Review & Track Premiere: Blues Funeral, Awakening

Posted in audiObelisk, Reviews on August 14th, 2017 by JJ Koczan

blues funeral awakening

[Click play above to listen to ‘Shadow of the Snake’ from Blues Funeral’s Awakening. Album is out Aug. 25.]

Immediately the sense from Awakening is one of continuity. To make their second full-length, and their second in as many years behind July 2016’s The Search (review here), Houston four-piece Blues Funeral returned to Lucky Run Studios to record and mix with Jeremy Dudman and Mike Mikulka. Like the debut before it, the sophomore outing features six tracks, five of which run between five and six-plus minutes long, plus one cut that branches out longer — last time it was the title-track, here it’s 8:21 closer “The Gathering Dust.” Like the debut before it, Awakening features the dual-guitar-led lineup of guitarists/vocalists Maurice Eggenschwiler and Jan “El Janni” Kimmel (the latter also keys), bassist Gabriel Katz and drummer Cory Cousins (the latter also backing vocals on “Awakening” and “Casimir”), a mastering job by Collin Jordan at the Boiler Room, artwork by David Paul Seymour and a sound that toys with the lines between progressive and classic rock, classic rock and classic metal, and classic metal and doom. Listening to songs like opener “Shadow of the Snake” and “Illusions of Reality,” it’s pretty clear that Blues Funeral had plenty about their debut they liked and wanted to use as a model to build from.

Fair enough. Given how solidified The Search was in its approach and the cohesive presentation that it brought forth from the band, one isn’t inclined to argue, but just because that record and Awakening share core aspects doesn’t preclude growth on the part of Blues Funeral either. Rather, as a group and as individual players, they demonstrate a forward-looking mentality in terms of their own development that seems to have been taken on with willful purpose, and like other let’s-have-a-guitar-fight-except-it’s-not-really-a-fight-and-also-we-harmonize, prog-fueled outfits of their ilk — the underrated likes of Valkyrie and Corsair come to mind most readily, as well as newer Beelzefuzz — Blues Funeral do justice to their influences in their own progression as much as through the sonic foundation from which they work.

Melody is central throughout. Awakening‘s six tracks run a manageable 39 minutes and while for the bulk of that time there’s more rhythmic motion going on or more active lead-taking than one would generally classify as “pastoral,” the material is rife with nuance, be it in the form of the layered-in acoustics of “Casimir,” the organ that accompanies the initial bounce of “Shadow of the Snake,” the mellotron in “The Gathering Dust,” guest vocals on “Firedrake” or even just the way “Awakening” itself so skillfully blends metallic and heavy rocking impulses, taking cues from Uriah Heep, Deep Purple and later Opeth in its blend of organ and guitar and the clean delivery of the vocal harmonies between Kimmel and Eggenschwiler, which prove throughout once again to be central figure of Blues Funeral‘s sound, as well as a tasteful example of their development as songwriters and players.

The two guitarists and Cousins played together in the less prog-rocking Sanctus Bellum, so they weren’t strangers coming into Blues Funeral or anything, but among the elements of the newer outfit established on this follow-up is the ongoing shaping of a personality all its own, increasingly distinct as it digs into the soul-infused boogie of “Illusions of Reality” and subtle vocal arrangement complexity there as complemented by Katz‘s highlight bass performance in the quieter lead break in the midsection. Once again, melody is the root, even from the rhythm section.

blues funeral (photo Grooverock)

Couple this with a firm sense of two-sided intent. The first three tracks — “Shadow of the Snake,” “Awakening” and “Illusions of Reality” — are rockers. The title-track especially feels dug into a more crunching tonality at its launch before opening to its more flowing chorus, but it and the two pieces surrounding are defined by a more straightforward lean on hooks and structural classicism. At 5:05, “Illusions of Reality” is the shortest inclusion on Awakening, and its uptempo push is friendly, warm and inviting in a good-times-listening-to-ThinLizzy fashion that even vaguely metal-derived songcraft rarely dares to be. Blues Funeral, as much time as they spend with Eggenschwiler and Kimmel‘s guitars at the fore, are aiming to directly engage their listeners on Awakening‘s side A, and their success in this effort is precisely what allows them to hold a sense of full-album fluidity as the subsequent side B begins to branch out its more expansive modus.

