referring to the concept of when a replicant is ‘born,’ and “Retirement” for when they’re killed. Samples from the film — which I’m just going to assume everyone reading this watched at least once when they were in their 20s — are sprinkled throughout, providing transitions and making sure that Mountain of Smoke stick with the plot, as it were. In addition to giving the audience something to latch onto for a record that, put to tape by Michael Briggs at Civil Audio in Denton, TX, both bludgeoning in its execution and largely indecipherable on first listen when it comes to the blown-out growls that serve for most of the vocals, the theme also lends aesthetic nuance to Mountain of Smoke‘s sound, which if the point hasn’t gotten across yet, is anything but subtle.

Rather, it is a style built for volume. The litmus test for duo-violence used to be Black Cobra and I suppose now it’s probably Germany’s Mantar. For what it’s worth, Mountain of Smoke have more in common with the latter than the former in terms of their overall approach, though of course it varies. Less outwardly thrash, they’re nonetheless given to driving moments throughout Gods of Biomechanics, whether it’s the closing title-track, the rush of “Tannhauser Gate” or the stabbing verse of “Retirement.” Amid the thrust come massive rolling grooves. Massive, as in, of mass. From the moment “Incept” picks up from its leadoff sample at the album’s open, its huge low end plod becomes as much of a running theme as the film itself. That instrumental opener leads way via another sample — just of the score — into “Tannhauser Gate,” which revels in its thrust and brashness. Who could argue? Like much of the record, it’s a speaker-blower, and the pedal steel shows itself pivotal as well when it comes to adding a sense of space to the proceedings.

mountain of smoke

That too will become more and more apparent as the rest of Gods of Biomechancis plays out, through “Orion’s Shoulder” and “Caesium Beams” and the High on Fire-worthy bombast of “Zhora,” and into side B on “Retirement,” “Leon,” “Tyrell” and the title-track. So really just everywhere save perhaps “Incept” and its counterpart “Morphology” which gives the second half of the album its own instrumental launch. I don’t know how full-time a member of the band Alex will be, if the two-piece has become a trio, but his work winds up being crucial here just the same. As mentioned, the pedal steel adds breadth and a sense of space to the songs, but it also works in concert with the Blade Runner theme, since with the echo behind it and often played in sustained notes, it cuts a direct line to the kinds of otherworldly melodies Vangelis brought to the original film’s soundtrack. That was largely synthesized, but if one thinks of it on an interpretive level, the comparison holds up.

And the effect that has on making Gods of Biomechanics seem all the more complete in terms of concept and delivery isn’t to be understated. Mountain of Smoke‘s first offering was rawer and hit with plenty of force, but was more abrasive and not nearly so methodical. Gods of Biomechanics mounts its attack with some feeling of calculation behind it. The band aren’t simply crashing through the wall, they’re sneaking around it — though one hesitates to use a work like “sneaking” when it comes to something so obviously meant to be played as loudly as possible. Either way, not to be lost in all the holy-crap-this-is-heavy hyperbole that’s sure to be tossed the album’s way is the fact that Mountain of Smoke‘s sound isn’t just about bearing an inhuman amount of heft, or about describing scenes from a movie, but about entering a creative conversation with that work, and the pedal steel, siren-like at the start of “Retirement” or riding the fury of Brooks‘ riff on “Leon,” is a major part of what allows it to do so.

Its inclusion feels organic — as opposed to it feeling android, I guess — as an extension of the band’s overarching purpose, and as they slam into “Tyrell” and “Gods of Biomechanics” at the record’s back end, the statement they seem to be making not only engages with its subject matter, but brings it to life in a new, fascinating and oddly appropriate way. The risk with bands working on a single-theme as Mountain of Smoke are is that, at a certain point, they might run out of things to talk about once all the characters and ideas from the movie are covered. Would they write a song about the 2017 sequel? The sans-monologue directors cut version of the original? I don’t know, but they wouldn’t be the first group to come up against that issue, say screw it, and successfully move on to other thematic ground, so maybe I’m worrying about nothing. More important for the moment is the success throughout Gods of Biomechanics in putting their listeners in that always-dark, always-raining world where the threat always seems to be present and the danger always seems to be right there waiting. So too is the case here as Mountain of Smoke dream of electric sheep and awaken to be unbridled in their aural instensity.

