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YOB Reissue Atma; Announce US & European Live Dates

Posted in Whathaveyou on November 3rd, 2021 by JJ Koczan

YOB (Photo by James Rexroad)

Total no-brainer preorder. I don’t know when it’s coming, and frankly, I don’t care, but I put in my digital dollarbucks yesterday for the CD and t-shirt bundle and my only question as regards doing so is should I go back and order the hoodie as well. Probably yes, yes I should, and so should you.

Do we need to talk about Atma (review here)? Released in 2011, it was the second album back from YOB post-reunion — their breakup seems like forever ago now, but that was a long four years — and it was willful in its rawness. It was my pick for album of the year that year, as will happen where YOB are concerned, and songs like “Prepare the Ground,” “Before We Dreamed of Two” and “Adrift in the Ocean” — also “Atma” and “Upon the Sight of the Other Shore,” which, yes, is all the songs on the record — make for a continually resonant listening experience. There have been days on which nothing else will do. Going by what I hear in longtime-collaborator Billy Barnett‘s new mix of Atma, that seems very unlikely to change.

Vinyl’s due in April. Fine. Does that mean CD is held back too? Whatever. Any day this shows up in the mail will be a good day. In the interim, the digital is out now and streaming at the bottom of this post. I had a mini-panic attack when I saw the four nights they’re doing in Brooklyn. It’s a terrifying prospect — surely all four will sell out — but I might have to go to at least one.

From the PR wire:

yob atma deluxe edition

YOB Release Atma (Deluxe Version) Today via Relapse; U.S. & European Tour Dates Announced

YOB close out 2021 with the release of a remixed and remastered version of their stunning sixth album, Atma, and word of the trio’s first tour since 2019.

“When we first recorded Atma, our aim was to have a raw production, lo-fi and punk, and we did get that sound. Over the years, though, we wondered what it would be like to have Billy Barnett remix Atma, allowing him to give it Gung Ho Studio’s scope and thunder, as he has on The Illusion Of Motion, The Unreal Never Lived, Clearing The Path To Ascend, and Our Raw Heart,” explained Mike Scheidt of the newly remixed and remastered collection. “Due to our busy schedules, this idea sat on the back burner but when the pandemic hit, we had the time to not only approach the project, but approach it with this goal: to keep everything in Jeff Olsen’s amazing raw-punch production while having Billy make it volume-wide and monolithic in detail and space. We’re thrilled with the result, and hope you will be too!”

The nearly-hour long album initially arrived in 2011. Guest musicians included Scott Kelly (Neurosis), Jeff Olsen and Dustin Rieseberg. Atma landed on numerous year-end lists. Atma (Deluxe Version) is available digitally now, with the digital release featuring 10 tracks: the five remastered/newly mixed versions followed by the original 2011 renditions. An array of 2xLP vinyl variants arrive on April 8, and are available for pre-order (orcd.co/yob-atmadeluxe) now. The variants are:

· Clear with gold pinwheels and splatter (135 copies)
· White, oxblood, and gold merge with splatter (335 copies)
· Bone white in clear with rainbow splatter (535 copies)
· Bone white with splatter (1000 copies)
· Oxblood and Gold (5500 copies)

YOB tour dates:
December 11 Bellingham, OR Structures Brewing
December 21 Portland, OR Doug Fir Lounge
December 22 Portland, OR Doug Fir Lounge

February 20 Brooklyn, NY Saint Vitus Bar
February 21 Brooklyn, NY Saint Vitus Bar
February 22 Brooklyn, NY Saint Vitus Bar
February 23 Brooklyn, NY Saint Vitus Bar

March 17 Sacramento, CA Harlow’s
March 18 Santa Cruz, CA Felton
March 19 San Francisco, CA Great American Music Hall
March 20 Los Angeles, CA 1720
March 21 San Diego, CA Brick by Brick
March 22 Tucson, AZ Club Congress
March 23 Albuquerque, NM Sister
March 24 Denver, CO Marquis Theater
March 25 Salt Lake City, UT Soundwell (with The Otolith)

April 27 Glasgow, UK G2
April 28 Leeds, UK Brudenell Social Club
April 29 Manchester, UK Academy 3
May 1 London, UK Desert Fest
May 3 Lille, FR Aeronef
May 4 Rouen, FR Le106
May 5 Paris, FR La Maroquinerie
May 6 Lyon, FR L’Epicerie Moderne
May 8 Munich, DE Strom
May 10 Bologna, IT Freakout Club
May 11 Mezzago, IT Bloom
May 12 Martigny, CH Les Caves du Manoir
May 13 Delemont, CH SAS
May 14 Dortmund, DE Junkyard
May 16 Oslo, NO Partkteatret
May 17 Stockholm, SE Slaktkyrkan
May 18 Gothenburg, SE Valand
May 19 Copenhagen, DK Colossal Weekend
May 20 Aarhus, DK Atlas
May 21 Hanover, DE Café Glocksee
May 22 Groningen, NL Vera
May 24 Eindhoven, EL Effenaar
May 25 Esch-Sur-Alzette, LU Kulturfabrik
May 26 Gent, BE Dunk Fest
May 27 Berlin, DE Desert Fest

July 20 – 24 Moran, WY Fire In The Mountains Fest

True Widow opens on March 17 to 24 dates;

Tickets for the newly announced U.S. tour dates are on sale Friday, Nov. 5 at 10 am pacific. Tickets for the band’s European tour are on sale Thursday, Nov. 4 at 11 am CET.

YOB is:
Mike Scheidt – Guitar, Vocals
Aaron Rieseberg – Bass
Travis Foster – Drums

www.yobislove.com
www.facebook.com/quantumyob
www.instagram/com/quantumyob
https://twitter.com/quantumyob
www.relapse.com
www.facebook.com/RelapseRecords

YOB, Atma Deluxe Edition (2021)

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Finding Comfort in Live Music When There Isn’t Any

Posted in Features on August 12th, 2020 by JJ Koczan

Bands and festivals have begun to announce 2021 dates and all that, but let’s be realistic: it’s going to be years before live music is what it once was. Especially in the United States, which is the country in the world hardest hit by the ol’ firelung in no small part because of the ineptitude of its federal leadership, an entire economic system of live music — not to mention the venues, promotions and other cultural institutions that support it on all levels — needs to be rebuilt from the ground up. It isn’t going to be just as simple as “social distancing is over and we can all crowd into the bar again.” Maybe not ever.