Now, are Blues Funeral going experimental black metal drone? Nope. While all three are longer than “Shadow of the Snake,” “Awakening” or “Illusions of Reality,” tonally and atmospherically, “Firedrake,” “Casimir” and “The Gathering Dust” stay consistent with what the first half of Awakening has on offer — and they’re correct to do so — but each of the last three pieces also has some bit of flourish to stand it out from its surroundings. Perhaps “Firedrake” is the most obvious, with the already-noted guest vocal appearance from Kelly Cousins Adams (sister to Cory) marking a departure from the choruses delivered by the guitarists together and the tradeoffs between them. Complemented by particularly righteous Nord from Kimmel and guitar ambling alongside the keys’ winding course — also another must-hear bassline from Katz — “Firedrake” holds a patient and flowing presentation that, while in its last third gives into some doomier-feeling riff and solo work, also sets up the arrival of the acoustic/electric blend that will continue in “Casimir.”

One does not imagine the similarity in title to Led Zeppelin‘s “Kashmir” is coincidental, as Awakening‘s penultimate track takes on some loosely Eastern-feeling scales in its intricate barrage of leads and has a narrative drama in its verses no less born of classic heavy rock. Resolution, as it will, comes in a last solo punctuated by ride bell from Cousins and a sudden stop to let “The Gathering Dust” take hold on its own terms — a thrust of NWOBHM-style poise is backed by carefully-woven drawn-out lead lines (perhaps the most Akerfeldtian moment on Awakening, especially with the key section and riff that follow), and suddenly the point of emphasis becomes how much Blues Funeral have been able to build and maintain a momentum across the album’s span while still allowing individual songs their moment, not sounding rushed or hurried in any way, but never still either.

The guitars are key in this, of course, but it’s a whole-band function just the same, and another example of Blues Funeral‘s second offering having moved ahead from the first. As the closer makes its way through more harmonized soloing in its middle and toward its instrumental, also-solo-topped final minutes, and ends in classy fashion with a quick wash of cymbals and pulled-string scorch, the message is no less plain than it has been all along that the foursome have a determined idea of what they want to do as a band, who they are as players and songwriters, and how they should be working together toward the common goals of their processes. The value of that isn’t to be understated when it comes to making Awakening work as well as it does. Given the progressive feel they elicit throughout, that underlying consciousness couldn’t be more appropriate, and it is one more way in which Blues Funeral earn the listener’s trust in terms of the moves they make here and, invariably, those that will follow their next time out.

Blues Funeral on Thee Facebooks

Blues Funeral on Bandcamp

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End Hip End It: Acid King, Elder, Dead Meadow, Josefus & Many More to Play

Posted in Whathaveyou on August 14th, 2017 by JJ Koczan

I’m not gonna discount the notion of seeing the likes of Josefus sharing the stage with The Well and Doomstress, or of watching the almighty Acid King roll out their riffly triumphs next to Dead MeadowElderMothership and a megaslew of others, but I think the fact that if you buy a ticket for the second day of End Hip End It you get two slices of pizza speaks volumes to the vibe the Spring, Texas-based festival is going for, and that’s a vibe with which I think just about anybody can get down.

The lineup is varied from Funeral Horse and Switchblade Jesus to King Buffalo and Stone Machine Electric, but there’s a heaping representation of the fertile Texan underground here, and that’s likewise respectable. My understanding is they’ve run into some branding issues — I guess repeating any word in your fest name in Texas is verboten because you’re making fun of SXSW? seems to me SXSW could stand to be taken down a peg or two, but couldn’t we all? — and might rename the event for 2018, but whatever you call it, it looks like a good time to me.

