Posted in audiObelisk on August 12th, 2014 by H.P. Taskmaster
Houston trio Funeral Horse occupy some pretty nebulous sonic space. At root in their style is a classic punk sensibility — their riffs are for the most part simple and there’s little on their second outing, Sinister Rites of the Master(review here), that one would consider “frilled” — but to call them “punk” or even “stoner punk” conveys only a fraction of the influences through which their album establishes itself. They debuted last summer with the Savage Audio Demontape (review here), and that showed the potential for what the three-piece do on the follow-up, but in the layered solos of “Until the Last Nation Falls” and the harmonica-laden drawl and spaciousness of “I Hear the Devil Calling Me,” guitarist/vocalist Paul Bearer, bassist Jason Argonaut and drummer Chris Larmour tell a tale of adventurous sonic diversity that serves them incredibly well throughout their sophomore effort’s course.
The album is out now on Artificial Head Records, and in no small way, I’m thrilled to be able to stream it because I feel like thus far, none of the descriptions I’ve yet given have really done justice to the kind of creativity Funeral Horse have at their core. I’m not saying they’re revolutionaries, just that for a band to work within a genre while also feeling so free to toy with various aspects in and out of it while also keeping their songs cohesive and fluid is rare, and Sinister Rites of the Master does stand up on a front to back listen. As you make your way through the seven tracks, keep in mind the side break after “Communist’s Blues,” since the two parts of the LP go far in defining its structure, but even taken in one sitting, the songs stand up all the way down to the loose-knit garage style of “Stoned and Furious” and the Rush cover “Working Man” that closes out.
However you choose to take it on — 333 copies of the vinyl are pressed, so if you want to go that route, time may be a factor — Sinister Rites of the Masteroffers a listen worthy of the effort, and like its predecessor, speaks volumes to the potential of the band. Since you can hear it for yourself and since I keep coming up short with it anyway, I’ll leave it there.
Hope you enjoy:
Funeral Horse‘s Sinister Rites of the Master was produced by Stephen Finley and Paul Bearer at Digital Warehaus Studio in Houston and is available now on Artificial Head in a pressing of 333 hand-numbered, multi-color vinyl copies. More info at the links:
Posted in Whathaveyou on July 18th, 2014 by H.P. Taskmaster
Been a while since we last heard from occult-minded Houston heavy rockers Venomous Maximus, whose stage presence still lingers in my consciousness from when I was fortunate enough to see them last summer. Presumably they’ve been at work crafting the follow-up to 2012’s Beg upon the Light (review here), reportedly dubbed Firewalker, and like any potion worth brewing, these things take time. Not that you were necessarily going to, but you know what I mean.
They did a similar run last year, but for the Texan four-piece, this upcoming round of dates in August is marked out by an appearance at the pre-show for the Gwar-B-Q in Richmond, Virginia, which will be headlined by some band called The Black Dahlia Murder and which also features moody RVA sludgers Gritter. Not a bad spot to wind up.
The PR wire has it like this:
VENOMOUS MAXIMUS Announces U.S. Tour Dates
Houston Dark Metal Band Putting Finishing Touches on New LP Firewalker
Texas heavy metal band VENOMOUS MAXIMUS has announced a string of east coast U.S. tour dates set to kick off on August 7 in New Orleans, LA. As part of the major market jaunt, the award-winning band will perform as part of the 2014 GWAR-B-Q on August 15 in Richmond, VA, also set to feature Ice-T’s Body Count, Hatebreed and more. The upcoming live dates are as follows.
VENOMOUS MAXIMUS U.S. tour dates:
August 7 New Orleans, LA Siberia August 8 Birmingham, AL Upside Down Plaza (w/ Stoned Cobra) August 9 Atlanta, GA The Basement August 10 Johnson City, TN The Hideaway August 12 Baltimore, MD TBA August 13 Brooklyn, NY Saint Vitus August 14 Philadelphia, PA Kung Fu Necktie (Late Show) August 15 Richmond, VA Broadberry (Gwar B4BQ w/ Black Dahlia Murder)
VENOMOUS MAXIMUS features Gregg Higgins (Vocals, Guitar), Christian Larson (Guitar), Trevi Biles (Bass) and Bongo (Drums).
Posted in Whathaveyou on July 11th, 2014 by H.P. Taskmaster
I like this idea. Texas duo Stone Machine Electric have shown plenty of adventurous spirit over the last couple years, be it in their Kent Stump-recorded 2013 self-titled (review here), or bringing in a Warr guitarist (only to shortly dismiss him), or their prior 2010 live demo, Awash in Feedback(review here), so it seems to me they’ll be right in their element when it comes to wheeling in a portable recording setup and just seeing what happens.