You’ve likely seen a band do a live stream at this point, even if after the fact, and I have too. Not the same as a real-life gig, duh, but if it helps raise some funds and keeps creative people working on something and gives an act a way to connect with its audience, you can’t call it bad. I’ve found, though, that with the dearth of live music happening and the nil potential that “going to a show” will happen anytime soon, I’ve been listening to more and more live albums.

This, in no small part, is because there are plenty to listen to. Some groups attempting to bring in cash either for themselves or relevant causes have put out live records in the last few months and made use of the downtime that would’ve otherwise been given to actually being on a stage or writing together in a room or whatever it might be. It’s been a way for a band to not just sit on its collective hands and wonder what the future will bring. When so much is out of your own control, you make the most of what you’ve got.

In that spirit, here’s a quick rundown of 10 recent live outings that I’ve been digging. If you’ve found you’re in the need of finding comfort in live music and whatever act you want to see isn’t doing a stream just this second, maybe you can put one of these on, close your eyes, and be affected a bit by the on-stage energy that comes through.

Thanks as always for reading, and thanks to Tim Burke, Vania Yosifova, and Chris Pojama Pearson for adding their suggestions when I asked on social media. Here we go, ordered by date of release:

Arcadian Child, From Far, for the Wild (Live in Linz)

arcadian child from far for the wild

Released Jan. 24.

Granted, this one came out before the real impact of COVID-19 was being felt worldwide, but with the recent announcement of Arcadian Child‘s next studio album coming out this Fall, including From Far, for the Wild (Live in Linz) (discussed here) on this list seems only fair. The Cyprus-based four-piece even went so far as to include a couple new songs in the set that’ll show up on Protopsycho as well this October, so it’s a chance to get a preview of that material as well. Bonus for a bonus. Take the win.

Kadavar, Studio Live Session Vol. 1

kadavar studio live session

Released March 25.

Germany began imposing curfews in six of its states on March 22. At that point, tours were already being canceled, including Kadavar‘s European run after two shows, and the band hit Blue Wall Studio in Berlin for a set that was streamed through Facebook and in no small part helped set the pattern of streams in motion. With shows canceled in Australia/New Zealand and North America as well, Kadavar were hoping to recover some of the momentum they’d lost, and their turning it into a live record is also a part of that, as is their upcoming studio release, The Isolation Tapes.

Øresund Space Collective, Sonic Rock Solstice 2019

Øresund Space Collective Sonic Rock Solstice 2019

Released April 3.

Of course, I’m perfectly willing to grant that Sonic Rock Solstice 2019 (review here) wasn’t something Øresund Space Collective specifically put out because of the pandemic, but hell, it still exists and that enough, as far as I’m concerned. As ever, they proliferate top notch psychedelic improv, and though I’ve never seen them and it seems increasingly likely I won’t at the fest I was supposed to this year, their vitality is always infectious.

Pelican, Live at the Grog Shop

pelican Live at The Grog Shop

Released April 15.

Let’s be frank — if you don’t love Pelican‘s music to a familial degree, it’s not that I think less of you as a person, but I definitely feel bad for you in a way that, if I told you face-to-face, you won’t find almost entirely condescending. The Chicago instrumentalists are high on my list of golly-I-wish-they’d-do-a-livestream, and if you need an argument to support that, this set from Ohio should do the trick nicely. It’s from September 2019, which was just nearly a year ago. If your mind isn’t blown by their chugging progressive riffs, certainly that thought should do the trick.

SEA, Live at ONCE

sea live at once

Released June 19.

Also captured on video, this set from Boston’s SEA finds them supporting 2020’s debut album, Impermanence (review here) and pushing beyond at ONCE Ballroom in their hometown. The band’s blend of post-metallic atmosphere and spacious melody-making comes through as they alternate between lumbering riffs and more subdued ambience, and it makes a fitting complement to the record in underscoring their progressive potential. The sound is raw but I’d want nothing less.

Sumac, St Vitus 09/07/2018

sumac st vitus

Released July 3.

Issued as a benefit to Black Lives Matter Seattle and a host of other causes, among them the Philadelphia Womanist Working Collective, this Sumac set is precisely what it promises in the title — a live show from 2018 at Brooklyn’s famed Saint Vitus Bar. I wasn’t at this show, but it does make me a little wistful to think of that particular venue in the current concert-less climate. Sumac aren’t big on healing when it comes to the raw sonics, but there’s certainly enough spaciousness here to get lost in should you wish to do so.

YOB, Pickathon 2019 – Live From the Galaxy Barn

YOB Pickathon 2019 Live from the Galaxy Barn

Released July 3.

They’ve since taken down the Bandcamp stream, but YOB’s Pickathon 2019 – Live From the Galaxy Barn (review here) was released as a benefit for Navajo Nation COVID-19 relief, and is an hour-long set that paired the restlessness of “The Lie that is Sin” next to the ever-resonant “Marrow.” Of all the live records on this list, this is probably the one that’s brought me the most joy, and it also inspired the most recent episode of The Obelisk Show on Gimme Metal, which jumped headfirst into YOB‘s catalog. More YOB please. Also, if you haven’t seen the videos of Mike Scheidt playing his guitar around the house, you should probably hook into that too.

Dirty Streets, Rough and Tumble

dirty streets rough and tumble

Released July 31.

If you’re not all the way down with the realization that Justin Toland is the man when it comes to heavy soul and blues guitar, Dirty Streets‘ new live record, Rough and Tumble, will set you straight, and it won’t even take that long. With the all-killer bass and drums of Thomas Storz and Andrew Denham behind, Toland reminds of what a true virtuoso player can accomplish when put in a room with a crowd to watch. That’s an important message for any time, let alone right now. These cats always deliver.

Amenra, Mass VI Live

amenra mass vi live

Released Aug. 7

Look, I’m not gonna sit here and pretend I’m the biggest Amenra fan in the world. I’m not. Sometimes I feel like they follow too many of their own rules for their own good, but there’s no question that live they’re well served by the spectacle they create, and their atmospherics are genuinely affecting. And I know that I’m in the minority in my position, so for anyone who digs them hard, they put up this stream-turned-record wherein they play a goodly portion of 2017’s Mass VI, and even as the self-professed not-biggest-fan-in-the-world, I can appreciate their effort and the screamy-scream-crushy-crush/open-spaced ambience that ensues.

Electric Moon, Live at Freak Valley Festival 2019

Electric Moon Live at Freak Valley Festival 2019

Releasing Sept. 4.

Yeah, okay, this one’s not out yet, but sometimes I’m lucky enough to get things early for review and sometimes (on good days) those things happen to be new live records from Germany psychonauts Electric Moon. The Always-Out-There-Sula-Komets are in top form on Live at Freak Valley Festival 2019 as one would have to expect, and they’re streaming a 22-minute version of “777” now that rips so hard it sounds like it’s about to tear a hole into an alternate dimension where shows are still going on so yes please everyone go and listen to it and maybe we’ll get lucky and it’ll really happen. The magic was in you all along.

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Album Review: YOB, Pickathon 2019 – Live From the Galaxy Barn

Posted in Reviews on July 17th, 2020 by JJ Koczan

YOB Pickathon 2019 Live from the Galaxy Barn

One suspects a certain amount of restlessness is in part behind YOB‘s issuing Pickathon 2019 – Live From the Galaxy Barn. The four-song set, which arrives as a benefit sending all proceeds to the Navajo Nation COVID-19 Relief Fund, is a digital-only offering at least for now, and perhaps stems from a drive to do something, anything, to help both those who need cash, and those who might find solace within YOB‘s music. The recording took place, as the title hints, at the Pickathon festival last year, held at Pendarvis Farm in Happy Valley, Oregon, which they played twice, including this set on Aug. 2. That’s about an hour and 45 minutes north of the band’s native Eugene, so close enough to be familiar without being hometown exactly. For what it’s worth, the three-piece sound entirely comfortable in their surroundings, and the final mix, which was handled by drummer Travis Foster working from Ben Stoller and Josh Powell‘s audio, is full and vibrant especially when treated with the volume that — speaking as a fan of the band — it deserves.

YOB had numerous shows canceled owing to the COVID-19 pandemic, including three this week as they continue to support 2018’s Our Raw Heart (review here) on Relapse Records, though Pickathon 2019 doesn’t actually feature any material from that record (they’d play “Our Raw Heart” in their other set), and as such, smacks less of a band trying to keep momentum going and more of a band looking to donate to charity. Fair enough. YOB have also donated select merch sales to the NAACP Legal Fund and Black Lives Matter, so Pickathon 2019 working toward Navajo Nation COVID-19 relief is likewise speaking to the central issues of inequality that have emerged in 2020, as the Native American community has grappled especially hard with the coronavirus. The set is comprised of “Ball of Molten Lead” (12:28), “The Lie that is Sin” (13:09), “Marrow” (19:22) and “Burning the Altar” (14:56), and runs just under an hour long total. While it’s YOB‘s third official live record behind Live at Roadburn 2010 and the full-album performance The Unreal Never Lived: Live at Roadburn 2012 — they also had a live EP out in 2012 through Scion A/V — Pickathon 2019 is every bit a performance worth capturing for the vibe that comes through the four tracks and the sense of comfort the band have with their surroundings.

Strictly speaking, YOB have little to prove at this point, except perhaps to themselves. Two decades on from their first demo, their reputation precedes them as forebears of cosmic doom and one of the most important American heavy bands of their generation. They have toured across continents since their 2009 return from a 2006 disbanding and have had an influence on artists across styles operating in their wake, all the while maintaining a persona of sincerity that has extended to frontman Mike Scheidt spending time during the COVID-19 lockdown performing acoustically in his kitchen. As somebody who’s been fortunate enough to see YOB on multiple occasions, the simple opportunity to dig into a new live recording is appreciated — I felt like they were doing me a favor as I paid my $7.00 for the download on Bandcamp — and from the electricity of their playing, which one can hear not only in the swells of volume and tone and crash, but also in the crowd’s hooting during quiet parts, desperate to express some of the tension surrounding them in the room. The lyrics of “Marrow” that speak of restless souls needing to feel one true moment would seem to be manifest here.

yob (Photo by Bobby Cochran)

Having a live version of that song, which is shorter in its 19 minutes than it was on  2014’s Clearing the Path to Ascend (review here), is a boon. It is the most emotionally resonant piece YOB — ScheidtFoster and bassist Aaron Rieseberg (also of Norska) — have ever written, and I wouldn’t think it anything but welcome in any setlist. The chance, however, to hear “Ball of Molten Lead” from 2004’s The Illusion of Motion by 2019’s YOB is evidence of the continually progressive path they’ve taken as a group. Scheidt‘s vocals are stronger and more confident, and his lead guitar takes swirling flight when it goes. Rieseberg and Foster add strength to the final charge late in the track, and the crowd immediately erupts when it’s done, following soon enough with the aforementioned hooting during the sparse stretch early in “The Lie that is Sin,” which originally appeared on 2009’s The Great Cessation (review here). It’s a credit to Foster‘s mix and the recording itself that the midsection of that track doesn’t sound like an absolute mess, as the full-volume push is huge but still discernible, and feels true to the original that came out 10 years before while again benefiting from the band YOB have become since, Scheidt‘s growls echoing out over broad expanse as the song moves into its 11th minute, the spine-twisting riff cutting itself short with precision heavy enough to crush a roach.

Twice in between songs Scheidt asks for changes to the mix in the stage monitors, but if there was an issue, it doesn’t seem to have had an impact on the recording or the show itself. “Marrow” is, as one would expect, gorgeous. I don’t imagine Pickathon 2019 will be many listeners’ first experience with YOB — it’s basically a fan-piece, and there’s nothing wrong with that — and as “Marrow” builds to its multi-tiered apex with a distinctively lush melody and still-patient roll, the band’s strengths are laid bare for the listener to consume, right unto the quiet stretch of guitar that finishes the track, in conversation with a host of prior YOB epics, none of them quite so inward-looking. “Burning the Altar” would feel like an epilogue in following to close out were it not so pummeling and consuming. In thanking the crowd before the song starts, Scheidt says something about “traversing highs and lows,” and “Burning the Altar” is one final brutal immersion. For all that, it’s also fun, with an immediate hook of a headbang-ready riff, its triplet-gallop and its final unfurling. A fitting closer, in other words, and one last opportunity for YOB to level the assembled before they’re done, which I’ll just assume is exactly how it played out.

I’ll be honest with you. I consider reviewing Pickathon 2019 an act of self-care. A favor I’m doing myself just by making the excuse to listen, let alone make the donation to Navajo COVID relief. Established fans of YOB won’t need prodding; the email notification of the release from Bandcamp came through like a call to prayer. YOB are a one-of-a-kind band, and if Pickathon 2019 is another chance to hear them in the absence of actual live shows, I’ll take it.