Mountain of Smoke on Thee Facebooks

Mountain of Smoke on Twitter

Mountain of Smoke on Bandcamp

Do for It Records website

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Elliott’s Keep Announce New Album Lacrimae Mundi

Posted in Whathaveyou on May 31st, 2017 by JJ Koczan

It’s been a good long while since the last time we heard from Dallas, Texas, trio Elliott’s Keep. Their third record, Nascentes Morimur (review here), arrived in 2013, and, well that was four years ago, so yeah. It was the doom metallers’ harshest offering to-date at the time, and one wonders what the intervening years will have done to their sound. It’s a relevant question, of course, because they’re recording a fourth long-player as we speak.

Okay, maybe not this second, but it’s in progress. Once again working with producer J.T. Longoria (Mercyful Fate, Absu, King Diamond, Solitude Aeturnus), once again keeping on theme in the medieval imagery of their cover art and once again holding true to their penchant for Latin album titles — Lacrimae Mundi translates, as noted below, to “tears of the world” — Elliott’s Keep seem to be signaling a sticking to form rather than any radical changes, but each of their outings has been a creative step from its predecessor and I’d expect no less this time around as well, whatever other elements may persist. The band, as you’ll recall, were formed in homage to mutual friend Glenn Riley Elliott, whose passing continues to inform their thematic and overall style.

Not sure on the exact timing of the release, but the band sent over the following so we can all be in the loop on the art and tracks. Here goes:

elliotts-keep-lacrimae-mundi

Elliott’s Keep – Lacrimae Mundi

Just a quick Elliott’s Keep update.

We have been recording the new album over the past few weeks and the guitar, drums and bass tracking is now complete. We will go back to Nomad Studios in a few weeks for Ken to do his vocal tracking.

The new album is titled Lacrimae Mundi (Latin for Tears of the World). We are again working with JT Longoria.

The track listing is as follows:
Carpe Noctem
Tempest
The Doom of Men
Banished to Shadow
Ninestane Rig
Moments of Respite
Reflection
Remembrance

Elliott’s Keep is:
Joel Bates – Drums
Kenneth Greene – Vocals and Bass Guitar
Jonathan Bates – Guitar

https://www.facebook.com/Elliotts-Keep-126537660738233/
https://elliottskeep.bandcamp.com/

Elliott’s Keep, Nascentes Morimur (2014)

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Mothership European & UK Tour Starts June 17

Posted in Whathaveyou on May 24th, 2017 by JJ Koczan

mothership (Photo Jason Goodrich)

Next month, Texas heavy rock exports Mothership will head back to Europe and the UK for a tour to support their 2017 third album, High Strangeness (review here). Launching with a revisit to Germany’s Freak Valley Festival, from which they previously released a live album, the power trio will make their way in the company of desert legends Yawning Man to the UK for a stretch alongside Ripple Music compatriots Poseidon, after which they’ll meet up with Karma to Burn and Egypt and work their way toward the finish of the run July 14 at Stoned from the Underground, also in Germany. Almost a full month on the road, shows all around Europe, and it comes full circle at German fests. Awesome.

Word came through the PR wire about the UK shows, and I’ve added the complete European run info here — because one likes to be thorough about these things. Check it out:

mothership euro tour square

MOTHERSHIP Set to Storm the U.K. for the HIGH STRANGENESS’ UK Album Tour 2017

Mothership took the world by storm with their latest album, “High Strangeness”, their 4th release for California Heavy Rock leader, Ripple Music. After months of non-stop touring in America, now the Texan hard rockers take their high energy, guitar-mad show to Europe. Be sure not to miss ‘HIGH STRANGENESS’ UK Album Tour 2017. Tickets on sale now!

