The Gates of Slumber: Karl Simon Talks Reuniting the Band, Future Plans and More

Posted in Features on May 3rd, 2019 by JJ Koczan

the gates of slumber

It’s only too fitting that The Gates of Slumber‘s reunion after five years of inactivity should focus on their 2004 debut, …The Awakening. Founded in 1997 in Indianapolis as The Keep by guitarist/vocalist Karl Simon, the band would go on to release five full-lengths between ’04 and 2011, as well as a slew of splits and EPs, thereby spearheading an American traditionalist doom outside the geographic confines of Maryland’s scene. Their sound embraced epic metal on Conqueror (2008) and 2009’s Hymns of Blood and Thunder (review here), but never wavered from its core purpose in doom, and their final LP, 2011’s The Wretch (review here), was a gloriously downtrodden exploration of drunken regret set to riffage that used the open spaces of the recording to create an even more oppressive sphere.

When bassist Jason McCash left the band in Sept. 2013Simon said, “I always said I’d never go on doing TGoS without Jason, I don’t think anyone ever really believed it, but yeah, it’s done.” Soon enough, Simon would go on to found Wretch as a continuation of The Gates of Slumber‘s cathartic outlet, and their self-titled debut LP (review here) showed up in 2016, followed the next year by an EP, Bastards Born (discussed here), as the new unit began to find its own direction within the sphere of doom. The legacy of The Gates of Slumber and McCash, who passed away in 2014, loomed large, but Simon was always upfront about what he wanted the band to be and Wretch went so far as to play select The Gates of Slumber songs live. You don’t name your new band after your old band’s last album if you’re trying to distance yourself from what you’ve done in the past. Wretch worked and continues to work as a project precisely because of its direct engagement and honesty about its origins.

News came down earlier this week that The Gates of Slumber would reunite for Hell Over Hammaburg in Hamburg, Germany, next year, playing alongside NifelheimArgusHauntBellrope and a slew more not yet announced. The new lineup of the band features Steve Janiak of Devil to Pay and Apostle of Solitude on bass and Chuck Brown of Apostle of Solitude on drums. The latter is also a veteran of The Gates of Slumber, having played on …The Awakening before being ousted and starting his own band. Together, the new trio will embark on the trip to Germany in 2020 and then…? It’s up in the air. Simon notes below they’re willing to take it as far as people want without affecting anyone’s work in other bands, including his own, and of course one recalls that at the time of their breakup, The Gates of Slumber were slated to do nearly three weeks on the road supporting Church of Misery the next month. I don’t think they’ll pickup right where they left off, but perhaps there’s some sense of work still to be done on the part of one of this millennium’s most essential US doom purveyors.

So, with Germany ahead and Wretch on tour now (playing New England Stoner & Doom Fest in CT this weekend), behold The Gates of Slumber‘s reawakening. Thanks to Simon for taking the time to talk about it on short notice, and to you for reading.

The Gates of Slumber Interview with Karl Simon

First things first: How did the reunion come about? Did Hell Over Hammaburg bring the idea to you? What made you think this was the time to bring back The Gates of Slumber?

Well, Wolf [Mühlmann] from HOH asked me a while back about TGoS playing, and I was not in a place to really deal with it. My mother had just passed after a long illness and Wretch was on hold due to drama in the band, so I said something non-committal about the whole thing and left it at that. I basically took a chunk of time and quit thinking about bands. I learned a bunch of songs arranged for an acoustic and just kind of played for myself. Last year I asked Dustin Boltjes formerly of Skeletonwitch, The Dream is Dead, Demiricous and all around raging dude to take the throne and we started working on songs for the next Wretch record. In the middle of that, I tore my Achilles and had to take months off. And Oli [Richling] from Church Within contacted me asking about The Awakening, I’d been trying to pitch the live LP from the The Wretch tour forever, and we got a deal worked out for the Live record, The Awakening AND Like a Plague Upon the Land — the last recorded stuff with that lineup. Chuck had come by a bit during my downtime and we’d been talking a lot. We had this deal where our records were going to come back out and the way I saw it it would be a dumb thing to not at least play a few shows to support it. Jason would have done it in a minute…. and it gave me an excuse to play those songs with Chuck again and just hang out with an old friend. And that’s that.

How did the the lineup end up being you, Chuck and Steve? Was the fact that Chuck had been in Gates before a factor? Obviously they’re both in Apostle of Solitude now, but how did that all come together?

We both wanted to take this chance for sure, TGoS had a decent profile and we wanted to ride the goddamn snake, but we did not want any stress. It’s all super laid back for a change. Steve fell right in because he could commit right away and he was into it. His gear was at Chuck‘s where we practice and we just went with it. It’s all been very chill and easy. Which is how we want it.

