Brume Headed to Europe This Weekend; Playing with High on Fire and More

Posted in Whathaveyou on August 9th, 2018 by JJ Koczan

BRUME

San Francisco three-piece Brume hit the UK last Spring in time to play Desertfest London 2017 and toured with Gurt on that trip, so I guess everyone got along well enough since they’re doing it again. Not Desertfest, the touring part. This time it’ll be a couple shows in the Netherlands together and one at The Black Heart — which is a great place to hang out, so long as you don’t try to bring your baby — in addition to Brume appearing at a fest in Austria and playing a gig in Budapest alongside fellow Bay Area denizens High on Fire, which sounds like an utter blast. Oh, and Elephant Tree are on that Black Heart show too, so all the better. If you get to talk to them, please send my best.

Brume released their debut full-length, Rooster (review here), last year through Doom Stew and DHU Records. Dates and a couple quotes from the band follow here for your perusal:

brume european tour poster

BRUME // EUROPEAN TOUR // AUGUST // 2018

It’s tour season and we’re hitting the bricks. Austria, Budapest, Netherlands, UK. Here we come…

Susie: “Music is life. Europeans understand that better than anybody else in the world. We can’t wait to be reunited.”

Jamie: “We are crazy excited about Europe. We’ve played out a lot this year but this these dates will be the cherry on the cake and a chance to try out some new material. Getting back on stage with Gurt is always the most fun too, London will be a PARTY.”

Brume European tour:
11 – Aug / Sauzipf Rocks Festival Dobriach, Austria
12 – Aug / Durer Kert Budapest, Hungary w/ High on Fire
16 – Aug / Studio de Veste Leiden, Netherlands*
17 – Aug / Butchers Tears Amsterdam, Netherlands*
18 – Aug / The Black Heart London, UK* w/ Elephant Tree
* Dates with Gurt

Brume are:
Susie McMullin – Vocals/Bass
Jordan Perkins-Lewis – Drums
Jamie McCathie – Guitar

https://www.brumeband.com/
https://brumesf.bandcamp.com/
https://www.facebook.com/brumeband/
http://brume.bigcartel.com/
https://www.doomstew.com/
http://darkhedonisticunionrecords.bigcartel.com/

Brume, European tour trailer

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Kurokuma Announce Eastern European Tour; New EP Dope Rider Due in August

Posted in Whathaveyou on June 29th, 2018 by JJ Koczan

kurokuma

Good word from the UK in that sludge rockers Kurokuma will release a new EP, titled Dope Rider, on vinyl in August through Doom Stew Records. The three-piece have a string of Eastern European tour dates booked in order to celebrate the impending two-songer, which is based around a comic series of the same name. They showed influences psychedelic and tribal on their prior outing, 2016’s Advorsus, which is streaming at the bottom of this post, and since that release, they’ve toured with the likes of ConanDVNE, among others. I wouldn’t necessarily predict how the new release will sound — and I can’t pretend not to have heard it while talking about it, because, hey, I actually haven’t heard it — but I wouldn’t be surprised if their road experience translates into an even broader scope.

We’ll find out when we get there, of course, but in the meantime, shows in Romania, Slovakia, Hungary, Poland, Germany, Lithuania and Latvia should bring them to the attention of that region’s passionate underground and help their cause generally. The extremity they brought to Advorsus was visceral in its three-track rollout, and as they center around a narrative structure, there’s an opportunity to bring new progressive sensibility to the proceedings.

So proceed. The following came in hot on the PR wire:

kurokuma eastern europe tour

Kurokuma Eastern Europe Tour 2018

UK psychedelic sludge band, Kurokuma slash their way through Eastern Europe this August, hitting up Rockstadt Festival in Romania and Brutal Assault in Czech Republic along the way. Playing alongside the likes of Obituary and Converge, this is their first time in mainland Europe. There will also be a performance at Berlin’s independent cinema, ZUKUNFT am Ostkreuz, in conjunction with a screening of The Doom Doc.