The results — whatever they might turn out to be — will be pressed to a cassette and released sometime in the coming months. They’re calling it the Garage Tapein advance, which already speaks to a raw, jam-room feel. Stone Machine Electric is guitarist/vocalist William “Dub” Irvin and drummer/vocalist/thereminist Mark Kitchens, and while they don’t have an exact release date for the tape yet (the art below is also not necessarily the cover, just a logo I grabbed), it’s one I’ll look forward to hearing in the months to come.
Dig, Lazarus, dig:
Stone Machine Electric – Garage Tape
Texas heavy duo, Stone Machine Electric, is planning to have the studio come to them in the next month to record what is being called the “Garage Tape”.
Good friend and owner of Tin Can Records, Erik Carson, will be dragging his equipment into the practice space of the band. He’ll set up and record whatever Stone Machine Electric plans to do, which is unknown at this point.
The agenda for this outing is to provide a raw account of what goes on in their confines, which usually ends up on the stage. This could turn into an all out improvised jam, some new tracks the duo has been working on, or all of the above.
No release date is set. The outcome will be put out on cassette to provide that garage demo feel.
Posted in Whathaveyou on July 10th, 2014 by H.P. Taskmaster
An Aug. 11 release date has been made official for Funeral Horse‘s Sinister Rites of the Master. The full-length (review here) is the second outing from the Houston stoner/punk/rockers, and follows behind last year’s Savage Audio Demontape (review here). 333 copies will be pressed.
I guess that means I kind of jumped the gun writing the review, since it was two months prior to the release at that point, but I wanted to make sure the release date got noted as well because these guys do interesting stuff and make it sound raw and natural in the process. I’d have sworn they had the whole thing streaming before, but whatever, ahead of the release, you can hear the track “Until the Last Nation Falls” below.
The PR wire fills in the particulars:
FUNERAL HORSE – SINISTER RITES OF THE MASTER LP (Artificial Head) Released on 11th August 2014
Made up of front man/guitarist Paul Bearer, bassist Jason Andy Argonauts and drummer Chris Larmour, Houston’s Funeral Horse are offhand in their attitude to technical virtuosity. Whether rocking their way through dark blues or dissonant experimentation Sinister Rites Of The Master is unapologetically thunderous.
Following on from last year’s Savage Audio Demon, Sinister Rites… will be released this August on Artificial Head Records. An imprint that to date has seen releases from fellow Texans and garage convivialists The Escatones, David Gedge’s much-loved Cinerama and the criminally undersung post-punk outfit Art Institute.
Under the influence, this current assembly of unholy noisemakers produce music to gouge minds to. Murky and fuzzed out, punk by execution but unmistakably proto-metal in mass and volume the album peddles the sort of sounds you might find at the angrier end of a Sub Pop or Touch and Go discography. A shot in the vein of Tad via Mudhoney’s raw megaphonic vocals (‘Until The Last Nation Falls’, ‘Amputate The Hands Of Thieves’) Funeral Horse also take in the vintage and lo-fi grind of traditional stoner, and even classic rock, as best heard on their storming cover of Rush’s ‘Working Man’.
Track Listing: 1. Until The Last Nation Falls 2. Amputate The Hands Of Thieves 3. Communist’s Blues 4. Executioner Of Kings 5. I Hear The Devil Calling Me 6. Stoned And Furious 7. Working Man
Funeral Horse: Paul Bearer – Vocals, Guitar Jason Andy Argonauts – Bass Chris Larmour – Drums
On each side of the splatter pink 12″ vinyl edition of Funeral Horse‘s second offering, Sinister Rites ofthe Master, appears one of the above phrases, etched in past the music. Side A has “I am perplexed,” and side B, “Who is the 13th doctor?,” and neither of them come with much by way of context. The former were the final words of Aleister Crowley and the latter phrase is either a Doctor Who reference or I don’t know what. Either or both would seem a decent match for the seven songs and two sides of Sinister Rites of the Master, which follows Funeral Horse‘s summer 2013 tape debut, Savage Audio Demon(review here). A liner included with the record, which is limited to 333 copies pressed by Artificial Head Records, also has a microfiction from drummer Chris Larmour that takes place in the lost city of Carcosa, as seen in Lovecraft and Ambrose Bierce and most recently the HBO drama True Detective, so there’s clearly a dedication to atmosphere and a complete album package being about more than just the music, though their songwriting has progressed audibly since the debut.