YOB, Pickathon 2019 – Live From the Galaxy Barn (2020)

YOB website

YOB on Thee Facebooks

YOB on Instagram

Relapse Records website

Relapse Records on Thee Facebooks

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YOB Announce West Coast US and European Tours

Posted in Whathaveyou on January 27th, 2020 by JJ Koczan

yob (Photo by JJ Koczan)

Eugene, Oregon’s YOB doing pretty much anything is good news as far as I’m concerned. “YOB are a band on this planet” continues to be something to have in your existential back pocket on hard days. Thus it is that even though they’re not hitting the East Coast on the newly announced stints they’ve lined up for March and May — they’ll be on the West Coast and in Europe, respectively, ahead of an appearance at Fire in the Mountains in Wyoming this July — I’m not going to complain. I saw YOB in Brooklyn last Spring (review here) and it was glorious. Maybe they’ll be back this way in the Fall, or maybe some other time. Once again, YOB are a band on this planet. Realizing this is only ever a positive feeling.

2018’s Our Raw Heart (review here) is streaming at the bottom of this post. Take a few minutes out of your day and rejoice. It’s a long week ahead.

From the PR wire:

yob tour dates

YOB: Announce 2020 US & European Tour Dates

Critically acclaimed cosmic trio YOB have announced 2020 US & EU tour dates launching this Spring. US dates kick off on March 19 in Sacramento, CA and ends March 28 in Boise, ID. Beginning May 20, YOB returns to Europe in Dresden, DE and ends May 30 in Karlsruhe, DE at Dudefest.

Additionally, YOB will perform at Fire in the Mountains as part of the ‘On Wings Over Utgard’ showcase, curated by Ivar Bjørnson of Enslaved. Tickets are available at https://www.yobislove.com/tour.

YOB Tour Dates:

Mar 19 Sacramento, CA @ Harlow’s
Mar 20 Santa Cruz, CA @ Catalyst
Mar 21 Oakland, CA @ Metro
Mar 22 Los Angeles, CA @ Echoplex
Mar 23 San Diego, CA @ Brick By Brick
Mar 24 Tucson, CA @ Club Congress
Mar 25 Albuquerque, NM @ Sister
Mar 26 Denver, CO @ Marquis Theater
Mar 27 Salt Lake City, UT @ Soundwell
Mar 28 Boise, ID @ Treefort Music Fest

May 20 Dresden, DE @ Chemiefabrik
May 21 Hannover, DE @ Cafe Glocksee
May 23 Rouen, FR @ Le 106
May 24 Esch-sur-Alzette, LU @ Kulturfabrik
May 25 Munich, DE @ Strom
May 27 Groningen, NL @ Vera
May 28 Eindhoven, NL @ Effenaar
May 29 Dortmund, DE @ Junkyard
May 30 Karlsruhe, DE @ Dudefest

Jul 10-12 Moran, WY @ Fire In The Mountains

YOB’s Our Raw Heart is out now on CD/LP/Digital via Relapse Records. Physical packages are available via Relapse.com HERE and Digital Downloads / Streaming Services HERE.

YOB is:
Mike Scheidt – Guitar, Vocals
Aaron Rieseberg – Bass
Travis Foster – Drums

www.yobislove.com
www.facebook.com/quantumyob
www.instagram/com/quantumyob
www.relapse.com
www.facebook.com/RelapseRecords

YOB, Our Raw Heart (2018)

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Song of the Decade: YOB, “Marrow”

Posted in Features on December 26th, 2019 by JJ Koczan

yob (Photo by James Rexroad)

To be perfectly honest, I don’t feel the need to plead much of a case here. The 18-minute closer from Oregon trio YOB‘s 2014 opus, Clearing the Path to Ascend (review here), is its own best argument for being the best song that came out in the 2010s. And though it was obviously a while back, I also named it the song of the year when it came out. So who wants to be redundant? Here’s some of what I said about it at the time:

“Marrow” is led into by “Unmask the Spectre,” a 15-minute exploration that hits its apex late. There is, however, about 40-seconds of ambient guitar and spacious effects swirling after the chaos has subsided, and the fadeout of that gives flowing movement into the silence from which the opening guitar line of “Marrow” emerges. It’s less than a minute before bassist Aaron Rieseberg and drummer Travis Foster join in, which leaves guitarist/vocalist Mike Scheidt to set the initial atmosphere for what will become YOB‘s boldest and most melodic construction to date. Already by then, Clearing the Path to Ascend has taken listeners up, down and through an emotional torrent, songs like the raging “Nothing to Win” and the perpetually-searching “In Our Blood” establishing the dynamic course beyond YOB‘s beginnings — which, make no mistake, are essential to the makeup of what we think of today as cosmic doom — and further into something wholly their own; a sound as distinct and identifiable as Sleep‘s is to Sleep, as Neurosis‘ is to Neurosis. — read more here.

It’s been five years, and YOB have put out 2018’s Our Raw Heart (review here) in the meantime, moving from Neurot Recordings to Relapse Records in the process. So does the above still apply? Yes, and maybe even more than it did then.

The subsequent half-decade since it came out has done nothing to dull the impact of “Marrow,” from its wistful opening and closing guitar figure to the grand sweep of its melodic chorus, to the sheer grace of its crescendo, which arrives not as some overstated wash of noise or volume for volume’s sake, but a moment driven by emotion even more than tone. And the lyrics there, purposeful in their simplicity, say it gorgeous and plain like the truest of American art forms:

“Restless souls
Flickering light
Painted in gold
Tearing at the seams
Needing to feel
One true moment
Needing to feel
Something true”

That’s you, at a show. You’re one of the restless souls in the gold flickering light needing to feel one true moment. When Mike Scheidt sings those lines and the ones before them, he’s talking about the communication between artist and audience, the experience of performance that is unique to stage arts — theatre and music. Painters (usually) don’t paint on stage. Writers (usually) don’t write on stage. But that “one true moment.” That “something true” is the genuine expression that performance represents to Scheidt, and presumably YOB as a whole.