The tour is in support of their Dope Rider EP which comes out on vinyl, CD and cassette through San Fran’s Doom Stew Records in the same month. The EP contains two lengthy tracks in tribute to Dope Rider, a graphic fiction story originally printed in High Times starting in the 1970s. The release features artwork by the strip’s creator, Paul Kirchner; the vinyl version especially features a whole Dope Rider story on the insert. The EP was recorded at The Cro’s Nest by Slabdragger’s Sam Thredder and mastered at Skyhammer Studio by Chris Fielding.

4/8 Rockstadt – Brasov, Romania
5/8 Revolver Sound Studio – Budapest, Hungary
6/8 Garaze – Bratislava, Slovakia
7/8 Bar Pod Hodinam – Kolin, Czech Republic
8/8 Brutal Assault – Jaromer, Czech Republic
11/8 Zukunft am Ostkreuz – Berlin, Germany
12/8 Chmury – Warsaw, Poland
13/8 Carpenter Inn – Olsztyn, Poland
14/8 XI20 – Vilnius, Lithuania
15/8 Melno Cepurisu Balerija – Jelgava, Latvia

https://www.facebook.com/kurokumauk/
http://kurokumauk.bandcamp.com/
@kurokumauk
https://www.doomstew.com/

Kurokuma, Advorsus (2016)

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The Obelisk Presents: The Top 20 Debut Albums of 2017

Posted in Features on December 18th, 2017 by JJ Koczan

the obelisk top-20-debut-albums

Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2017 to that, please do.

Every successive year brings an absolute inundation of underground productivity. Every year, someone new is inspired to pick up a guitar, bass, drums, mic, keyboard, theremin, cello — whatever it might be — and set themselves to the task of manifesting the sounds they hear in their head.

This is unspeakably beautiful in my mind, and as we’ve done in years past, it seems only fair to celebrate the special moment of realization that comes with a band’s first album. The debut full-length. Sometimes it’s a tossed-off thing, constructed from prior EPs or thrown together haphazardly from demo tracks, and sometimes it’s a meticulously picked-over expression of aesthetic — a band coming out of the gate brimming with purpose and desperate to communicate it, whatever it might actually happen to be.

We are deeply fortunate to live in an age (for now) of somewhat democratized access to information. That is, if you want to hear a thing — or if someone wants you to hear a thing — it’s as simple as sharing and/or clicking a link. The strong word of mouth via ubiquitous social media, intuitive recording software, and an ever-burgeoning swath of indie labels and other promotional vehicles means bands can engage an audience immediately if they’re willing to do so, and where once the music industry’s power resided in the hands of a few major record companies, the divide between “listener” and “active participant” has never been more blurred.

Therefore, it is a good — if crowded — time for an act to be making their debut, even if it’s something that happens basically every day, and all the more worth celebrating the accomplishments of these first-albums both on their current merits and on the potential they may represent going forward. Some percent of a best-debuts list is always speculation. That’s part of what makes it so much fun.

As always, I invite you to let me know your favorite picks in the comments (please keep it civil). Here are mine:

telekinetic-yeti-abominable

The Obelisk Presents: The Top 20 Debut Albums of 2017

1. Telekinetic Yeti, Abominable
2. Rozamov, This Mortal Road
3. Mindkult, Lucifer’s Dream
4. Dool, Here Now There Then
5. Eternal Black, Bleed the Days
6. Arduini/Balich, Dawn of Ages
7. Vinnum Sabbathi, Gravity Works
8. Tuna de Tierra, Tuna de Tierra
9. Brume, Rooster
10. Moon Rats, Highway Lord
11. Thera Roya, Stone and Skin
12. OutsideInside, Sniff a Hot Rock
13. Hymn, Perish
14. Riff Fist, King Tide
15. Bees Made Honey in the Vein Tree, Medicine
16. Abronia, Obsidian Visions/Shadowed Lands
17. Book of Wyrms, Sci-Fi Fantasy
18. Firebreather, Firebreather
19. REZN, Let it Burn
20. Ealdor Bealu, Dark Water at the Foot of the Mountain