Fortunately, that progression hasn’t come at the expense of the raw vibe of the songs’ production. The vinyl has a different mix from the digital version of Sinister Rites of the Master and an even more garage-minded style, but either way you go, there’s a clarity to some of the ideas that sounded formative last time out, the three-piece of Larmour, guitarist/vocalist Paul Bearer – who also donates a mean harmonica solo to round out “Communist’s Blues” at the end of side A — and bassist Jason Argonaut now mischievously jumping from one side to another around the line between punk and heavier rock. The bass tone is warm, vocals mostly distorted, and the drums creative but largely straightforward, so there is a punkish vibe throughout, but while “Amputate the Hands of Thieves” has a definite insistence in its rhythm, it’s thicker, and the fact that Funeral Horse close with what they’ve billed online as a “slight revision” of Rush‘s “Working Man” speaks to other influences at play.
One could say the same of side B in general, though. The three songs on the first half of Sinister Rites of the Master– “Until the Last Nation Falls,” “Amputate the Hands of Thieves” and “Communist’s Blues” — work around a similar stylistic basis of garage stoner movement, the latter pulling back somewhat in tempo, but still in the same vein, while the four cuts that follow the flip — “Executioner of Kings,” “I Hear the Devil Calling Me,” “Stoned and Furious” and the aforementioned Rush cover “Working Man” — change up the approach. This in itself is a classic form — if you’re going to get weird, do it on side B — but where the earlier cuts take inspiration from the likes of John Milton and Kang Chol-Hwan, “Stoned and Furious” is said to be “inspired by true events.” A bit of humor never hurts as a reminder that it’s all supposed to be a good time, and in this way, the digital and vinyl editions of the album feed into each other; you can listen to one and read about the other. “Stoned and Furious” is sonically consistent, however, and the biggest stylistic turn comes with the relatively brief “I Hear the Devil Calling Me,” which brings in Sarah Hirsch of Houston’s Jealous Creatures for a guest vocal over swamp harmonica and strummed guitar.
Well placed and a genuine surprise on the first listen, “I Hear the Devil Calling Me” feels somewhat like an outro, which would make “Stoned and Furious” and “Working Man” bonus tracks for the album, but both sides of Sinister Rites of the Masterwork in terms of their flow, so I’m not about to argue (with myself) over adherence to a theme. The wailing leads of “Stoned and Furious” do well to call back the tom runs at the start of “Executioner of Kings” that act as the bed for a full-sounding wall of riff, and “Working Man” gets reinvented as an early Pentagram demo, blown-out vocals and all. I don’t know who the 13th doctor is, but what Funeral Horse do on their second full-length release is to show that while they keep things loose and natural sounding, they’re still working on a conscious progression of their sound. Sinister Rites of the Master is likely to be a sleeper vinyl, but it departs entirely from the stereotypical post-Pantera Texan burl and is so gleefully stoned in parts that one can’t help but wonder how they hold it together as long as they do. They’ve taking away some of the dronier sounds they presented their first time out, but spend their time well nonetheless.
Funeral Horse, Sinister Rites of the Master (2014)
Posted in audiObelisk on March 18th, 2014 by H.P. Taskmaster
Once, a very, very long time ago — okay, it was last December — thoroughly-synthed doom rockers From Beyond traveled from their native Houston to a much different land, Los Angeles. There, they met head to head in riffy combat with North Carolina’s ASG. Alright, so maybe it was less “riffy combat” and more of a Scion Rock Show, but either way, it happened. The date was Dec. 4, the show was free with an RSVP, and to continue their Rock Show series of releases that’s already resulted in the pairings of Fu Manchu/Moab and The Dirty Streets/Indian Handcrafts, Scion A/V is set to issue a split between ASG and FromBeyond, and I’m happy to be able to present the latter’s “The Fall to Earth” as a streaming debut to mark the occasion.
That gig, held at the Satellite, was From Beyond‘s first in L.A. and their first as a four-piece. When they put out their 2012 The Color out of Space EP (track stream here), they were a trio, but it was the lineup of Robert McCarthy (guitar/vocals/synth), David Grooman (guitar), Dick Beeman (drums/vocals) and Stephen Finley (bass, Moog Taurus) that landed in Silver Lake, and their Moogery and theatrical atmospherics obviously made an impression. “The Fall to Earth” makes the most of both of these, but that doesn’t take away from the crunching largesse of the rolling riff itself once it gets going. Shades of Electric Wizard give way to spaced-out vocal harmonies, creating a strong hook and a rare balance of emotional resonance, lyrical narrative and doomly engagement.
Structurally, “The Fall to Earth” is pretty simple, setting an ambient bed with its intro before launching into verse/chorus tradeoffs and finally marching out on its fuzzy central figure, but From Beyond remain cohesive in the atmosphere and make the track more than just a meandering freakout while also keeping a decidedly open feel. The Color out of Spacewas an impressive release from a band who knew where they wanted to be in terms of aesthetic, but we may have only seen the beginnings of From Beyond.
Please find “The Fall to Earth” on the player below, courtesy of Scion A/V, and please enjoy:
The ASG track is set to release March 25. Scion A/V announced yesterday that this year’s Scion Rock Fest will take place in Pomona, CA, on May 17. More info at the links.