Lineup, other info and ticket link follow:

end-hip-end-it-2017

END HIP END IT MUSIC FESTIVAL

OCT 21 – OLD TOWN SPRING, TEXAS

DAY 1 will feature 25 bands in Old Town Spring, Texas. Preservation Park will have three stages of music as well as many interactive art projects thanks to the Generators Playground.

Stage 1
Dead meadow 12:00 – 1:00
The Bright Light Social Hour 10:40 – 11:20
Golden Dawn Arkestra 9:20 – 10:00
Bayonne 8:00 – 8:40
The deer 6:40 – 7:20
AMERICAN SHARKS 5:20 – 6:00
ROSE ETTE 4:00 – 4:40
VANILLA WHALE 3:00 – 3:40
pyreship 2:00 – 2:30
JODY SEABODY & THE WHIRLS 1:00 – 1:30

Stage 2
Acid King 11:20 – 12:00
ELDER 10:00 – 10:40
MOTHERSHIP 8:40 – 9:20
king buffalo 7:20 – 8:00
eagle claw 6:00 – 6:40
greenbeard 4:40 – 5:20
funeral horse 3:30 – 4:00
SWITCHBLADE JESUS 2:30 – 3:00
WARLUNG 1:30 – 2:00

Stage 3
John Evans Band 8:20 – 9:00
Flower Graves 7:10 – 7:50
The Cuckoos 6:10 – 6:50
Ancient Cat Society 5:10 – 5:50
The Mammoths 4:10 – 4:50
Mantra Love 3:10 – 3:50
Howard & the Nosebleeds 2:10 – 2:40

OCT 22 – WALTER’S DOWNTOWN
SUNDAY at Walter’s Downtown there will be two stages with 13 bands on rotation. Ticket purchasers will receive two drink tickets and two pizza slices!

the well
L.A. Witch
doomstress
amplified heat
space villains*
white dog
josefus
crypt trip
stone machine electric
only beast
concrete heat
daze
shallow

KIP Passes get you…
Entry to both days
backstage access
FREE T-shirt on Saturday
access to hammock hangout
one extra beer on Sunday

At End Hip End It you will find a tightly tucked 20 acre plot of land filled with green grass, craft breweries, interactive art projects, live music, beer tasting events, auctions for charities, Light shows, food trucks, VIP access, local vendors, and more. Interactive art projects will be hosted by Bao Pham of the Generators Playground.

https://www.facebook.com/HoustonPsychFest/
https://www.facebook.com/events/444285199249564/
http://www.endhipendit.com/
http://www.endhipendit.com/tickets
https://www.instagram.com/end_hip_end_it/
http://www.twitter.com/endhipendit

Acid King, Live at Electric Funeral Fest, June 17, 2017

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Review & Track Premiere: Venomous Maximus, No Warning

Posted in audiObelisk, Reviews on July 5th, 2017 by JJ Koczan

venomous-maximus-no-warning

“‘Sea of Sleep’ is a song that is broken up into three parts: past, present and future. We always try to include little references to our personal influences in our music. Whether or not you know realize it, we know it’s there. The song title itself is a reference to Saturn. The bass intro is very ‘NIB.’

“We want you to always hear our influences; it’s what keeps it classic. We don’t steal from it. We were born with it. We are here to keep it alive. I think that’s a big difference between us and other bands nowadays. Some people try so hard to have it and some were born to live it.” — Gregg Higgins on “Sea of Sleep”

[Click play above to stream the premiere of “Sea of Sleep” from Venomous Maximus’ No Warning. Album is out July 28 via Shadow Kingdom Records.]

Now at some six years’ remove from their debut EP, 2011’s The Mission (review here), dark-toned Houston rockers Venomous Maximus remain a band unto themselves. No Warning is their third long-player and second for Shadow Kingdom Records, which brought the four-piece aboard for 2015’s Firewalker (review here) — a workmanlike follow-up to their 2012 debut, Beg upon the Light (review here) — and like everything they’ve done to this point in their tenure, it is marked out by its crisp sense of songwriting and cohesive aesthetic presentation. Their sound, like their cover art this time around, is a multi-faceted collage. It finds them dug deep into horror rock and classic metal influences, tinged with doom so that in any given riff one might hear strains of PentagramIron Maiden, the Misfits, or in the case of the acoustic-minded “All of My Dreams” and the penultimate side B interlude “Endless” here, more cavernous strains of the NWOBHM at its creepiest.

