https://www.high-endrolex.com/18

Book of Wyrms to Release “Storm Warning” Single Sept. 13

Posted in Whathaveyou on September 7th, 2023 by JJ Koczan

It’s one of my bigger regrets for 2023 that I didn’t get to tag along with Richmond, Virginia’s Book of Wyrms and New York’s Geezer for the trio of Canadian shows they did this past Spring. I was all about it and then there was stuff and that was it. I could go on, would prefer not, so won’t, but yeah.

You might recall the band premiered their 2022 single “Sodapop Glacier” here and their new single is “Storm Warning.” It’ll be out Sept. 13, which is, uh, less than a week from now. So heads up on that. They’ll be playing a gig alongside Thunderchief and Red Beard Wall (from Texas) on the 16th at Banditos in Richmond. If you’re in the area or headed that way, the event page is here and I happened to be invited coincidentally as I was putting this very paragraph together, because timing is everything: https://www.facebook.com/events/838903354277220/

And here’s the PR wire info on the single:

book of wyrms storm warning

Richmond, Virginia’s BOOK OF WYRMS announce new single “Storm Warning” to release on September 13th via Desert Records.

It’s melodic, driving heavy metal that’s still weird and spacey. Moody female vocals ride on fuzz bass and razor-sharp Marshall leads, as flying saucer synths lurk in the back. The song is about the destructive prowess of weather, and what happens when humans seize that power.

SW was mastered by Rob Wrong (Witch Mountain) and features blacklight art by Stephen Krakow (Plastic Crimewave). If you dig doom, psych, or space rock but can’t spare 20 minutes, this jam’s for you.

“Storm Warning” lands somewhere between 80’s Priest and Lemmy’s Hawkwind.

This will be the band’s third release on Albuquerque’s Desert Records.

In 2021, BOW’s third full length “Occult New Age” was released worlwide on LP, CD, Cassette, digital download, and on streaming platforms.

In 2022, a stand alone single (and extended version) called “SodaPop Glacier” was released on streaming platforms and Bandcamp.

An incredibly hardworking band full of wonderful individuals, Book of Wyrms has a rapidly growing fan base. The band took their music to Canada for the first time in May of 2023.

This is a band to watch, as they continue to rise to the top of the heavy underground.

https://www.facebook.com/Bookofwyrms/
https://instagram.com/bookofwyrms
https://bookofwyrms.bandcamp.com/

https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

Book of Wyrms, “Sodapop Glacier” (2022)

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Doors to No Where Premiere “Drift Into Sequence” Lyric Video

Posted in Bootleg Theater on August 23rd, 2023 by JJ Koczan

doors to no where drift into sequence

Santa Cruz heavy rockers Doors to No Where release their new single ‘Drift Into Sequence,’ Aug. 25 on Bandcamp and the rest of the stream/DL ecosphere through Desert Records. That’s Friday, if you’re not paying attention. Recorded by Aaron Cooper, who ended up playing guitar and synth in addition to engineering — always a good thing when the producer ends up adding to the track; means they think enough of what’s happening to be inspired to do so; when an engineer doesn’t give a rat’s ass, that doesn’t happen — the song in its accompanying lyric video form runs 6:40 and presents itself with the raw, on-beat melodicism reminiscent of Alice in ChainsFacelift, which is suitable to the layered and brooding vocal from founding guitarist Marc Lewis (also Moog, other keys).

As Lewis and bassist Marc Prefontaine — who eases the transition out of the Spanish-guitar midsection back into the verse and is the force of heft overall — welcome new drummer Kyle Moore and collaborate with Cooper as producer/player, the band’s general palette seems to have expanded even since they arrived on Desert Records with 2021’s Darkness Falls (discussed here), which was their fourth album.

What’s the plan for a fifth, I don’t know beyond the all-caps update in the headline below. The crunch in the guitar tone on “Drift Into Sequence” is so resolutely ’90s — I can hear Megadeth in it initially and Clutch in its later roll, both ’90s era, in addition to Alice in Chains, so yes, ’90s — as Lewis cycles through the first chorus of “I’m at odds with your fate/I’m at odds with the pain you’re in,” the undercurrent of metal feels genuine. A subtle twist brings back the verse, hinting toward lysergics as it moves into that acoustic-inclusive break, but interested ultimately in the straight and narrow of structure and returning smoothly to that.