Joining them on the U.K. highways are Ripple Labelmates, post-metal doomsters, Poseidon, who’ll be touring their Ripple Music debut, “Prologue”

17 June – Siegen, DE – Freak Valley Festival (SOLD OUT)
18 June – Berlin, DE – Badehaus*
19 June – Hamburg, DE – Hafenklang*
21 June – Landgraaf, NL – Oefenbunker
22 June – Utrecht, NL – dB’s
23 June – Bourlon, FR – Rock In Bourlon
24 June – Brussels, BE – Magasin 4
25 June – Milton Keynes, UK – Craufurd Arms+
26 June – Coventry, UK – The Phoenix+
27 June – Manchester, UK – Factory+
28 June – Edinburgh, UK – Bannermans+
29 June – Cardiff, UK – Fuel+
30 June – Bournemouth, UK – The Anvil+
01 July – London, UK- The Black Heart+
03 July – Paris, FR – Le Glazart**
04 July – Nantes, FR – Le Scene Michelet**
06 July – Barcelona, ES – Rocksound
07 July – Turin, IT – Blah Blah
08 July – Povegliano Veronese, IT – Art Pollution Festival
09 July – Parma, IT – App Colombofili
10 July – Treviso, IT – Benecio Live Gigs***
11 July – Vienna, AUT- Arena
12 July – Nuremberg, DE – MUZclub
13 July – Munich, DE – Feierwerk
14 July – Erfurt, DE – Stoned From The Underground Festival
* W/ Yawning Man
+ W/ Poseidon
**W/ Karma To Burn & Egypt
***W/ Karma To Burn

Mothership is:
Kelley Juett – Guitars/Vox
Kyle Juett – Bass/Vox
Judge Smith – Drums

mothershipusa.bandcamp.com
mothershiphaslanded.com
facebook.com/mothershipusa
twitter.com/mothershipusa
ripple-music.com
ripplemusic.bandcamp.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/
www.heavypsychsounds.com

Mothership, High Strangeness (2017)

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Review & Track Premiere: Mothership, High Strangeness

Posted in audiObelisk, Reviews on March 7th, 2017 by JJ Koczan

mothership-high-strangeness

[Click play above to stream ‘Helter Skelter’ by Mothership. High Strangeness is out March 17 on Ripple Music and Heavy Psych Sounds.]

Texas heavy rock trio hit a crucial moment with their third album. Their first two records, 2012’s self-titled debut (review here) and the aptly-named 2014 follow-up, Mothership II (review here), brought them to the fore of the then-emergent/now-dominant Ripple Music as one of the label’s best acts and the seeming inheritors of a Lone Star heavy rock legacy spanning decades from Bloodrock and ZZ Top to Dixie Witch and Blood of the Sun. Persistent touring at home and abroad has brought them to the forefront of the US underground and they’re hitting a point where their reputation for an on-stage energy blast is preceding them. Accordingly, it’s time for the trio of guitarist/vocalist Kelley Juett, bassist/vocalist Kyle Juett and drummer Judge Smith to step up and claim that place as their own.

Easier said than done, but this is the place where High Strangeness — the third Mothership full-length and second for Ripple, with a release in Europe via Heavy Psych Sounds — sees them. They have moved beyond the brash upstart position where they started, having collectively played a disruptor role as only a badass guitar-led outfit can, and while no doubt each subsequent tour introduces them to new ears and eyes, among a core audience of the converted, they’ve become more of a known, established quantity. They demonstrated last time out that their songwriting could take a multifaceted approach to classic-style heavy rock, working in elements of psychedelia at a whim and more measured execution, and much to its and the band’s benefit, High Strangeness follows suit in not only expanding their palette, but doing so with a more stripped-down, from-the-stage sound.