Newcomer Houston trio Funeral Horse only pressed 100 copies of their debut tape, Savage Audio Demon — its title seeking to describe a deceptively wide stylistic range in classic demo fashion — but from what I understand, at the time of this post a few still remain for sale. The three-piece of guitarist/vocalist Paul Bearer, bassist Jayson Adams, and drummer Kevan Harrison (apparently since replaced by Chris Larmour) formed in 2013, and sure enough, Savage Audio Demon has a feeling-it-out kind of vibe across its six songs presented three-each on two sides, but both within the tracks and in the presentation of the cassette, which is professionally dubbed clear red plastic and packed with a six-panel (the inside is blank) glossy J-card containing the art, tracklisting, thanks list and links (not that you can click a piece of paper, but it’s good to know anyway), they make it clear that they have some idea of what they want to do as a band, whether it’s the Om-style drone-infused meditation of opener “The Fedayeen” or the stripped-down punk ragers “Crushed under Shame and Misery” and “Invisible Hand of Revenge.”
The Melvins come up as an influence at several points throughout Savage Audio Demon, most notably on side two’s “Wings Ripped Apart,” but though the recording is raw and the vocals on the punkier songs coming across somewhat dry — obviously not on the megaphoned verses of “Funeral Horse” — what stands out most about Funeral Horse‘s debut is that they seem not only aware of the influences under which they’re working, aural and perhaps chemical, but actively striving to craft something of their own from them. At the start of side two, “Scatter My Ashes along the Mississippi” provides a steady Southern heavy bounce that serves as the bed for the highlight of the tape, gradually fading in over the course of a vaguely cultish first verse before speeding up to a more aggressive second half. A chop in the guitar line toward the end of that song feeds the warts-and-all feel of the recording, but they tie it up nicely with a return to the initial riff, leaving the leadoff cut as the real mystery of the release. Probably it could’ve closed just as easily as it opens (immediate points for starting off with the longest song; always a bold move), but it’s the background drone, the Cisneros-style vocals and the meditative spirit — though actually the breaks in the central progression remind most of Orange Goblin‘s “Cities of Frost” — that ultimately distinguish it from everything else on the tape.
Particularly because it arrives first, it throws the listener off guard when they shoot into the faster, more garage-sounding “Crushed under Shame and Misery,” but it’s easy to figure that was the idea in the first place. And while “The Fedayeen” is somewhat incongruous with the rest of what follows, it serves its purpose as as the opener in establishing an expectation that Funeral Horse can immediately and effectively work against. Call it trickery if you want, it’s hard to argue with the results, and in the end, it’s “The Fedayeen” that makes me the most curious about where Funeral Horse might go stylistically after Savage Audio Demon and in what direction their sound might continue to develop, or if the sides of their personality will cohere into something else entirely. It’s a common-enough experience in listening to bands getting their feet wet, but nonetheless true about what the trio accomplish on their first tape that it’s an enticing prospect to see how the progression might play out across their blend of punk, heavy rock and doomed riffing.
Having had occasion to see Texan cult metallers Venomous Maximus this summer at Days of the Doomed III — you might say that’s my ogre-paw wrist and hand at bottom left in the screen-grab above — I can tell you from experience that they’re a band who put genuine effort into their presentation. They celebrated the Napalm Records release of their debut full-length, Beg upon the Light(review here), by going on tour in June around the aforementioned fest, and they brought along photographer Ray Traboulay to make sure it was all properly documented. The results of that partnership between band and camera have been compiled together into a new picture video for the song “Dream Again (Hellenbach),” which I have the pleasure of premiering below.
“Dream Again (Hellenbach)” is one among a slew of catchy high points of the gleefully debauched Beg upon the Light. Guitarist/vocalist Gregg Higgins is at his most commanding, and along with guitarist Christian Larson, bassist Trevi Biles and drummer Bongo Brungardt, Higgins wields a careful balance of classic metal and heavy rock influences, the band winding up indebted to Judas Priest and other NWOBHM axe heroes en route to territory usually reserved for Coven worshipers and preachers of vaguely Sabbathian seance. That blend, in combination with an electric performance ethic, was what helped their reputation spread quickly and garner not just label attention, but a fervent critical and audience response to the album.
Texas hasn’t been short on riffs since ZZ Top were in diapers, but Venomous Maximus bring a spin to their approach that comes off less genre-adherent and more multifaceted than most and than it might at first seem. If you haven’t yet had the chance to get introduced to their classic metallurgy and lunatic swirl, “Hellenbach” makes a hell of a first impression, and Traboulay‘s live shots are an excellent companion to the otherworldly sensibility in the music.
