When the Deadbolt Breaks & Red Mesa Touring Next Month

Posted in Whathaveyou on February 11th, 2019 by JJ Koczan

You’re probably doing something right when your tour starts at the SX Stoner Jam, which has something like 150 bands on the lineup and will no doubt be the kind of thing that 10 years from now people who were fortunate enough to be there will still be talking about. I mean that. But for Red Mesa and When the Deadbolt Breaks, both supporting releases on Desert Records, it’s just the beginning. They’ll go from Austin to Houston and then kick around the Southwest and the mountains for a 10-day run that unless I’m mistaken marks the Connecticut-based Deadbolt‘s first time out toward West Coast. I could be wrong about that — they’ve got some history at this point — but I’m reasonably certain.

Either way, a lot of the difference between the two bands can be seen in the photos below. Red Mesa are the dudes in the desert, sunglasses on, having a good time. When the Deadbolt Breaks are framed by eerie light in the woods, hands in pockets, staring downhill at whatever it is they might be threatening. Those should be some good shows.

Dates came down the PR wire:

red mesa

when the deadbolt breaks

When The Deadbolt Breaks and Red Mesa announce ‘Path of the Heavy’ tour!

When The Deadbolt Breaks (Psychedelic Doom) and Red Mesa (Desert Rock) have announced a tour together centered around their appearances at Austin’s STONER JAM ’19 on March 14th.

WTDB will be touring in support of their sixth studio album, “Angels are weeping…God has abandoned”. Red Mesa will be touring in support of their second studio album, “The Devil and The Desert”. Both band’s albums were released on the new Albuquerque based record label, Desert Records.

Tour Dates:
March 14th – Austin, TX Stoner Jam ’19 Festival @ Spider House Cafe and Ballroom
March 15th – Houston, TX @ Rudyards British Pub
March 16th – OKC @ Your Mom’s Place
March 17th – Wichita, KS @ Elbow Room
March 18th – OFF
March 19th – Colorado Springs, CO @ Bar-K
March 20th – Denver, CO @ TBA
March 21st – Albuquerque, NM
March 22nd – Phoenix, AZ @ Time Out Lounge
March 23rd – TBA

https://www.facebook.com/WhentheDeadboltBreaks/
https://whenthedeadboltbreaks.bandcamp.com/
https://www.facebook.com/redmesaband/
https://redmesarock.bandcamp.com/
https://www.facebook.com/desertrecordlabel/

When the Deadbolt Breaks, Angels are Weeping… God Has Abandoned… (2018)

Red Mesa, The Devil and the Desert (2018)

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Red Mesa Announce First-Ever Tour

Posted in Whathaveyou on October 30th, 2018 by JJ Koczan

red mesa

Despite a recent back injury to drummer Roman Barham — who I think I might’ve half-met earlier this year someplace; was it Maryland Doom Fest? — Albuquerque, New Mexico’s Red Mesa will head out on tour next month in support of their 2018 album, The Devil and the Desert (review here). This will be the band’s first-ever tour, and they’ll be out for 10 days beginning Nov. 8 suitably enough at the Launchpad in their hometown before covering a good swath of the sprawling and sandy Southwest, as well as into Los Angeles and San Diego, Las Vegas and so on. It’s a good run and they’re playing with good bands along the way — you can bet that Sierra Vista show is with Fuzz Evil — and there is a date still TBA in Tucson, so if you’re there and can help out, do that. Because it’s the right god damned thing to do, and you know it.

I’ve said as much before, but a first tour is a special time for a band that, like a first album, only comes once. Kudos to Red Mesa on getting out. I hope the shows are a blast.

Dates follow:

RED MESA TOUR POSTER

Red Mesa – First Tour

November 8th-November 17th.

Red Mesa will be heading out on the road this November for their first tour!

“The Devil In the Desert” tour will kick off in the band’s hometown of Albuquerque, NM on November 8th. From there, the band will do a SW/West Coast circuit.
This will tour will promote the band’s June 2018 release of “The Devil and The Desert” album.

The band’s ringleader, Brad Frye, will be doing vocals and playing guitar. Roman Barham, Albuquerque’s local favorite promoter, drummer, and music store owner will be playing drums. This tour will feature the band’s new bass player, Josh Vigil, an accomplished musician who plays bass and flamenco guitar.

The band has booked the tour themselves using the network of bands and venues they have worked with and hosted through the years. Salem’s Bend, King Chiefs, Nebula Drag, Big Mean, Fuzz Evil and many others will be hosting Red Mesa along the way.

