Psycho Las Vegas 2019 Announces Psycho Swim Pool Party with C.O.C., Lucifer, Danava and More

Posted in Whathaveyou on April 5th, 2019 by JJ Koczan

You know, last year, when Psycho Last Vegas hosted the likes of Bell Witch and Wolves in the Throne Room at its Pool Party pre-show (review here) in the 100-plus degree heat, the “this I gotta see” factor was pretty high. The tone of spectacle that the Pool Party sets is in no small part a defining factor for what makes Psycho Psycho. And by that I mean it’s completely insane, front to back, concept to execution, and yet somehow it not only works, but works well. You’re gonna put Primitive Man — one of the most abrasive, filthiest-sounding, heaviest acts on the planet right now, on a stage used for poolside dance parties and techno nights? How does this even make sense?

It doesn’t need to. Corrosion of Conformity headline the newly-christened Psycho Swim — because you’re god damn right they do — and Lucifer, Danava, ASG, indeed, Primitive Man, Idle Hands, Howling Giant and Thrown into Exile will play. It’s the biggest Pool Party yet that Psycho has hosted, because duh, of course it is, and it seems that as the fest itself continues to scale upward on just about every level — creative scope, reach of the acts it pulls in stylistically and geographically, and the number of venues and attendees — it’s bringing the Pool Party along for the ride. All the better.

Lineup and ticket info follow. It’s going to be limited space, so keep that in mind before you get stoned and try to wander in late or something.

Dig:

psycho swim

PSYCHO SWIM 2019

Official Psycho Las Vegas 2019 pre-party Aug. 15. Daylight Beach Club, Mandalay Bay Resort & Casino.

CORROSION OF CONFORMITY
LUCIFER
DANAVA
ASG
PRIMITIVE MAN
IDLE HANDS
HOWLING GIANT
THROWN INTO EXILE

limited to 1500 people, 300 vips get in for free and receive private cabanas and dipping pools as part of the psycho vip experience….tickets are only available online while supplies last. tickets are $35 & $55.

https://www.facebook.com/events/2035404693146567/
https://www.facebook.com/psychoLasVegas/
https://www.instagram.com/psycholasvegas/
http://vivapsycho.com

Corrosion of Conformity, Live in Atlanta, GA, Feb. 23, 2019

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Howling Giant Remaster Self-Titled EP; Tour to SXSW and Beyond; Working on Debut Album

Posted in Whathaveyou on February 21st, 2019 by JJ Koczan

howling giant

I wrote a bio this past weekend for Howling Giant that, at least I hope, will be of some use as they move toward the completion and release of their debut full-length later this year. That’ll be nifty. In the meantime, to tide over we plebes, the Nashville trio are set to issue a remastered vinyl version of their 2015 self-titled debut four-song EP through Blues Funeral Recordings, and as the PR wire notes below, they’ll also take part in Ripple Music‘s upcoming successor to the The Second Coming of Heavy split series, called Turn to Stone, and Magnetic Eye‘s Alice in Chains homage, Dirt [Redux]. Do you wonder what song they’re doing? I do.

Because this is what happens when a band is so utterly restless, they’ll also head out on tour. Next month they’ll hit up the SX Stoner Jam along with the rest of the planet except for me because I’m not cool enough, and then in April it’s off to Psycho Smoke Out in L.A., which I’m also not cool enough for. Points to me for consistency and points to the band for not being able to sit still. Gotta go, gotta go.

I’ll hope to post that bio here sooner or later, but the PR wire sums up all their doings thusly:

HOWLING GIANT Announce Spring US Tour with Stops at SXSW Stoner Jam and Psycho Smokeout

Cosmic psych-metallers drop much-demanded vinyl EP and break in their new bassist on the road; full album due this summer.

If ever there was a band who seemed to be following a treasure map from humble origins to future psych-metal stardom, it’s Howling Giant. And 2019 is shaping up to be their biggest year yet.

First, the interplanetary riff-rockers will see their self-titled debut EP get an official release from Blues Funeral Recordings.

Featuring EC Comics-inspired artwork by Darren Merinuk and all tracks fully remastered by Dave Shirk (Mastodon, The Obsessed), the March 22nd release of this glorious slab on digital and wax marks the band’s first-ever vinyl offering, giving longtime supporters the chance (at last) to bring home a tangible piece of Howling Giant heaviness after watching them tear up yet another stage.

Available for pre-order at this location.

And speaking of tearing up stages, the band is just starting to gear up for a huge year on the road, with a clutch of dates in March leading straight into an almost month-long tour in April/May.

Featuring a string of shows with Indiana’s Archarus, the back-to-back tours include slots at the ever-popular South by Southwest Stoner Jam as well as the fest you’re guaranteed to forget (or you’re doing it wrong), the Psycho Smokeout (from the folks who bring you Psycho Las Vegas).

Full tour dates for Howling Giant Spring 2019 are:
3/12/19: Lafayette, LA – Freetown Boom Boom Room *
3/13/19: Houston, TX – Dan Electros *
3/14/19: Austin, TX – SXSW Stoner Jam (feat. Howling Giant, Riff Lord, Backwoods Payback, Duel, Heavy Temple, Mountain Tamer, Hazytones, ZED and more) *
3/15/19: Arlington, TX – Division Brewing *
3/16/19: Texarkana, AR – Broadway Sports Bar and Billiards *
4/12/19: Memphis, TN – Hi Tone
4/13/19: Little Rock, AR – Vino’s
4/15/19: Oklahoma City, OK – 89th st. OKC
4/16/19: San Antonio,TX – Lime Light
4/17/19: Albuquerque, NM – Sister Bar
4/19/19: San Diego, CA – The Salty Frog
4/20/19: Los Angeles, LA – Psycho Smokeout (feat. Elder, Monolord, Goya, R.I.P., Electric Citizen and more)
4/21/19: San Francisco, CA – Bottom of the Hill
4/23/19: Seattle, WA – Highline
4/24/19: Bend, OR – Third Street Pub
4/25/19: Portland, OR – Tonic
4/27/19: Salt Lake City, UT – Kilby Court
4/28/19: Denver, CO – Hi-Dive
5/01/19: Indianapolis, IN – Black Circle brewing
5/02/19: Chicago, IL – Reggies Music Room
5/03/19: Canton, OH – Buzzbin
5/04/19: Lexington, KY – Green Lantern
* Dates with Archarus

As if that wasn’t enough, Howling Giant are hard at work on their first-ever full-length album, which they’ll be sending to all ends of the cosmos later this summer in conjunction with, you guessed it, more touring.

Furthermore, the band are rumored to be one of the first bands tapped to appear on Ripple Music’s forthcoming Turn to Stone series of split releases, as well as having confirmed a coveted spot on Magnetic Eye Records’ next anxiously-awaited curated homage, Dirt [Redux].

Fortunately, there’s no such thing as too much Howling Giant in this world… or any other.

howlinggiant.bandcamp.com
twitter.com/howlinggiant
www.facebook.com/howlinggiant/
https://www.facebook.com/bluesfuneral/
bluesfuneral.com

Howling Giant, Howling Giant EP (2015)

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Feature: Going Deep on The Wall [Redux]; Band Commentaries, Track Premieres and More

Posted in Features on October 26th, 2018 by JJ Koczan

va magnetic eye pink floyd the wall redux

Two things you should know about this post. First: It’s huge. Apart from the year-end lists that get posted each Jan. 1, it’s the longest post I’ve ever put up. The Q&As alone are 11,000 words. It’s more compendium than interview.

Second: That’s entirely on purpose.

What on earth would possibly earn such a vast landscape of text if not The Wall [Redux]? The third and most ambitious yet of Magnetic Eye Records‘ series of [Redux] compilations captures Pink Floyd at arguably (or, really, inarguably) their most iconic and comes accompanied by The Best of Pink Floyd, another Various Artists take on a swath of tracks from the generation-defining British band’s storied discography.

Like few records before it and even fewer since, The Wall is a landmark for what rock and roll could be, and the enduring emotional and sociopolitical relevance of a work of art that’s the better part of 40 is only part of what makes it so timeless when one considers the actual songwriting itself. Even for rock heads who aren’t Pink Floyd fans, it’s undeniable.

Before we get down to business on this thing, I need to thank Jadd Shickler of Magnetic Eye and Blue Heron (who take on “Stop”) for essentially putting it all together. He chased down the commentaries from the bands and we went back and forth about whether to run the whole thing or edit it down, but in the end, it seemed too crucial to me to not include everybody’s every word. I won’t be so self-aggrandizing as to call this a companion for The Wall [Redux] or The Best of Pink Floyd or anything like that, but it’s a look at the bands talking about how Floyd came into their lives, how they got to do the songs they did, and how they view the album in the context of today. Some take a political angle, some just dig the record. Both are valid, and The Wall stands up to scrutiny on both levels.

I’ve put the bands in alphabetical order, so you’ll get to see comments from: ASG, Blue Heron, Creepers, Los Disidentes del Sucio Motel, Domkraft, Forming the Void, Ghastly Sound, Greenleaf, Howling Giant, Mark Lanegan, Low Flying Hawks, Mars Red Sky, the Melvins, Mos Generator, Open Hand, Pallbearer, Red Mesa, Scott Reeder, Ruby the Hatchet, Sasquatch, Solace, Somnuri, Summoner, Church of the Cosmic Skull, Sergeant Thunderhoof, The Slim Kings, Spaceslug, Sunflo’er, T-Tops, WhiteNails, Worshipper, Yawning Man, Year of the Cobra. That’s nearly everybody involved in the project.

The copy is pretty raw — if you have time to precisely edit 11,000 words, congratulations on your life — but I’ve done a bit of formatting to hopefully make it clear. You’ll find it all beneath the track premieres below for Solace‘s take on “In the Flesh” and Red Mesa‘s version of “Breathe.” The Wall [Redux] and The Best of Pink Floyd are out Nov. 9 on Magnetic Eye Records. Preorders are available here.

Solace, “In the Flesh”

Red Mesa, “Breathe”

Behind The Wall [Redux]:
Inspirations and Motivations

Jason / ASG / Mother

As musicians and music fans, what’s your connection to Pink Floyd?