In the PR wire info under the clip, Higgins and Traboulay give some background on the project and the theories that went into it. Please enjoy:
Venomous Maximus, “Dream Again (Hellenbach)” picture video
VENOMOUS MAXIMUS Debut Photo-Video – Announce Contest
Beg Upon the Light Out Now on Napalm Records
The Texan Dark Heavy Metal outfit VENOMOUS MAXIMUS has already risen to the status of a heavy hitter in the depths of the underground. This was showcased with the release of their debut album Beg Upon The Light earlier this year via Napalm Records. The album is available for purchase oniTunesandAmazon.
Today the band has released what they are describing as a “photo-video”. The “photo-video” is set to the song “Dream Again (Hellenbach)”. With this “photo-video” VENOMOUS MAXIMUS have started a contest to see who can share and spread the video the most online. The winner will be determined by whomever gets the most shares of their Facebook post or Tweet. The winner of the contest will receive a VENOMOUS MAXIMUS, T-shirt, CD, LP, trucker hat, patch and buttons.”
What exactly is a “photo-video”? Photographer and artist Ray Traboulay who is responsible for the project explains:
“VENOMOUS MAXIMUS is an “experience” or “state of mind” as opposed to a band. Photographing them proved to be an extremely fluid process as our collective energies aligned with ease.
Capturing their Spiritual energy and inserting it aesthetically into the photograph was achieved through multiple exposure and shutter drag photographic techniques as well as sensing their Kinetic energy seep into my pores. My initial thoughts and emotions after viewing them for the first time were hard to categorize.
After recently photographing Carnival in Trinidad and having an appreciation and respect for the pagan past, I was naturally drawn to them where their lyrical subject matter touch on these occult topics in their own manner.
I hope these photos do justice to the band’s live performance and convey to viewers to the best of my ability what they encompass as individuals and collectively once they hit the stage as a four piece. Once on stage they become a different beast incorporating spiritual elements of The Holy Mountain, Asian Mysticism, Deepak Chopra, and King Diamond are fused together to form their unique brand of Occult Rock. Infectious, big hooks and relevant subject matter in their lyrical make up…. they’ve got it all as far as modern rock and metal goes, not to mention down to earth and charismatic folk as well.
This is the central axis of Houston’s finest and is a band you want to look out for if you have not already and a band that should be best observed on a full moon.”
Frontman Greg Higgins commented on the photo video as well:
“Hopefully one day we will be able to see and understand things the way Ray captured us in these photographs. Ray has a way of making his photographs where it makes you wish you were there. Even if you’re in the photo it looks better than you remember and makes you want to go back to it.”
Posted in Whathaveyou on May 1st, 2013 by H.P. Taskmaster
We’re just 10 days out from the fist-ever Bayou Doom Fest, set to take place May 11 in Houston, Texas, with a killer lineup of native and regional acts who run a gamut of heaviness from the thrashing Warbeast all the way to the heavy rock of Orthodox Fuzz with no shortage of doom in between. I know Las Cruces have been working on new material — they’ll also play Doom in June 3 in a couple weeks — so maybe they’ll have something on tap for the setlist, and with Wo Fat just back from Europe and Mothership just off the road with Gypsyhawk, you know these guys are going to deliver an awesome night.
Details came down the PR wire:
Warbeast and Venomous Maximus to Headline Inaugural Bayou Doom Fest
Presented by the Houston Doom Brigade, the inaugural Bayou Doom Fest, to be held at Fitzgerald’s in Houston, TX on May 11, 2013, will be headlined by DFW thrash-masters Warbeast and Houston’s occult metal kings, Venomous Maximus. The show marks the first time that Warbeast and Venomous Maximus have shared the stage since a run of shows in January supporting the legendary Down. The show will also be Warbeast’s first since returning from a successful tour supporting GWAR and Venomous Maximus’ first hometown appearance since signing to Napalm Records. Making the festival even more special is the fact that it will be a free event for those 21 and up ($10 under 21).
Joining Warbeast and Venomous Maximus on the bill are psychedelic fuzz rockers Wo Fat (fresh off appearances at Roadburn and Desertfest), Maligno (Mexico), Sanctus Bellum (Houston), Mothership (DFW), Las Cruces (San Antonio), Project Armageddon (Houston), Orthodox Fuzz (DFW), and Serpent Sun (Houston).