“THE DEVIL IN THE DESERT TOUR 2018”
Thurs 11/8: Albuquerque, NM – Launchpad
Friday 11/9: El Paso, TX – Neon Rose
Sat 11/10: Sierra Vista, AZ – The Horned Toad
Sun 11/11: Los Angeles, CA – Characters Pomona
Mon 11/12: San Diego, CA – Space Bar
Tues 11/13: Los Angeles, CA – The BLVD
Wed 11/14: Las Vegas, NV – Sahara Events Center
Thurs 11/15: Flagstaff, AZ – House Party
Fri 11/16: Tempe, AZ – Cornish Pasty Co.
Sat 11/17: Tucson, AZ – TBA

Big News! This tour will coincide with the release of Red Mesa’s cover song of “Breathe” for Magnetic Eye’s The Best of Pink Floyd compilation on November 9th.

https://www.facebook.com/redmesaband/
https://redmesarock.bandcamp.com/

Red Mesa, The Devil and the Desert (2018)

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When the Deadbolt Breaks Premiere “Centering Through Isolation” Video

Posted in Bootleg Theater on October 24th, 2018 by JJ Koczan

when the deadbolt breaks

In the great annals of the underrated, there has to be a special place reserved for When the Deadbolt Breaks. True, the Connecticut-based doomers haven’t exactly toured the pants off the Eastern Seaboard, but even so, the simple fact that they’ll so willingly move from grueling, lurching riffs into what’s essentially grindcore before dropping to a minimalism crawl of guitar and maybe some drum thud is astounding in itself, let alone the smoothness with which they execute those turns and the mangled grace with which they build back up afterward. I’ve been listening to this band for over a decade, and I still can’t think of anyone else who conjures the same kind of atmospheric malevolence, live or on record. Yeah, they’re kind of underproduced, but this is doom — everybody’s underproduced! This site is underproduced. Seriously. I’ve had the same theme since 2009! The point I’m making is that for a band whose first album dropped in 2006 and whose guitarist, vocalist and principal songwriter Aaron Lewis (also a noted fetish photographer) has seen lineups come and go — currently working with Mike Parkyn and Randy Dumas as he has for a couple years — they don’t even have a proper bio on their Thee Facebooks page.

Well, I’m gonna fix that.

I don’t know if Deadbolt will use it or not, but it’s here and at least I can say I tried. Lewis, with whom I’ve been in touch a long, long time, and I have not talked about this prior, but it’s something I’m doing and if he wants it, fine, and if not, fine. Not gonna hurt my feelings either way.

The original point of this post was 13-minute album opener and longest track (immediate points) “Centering Through Isolation,” the legit-disturbing video for which you can see premiering below. It’s made in honor of the vinyl release of their ellipse-laden latest album, Angels are Weeping… God Has Abandoned…, through Desert Records. A CD version is also available through Sliptrick Records. Okay, here we go with the bio:

For more than a decade, When the Deadbolt Breaks have carved a niche for themselves within the interplay of extreme genres. They are no less at home in grind than they are in pummeling sludge or ambient soundscaping, casting forth triumphant riffs or proffering murder-dirge nods at a volume level that can only be considered violent. Led by guitarist/vocalist Aaron Lewis, their four to-date full-lengths read as a chronicle of threat that even unto the Connecticut-based outfit’s moniker tells of some lurking danger in the dark. Whether spanning a massive sprawl on 2016’s 2CD, Drifting Towards the Edge of the Earth, or casting a grim psychedelia on album number four, Angels are Weeping… God Has Abandoned…, When the Deadbolt Breaks are immediately recognizable in style and malice, and they continue to push forward into a filth and emotional disaffection of their own making.

Joined on Angels are Weeping… God Has Abandoned… by bassist/backing vocalist Mike Parkyn and drummer Randall Dumas, Lewis brings the three-piece through a cacophony of wretched cinematography. In the dug-in growls of “Sky Will Fall” or the victorious push of “Bloodborn,” Deadbolt make their home in a bleak, murky space that is as much atmosphere as it is impact. In the stretches of “Floyd’s Machine” or the deranged epilogue of closer “Color the Sun,” they expand on the scope set out at the beginning of the record on “Centering Through Isolation,” and the question isn’t so much how are you going to listen, but whether or not your turntable is going to survive the vibrating low end when you do.