Presented over two clearly demarcated halves, each with its own synth-y intro — aptly-titled “I” and “II” on the digital version, seemingly unnamed in the vinyl tracklist — No Warning adds a progressive edge to Venomous Maximus‘ well-honed theatrical sensibility, and though guitarist Gregg Higgins has his fist-in-the-air vocal declarations working to the group’s advantage in sway and personality alike, he, fellow guitarist Christian Larson, bassist Trevi Biles and drummer Bongo Brungardt sound more assured than ever of the bewitching nature of their hooks and more poised in executing the sonic turns between the chugging “Pray for Me” and the more metallic “Return of the Witch,” which would seem to be a direct sequel to “Give up the Witch,” which was a highlight of both The Mission and Beg upon the Light. Could it be that, six years later, Venomous Maximus are feeling a little reflective on how far they’ve come and what they’ve done in their time thus far?

If so, on that level, No Warning is woefully misnamed. The fact of the matter is everything the band has conjured in terms of craft and sound has been a warning to those who’ve been willing to pay attention for what their third outing brings across its efficient 10-track/41-minute stretch. That’s not to say it’s redundant — far from it — just that the point at which Venomous Maximus show themselves having arrived throughout cuts like post-intro opener “Spellbound” and the later, Mercyful Fate-d guitar weep of “Blood for Blood” is one predicated on their prior accomplishments. They couldn’t be where they are without having been where they were. That No Warning was recorded by Toxic Holocaust‘s Joel Grind certainly adds a sense of metallic cred to the proceedings, and his handling of the mix creates a sense of depth throughout that only further draws the material together.

venomous maximus

Bottom line, perhaps, is that Venomous Maximus are an experienced band at this point and they sound like it, and that their third record stands as an affirmation of their style and execution at its strongest. As “Spellbound” starts off with ghoulish glee and the central riff of “Pray for Me” seems to nod at the doom-pop of Ghost without losing its edge, overall Venomous Maximus still sound most like themselves. They’re a powerful live act, and as always, Higgins brings a formidable presence to the studio as well, whether it be in the sharp-edged turns of “Pray for Me” or the longer “Return of the Witch,” which follows and is a clear focus point for the outing as a whole. It may or may not be intended as an answer to “Give up the Witch” — which still stands among the band’s most landmark choruses — but the title-line repetitions across its 5:50 run would seem to make it one either way, and if that’s an easter egg for those who’ve followed the band throughout their years, then fair enough. They’ve more than earned the right to speak directly to their fans.

That said, I’d still call Venomous Maximus somewhat underappreciated as a group. Yes, they’ve toured with High on Fire, and they went abroad earlier in 2017 to play Desertfest in London, but as they expand their palette here with the strums of “All of My Dreams,” the classic biker riffing of their title-track and the later gallop of closer “Sea of Sleep,” what they bring to realization on an aesthetic level still seems generally undervalued. Whether or not No Warning will change that, I don’t know, but it does present the next logical forward step in their ongoing development, tightening their approach from where it was even on Firewalker while holding firm to the atmospheric elements that have helped define who Venomous Maximus are and have become throughout their time.

It may well be that their refusal to play entirely to one subgenre or another has led to some misread on the part of their audience — too metal for the doomers, too doom for the headbangers, too dramatic for the ultra-serious? — but from where I sit that only makes them more admirable. To listen to them toy with vocal echoes on “Blood for Blood,” or dig into raspy call and response there, or to hear the energetic start that “Spellbound” brings to No Warning lead to the sudden stop in the unfolding and turn toward thrashing vibes on “Sea of Sleep,” it seems that no matter where Venomous Maximus want to make their riffs go, it’s fair game.