I think for us as musicians, Pink Floyd was there in the beginning of learning how to play guitar, drums etc. The relative simplicity of many Floyd tunes went hand in hand with the primitive stages of guitar lessons-if you knew a handful of chords you could play many of their songs. So as a teenager that was a big deal, being able to play one of your favorite band’s songs in the early stages of playing an instrument – it kind of cemented a lifelong bond of influence and fandom with Pink Floyd.

How did you arrive at your approach in covering “Mother?”

In our attempt of covering “Mother” we chose to stay relatively true to the original- we recorded out in the desert of Texas so perhaps a bit of country western influence slipped in with some guitar tremolo and mandolin making their way on to the track. And as a vocalist trying to do both the Waters and Gilmour “voices” it provided a bit of a challenge – but hopefully our version retained the intriguing and beautiful dichotomy their voices created in many classic Floyd tunes.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

I think any time or year is a good time to revisit Pink Floyd!

Jadd / Blue Heron / Stop

As musicians and music fans, what’s your connection to Pink Floyd?

I was late getting turned onto Pink Floyd, I think in my late 20s… I’d always heard the hits on rock radio but never spent any time going deeper. For some reason, I decided to buy an unauthorized biography about Pink Floyd while at a big bookstore in Denver when I was 27 or so. And then, who knows why, I read it from cover to cover while driving cross-country from Erie, Pennsylvania to Albuquerque, NM. I don’t mean I read it at rest stops and hotels or listened to the audio version, I mean I read the physical book perched on my steering wheel while driving 80 miles per hour across the width of the United States – it was that engrossing, and I heard and learned things about constructing songs and being in a band that would affect me forever.

How did you arrive at your approach to your song?

Well, we claimed this song as a way to be part of the record but not feel like we were taking the more sought-after songs away from anyone. No one was fighting over the 42-second piano and vocal instrumental, but that was nice, we were free to kind of ingest it and blast out something uniquely us. Chav basically took on the heavy lifting of turning that sparse piano melody into multiple layers of texture and fuzz, and then we drew it out a little bit so it didn’t feel rushed. There are very few lyrics, so I really just tried to find a different point of view on them… Roger Waters does plaintive well, I was aiming more for resignation and self-disgust as the character recognizes his errors in judgement and skewed perspective… I like to think that came across in what we did.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

As soon as Mike told me his plan to make The Wall the next Redux album, I was on board. It was February of 2017, and we were maybe a month into the Trump presidency, hearing about the wall he was going to build on the border and feeling completely alienated in our own country. Even though Floyd’s album was maybe not as political originally in its message, it seems like it took on more of that position over the years as it came to be associated with East Germany and such. So, given how powerless we were feeling after the most recent presidential election, the idea of re-building and re-imagining such a seminal album couldn’t have been a better way to make a statement about totalitarianism, divisiveness, and the kind of ignorance and hatred this administration makes people feel empowered to embrace. We should probably Redux the Sex Pistols next just to drive the point home.

Bill / Church of the Cosmic Skull / The Trial

As musicians and music fans, what’s your connection to Pink Floyd?

Although Dark Side and the Syd Barrett era are the usual ‘way in’, The Wall was played a lot around the house when I was younger, so it was my introduction to the band. As we’re all aware it’s something of a marmite album, and certainly more Waters than anything else, but it’s undeniably a great concept album, from one of the many incarnations of Pink Floyd.

How did you arrive at your approach in covering your song?

I love the old story that Dark Side syncs up with The Wizard of Oz if you press play at the right time. The Trial has some of Gerald Scarfes darkest animation visuals as part of the feature film, so we have synced up the cover version with the original, so you can play both simultaneously and it will fit together. Musically we have changed the verses considerably, and as the original has parts from all the different characters on the album it made sense we gave each one to different singers in the band:

The Prosecutor – Brother Sam
The Teacher – Brother Michael
The Wife – Sister Caroline
The Mother – Sister Joanne
Pink & The Judge – Brother Bill

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Politically it makes sense, and the increasing awareness of mental health issues, especially in the music industry, makes it all the more poignant.

Shiv Mehra / Creepers / Us and Them

As musicians and music fans, what’s your connection to Pink Floyd?

As musicians and music fans Pink Floyd has been one of the most inspiring bands of a lifetime. I connected to them personally from the early days of Syd Barrett to the latter. They’ve pushed sonic boundaries for rock into a realm of psychedelia that opened the doors for so much of our music today.

How did you arrive at your approach in covering your song?

Well “Us and Them” was one of our first picks for covering because it sits in a range for us vocally and reflects our own personal taste and sound as a band.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

2018 is a perfect time for revisiting The Wall because it has been 39 years and music has transformed in so many ways since, but The Wall paved the path for psychedelic bands like us.

Nicolas / Los Disidentes Del Sucio Motel / Welcome to the Machine

As musicians and music fans, what’s your connection to Pink Floyd?

My connection with PF is huge! This band has been part of my main influences for years. I have all Floyd albums and a lot of solo albums of each member. Unfortunately, I never had the chance to see the whole band performing together, but I was lucky enough to see David Gilmour and Roger Waters in concert. I saw the last tour of The Wall at the Stade de France in Paris in 2013. This concert was a turning point in my life. Probably the biggest concert I’ve ever seen and will ever see. Recently I saw Waters with my dad, it was also a wonderful moment. Pink Floyd is one of those timeless groups that cross generations. My father loves PF, I love PF and I hope my son will love PF too!

How did you arrive at your approach in covering your song?

Pink Floyd is one of the few bands that connects us all in LDDSM. We all listen to this band on a daily basis, really. For each new album, we work on a cover that we play at the end of our concerts. For the album “Human Collapse”, it was “Welcome to the machine”. This appeared quite obvious by itself, because HC was written under the influence of PF from the start and is composed somewhat like “The Wall”. The way of composing and Gilmour’s guitar playing guided me a lot during the writing of this album. This man is a real god and I have immense respect for him. The sound he has created, his way of placing always the right notes at the right time, the sensitivity he puts in it, is pure genius. When we cover a song, we like to make it our own, as if the song could have been written by ourselves. But above all, we are always looking to keep its original identity. We don’t like to leave its uniqueness behind. People must be able to recognize it in the first seconds and have to say at the end “goddam, it really sounds like an LDDSM song!” That’s the point, make LDDSM stuff with the composition of another and respect the original song.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

It is obvious that we are in a sadly perfect context for that. The political scope of the album has never been so justified. What we do with our planet is a shame. Trump is a shame, a monstrosity. But he is unfortunately not the only one. We live in an extremely violent and difficult world and I worry a lot, every day for the future of my children. In the manner of Waters, we might be tempted to build a wall around us to protect ourselves from others, but isolation is never the answer. We must break this wall, open ourselves to the unknown, reach out to others, it’s the only way for humanity to survive. This is the message of this album and it must be heard today more than never before.

Martin W. / Domkraft / Empty Spaces / One of These Days

As musicians and music fans, what’s your connection to Pink Floyd?

As a band, we probably would not sound the way we do had it not been for Floyd. They have been THE band for our guitar player Martin, who basically has listened to them all his life and they were the sole reason for him picking up the guitar in the first place. The rest of the band are also fans, but we both discovered them at a later stage in life.

How did you arrive at your approach in covering your song?

We right away decided that we wanted to do something in the vein of “Domkraft interpreting Floyd” rather than note-perfect cover versions. Why try to match something that is already perfect? Let’s do our own take instead and create alternate versions of classic tracks. Like, we found ourselves stretching short segments of the songs into actual parts of our versions. Small sounds and vibrations from the originals getting more space and importance. When we got to do “Empty Spaces”, we immediately knew that we wanted to go even deeper into the brooding, desolate aspects of the song. We soaked it in reverb to achieve an almost drone-like vibe to emphasize the lonely, bare and exposed feeling of the track.

“One of these Days” is such a seminal track and probably one of our absolute favorites from the Floyd catalog, so that one felt like an obvious and insane choice at the same time. With both the studio and the Pompeii versions just oozing perfection, we just decided to just go for it, not look back, and do our own take – more fuzz-drenched and with the same kind of psych-inspired over-the-top guitar work that is to be found in most Domkraft songs. Plus, we took some liberties and incorporated a segment from another “Meddle” classic – the falling note arpeggio break from “Echoes” – which worked really nicely and gave it some breathing space in the freight train section of the track.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Oh, hell yes. Frighteningly good. These are Orwellian times, possible more in the Animal Farm sense than 1984, though. That particular album has gone from being political (at the time of its release) to being “just” a classic (post-Glasnost) to being super-political again. A super political classic.

Shadi / Forming the Void / Fearless

As musicians and music fans, what’s your connection to Pink Floyd?

The first time I heard Pink Floyd was when I was 12. I had been studying music for a while and my father decided I was “ready” to hear them. We sat down together, and he played me the entire Wish You Were Here album. That moment changed my life forever. Pink Floyd became the band that I studied obsessively for the next few years. They sparked my lasting passion and serious pursuit of music and influences me deeply to this day.

How did you arrive at your approach in covering your song?

We had a short list of favorite Pink Floyd songs we might hypothetically cover one day. When we got this opportunity, it was with two weeks’ notice. From our list, ‘Fearless’ adapted the most naturally to our sound and fit most readily the time constraints we were given so it was an easy choice.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Anytime is a good time to revisit Pink Floyd! They are timeless.

TJ / Ghastly Sound / Another Brick in the Wall, Pt. 1

As musicians and music fans, what’s your connection to Pink Floyd?

Pink Floyd was one of the first and most important bands we were introduced to as children. I remember seeing posters for “The Wall” hanging up in my uncle’s bedrooms and being completely captivated by the artwork. In the 90’s, my father was really into home theater systems. When the Pink Floyd Pulse Live DVD came out, I was 8 years old. Our entire house would shake as we watched this and the cinematic adaptation of The Wall. This stuck with me until my teenage years and I began to discover cannabis. Thankfully, my parents were really open-minded about this specific substance and one summer night in my 13th year, they gifted me and a friend a half a bowl to smoke in the garage. Following our consumption of this gift, my friend and I got into my dad’s car and listened to Comfortably Numb on full blast in the driver and passenger seat. This experience was honestly a crucial moment in my development as a person and a musician.