The flamenco-esque guitar returns as the song wraps, doubling-down on the divergence from the norm while reinforcing the norm itself, Moore making his presence felt in the toms behind that finish and in the verse groove prior, putting a sense of movement to the grim, moody atmosphere that surrounds. It’s only one song and supposedly they’re working on more, so fair enough. Figure we’ll probably hear from them either way sometime next year.

Doors to No Where have also collaborated with Slough Brewing Collective to create “Stage Beer,” which one assumes based on the description is a lower-ABV session lager or ale. In any case, if beer’s your thing, you’ll want to take note.

Video follows here, with more from the PR wire below, including the preorder link.

Please enjoy:

Doors to No Where, “Drift Into Sequence” lyric video premiere

Desert Records proudly presents Doors To No Where and their upcoming single “Drift Into Sequence”

THE BAND HAS ALSO HAS BEGAN WORK ON A NEW RECORD

SINGLE PREORDER: https://doorstonowhere.bandcamp.com/track/drift-into-sequence

DRIFT INTO SEQUENCE

Driven by a dissonant guitar riff “Drift Into Sequence” is a complex sonic journey with a touch of heavy psych. Lyrically the song is about a person going through a mental health crisis and battling themselves. The premise is that someone knows they are not well but feels helpless in what the next step is. “Drift Into Sequence” is also the first song to welcome Kyle Moore (Band Of Orcs/Stellar Corpses) into the band. Kyle is familiar with the band as he filled in on a tour in the past.

The cover art was done by Santa Cruz based artist Ugly Eye. The track was mixed and mastered by Aaron Cooper (Pylon Productions) who also contributed synth and guitar.

DOORS TO NO WHERE

Doors To No Where from Santa Cruz California have been going at it since 2010 when the band was formed by front man Marc Lewis. Along with Drummer Alex Ross and Bass player Sean Sanford Doors To No Where put out their debut album “I’m Alive” via ChillTopp Records. In 2012 Doors To No Where released their sophomore album “Lucky You” which was the first to feature Pete Tetorff on drums. Next came the album “The Haunting” which featured the same lineup in 2016.

In 2020 Doors To No Where signed with Desert Records and began work on a new album “Darkness Falls,” which would be the introduction of new bass player Marc Prefontaine. “Darkness Falls” also features some guitar work from Bob Balch of Fu Manchu. Since then the band has released a series of singles, “Gloom” and “Time For A New Dream” and have begun working on a new full length album. “Time For A New Dream” once again featured Bob Balch on guitar. The band also announced that Kyle Moore will now be handling drum duties.

BEER RELEASE

To help celebrate the release of “DRIFT INTO SEQUENCE” Doors To No Where worked with The Slough Brewing Collective in Watsonville California to brew “Stage Beer.” The light and crisp lager will be the perfect hydrating co-pilot to help fuel badass riffs and grooves. Lewis who was hands on from start to finish brewed stage beer with brewer Ben Ward. “Stage Beer” is a golden glass of pure joy and the can will feature art by Slogan design.

Marc Lewis is a musician from Santa Cruz, California that has been creating music since 1996 when he was the ripe age of 12. Starting off with some good old school punk Lewis created the perfect soundtrack for skateboarding and surfing around SC. In the early days Marc played stages across California along with many skate contests or DIY shows in the punk scene. Lewis started adding the stoner rock influence and heavy sounds to his writing style as he progressed in his playing style. Marc has been in the bands Live Wire, The Fire Sermon, It and Doors To No Where.

He has shared a stage with such bands as: Big Business, Mondo Generator, Adolescents, Fu Manchu, Mos Generator, Sevendust, Fatso Jetson, Blast and The Melvins.

Doors To No Where is:
Marc Lewis – Vocals, Lead Guitar, Moog, Keys
Marc Prefontaine – Bass
Kyle Moore – Drums
Aaron Cooper – Engineer, Synth, Guitar

Doors to No Where, “Drift Into Sequence”

Doors to No Where on Facebook

Doors to No Where on Instagram

Doors to No Where on Bandcamp

Doors to No Where website

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Breath Add Synth Player to Lineup; New Material Coming Soon

Posted in Whathaveyou on July 11th, 2023 by JJ Koczan

Bands change configuration all the time. Four-pieces lose a member to become a trio. A double-guitar five-piece wants Hammond. Whatever. What makes Breath bringing synthesist Lauren Hatch (also Greenseeker) on board as a full-time bandmate remarkable is how pointedly they were a duo before. Bassist/vocalist Steven O’Kelly and drummer/percussionist Ian Caton had flown the two-piece flag pretty high, but thinking back, even their 2021 debut, Primeval Transmissions (discussed here) tapped third-party participation, namely from guitarist Rob Wrong (Witch Mountain), who also recorded it. Last year’s reworking Primeval Transmissions (Remixed and Remastered) (review here) fostered an even richer sound, so maybe this isn’t actually so outlandish an expansion. Sometimes a band grows and wants something else. It’s not like they’re breaking up with you; they’re breaking up with being a duo.