They cap “Sea of Sleep” with a hidden bonus riff (visible in the wavform above), as if to sneak one more in before actually ending the album, and that too puts the emphasis right where the band wants it. Make no mistake, Venomous Maximus are and have always been putting on a show. Their records are like a black-swirl cultish carnival. But that show has never been pretentious in the slightest about wanting to offer listeners anything more than a good time, and they’ve never sounded more in command of concept, structure and delivery than they do on No Warning. It is a well-earned victory in a hopefully ongoing series thereof.

Venomous Maximus, No Warning (2017)

Venomous Maximus on Thee Facebooks

Venomous Maximus on Instagram

Venomous Maximus on Bandcamp

Shadow Kingdom Records website

Shadow Kingdom Records on Bandcamp

Shadow Kingdom Records on Thee Facebooks

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Pyreship Premiere Video for “Die/Sect”

Posted in Bootleg Theater on June 21st, 2017 by JJ Koczan

pyreship

Houston four-piece Pyreship made their debut this Spring with The Liars Bend Low on Black Bow Records. It’s a release that brings together sludge tones and groove with post-metallic atmospheres, and as you can see in the video for “Die/Sect” from the album, the Texan outfit keep a mindful approach toward live presentation as well as crafting a moody impression. Starting off with a clip from Twin Peaks: Fire Walk with Me — or at least one from the show that says the name of the movie; I haven’t watched the new episodes yet, so no spoilers please, as much as anything might ever possibly be explained — and featuring imagery of strafing bombs and other apocalyptic this-and-that as well as footage of the band on stage.

Here’s a fun fact: First time I watched the “Die/Sect” video, I was sitting on the couch with my lovely and loving wife, The Patient Mrs., and I pointed to a guy in the front of the stage and I said, “Hey, there I am.” I told her it was a little while ago, when I was still bearded, and you know what? She believed it was me. It’s not me. I don’t know who it is, but I’ve never had the pleasure of seeing Pyreship live. They make a good case for doing so with this song and this video, but still. I haven’t gotten there. It was hilarious though, because, yeah. Dudes all look alike.

If you missed where it was mentioned above, The Liars Bend Low came out on Black Bow Records, which is the label helmed by Jon Davis, guitarist/vocalist of UK demolition experts Conan. Not a minor endorsement to have, and Pyreship recently shared the stage with Conan and Forming the Void as well as part of supporting the album, so all the more of a connection there. One can hear some influence in the roll of “Die/Sect,” which if you haven’t already skipped to it, follows immediately here.

I’ve also included the full stream of the record at the bottom of the post, because why the hell not.

Enjoy:

Pyreship, “Die/Sect” official video

Official music video for Die/Sect from Pyreship’s album “The Liars Bend Low”. Released 5/26/2017 on Black Bow Records.

You can find all the latest Pyreship news and links to our music and merch at https://pyreship.com/ check it out!

Pyreship is:
Sam -Guitar and screaming
Jason – Guitar and singing
George – Bass
Steve – Drums

Pyreship, The Liars Bend Low (2017)

Pyreship on Thee Facebooks

Pyreship on Twitter

Pyreship on Instagram

Pyreship website

Pyreship at Black Bow Records Bandcamp

Black Bow Records website

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Mr. Plow Announce Return and Plans for New Album Maintain Radio Silence

Posted in Whathaveyou on May 17th, 2017 by JJ Koczan

Welcome back, Mr. Plow.

I always liked the Houston-based post-Fu Manchu heavy rockers, from whose lineup the likes of Sanctus Bellum and Blues Funeral at least in part sprang. Aside from the quality of their songwriting across their three records, 2000’s Head On, 2003’s Cock Fights and Pony Racin’ and 2006’s Kurt Vonnegut-themed Asteroid 25399, the charm of their references to Carlo Rossi, The Big Lebowski, and of course The Simpsons — among many others — went a long way in presenting a down-to-earth attitude that made it that much easier to relate to where they were coming from. Just a group of dudes having a good time playing cool tunes. Zero pretense.