But the key word there is “needing,” and what the lyrics to “Marrow” leave largely unsaid is the need on the part of the band itself. It is represented as a kind of searching felt beneath the surface, and after a stream of consciousness first verse, the song unfolds into the self-aware pre-chorus thusly:

“All these words
Are dust within my mind
In these times
That burn within our sight
Yearning to know
Deep into the marrow”

Of course, YOB are not the first band to write about the experience of creative life, but if one takes the song at its own level, the difference is the level on which they’re engaging it. It’s not skin, muscle or bone. It’s marrow. It is the deepest level. The essential charge in the electron in the nucleus of an atom. YOB earned the title of the following LP by showing their raw heart first on “Marrow,” and in its performance, from Scheidt, Aaron Rieseberg and Travis Foster, it is something unmatched in their catalog, which spans nearly 20 years of output. But while “Marrow” remains superlative, it didn’t happen in a vacuum.

Consider the context of the grand YOB closers that have been a running theme throughout their career. I recounted the list at the time as well, but to reiterate, I’m thinking of the title-tracks of 2003’s Catharsis and 2004’s The Illusion of Motion (discussed here), “The Mental Tyrant” from 2005’s The Unreal Never Lived (discussed here), the title-track from 2009’s The Great Cessation (review here), and “Adrift in the Ocean” from 2011’s Atma (review here).

Our Raw Heart stepped away from the modus somewhat in that its eponymous finale wasn’t the longest song on the record — that would be “Beauty in Falling Leaves,” two tracks earlier — but both of those seemed to build on what was done on Clearing the Path to Ascend. The point though is that “Marrow” didn’t just arrive out of nowhere. It came as the culmination of years of exploring texture and bringing together emotionality and sonic heft, the idea that something heavy could be a ritual of spirit as much as volume.

It was a new level of achievement for YOB, and it and the album that surrounded cemented their place among the most integral American bands of their generation, but more than that, it validated the connection between their audience and their music. It made it real. Among “Marrow”‘s accomplishments in pushing the band’s sound to places it had hinted at before, it was an open, real, honest look at what it means to be on either side of the subject/object divide, and maybe it even broke down that barrier a little bit, at least when it comes to a fan’s connections to YOB‘s own work.

It was that true moment, preserved.

Honorable Mention

There are, of course, many arguments to be made for many other songs. A few off the top of my head:

  • Stoned Jesus, “I’m the Mountain”
  • Elder, “Lore”
  • Uncle Acid and the Deadbeats, “I’ll Cut You Down”
  • Sleep, “Giza Butler”
  • Om, “Gethsemane”
  • Neurosis, “At the Well”
  • Colour Haze, “Grace”
  • Clutch, “D.C. Sound Attack”
  • Graveyard, “The Siren”

That’s nine, so I guess if you want to package this in some order as a top 10, you could. I’m content to leave it as is, since it’s all relative anyway. But consider the impact of that Stoned Jesus track or Elder‘s “Lore” in igniting and inspiring new bands. Same with Uncle Acid. Like “Marrow” above, these are the songs that continue to resonate and have an effect not just on the listeners, but the artists themselves and other bands in the underground ecosystem. I don’t think that just because the decade is ending that will stop, either. These works, which have already lasted a span of years, will continue to shape the experiences of others, and art will continue to grow outward from other art. There are few things so beautiful in the universe.

If you have a pick you’d like to add to any of the above, please feel free to do so in the comments. The more the merrier, and thanks for reading.

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Friday Full-Length: YOB, The Illusion of Motion

Posted in Bootleg Theater on August 9th, 2019 by JJ Koczan

In 2003, YOB released their second album, Catharsis. In 2005, they’d issue The Unreal Never Lived (discussed here), which was their final outing before their flameout and eventual return a few years later. The former is an emotional landmark and sonic breakthrough and the latter both a stylistic and spiritual achievement that stands as one of the best records of its decade. So maybe it’s the case that 2004’s The Illusion of Motion gets lost in the mix sometimes between its higher-profile year-earlier predecessor and year-later follow-up. Fair enough, but at four tracks and 56 minutes, The Illusion of Motion nonetheless represents what at the time were several pivotal steps forward for the Eugene, Oregon, trio, in production and execution alike.

The Illusion of Motion was YOB‘s first outing through Metal Blade Records, which picked them up after Catharsis even though the band had never really toured showed no real signs of doing so. It was set to be released on my birthday in 2004, but I recall the CD showed up at my office — because in 2004, physical promos were very much still a thing — some time before that for review. Having been such a fan of the prior outing, I was obviously excited to know what they’d do this next time out, especially on such a continued quick turnaround; YOB‘s album-per-year pace started with their 2002 debut, Elaborations of Carbon, on 12th Records. Immediately the breadth of the production was wider and fuller. YOB — then the trio of guitarist/vocalist Mike Scheidt, bassist Isamu Sato and drummer Travis Foster — had yet to sound so clear and powerful, but what “Ball of Molten Lead,” “Exorcism of the Host,” “Doom #2” and the 26-minute title-track itself would accomplish was much more than just an uptick in basic quality of sound. Engineer Jeff Olsen (not to be confused with former Trouble drummer Jeff Olson) had worked on YOB‘s 2000 demo (discussed here) as well as their first two albums, and would continue his relationship with the band on The Unreal Never Lived and Scheidt‘s short-lived post-YOB unit Middian, before coming back in to work with the band again on 2011’s Atma (review here), which followed 2009’s Sanford Parker-produced return outing, The Great Cessation (review here; discussed here), but already after three times in the studio together, he and the three-piece would’ve been well familiar with each other’s methods, and a progression of both sides was evident across those early YOB offerings, including The Illusion of Motion.

But still, the album was more than just a bridge from Catharsis to The Unreal Never Lived, and that’s the pointyob the illusion of motion that to me is so worth underscoring. The noise that YOB brought to bear on “The Illusion of Motion” — not to mention the excruciating patience with which the song was delivered; that ending where it cut back to the quiet part — would serve as a reference point for future outings, particularly The Great Cessation before their melodic progression really came to the fore with Atma and the two albums to-date since. At the same time, the intensity of “Doom #2,” which at just over six minutes long remains the shortest song YOB have ever put out as well as arguably the most forwardly intense. It was basically a hardcore track filtered through YOB‘s tonality, resulting in a cacophony that still leaves me wondering why they don’t play it live every now and again. Of course, “Ball of Molten Lead” was and 15 years later still is a clarion to come worship at the altar of sonic largesse, and though it wouldn’t be proper to call its winding movement subtle, the sense of attack it fostered, particularly in its later reaches — that start-stop crashing behind the riff that YOB would use again on The Unreal Never Lived‘s own epic, “The Mental Tyrant,” while also introducing the gallop that would become yet another signature of their approach — was a standout even among the most aggressive material they’d yet constructed, and to answer it with the noise wash of “Exorcism of the Host,” with its gruelingly slow churn initially giving way to something as primal as it was cosmic, only made The Illusion of Motion more stunning in its impact and more expansive in its reach. It was a record that signaled YOB‘s continued forward creative movement, which is something that thankfully is ongoing, but at the time, it was also the apex of it, and whatever they’d go on to do afterward, it was a pinnacle moment that marked their arrival in more ways than just the wider distribution of a Metal Blade release — though I’m sure that didn’t hurt either.