It’s been nearly six years since the band first broke up. How do you feel about what The Gates of Slumber accomplished during its initial run? I know Wretch has played some Gates songs in the past, but how do you feel looking back on that material now that the band is going again? Has your appreciation for it changed at all?

We’ve been relearning songs from that era that basically stopped when we fired Chuck in ’05… it’s been fun and in a dippy sense healing. We realized how destructive we were to each other back then and how insecure we were as people and players, at least I have been. As far as what Wretch will do, basically the only song from TGoS we do is the namesake, I see that as a rallying point for Wretch… the other songs are going to stay with TGoS… I mean maybe someday we’ll trot out “Scovrge of Drvnkeness” or something, but in Wretch we are focused on writing new songs.

Do you have any idea of what you’ll play live yet?

We’ll be focusing exclusively on songs from The Awakening era. Sorry if you’re a fan of the later stuff. This is going back to the beginning and we plan to play at least an hour and 20 min, focusing mostly on songs that never got played live. You’ll hear “The Leach” for the first time, “The Burial” will be back, along with “Dweller in the Deep” and a bunch of other stuff.

It goes without saying that Jason’s legacy looms large in all things concerning The Gates of Slumber. The band initially quit when he left. How much is he in your mind when you think about what makes The Gates of Slumber what it was and is?

He’s there constantly, you know. His shadow looms over TGoS and Wretch a lot. I’ve had a lot of time with death. And grief never goes away. It’s softens… it’s like, Wretch just played our first show in two years on his birthday. His widow and son were there. It’s a family thing.

How far will this reunion go? Will you play other shows besides Hell Over Hammaburg? How will it affect Wretch, Apostle of Solitude and Devil to Pay? Will there ever be another Gates record?

As far as folks want it to, if there is a demand we’ll play… it’s not going to effect Apostle of Solitude or Wretch or Devil to Pay. For me Wretch is number one. We actually leave for tour tomorrow May 2. So, dear reader, if you’re trying to ask some questions about this you’d best see me at the merch table, get it? Got it? Good.

See you all soon!

Karl

The Gates of Slumber on Thee Facebooks

The Gates of Slumber on Twitter

Tags: , ,

Faerie Ring to Release The Clearing June 7; Streaming “Lost Wind”

Posted in Whathaveyou on May 3rd, 2019 by JJ Koczan

fairie ring

Sometimes I get on kind of a high-horse around here and talk about bands like they’re shifting paradigms for all eternity and hyperbole this and that and whatever. I know it. I get excited. It’s part of the thing, if the thing is being passionate about music. And I try to curb it when I can. But something comes along like the streaming Faerie Ring track “Lost Wind” and it’s a reminder of what it’s really all about. It’s not furthering some grand aesthetic vision or whatever. It’s having a good time. And I don’t mean that like whoa-brah party rock like it’s cool-kids thing and you’re not invited if your Instagram brand isn’t super-hot right now. I mean like it’s about getting together with friends, creating something that, yes, is art, but that is also a personal expression of where you’re at and, occasionally — just occasionally — can also be a lot of fun. I hear “Lost Wind” in its unabashed appreciation of volume and tonal weight and think, not about it changing the universe, but about how much fun that shit must be to play on a stage in front of some friends and whoever else has shown up. I like that thought. I like this song.

That’s it.

Album is out June 7. It’s their first, and called The Clearing. King Volume has the release, and their taste is reliable. Preorders are up, as per the PR wire:

fairie ring the clearing

FAERIE RING: Indiana Fuzz Rock Alchemists To Release The Clearing Debut Via King Volume Records June 7th; New Track Streaming + Preorders Available

Evansville, Indiana-based fuzz rock alchemists FAERIE RING will release their debut full-length, The Clearing, June 7th via King Volume Records.

Recorded and mixed at Hickory Sound Recording by Aaron Travis and mastered at Cauliflower Audio, over the course of seven tracks, FAERIE RING effortlessly combines various influences from the pantheons of stoner rock into a singular vision. Expanding on the green haze of Sleep and the rocking, desert grooves of Kyuss, FAERIE RING is clearly rooted in the art of riff worship. Still, there exists the freshness of spring and new growth within their psalms; the mushrooms on the forest floor bursting forth and reaching towards the light above. Here we see the boldness of youth and passion re-visioning the perceived limits of the genre. Coalescing all that is heavy and psychedelic into a single breathing ecosystem, FAERIE RING’s compositions evoke a sense of wonder, like wandering through a towering forest displaced from time; being present and respectful towards the old growth and rejoicing in the new life that is teeming below the surface.