How did you arrive at your approach in covering your song?

Approaching this cover was one of the most challenging experiences I’ve ever had as a musician. I think I threw away 3 or 4 instrumental versions before we landed on what we have now. Approaching a cover from such an iconic album is intimidating enough on its own. We had an extra challenge given that our specific track is more of an interlude; and comprised almost exclusively of David Gilmour playing guitar. Me, not being a guitarist, faced with executing something so clean in tone and performance was nothing short of terrifying. Our two main focuses were keeping true to the pace of the album and trying to maintain the feeling of crescendo as the album moves from Another Brick in the Wall Part 1 to Happiest Days of Our Lives. Ultimately, we decided that starting off true to the original and utilizing the ambient section of the song to take some liberties and transition into the next track was the best possible scenario. Hopefully we’ve succeeded and added something special for the listener to experience.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

2018 is a great time to introduce this album to a new generation of listeners. Not only because of the juxtaposition of the current political climate, but because guitar-based music is coming back in a huge way. It’s my hope that people can take these adaptations and use them to expand upon more traditional approaches to songwriting in the stoner or doom genres.

Tommi Holappa / Greenleaf / Another Brick in the Wall, Pt. 3 / Goodbye Cruel World

As musicians and music fans, what’s your connection to Pink Floyd?

For me it all started with seeing the Live at Pompeii DVD. The musicianship, the sound landscapes, the songwriting, it’s just simply amazing! Since then I have bought all their albums and yes You can easily say the I have been influenced by them. On each Greenleaf album there is at least one or two songs that has a little bit of Pink Floyd influences in them, it could just be a little reverb/delay thing, a riff or just the mood of the song.

How did you arrive at your approach in covering your song?

Well we knew that we couldn’t just do ”covers” of the songs because nothing can beat the originals. So, we decided to not try to copy the songs too much and try to make them sound more like Greenleaf, a bit more bluesy and a bit more heavy.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Yes, it does! If you look all the stupidity that is going on in the world today it could drive any sane man crazy…

Tom and Zach / Howling Giant / Matilda Mother

As musicians and music fans, what’s your connection to Pink Floyd?

They pioneered the idea of the concept album. While each song can stand alone, everything they wrote had a specific purpose within the album. Pink Floyd also showed us that you don’t have to fit within a certain genre, they were all about writing what they wanted, when they wanted.

How did you arrive at your approach in covering “Matilda Mother?”

It’s a weird song, and its focus on fairytales and escapism is something that appeals to us. ‘Piper at the Gates of Dawn’ is often overlooked in the Pink Floyd catalogue and we wanted to represent that era.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

The songwriting on The Wall is definitely worth revisiting, especially with the resurgence of classic rock influence on the heavy scene.

Mark Lanegan / Nobody Home

As musicians and music fans, what’s your connection to Pink Floyd?

As a teenager, I stole a record one day. Walking out of the store carrying it behind an empty record cover I’d brought in with me. When I heard the store clerk shouting behind me to stop, I turned a corner and out of his vision for a second, I threw it like a knife into a bank of deep snow. Not finding it, the guy let me go. Hours later I returned to retrieve my copy of ‘The Wall’ and listened to it nonstop for a long time. One of the great records of all time, I’m pleased I was able to participate in this tribute. Legally, of course.

Low Flying Hawks / The Thin Ice

As musicians and music fans, what’s your connection to Pink Floyd?

There’s always been a connection, we’ve always been into Pink Floyd, mostly the early years, the Syd Barrett stuff, atom heart mother, more, meddle, etc. probably up until the wall. We feel the true magic obviously after Syd left (cause Syd was the magic) was the mix of Roger and David, but once Roger started to lead we thought it was too rigid to forced and the other way around when David was in the lead it got too honey-dripped, too forced to the exact opposite, so together it was a perfect balance.

How did you arrive at your approach in covering your song?

We wanted to do something very simple, stripped to the core, the opposite of the operatic circus approach roger gave the album and obviously the song.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

We’re not political at all so we really never mix politics and music etc., we get the connection and the timing, but we feel you can always revisit an album if the bands are good and the songs are interesting.

Mars Red Sky / Comfortably Numb

As musicians and music fans, what’s your connection to Pink Floyd?

Mat: To be honest, Pink Floyd belongs for me to the generation of my parents, they had some of their records, so it has always been familiar, and it took years to rediscover it by myself. Also, songs like “division bell” was constantly on the air in the early ’90s when I was digging Punk Rock and Grunge… One day I listened to ‘The Piper at the Gates of Dawn”, and I went crazy about what was coming out from the speakers!

Julien: My dad had ‘Dark Side of The Moon’ in his record collection, I liked that a lot. Later I got more into them through a couple of friends when I was twenty and was a bit fascinated by the whole Syd Barrett mystery. I like most of their albums a lot, with a preference for some of the earlier ones (‘A Saucerful of Secrets’ especially)

Jimmy: ‘The Piper at the Gates of Dawn’ and ‘Atom Heart Mother’ are two of my favorite albums ever…

How did you arrive at your approach in covering your song?

Julien: We got the opportunity to pick Comfortably Numb, that was great because it’s one of our favorites. We had fantasized on covering this song for a long time, I had tried it awkwardly with a previous band. Here we put it all together fairly quickly, and we really like the way it came out. Our friend Benjamin Mandeau did a killer job at recording and mixing it.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Mat: Definitely there’s always a good reason to revisit such an album like that!

Dale Crover / The Melvins / In the Flesh?

As musicians and music fans, what’s your connection to Pink Floyd?

I’ve been into the Floyd since I was in grade school, thanks to older brothers. The first record I had of theirs was “Animals.”

How did you arrive at your approach in covering “In the Flesh?”

We always put our own spin on the song we’re covering. We came up with a genius idea for this one. If I tell you it will spoil the surprise. You’re just going to have to hear it.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Sure, why not now? Roger Waters keeps revisiting it for his mega buck tours. They didn’t really tour that record when it came out. In the US they only played New York and LA. Here’s a fun fact: when we recorded Stoner Witch we used the same Fender Precision bass that Roger used on The Wall. I believe it belonged to Bob Ezrin, producer of the Wall.

Tony Reed / Mos Generator / Goodbye Blue Sky

As musicians and music fans, what’s your connection to Pink Floyd?

There is no getting away from the influence of Pink Floyd. Their music has always seemed to be there and growing up in the 70s helped make them a part of the soundtrack of my youth. I have to be honest, when I first started playing music in around 1982, I was really burned out on the Pink Floyd “radio” songs and had never taken the time to explore the catalog. It wasn’t until about 15 years later that I heard the Meddle album and I was hooked on “Echoes”. Soon after, I took very little time hunting down the discography and studying it. Now they hold a very high place in my top bands.

How did you arrive at your approach in covering your song?

My usual approach at a cover is to try and replicate the song as close as I can, in performance and production. Using that technique, I come away from the project learning something about the recording and playing of the song. It makes me take an approach that I may not have chosen if I had written the song. In the end, I learn something that can possibly be applied to my own producing and writing. Not everybody agrees with this approach but it’s fun for me.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

The Wall is a timeless piece of music. It’s a human album, that to me, speaks about a struggle that we all go through as we move through life. It doesn’t manifest itself as intensely in most people as it does in the “Pink” character, but we’ve all been “through some sh**” at one time or another. Some more than others and years of it can change a person into a different soul. It’s seriously heavy thinking for a rock ‘n’ roll album.

Justin / Open Hand / The Show Must Go On

As musicians and music fans, what’s your connection to Pink Floyd?

What always has drawn us in to Floyd is Gilmour… his guitar playing and his voice … for those of us lucky enough to be exposed to Floyd at a young age (by our dads) you can’t help but be inspired by that band for the rest of our lives … and when you start playing guitar, Gilmour is a must study.

How did you arrive at your approach in covering your song?

We based our approach on the live version of “Show Must Go On” … it is a little longer live (extended) … they added another verse etc. … the live version of that song is better than the album version actually … so we went with that. As far as working with past Pink Floyd touring sax player Scott Page… I have known him for decades…met him when I was 13 or 14 … he was always involved in amazing bands (reo speedwagon… Supertramp…etc.) and Floyd … he gave me my first instrument … a saxophone… still have it … when it came time to record this cover … it was an obvious choice to go to the source … and even though there was never sax on the original he jumped at the chance to add some shit to it … recorded in the bathroom of my apartment…

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s a great time to revisit… having a whole new generation be turned on to Floyd via modern relevant bands that kick ass. … and Mike does an amazing job collecting those bands for these killer redux records… to be a part of two of these redux series for our favorite artists (Jimi Hendrix and pink Floyd) … so fucking cool man.

Pallbearer / Run Like Hell

As musicians and music fans, what’s your connection to Pink Floyd generally or The Wall specifically?

Pink Floyd has been a major source of inspiration for us, since long before we started Pallbearer. The experimentation, the innovative production, and most importantly the great songwriting has always been a benchmark for us to strive for since we started this band

How/why did you choose “Run Like Hell,” and how did the amped-up take on it come about?

When we were approached about doing this project, we initially inquired about 3 or so tracks to see if they had already been claimed by other artists, RLH being one of them. We were excited to take on RLH because it would give us the opportunity to totally subvert the notion that we would end up doing something obvious. The song is already kind of outside of the realm of our already-Floyd-indebted style. It was different for them, so it gave us a chance to really think outside the box.

Our initial inspiration on how to approach it actually came from watching as many early live performances of it as we could find. We found that all of them were really vicious sounding, and a bit unhinged. They just felt off the rails, so we decided to just go full steam in that direction.

Does today/2018 feel like a good time to revisit an iconic album like The Wall, and why or why not?

The Wall is very much an album that explores different aspects of isolation. In 2018, our world is essentially more “connected” than ever before via technology, yet it feels like we are also becoming more and more isolated from one another as individuals. Additionally, nationalist tendencies are increasing globally at a terrifying rate. It seems like a perfect time to revisit and re-examine this classic album.

Brad / Red Mesa / Breathe

As musicians and music fans, what’s your connection to Pink Floyd?