For me to point out some 20-plus years after they got their start that YOB are a once-in-a-generation band is superfluous. I’ll make no pretense toward not approaching their work from a fan’s perspective — because I’m a fan — but even so, the level of artistry they’ve brought to doom, the influence they’ve had across borders and subgenres especially after getting back together with Aaron Rieseberg on bass and pursuing their craft through Atma, 2014’s Clearing the Path to Ascend (review here) and last year’s Our Raw Heart (review here) is still and will likely continue to ripple out. The Illusion of Motion was an essential moment in making that happen — the first time they really brought their style out to engage a wider audience and began to translate their forward-thinking creativity into an increasingly realized songcraft. You wouldn’t have The Illusion of Motion without Catharsis, and you wouldn’t have The Unreal Never Lived without The Illusion of Motion. Those albums are intertwined in how they tell the narrative of YOB discovering their sound and, ultimately, needing to step away from it before coming to realize how crucial that expression truly was and still is.

YOB toured in North America this Spring with Voivod and Amenra and just wrapped a European run with Neurosis. They’ll be at Psycho Las Vegas next week, playing the Beach Stage at Mandalay Bay, which is a thing that I expect those who are fortunate enough to see will be speaking about for a long time. I haven’t seen Fall tour plans, but if they wanted to take a season off, it’d be nothing if not well earned.

As always, I hope you enjoy. Thanks for reading.

We’ve been back up in Massachusetts since… Wednesday? There’s a large stack of boxes behind me in the kitchen. More upstairs, more downstairs in the basement, and more to be packed. The movers come at 9AM. The 27-footer U-Haul which I’ll drive down to NJ tomorrow needs to be picked up before they get here. The baby is awake, and I’m sure The Patient Mrs. is too. We’re all out of our minds. Moving is awful. To wit, the Hierarchy of Terrible Shit that Happens to Everyone:

  1. Cancer
  2. Divorce
  3. Moving

Everything else is somewhere under that.

But we’ll get through, and if we need to come back up here to finish more stuff before the sale on this place closes on the 23rd, we’ll do that. It’ll get done, one way or the other. If it has to happen during naptimes, so be it. Clearly it does.

I know I’ll be in Brooklyn for Neurosis on Sunday. I know that. We drive south tomorrow — why not today? I’m not sure; need to ask; traffic concerns, maybe? but we’re packing our bed so would need to buy an aerobed if we stay — and hey, maybe after today, it’s done. Maybe we’ll get it all finished. That’d be a nice surprise.

But anyway, after that Neurosis live review on Monday and a long-delayed Lightning Born review on Tuesday, I don’t know what’s up for the week. Let’s assume stuff.

Would anyone have interest if I posted audio interviews around here? I’d like to get back to doing proper phone interviews, but I don’t really have time to transcribe them. What if I tried to kind of do a more conversational kind of thing, like Fresh Air with Riffs or something like that? Let me know what you think? I’m super-awkward on the phone or Skype, but that might be fun too. Just an idea I had this week while I was thinking about 15 other things as well.

Alright.

Great and safe weekend. No Gimme show this week, but the repeat is Sunday at 7PM Eastern. Forum, radio, merch, awesome.

The Obelisk Forum

The Obelisk Radio

The Obelisk shirts & hoodies

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Quarterly Review: Earth, Heilung, Thronehammer, Smear, Deadbird, Grass, Prana Crafter, Vago Sagrado, Gin Lady, Oven

Posted in Reviews on July 1st, 2019 by JJ Koczan

quarterly-review

Deep breath. And… here we go.

Welcome to The Obelisk’s Summer 2019 Quarterly Review. You probably know the drill by now, but just in case, here’s what’s up: starting today and through next Monday, I’ll be reviewing 10 records per day for a total of 60. I’ve done this every three months (or so) for the better part of the last five years, each one with at least 50 releases included. Some are big bands, some are new bands, some are releases are new, some older. It’s a mix of styles and notoriety, and that’s exactly the intent. It’s a ton of stuff, but that’s also the intent, and the corresponding hope is that somewhere in all of it there’s something for everyone.

I’ll check in each day at the top with what usually turns out to be a “hot damn I’m exhausted, but this is worth it”-kind of update, but otherwise, if we’re all on board, let’s just get to it. First batch below, more to come.

Quarterly Review #1-10:

Earth, Full Upon Her Burning Lips

earth

Finding post-Southern Lord refuge with Sargent House in similar fashion to Boris, Earth seem to act in direct response to 2014’s Primitive and Deadly (review here) with the 10-track/62-minute Full Upon Her Burning Lips, stripping their approach down to its two essential components: Dylan Carlson‘s guitar and Adrienne Davies‘ drums. The former adds bass as well, and the latter some off-kit percussion, but that’s about as far as they go in the extended meditation on their core modus — even the straightforward photo on the cover tells the story — psychedelic and brooding and still-spacious as the music is. Gone are folk strings or vocals, and so on, and instead, they foster immersion through not-quite minimalist nod and roll, Carlson‘s guitar soundscaping atop Davies‘ slow, steady pulse. It’s not nearly so novel as the last time out, but timed to the 30th anniversary of the band, it’s a reminder that if you like Earth, this dynamic is ultimately why.

Earth on Thee Facebooks

Sargent House website

 

Heilung, Futha

heilung futha

It might seem like an incongruity that something so based in traditionalism conceptually would also turn into experimentalist Viking jazz, but I defy you to hear “Galgadr,” the 10-minute opener of Heilung‘s third full-length, Futha (on Season of Mist), and call it something else. Cuts like the memorable and melodic “Norupo” and the would-be-techno-but-I-think-they’re-actually-just-beating-on-wood “Svanrand,” which, like “Vapnatak” before it, is rife with the sounds of battle, but it’s in the longer pieces, “Othan,” 14-minute closer “Hamrer Hippyer,” and even the eight-plus-minute “Elivgar” and “Elddansurin” that precede it, that Heilung‘s dramas really unfold. Led by the essential presence of vocalist Maria Franz — who could hardly be more suited to the stated theme of calling to feminine power — Heilung careen through folk and narrative and full cultural immersion across 73 minutes, and craft something willfully forward thinking from the history it embellishes.

Heilung on Thee Facebooks

Season of Mist website

 

Thronehammer, Usurper of the Oaken Throne

thronehammer usurper of the oaken throne

The reliable taste of Church Within Records strikes again in picking up Thronehammer‘s first full-length, Usurper of the Oaken Throne. The project is a dark and warmaking epic mega-doom working mostly in longform material — it’s six tracks/78 minutes, so yeah — conjured in collaboration by the trio of vocalist Kat Shevil Gillham (Lucifer’s Chalice, etc.), guitarist/keyboardist Stuart Bootsy West (ex-Obelyskkh, ex-The Walruz) and drummer/bassist Tim Schmidt (Seamount), that hits with a massive impact from 17-minute opener “Behind the Wall of Frost” into “Conquered and Erased” (11:24) and “Warhorn” (19:12), making for an opening salvo that’s a full-length unto itself and a beast of doomed grandeur that balances extremity with clearheaded presentation. They simplify the proceedings a bit for “Svarte Skyer” and the eponymous “Thronehammmer,” but are clearly in their element for the 15-minute closing title-track, which rounds out one of the best doom debuts I’ve heard so far this year with due heft and ceremony.

Thronehammer on Thee Facebooks

Church Within Records on Bandcamp

 

Smear, A Band Called Shmear

Smear A Band Called Shmear

Smear‘s live-recorded A Band Called Shmear EP is basically the equivalent of that dude getting dragged out of the outdoor concert for being at the bottom of the puffing clouds of smoke going, “Come on man, I’m not hurting anybody!” And by that I mean it’s awesome. The Eugene, Oregon, four-piece get down on some psychedelic reefer madness tapped into weirdo anti-genre tendencies that come to fruition in the verses of “Guns of Brixton” after the drifting freaker “Old Town.” The whole thing runs an extra-manageable 21 minutes, and six of that are dedicated to the fuzzed jam “Zombie” — tinged in its early going with a reggae groove — so Smear make it easy to follow their outward path, whether it’s the surf-with-no-water “Weigh” at the outset or “Quicksand,” which hints at more complex melodic tendencies almost in spite of itself. You like vibe, right? These cats have plenty to go around, and they deliver it with an absolute lack of pretense. Whatever they do next, I hope they also record it live, because it clearly works.

Smear on Thee Facebooks

Smear on Bandcamp

 

Deadbird, III: The Forest Within the Tree

deadbird iii the forest within the tree

One hesitates to speculate on the future of a band who’ve just taken 10 years to put out an album, but Deadbird sound vital on their awaited third full-length: III: The Forest Within the Tree (arrived late 2018 through 20 Buck Spin), and with a revamped lineup that includes Rwake vocalist Chris Terry and Rwake/The Obsessed bassist Reid Raley as well as bassist Jeff Morgan, guitarist Jay Minish and founders Phillip (drums) and Chuck (guitar) Schaaf and Alan Short — all of whom contribute vocals — Deadbird emerge from the ether with a stunningly cohesive and varied outing of post-sludge, tinged Southern in its humid tonality but still very much geared toward heft and, certainly more than I recall of their past work, melody. In just 38 minutes they push the listener into this dank world of their creation, and seem to find just as much release in experiments “11:34” and “Ending” as in the crashes of “Brought Low” or “Heyday.” Are they really back? Hell if I know, but these songs are enough to make me hope so.

Deadbird on Thee Facebooks

20 Buck Spin on Bandcamp

 

Grass, Fresh Grass

grass fresh grass

Brooklyn four-piece Grass released a live recording in 2017, but the late-2018 EP Fresh Grass marks their studio debut, and it comprises five tracks digging into the traditions of heavy rock with edges derived from the likes of Clutch, Orange Goblin, maybe a bit of Kyuss and modern bluesier practitioners as well in cuts like “Black Clouds” — the lone holdover from one release to the next — and the swaggering “Runaway,” which veers into vocal layering in its second half in a way that seems to portend things to come, while the centerpiece “Fire” and closer “Easy Rider” roll out in post=’70s fashion a kind of rawer modern take. Their sound is nascent, but there’s potential in their swing and the hook of opener “My Wall.” Fresh Grass is the band searching for their place within a heavy rock style. I hear nothing on it to make me think they won’t find it, and if they were opening the show, you’d probably want to show up early.

Grass on Thee Facebooks

Grass on Bandcamp

 

Prana Crafter, MindStreamBlessing

Prana Crafter MindStreamBlessing

Reissued on vinyl through Cardinal Fuzz with two bonus tracks, Prana Crafter‘s 2017 offering, MindStreamBlessing, originally saw release through Eidolon Records and finds the Washington-based solo artist Will Sol oozing through acid folk and psychedelic traditions, instrumentally constructing a shimmer that seems ready for the platter edition it’s been granted. Songs like “As the Weather Commands” and “Bardo Nectar” are experiments in their waves of meandering guitar, effects and keys, while “Mycellial Morphohum” adapts cosmic ecology to minimal spaciousness and vague spoken word. Some part of me misses vocals in the earthy “FingersFlowThroughOldSkolRiver,” but that might just also be the part of me that’s hearing Lamp of the Universe or Six Organs of Admittance influences. The interwoven layers of “Prajna Pines,” on the other hand, seem fine without; bluesy as the lead guitar line is, there’s no doubting the song’s expressive delivery, though one could easily say the same of the krautrock loops and keys and reverb-drenched solo of “Luminous Clouds.”

Prana Crafter on Thee Facebooks

Cardinal Fuzz webstore

 

Vago Sagrado, Vol. III

vago sagrado vol iii

Heavy post-rockers Vago Sagrado set a peaceful atmosphere with “K is Kool,” the opening track of their third album, Vol. III, that is hard to resist. They’ll soon enough pump in contrast via the foreboding low end of “La Pieza Oscura,” but the feeling of purposeful drift in the guitar remains resonant, even as the drums and vocals take on a kind of punkish feel. The mix is one that the Chilean three-piece seem to delight in, reveling in tonal adventurousness in the quiet/loud tradeoff of “Fire (In Your Head)” and the New Wave shuffle of “Sundown” before “Centinela” kicks off side B with the kind of groove that Queens of the Stone Age fans have been missing for the last 15 years. Things get far out in “Listen & Obey,” but Vago Sagrado never completely lose their sense of direction, and that only makes the proceedings more engaging as the hypnotic “One More Time with Feeling” leads into the nine-minute closer “Mekong,” wherein the wash teased all along comes to fruition.