Honorable Mention

Alastor, Black Magic
Devil’s Witches, Velvet Magic
Elbrus, Elbrus
Green Meteor, Consumed by a Dying Sun
Grigax, Life Eater
High Plains, Cinderland
Kingnomad, Mapping the Inner Void
Lord Loud, Passé Paranoia
Masterhand, Mind Drifter
The Necromancers, Servants of the Salem Girl
Owlcrusher, Owlcrusher
Petyr, Petyr
The Raynbow, The Cosmic Adventure
Savanah, The Healer
War Cloud, War Cloud
WhiteNails, First Trip

I could keep going with honorable mentions, and no doubt will add a few as people remind me of other things on which I brainfarted or whathaveyou, preferably without calling me an idiot, though I recognize that sometimes that’s a lot to ask. Either way, the point remains that the heavy underground remains flush with fresh infusions of creativity and that as another generation comes to maturity, still another is behind it, pushing boundaries forward or looking back and reinventing what came before them.

Notes

Will try and likely fail to keep this brief, but the thing I find most striking about this list is the variety of it. That was not at all something I planned, but even if you just look at the top five, you’ve got Telekinetic Yeti at the forefront. Abominable is something of a speculative pick on my part for the potential it shows on the part of the Midwestern duo in their songcraft and tonality, but then you follow them with four other wildly different groups in Rozamov, Mindkult, Dool and Eternal Black. There you’ve got extreme sludge from Boston, a Virginian one-man cult garage project, Netherlands-based dark heavy rock with neo-goth flourishes, and crunching traditionalist doom from New York in the vein of The Obsessed.

What I’m trying to say here is that it’s not just about one thing, one scene, one sound, or one idea. It’s a spectrum, and at least from where I sit, the quality of work being done across that spectrum is undeniable. Think of the prog-doom majesty Arduini/Balich brought to their collaborative debut, or the long-awaited groove rollout from Vinnum Sabbathi, or how Italy’s Tuna de Tierra snuck out what I thought was the year’s best desert rock debut seemingly under everybody’s radar. Stylistically and geographically these bands come from different places, and as with Brume and Moon Rats, even when a base of influence is similar, the interpretation thereof can vary widely and often does.

That Moon Rats album wasn’t covered nearly enough. I’m going to put it in the Quarterly Review coming up just to give another look at the songwriting on display, which was maddening in its catchiness. Maddening in its cacophony of noise was Stone and Skin from Brooklyn’s Thera Roya, which found itself right on the cusp of the top 10 with backing from the ’70s heavy rock vibes of the post-Carousel Pittsburgh outfit OutsideInside. Norway’s Hymn thrilled with their bleak atmospheres, while Australia’s Riff Fist showed off a scope they’d barely hinted at previously, and Bees Made Honey in the Vein Tree offered surprises of their own in their warm heavy psych tonality and mostly-instrumental immersion. That record caught me almost completely off-guard. I was not at all prepared to dig it as much as I did.

Thrills continue to abound and resound as the Young Hunter-related outfit Abronia made their first offering of progressive, Americana-infused naturalist heavy, while Book of Wyrms dug themselves into an oozing riffy largesse on the other side of the country and Sweden’s Firebreather emerged from the defunct Galvano to gallop forth and claim victory a la early High on Fire. REZN’s Let it Burn got extra points in my book for the unabashed stonerism of it, while it was the ambience of Ealdor Bealu’s Dark Water at the Foot of the Mountain that kept me going back to it. An album that was genuinely able to project a sense of mood without being theatrical about it was all the more impressive for it being their first. But that’s how it goes, especially on this list.