Last time I wrote about them in more than an off-hand referential way was in 2009, so yeah, it’s been a minute, but Mr. Plow have announced they’re back and will hit the studio this September to record a new album, to be titled Maintain Radio Silence. Seems to me more likely it’ll be out in 2018 than 2017, but it’s one to watch for nonetheless, as these guys were always underrated as songwriters and after more than a decade, I’m intrigued to hear the glut of material they’ve apparently come up with and how it’s evolved from where they ended their initial run, which was some of their best work.

They posted the following on their website:

mr plow

Mr. Plow – Breaking Our Silence

Well, folks, it’s been a long time since we’ve recorded. Our last album, Asteroid 25399, was released in 2006. We then went into a long hiatus while I (Greg) moved to Florida for three years. But the time has come. We’ve now written 14(!) new tunes, and have been regularly playing more than half of them live. We’ve got studio time on the calendar for the last two weeks in September at Lucky Run studios in Houston, where our bandmate, Cory Cousins, recorded with his other band, Blues Funeral.

The title of the new album will be Maintain Radio Silence. It will be the first album with Cory on drums. Cory’s energy and musical inventiveness have given us renewed life and drive to rock. The new songs are clearly Plow songs but are also a clear evolution in our sound: shorter, punchier, and maybe heavier than anything we’ve done before. We’ve all been recording demos of ideas and sharing them back and forth, building the songs up before we even get together to work on them as a unit. And the ideas just keep coming. We’re talking about releasing this on vinyl as a double album. We’re also in the process of getting our first three albums on iTunes and Spotify and other streaming services.

I’ve never been more excited about the music we’re creating. Hope to see you at a show soon. The pic [above] is from our recent gig at Rudz with Ape Machine, Pyreship, and The Dirty Seeds.

Mr. Plow is:
Greg Green – Bass
Jeremy Stone – Guitar and Vocals
Cory Cousins – Drums
Justin Waggoner – Guitar and Vocals

http://mrplow.com/
https://www.facebook.com/Mr.PlowRock/

Mr. Plow, “Mexican Smoke” Live in 2011

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Blues Funeral Hit the Studio this Weekend to Record Awakening; Album Art & Tracklisting Revealed

Posted in Whathaveyou on May 16th, 2017 by JJ Koczan

blues funeral

Today, Houston’s Blues Funeral reveal the David Paul Seymour cover art for their forthcoming second album, Awakening. On Saturday, the progressively-tinged heavy rock/metal four-piece actually hit the studio to record the thing. Ha. The follow-up to their 2016 debut, The Search (review here), will reunite the band with Jeremy Dudman and Mike Mikulka at Lucky Run Studios for recording and mixing, and as Seymour did the front-piece for that outing as well, it seems like they’re definitely not fixing what wasn’t broken about their first time out. With a likewise quick turnaround from one batch of songs to the next, I’ll be interested to hear how the last year of doing shows and developing this material finds them having progressed from where they were with The Search. I guess we’ve probably got a little ways to go before we get there.

So be it. “Band hits studio” is always one of my favorite kinds of stories to post, since it’s one of the best times a band can possibly have together, so all the best to Blues Funeral as they embark on the making of Awakening. I’m happy in the meantime to unveil the cover art and the tracklisting, which you can see below:

blues funeral awakening

Blues Funeral – Awakening

Houston’s Blues Funeral to Enter Lucky Run Studios 5/20 to record Sophomore Album ‘Awakening’

Houston-based progressive metal quartet Blues Funeral will enter Lucky Run Studios on 5/20 to record their sophomore album. The band will once again be working with Jeremy Dudman and Mike Mikulka for recording and mixing. ‘Awakening’ is the follow up to the band’s self-released debut, ‘The Search.’ The cover art unveiled here continues the longtime collaboration with artist, David Paul Seymour.