Houston Doom Brigade Presents: Bayou Doom Fest I Saturday, May 11, 2013 Fitzgerald’s 2706 White Oak, Houston, TX Doors, 5:00 – Show 5:15 Free for 21+ (under 21: $10)
Warbeast (Housecore Records) Venomous Maximus (Napalm Records) Wo Fat (Small Stone Records) Mothership (Ripple Music) Las Cruces (Brainticket Records) Maligno Sanctus Bellum Project Armageddon Orthodox Fuzz Serpent Sun
Posted in Whathaveyou on March 21st, 2013 by H.P. Taskmaster
The band let the news out earlier, but the PR wire makes it official: Texas metallers Venomous Maximus have joined forces with Napalm Records, who will reissue the band’s previously self-released Beg upon the Light(review here) come this summer ahead of a new studio album for 2014. Congratulations to the band, who will also put in an appearance at Days of the Doomed III this June, perhaps right around the time Beg upon the Light gets its second look.
That release date is still to come, so stay tuned for more on that and on Venomous Maximus‘ next effort. Until then, the news is good:
VENOMOUS MAXIMUS signs with NAPALM RECORDS, prepare summer release
Today, NAPALM RECORDS announces the signing of Texan doom occultists VENOMOUS MAXIMUS. The label will be releasing the band’s debut album, Beg Upon the Light, worldwide this summer, with their first new album for NAPALM slated for 2014. Says vocalist/guitarist Greg Higgins, “We are pleased to announce that we’ve signed with NAPALM RECORDS. They are going to release Beg Upon the Light this summer and another new full-length we are working on in 2014. All of this comes to a surprise, because this project was meant to be something that no one would ever hear about. So as time went on and we started to be successful, we always agreed to do everything ourselves, to keep it our way. The only way we were ever going to work with anyone was if we knew they were dedicated to worship the past as we were. Now that we are here with NAPALM, we will continue to create this hidden message. But with their help, they will be revealing this to the masses, and we are okay with that now. Because of the records we first created only for ourselves will be released with everything we dreamed from the beginning, destiny has come for us to work with NAPALM RECORDS. Our hearts are in Texas but our souls come from Europe. Now having a family in Europe that takes care of the land where we arose, our spirits fly, where we are able to focus on the beautiful.”
Adds Sebastian Muench, A&R for NAPALM RECORDS, “Sometimes, very seldom, you get the chance to discover a band that brings back the same feelings you first had when you listened as a teenager for the first time to Metallica’s Ride the Lightning or Black Sabbath’s Paranoid – you just know you’ve found something very magical and you are hooked for life. VENOMOUS MAXIMUS is such a band, and and we are thrilled, excited, and tremendously honored to call them part of the NAPALM family.”
Posted in Whathaveyou on December 20th, 2012 by H.P. Taskmaster
I’ve never been big on birthdays — something about a complete lack of self worth — but apparently the dudes in Houston dark metal outfit Sanctus Bellum have no such reservations. In celebration of the shared birthday of guitarist Jan Kimmel and bassist Ben Yaker, Sanctus Bellum have gone so far as to import Bobby Liebling for a set of Pentagram classics and James Rivera of Helstar for a round of heavy ’70s rock gems, pulling a bit of triple-duty with a set of their own material as well on a bill that also includes Serpent Sun, Cauldron, H.R.A. and Owl Witch.
The show is set for this Saturday at Rudyard’s British Pub in Houston, and if you’re in the neighborhood, it sounds like it’s going to be a blast. Check it out:
Pentagram’s Bobby Liebling and Sanctus Bellum’s Ben Yaker Interviewed on Upcoming Collaborative Performance
Bobby Liebling of doom metal legends Pentagram and Ben Yaker of Houston’s Sanctus Bellum have been interviewed by Free Press Houston in preparation for their upcoming collaborative performance at The El Birthday Metal Fest II on Saturday, Dec. 22.
At the festival, which takes place at Rudyard’s British Pub in Houston, TX, Liebling will take the stage with members of Sanctus Bellum (collaboratively styled as Sanctus Bellum Sanctuary) to perform a one-time-only set of classic 70s Pentagram songs, many of which have not been performed since the 1970s, and some of which have never been performed live at all.
In the interview, which can be read in its entirety here: http://www.freepresshouston.com/music/the-el-birthday-metal-fest-ii/, Yaker states “…Not only do I get to essentially be in my favorite band for the night, but I get to hand pick the set list. These are my favorite, unheralded Pentagram songs–songs that I always wish would have gotten more play. I would always go to Pentagram shows, hoping to get them to play some of these songs, knowing it would never happen, but now I can make it happen.”
Speaking on the set, Liebling says “We’ll be doing songs I haven’t played in close to 40 years, most of ‘em. They decided to pick a lot of off the wall ones [laughs]… You know, the bands I used to listen to, I would have given anything to have gotten to do a set with Mountain or Grand Funk or Cactus. I’m very happy to do this show with them.”
The El Birthday Metal Fest II also features a set of classic metal covers performed by Sanctus Bellum and James Rivera of Houston metal legends Helstar (styled Sanctus Bellum Sanctus), in addition to sets by Sanctus Bellum, H.R.A., Owl Witch, and Serpent Sun.