As the latest installment of When the Deadbolt Breaks’ ongoing narrative, Angels are Weeping… God Has Abandoned… takes them to new depths and new heights, but by no means does it sound like they’re finished or relying on past laurels. Instead, expect them to keep growing and changing, because like that threat somewhere out in the woods at night, their shape is only ever what serves to terrify most at the moment.

Or something like that. Enjoy the video:

When the Deadbolt Breaks, “Centering Through Isolation” official video premiere

Aaron Lewis on “Centering Through Isolation”:

The song was inspired by some old school horror flicks I was watching. It’s pretty much a song about horror. A story about being chased down, not knowing what’s gonna come next, being trapped in the woods in the middle of the night with somebody stalking you. That’s why the pulsing bass is there. Like the old-school movies, where somebody’s trapped in the woods, it’s too dark to see, but as the viewer, all you hear is that pulsing bass and you can just sense their panic. writing the video part it was easy. The ideas seem to fit perfectly together with the song and the actors were spot on. It’s the third video that I’ve written and directed. But this is the first time that I did most of the cinematography as well as editing myself. Charlie Sad-Eyes filmed all of the live shots, and I filmed the story part of it.

When the Deadbolt Breaks live:
Nov 17 33 Golden New London CT
Dec 1 The Rough Draft Hamden CT

When The Deadbolt Breaks are:
Aaron Lewis – Guitars/Vocals | Mike Parkyn – Bass/Backing vocals | Randall Dumas – Drums

When the Deadbolt Breaks, Angels are Weeping… God Has Abandoned… (2018)

When the Deadbolt Breaks on Thee Facebooks

When the Deadbolt Breaks on Bandcamp

When the Deadbolt Breaks on YouTube

Desert Records on Thee Facebooks

Sliptrick Records on Thee Facebooks

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When the Deadbolt Breaks Sign to Desert Records for Angels are Weeping… God Has Abandoned… LP Release

Posted in Whathaveyou on September 20th, 2018 by JJ Koczan

After hooking up with Sliptrick Records earlier this year in order to issue their latest album, the well-ellipsed Angels are Weeping… God Has Abandoned…, on ye olde compact(e) disc, Connecticut-based dark-psych doomers When the Deadbolt Breaks have inked a deal with Desert Records to press the outing to vinyl. It’s the first LP release in a 14-year tenure for When the Deadbolt Breaks, so by no means a minor occasion to consider. Founding guitarist/vocalist Aaron Lewis — who also toured this past Spring playing bass for Earthride — mentions the CD as being imminent, and I don’t have an exact release date for the vinyl, which I expect will also drop one of the five 10-plus-minute tracks that comprise the record (though anything’s possible in this horrifying age of wonders), but Desert Records says it’ll be the soundtrack to your winter, so I’ll assume it’s not that far off.

Good news in bleak sounds, whenever it arrives. The album is also streaming in full at the bottom of this post. If you’re up for a little twist of your psyche, have at it:

when the deadbolt breaks

When the Deadbolt Breaks – Desert Records

Desert Records would like to welcome When The Deadbolt Breaks to the family. This album brings you Psychedelic at its most beautiful, with Doom at its most darkest and crushing. Angels are Weeping will be your soundtrack for the coming winter.

Says the band, “We are very excited to sign with Desert Records for the vinyl release of our new album, “Angels are weeping… God has abandoned…”. We feel that this is going to be a great partnership and look forward to what the future will bring.

“The album is currently available digitally (and CD as soon as customs releases them to us) through our bandcamp, and is scheduled to be released on CD and digital worldwide via SlipTrick Records this month.

“We have wanted to do a vinyl release for some time, and feel that this is the perfect release to do that with. Thanks to Desert Records, it will happen.”

When The Deadbolt Breaks are:
Aaron Lewis – Guitars/Vocals | Mike Parkyn – Bass/Backing vocals | Randall Dumas – Drums

https://www.facebook.com/WhentheDeadboltBreaks/
https://whenthedeadboltbreaks.bandcamp.com/
https://www.youtube.com/user/Deadbolt6669
https://www.facebook.com/desertrecordlabel/
https://www.facebook.com/sliptrickrecords/

When the Deadbolt Breaks, Angels are Weeping… God Has Abandoned… (2018)

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The Horned God Sign to Desert Records; Debut Album Coming Soon

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

THE HORNED GOD

Based on the comics of olde — from a time before the medium became a dominant driving force of American popular culture; when they were still for weirdos and nerds — The Horned God are set to make their debut this Fall through Desert Records. They’re the first act signed to the new label helmed by Brad Frye, also the guitarist and vocalist of Red Mesa, but apparently not the last. In addition to announcing the pickup of fellow Albuquerquians The Horned God, Frye teased that he’d be working with, “a veteran psychedelic doom band from New England.” Intrigue!