Hatch plays her first show with the band tonight, July 11, and will play on their second record. Wrong will also reportedly feature on Breath‘s next LP as well, again on guitar, though I’ve no idea when such a thing might be coming. Hey man, I’m doing my best, alright?

I hit up O’Kelly and Hatch for comment and they offered the following to go with the original social post. Dig:

Breath lineup update

Greetings to you! Our flame burns brighter now with our new mate on Keys. We found kindred vision through collaboration and the steps ahead are now illuminated. Please welcome Lauren to Breath!

Says Steve O’Kelly: “Contemplative walks lead me to hear a third voice in Breath. In the throes of erratic thought when we were deep in the creative phase,, doors swung open to a new path that we gladly stride. Lauren brings thoughtful collaboration and energy to our music. We’re grateful to have her adept hand of Synthesizers pull us up into a new area.”

Says Lauren: “I started out as a fan of Breath. When Steven asked me to play on a song, I was surprised because the band is so strong as a two-piece. One song turned into three songs, which turned into live performances, and here we are. I’ve been having a blast coming up with synth parts to add a new element to these songs and am so excited to explore more sounds with these guys.”

Come see the new incarnation Live!
7 / 11 The Midnight Portland
7 / 14 M & J Tavern Bend
7 / 15 The WOW Hall Eugene

Tix:: https://linktr.ee/BreathPDX

https://www.facebook.com/Breathpdx
https://www.instagram.com/breathpdx/
https://inbreath.bandcamp.com/
https://linktr.ee/BreathPDX

https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

Breath, Primeval Transmissions (Remixed and Remastered) (2023)

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Sorcia West Coast Tour Starts July 28; Lost Season Out July 21

Posted in Whathaveyou on June 14th, 2023 by JJ Koczan

sorcia

Nice when a plan comes together. Seattle three-piece Sorcia will head out on a West Coast run just one week after the release of their second full-length, Lost Season (review here), which is out July 21 through Desert Records. The route will head south down the Pacific Coast and loop back north inland, hitting Denver and Salt Lake City en route to a still to-be-announced date in Boise that will close. If you’re in Boise, you could be a hero. Yes, booking shows is largely thankless work and the second you become a ‘promoter’ you sign up for at least 75 different shades of bullshit to hit you all at once, but, you know, heroism.

No doubt you’ll note their appearance at Burque Rock City Fest in Albuquerque on Aug. 5. There they’ll share the bill with the likes of WeedeaterMatt PikeBrant BjorkFatso JetsonBelzebong and many others. Sure to be a highlight of the run, though that’s not taking away from the rest of the shows, which I’m sure will also be cool. This tour was first announced with the review/track premiere linked above, but the venue seems to have dropped out of that Boise show, so an update seemed reasonable. If you didn’t check out the single from Lost Season, “Miss Ann Thrope,” it’s on the Bandcamp player below, where you can also preorder the album.

From the PR wire:

sorcia tour

SORCIA Announce West Coast Tour!

Lost Season pre-order on Bandcamp: https://sorcia.bandcamp.com/album/lost-season

In support of their new album ‘Lost Season’ Sorcia hit the road on a summer west coast tour with a stop at Burque Rock City Festival!

Supporting their highly anticipated new album Lost Season, Sorcia embark on their biggest your yet hitting 12 major cities of Western US. Lost Season is the bands their heaviest and most eclectic offering to date and they are ready to unleash it in a live setting.

As part of their tour, Sorcia will take the stage at Burque Rock City Festival. They will play along side some of the Titans of Stoner and Doom, Weedeater, Matt Pike, Dead Meadow, Brant Bjork Trio, Yawning Balch and so many more.

Lost Season will be available July 21st through Desert Records!