While the Adam Burke cover art might lead one to think High Strangeness is gearing toward maximum lushness with its depth of color and detail, its eight-track/33-minute run goes the other way almost entirely. True, the intro title-track and the later subdued instrumental interlude “Eternal Trip” dip into patient psych and offer listeners a stretch to chill out, but Mothership are much more about the raw charge in tracks like “Ride the Sun” — the second cut and a nigh-on-flawless nod to ’90s-style stoner rock à la Fu Manchu — the subsequent chugger “Midnight Express” or the six-plus-minute finale “Speed Dealer,” and the sound and vibe of the album bolsters that intention. Hooks remain a consistent factor in their work — “Midnight Express” is infectious, as is side A closer “Crown of Lies,” as is side B opener and not-at-all-a-Beatles-cover “Helter Skelter” and so on — but a noteworthy change in production method, working at Fire Station Studios in San Marcos, Texas, with Crypt Trip‘s Ryan Lee to record and mix (Tony Reed of Mos Generator mastered), as opposed to the first two LPs, which were produced by Kent Stump of Wo Fat, seems to be the conscious choice driving the change in the overarching feel.

mothership-photo-by-Andree-Brown

With distinct separation between the guitar, bass and drums, as well as some well-placed trades between the Juett brothers on vocals — perhaps best represented in the shift between the brief, penultimate “Wise Man” and “Speed Dealer” as High Strangeness rounds out — Mothership come across as professionally crisp but road-hardened, caked perhaps by the grit of the highways they’ve traveled. Kelley‘s solos on the galloping “Crown of Lies,” the motor-riffed “Ride the Sun” (in layers), snuck in toward the end of “Midnight Express,” etc., will likewise leave scorch marks as ever, but these too carry a rawer, more live impression. If Mothership are looking to represent what they do on tour in these tracks — and listening to the groove locked into at the end of “Helter Skelter,” it’s an easy argument to make that they are — then they’re doing it well. It sounds like a show one would want to catch.

And while there’s still an ‘album’ sensibility, as emphasized by “High Strangeness” itself at the outset — a hypnotic three-minute first impression the band righteously counteracts with the punch in the face of “Ride the Sun” — and the guitar-only spaciousness of “Eternal Trip” prior to the closing duo, it’s worth noting that the naturalistic feel of High Strangeness gives the Juetts and Smith an opportunity to highlight the efficiency in their songwriting in a way that their material simply hasn’t done before. Its 33-minute runtime is over 20 minutes shorter than was Mothership II, and so each track here does more work in crafting the spirit of the record, including those instrumental pieces, and while Mothership come across with fewer tonal frills than they have in the past, playing toward the organic roots of their approach suits them. They may not be upstarts anymore, but they’re still plenty brash.

It’s a wholly unpretentious front-to-back flow, asking next to nothing as far as indulgences and delivering on its early promises. As “Speed Dealer” rounds out — one would not say “winds down” for such a song — with its balance between speed and push and shouted vocals on top, rolling into its bigger-riffed second half, Mothership have found a way to continue their forward growth while driving toward this leaner modus. They could have gone either way and, to be perfectly honest, with the strength of their choruses they’d probably still come out successful in the end had they chosen a more grandiose path, but High Strangeness especially on repeat listens shows its maturity in making the exact moves it needs to make at exactly the times it needs to make them, and it would seem that Mothership — whose momentum carries right through each of these tracks and on to their next tour, recording, whatever it might be — have done exactly the same.

Mothership on Bandcamp

Mothership on Thee Facebooks

Mothership on Twitter

Mothership website

Ripple Music website

Ripple Music on Thee Facebooks

Ripple Music on Bandcamp

Heavy Psych Sounds website

Heavy Psych Sounds on Thee Facebooks

Heavy Psych Sounds on Bandcamp

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Wo Fat Announce East Coast Tour with The Well; Playing Maryland Doom Fest 2017 and More

Posted in Whathaveyou on February 8th, 2017 by JJ Koczan

wo fat

For anyone who sat the results of or perhaps even voted in the 2016 Year-End Poll back in December, I don’t need to tell you that Wo Fat released something special in 2016’s Midnight Cometh (review here), bringing their swamp-fuzz to the fore of Texas’ mighty underground and stepping forward yet again as one of the American underground’s most resonant purveyors of riffs and jams. The character Wo Fat have developed in their sound, record by record, continues to set new standards, both for themselves and for those smart enough to pick up their influence. One expects the latter is a number that will keep growing.