“‘Awakening’ is a groove-laden slab of progressive metal inspired by the music of the 60’s and 70’s,” comments the band. “The sound on this record is very much a continuation of many of the ideas explored on our debut record, ‘The Search’. We maintain our focus on things like guitar harmonies, organ, and harmony vocals. That said, ‘Awakening’ takes those ideas and pushes them into some areas that may surprise some listeners. With this record, we feel that we’ve really challenged ourselves with the arrangements and are looking forward to tackling this in the studio!”

Track Listing:
1) Shadow of the Snake
2) Awakening
3) Illusions of Reality
4) Firedrake
5) Casimir
6) The Gathering Dust

https://www.facebook.com/bluesfuneralofficial
https://bluesfuneral.bandcamp.com/

Blues Funeral, “Shadow of the Snake” Live

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Josefus Announce New Lineup and Recording Plans

Posted in Whathaveyou on May 11th, 2017 by JJ Koczan

josefus

By my count, the most recent Josefus studio album was Son of Dead Man, released in 1990, but of course the Texas-based outfit are more known for their works during the heavy rock surge of 1969-1970, during the course of which they offered three records to the overarching cause of the development of heavy rock. 1969’s Get off My Case and their two 1970 releases, Dead Man and Josefus — most particularly Dead Man — have continued to find relevance and influence among subsequent generations of Texan groups, and as they look to make a return this year to play End Hip End It this October in Houston and move forward with their first long-player in nearly 30 years, they do so crossing the generational divide in their own right.

The new lineup of Josefus, in addition to founding vocalist Pete Bailey and founding guitarist Dave Mitchell, features bassist/backing vocalist Doomstress Alexis, also of Doomstress and Project Armageddon, and drummer Michael Morris of Lone Star Hippie, and they’ve begun work tracking new material already while also dealing with a host of medical issues, scheduling conflicts, and so on. No exact release date has been set, but it doesn’t seem unreasonable to think there’s a chance Josefus could have the record together by the time End Hip End It comes around, if not actually pressed and ready for the merch stand.

They posted a quick rehearsal teaser on Thee Facebooks this past weekend that I’d embed here but for the evilness of the social medias involved. Instead, I’ve included Dead Man as a refresher at the bottom of this post, along with the info the band sent down the PR wire below about their upcoming plans.

Check it out:

Josefus – New Lineup May 2017

Josefus singer Pete Bailey had been feeling like the inspirational well was dry though the want to continue creating music was still there. Two days after celebrating his 70th birthday in November 2016 he checked in to the hospital for a scheduled minor surgery. Things took a dramatic change when severe complications from a massive infection developed forcing Pete to spend three months in both the hospital for treatment and rehabilitation to avoid a massive stroke or worse. It was during this time of isolation that Pete suddenly found his inspirational well surge.

Once released from the hospital Pete & Dave started working on songs together with an intense drive and contacted Richard Cagle at Montrose Studios about doing a new record. Unfortunately existing drummer Leesa Harrington-Squires (Lez Zeppelin) & bassist Mark Weathers were unable to commit to the project. Dave called bassist Doomstress Alexis (Doomstress/Project Armageddon) and drummer Mike Morris (Lone Star Hippie) whom they were all familiar with and asked if they could dedicate time to putting a record together.

Four writing and rehearsal sessions later and they were in the studio tracking drum and bass for several songs. Dave and Pete will be laying down guitars, vocals and harmonica for the existing tracks while Alexis is on a scheduled tour with Doomstress but once she is back, tracking will continue on several more songs already developed from writing sessions.

A short video teaser from the studio session was uploaded to the Josefus Facebook page and has had a massive response, especially with fans from across Europe asking for a European tour and festival appearances! Josefus plans on doing shows and some touring later this year and is already booked to play End Hip End It psych fest with Doomstress on October 22nd in Houston, TX. Europe is definitely on the radar as well.