In the meantime, I’m curious to hear what’s in store for The Horned God‘s first album, which has been given the title The Horned God I, since as you can see above and in the freshly-unveiled artwork immediately below, they’re not exactly going light on the concept.

From the social medias:

the horned god cover

THE HORNED GOD – BAND SIGNING ANNOUNCEMENT!

Desert Records is proud to introduce you to THE HORNED GOD!

Hailing from Albuquerque, NM but playing a very unique style of Ancient Celtic stoner and desert rock inspired by the 1983 comic book classic Slaine: The Horned God.

Debut album coming this Fall!

Vinyl and digital formats.

The Horned God says: “Let the commencement begin! The Horned God is officially the first band signed to Desert Records Label! Epic things on the horizon… and we are so honored to be a part of this music community. Thank you, Brad Frye and Desert Records!”

The Horned God is a Cosplay band, based on the comic book masterpiece by Pat Mills, and Simon Bisley, Slaine: The Horned God.

Comic book writer Pat Mills brought the character of Slaine mac Roth, a Celtic barbarian warrior king who along with his axe Brainbiter and his ability to warp spasm in order to defend his people against the dark druid Slough Feg, to life in 1983 in his graphic novel series titled Slaine. In 1989 Pat Mills collaborated with illustrator Simon Bisley and published the three book series Slaine: The Horned God. In this series Slaine goes on a quest to collect four artifacts that once united will enable him to become high king and lead his people into battle in the hopes of saving them from Slough Feg and his army.

In 2012 the next adaptation of the story began in Albuquerque New Mexico when three friends took their love of the story and combined it with their passion of music and created the three piece cosplay stoner rock or as they call it, “Ancient Celtic inspired stoner rock, legends and lore, of love and war!!!”, musical interruption appropriately named, The Horned God.

The Horned God consist of three members, Dominic on vocals and guitar, Robson on bass and Tim on drums. This one of a kind dynamic three piece bring the story of Slaine to life with lyrical dialog and narratives ripped from the pages of the book accompanied by full costume and projected comic book cells throughout the entire performance.

https://www.facebook.com/HornedGodBand/
https://www.facebook.com/desertrecordlabel/

The Horned God, Live at the Launchpad, 2012

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Red Mesa Premiere “Sacred Datura” from The Devil and the Desert

Posted in audiObelisk, Reviews on May 29th, 2018 by JJ Koczan

red mesa

Albuquerque, New Mexico-based heavy desert rockers Red Mesa release their second album, The Devil and the Desert via their own Desert Records imprint on June 1. The follow-up to the trio’s 2014 self-titled debut and their 2016 appearance alongside Blue Snaggletooth on Ripple Music‘s The Second Coming of Heavy – Chapter Four (review here), it’s a seven-track/38-minute outing the urgency of which seems to be affirmed through the sheer act of its creation.

To wit: Split into two vinyl sides and released on that format with money garnered via crowdfunding, the beginning of the recording process found guitarist/vocalist Bradley Frye without a band. Both bassist Shawn Wright and drummer Duane Gasper split after a gig last August (that must have been some show), and rather than call it a day and go home, Frye decided to hit the somewhat ironically named Empty House Studio with producer/engineer Matthew Tobias and press forward with making the record.

That decision in itself was pretty bold, and it pays dividends throughout The Devil and the Desert, the title of which refers to its dual themes. From front to back there would seem to be a narrative of hallucinogens, the arrival of the devil, the desert itself, and so on, and musically, the material becomes more severe the deeper into the record one goes, Frye starting out with a semi-acoustic swamp blues that touches on psychedelia in “The Devil’s Coming ‘Round” — which has a few heavy riffs of its own, like a Southwestern fuzz-proffering Monster Magnet with Frye cast in the Wyndorf role — and the ethereal sandy grunge of centerpiece “Desert Sol,” before tipping the balance to more weighted fare with “Sacred Datura,” the motor-chugging “Route 666” and the trippy desert heft and spaciousness of the 10-minute closing title-track.

red mesa the devil and the desertBy the time Frye gets around to “The Devil and the Desert,” he’s traveled a significant distance even from “The Devil’s Coming ‘Round” and other early cuts like opener “Devil Come out to Play” and the instrumental “Springtime in the Desert,” which opens psychedelic and fades out only to return with more grounded acoustics. That play between the real and unreal becomes central to The Devil and the Desert, and in order to better evoke it, Frye put Tobias to work on drums/percussion and brought in studio players Jon Mcmillian (bass) and lap steel/baritone guitarist Alex McMahon in order to better evoke the sense of a full-band playing. To be blunt, it works.