This June, Wo Fat and compatriot Lone Star Staters The Well — who’ll spend much of 2017 back and forth between the US and Europe supporting their own 2016 release, Pagan Science (review here), will head east to play Maryland Doom Fest 2017 (info here), and it looks like they’re making a proper trip of it. Tour info came down the PR wire, and you can find it after the lanky poster for the run below:

wo-fat-the-well-poster

WO FAT announce East Coast tour with The Well this June along with Maryland Doom Fest appearance

Midnight Cometh is out now on Ripple Music

Following the critical success of last year’s Midnight Cometh album on Ripple Music, Wo Fat will sling their Texas-sized psychedelic doom across the East Coast of America this June.

Over the course of a sonic odyssey which spans six studio albums, one live recording and two splits, they have stayed true to the deep, dark blues that wail from within and have continually infused their riffs with primal grooves. Having secured their legendary status within the stoner rock community by appearing on much coveted bills at Roadburn, Desertfest, Freak Valley Festival, HellFest and Psycho California, the band is currently readying themselves for a nine-date tour with fellow Texans The Well.

Kicking off the chaos in Oklahoma on the 17th, Wo Fat and The Well hit the road and will end their run at the annual Maryland Doom Fest on 24th June. For the full list of dates see below:

17th June – The Blue Note – Oklahoma City, OK
18th June – The Riot Room – Kansas City, MO
19th June – Reggies – Chicago, IL
20th June – Fifth Quarter – Indianapolis, IN
21st June – Northside Yacht Club – Cincinnati, OH
22nd June – KFN – Philadelphia, PA
23rd June – Saint Vitus (w. The Skull) – New York, NY
24th June – Maryland Doom Fest – Frederick, MD

https://www.facebook.com/wofatriffage/
https://twitter.com/HouseOfWoFat
https://wofat.bandcamp.com/
ripple-music.com
http://www.ripplemusic.bigcartel.com/product/wo-fat-midnight-cometh-gatefold-cd

Wo Fat, Midnight Cometh (2016)

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Speedealer, Mothership and Against the Grain Announce Southern US Tour

Posted in Whathaveyou on December 27th, 2016 by JJ Koczan

Dallas octane rockers Speedealer played a few gigs in November that they highlighted as a ‘return’ for the band, but they seem to have been doing shows for a while before that as well. Their last studio release was 2003’s Bleed, so one way or another, it’s probably fair to call anything they do a return. One recalls (vaguely and through a Shiner Bock-filtered haze) seeing them at SXSW in the mid-’00s — was it the tiki bar joint on Red River with JJ Paradise Players Club? — and being fairly blown out of the room, though to be fair, that was kind of how it went in Austin at the time. I haven’t seen word of a new record or anything, but even if they’re doing 10 days out to test the waters, they gotta have a reason. These things don’t happen by mistake, you know.

The two bands joining them on the run, as it happens, are both heralding new albums. In the case of fellow Texas trio Mothership, it’s the forthcoming High Strangeness (info here), which is out March 17 on Ripple Music. Less is publicly known at this point about Against the Grain‘s next full-length, but the Detroit-based speed rockers have at least announced their intentions toward a 2017 release. There’s plenty of year ahead, so let’s get there first and then we’ll see what comes.

Run has been tagged as the “Southern Disruption Tour 2017.” Poster and dates follow here, as seen on the social medias:

speedealer mothership against the grain

Speedealer w/ Mothership & Against the Grain:
Feb 9 – Atlanta, GA – The Masquerade.
Feb 10 – New Orleans, LA – The Siberia.
Feb 11 – Birmingham, AL – The Nick.
Feb 12 – Nashville, TN – The End.
Feb 13 – Memphis, TN – Hi Tone.
Feb 14 – Little Rock, AR – White Water Tavern (no speedealer).
Feb 15 – Oklahoma City, OK – The Blue Note (no Speedealer).
Feb 16 – Austin, TX – The Sidewinder.
Feb 17 – San Antonio, TX – Hi-Tones.
Feb 18 – Dallas, TX – Three Links.
Feb 19 – Houston, TX – FitZgeralds.

https://www.facebook.com/Speedealer-16197817734/
https://www.facebook.com/mothershipusa/
https://www.facebook.com/Againstthegraindetroit/

Speedealer, “Inventor of Evil”

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