I started listening to Pink Floyd in high school in the mid-nineties. The first two albums I owned were on CD. ‘The Wall’ and ‘Dark Side of the Moon.’ I didn’t start paying music until after high school, so I was just a rabid fan of rock and roll, hungry to listen all the classic stuff. Both albums completely blew my mind. I spent hours in my room after school listening and reading the lyrics. I felt that Pink Floyd was the most intelligent band. Besides being phenomenal musicians, Roger Water’s lyrics spoke to me. He somehow managed to take philosophical concepts and weave them into a rock and roll band. It wasn’t just about women, drugs, and fast cars. Nothing wrong with that as subject matter, but Pink Floyd made you think about and question existence. As my younger brother and I digested The Wall and Dark Side, we discovered the rest of their albums. I fell in love with Meddle and Animals. The song “Echoes” on Meddle is my favorite psychedelic song of all time.

How did you arrive at your approach in covering your song?

We covered the song “Breathe” from Dark Side of the Moon. Picking the right song for the band was a challenge. We wanted to play to the strength of the band. Roman, our drummer texted me “How about Breathe?!” as I was looking at the guitar tab and plucking out the chords and rhythm. I thought that was a sign. I sent the band a voice memo of guitar stuff, they liked it, said we should make it heavier. We ran through it in practice and it felt great! We all love Pink Floyd so much. We felt honored to be asked to cover one of their songs. We wanted to do our very best and pay our respects.

In the studio, we played all the rhythm section ‘live’. It has a very organic feel to it. We really liked how it came out. I went back over and doubled the guitar track. For the iconic Dave Gilmour slide part, I played lap steel with a bunch of delay and reverb and heavy overdrive. We had a blast recording this one.

Matthew from Empty House Studio orchestrated us for “On the Run” the trippy instrumental song that comes in directly after “Breathe” ends. I stuck my head inside a grand piano banging away on the strings, while Roman was holding down that super cool drum part. At that point we had already polished off a bottle of Jameson, Matthew says “be careful, that piano is worth more than a house”. And I’m just banging away in there. Matthew was pushing us to get more creative and weirder. Super fun.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Yes, absolutely. Politically, spiritually, and environmentally things are fucked in the US. It seems that The Wall’s concept and message is timeless. It came out in 1979. It could have been released in 2018 without altering a single word. As much as that album is brilliant, it’s sad we haven’t seemed to have evolved much in the past 40 years. However, revisiting this album will hopefully bring Pink Floyd’s message and music to a younger generation of fans.

Scott Reeder / Is There Anybody Out There?

As musicians and music fans, what’s your connection to Pink Floyd?

When The Wall was released, it was my entry into Pink Floyd’s universe; and to this day is probably my biggest musical influence… right up there with The Beatles. My solo stuff always draws comparisons to Floyd. The damage is done deep – they were all I listened to for a long time! I feel lucky to have seen them a couple of times. Roger Waters quite a few times, too. Oddly enough, I had dinner with their final long-time bassist, Guy Pratt, and his wife few years ago at a Warwick Bass party. We were showing each other pictures of our properties and horses and had an awesome time. I didn’t realize at the time that his lady was Richard Wright’s daughter, Gala. She was very sweet.

How did you arrive at your approach in covering “Is There Anybody Out There?”

There’s not much to it… You’ve got the title question asked a few times, and then that iconic guitar run that I struggled to do some justice to. Structure-wise, that’s it. My fretting hand had developed trigger finger – my pinky and ring finger were locking closed, and after every take, it got worse, but I patched it up alright. The ambient stuff I constructed to reflect the desolate feeling out here on the ranch – I recorded guns in the distance, and our dog Rocky was scared and whimpering next to me, while his pal Harry was barking in the distance. My Chihuahua Scooter is in the mix towards the end, too – she passed shortly after this was finished – I’m so glad she’s on it! Got my 8-string bass in there for the scrapes run through a Whammy pedal to raise the tension. And it’s my first time using trombone on a track!

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

At almost 30 years out… why not? It’s my favorite album of all time – probably the only album that I could sing all the words to! It’s an honor to be a part of this tribute to the greatest album of all time, and it’s absolutely killing me waiting to hear how the whole thing plays out!

Jillian Taylor / Ruby the Hatchet / Vera / Pigs (Three Different Ones)

As musicians and music fans, what’s your connection to Pink Floyd?

Pink Floyd was one of the bands I was brought up on and a favorite of my father’s. I remember thinking they were really weird and scared me when I was young; especially The Wall movie which seemed to always play in the wee hours when I was sneaking TV. My mother’s side is from England and there are so many crossovers with Floyd lingo and English pride and reprimand (cue “hanging on in quiet desperation is the English way…”). When I was a teenager, and after an ugly divorce between my parents, my father gave me The Wall for my birthday. It was then that I felt like I understood their strangeness and the rebellious and political undertones. I even went through a rough year where I had to listen to The Dark Side of the Moon every single day to relate to all the beauty and pain in it.

How did you arrive at your approach in covering your songs?

Everyone dove in to their respective parts. Pigs was a huge labor of love by all parties; especially Sean (keys) who recorded and engineered both tracks for us. It’s a lengthy track that we made even longer (additional apologies to Sean for having to mix down a 12-minute song dozens of times). We didn’t veer off course with Pigs much, it was fun to play it straight and make small twists with the organ, harmonies and vocals in female register. Vera was completely different as it’s a very short interlude (we managed to at least triple the length of it, of course). It came naturally to play around with Vera. I’ve always thought that song was so hauntingly pretty and used to hum an additional part I’d imagine there which we made happen in a bridge.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

I’d say yes, and until we reach some kind of Utopian society which doesn’t seem like it will realistically arrive; then maybe always. There’s a George Orwell quote from 1984 that always reminds me of The Wall: “If you want a picture of the future, imagine a boot stamping on a human face — forever.”

Cas, Keith and Riggs / Sasquatch / Another Brick in the Wall, Pt. 2

As musicians and music fans, what’s your connection to Pink Floyd?

Riggs: PF is one band that has consistently punctuated moments in my life from the age of 8 to whatever I am now. My brothers got tickets to The Wall at Madison Square Garden when I was a wee lad. I was completely bummed that I didn’t get to go, and I have spent the rest of my song-writing life trying to rip them off.

Keith: Floyd has had a big influence in many ways on me personally and our music. I guess it might not come through so much in our songs themselves, but I think about PF when I’m incorporating dynamics and textures into the songwriting. It’s definitely played into having Unger come in and drop more Hammond and B3 on our new record, Maneuvers.

Cas: To be honest, I’m the young buck in the band. Growing up as a metal kid in the late 80s, my first exposure to PF wasn’t a direct connection, but through Voivod’s cover of Astronomy Domine. Obviously, I had heard PF hits on classic rock radio, but hadn’t paid attention until I heard this tune in 8th grade. That take on that song drove me to dive into the PF catalog and I haven’t looked back since. Waters may not be flashy, but he writes some of the most memorable bass lines out there in rock. Huge influence on how I approach the instrument.

How did you arrive at your approach in covering your song?

Riggs: Another Brick in The Wall has always been an odd song for PF. I remember kids in school singing the song to be rebellious, but the disco beat always freaked me out. We wanted to change it up in a more soulful way and lose the kid chorus and disco beat. It’s the same approach we would take if we were to cover Money.

Cas: Keith and Riggs played around with several different versions. We thought about both extremes: a) keeping it true to form or b) deconstructing it to the point where it would be completely unrecognizable. We eventually ended up slowing it down and beefing it up but kept the melodies intact. The guys were definitely adamant about pulling out the Bee Gees beat from the original. In the end, we decided pulling the drums completely out of the verses gave the choruses a much larger impact. Then Riggs tried out his best (worst?) Academy Award-winning English accent on the wrap-up. Made me crave some pudding.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Riggs: It’s always a good time to revisit any PF album. Just as Roger Waters is accentuating the current political aspects on his tours, it’s great to see a bunch of talented bands give it their own take.

Keith: I think anytime you can cobble together such a great list of bands like the roster here, why not do it?

Cas: Given the current climate, there’s no better time than the present.

Dan / Sergeant Thunderhoof / The Happiest Days of Our Lives / Time

As musicians and music fans, what’s your connection to Pink Floyd?

They were a mainstay in my household as a child. Those songs are so solidly imprinted within me that they’ve almost taken on another dimension. Floyd have a sound of their own that is pretty hard to pigeonhole and I guess we try to emulate that philosophy.

How did you arrive at your approach in covering your song?

“Happiest Days of our Lives” was a fun song for us to do, I even got to mimic the teacher’s voice at the beginning which was cool. We wanted to add a little bit of our theatricality to it which was quite hard given how short the song is, but we’re happy with what we did. Essentially the song acts as prelude to probably the most notable song on the album so our job was to set that up in the best way possible.

As for “Time,” this was really just a song that we all love. When it came to messing around with it, we found that by trying to make it more ‘hoof’ it simply sounded trite and a bit ‘try-hard.’ In the end after trying out different ideas, we pretty much just played it straight. In a way, this was us not trying to emulate Floyd but instead showing some respect to the song and humbly admitting that we can’t do any better that the original!

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

I guess it depends on what it is you think The Wall is. For me the album represented a rejection of indoctrination, whether that be the education system, political structures or financial institutions. What we’ve seen over the last few years is a complete breakdown of social interaction. There is such a divide between what we perceive to be the two sides of the argument. For me, The Wall represents a mental prison, not a physical one. Some people are so quick to assume the worst in everyone and everything, it would be nice to get back to a place where we can all respectfully disagree with each other but still enjoy a beer and a good riff without fighting!

The Slim Kings / Young Lust

As musicians and music fans, what’s your connection to Pink Floyd?

They are musically up there with the best. One of the bands to be studied in their song writing, production. They set up a mood that is undeniably Pink Floyd. Great teenager headphone music.

How did you arrive at your approach to your song?

So, there is no pressure to compete and make it sound like an original hit that people are used to – but we tried to cop most of the tricky licks so nobody would call us out. We recorded it live to tape quickly. Kacie Marie is a burlesque influenced singer and Instagram star who was hanging in the studio that day. She was the perfect woman to sing those background vocals.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

There is never a bad time to listen to the wall. Particularly when you are on this side of it! Joking aside, the country is in a cold civil war right now, so anything ever written about people being divided and conquered is relevant.