ORIGINAL MEMBERS
Pete Bailey – Vocals & Harmonica
Dave Mitchell – Guitars
NEW MEMBERS
Michael Morris (Lone Star Hippie) – Drums & Backing Vocals
Doomstress Alexis (Doomstress/Project Armageddon) – Bass & Backing Vocals

Facebook studio teaser video: https://www.facebook.com/josefusmusic/videos/10155499351477262/

End Hip End It psych fest event link: https://www.facebook.com/events/444285199249564/

https://www.facebook.com/josefusmusic/
instagram.com/josefus_1969
http://www.jam280.com/josefus.html

Josefus, Dead Man (1970)

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Doomstress Announce ‘May-Day Mayhem’ Tour Dates

Posted in Whathaveyou on May 1st, 2017 by JJ Koczan

Hell, you know I’m a sucker for a cleverly-named tour. Texas heavy rockers Doomstress, after sharing the stage with the formidable likes of The Obsessed, Karma to Burn and Lo-Pan later this week, will head out on their ‘May-Day! Mayhem’ tour, playing shows in the South and the Midwest as they loop their way around the circuit. They’ll keep good company all the while, between the likes of Fiddle Witch, The Judge, Iron Tongue, Stone Machine Electric, Devil to Pay, Forming the Void and so on. You can always tell a band is well liked when they play with a bunch of awesome people.

This marks Doomstress‘ second tour of the year after hitting the West Coast with Portland’s Disenchanter. Dates and lineup info come courtesy of the PR wire:

doomstress tour poster

DOOMSTRESS May Day! Mayhem Tour

DOOMSTRESS (DHU Records) will be hitting the road once again in mid May after just finishing a 2 week western US tour w/labelmates Disenchanter!

The May-Day! Mayhem Tour will see the band zig-zagging across the central, midwest & southern US.

The DOOMSTRESS lineup for this tours will consist of:
Doomstress Alexis- bass/vox
Brandon Johnson- lead & rhythm guitar
Matt Taylor- (touring) rhythm & lead guitar (Serpent Sun)
Alex Erhardt- (touring) drums (The Scourge-feat members of Helstar/Finger Guns)

DOOMSTRESS – May-Day! Mayhem Tour:
5/6- Houston, TX @ Satellite Bar w/The Obsessed, Karma to Burn & Lo-Pan
5/12- Houston, TX @ Rudyards Pub w/Messa (Italy), Witchcryer, and Fiddle Witch & the Demons of Doom
5/13- Bryan, TX @ Revolution Cafe w/Piss Penny & Dethtruck
5/14- Hot Springs, AR @ Maxine’s Live
5/16- St. Louis, MO @ Sink Hole w/Space Trucker & The Judge
5/17- Lawrence, KS @ Replay Lounge w/Custom Black & Stone Grower
5/18- Minneapolis, MN @ Eagles Club! 34 w/Livid, Nightosaur & Trash Catties
5/19- Madison, WI @ Mickey’s Tavern w/Red Museum, Clean Room & Wife!
5/20- Chicago, IL @ Underground Lounge w/Thorr-Axe & Black Road
5/21- Indianapolis, IN @ State Street Pub w/Devil to Pay
5/22- Louisville, KY @ Highlands Tap Room – Metal Mondays w/Sparrowmilk
5/23- Nashville, TN @ Autograph Rehearsal Space w/tba
5/24- Birmingham, AL @ The Nick Rocks w/The Murder of Jane Crow & Silver Tongued Devilz
5/25- Little Rock, AR @ White Water Tavern w/Iron Tongue
5/26- Ft. Worth, TX @ The Grotto w/Power Flower, Stone Machine Electric & Gypsy Sun Revival
5/27- Beaumont, TX @ The Gig w/Forming the Void, The Dirty Seeds & Socially Awkward

www.doomstress.com
www.doomstress.bandcamp.com
www.doomstress.bigcartel.com
https://www.facebook.com/DoomstressBand/
instagram.com/Doomstress_band
twitter.com/Doomstress
www.darkhedonisticunion.bigcartel.com

Doomstress, “Apathetic Existence” Live at the Foundry

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