There you have it. Those are my picks. I recognize I’m only one person and a decent portion of my year was taken up by personal matters — having, losing a job; pregnancy, childbirth and parenting, etc. — but I did my best to hear as much music as I could in 2017 and I did my best to make as much of it as new as I could.

Still, if there’s something egregious I left out or just an album you’d like to champion, hell yes, count me in. What were some of your favorites? Comments are right down there. Let’s get a discussion going and maybe we can all find even more music to dig into.

Thanks for reading and here’s to 2018 to come and the constant renewal of inspiration and the creative spirit.

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Catapult the Dead Set Nov. 15 Release for A Universal Emptiness

Posted in Whathaveyou on October 30th, 2017 by JJ Koczan

catapult the dead

It doesn’t take long into their second album, A Universal Emptiness, for Oakland post-doom six-piece Catapult the Dead to set an atmosphere as heavy emotionally as it is in its tonal substance. Doom Stew Records will have the four-track/38-minute full-length out Nov. 15 as the follow-up to the band’s 2014 debut, All is Sorrow, and while bits and pieces like some of the emergent riffing in opener “Till it Goes Away” and some of the Steve Von Till-style vocals that accompany might be traced back to Neurosis, cuts like the organ-laced “Last Breath” and the piano-topped album apex “Burning Womb” put that churn to individualized purposes.

I’ll hope to have more to come on this one. Digging the vibe a lot so far. The PR wire had this to say on it:

Catapult the Dead A Universal Emptiness

Catapult the Dead release new album on November via Doom Stew Records

Hailing from Oakland, Ca, the 6 piece crushing tribe of doom Catapult the Dead, are teaming up with San Francisco’s Doom Stew Records for their latest full length release “A Universal Emptiness”, due on November 15th, 2017.

Catapult the Dead bring to the genre their own version of musical sorrow, despondency, and longing. This unique and haunting outfit is as beautifully devastating as it is callous and brooding.

A Universal Emptiness is a 38:39 minute apocalyptic journey. Sweeping synth and organ soundscapes lead you eerily, through a dark thunderous wall of sound. With thick brutal guitars at the core, it’s rhythmic foundation is dragged angrily along by layered bass and powerful booming drums. All the while baleful roars and ghostly wales round out this bleak, crushingly dynamic, full length offering.

A Universal Emptiness will be available on November 15th. CD and LP’s are available through Doom Stew Records. Digital download and cassette tapes are available directly through Catapult the Dead. The 12″ vinyl comes in 3 special color variants to compliment thebeautiful illustrations created by Macedonian artist Pig Hands. Also featuring insert and label Illustrations by Death Ink.

Tracklisting:
1. Till It Goes Away
2. Anti-Aether
3. Last Breath
4. Burning Womb

Catapult the Dead are:
Ben Hiteman – Vocals and Percussion
Emad Dajani – Guitar
Thomas Lilliston – Guitar
Garrick O’Connor – Keyboards and Guitars
Dan Brownson – Bass
Patrick Spain – Drums

http://facebook.com/catapultthedead
https://catapultthedead.bandcamp.com
http://catapultthedead.bigcartel.com/
https://www.doomstew.com

Catapult the Dead, All is Sorrow (2014)

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Menin Announce Lord of Pain EP Due Sept. 15

Posted in Whathaveyou on July 20th, 2017 by JJ Koczan

menin

The impression made by the blown-out tone of Menin‘s Lord of Pain is immediate, resonant and righteous. Taking themes from sci-fi across its included tracks — one of which is instrumental and another a vinyl-exclusive bonus — the Doom Stew Records offering is out Sept. 15 and is the first EP release from the doubly-drummed (you can hear it on “Logrus”) Portland, Oregon, four-piece. Caked in distorted filth to match their bass-driven heft, Menin stomp their way through the title-track en route to the longer and ultimately more atmospheric “Logrus” before rolling out an effective linear build across “Mercer.”

All told, it’s a quick 22 minutes-plus that feels formative in its construction but carries forth a raw ambience to go with its nastiest stretches. It just so happens that the bonus track, “Entheogen,” is streaming at the bottom of this post, if you’d like to get introduced.

From the PR wire:

menin lord of pain

Menin EP – Lord of Pain Sept 15th

Portland, Oregon’s favorite science fiction stoner doom outfit Menin is proud to announce its allegiance with San Francisco’s Doom Stew Records to release the EP Lord of Pain on CD and 12″ vinyl September 15th.

Menin’s power has rarely been glimpsed outside of the Pacific Northwest until now. Two drummers, downtuned guitar, and towering bass bring about an involuntary slow-headbang with interlocking polyrhythmic riffs. The unhinged vocals of guitarist Chris Gray serve to further disorient and disturb the listener.

Lord of Pain launches Menin’s unrelenting heaviness into the farthest corners of the universe for all but the deafest of heshers to behold. Each track explores the power and wrath of creator/destroyer gods from works of science fiction and fantasy. Lord of Pain’s title track is named for the Shrike from Dan Simmons’s Hyperion Cantos: a 10-foot-tall, four-armed, time-traveling monster made of knives. Fellow science fiction fan and riff warrior Matt Stikker provides a horrifying illustration for the cover art, as he has done for the likes of Lord Dying, Drouth, and WVRM, among others.

Lord of Pain will be available on CD, digital download, and vinyl September 15th through Doom Stew Records. The 12″ vinyl also contains the previously-unavailable single Entheogen, an anthem to the sweet leaf.

Artist: Menin
Album: Lord of Pain
Label: Doom Stew Records
Release date: September 15th, 2017

Tracklist:
1. Lord of Pain (5:45)
2. Logrus (9:58)
3. Mercer (7:14)
4. Entheogen (5:52) (vinyl-only)

Menin is:
Chris Gray – Vocals / Guitar
Ken Neff – Bass
Devin Nowlin – Drums
Peter Schaller – Drums

http://facebook.com/meninpdx
https://www.menin666.com
https://menin.bandcamp.com
https://www.doomstew.com
https://www.facebook.com/doomstewrecords/

Menin, “Entheogen”

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Review & Track Premiere: Brume, Rooster

Posted in audiObelisk, Reviews on April 13th, 2017 by JJ Koczan

brume rooster

[Click play above to stream the premiere of ‘Reckon’ by Brume. Their debut album, Rooster, is out April 20 on DHU Records and Doom Stew Records ahead of a UK tour (info here) including a stop at Desertfest London 2017.]

A dense fog comes to rest over the 51 minutes of Brume‘s Rooster. By the end of the 10-minute opening track, it has settled in despite — or perhaps because of — the pervasive thrust the San Francisco trio have conjured, and it remains a factor for the six-track duration. Fortunately, the three-piece of bassist/vocalist Susie McMullin, guitarist Jamie McCathie and drummer Jordan Perkins-Lewis chose the most capable of navigators, Billy Anderson (NeurosisMelvinsAcid KingSleep, need I go on?), to help guide them forward. Rooster, issued through Perkins-Lewis‘ own Doom Stew Records on CD, tape and download with vinyl forthcoming from DHU Records, winds up not so much getting lost in this fog as inhaling it, plugging in, and riffing out with marked force, thickness and presence.

Their 2015 debut EP, Donkey, was a showcase of promise, and Rooster is a longer one, but in stepping forward to give their building audience a first real chance to take in the scope of what Brume — who got together in 2014 — can and will be as a band, they do not flub the opportunity. With longer pieces “Grit and Pearls” (10:06) and “Tradewind” (11:48) as bookends at the outset and finish, the fervent plod of “Harold” (7:30), “Reckon” (9:13) and the rolling “Call the Serpent’s Bluff” (9:29) between, as well as the penultimate acoustic-based “Welter” (2:55) leading into the closer, Rooster realizes the potential of the prior EP and moves forward with it, successfully melding together influences into what Perkins-Lewis might call a “doom stew” of their own recipe.

For those new to the band, with the airy, soulful melodicism of McMullin‘s voice echoing spaciously over the molasses riffery, one might hear them at first as spiritual successors to the recently-defunct Uzala, but the turns of “Grit and Pearls” immediately widen this impression with rhythmic stops drawn from the post-YOB sphere of cosmic doom and Mike Scheidt‘s particular style of angularity. The key, though, is immersion. By the time “Grit and Pearls” has finished its 10-minute course, shifting from vast plod into quiet atmospherics and back through the faster ending that’s the source of the YOB comparison above, they’ve managed to hook the listener with a repetitive nodding groove. Their sense of pacing and willingness to vary tempos emerges as something of a theme throughout, but Rooster never becomes more monotonous than it wants to be. Monolithic, perhaps.

brume

“Harold” begins by teasing the lighter strum-and-pluck that “Welter” will later bring before crashing in at full weight and unfolding its first ethereal verse, slower and more doomed than “Grit and Pearls” before it — I keep hearing early Cathedral in McCathie‘s guitar progression, but I can’t place it exactly — and they settle into a consuming roll as they move past the halfway point, the last minute of the song being the real point of departure as the central rhythm gives way to feedback and ambient noise with Perkins-Lewis‘ drums behind, a grueling end that perfectly sets up the doom-gone-TwinPeaks-barroom-blues launch of “Reckon.” The third of Rooster‘s six cuts fascinates conceptually as McMullin plays off the country music trope of the cowgirl singing the tale of meeting a mysterious stranger, but instead of a sharp-eyed, all-chin guy on horseback, he’s got a beard and rides a beat-up motorcycle. Nonetheless, the vibe that results makes “Reckon” a standout, as does its more prevalent hook and open-feeling, drum-and-chanting midsection break that swells to an apex with a layered-over guitar lead that recalls “Grit and Pearls” in its intent without necessarily retreading what’s already been done.

It seems likely that “Call the Serpent’s Bluff” will mark the start of the vinyl’s side B after “Reckon” finishes the album’s longer-by-two-minutes side A, and that break between the two songs feels somewhat essential as a factor in the flow throughout Rooster as a whole. That is, the effect of Perkins-Lewis‘ drums returning to start “Call the Serpent’s Bluff” is best experienced with the breath-catching moment provided to the listener by flipping a record. Even the digital version of “Reckon” has a couple seconds of silence at the end, and that feels very much on purpose and very correct. When it gets going, with the rumble of McMullin‘s bass and feedback from McCathie‘s guitar soon enough joining the tom runs to draw the listener into the patient groove, “Call the Serpent’s Bluff” swirls out hypnotic, doomedelic nod, an early lead giving way to more insistent pulse before spacious vocal melody transitions into slower riffing, a quiet introduction of the back-half hook and build back to the crawling, crashing finish recitations, ending with the vocals as a standalone element. That subtle moment of minimalism makes an effective transition into “Welter”; the shortest cut and starkest contrast to its surroundings, sonically if not in overall mood.

Backed by acoustic strum, McMullin echoes the bluesier feel of “Reckon” in another context, surrounded by a flourish of keys for a neofolkish stretch one might relate to Windhand but that serves all the same to further widen the breadth of Rooster ahead of “Tradewind,” which comes to life slowly over likewise quiet strum and cymbal wash before the full heft arrives at around two and a half minutes in to commence a series of loud/quiet tradeoffs that once again find Brume working in a varied structural context even as they reinforce the brooding feel of the record as a whole and offer one last deceptively catchy chorus. The nature of their craft, with a focus on longer songs meting out grueling and at times otherworldly doom, doesn’t necessarily lend itself toward the expectation of hooks, but Brume have a few throughout Rooster, as “Tradewind” duly reminds, and that seems an avenue where the trio might continue to grow as they take the lessons of their debut forward into whatever might come next. Along with the cohesive ambience and fluidity of their presentation on the whole, this underlying foundation of songwriting gives them another tradition to make their own as they begin to do in these tracks.