Vago Sagrado on Thee Facebooks

Vago Sagrado on Bandcamp

 

Gin Lady, Tall Sun Crooked Moon

gin lady tall sun crooked moon

I’m more than happy to credit Sweden’s Gin Lady for the gorgeous ’70s country rock harmonies that emanate from their fourth album, Tall Sun Crooked Moon (on Kozmik Artifactz), from the mission-statement opener “Everyone is Love” onward, but I think it’s also worth highlighting that the 10-track outing also features the warmest snare drum sound I’ve heard maybe since the self-titled Kadavar LP. The Swedish four-piece have nailed their sound down to that level of detail, and as they touch on twang boogie in “Always Gold” or find bluesy Abbey Roadian deliverance in the more riff-led chorus of “Gentle Bird,” their aesthetic is palpable but does not trump the straight-ahead appeal of their songwriting. The closing duo of “The Rock We All Push” and the piano-soother “Tell it Like it Is” are the only two tracks to push past five minutes long, but by then the mood is well set and if they wanted to keep going, I have a hard time imagining they’d meet with complaints. Serenity abounds.

Gin Lady on Thee Facebooks

Kozmik Artifactz website

 

Oven, Couch Lock

oven couch lock

For an EP called Couch Lock — i.e., when you’re too stoned to even stand up — there’s an awful lot of movement on Oven‘s debut release, from the punk thrust of “Get It” to the arrogant sleaze of “Go James” and even the drums in “This Time.” And the nine-minute “Dark Matter” is basically space rock, so yeah, hardly locked to the couch there, but okay. The five-tracker is raw in its production as would seem to suit the Pennsylvania trio, but they still get their point across in terms of attitude, and a closing cover of Nebula‘s “To the Center” seems only to reinforce the notion. One imagines that any basement where they unleash that and the nod that culminates “Dark Matter” just before it would have to be professionally dehumidified afterward to get the dankness out, and an overarching sense of stoner shenanigans only adds to the good times that so much of East Coast-ish psych misses the point on. They’re having fun. You should too.

Oven on Bandcamp

Oven on Thee Facebooks

 

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YOB Announce Summer European Tour with Neurosis

Posted in Whathaveyou on February 12th, 2019 by JJ Koczan

yob (Photo by James Rexroad)

So the deal is that within the span of three months YOB are going to be out on tour with Voivod and then Neurosis? Sounds like it’s a damn good year to be YOB. Well earned, of course, what with the universal acclaim that greeted 2018’s Our Raw Heart (review here), and the fact that, uh, they’re incredible. The Voivod dates — they’re also with Amenra, lest they be left out — were previously announced, but I wanted to include them here as well, both because that tour is badass and because it emphasizes how much YOB have long since become a full-on, full-time act over the last however many years. “Oh, they’re hitting the road for a month in the States and then doing fests in Europe? Yeah, that’s how it goes.” One remembers it being a novelty that they were leaving Oregon at all.

But then, one is old as hell, so there you go.

From the PR wire:

YOB: Announce Summer European Tour Dates w/ Neurosis

Oregon’s cosmic trio YOB return to Europe this summer opening for doom metal legends Neurosis. The tour begins July 11 in Alperstedt, DE and ends July 26 in Gdasnk, PL. All confirmed tour dates are listed below.

YOB are touring in support of their critically acclaimed album Our Raw Heart.

“We are deeply honored to be supporting Neurosis in Europe this Summer. We’ve said it before and will say it again: collectively, they are our favorite band. We cannot wait for these shows, to play for people who are in attendance, and watch Neurosis every night. It can’t get better than that.”

YOB’s Our Raw Heart is out now on CD/LP/Digital via Relapse Records. Physical packages are available via Relapse.com HERE and Digital Downloads / Streaming Services HERE.

YOB Spring Tour w/ Voivod & Amenra:
03.26 Minneapolis MN Fine Line
03.27 Chicago IL Thalhia Hall
03.28 Columbus OH Ace of Cups
03.29 Cleveland OH Grog Shop
03.30 Toronto ON Phoenix
03.31 Buffalo NY Town Ballroom
04.02 Portland ME Geno’s
04.03 Boston MA Royale
04.04 Brooklyn NY Warsaw
04.05 Philadelphia PA Union Transfer
04.06 Richmond VA Broadberry
04.07 Raleigh NC Kings
04.09 Knoxville TN Concourse (Co-presented with American Icon)
04.10 Atlanta GA Masquerade / Hell
04.11 New Orleans LA One Eyed Jack’s
04.12 Houston TX Warehouse Studios
04.13 Austin TX Barracuda
04.14 Dallas TX Gas Monkey
04.16 Denver CO Marquis Theater*
04.18 Mesa AZ Club Red+
04.19 San Diego CA Brick by Brick w/ Monolord+
+ = YOB only
* = no Voivod

YOB Tour Dates:
Jul 11 Rome, IT @ Ostia Antica Roman Amphitheater *
Jul 12 Milan, IT @ Carroponte *
Jul 13 Dour, BE @ Dour Festival *
Jul 14 Bern, CH @ Dachstock *
Jul 16 Barcelona, ES @ Sala Apolo *
Jul 17 Biarritz, FR @ Atabal *
Jul 18 Paris, FR @ Bataclan *
Jul 19 Birmingham, UK @ Supersonic Festival +
Jul 20 London, UK @ 02 Forum Kentish Town +
Jul 23 Vienna, AT @ Arena *
Jul 24 Budapest, HU @ Durer Kert *
Jul 25 Berlin, DE @ Festival Kreuzberg *
Jul 26 Warsaw, PL @ Progresja *
Jul 27 Gdansk, PL @ B90 *
* w/ Neurosis
+ w/ Neurosis & Godflesh

YOB is:
Mike Scheidt – Guitar, Vocals
Aaron Rieseberg – Bass
Travis Foster – Drums

www.yobislove.com
www.facebook.com/quantumyob
www.twitter.com/quantumyob
www.instagram/com/quantumyob
www.relapse.com
www.facebook.com/RelapseRecords

YOB, Our Raw Heart (2018)

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