Tommy Southard / Solace / In the Flesh

As musicians and music fans, what’s your connection to Pink Floyd?

They’re an iconic band that influenced me as a young kid long before I even picked up a guitar. It helps when your cool uncle lives with you and has a copy of Ummagumma and it blows your mind in 2nd grade.

How did you arrive at your approach in covering In the Flesh?

Plug in and play like ourselves, hope for the best! I think we put our take on a classic tune from a masterpiece of an album. Tried to do it justice while still sounding like Solace.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Any day of any year is a good time to revisit any of the classic Floyd albums!

Somnuri / Sheep

As musicians and music fans, what’s your connection to Pink Floyd?

We all have an appreciation for Pink Floyd but if you asked us individually, our favorite albums would probably vary. As a whole, there’s no denying Pink Floyd’s sound and aesthetic as being an influence on us as musicians and artists.

How did you arrive at your approach in covering “Sheep?”

This project was interesting because there weren’t many songs left to choose from and given the timeframe to complete it, ‘Sheep’ was a very ambitious choice. As much as we tried to make it our own, we felt we had to honor the original song as much as possible. Ultimately, recreating the vibe and atmosphere was the most intensive part of the process. We feel proud of the way we conveyed the song and took it above and beyond what we expected.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Absolutely. With our current political and societal climate, the stories and concepts from the album seem as relevant as ever. One of the things that makes an album iconic is the sense of timelessness, and The Wall certainly has that feel, at least topically.

Bartosz Janik / Spaceslug

As musicians and music fans, what’s your connection to Pink Floyd?

It’s very personal music for me. A lot of good and bad memories. Floyds were with me in hard times and help me stand on the ground. Love this band and David Gilmour is in fact a big inspiration for my guitar playing.

How did you arrive at your approach to your song?

We managed to make our version of it and reverse the structure. The original has more doodling and ambient sound and this massive guitars on the end. We managed to make it little different and change that to have less ambient and more guitars and factures.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s always good! My dream is to be on Dark Side of The Moon Redux in some future! Hope this will happen! Also, that kind of initiative will keep good vibe that Floyds deliver years ago. Great band and this was really an honor to be part of this re-edition!

AJ / Summoner / Hey You

As musicians and music fans, what’s your connection to Pink Floyd?

I think our connection to Floyd is similar or the same to everyone else who plays this style of music. We’ve all been exposed to Pink Floyd our whole lives. I personally can say that it started with my parents listening to them when I was a kid. Followed by me taking that torch and running with it. Learning their discography as a teenager and striving to emulate them in the music I still write today. Summoner takes a lot from PF musically. When we get into our more ambient/atmospheric writing Floyd is always in the front of our minds. Not only do we draw from them musically, we are also influenced by their production style and studio magic.

How did you arrive at your approach in covering “Hey You?”

If I remember correctly, when we were asked to be a part of this we all agreed unanimously that “Hey You” should be our tune. You always have to be careful when covering a band like Pink Floyd. Everything they did was done right. You can’t expect to make one of their songs “better” you can only take what they have done and expand upon it and make it your own. We kept it tight to the template on our version because it was already so damn good. What we thought we could add was our style and texture to the tune and I think we did that well.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s as good a time as any. As I said previously, it’s always a risky venture to cover such an iconic band/album. Those songs are engrained in everyone’s mind and to switch that up almost seems like a losing battle. But done right it can be pulled off and I think MER has done just that with the bands they have chosen to do this project. We were just so happy to be a part of it. I guess the timing is kind of right since (I think) we are coming up on the 40th anniversary of the release.

Carter / Sunflo’er / Bring the Boys Back Home

As musicians and music fans, what’s your connection to Pink Floyd?

The riff in seven at the beginning of “Money” is a legendary use of odd meter. There’s so few solid examples of it in mainstream radio and making the realization as a youth leads to asking other questions about rhythm and where it comes from.

How did you arrive at your approach in covering “Bring the Boys Back Home?”

The original recording features a full marching band and choir, which we weren’t going to compete with, so the obvious choice for the cover was playing as minimally as possible. We wrote a chord melody for the guitar, reduced drum hits to only the most necessary, Ethan played saxophone and nailed it. Bohren & Der Club of Gore vibes were sought and achieved.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

For all the obvious geopolitical reasons: yes.

Patrick / T-Tops / Nile Song

As musicians and music fans, what’s your connection to Pink Floyd?

The Wall was my first introduction to Pink Floyd. When I first dug into the album 20+ years ago, the thing that struck me most was the overt loneliness & desolation at the heart of the record. This theme runs throughout much of their music, but obviously this is especially true with The Wall. What separates it from other Floyd records for me, is how it’s just a really solid, well-focused rock album (rock opera?) about brutal isolation & loss. These two themes are universally identifiable.

Though this album was inspired by WWII & the horrendous grief and loss it caused, I identify most with the songs about fractured relationships & the war & desolation that exists inside the narrator’s mind. Lyrically, my favorite songs on The Wall are “One of My Turns” which explores the madness & absurdity someone can exhibit to a loved one. First “love turns gray” then the narrator admits to being bored out of his skull and just going through the motions until he snaps into a manic scatterbrained episode of violence and destruction, scaring the hell out of the other person & then asks, “why are you running away?” Brilliantly followed by the backhanded apologetic begging of “Don’t Leave Me Now” where he reminds his partner about the “flowers I sent” & goes on to plead with them that he needs them (if only to “beat to a pulp” or “put through a shredder”) while simultaneously begging them not to leave.

How did you arrive at your approach to your song?

The Nile Song is possibly the most “straightforward” rock song in Pink Floyd’s catalog which is what drew me to it. The simplistic musical pattern and yelled/half screamed lyrics make it stand out from other Floyd songs and made it an easy choice for a cover. I was surprised no one else snagged this one before we were given the chance to. Of course, I’m aware of The Melvins covering this song in the early ’90s. Not that we (or anyone) could ever sound like the Melvins, but we kind of took a similar approach to covering it in just playing it basically the same as Pink Floyd just with louder more distorted guitars.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s never a bad time to revisit a classic.

Taylor / WhiteNails / Waiting for the Worms

As musicians and music fans, what’s your connection to Pink Floyd?

Pink Floyd is one of the quintessential musician’s bands. Their level of creativity and pushing boundaries has always been an inspiration to us. David Gilmour is one of our all-time favorite guitarists and there aren’t many musicians who have the taste and flair that he does. As well as one of the greatest guitar tones of all time!!!

How did you arrive at your approach in covering your song?

Covering “Waiting for the Worms” was sort of a trial and error process. We wanted to add our own touch but really didn’t want to stray too far from the original work. We ended up changing the verses musically and tried to stray somewhat true to the vocal melody. We generally beefed up most of the guitar work and allowed Darcy to really sing on the track.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Releasing an album like the Wall again seems entirely appropriate in the political and social climate we find ourselves in today. Pushing against the powers that be has never run out of fashion and it stands equally as true today.

Worshipper / One of My Turns

As musicians and music fans, what’s your connection to Pink Floyd?

ALEJANDRO: I don’t recall a time when Pink Floyd wasn’t a part of my awareness. My father was an avid music fan and record collector, so Floyd was often on the record player when I was young. “The Wall” was one of the first gatefold records I held as a kid. The towering butt overlord was mesmerizing. As a musician, my appreciation for the band goes in cycles. There was a time in my 20s when I couldn’t get away from The Wall or Dark Side because they were everywhere. Friends couldn’t wait to gift me a copy of “The Wall” the movie on VHS or DVD which is difficult because, let’s face it, it’s a dark movie. Who has the emotional fortitude to watch this Pink guy slice his eyebrows off? It’s tough. But, at some point a revisit of The Final Cut or Relics b-sides or Echoes or Shine on or Animals sends me back into another Floyd-obsession phase. For some reason I never got around to seeing the Pompeii stuff until recently, when we started writing our current record, so I climbed into that rabbit hole for a bit. The connection, for me, is the fearlessness in songwriting and the immense power four guys can make together and all the inventiveness that goes along with that. I think if you’re going to be in a band you need to see what Floyd was all about. They invented a lot of what you need to make it work. If you don’t you’re just being an asshole to yourself and your bandmates.

JB: It’s funny, my dad is a GIGANTIC Floyd fan and that is probably the #1 reason. He had all the records and a bunch of bootlegs (which he has since passed along to me) and while he would play them around the house while I stared in amazement at the back cover of Ummagumma, he never forced them on me or anything. It wasn’t until I borrowed his van in college and found a tape of a bootleg from ‘72 under the seat that it really sealed the deal for me. We had Live at Pompeii on Laser Disc and everything, but it wasn’t until I discovered what I liked about them on my own terms that it all clicked for me in a personal way. I tend to gravitate toward the early stuff like Obscured by Clouds, MORE, Relics, and Meddle, but I love it all. But, to answer your question more concisely, they have basically been a part of my life for as long as I can remember and a huge part of my relationship with my dad.

I think all of us are into Floyd in different ways, which is cool, as well. Like, Jarvis is a maniac about the Wall, but not much appreciation for the Syd stuff, while I am sort of the opposite. I like all of that ridiculous British 60s acid-damaged tea and crumpets stuff.

How did you arrive at your approach in covering “One of My Turns?”

ALEJANDRO: It was a different type of song for us. We do covers all the time but this one was a challenge since it’s kind of two songs in one. The front half is a bit of a theatrical vignette, so we debated if we should stick to the actual narrative from the record, where we use the dialogue of Pink’s guest in his room while he’s watching “The Dam Busters” on TV. In the end we ditched the groupie and focused on the significance of what a protagonist in “The Wall” in 2018 might be watching which, in our version, is the scene from “All the President’s Men” where Robert Redford gets the “follow the money” speech from Deep Throat. Seems an appropriate commentary right now. On top of that, there was the opportunity to record and build a section based on John’s synth and keys treatment which we did separately from the second, more-straightforward half of the song.

JB: I had to really dissect this one, personally, to get to the bones of it and figure out what was going on. With such a grand production, it was a little tricky to pick apart. Al said that he was working on the strategy for the front half, and I kind of took the lead with the back half, doing a demo at home and trying to figure out how to put our stamp on it and how to approach the vocals without trying to imitate Roger’s utterly unhinged performance. I basically had to reharmonize the vocal melody a little (ok, a lot) to make it work with my range and demeanor. And then the front half was really our first attempt at creating something from scratch in the studio (not working from playing live.) I’m really into synths, so I had fun doing the pads in the intro and making more of a “headphone experience” … Al had a map of the chord structure of the intro, so he kind of yelled out chords and we built it up piece by piece until the vibe was right. I really wasn’t sure I would be able to pull off such an intimate vocal like Roger does, but, I’m happy with how that came out. It should be noted that Chris Johnson did an amazing job recording and producing it. Especially since we had to kind of graft the front half onto the back half, but he made it work!

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

ALEJANDRO: It does. There’s never a bad time to revisit “The Wall,” but today seems a particularly good time. The Wall as Roger Waters conceived it was metaphorical, right? A dude with dad-issues and a lifetime of intimacy problems? Now the idea of “a wall” is an analogue for the ideologies of greed, division, nationalism, fear that, in America, play out constantly on social media, tv, newspapers, it’s everywhere. Working with MER to add a voice to a commentary about it and celebrate the music and message of Pink Floyd? Sounds right. Sign us up. This is one of the reasons we play in a band. It’s a shitshow out there and it’s time to get dressed and show up to the party. America is pretty happening party, but insane assholes are soiling the punch and passing out bad drugs, and the DJ is a punishing monster right now. I’m glad I got a band that wants to kick down the door, squeeze off a few rounds on the fire extinguisher, and put some Floyd on the stereo ‘cause whatever’s on at the moment has got to stop.

JB: Did you see Roger Waters on that last tour? If anything, this is a PERFECT time to revisit this album. All of his lyrics can be interpreted as being completely current in today’s political climate. Maybe the Animals record more than this one, but wow, he really created some timeless lyrics that make sense in pretty much any era. Until everybody gets along, I think Roger’s lyrics will always resonate. This has also been great for me, personally, because The Wall was never really “my Floyd album” so it gave me a reason to really dig into it again and learn to really appreciate it. Not that I didn’t appreciate it, I just always found it to be a little on the “emotionally draining” side. Now, I don’t see it that way anymore, so thanks for helping me with that!

Gary Arce / Yawning Man / Outside the Wall / Mudmen

As musicians and music fans, what’s your connection to Pink Floyd?

To be honest we grew up with punk rock and we were very young when we started doing music, not caring much for references. As for Pink Floyd I can see how we share a similar approach to guitar sounds and spatiality, as well as riffs and tempo with some of their songs. It’s that they started with blues and you can hear rock is a part of us. I think some members of Pink Floyd also kind of grew up together as we did. Playing in the desert with our mates, most of them are luckily still around doing their thing, that’s what pushed us.

How did you arrive at your approach in covering your song?

Our approach is usually very instinctive. We love jamming and see what we come up with. That’s how we did the covers, too. We‘re not like wracking our brains too much before we start, that’s not how we play. We just start and the music keeps flowing. It was fun and lots of Mexican food kept us going.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

The Wall made the history of music. Many have been if you want it or not (consciously or unconsciously) influenced by it. On tour I talk to many fans after concerts or they come up and talk to me. They know a lot about music and love to establish connections between their idols and the younger bands. Psych sounds are having a huge revival in Europe, the US and Canada. We see that when we play live and most of the shows are sold out. So I guess it’s a good moment to revisit The Wall and see what it’s got to tell us now.

Amy Tung / Year of the Cobra / When the Tigers Broke Free / Have a Cigar

As musicians and music fans, what’s your connection to Pink Floyd?

The funny thing about Pink Floyd is that they’re not one of my favorite bands, but they’re certainly one of the most influential bands in my life. If I think about the time in my life where music influenced me the most, like as a preteen or a teenager, they’re certainly one of the top 5. They’re one of those bands that, at some point in your life, you have to dive into, head first, and in doing so, you become a more fulfilled human being. It obviously doesn’t apply to everyone, but to most of the people that I relate to, it does. It is impossible to not have the utmost respect for them and never in my life did I imagine I would be asked to cover any of their music. I never thought I would be able to, but to have the opportunity to do so was outrageously challenging and exciting. I don’t expect anyone to find our take on their music better than what already existed. I just hope people find it interesting and inventive and I hope it opens their minds to something different and new.

How did you arrive at your approach in covering your song?

My approach to covering any song is to find a way to change it. I feel like you can never make a song exactly like the original because it will never sound better than it already does. The only option you have is to change it. My goal is to find a way to keep the essence of the song intact but insert a little bit of me in it. Covering the songs “Have a Cigar” and “When the Tigers Broke Free” as Year of the Cobra was certainly limiting, seeing that we’re only a drum and bass duo, but it was also fun trying to find a way to do justice to the music, while also doing justice to us as a band. In the studio, we added some more instrumentation (I.e. keyboards), but I feel like it’s still something we could play (and maybe… hopefully… will play) live, one day.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

The Wall will always be an album to revisit; today, tomorrow, in the future. It’s timeless. There are no contemporary bands that even come close to writing an album of epic proportions like The Wall and there are too many kids that have grown up listening to the formulaic music that is spewed out on modern radio these days, it’s depressing to think what their lives would be like if they weren’t introduced to albums like The Wall. It is imperative that we keep these albums alive in any way we can, so they are never forgotten. Finding bands to cover them, breathe new life into them, is such an exciting way to keep them alive, to keep us talking about them. I hope in 10 years, more bands are covering this album and keeping it alive for more generations to come.

Magnetic Eye Records webstore

Magnetic Eye Records website

Magnetic Eye Records on Thee Facebooks

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Psycho Smokeout Set for April 20 in Los Angeles; Elder, Monolord, Amenra, Belzebong and More to Play

Posted in Whathaveyou on October 24th, 2018 by JJ Koczan

psycho smokeout 2019

With the advent of the Psycho Smokeout in Los Angeles next April 20, Psycho Entertainment partners with RidingEasy Records and enters the fray of a busy Spring festival season, pushing Elder and Monolord into headliner positions that both deserve and importing other Psycho veterans like Amenra and Belzebong alongside RidingEasy groups Here Lies Man, Electric Citizen, BlackWater HolyLight, R.I.P. and Zig Zags. If you don’t see the significance of this, think of all the fests happening in Europe at the time, whether it’s Roadburn just one week before or Desertfest the first weekend of May. Lineup-wise, the first-ever Psycho Smokeout would seem to be more in line with the latter than the former, but still, it’s a packed Spring for those up for a bit of intercontinental travel.

However, a killer lineup is a killer lineup, and the Psycho Smokeout has one. Looks like it’ll just be the one day — fortunate that April 20 is a Saturday in 2019 — and I’ll assume it’s two stages, though I don’t have confirmation of that or really anything other than the groups playing, which, frankly, is enough for the moment. April’s a ways away, so there may be changes and whatnot, but especially if this takes off, it’s an important happening in the market and bound to turn heads.

RidingEasy‘s announcement and the lineup info follow:

psycho smokeout 2019 poster

The rumors are true! We’ve teamed up with Psycho Las Vegas For the first annual psycho smoke out on 4/20 in LOS ANGELES. We’ll be vending and loads of our bands are playing including but not limited to Monolord R.I.P. Electric Citizen Blackwater Holylight Here Lies Man Zig Zags and more!!!!

Tickets on sale https://psychosmokeout.eventbrite.com/.

RidingEasy Records & Psycho Entertainment present:
First Annual “Psycho Smokeout”
Saturday, April 20th, 2019
Catch One Riff Compound, Los Angeles

|| FULL LINEUP ||

MONOLORD . ELDER . AMENRA . BELZEBONG . DREADNOUGHT . UADA . GOYA . ELECTRIC CITIZEN . CHRCH . CLOAK . HERE LIES MAN . TOKE . RIP . ZIG ZAGS . HAUNT . CLOVEN . HOWLING GIANT . BLACKWATER HOLYLIGHT

https://www.facebook.com/events/179272422957103/

https://www.vivapsycho.com/
http://www.ridingeasyrecs.com/

Monolord, Live at Psycho Las Vegas 2018

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Live Review: Psycho Las Vegas Saturday, 08.18.18

Posted in Features, Reviews on August 19th, 2018 by JJ Koczan

Psycho las Vegas 2018

08.19.18 – 5:45AM – Sunday morning – Hotel room

I woke up an hour before both my alarms — my early alarm to write and my later alarm to shower in that glorious Hard Rock Hotel shower and start the day. Bothersome but not the end of the world. One doesn’t come to a festival expecting a lot of rest. Make do with what you get.

Today also started an hour later, so I actually had a little time to kill. psycho las vegas 2018I sat down in the center bar for a while and drank a coffee, just kind of soaked in the place and the reality of the casino’s weirdness. They were playing rock videos on the tvs in the bar and the Little League world series next to each other. The Yankees game was on elsewhere but I didn’t get to see a score.

I’ve met a lot of really nice people who’ve said a lot of really nice things about this site. A lot. And it’s been good to put faces to names I’ve seen on posts and comments and stuff like that. I’ll admit Vegas isn’t really my kind of town, but I feel incredibly fortunate to be here this weekend and I’m utterly stupefied every single time someone comes up to say hi. Thank you.

Day kicked off in Vinyl, which packed out early. Here’s how it went down:

Venomous Maximus

Venomous Maximus (Photo by JJ Koczan)

Some mystery to start off the day with Houston’s Venomous Maximus, who played as the trio of guitarist Christian Larson, bassist Trevi Biles and drummer Bongo Brungardt, sans frontman guitarist/vocalist Gregg Higgins, who’s a significant presence to the band. I’m not looking to spread rumors, and I was hoping to run into the guys after they played so I could ask what happened, but what I heard was that Higgins went Vegas AWOL, which is apparently a thing that happens here. That left Larson on vocals, and he did an admirable job filling in on songs like the title-track of last year’s No Warning (review here) and “October 14th” from 2015’s Firewalker (review here). With the lone guitar and Larson stepping into a frontman role, it was a markedly rawer presentation than one would expect from Venomous Maximus, since Higgins‘ theatricality has always been such a big part of what they do live, but if anything, it proved that the heart of the band has always been their songwriting, which remains memorable and largely undervalued. Given the circumstance, it’s commendable they played at all, but by the end of the set Vinyl was slammed with people and surprisingly loud for one in the afternoon.