The festival, which is 21+, is scheduled to begin promptly at 6:00 pm. Admission is $15. Advance tickets and commemorative posters can be purchased at www.sanctusbellum.bigcartel.com.
Okay, so it works like this. Houston stoner garage rockers The Linus Pauling Quartet – who are a five-piece — have a 3CD box set coming out next week called Assault on the Vault of the Ancient Bonglords. They’ll be releasing it themselves on their own Homeskool Records, as they did earlier this year with their eighth album, Bag of Hammers(review here). To mark the occasion of the release, they’ve written a theme song for the box set. No surprise, it’s called “Assault on the Vault of the Ancient Bonglords.”
But make no mistake. This is a new song — as in, it doesn’t actually appear on the box set for which it’s named. What it does do, however, is make fantastic accompaniment to the charming and Shiner Bock-fueled video the band put together, half as a commercial for the box set and half as a showcase for the track itself. Because I’m a firm believer in the power of charm and the power of killer riffing, here’s the clip for the song:
If you find yourself digging the track and wishing you could hear more of it, you’re in luck as along with the video, The Linus Pauling Quartet also sent along the song itself, which is apparently just a couple weeks old. My understanding is this version isn’t mastered and they’ll have a final up soon as a free download, but here’s “Assault on the Vault of the Ancient Bonglords” to stream in the meantime if you’re up for digging in:
Here is the Music Player. You need to installl flash player to show this cool thing!
The Linus Pauling Quartet will release the 3CD box set Assault on the Vault of the AncientBonglordson Dec. 18 through Homeskool Records. For more info, hit them up at their Thee Facebooks page.
Posted in Reviews on November 15th, 2012 by H.P. Taskmaster
The sound that Houston-based four-piece Venomous Maximus capture on their Beg upon the Light full-length debut is a Frankenstein’s monster of influence. Here and there, one gets flashes of NWOBHM gallop in the guitars of Gregg Higgins and Christian Larson, that, combined with Higgins’ trad metal vocal style brings to mind a modernized version of Pagan Altar or some such cult curio. Theirs is heavy metal thunder, no doubt about it, and while some of the “occult” elements on Beg upon the Light (out, by no coincidence, on Occulture Records) feel like a put-on, there’s a genuine sense of atmosphere underlying the dudely thrust and all the talk of witches and “What name is this carved in my body?” The record is dark, as one might expect from its name, the band’s name (though it actually comes from G.I. Joe), the artwork, the song titles, etc., but also accessible musically in a way that reminds a bit of the horror rock that the Misfits once made seem so dangerous even though it was essentially pop songwriting sped up. Venomous Maximus’ prior EP, the self-released The Mission (review here), was by no means rudimentary, but one gets a clear sense of development in listening to Beg upon the Light, whether it’s the guitars, vocals, the bass work of Trevi Biles or the drumming of Bongo Brungardt, whose grounding effect seems at points to be the roots from which the album’s memorable hooks spring. Higgins proves a strong vocalist as the intro “Funeral Queen” gives way to “Path of Doom,” his approach straddling the line between semi-spoken and dramatic heavy goth metal wailing. They take elements from the genre, but more than they’re doom or singularly anything else, Venomous Maximus are a metal band, and these songs bear that out. With crisp production and flourishes of organ on “Funeral Queen” – it’s the first thing you hear on the album – and the soon to follow interlude “Father Time,” which also boasts spoken word vocals and acoustic guitar – violin on closing duo “Mother’s Milk” and “Hell’s Heroes” and a rich variety of vocal arrangements – a few guest spots persist there as well – the album never veers close to redundancy of method, and yet there’s a pervasive sense of cohesion throughout, heard as early as “Give up the Witch” follows from “Path of Doom” that underscores the professionalism at work throughout these tracks.
“Give up the Witch” is a highlight, and also likely among the oldest material here included, since Venomous Maximus made their debut with a 7” single of the same name. Still, if it has wear and tear for the band having trudged it through the last couple years since they got together, it doesn’t show. One of the strongest hooks plus one of the strongest riffs equals one of the strongest songs – it’s a pretty easy formula. Higgins lets out a couple screams as he backs himself on vocals, and the guitars behind showcase a touch of the extreme as well. More than enough to qualify as dangerous. Yet an overlying groove remains, and in that, “Give up the Witch” does even more of the work in setting a course for what follows than did the opener. Larson and Higgins bust out classic riff after classic riff, so that you’re through “Father Time” – curious to place your interlude two tracks after your intro, but it works in the overall context – and into “Dream Again (Hellenbach)” and the ensuing “Moonchild” (not a King Crimson cover, though part of me hoped for a dramatic reinterpretation) in the center of Beg upon the Light before you even realize the considerable amount of momentum the band has amassed. With 10 tracks and a runtime just under 46 minutes, the album is right in line with what one commonly thinks of as “full-length,” but it moves remarkably quick from one cut to the next, keeping a strong flow while not sacrificing a sense of the songs as individual pieces. “Dream Again (Hellenbach)” culminates with well-mixed interplay between the two guitars and formidable thud from Brungardt, and when Higgins says, “Everybody,” urging an imagined crowd to join him on the final chorus, it’s emblematic of the accessibility at the root of what Venomous Maximus are doing. There’s an audience for this kind of metal, they know it, and that’s who they’re reaching out toward. The push continues on “Moonchild,” which features guest spoken vocals, more strong screaming, and the begging question, “Why did the gods have to make us this way?” backed by mounting chants in the bridge, offering one of the most dramatic moments of the album.