Brume website

Brume on Bandcamp

Brume on Thee Facebooks

Brume BigCartel webstore

Doom Stew Records website

DHU Records webstore

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Brume to Release Debut Album Rooster April 20; UK Tour with Gurt Announced

Posted in Whathaveyou on March 28th, 2017 by JJ Koczan

brume

I’m not sure when else one might expect San Francisco’s Brume to release their Billy Anderson-produced debut album, Rooster, other than April 20, but the timing works on multiple levels as that’s just a scant two days before they head overseas for the first time. They’re set to tour the UK with sludgemongers Gurt as a precursor to appearing at Desertfest London 2017 at The Underworld in Camden Town, where they’ll share the stage with Celeste, Scissorfight, Inter Arma and Bongzilla.

A worthy occasion to say the least, and certainly as they go, waving a banner like the frickin’ awesome Sean Beaudry cover art for Rooster won’t hurt. In addition to the April 20 release, which will be CD, tape and download through Doom Stew Records, the plan is to have Rooster out on vinyl through DHU Records over the summer.

Stay tuned because I’ll have more on this one leading up to the release — think, the week before. For now, the PR wire has tour dates, album info and all that good stuff:

brume rooster

San Francisco, California Doom trio Brume announce their debut album ‘Rooster’ out on DHU Records/Doom Stew Records.

Brume’s heaving dose of hallucinogenic heaviness has been crafted since their EP ‘Donkey’ released on CD (When Planets Collide), LP (DHU Records) and Cassette (Transylvanian tapes) in 2015. Returning to Sharkbite studios in Oakland, CA to record their full length but this time working alongside legendary producer Billy Anderson to lay down six songs, 51 minutes of heavy.

Progressing from Donkey’s monolithic focus, Rooster sees Brume evolve to a more dynamic songwriting approach. The west coast debut is a more sonically diverse, crushingly heavy and beautifully conflicted album. To accompany the music, the cover art was created by Savannah illustrator Sean Beaudry, best known for his work with Kylesa.

Brume will bring its riff ritual to Europe for the first time in April with a joint UK tour with Gurt in the run up to there Desertfest London slot alongside the likes of Bongzilla and Inter Arma in The Underworld, Saturday 29th.

Rooster will be available on CD, cassette and digitally on April 20th from Brume drummer Jordan Perkins-Lewis’s fledgling label, Doom Stew Records. The 2xLP will be available in a variety of limited edition variants via DHU in July.

Watch these spaces for preorders:
https://www.brumeband.com/
https://www.doomstew.com/
http://darkhedonisticunionrecords.bigcartel.com/

Artist: Brume
Album: Rooster
Label: DHU Records/Doom Stew Records
Release date: April 20th (CD) July (LP) 2017

Tracklist:
1. Grit and Pearls
2. Harold
3. Reckon
4. Call the Serpent’s Bluff
5. Welter
6. Tradewind

Brume & Gurt UK tour dates:
22/04 The Firehouse Southampton UK
23/04 The Stag and Hounds Bristol UK
24/04 Finns Weymouth UK
25/04 Rebellion Manchester UK
26/04 The Phoenix Coventry UK
29/04 Desertfest London 2017 The Underworld London UK (Brume only)

Brume are:
Susie McMullin – Vocals/Bass
Jordan Perkins-Lewis – Drums
Jamie McCathie – Guitar

https://www.brumeband.com/
https://brumesf.bandcamp.com/
https://www.facebook.com/brumeband/
http://brume.bigcartel.com/
https://www.doomstew.com/
http://darkhedonisticunionrecords.bigcartel.com/

Brume, Donkey EP (2015)

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