Posted in Whathaveyou on April 2nd, 2013 by H.P. Taskmaster
The lineup is admirably varied and unflinchingly heavy, and Doom in June III is set to take place June 1, 2013, at the Cheyenne Saloon in Las Vegas, Nevada. Tickets for the day-long get-down are now available via the link embedded below in the info sent down the PR wire:
DOOM IN JUNE III MUSIC FESTIVAL
Saturday, June 1st, 2013
The Cheyenne Saloon in Las Vegas
April 2, 2013 – Las Vegas, NV — The celebrated DOOM IN JUNE MUSIC FESTIVAL returns for the third time on Saturday, June 1st, 2013 with some of the coolest names in Doom, Stoner Rock and Metal. The event provides a full day of immersion into some of the greatest music of the genres, drawing people from around the world to Las Vegas to get down and get rockin’. Prepare for another wicked dose of the heaviest of the heavy.
Remaining true to the original format, Doom In June III kicks off the summer on the first weekend in June. Thirteen bands are confirmed – including many established acts — as well as providing an opportunity for guests to catch some of the brightest young talents. The venue offers a carefree, good time environment which is why bands and guests alike look forward to returning to The Cheyenne Saloon (3103 N. Rancho Blvd.).
Performances include THE SKULL featuring former TROUBLE vocalist Eric Wagner and bass player Ron Holzner offering the best of Trouble; legendary ‘80s cult favorites MANILLA ROAD; instrumental power trio KARMA TO BURN, ANCESTORS, New Mexico’s LAS CRUCES, CASTLE, SNAIL; Monster Magnet guitarist’s Ed Mundell’s new band ULTRA ELECTRIC MEGA GALACTIC; Las Vegas’ female-fronted doom four-piece DEMON LUNG — who will celebrate the event as a record release show for their highly anticipated debut album on Candlelight Records; a couple San Diego area bands DALI’S LLAMA and ALBATROSS OVERDRIVE and two promising locals opening the day – MEGATON and SPIRITUAL SHEPHERD.
Doors are at 1:00 pm and event features thirteen bands performing for twelve hours on one stage. Tickets now on sale atwww.brownpapertickets.comfor only $16 advance. Rooms are available at The Fiesta Rancho Hotel/Casino which is located very close to the Cheyenne Saloon and offers affordable accommodations.
For more information email email@example.com or visit Doom In June III on Facebook atwww.facebook.com/doominjune. Event sponsors include Fly PR, Heavy Planet, Planet Fuzz, Doom Metal Alliance, All That Is Heavy Shop and Hellride Music.
Posted in Whathaveyou on March 19th, 2013 by H.P. Taskmaster
Heavy Psych Sounds is the Italian imprint headed up by Gabriele Fiori of heavy rockers Black Rainbows. Having previously issued material from his own band and tourmates like Naam and Farflung, Fiori now turns his attentions to influential riff-bearers Karma to Burn, who’ll release a snazzy new EP through Heavy Psych Sounds with three unreleased songs and three alternate versions and Alan Forbes artwork.
Looks pretty killer. You can check out Fiori‘s more colorful post about it on the forum or just see the info below and groove for a bit on the trailer for the release. Either way, it’s new Karma to Burn, so you can’t lose:
HELLO PEOPLE !!! Heavy Psych Sounds records is excited and honoured to announce HPS008 KARMA TO BURN ep featuring 3 unreleased tracks: “53-54-space tune” and 3 alternative versions of: “41-42-47″ the great artwork is made by ALAN FORBES HPS 008 is released in 3 different coloured 12″ vinyl
Okay, so maybe these two bands are stand-ins for bigger ideas, but think about it this way: The central question in looking at defunct Dutch psych proggers 35007 (on my mind following their inclusion in this month’s podcast) and reborn West Virginian riff bashers Karma to Burn is what do you want from an instrumental band? Do you want extensive musical exploration born out of freeform or structurally open jamming, or do you want head-down, driving rock, just without some singer guy blathering on about motorcycles and hey whoa baby yeah?