The danger with using session musicians especially on an independent release is that, while generally ultra-talented, they have little investment in the project at hand. They’ll play well, but won’t share the passion of those who hired them or who composed the material they’re playing. Frye and Tobias found the right people. To listen to the fleshed out arrangement of “Desert Sol” at the album’s center, McMahon‘s baritone and lead guitar melds easily with what Frye does on electric and acoustic guitar and vocals and with Tobias‘ percussion. And since the second, more generally weighted half of the record was made with the clearly self-aware Frye and Tobias working as a duo playing the parts of a full band — Frye taking up bass as well as guitars and vocals — there’s a shift in presentation as well as general mindset just where one is intended.

So again, it works. I don’t know if Frye — whose since brought on bassist Randy Martinez and drummer Roman Barham to play in the live incarnation of Red Mesa — would say losing two-thirds of his band prior to recording was an asset, but listening to the channels switch in the bouncing verse of “Sacred Datura,” or hearing the fuzzy rhythm part back the soaring lead, one would have a hard time arguing he didn’t make the most of it, and that The Devil and the Desert didn’t turn out as broad in sound as it is cohesive in its themes. It’s a mindful outing that rather than simply working within genre confines, uses the elements of desert rock, lost country and psychedelia in carefully set balances to suit its own needs and purposes. It is an album commanding aesthetic, rather than being led by the rules of it.

Below, you can hear the premiere of “Sacred Datura” and read more about the song specifically from Brad Frye. Once again, The Devil and the Desert is out June 1 via Desert Records. Preorders are up now through Red Mesa‘s Bandcamp page.

Please enjoy:

Brad Frye on “Sacred Datura”:

The song “Sacred Datura” was initially conceived from Carlos Castaneda’s book The Teachings of Don Juan: A Yaqui Way of Life. In the book Don Juan explains that Sacred Datura is also known as Devil’s Weed. Sacred Datura is meant to give human beings remarkable powers, such as being able to fly, uproot big trees, go into heat to become pregnant, very powerful stuff. In regards to the song, it’s more about having the power to confront your demons (or the Devil) head-on and be able to survive the encounter.

Most all the titles to songs on this record include the word ‘desert’ or ‘devil.’ I was originally going to name the song “Devil’s Weed” but I figured some hallucinogenic drug fans or plants geeks may appreciate the reference.

The other book that inspired the song was Edward Abbey’s Desert Solitaire. There’s a chapter in the book where a boy accidentally eats Sacred Datura and has quite a trip before he eventually dies from dehydration in the canyon lands of Utah. Although I’ve never taken Sacred Datura, I used my own experiences with psychedelic mushrooms to write the song.

It’s the first track I’ve ever recorded with me playing bass. The tracking session mostly consisted of Matthew Tobias telling me to “do it again.” The whirling sound that you hear at the very beginning of the song and continues throughout the first half of the song is from a homemade Leslie rotating speaker cabinet made from some hippie dude that I bought from in the trippy little New Mexico town of Madrid.

The riff in the second half of the song is most certainly an ode to Black Sabbath’s “Black Sabbath” riff. Seems like the kind of riff that would appear out of the cosmos on such a journey.
Plus, it being the devil’s triad (root note, with a octave up, and a flatted fifth), which was banned from the churches in Europe in centuries past, seemed fitting to have in this album.

The album was recorded at Empty House Studio in Albuquerque, NM. Matthew Tobias engineered, produced, and mixed the entire album. Doug Van Sloan Mastered the album. Side A was recorded in September and October of 2017. Side B was recorded in January and February of 2018.

Release date: 250 colored vinyl LP’s will be available for sale in early June 2018. Limited edition. Brad Frye’s new record label, DESERT RECORDS, will release the album. Look for more
releases in 2018 by DESERT RECORDS.

Red Mesa has a new rhythm section for 2018 for live shows.
Roman Barhan (Rezin Tree, Black Maria, Jagged Mouth,) will play drums.
Randy Martinez (Hounds Low, Jagged Mouth) will play bass.

Red Mesa is currently booking its first tour to play and promote the album.

Red Mesa on Thee Facebooks

Red Mesa on Bandcamp

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