Batushka

Batushka (Photo by JJ Koczan)

Elaborate. It was not a minor production. Polish black metallers Batushka opened The Joint about a half-hour past their listed start time, and the line outside to get in told the tale of a band people were itching to see. Robed and chanting, surrounded by candles, incense, vestments and other sundry appropriated Christian this-and-thats, they tore open a cosmic blackened assault that was powerful. Elsewhere at the Hard Rock, and completely unrelated to the festival, there was a bikini contest happening, and I kept thinking what an amazing and odd planet it is that Batushka and the bikini contest would be going on at the same time in basically the same place. Surreal. The production, lights, sound, everything, was spectacular in the truest sense, and as I was basically unfamiliar with them going into the set, the delay made more sense once they actually got going, spread out on the stage as they were, with multiple vocalists and the whole ceremonial vibe. It was fascinating to see them use so much religious imagery and iconography, giving the whole set the feeling of being a mass, and then of course ripping it in half. Or maybe burning it to the ground? Either way.

Forming the Void

Forming the Void (Photo by JJ Koczan)

Forming the Void are a better band than they know. They’re starting to figure it out. You can hear that happening on their third record, Rift (review here), and accordingly, it’s a really exciting moment to have the chance to catch the Louisiana four-piece live. They started out somewhat reserved on stage, but by the end, guitarist/vocalist James Marshall, guitarist Shadi Omar Al-Khansa, bassist Luke Baker and drummer Thomas Colley were more fully engaged with the material, and when they closed out with “On We Sail” into “Saber” from their 2016 debut, Skyward (review here), one could hear the progressive sonic growth they’ve undertaken. They’re doing everything right. They have the songs, they have the aesthetic, they have a budding presence on stage. They just need time to keep doing what they’re doing. I hope they tour more. Vinyl was, again, full for them, and they already had the room on their side. They’re in the process of becoming something really special as a group, and one only hopes they keep moving forward the way they have thus far into their tenure. They were a must-see for me this weekend, and I heard from a lot of other people who said much the same. There was no mistaking why once they got underway. Felt lucky to watch their set.

With the Dead

With the Dead (Photo by JJ Koczan)

Speaking of doom royalty, one Lee Dorrian strutted out onto the Joint stage with all the assurance of a high roller at one of the tables out in the casino. I’ve been fortunate enough to see With the Dead once before, but this set was going to be something inherently different from the grime-laden ubergroup, since Dorrian and his chapeaued fellow former Cathedral bandmate, bassist Leo Smee, were playing as a trio with Unearthly Trance‘s Darren Verni sitting in on drums. The band canceled their appearance at Bloodstock in the UK just over a week ago owing to some unforeseen situation with guitarist Tim Bagshaw (also of Ramesses), and sure enough, Bagshaw didn’t make this trip either. Still, the whole point of With the Dead is to sound as filthy and maddeningly doomed as possible, and channeling Smee‘s bass through guitar amps in addition to his own was a good way to get there. They opened with “Living with the Dead” from their 2015 self-titled debut (review here) and made a highlights of “Isolation” and “Cocaine Phantoms” from last year’s Love from With the Dead (review here), the low-end wash and downer gloom pervading through low lights and massive volume, and though they were without a guitarist, the issue found a welcome answer as Scott Carlson (Repulsion, Septic Tank, ex-Cathedral, etc.) came out for a cover of Cathedral‘s “Ebony Tears” from their landmark 1991 debut, Forest of Equilibrium, thereby finishing their set with about as deep a plunge as you can get. Probably not their ideal circumstance, but righteous just the same.

Monolord

Monolord (Photo by JJ Koczan)

The ascent over the last five years of Swedish trio Monolord has been among the most meteoric in underground heavy. Amplifier worship, tone worship, riff worship and worship of the very idea of sonic largesse itself have been their aesthetic calling cards over the course of their three-to-date RidingEasy Records full-lengths, but the three-piece of guitarist/vocalist Thomas Jäger, bassist Mika Häkki and drummer Esben Willems have fleshed out their sound to incorporate a thundering spaciousness steadily encroaching on psychedelia. Their latest record, 2017’s Rust (review here), is the most progressive in that respect, but they still bring a crushing groove that they’ve quickly made their own. They’ve also toured — a lot. But I’m lame as shit, so it’d been a long time since I last caught a gig and it was nothing short of a pleasure to watch them unleash their massive lumber on the assembled and waiting crowd. Obviously used to playing on bigger stages, they seemed to climb inside of each riff and inhabit the material, channeling it physically as well as through the P.A., and the nod that resulted filled the room from front to back, upstairs and down. They’re a band living up to their potential in every way, and I’m already looking forward to what album number four brings.

Voivod

Voivod (Photo by JJ Koczan)

Here’s a general rule for life, and stop me if I’ve told you this before — oh wait it’s the internet you can’t stop me well tough shit — but: Go see Voivod. If you’re in a place where they are or can put yourself in a place where they’ll be, do that. Go see Voivod. You will never regret it, either in that moment or later on. And while I’m doling out advice, here’s another one: If you meet someone, and they’re a real Voivod fan, chances are that person knows their shit. The Canadian weirdo-sci-fi-thrash legends appeal to a very specific subset of headbanger, and I’ve never known a Voivod fan who was a prick. And I’ve been luck enough to know a few. They have a new record on the way — always — and with founding drummer Michel “Away” Langevin pounding away behind and long-tenured frontman Denis “Snake” Bélanger getting the dusk-time pool stage crowd into the show, the vibe was only positive the whole way through. Flanked by guitarist Daniel “Chewy” Mongrain, who’s been in the band now for a decade — time flies — and bassist Dominique “Rocky” Laroche, they hit into new single “Obsolete Beings” from the upcoming The Wake and it fit right in with classics like “Overreaction” and the eponymous “Voivod” from their decades-spanning catalog. What a blast. My phone registered the outside temperature at 106 degrees Fahrenheit, but Voivod seemed right at home in the swelter and were an unadulterated good time. Go see Voivod.

Godflesh

Godflesh (Photo by JJ Koczan)

Man, Margaret Thatcher must have been the absolute fucking worst to produce the kind of disaffection Godflesh continue to proffer. Their dystopian churn is, of course, almost painfully relevant today despite its origins over 30 years ago, and with guitarist/vocalist/programmer Justin K. Broadrick and bassist G.C. Green on a stark, largely empty Joint stage, they unfurled the oppressive electrified grit that’s made them so influential for so long. They’ve been active again for a while now, with two albums out in last year’s Post Self (review here) and 2014’s A World Lit Only by Fire (review here), so have gone well beyond “reunion band” status, but a Godflesh show still doesn’t feel like something that happens every day, and it’s always something special to watch their blend of inhuman(e) audio — the beats, the electronics, etc. — and the sheer emotion with which Broadrick executes his guitar and vocals. With Green on the other side a steady presence, Broadrick thrashed and headbanged and tried to tear himself apart with his playing, and each of his shouting bellows brought fists in the air from the crowd out in front. Very much the opposite vibe of Voivod out at the pool despite both groups’ ’80s origins, but likewise a wonder and a pleasure to behold. I wouldn’t mind a new Jesu record either, but as far as I’m concerned, Godflesh can just go on perpetually and that’ll be fine, thanks. The world needs them now more than ever.

Howling Giant

Howling Giant (Photo by JJ Koczan)

I knew I wanted to see Nashville’s Howling Giant. I didn’t know quite how much I wanted to see them until they started. Having toured their way to Vegas in a hearse — because of course — the three-piece of guitarist/vocalist Tom Polzine, drummer/vocalist Zach Wheeler and bassist Mike Kerr took the stage in Vinyl with an immediately outgoing personality. Actually, they showed that before they even went on, hopping down front after they set up to talk to the crowd on the other side of the barricade, but it was for sure in the performance as well. Their 2017 EP, Black Hole Space Wizard: Part 2 (review here), and its 2016 predecessor, Black Hole Space Wizard: Part 1 (review here), featured heavily in the set, and all around they put on a show that was definitely about having fun, being loud, rocking out and all that happy whatnot, but also deceptively intricate and progressive. Their studio material has carried that over to some degree, but it’s clear they’re moving forward with their sound, and one hopes they continue to do so as they move toward their inevitable, awaited full-length debut. They and Forming the Void were my two totally-gotta-see bands for the day, and they would seem to share a bright future in developing their own take on heavy rock. For Howling Giant, not even a busted snare stand could stop them, as Polzine and Kerr treated the crowd to an improv psych jam while Wheeler got a new one and they were back up and running in no time, pro-style. Nicely done.

Spirit Adrift

Spirit Adrift (Photo by JJ Koczan)

There seemed to be some trouble with the monitors before they went on, but once Phoenix four-piece Spirit Adrift got going, the project spearheaded by guitarist/vocalist Nate Garrett (ex-Take Over and Destroy) brought out a vibe that spoke even more to classic metal than the doom with which the band is so often lumped. Their late-2017 sophomore LP, Curse of Conception, brought progressive tendencies to bear following their 2016 debut, Chained to Oblivion (review here), and while the band was founded by Garrett as a solo-act, there’s no shortage of chemistry that’s come up between Garrett and his cohorts, guitarist Jeff Owens from Goya, bassist Chase Mason (also Gatecreeper) and drummer Marcus Bryant, and with the recording of that second album and a load of touring leading up to this show and their stop Aug. 21 at Brick by Brick in San Diego, they they were on fire the whole way through. Taking the stage to Buck Owens‘ “Big in Vegas,” they took the prime slot at the pool — CKY would play, but a few hours later — and never looked back, their performance duly energized to suit the occasion. If this was what their tour was leading up to, then it seemed to be worth it.

Got up stupid early this morning and seem to be undergoing a science experiment whereby I trade out sleep for coffee. Hour per 24 oz. cup? Hell if I know. What, you’re supposed keep track of your findings?

Today is the final day of Psycho Las Vegas 2018, which is an utterly bizarre beardo circus to behold, and it’s also Gene Roddenberry‘s birthday, which is as much an occasion to celebrate as I can possibly think. All the more reason to bash one’s head once more on the skull-cracking granite that is Psycho Las Vegas, and leave it to tomorrow to reassemble the pieces.

If you’re here, have fun. If you’re anywhere, thanks for reading.

More pics after the jump:

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Howling Giant Touring in August; Playing Psycho Las Vegas and More

Posted in Whathaveyou on July 31st, 2018 by JJ Koczan

Let’s face it, August pretty much belongs to Psycho Las Vegas. There’s other stuff going on, as there always is, but the festival is something of an epicenter around which the rest of the month revolves, and an awful lot of tour routings, album releases, etc., are geared toward supporting what’s happening there. For good reason. What’s happening is arguably the biggest heavy underground fest in the States, and accordingly it’s all the more fitting that bands like Howling Giant should get out and tour as a part of making the trip. The Nashville progressive heavy rockers also toured up the East Coast earlier this year supporting their 2017 EP, Black Hole Space Wizard: Part 2 (review here), and they’re streaming now their contribution to Magnetic Eye Records‘ impending two-part Pink Floyd tribute compilation.

The PR wire invites you to dig it:

howling giant (Photo by Josh Dagenais)

Psych-Metal Road Dogs HOWLING GIANT to Tour Southwest En Route to August Psycho Las Vegas Appearance

Nashville trio preps for a quick string of blistering dates before and after their set at the massive Vegas festival next month, also leads off the upcoming Best of Pink Floyd release from Magnetic Eye Records.

Interplanetary riff-rockin’ powerhouse HOWLING GIANT hits the road again this August for a run of shows leading them to and from a coveted slot at that annual maelstrom of stoner/doom/psych bliss, Psycho Las Vegas.

Their “Arcane Ritual” tour includes the following stops:
Aug 15: Wichita Falls, TX – Iron Horse Pub
Aug 16: El Paso, TX – RCBG
Aug 17-19: Psycho Las Vegas
Aug 20: Scottsdale, AZ – Rogue Bar
Aug 21: Albuquerque, NM – Launch Pad
Aug 22: Las Cruces, NM – The Warehouse
Aug 23: San Antonio – The Mix
Aug 24: Lafayette, LA – Freetown Boom Boom Room
Aug 25: New Orleans, LA – Santos
Aug 26: Birmingham, AL – The Nick 42nd Street Tavern
Howling Giant are also confirmed as the album-opener to the much-awaited Best of Pink Floyd LP, Magnetic Eye Records’ companion album to its massively-anticipated The Wall [Redux] release. Both albums land this November and can be pre-ordered here.

Formed by self-proclaimed nerds, Howling Giant is a perfect marriage between pulpy sci-fi themes and blistering riff-psych. Fans of Mastodon’s Crack the Skye, early Baroness, Summoner and The Sword will immediately latch onto Howling Giant’s spaced-out, cosmically-informed songcraft and lyrics that span sea voyages to space flight to androids with a bloodlust for camels.

howlinggiant.bandcamp.com
twitter.com/howlinggiant
www.facebook.com/howlinggiant/

Howling Giant, Black Hole Space Wizard: Part 2 (2017)

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Howling Giant Announce East Coast Tour Dates

Posted in Whathaveyou on April 12th, 2018 by JJ Koczan

howling giant

As they prepare to take the stage this August at Psycho Las Vegas, Nashville progressive heavy rockers Howling Giant have announced a round of tour dates for May supporting their 2017 release, Black Hole Space Wizard: Part 2 (review here). What was, of course, a sequel to 2016’s Black Hole Space Wizard: Part 1 (review here) and also followed 2015 self-titled helped the trio further their case for a more expansive sound. Still reveling in the occasional forward groove and off-kilter moment, the songs showed a growing sense of sonic persona that, contrary to what one might expect, did not make the sequel seem weak in comparison to the original.

Will there be a third installment of Black Hole Space Wizard, and if so, when? How the hell should I know. Why don’t you go to one of these gigs and ask the band yourself? Sheesh.

Tour details from the PR wire:

howling giant tour poster

HOWLING GIANT Hit the Road

Nashville riff-psych trio take their DIY sci-fi heaviness on northeast US tour in May, debut new Pink Floyd homage in advance of release alongside Melvins, Pallbearer, ASG, Mark Lanegan.

This May, Howling Giant heads back on tour in support of their latest self-released record, Black Hole Space Wizard Part 2 (August 2017), with stops throughout the northeast and a coveted slot at Psycho Las Vegas to close out the summer.

To launch this run of dates with due fanfare, Howling Giant will preview their futuristic update of early Pink Floyd obscurity Matilda Mother, which Magnetic Eye Records will include as part of its colossal The Wall [Redux] / Best of Pink Floyd release extravaganza that has been building in scope and anticipation since early 2017 and features a range of new scenesters and established heavyweights.

Formed by three self-proclaimed nerds, Howling Giant is a perfect marriage between pulpy sci-fi themes and blistering riff-prog. Fans of Mastodon’s Crack the Skye, early Baroness and Summoner will immediately latch on to Howling Giant’s spaced-out, cosmically-informed songcraft, with lyrics spanning sea voyages to space flight, not to mention androids with a bloodlust for camels (because, again, why not?).

Howling Giant on tour in May:

5.10 – Chicago IL @ Reggies
5.11 – Cincinnati OH @ Cameleon Pizza
5.12 – Pittsburgh PA @ Howler’s
5.13 – Buffalo NY @ Mohawk Place
5.14 – Off
5.15 – TBA
5.16 – Easthampton MA @The Ohm
5.17 – TBA
5.18 – Philadelphia PA @ Kung Fu Necktie
5.19 – York PA @ The Depot
5.20 – Frederick MD @ Guido’s
5.21 – Off
5.22 – Baltimore @ The Depot
5.23 – Washington DC @ Atlas Brew Works
5.24 – Raleigh NC @ Slim’s
5.25 – Wilmington VA @Reggies 42nd Street Tavern
5.26 – Asheville NC @ Sly Grog
August 17-19 – Psycho Last Vegas

howlinggiant.bandcamp.com
twitter.com/howlinggiant
www.facebook.com/howlinggiant/

Howling Giant, Black Hole Space Wizard: Part 2 (2017)

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Psycho Las Vegas 2018 Reveals Lineup; Dimmu Borgir, Hellacopters, Godflesh, Witchcraft and More to Play

Posted in Whathaveyou on February 23rd, 2018 by JJ Koczan

Psycho Las Vegas 2018 logo

It’s only taken a few years for Psycho Las Vegas to establish itself as the premier underground festival in the US. All well and good. With 2018’s lineup, though, it’s time to start thinking of Psycho among the best in the world.

Sounds like too much? Consider Godflesh and Dimmu Borgir sharing a stage, both for exclusive West Coast appearances. Think of Sweden’s Witchcraft playing one of the two shows they’ll do in the US at Psycho, and ditto that for Japanese riff-madmen Church of Misery. Think of US exclusives from Lee Dorrian’s With the Dead, or Lucifer, whose Johanna Sadonis will also DJ the Center Bar. The commitment to up and coming underground acts local, domestic and foreign like Temple of Void, King Buffalo, Dreadnought, The Munsens and DVNE. Picture yourself watching Wolves in the Throne Room headline a pre-fest pool party with Elder, Young and in the Way, Dengue Fever, Fireball Ministry and Toke.

2018 is the year Psycho Las Vegas outclasses even itself and pushes further than it ever has in terms of stylistic reach (Integrity walks by and waves… at Boris) and the sheer power of its construction. If you’re looking for the future, you’ll find it in scumbag paradise.

Here’s the lineup:

Psycho Las Vegas 2018 poster

Psycho Las Vegas 2018

Hard Rock Hotel and Casino Las Vegas
4455 Paradise Rd, Las Vegas, Nevada 89169

Tickets: https://www.vivapsycho.com/pages/tickets

PSYCHO LAS VEGAS 2018 lineup:
DIMMU BORGIR (west of chicago exclusive)
HELLACOPTERS (one of two shows to be played in the USA in 2018)
SUNN 0)))
GODFLESH (west of chicago exclusive)
WITCHCRAFT (one of two shows to be played in the USA in 2018)
ENSLAVED
AMERICAN NIGHTMARE
HIGH ON FIRE
ROCKET FROM THE CRYPT
RED FANG
ZAKK SABBATH
CHURCH OF MISERY (usa exclusive 2018 with exception to one other show in San Diego)
TINARIWEN
GOBLIN
CKY
VENOM INC
EYEHATEGOD
VOIVOD
BORIS
COVEN
INTEGRITY
PALLBEARER
WITH THE DEAD (USA exclusive 2018)
MONOLORD
LUCIFER (USA exclusive 2018)
ACID WITCH
SURVIVE
DOPETHRONE
BIG BUSINESS
UNEARTHLY TRANCE
MUTOID MAN
TODAY IS THE DAY
HELMS ALEE
SPIRIT ADRIFT
BATUSHKA
PRIMITIVE MAN
DVNE
ALL PIGS MUST DIE
EIGHT BELLS
WORMWITCH
INDIAN
NECROT
HOMEWRECKER
BRAIN TENTACLES
CLOAK
BLACK MARE
MAGIC SWORD
UADA
TEMPLE OF VOID
DREADNOUGHT
WOLVHAMMER
ASEETHE
DISASTROID
FORMING THE VOID
VENOMOUS MAXIMUS
GHASTLY SOUND
HOWLING GIANT
KING BUFFALO
NIGHT HORSE
THE MUNSENS
GLAARE

Paradise Pool Pre Party
August 16th

WOLVES IN THE THRONE ROOM
ELDER
YOUNG AND IN THE WAY
DENGUE FEVER
FIREBALL MINISTRY
TOKE

Center Bar DJ’s
Andrew W.K.
Nicke Andersson (Entombed/Hellacopters)
Johanna Sadonis (Lucifer)

https://www.facebook.com/psychoLasVegas/
https://www.facebook.com/events/125340824913552/
http://vivapsycho.com

High on Fire, Live at Psycho Las Vegas 2016

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