By way of examples, let’s take 35007‘s 2005 swansong, Phase V, and what was then Karma to Burn‘s second album, 1999′s Wild Wonderful Purgatory, which was the record that established them as an instrumental act following their 1997 self-titled debut. The 35007 made a bed of odd time signatures and underlying experiments in synth, resulting in a varied, eclectic presentation, where Karma to Burn‘s sophomore outing is among the most straightforward stoner rock albums, period. If it was any more stripped down, they wouldn’t be playing.
I’m not necessarily championing either as the best in the band’s catalog (though I’ll argue for Phase V in that regard), but looking to get a discussion going on what you want when you listen to instrumental heavy rock. Karma to Burn and 35007 — both pivotal and highly influential bands who got started around the same time in the early/mid ’90s — stand for very different things musically while still roughly residing in the same genre. So let’s do this:
Is it the expanded creative realm of 35007?
Or the balls-out, bullshit-free classicism of Karma to Burn?
You know the drill by now. These posts are always about having some fun, so wherever you stand, make sure you leave a comment below. I’m looking forward to seeing how this one turns out.
Posted in Whathaveyou on November 10th, 2011 by H.P. Taskmaster
While we’re doing super-news day, I read this a couple minutes ago in an update from Ghost Road Touring on Thee Facebooks. Obviously still kind of vague, but even if this is rumor at this point, it’s the kind I’m happy to help spread:
Legendary Viral Fuzz Lords, Truckfighters (Sweden) and Very Special Guests, Instrumental Mountain Rock Pioneers Karma to Burn (US), have announced plans for a full American tour for March 2012.
Please don’t miss this opportunity to see one of the best US club shows of 2012!
Posted in Reviews on September 7th, 2011 by H.P. Taskmaster
I don’t get down that way as often as I used to, but once every year and a half or so, Asbury Park does me just right. Last night was one such occasion. I left the office a bit after 8PM, sloshed my way through the rain Southbound on the world famous Garden State Parkway, down to admirable Asbury mainstay The Saint, where West Virginian instrumental riffers were joined by Jersey‘s own The Atomic Bitchwax and The Ominous Order of Filthy Mongrels, who were about halfway through their set when I forked over my $12 and got in.
Despite having On the Radar-ized them as far back as last April, and despite my fandom of guitarist Mike Schwiegert and vocalist Kevin LeBlanc‘s prior bands (Lord Sterling and A Day of Pigs, respectively), and despite living a mere 90 minutes away, it was my first time catching The Ominous Order of Filthy Mongrels live, and I was glad to have the chance to do so. They’ve got some classic crossover in their sound that they offset with noisy crunch and thick tones, and with their first full-length reportedly in the can, there seems to be much more to look forward to.
The five-piece were something of a standout on the bill for how aggressive they were, but there was no denying the formidable presence they brought to the stage. LeBlanc is a natural frontman who plays to the strength of his screams, and Schwiegert — joined on guitar by Dave Anderson — excellently displays his hardcore roots without giving in to East Coast chest-thumping cliche. The material they played was pummeling, and it looked as though they were having fun finding out just how heavy they can be.
The Atomic Bitchwax, on the other hand, seemed just to be having fun. Not counting the couple minutes I saw at Roadburn, it was the first I’d seen them since the release of their latest album, The Local Fuzz (review here), and while they capped their set with about 20 minutes of that 42-minute instrumental riff-fest, they ran through a handful of other songs first, including “So Come On,” “Shitkicker” and the Core cover, “Kiss the Sun,” which served as a reminder of just how much a part of the Bitchwax guitarist/vocalist Finn Ryan has become since coming on board prior to the release of 3 in 2005.
Rightfully so since he used to be in Core, Ryan took lead vocal on that song as per usual, but bassist/vocalist Chris Kosnik seems to have stepped back on some of the material from 3 and 2009′s TAB4 as well — “Destroyer” from the former comes to mind — though both had smiles on their faces for “Gettin’ Old” from the band’s classic 1999 self-titled debut. The Atomic Bitchwax being rounded out by “Monster Bob” Pantella on drums, Kosnik is the only remaining founding member, but without hesitation, I’ll say their set at The Saint was among the tightest I’ve ever seen them, and I’ve seen them plenty.