SORCIA – WESTERN US TOUR 2023
07.28 Seattle WA Substation
07.29 Portland OR Kenton Club
07.30 Eugene OR Old Nick’s Pub
07.31 Eureka CA Siren’s Song Tavern
08.01 Oakland CA Golden Bull
08.02 Los Angeles CA Knucklehead
08.03 San Diego CA Til Two Club
08.04 Tempe AZ Yucca Tap Room
08.05 Albuquerque NM Burque Rock City Fest
08.06 Denver CO The Crypt
08.07 Salt Lake City UT Aces High Saloon
08.08 Boise ID TBD

SORCIA
Neal De Atley – Guitar, Vocals
Jessica Brasch – Bass, Vocals
Bryson Marcey – Drums

https://www.facebook.com/SorciaBand/
https://www.instagram.com/sorciaband/
sorcia.bandcamp.com
https://sorciaband.com/
http://linktr.ee/sorciaband

https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

Sorcia, Lost Season (2023)

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Sorcia Premiere “Miss Ann Thrope”; Lost Season Due July 21

Posted in audiObelisk, Reviews on May 16th, 2023 by JJ Koczan

sorcia

With lumber a-plenty rolling behind them, Seattle sludge rockers Sorcia offer five new tracks on their impending second album, Lost Season. Set to release July 21 through Desert Records, the 40-minute long-player unfurls itself with due patience in its slower moments, and remains atmospheric regardless of tempo without dwelling too long in any single space, which is an accomplishment when three of the five inclusions are over eight minutes long. And yeah, you’ve heard similar tales before in other contexts, but let’s just say that since the trio issued their self-titled debut (review here) in mid-March 2020, one hopes the arrival of the follow-up is significantly less tumultuous.

It is their second release through Desert Records behind the 2021 Death by Design EP (discussed here), which featured as a CD bonus track an acoustic take on “Dusty.” That song reappears on Lost Season in fully-plugged form as the penultimate cut, ahead of the nine-plus-minute “Entering the Eighth House,” which lurches in bluesy atmosludge fashion in a final nod to end the procession of barebones-feeling-but-not-actually-barebones tracks, as helmed by Tad Doyle (TADHog MollyBrothers of the Sonic Cloth), with whom the trio of guitarist/vocalist Neal De Atley, bassist/vocalist Jessica Brasch and drummer Bryson Marcey also worked on the self-titled. In part because of that continued collaboration and in part because of the songs themselves, the spirit of Lost Season is very much one of steady and incremental progress.

As De Atley‘s clean vocals seem to move more in the vein of Dax Riggs circa Acid Bath — offset by his own shouts and Brasch‘s backing and lead parts in the speedier “An Axe Named Otis” and elsewhere — on opener “Miss Ann Thrope,” the central verse and chorus riffs move in a build and release of tension, steady in delivery but not staid emotionally. Brasch does appear on “Miss Ann Thrope,” just past the halfway mark, but not much, and her arrival in the call and response in the galloping second half of “An Axe Named Otis” is a jolt. That second track and “Faded Dune,” which follows, are markedly faster than “Miss Ann Thrope” — the first half of “An Axe Named Otis” doesn’t have the same push as the already-noted second, but it’s not far off in the verse with De Atley‘s throaty shouts delivering lyrics — and buried under the dense tone of “Faded Dune” is a classic stoner rock janga-janga swing, which is maintained as De Atley and Brasch come together in the midsection on vocals, lending the feeling of a landmark for the record as a whole right around its halfway point.

Sorcia Lost Season“Faded Dune” ends by shifting into a mellow jam for its final minute, a noodly lead winding out over steady drums and clicked-off clean bass. With the presumption that that’s where the vinyl split is, Lost Season begins side B with the atmospheric unfurling of “Dusty,” the clean-sung verse reminiscent of Ealdor Bealu in parts but still well within the realm of Sorcia‘s own take, Brasch again providing accent lines and adding to the build. The volume kick is at 3:51, and for a brief moment the song is admirably Crowbar-esque, but they’re soon off into the solo section, through a dual-vocal rendition of the hook as a crescendo before ending quieter with Marcey‘s drums the last to go and second to arrive in “Entering the Eighth House” behind the amplifier hum that shortly riff-plods with Sleepy abandon — and, crucially, patience — through the closer’s own movement toward and through an apex, the final arrangement between De Atley and Brasch underscoring how crucial their shared lead-singer duties have been to the record all along.

Lost Season may be taking into account the fact that Sorcia could do precious little to support their first full-length at the time of its release, but it’s no loss itself. They have not reinvented their sound, but there is definite and audible growth in their craft — it’s what I meant by ‘incremental’ above; I’m saying I think they’ll continue to grow as they’ve shown themselves having done here — and the material benefits from what feels like a careful hand in some places and one willing to let some exploration happen in others. Compare the verse/chorus interplay on “Miss Ann Thrope” and the ending of “Dusty,” for example. Or the layering of lines in the emergent nod of the verse to “Entering the Eighth House” and the jam in “Faded Dune.” Part of what makes Lost Season work is that each piece flows into the next and comes to feel like a part of the whole movement, the trio seeming to dig deeper as they go.

And in conjunction with the obvious care put into laying out the vocals in terms of who’s where, doing what, and when, Lost Season shows Sorcia working toward a mature approach that suits them well, somewhat raw instrumentally but able to convey a sense of depth just the same. One would expect them to keep accruing confidence as a result of their efforts here, and that’s only going to make them stronger their next time out. Easy win for all parties involved, including the listener.

If you hadn’t already caught on to their stuff — and I know you had because you’re cool like that; I’m talking to someone else — you’ll find “Miss Ann Thrope” streaming on the player below as the first single from Lost Season. Once again, release date is July 21 through Desert Records. More info, including live dates (click the poster to enlarge, click again to shrink), follows the song on the player below.

Enjoy:

 

“Miss Ann Thrope is the personification of animosity towards humanity.” – Sorcia

 

Seattle stoner/doom trio SORCIA prepare to unleash their highly anticipated sophomore full-length ‘LOST SEASON’, their heaviest and most eclectic offering to date.

After releasing their debut album just days before the world shut down in March of 2020, things looked bleak for musicians as they were forced to stare into the unknown. During this dark time, Sorcia persevered by pouring themselves into songwriting, accomplishing not only the completion of a challenging EP, but also this brand new full-length they would reflectively come to name ‘Lost Season’.

This album is a continuance of their dynamic and heavy sound, yet showcases a matured evolution in style with a new exploration of influences. Captured by Tad Doyle at Witch Ape Studio in Seattle, WA with original artwork by Mike Hawkins, Sorcia are pleased to be working with Desert Records to release ‘Lost Season’ out into the world on July 21st, 2023.

sorcia tourTracklisting:
1. Miss Ann Thrope
2. An Axe Named Otis
3. Faded Dune
4. Dusty
5. Entering the Eighth House

Credits:
All music written and performed by Sorcia
Recorded, mixed and mastered by Tad Doyle at Witch Ape Studio in Seattle, WA
Original artwork by Mike Hawkins at Human For Now Studio
Layout by Jessica Brasch
Photography by Jessica and Jesse Brasch

Sorcia are:
Neal De Atley – Guitars/Vocals
Jessica Brasch – Bass/Vocals
Bryson Marcey – Drums

Sorcia on Facebook

Sorcia on Instagram

Sorcia on Bandcamp

Sorcia website

Desert Records on Facebook

Desert Records on Instagram

Desert Records on Bandcamp

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Red Mesa Announce June Touring Around Maryland Doom Fest

Posted in Whathaveyou on April 24th, 2023 by JJ Koczan

red mesa

This is one of those lists of tour dates that should read like homework of bands to check out. Whether it’s Red Beard Wall, Stone Machine Electric, Book of Wyrms, Doomsday Profit, WyndRider, Silent Monolith, Seahag and Mammoth Caravan or Psychotic Reaction, on and on, Albuquerque trio Red Mesa will be keeping good company as they make their way to and from this year’s Maryland Doom Fest in June, and that’s before you account for their being on the road with Doomstress out of Texas.

It’s a solid 14-day run and it comes as Red Mesa are fresh off recording their third full-length for release next year. That will make it the follow-up for 2022’s single “Forest Cathedral” (review here) and 2020’s The Path to the Deathless (review here), their debut having been 2018’s The Devil and the Desert (review here), and it was recorded by Matthew Tobias at Empty House Studio, as were the other two LPs.

More on that likely to come, I’ll note as well that in addition to Maryland Doom FestRed Mesa have been added to Burque Rock City Festival and RippleFest Texas, so the next few months should be busy. They sent the following down the PR wire:

Red Mesa Desert Moon Tour flyer

RED MESA – Desert Moon Tour 2023

Albuquerque, NM’s high desert rockers Red Mesa are finishing up their new full-length “Partial Distortions” set for a 2024 release on Desert Records. In June of 2023, they will be embarking on a 17 day tour, joining up with Houston’s Doomstress for the initial journey out east, both bands ending up at The Maryland Doom Fest in Frederick, MD.

Here’s the dates:
FRIDAY JUNE 16 SAN ANTONIO, TX LIGHTHOUSE LOUNGE w/ Cortege, Red Beard Wall, Doomstress
SATURDAY JUNE 17 HOUSTON, TX BLACK MAGIC SOCIAL CLUB w/ Doomstress
SUNDAY JUNE 18 ARLINGTON, TX DIVISION BREWING w/ Doomstress, Stone Machine Electric, Pathos and Logos
MONDAY JUNE 19 MEMPHIS, TN THE HI TONE w/ Doomstress, Deaf Revival
WEDNESDAY JUNE 21 ASHEVILLES, NC THE ODD BAR w/ Doomstress, Bonedozer
THURSDAY JUNE 22 FREDERICK, MD MARYLAND DOOM FEST
SATURDAY JUNE 24 RICHMOND, VA THE FUZZY CACTUS w/ Book of Wyrms, Plaguefever
SUNDAY JUNE 25 RALEIGH, NC THE POUR HOUSE w/ Doomsday Profit, Lie Heavy
TUESDAY JUNE 27 KNOXVILLE, TN THE BRICKYARD w/ Wyndrider, Shockwolf, Sun Mantra
WEDNESDAY JUNE 28 NASHVILLE, TN SPRINGWATER SUPPER CLUB w/ Rift, Silent Monolith
THURSDAY JUNE 29 LITTLE ROCK, AR WHITEWATER w/ Seahag, Mammoth Caravan
FRIDAY JUNE 30 OKLAHOMA CITY, OK GRAND ROYAL w/ Psychotic Reaction, BugNog, Sedona Crystal Bitch

For the three Texas dates, Hunter Dawson with Extra Meat (@_huntdawson), who has filmed two videos for the band, will be providing a visual experience into Red Mesa’s set.

Red Mesa is also slated to play two other festivals so far this year; BURQUE ROCK CITY in Albuquerque, NM, and RIPPLEFEST in Austin, TX.

Poster by Josh Schneider.

Red Mesa is:
Brad Frye of Desert Records on Guitar/Lead Vocals
Roman Barham of Monolith on the Mesa on Drums/Backing Vocals
Alex Cantwell: Bass/Backing Vocals

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

https://www.facebook.com/desertrecordslabel/
https://www.instagram.com/desertrecords/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/
https://linktr.ee/desertrecords

Red Mesa, “Forest Cathedral” (2022)

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Geezer and Book of Wyrms Announce Canadian Shows

Posted in Whathaveyou on April 3rd, 2023 by JJ Koczan

geezer-book-of-wyrms

Next month, Kingston, New York, trio Geezer and Richmond, Virginia, four-piece Book of Wyrms will head north together for a three-date weekender in Ontario and Quebec. As both bands note below, it’s their first time playing in Canada, and for the dates in Toronto, Ottawa and Québec City, they’ll be keeping good company with a sampling of the righteous Canadian heavy underground. You can see the names on the poster and in the announcement, so I’ll spare you my just listing them again, but it’s a curated assemblage.

Geezer go in continued support of 2022’s Stoned Blues Machine (review here) on Heavy Psych Sounds, having most recently played Heavy Psych Sounds Fest in San Francisco and Joshua Tree, California. For Book of Wyrms, they’ll herald new projects in the works, including plans to record their next full-length at summer’s end, which will follow their 2022 single “Sodapop Glacier” (premiered here) as well as 2021’s Occult New Age (review here), released by Desert Records.

Of the locals, I’ll cop to being less familiar with Hempress and Acid Moth, though Hempress released their Masters of the Trade LP last year and that’s pretty cool and Acid Moth just last Friday offered their self-titled debut EP, complete with a Trailer Park Boys reference and riffs a-plenty. Aawks, Low Orbit and Witchrot are known quantities and killer enough to make the Toronto show practically a festival. And you’ll note The Death Wheelers, who play the last date in Québec City, released their Topon Das-mastered Mondo Trasho 7″ last Fall as the follow-up to their 2020 debut on RidingEasy Records. Sounds like fun, but I know one way to find out for sure.

To that end, I hit up Geezer last week and invited myself along for the trip. Looks like it might even happen, so one way or the other, here’s looking forward:

geezer book of wyrms shows 1

GEEZER & BOOK OF WYRMS – Canadian Road Trip

Geezer and Book of Wyrms are teaming up for a May road trip to Canada, joined by noted northern lights Aawks, Low Orbit, and Witchrot (Toronto May 11), Hempress and Acid Moth (Ottawa May 12), and the Death Wheelers (Quebec City May 13). These ragers are generously brought to you by Pale Horse Promotions, Fuzzed n Buzzed Records, and Sewer Pool Productions.

Says Pat Harrington of Geezer: “This will be our first time in Canada and we are totally stoked about it. I reached out to Jake from BoW about the idea of doing some shows together and they were already working on the Canadian idea, so we put our heads together and it all worked out real quick. We’re excited about the bands we’re playing with and the promoters have already been working hard on spreading the word, so we expect this short run to be a banger!”

Says Book of Wyrms’ Jake Linsley: “This will be our first time playing outside the US, and getting to go with our buddies in Geezer just makes it extra badass. I’ve been listening to Aawks a lot so it’s gonna be cool to play with them while we’re up there. Other than that, we have a few summer runs coming up that haven’t been announced yet, a new song on a compilation that hasn’t been announced yet, and we’ll be back in the studio at the end of the summer to record our fourth LP.”

GEEZER & BOOK OF WYRMS live:
May 11 Hard Luck Toronto ON w/ AAWKS, Low Orbit & Witchrot
May 12 Dominion Ottawa ON w/ Hempress & Acid Moth
May 13 Scanner Québec City QC w/ The Death Wheelers

Geezer are:
Pat Harrington – vocals/guitar
Richie Touseull – bass
Steve Markota – drums

Book of Wyrms are:
Sarah Moore-Lindsey: Vocals and synthesizers
Kyle Lewis: Guitar
Chris DeHaven: Drums
Jay “Jake” Lindsey: Bass

https://www.facebook.com/Bookofwyrms/
https://instagram.com/bookofwyrms
https://bookofwyrms.bandcamp.com/

https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

https://www.instagram.com/geezertown/
https://www.facebook.com/geezerNY/
http://geezertown.bandcamp.com/

heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/

Book of Wyrms, “Sodapop Glacier” (2022)

Geezer, Stoned Blues Machine (2022)

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Review & Full Album Premiere: Breath, Primeval Transmissions (Remixed & Remastered)

Posted in audiObelisk, Reviews on February 28th, 2023 by JJ Koczan

Breath Primeval Transmissions Remix

[Click play above to stream Primeval Transmissions (Remixed & Remastered) by Breath. Album is out Friday on Desert Records.]

A do-over? Sort of. Based in Portland, Oregon, bassist/vocalist Steven O’Kelly (also some guitar) and drummer/percussionist Ian Caton released their debut album, Primeval Transmissions (discussed here) in Feb. 2021 through Desert Records, having recorded on March 20, 2020, tracking the five songs that make up the album live at Rob Wrong of Witch Mountain‘s Wrong Way Recording. In trying to think of what might have been the impetus for the two-piece to go back and have Wrong completely remix (and subsequently to have Justin Weis at Trackworx remaster) Primeval Transmissions, the prospect inherently carries some dismissal of the original edition of the record. Like, what was wrong with it the first time around?

Not much, the way I heard it. Basking in a meditative doom style heavily influenced by Al Cisneros and the first and second albums he and Chris Hakius did together as Om, the original Primeval Transmissions was certainly raw, but that was an essential facet of its sound. It’s right there in the title! As Breath‘s first release — not just their first full-length; their first anything — it left space open in the mix as if to allow the listener a place to put themselves within it, and despite its rawness, it still offered headphone-worthy atmospherics and a palpable sense of mood. This, fortunately, is something Primeval Transmissions (Remixed and Remastered) maintains.

At the same time, the changes in the mix are palpable as the sample of waves — could also be cars on a road, but waves are more soothing so that’s the assumption given the surrounding context — at the outset of opener “Evocation” is more forward, and the wah-bass jamBreath Primeval Transmissions that moves into the second half before the crashout at 9:10 into the 14-minute “Dwarka,” which follows, feels more vibrant in much the same way the cover art by Tyler Wintermute has had its coloring enhanced, while remaining very much dedicated to earth-tones, but brighter and more vivid. The ethic would seem to apply across the entire 45-minute span.