In advance of the release of The Clearing, FAERIE RING is pleased to unveil “Lost Wind” for public feasting. Issues the band simply, “‘Lost Wind’ is the slow sonic immersion into the psychic depths of the FAERIE RING sound.”

The Clearing will be released on digital and vinyl formats via King Volume Records. For preorders, visit the King Volume Bandcamp page at THIS LOCATION.

FAERIE RING will bring their riffs to the stage at the Buzz/Cut Queer Music Fest in Indianapolis this September with additional live dates to be announced in the weeks to come.

FAERIE RING:
9/07/2019 Buzz/Cut Queer Music Fest – Indianapolis, IN

The Clearing Track Listing:
1. Bite The Ash
2. Lost Wind
3. The Ring
4. Somnium
5. Miracle
6. Heavy Trip
7. Heaven’s End

What started out as an after-work jam in 2016 between guitarist Kyle Hulgus and drummer Joey Rhew quickly bloomed into a full-fledged project with the addition of guitarist/vocalist James Wallwork and bassist Alex Henderson. Shortly thereafter, FAERIE RING employed the help of local recording savant Aaron Travis to pick up what was recorded in a small room and make it sound like it was being blasted out of the Earth itself. There are no gimmicks involved in what FAERIE RING manifest; no need to fly to some rustic cathedral in a far away land for recording aesthetic. The band simply put big amps in a tiny room with linoleum floors and drop ceilings and hit the “Record” button. Tune in; drop out.

http://www.facebook.com/FaerieRingBand/
http://www.instagram.com/faerie_ring
http://www.faeriering.bandcamp.com/
http://www.facebook.com/kingvolumerecords
http://www.kingvolumerecords.bandcamp.com
http://www.kingvolumerecords.limitedrun.com

Faerie Ring, The Clearing (2019)

Tags: , , , , ,

The Gates of Slumber Reunite for Hell over Hammaburg 2020; Post Rehearsal Footage

Posted in Bootleg Theater on April 30th, 2019 by JJ Koczan

the gates of slumber

Bands come and go all the time. All the time. They come, then go, then come again, then go again. But if you and I were to sit down and have a chat — doesn’t that sound nice? — about bands who’ve come and gone and were unlikely to return, I’d probably have put The Gates of Slumber on that list. When the Indianapolis three-piece forerunners of doom traditionalism disbanded in 2013, then yeah, okay, maybe they’d have gotten back together, but then a few months later when bassist Jason McCash passed away, and guitarist/vocalist Karl Simon moved on to form Wretch, it just didn’t seem like the kind of thing that was ever going to happen. Then Germany called.

The Gates of Slumber will play a special set for Hell Over Hammaburg 2020. Of course the idea will be to focus on the band’s history and pay homage to McCash and the legacy of what they created in their original run. The new lineup is comprised of Simon, bassist Steve Janiak (also guitarist/vocalist of Devil to Pay and Apostle of Solitude) and drummer Chuck Brown (also guitarist/vocalist in Apostle of Solitude and drummer in an earlier incarnation of The Gates of Slumber as well), and they’ve posted a clip of some rehearsal footage on Thee Facebooks in order to get word out of the revitalization of the band.

There are always people who naysay reunions, and reunions with a new lineup as well. Whatever. The Gates of Slumber went out on the heels of their best work yet in 2011’s The Wretch (review here) — technically they also had the Stormcrow EP (review here) before they were done, but stay with me — and I think the fact that Simon went on to form Wretch is clear indication there was still more to be said there. I don’t know if they’ve even thought of working on new material, but my understanding is this is a special kind of one-off thing, they might do some dates around the festival, but basically it’s something unique for Hell Over Hammaburg next year, and that’s where it stands now. Of course we know plans can change. There wouldn’t be a reunion in the first place if that wasn’t true.

Check out the rehearsal footage below. There may also be some reissues in the works and the long-supposed live album might happen as well. I’ll hope for more to come all around.

Enjoy:

Just Announced: The Gates of Slumber to reunite for Hell Over Hammaburg 2020. More details to follow…

The Gates of Slumber on Thee Facebooks

Hell Over Hammaburg website

Tags: , ,

Wretch Announce First Shows in Two Years; Playing New England Stoner & Doom Fest and More

Posted in Whathaveyou on April 8th, 2019 by JJ Koczan

wretch

Been a minute since Indianapolis doomers Wretch poked their head up from the depressive mire in which they would otherwise seem to dwell, and by “a minute” I mean two years. In 2017, the three-piece issued their Bastards Born EP (discussed here) as the follow-up to their self-titled debut LP (review here), and as that short release was comprised of recordings done during the Euro/UK run that also saw the band stop at Roadburn (review here), everything seemed to be tying together in terms of building a little momentum behind the band’s slow-crawl doomly traditionalism. So of course it’s been two years since the last time they played a gig. Because it’s doom.