Posted in audiObelisk on October 16th, 2012 by H.P. Taskmaster
Houston-based doom classicists From Beyond will start taking orders for their new The Color Out of SpaceEP on Halloween. When could be better? The newcomer trio have a pretty strong sense of their aesthetic, blending the brash swagger of the heavy ’70s with American doom’s longstanding horror fetish. Their One Year EP was a solid introductory collection, and it’s no surprise they’re in a hurry to follow it up with The Color Out of Space. Momentum is as momentum does.
The track “The Dead Still Ride” leans more toward heavy biker rock than some of their slower, more atmospheric material, but From Beyond — who seem to have recorded The Color Out of Space with just the duo lineup of guitarist/vocalist Robert McCarthy and drummer/vocalist Richard Beeman, adding bassist/vocalist Tony Kaelin at some point afterwards — remain cohesive in their approach and it’s a fine enough line stylistically that, if you’ve never encountered the band before, you should still be able to get some sense of what they’re about sound-wise.
The band took it upon themselves to release the track yesterday via their Bandcamp, where it follows the previously-unveiled “Hexagram” in advancing The Color Out of Space, but as we had talked about streaming the track over the last week, I’m happy to feature it below, followed by a history contributed by the trio themselves. Please enjoy:
Here is the Music Player. You need to installl flash player to show this cool thing!
From Beyond was started in Houston, TX, about a year ago.
Our debut EP, One Year, was released in May of 2012. We played a show with Saint Vitus to celebrate the release of the EP. Saint Vitus loved the EP. Dave and Wino both said that One Year was “killer, man”. We loved hearing that, since One Year wouldn’t have happened without their influence.
We are very much a D.I.Y. band, and this upcoming EP is no exception. We have pulled together all of our resources to produce and release The Color Out of Space EP on 12″ vinyl. Due to the fact that we are putting all of this together without the help of a label or even a Kickstarter, we are only able to release 300 copies of the 12″ EP, but we have made certain that these will be very special editions, with high emphasis on artwork and packaging.
We will have a preorder for The Color Out of Space EP starting on Halloween. The preorder will include some gifts from us, but will be extremely limited.
“The Dead Still Ride” is a pre-release to The Color Out of Space EP. The song is available now to stream or purchase online for only one dollar from our Bandcamp. “The Dead Still Ride” is a departure from some of the music we have made in the past, but showcases our love for biker metal, vocal harmonies, the movie Psychomania, and fits in well with the themes of the upcoming EP.
The artwork for “The Dead Still Ride” was designed by Goatess Dommwych, who also designed the artwork for “Hexagram.”
The record was recorded in a cavernous, dark warehouse, and we put all the songs on tape. In our opinion, tape brings out the warmth of our instruments, and will sound even better once it gets on your turntable.
Texas-based five man foursome The Linus Pauling Quartet have a new video for the track “Victory Gin” from their new album, Bag of Hammers (review pending). The long-running psych rockers show off plenty of charm, though perhaps its best to let them describe what’s actually going on. Via the PR wire:
“Victory Gin” includes a cast of dulcimer-playing, liquor-guzzling sock puppets performing the catchy, post-apocalyptic jam they unleashed with BoH’s release. “Anyone who has seen us play live will attest to the fact that I play with a stuffed Jake the Dog and Lady Rainicorn on my Marshall amp for good luck,” says guitarist Ramon Medina, who also directed the video with the help of singer/guitarist Clinton Heider. After shooting, and joining their puppet stand-ins in some light drinking, the LP4 guys realized they might have gotten a little off-track. “The original inspiration was Dinosaur Jr.’s video for ‘Just Like Heaven,’” explains Ramon. “It wasn’t until I was done editing that I realized that the result was more akin to the Sifl and Olly.”
So there you have it. When I started this website, I sliced my hand open and swore a blood oath to post any genre-appropriate video that featured sock puppets, so here goes: