I’ve been pretty up front all along about my enduring affection for Virginian chaos weavers Lord, so I feel no need to search for excuses for posting this live video of their full-set from this summer’s inaugural Maryland Doom Fest. I dig the band, so there you go. Last month, they updated about the progress for their new album, Awake, which will be the follow-up to last year’s Alive in Golgotha EP (review here) and 2011’s Chief (review here), saying that the mix had been finalized and they’d be setting a release date soon, but part of the excitement with Lord is that you never really know. They could drop it tomorrow or they could completely revamp their lineup (again) and take three years off. They’re Lord. They’re not kidding when they say “No Explanations Necessary.”
Unsurprisingly, they crushed it at the Maryland Doom Fest in front of a not-quite-hometown-but-certainly-familiar crowd, playing new material and old. They’ve reportedly started writing for the follow-up to Alive already, and they’ve continued to do regional live shows, playing with the likes of Fistula and The Osedax, so they’re keeping plenty busy while they wait on artwork and so on for the pending release. One never really knows how things are going to shake out with Lord until they’re already shook, but a surge in activity would definitely be welcome by me, as I’ve said before, and I think the live video below gives a pretty good sense of why as they push into realms of extreme sludge and grind that no one else seems to capture with the same thickness or intensity. If you get the chance to check it out, hope you dig.
Filming was done by Jim Rosenkrans of LeadFoot Productions. Setlist and other info follow:
Lord, Live at Maryland Doom Fest 2015
Setlist: 1) breathe 2) what you may call the devil is amongst us 3) reset the wave 4) no explanations necessary 5) strangers on the road 6) one step away
The final mix for our new full length, Awake, has just been completed by Vince Burke! We’re hoping to get it out as quickly as possible. While we’re waiting on the final aspects (artwork, etc.), we’ve started writing new material and are already 2 songs deep into the next release. The fire’s been stoked and we’re keep the momentum going. Stay tuned for release info coming very soon!!!
Chris Dugay-Bass Willy Rivera-Guitars/Vocals Kevin “Skip” Marimow-Drums/Percussion Todd Weurhmann-Guitars/Vocals Steven Kerchner-Lead Vocals/Synths
Posted in Whathaveyou on September 14th, 2015 by H.P. Taskmaster
It’s been about a year since Fredericksburg, Virginia, chaosbringers Lord streamed their latest EP, Alive in Golgotha, in this space, and while they’ve continued to have some lineup shifts and whatnot since, that’s nothing new. The band marks a decade of existence this year, and they’ve recorded a new LP called Awake with Vince Burke that as of their latest update is in the mastering stage and nearing completion (they have a new split in the works as well).
A release through the band-associated Heavy Hound Records seems likely, though one never knows exactly who or what to expect from Lord, or how to expect it, or when, but the progress is encouraging. Easy to imagine they could have Awake out before the end of the year, but if it winds up being 2016 by the time it’s pressed, that doesn’t seem unreasonable either.
Whenever it shows, new Lord is always welcome by me. I’ll keep an eye and when I hear of a definite release date, will let you know.
Some words from the band and live dates:
Just checkin in to let ya know what the LORD camp is gonna be up to for the next few months: We’re currently waiting for the final mix/master of our latest full length, Awake, from Vince Burke to see if we can move forward with the printing process.
The artwork will be handled by James Hanley this time around whose vision and visual aesthetic will help us move into the next phase of this band.We were originally planning to record a covers ep at our home studio but we decided to scrap that idea and instead focus our efforts into writing new material. The “new” line-up has truly developed some great chemistry and that’s bled into the writing process. We’re aiming to capitalize on the momentum we’ve been creating and the creativity we’ve tapped into with our latest release. We’re looking to focus on material for proposed split ep w/our buds in Dead Hand from Georgia and then moving onto to a new ep with a lyrical concept that Kerch has been working on since we left the studio.
We have a few shows lined up w/some great bands over the next few months that will bring us to the climax of the Brew & Fire Fest that will be taking place in the place where our history began, Fredericksburg, VA, back in 2005. That show will feature a bunch of great bands,many of them are vets from F’Burg’s old school scene who’ve gone on to make a name for themselves regionally.
We’re stoked to be a part of it and couldn’t be happier to be this busy after years of turbulence and strife. Cheers to all of you who’ve stayed loyal and supportive, we’ll never take that for granted…
09/19 Fat Tuesday’s, Fairfax, VA W/ Aurelian 10/09 The Sidebar, Baltimore, MD w/ Fistula, Fortress, Foehammer and Musket Hawk 11/14 Brew and Fire, KC’s Music Alley, Fredericksburg, VA w/ Foehammer, The Osedax and more
Posted in Reviews on October 16th, 2012 by H.P. Taskmaster
I am constantly working at a deficit. Financially, yes, because like many of my countrymen I’m am tens of thousands of dollars in debt — but also in terms of reviews. I’malwaysbehind on reviews. Hell, it was into July of this year before I finally put the kybosh on writing up anything from 2011, and I’m pretty sure if I hadn’t put my foot down on it, I’d still have year-old albums going up or older. My to-do list grows like a witchcult.
It’s not something to complain about and I’m not complaining. I’m stoked people give enough of a shit to send their CDs in to be reviewed — especially those who actually send CDs — and it’s for that reason that I do this second reviewsplosion (first one here).
Yeah, as ever, I’m behind on reviews, but I’m also working on being more concise — I swear I am; check out the At a Glance reviews if you don’t believe me — and one of the things I liked so much about the last reviewsplosion was it forced me to get to the fucking point. As direct a line as possible to a review. Boiling the idea down to its essential core.
With that in mind, here’s my attempt to both balance my review budget and be as clear as humanly possible. Hope you dig:
Altar of Oblivion, Grand Gesture of Defiance
The subject of some spirited debate on the forum, the second record from Danish five-piece Altar of Oblivion revels in traditional doom methods. There’s an air of pomp in some of the songs — “Graveyard of Broken Dreams” lays it on a little thick — but by and large, Grand Gesture of Defiance(Shadow Kingdom) is a more than solid showing of genre. Classic underground metal flourishes abound, and while it’s not a record to change your life, at six tracks/34 minutes, neither does it hang around long enough to be overly repetitive. You could do way worse. Altar of Oblivion on Thee Facebooks.
Blooming Látigo, Esfínteres y Faquires
Primarily? Weird. The Spanish outfiit Blooming Látigo make their debut on Féretro Records (CD) and Trips und Träume (LP) with the all-the-fuck-over-the-place Esfínteres y Faquires, alternately grinding out post-hardcore and reciting Birthday Party-style poetry. They reach pretty hard to get to “experimental,” maybe harder than they need to, but the on-a-dime stops and high-pitched screams on tracks like “Onania” and “Prisciliano” are well beyond fascinating, and the blown-out ending of “La Destrucción del Aura” is fittingly apocalyptic. Who gave the art-school kids tube amps? Blooming Látigo on Bandcamp.
Five years since their second offering, Green Magic, left such a strong impression, Italian stoner rock trio El-Thule return with Zenit (Go Down Records), which makes up for lost time with 50 minutes of heavy riffs, fuzzy desert grooves and sharp, progressive rhythms. The band — El Comandante (bass), Mr. Action (guitar/vocals) and Gweedo Weedo (drums/vocals) — may have taken their time in getting it together, but there’s little about Zenit that lags, be it the faster, thrashier “Nemesis” or thicker, Torche-esque melodic push of the highlight “Quaoar.” It’s raw, production-wise, but I hope it’s not another half-decade before El-Thule follow it up. El-Thule on Thee Facebooks.
Botanist, III: Doom in Bloom
It’s a nature-worshiping post-black metal exploration of what the History Channel has given the catchy title “life after people.” If you’ve ever wondered what blastbeats might sound like on a dulcimer, Botanist‘s third album, III: Doom in Bloom has the answers you seek, caking its purported hatred of human kind in such creative instrumentation and lyrics reverent of the natural world rather than explicitly misanthropic. The CD (on Total Rust) comes packaged with a second disc called Allies, featuring the likes of Lotus Thief and Matrushka and giving the whole release a manifesto-type feel, which suits it well. Vehemently creative, it inadvertently taps into some of the best aspects of our species. Botanist’s website.
Say what you will about whiteboys and the blues, the bass tone that starts “Nobody Get Me Down” is unfuckwithable. And Seattle trio GravelRoad come by it pretty honestly, having served for years as the backing back for bluesman T-Model Ford. The album Psychedelta (on Knick Knack Records) jams out on its start-stop fuzz in a way that reminds not so much of Clutch but of the soul and funk records that inspired Clutch in the first place, and though it never gets quite as frenetic in its energy as Radio Moscow, there’s some of that same vibe persisting through “Keep on Movin'” or their Junior Kimbrough cover “Leave Her Alone.” Throaty vocals sound like a put-on, but if they can nail down that balance, GravelRoad‘s psychedelic blues has some real potential in its open spaces. GravelRoad on Thee Facebooks.
The Linus Pauling Quartet, Bag of Hammers
Texas toast. The Linus Pauling Quartet offer crisp sunbursts of psychedelic heavy rock, and after nearly 20 years and eight full-lengths, that shouldn’t exactly be as much of a surprise as it is. Nonetheless, Bag of Hammers(Homeskool Records) proffers a 41-minute collection of heady ’90s-loving-the-’70s tones while venturing into classic space rock on “Victory Gin” and ballsy riffing on “Saving Throw.” Being my first experience with the band, the album is a refreshing listen and unpretentious to its very core. Eight-minute culminating jam “Stonebringer” is as engaging a display of American stoner rock as I’ve heard this year, and I have to wonder why it took eight records before I finally heard this five-man quartet? Hits like its title. LP4’s website.
Odyssey, Abysmal Despair
It’s the damnedest thing, but listening to Abysmal Despair, the Transubstans Records debut from Swedish prog sludge/noise rockers Odyssey, I can’t help but think of Long Island’s own John Wilkes Booth. It’s the vocals, and I know that’s a really specific association most people aren’t going to have, but I do, and I can’t quite get past it. The album is varied, progressive, and working in a variety of modern underground heavy contexts nowhere near as foreboding as the album’s title might imply, like Truckfighters meets Entombed, but I just keep hearing JWB‘sKerry Merkle through his megaphone. Note: that’s not a bad thing, just oddly indicative of the greater sphere of worldwide sonic coincidence in which we all exist. If anything, that just makes me like Abysmal Despair more. Odyssey on Soundcloud.
Palkoski, 2012 Demo
Conceptual Virginian free-formers Palkoski released the three-track/67-minute 2012 demo earlier this year through Heavy Hound. Most of it sounds improvised, but for verses here and there that emerge from the various stretches, and the band’s alternately grinding and sparse soundscapery results in an unsettling mash of psychotic extremity. It is, at times, painful to listen, but like some lost tribal recording, it’s also utterly free. Limited to 100 CDs with a second track called “The Shittiest EP Ever” and a third that’s a sampling of Palkoski‘s ultra-abrasive noise experimentation live, this one is easily not for the faint of heart. Still, there’s something alluring in the challenge it poses. Palkoski at Heavy Hound.
Radar Men from the Moon, Echo Forever
Following their charming 2011 EP, Intergalactic Dada and Space Trombones, the Eindhoven instrumental trio Radar Men from the Moon (On the Radar’ed here) return on the relative quick with a 51-minute full-length, Echo Forever. More progressive in its jams, the album’s psychedelic sprawl shows the band developing — I hesitate to compare them to 35007 just because they happen to be Dutch, but the running bassline that underscores “Atomic Mother” is a tempter — but there’s still an immediacy behind their changes that keeps them from really belonging to the laid-back sphere of European jam-minded heavy psychedelia. They’re getting warmer though, stylistically and tonally, and I like that. Interesting to hear a song like “Heading for the Void” and think Sungrazer might be burgeoning as an influence. Cool jams for the converted. Radar Men from the Moon on Bandcamp.
Sound of Ground, Sky Colored Green
There are elements of of Yawning Man, or Unida or other acts in the Californian desert milieu, but basically, Moscow’s Sound of Ground sound like Kyuss. They know it. Their R.A.I.G. debut full-length, Sky Colored Green, makes no attempt to hide it, whether it’s the “Green Machine” riffing of “Lips of the Ocean” or the speedier Slo-Burnery of “El Caco,” though the metallic screaming on “R.H.S.” is a dead giveaway for the band’s youth, coming off more like early Down than anything Josh Homme ever plugged in to play. While not necessarily original, the trio are firm in their convictions, and Sound of Ground tear through these 11 tracks with engaging abandon. The Russian scene continues to intrigue. Sound of Ground on Thee Facebooks.
Posted in Reviews on September 12th, 2011 by H.P. Taskmaster
Reformed following a few years’ quiet around a 50 percent new lineup in which guitarist Willy “Will-Kill” Rivera and drummer Steven “Sven” Sullivan are the sole remaining original members, Virginian crushers Lord return for their first full-length outing since 2006/2007’s Built Lord Tough. The new album, called Chief, finds release through the band-affiliated Heavy Hound Records, and sees Lord inject a forward-thinking, vaguely-spiritual bend to their already-formidable sludge. Chief is comprised of eight cuts that play out in 38 minutes, and is bound to surprise both those who never heard Lord’s prior incarnations and those who did with its complexity of arrangements and melodic vocal interplay between newcomers Steven “Kerch” Kerchner (aka Frank Palkoski of Palkoski, also drums for Ancient Astronaught and ex-VOG and Ol’ Scratch vocals) and bassist Helena Goldberg (also of Akris, formerly of New York duo Aquila). The pair play a huge role in defining Lord’s sound as it exists on Chief, and with the bulk of the album recorded by Beaten Back to Pure guitarist Vince Burke at his own Sniper Studios in North Carolina, there’s enough dirt thrown on these tracks to build a mountain.
That actually holds the record back at points – some of the roughness in the production feels like it’s coming at the expense of Rivera’s guitar on the drum-heavy “Goliath” – but nonetheless sets Lord in line with a long tradition of Southern sludge. Chief gets underway with “Medic,” which proves a more than suitable introduction to what Kerchner and Goldberg have to offer vocally, the somewhat Anselmoan of the former meeting with Goldberg’s obviously higher register croon and relying equally if not more on abrasive screams noisily manipulated to endurance-testing effect on the later “Break of Day.” “Medic,” in contrast, doesn’t veer into the progressive or experimental, but listening to it, it sounds like a generational shift in sludge, Rivera adding vocals as well to Kerchner and Goldberg’s layered onslaught and the structure of the song proving more complex than the standard, punk-informed verses/choruses of first-gen outfits like EyeHateGod and, to some extent, Weedeater. The groove, fortunately, remains, and “Medic” puts it to good use, setting up the more ethereal “S&M” (it stands for “Sun and Moon”) as one of Chief’s biggest surprises.
Once introduced in “S&M,” the lines, “Tell me your master plan/So I can understand/What lives inside of me/Sun, moon, energy,” and “How am I ‘sposed to breathe/When I’m not all of me/You ask someone to lead/When you are your own chief” become a thematic refrain to which Lord return later on Chief’s most melodic and brooding tracks, “The Connection” and “Lady of the Harvest Moon,” both of which were recorded separately from the rest of the tracks, and which sound it in Sullivan’s drums and elsewhere. In that way, “S&M” becomes a central part of Chief, and the 11-minute runtime – some five and a half minutes longer than the next closest cut – backs that up. The song rests in its movements, but never loses sight of its base, Kerchner’s noises cutting through the mix in a way that makes them sound as though they were added later, and Rivera managing to squeeze in overlapping solos after the halfway point of the song. The lyric, “Sun and the moon’s got a master plan,” is repeated multiple times toward the end of the chaos, and it’s about as close as Lord get anywhere on the album to being catchy of fodder for any kind of sing-along. The dynamics between sludgy and melodic that one can measure elsewhere on Chief between songs like “Goliath” and the piano-led “Lady of the Harvest Moon” play out in close proximity at the end of “S&M,” the madness of the apex giving way to a more wistful finale, that in turn devolves into static noise.