I’d have sworn they announced they were done at some point, and even if they did, that doesn’t necessarily preclude the fact that they’re back doing shows. They were announced first for the New England Stoner and Doom Fest II in Connecticut, and before they embark on a week-plus of tour dates around that, they’ll have a hometown show on April 19 at Black Circle Brewing with Castle and Apostle of Solitude, which you obviously don’t need me to tell you is a frickin’ awesome bill. I haven’t heard word one about new material or anything like that, and it’s not an impossibility, but for now it seems right to just be glad they’re doing shows and take the rest as it comes or doesn’t. Because it’s doom.

Dates follow, as presented by Tone Deaf Touring and posted by the band:

wretch tour dates

The days can go on with regularity over and over, one day indistinguishable from the next. A long continuous chain. Then suddenly, there is a change.

See you in Spring!

04.19 Indianapolis IN Black Circle Brewing w/ Castle & Apostle of Solitude
05.02 Chicago IL Subterranean
05.03 Pittsburgh PA Gooski’s
05.04 Jewett City CT New England Stoner & Doom Festival
05.05 Brooklyn NY Kingsland
05.07 Chapel Hill NC Local 506
05.08 Raleigh NC Pour House w/ Thor
05.10 Chattanooga TN Music Box Ziggy’s

https://www.facebook.com/Wretch-469537983166326/
https://wretchdoom.bandcamp.com/
https://badomenrecords.bandcamp.com/

Wretch, Bastards Born EP (2017)

Tags: , , ,

Quarterly Review: Electric Octopus, Crypt Trip, Love Gang & Smokey Mirror, Heavy Feather, Faith in Jane, The Mound Builders, Terras Paralelas, The Black Heart Death Cult, Roadog & Orbiter, Hhoogg

Posted in Reviews on March 21st, 2019 by JJ Koczan

quarterly-review-spring-2019

Day four of the six-dayer. Head’s a little reeling, but I’m not sure any more so than, say, last week at this time. I’d be more specific about that, but oddly enough, I don’t hook my brain up to medical scanners while doing reviews. Seems like an oversight on my part, now that I think about it. Ten years later and still learning something new! How about that internet, huh?

Since I don’t think I’ve said it in a couple days, I’ll remind you that the hope here is you find something you dig. There’s a lot of cool stuff in this batch, so that should at least make skimming through it fun if you go that route. Either way, thanks for reading if you do.

Quarterly Review #31-40:

Electric Octopus, Smile

Electric Octopus Smile

It’s been about two months since Electric Octopus posted Smile, so they’re about due for their next release. So, quick! Before this 82-minute collection of insta-chill jams is out of date, there’s still time to consider it their latest offering. Working as the four-piece of Tyrell Black and Dale Hughes — both of whom share bass and guitar duties — drummer Guy Hetherington and synthesist Stevie Lennox, the Belfast improv jammers rightfully commence with the 25-minute longest track (immediate points) “Abberation” (sic), which evolves and devolves along its course and winds up turning from a percussive jam to a guitar-led build up that still stays gloriously mellow even as it works its way out. You can almost hear the band moving from instrument to instrument, and that’s the point. The much shorter “Spiral,” “Dinner at Sea, for One” and closer “Mouseangelo” bring in a welcome bit of funk, “Moth Dust” explores minimalist reaches of guitar and ambient drumming, and “Hyperloop” digs into fuzz-soaked swirl before cleaning up its act in the last couple minutes. These cats j-a-m. May they do so into perpetuity.

Electric Octopus on Thee Facebooks

Electric Octopus on Bandcamp

 

Crypt Trip, Haze County

crypt trip haze county

Onto the best-albums-of-2019 list go San Marcos, Texas, trio Crypt Trip, who, sonically speaking, are way more Beto O’Rourke than Ted Cruz. The three-piece have way-way-upped the production value and general breadth from their 2018 Heavy Psych Sounds debut, Rootstock, and the clarity of purpose more than suits them as they touch on ’70s country jams and hard boogie and find a new melodic vocal confidence that speaks to guitarist Ryan Lee as a burgeoning frontman as well as the shredder panning channels in “To Be Whole.” Fortunately, he’s backed by bassist Sam Bryant and drummer Cameron Martin in the endeavor, and as ever, it’s the rhythm section that gives the “power trio” its power. Centerpiece “Free Rain” is a highlight, but so is the pedal steel of intro “Forward” and the later “Pastures” that precedes six-minute closer “Gotta Get Away,” which makes its transport by means of a hypnotic drum solo from Martin. Mark it a win and go to the show. That’s all you can do. Haze County is a blueprint for America’s answer to Europe’s classic heavy rock movement.

Crypt Trip on Thee Facebooks

Heavy Psych Sounds website

 

Love Gang & Smokey Mirror, Split Double EP

smokey mirror love gang split double ep

A bit of Tull as Love Gang‘s flute-inclusive opener “Can’t Seem to Win” skirts the line of the proggier end of ’70s worship. The Denver outfit and Dallas’ Smokey Mirror both present three tracks on Glory or Death RecordsSplit Double EP, and Love Gang back the leadoff with “Break Free” and “Lonely Man,” reveling in wall-o’-fuzz chicanery and organ-laced push between them, making their already unpredictable style less predictable, while Smokey Mirror kick off side B in particularly righteous fashion via the nine-minute “Sword and Scepter,” which steps forth to take ultra-Sabbathian ownership of the release even as the filthy tone of “Sucio y Desprolijo” and the loose-swinging Amplified Heat-style megashuffle of “A Thousand Days in the Desert” follow. Two bands in the process of finding their sound coming together to serve notice of ass-kickery present and future. If you can complain about that, you’re wrong.

Love Gang on Thee Facebooks

Smokey Mirror on Thee Facebooks

Glory or Death Records BigCartel store

 

Heavy Feather, Débris & Rubble

Heavy Feather Debris & Rubble

Very much a solid first album, Heavy Feather‘s 11-song Débris & Rubble lands at a run via The Sign Records and finds the Stockholm-based classic heavy blues rockers comporting with modern Euro retroism in grand fashion. At 41 minutes, it’s a little long for a classic-style LP if one measures by the eight-track/38-minute standard, but the four-piece fill that time with a varied take that basks in sing-along-ready hooks like those of post-intro opener “Where Did We Go,” the Rolling Stones-style strutter “Waited All My Life,” and the later “I Spend My Money Wrong,” which features not the first interplay of harmonica and lead guitar amid its insistent groove. Elsewhere, more mellow cuts like “Dreams,” or the slide-infused “Tell Me Your Tale” and the closing duo of the Zeppelinian “Please Don’t Leave” and the melancholy finisher “Whispering Things” assure Débris & Rubble never stays in one place too long, though one could say the same of the softshoe-ready boogie in “Hey There Mama” as well. On the one hand, they’re figuring it out. On the other, they’re figuring it out.

Heavy Feather on Thee Facebooks

The Sign Records on Bandcamp

 

Faith in Jane, Countryside

Faith in Jane Countryside

Five full-lengths deep into a tenure spanning a decade thus far, Faith in Jane have officially entered the running to be one of the best kept secrets of Maryland heavy. Their late-2018 live-recorded studio offering, Countryside, clocks in at just under an hour of organic tonality and performance, bringing a sharp presentation to the chemistry that’s taken hold among the three-piece of guitarist/vocalist Dan Mize, bassist Brendan Winston and drummer Alex Llewellyn, with Mize taking extended solos on the Wino model throughout early cuts “All is All” and “Mountain Lore” while the trio adds Appalachian grunge push to the Chesapeake’s flowing groove while building “Blues for Owsley” from acoustic strum to scorching cacophonous wash and rolling out the 9:48 “Hippy Nihilism” like the masters of the form they’re becoming. It’s not a minor undertaking in terms of runtime, but for those in on what these cats have been up to all the while, hard to imagine Countryside is seen as anything other than hospitable.

Faith in Jane on Thee Facebooks

Faith in Jane on Bandcamp

 

The Mound Builders, The Mound Builders

The Mound Builders The Mound Builders

Lafayette, Indiana’s The Mound Builders last year offered a redux of their 2014 album, Wabash War Machine (review here), but that was their last proper full-length. Their self-titled arrives as eight bruiser slabs of weighted sludge/groove metal, launching with its longest track (immediate points) in the 7:30 “Torchbearer,” before shifting into the outright screams-forward pummel of “Hair of the Dogma” and the likewise dry-throated “Separated from Youth.” By the time they get to the hardcore-punk-via-sludge of “Acid Slugs,” it’s not a little heavy. It’s a lot heavy. And it stays that way through the thrashing “Star City Massacre” and “Regolith,” hitting the brakes on “Broken Pillars” only to slam headfirst into closer “Vanished Frontier.” Five years later and they’re still way pissed off. So be it. The four-formerly-five-piece were never really all that gone, but they still seem to have packed an extended absence’s worth of aggro into their self-titled LP.

The Mound Builders on Thee Facebooks

Failure Records and Tapes

 

Terras Paralelas, Entre Dois Mundos

TERRAS PARALELAS ENTRE DOIS MUNDOS

It’s a fluid balance between heavy rock and progressive metal Terras Paralelas make in the six inclusions on their debut full-length, Entre Dois Mundos. The Brazilian instrumentalist trio keep a foundation of metallic kickdrumming beneath “Do Abismo ao Triunfo,” and even the chugging in “Espirais e Labirintos” calls to mind some background in harder-hitting fare, but it’s set against a will toward semi-psychedelic exploration, making the giving the album a sense of refusing to play exclusively to one impulse. This proves a strength in the lengthier pieces that follow “Infinito Cósmico” and “Do Abismo ao Triunfo” at the outset, and as Terras Paralelas move from the mellower “Bom Presságio” and “Espirais e Labirintos” into the more spaciously post-rocking “Nossa Jornada Interior” and the nine-minute-plus prog-out title-track that closes by summarizing as much as pushing further outward, one is left wondering why such distinctions might matter in the first place. Kudos to the band for making them not.

Terras Paralelas on Thee Facebooks

Terras Paralelas on Bandcamp

 

The Black Heart Death Cult, The Black Heart Death Cult

the black heart death cult the black heart death cult

Though one wouldn’t accuse The Black Heart Death Cult of being the first cumbersomely-named psych-rocking band in the current wave originating in Melbourne, Australia, their self-titled debut is nonetheless a gorgeous shimmer of classic psychedelia, given tonal presence through guitar and bass, but conjuring an ethereal sensibility through the keys and far-back vocals like “She’s a Believer,” tapping alt-reality 1967 vibes there while fostering what I hear is called neo-psych but is really just kinda psych throughout the nodding meander of “Black Rainbow,” giving even the more weighted fuzz of “Aloha From Hell” and the distortion flood of “Davidian Dream Beam” a happier context. They cap with the marshmallowtron hallucinations of “We Love You” and thereby depart even the ground stepped on earlier in the sitar-laced “The Magic Lamp,” finding and losing and losing themselves in the drifting ether probably not to return until, you know, the next record. When it shows up, it will be greeted as a liberator.

The Black Heart Death Cult on Thee Facebooks

Oak Island Records webstore

 

Orbiter & Roadog, Split

orbiter roadog split

I’m pretty sure the Sami who plays drums in Orbiter is the same dude playing bass in Roadog, but I could easily be wrong about that. Either way, the two Finnish cohort units make a fitting complement to each other on their two-songer 7″ single, which presents Orbiter‘s six-minute “Anthropocene” with the hard-driving title-track of Roadog‘s 2018 full-length, Reinventing the Wheels. The two tracks have a certain amount in common, mostly in the use of fuzz and some underlying desert influence, but it’s what they do with that that makes all the difference between them. Orbiter‘s track is spacier and echoing, where “Reinventing the Wheels” lands more straightforward in its three minutes, its motoring riff filled out by some effects but essentially manifest in dead-ahead push and lyrics about a motorcycle. They don’t reinvent the wheel, as it happens, and neither do Orbiter, but neither seems to want to do so either, and both bands are very clearly having a blast, so I’m not inclined to argue. Good fun and not a second of pretense on either side.


Orbiter on Thee Facebooks

Roadog on Thee Facebooks

 

Hhoogg, Earthling, Go Home!

hhoogg Earthling Go Home

Space is the place where you’ll find Boston improvisationalists Hhoogg, who extend their fun penchant for adding double letters to the leadoff “Ccoossmmooss” of their exclamatory second self-released full-length, Earthling, Go Home!, which brings forth seven tracks in a vinyl-ready 37 minutes and uses that opener also as its longest track (immediate points) to set a molten tone to the proceedings while subsequent vibes in “Rustic Alien Living” and the later, bass-heavy “Recalled to the Pyramids” range from the Hendrixian to the funkadelicness he helped inspire. With a centerpiece in “Star Wizard, Headless and Awake,” a relatively straightforward three-minute noodler, the four-piece choose to cap with “Infinitely Gone,” which feels as much like a statement of purpose and an aesthetic designation as a descriptor for what’s contained within. In truth, it’s a little under six minutes gone, but jams like these tend to beg for repeat listens anyway. There’s some growing to do, but the melding of their essential chemistry is in progress, and that’s what matters most. The rest is exploration, and they sound well up for it.

Hhoogg on Thee Facebooks

Hhoogg on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

The Heavy Co. Release Psychedelamigo Sessions Demo Collection

Posted in Whathaveyou on January 7th, 2019 by JJ Koczan

the heavy co

As will happen from time to time, every now and again a band kind of fizzles out with material that’s still in progress left unfinished. Indiana’s The Heavy Co. released their Uno Dose EP (review here) as their final offering in 2014 and had another demo session in the can, including a jam given the rather grim title of “Fuck Earth” which guitarist Ian Gerber highlights as a signal of where the band were headed. And fair enough. They were accomplished jammers during their time and well suited to that as a foundation of their material, but you know how these things go. As in, sometimes they don’t.

Thus Psychedelamigo Sessions arrives as a posthumous release, a kind of these-songs-are-here-might-as-well-do-something-with-them outing that, indeed, is better out there than not. Gerber, who offered the info below, doesn’t write off completely the notion of going back into the studio to finalize the material, but if he does or doesn’t, at least it’s documented as is.

They also still have a couple — four as of this post — tapes left of Uno Dose, which ruled, on their Bandcamp. If you’ve got eight bucks and room for a bit of groove in your life, you might consider it an investment.

Here’s the Psychedelamigo Sessions info, followed of course by the stream:

the heavy co psychedelamigo sessions

These recordings weren’t finished. I think they were done 2014. I was cleaning out my soundcloud and figured that at this point that it was fine to release these tracks as is. More of a relic showing how the band had progressed. I really liked Harry Lee and Smokey Little Number as songs. The fuck earth jam was definitely where the band was heading.

There is a very, very, very small chance that we will crack open the vaults to fix the mistakes. Therefore…here you go. This is the last material we worked on as The Heavy Co. Thanks for tuning in…

THC is:
Ian Gerber – Guitars/Vocals
Jeff Kaleth – Drums

Fuck Earth w/
Nicolae Ciobotaru – Drums
Michael Naish – Bass
Jeff Kaleth – Guitar
Ian Gerber – Guitar

https://www.facebook.com/theheavyco/
http://theheavycompany.bandcamp.com/

The Heavy Co., Psychedelamigo Sessions

Tags: , , , , , ,

Apostle of Solitude Post Original Demos; Euro Touring Starts this Week

Posted in Whathaveyou on November 7th, 2018 by JJ Koczan

apostle of solitude old pic

As they prepare to head abroad later this week to tour in Austria, France, Belgium and Germany on a run bookended by appearances at Doom over Vienna XIII and Hammer of Doom XIII, Indianapolis doomers and all around national treasure Apostle of Solitude have posted their original demos from 2005 and 2006 for name-your-price public consumption via Bandcamp. The band has said it’s a limited-time thing, so if it’s the kind of whatnot you might be interested in, you might want to get while the getting’s good.

Of course, there have been some significant changes in the band’s sound in the last 13 years, but the mournful melodies and unmistakably doomed riffing is right there from the start, central to Apostle of Solitude‘s purpose even then. They go to Europe supporting this year’s From Gold to Ash (review here) full-length, a highlight of a strong 2018 in doom, and while it’s a lot of fun to revisit “Pale, Sick Horse” from the 2005 self-titled demo or the 11-minute rawness of “Life Like Quicksand” on 2006’s Embraced by the Black, there’s just no taking away from the quality of the work they’re doing now.

You can stream both demos and the album at the bottom of this post, because I feel strongly enough about that to include three embeds:

In honor of the Apostle of Solitude 2018 European tour starting this week, we are offering Bandcamp downloads of the first two Apostle of Solitude releases (the 2005 AOS Demo and 2006’s Embraced by the Black) with the “Name Your Price” option, for a limited time. link in the comments below.

Apostle of Solitude 2018 European dates:
11.09.18 – Vienna, Austria @ Viper Room Vienna DOOM OVER VIENNA XIII
11.10.18 – Marburg, Germany @ Knubbel Marburg w/ BST & Skinjob
11.11.18 – Lomme, France @ Bobble Café w/ Nornes
11.12.18 – Deinze, Belgium @ ELPEE Café w/ Growing Horns
11.13.18 – Oldenburg, Germany @ MTS LPs and CDs w/ BST
11.14.18 – Tilburg, Netherlands @ Little Devil Bar w/ BST and King Heavy
11.15.18 – Hamburg, Germany @ Bambi Galore w/ BST & King Heavy
11.16.18 – Wurzburg, Germany @ Posthalle Wurzburg HAMMER OF DOOM XIII
11.17.18 – Saarbrucken, Germany @ Horst w/ BST

APOSTLE OF SOLITUDE is:
Corey Webb – drums
Chuck Brown – guitars, vocals
Steve Janiak – guitars, vocals
Mike Naish – bass

www.facebook.com/apostleofsolitude
twitter.com/apostledoom
apostleofsolitude.com
www.cruzdelsurmusic.com
cruzdelsurmusic.bandcamp.com
www.facebook.com/cruzdelsurmusic
twitter.com/CruzDelSurMusic

Apostle of Solitude, Apostle of Solitude (2005 Demo)

Apostle of Solitude, Embraced by the Black (2006 Demo)

Apostle of Solitude, From Gold to Ash (2018)

Tags: , , , , ,

The Mound Builders Announce Jan. 18 Release for Self-Titled Album

Posted in Whathaveyou on October 25th, 2018 by JJ Koczan

The Mound Builders

It’s been a while since The Mound Builders made their debut with Strangers in a Strange Land (review here). Like, that was apparently 2011. Of course, they’ve hardly been idle since then, playing shows and releasing splits and EPs like Wabash War Machine (review here) in 2014. Still, if they were going to release a second album — hey, some bands don’t — it was probably time to do that. Thus arrives the bombast of The Mound Builders by The Mound Builders, set for release in the New Year via Failure Records and Tapes. What hath time wrought upon the Lafeyette, Indiana, sludgesters? I won’t pretend to know, but I’ve got a zip file on my desktop that’s going to let me find out, and needless to say, I’ll keep you posted.

No public audio yet, but the trusty PR wire brings album art and info, so have at it:

The Mound Builders The Mound Builders

The Mound Builders – The Mound Builders

Broadly speaking, bands that fall under the umbrella term of riff-worshippers – encompassing stoner, doom, and sludge metal – can fall under one of two categories. The majority of bands are content to walk (high as a kite) through the hills and valleys of their forefathers. A few, however, endeavor to take the tools that these legendary acts left and create new landscapes. Thus, we discover The Mound Builders from Indiana. While the blood of High on Fire, Buzzov*en and Crowbar among others flows through their veins, the resultant mix on their sophomore self-titled resembles the freshest dirt dug up for construction.

The most striking initial fact that jumps out on The Mound Builders is the fearless shift between tempos – instead of maintaining a reassuring tempo as many of their peers, they go from punk-inflected raging “Hair of the Dogma” to sludge metal swagger on “Separated From Youth”, stoner-thrash on “Star City Massacre” to vitriolic rough-and-tumble on closer “Vanished Frontier” – the latter of which has a stand-out vocal performance. The occasional pedal-manipulated solo wails out of nowhere – expertly handled by Brian Boszor, while the low end sounds both crisp and punishing as Robert Strawsma and Jason “Dinger” Brookhart hammer out relentless rhythms. You can spend any number of spins only hazarding a guess at influences, but the final result is a band who have their sound dialed in and know exactly how to wield it for maximum effect.

Narrating over the trio is the maniacal Jim Voelz, whose shrieks recall the great Johnny Morrow, and his growls echo the pains of the various strands of history from which the band draw lyrical inspiration, whether ancient tales or more recent life in their native Midwest, the grand cosmos or down here on Planet Earth. “It’s gonna be a massacre”, Jim warns, before another solo power-slides into existence, and it’s not long before the song in question comes to a crashing close.

It’s been seven long years since their début full-length Strangers in a Strange Land, and The Mound Builders have made good use of that time in their craft. Their self-titled is a step up and a step closer to honing that perfect mixture between so many styles. For now, they’ll just keep building and playing.

The Mound Builders will be released on Jan 18 2019.

Tracklisting:
1. Torchbearer
2. Hair of the Dogma
3. Separated From Youth
4. Acid Slugs
5. Star City Massacre
6. Regolith
7. Broken Pillars
8. Vanished Frontier

The Mound Builders live:
11.3.18 – Melody Inn – Indianapolis, IN
11.9.18 – Hobart Art Theatre -Hobart, IN
11.10.18 – Fireside Inn- Detroit, MI
12.8.18 – North End Pub – Lafayette, IN

The Mound Builders are:
Brian Boszor – Guitar
Jason “Dinger” Brookhart – Drums
Ryan Strawsma – Bass
Jim Voelz – Vocals

http://www.facebook.com/themoundbuilders
https://twitter.com/themoundbuilder
https://www.instagram.com/themoundbuilders/
https://themoundbuilders.bandcamp.com/

The Mound Builders Split w/ Pale Horseman (2016)

Tags: , , , , ,