Answering the inevitable question, the band has catalogued the changes and, for those who’d do a side-by-side, kept the original Primeval Transmissions — which they should maybe consider calling the “extra primeval version” or “original edition” or some such — available for listeners. Part of the explanation includes new equipment in Wrong‘s studio, which is fair enough. Wrong Way opened in late 2019, so that — as many producers do perpetually — Wrong would be bringing in different and upgraded gear over time makes sense.

This has allowed for digital versions in Dolby Atmos Surround and Apple Spatial Audio, neither of which I’ll pretend to understand beyond the assumption of higher audio resolution and richer frequency depth — they say that “anomalous noise” has been removed from the drum tracks as well, and sure enough they sound cleaner — which suits a piece like the rolling 12-minute “Battle for Harmonic Balance/Halls of Amenti,” the latter part of which also includes a new extra-bluesy guitar solo from Wrong where Caton‘s shaker percussion previously stood alone on a kind of hypnotic march into the closer “Evocation (Reprise).” Wrong also contributes a lead to centerpiece “Observer,” the jangle of his guitar surprising in its first strum at 2:27 into the song’s total 5:14 but (still) not unwelcome in complementing and filling out the trance rhythm carried over by O’Kelly and Caton.

breath

But a new mix and a fancy hi-fi representation, and even the added solo, are just part of it. O’Kelly re-recorded vocals as well on “Evocation” and “Battle for Harmonic Balance/Halls of Amenti,” and that’s a stark change that enhances the listening experience overall, since as one might expect he’s more confident in his approach to the tracks some two-plus years after they were first put to tape. He’s somewhat less coated in echo as well, and his voice stands up to the forward position it’s now given, like he’s leading the meditation practice before his bass swells with distortion shortly before the six-minute mark, Caton‘s drums fluid and almost jazzy in their fills for the lead cut’s still-spacious crescendo.

The feeling of space — open space, particularly; not just the largesse of the bass tone or drum sounds — was crucial to Primeval Transmissions before and is too in the remix and remaster, which comes across as a purposeful decision. As enjoyable as high-volume listening is, part of the affect of Breath‘s material is its far-back sensibility, the feeling that the band are bringing their audience with them for this sojourn away from the mundane into ethereal not-quite-minimalism. And in comparing the redone vocal track on “Battle for Harmonic Balance/Halls of Amenti” to the earlier “Dwarka” — the two longest inclusions at 12 and 14 minutes, respectively — the change in sound isn’t so jarring as to remove one from the overarching flow of the material.

So perhaps not a do-over, but definitely an upgrade, making sure to keep what was working in sound, chemistry and ambience from the original while bolstering clarity and incorporating new ideas. The added guitar on “Battle for Harmonic Balance/Halls of Amenti” is smoother in its entry over the quiet stretch of shaker in the last two minutes of the song, a strummed layer that might be O’Kelly or might be Wrong backing himself on guitar behind the wistful psych-blues notes that emanate, creating a standout moment for side B in a space that was left open previously, making the turn into the back-t0-business bass and drums at the start of “Evocation (Reprise)” very much a re-grounding leading into the final instrumentalist procession outward; the cymbals brighter and more ceremonial in their impression circa 3:30 than they were, the bass that much warmer as the pair move toward the residual doppler noise that caps in mirror to the beginning of “Evocation” proper.

Ultimately, the revisit to (now somewhat less) Primeval Transmissions feels reasonable and rationalized given the changes that have been made, despite any kneejerk “why go back” reaction one might have on initial approach. It’s a fuller, more consuming sound, and one that comes across like a more complete realization of what Breath intended the record to be. To anybody who’d wonder why not move forward and make another record instead, I’ll point out that I have no idea the status of Breath‘s ‘next album’ or new material generally, and for all I know they could have songs in the works and ready to go; it doesn’t actually have to be one or the other, and more likely isn’t.

There are arguments to be made for the original’s barebones, live feel, but to be frank, that they sound better doesn’t hurt these songs, and in the redone vocals, the adjusted balance of the mix, the added guitar and the fine attention to detail throughout, Primeval Transmissions (Remixed and Remastered) still offers a sense of progression on the part of the band, and listeners who didn’t encounter it the first time around are given that much more depth to dig into as they travel along with Caton and O’Kelly (and Wrong) on this peripatetic exploration. Can’t really call it anything but a win.

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