Kosnik and Ryan were completely locked in on bass and guitar, their fingers rapidly making their way through the band’s signature winding riffs with speeds approaching Slayer levels at times during “The Local Fuzz.” That album probably took some flack for moving so far away from 4‘s pop-based songwriting modus — it’s easy to see it as a kind of “diarrhea of the riff” — but live, it made more sense, and it seemed almost as though the band were stripping everything down to the essential parts, and answering those who likewise denigrated 4‘s hyper-accessibility by saying, “Well, you want fuzzy riffs, here they are.” And there they were. For about 20 minutes solid.
And I guess if Karma to Burn is going to get a lead in, there probably isn’t one more appropriate than that. The trio’s anti-bullshit stance is long noted, most recently evinced on their second album for Napalm Records, V, but as they ran through a set of their numerically-titled instrumental pieces, it became increasingly clear that something was amiss, particularly with guitarist Will Mecum.
When drummer Rob Oswald (ex-Nebula) came around his kit early on to fix the foot of his bass drum, Mecum cursed audibly and with frustration. I don’t know what the situation is with the band, if he was pissed at Oswald for something or if he stubbed his toe — I refuse to speculate or spread rumors needlessly — but something had him off his game. He played much of the set like some men operate heavy machinery: with his ballcap pulled down over his eyes and his shoulders slumped in contempt.
And though he spent a significant amount of time facing the wall to the side of the stage, leaving Oswald‘s near-flatly-set toms high cymbals and bassist Rich Mullins with the task of acknowledging the audience in a manner not unlike someone trying to explain away a domestic disturbance to the cops the neighbors called, (prior to their going on, Mullins had told me the tour was, “a lot of work”), they sounded really good. It was almost in spite of themselves.
They’re clearly three very different individuals — Mecum with his grit and seemingly endless supply of riffs, Mullins with his gaunt rocker’s looks and stage presence, and Oswald the beardo wizard in back launching into impossible-looking fills — and again, I don’t know what the situation is in the band, but Karma to Burn has become so influential in heavy rock because there’s a special chemistry among the players, and that came through in the songs. They cut the set short, nixing “41″ from 2009′s Appalachian Incantation among others, and obviously it was a bad night for the band, but I didn’t leave The Saint disappointed.
The music was right on and I got to see a new band for the first time, a local staple who were mind-bogglingly tight, and an act who’ve left an indelible mark on their genre. It was a good night, I got to see some good people. For $12 on a rainy Tuesday, you can’t reasonably ask much more than that. It was a bummer that it was a bummer for Karma to Burn, but hopefully they’ll make it up on the rest of the tour, which hits Boston tonight (Sept. 7, with formidable locals Black Thai and Ichabod) and Brooklyn tomorrow, once again with The Atomic Bitchwax on the latter bill as a replacement for the apparently-defunct Black Pyramid.
More pics after the jump. Thanks to The Saint for being so brightly lit.
Posted in Reviews on May 25th, 2011 by H.P. Taskmaster
Among the many routes to take, Karma to Burn has always been one of the most direct lines to the riff. The West Virginian trio’s instrumental approach is among the most bullshit-free in all of heavy rock, and that has remained the case following their reunion in 2009. With the release of Appalachian Incantation last year (review here), guitarist Will Mecum, bassist Rich Mullins and drummer Rob Oswald (ex-Nebula) joined forces with Napalm Records and successfully began to incorporate the vocals of Dan Davies of Year Long Disaster, in which Mullins also plays, essentially merging the two bands into one, pulling double duty on joint tours, etc. Appalachian Incantation marked a successful reunion, and the aptly-titled follow-up, V, which sure enough is Karma to Burn’s fifth album overall, takes on the weighty task of re-beginning a creative development on the part of the band.
It’s not an easy thing to do. One reunion album is hard enough to pull off, but by getting back together and releasing a second full-length, you’re more or less saying that this thing has stuck and you’re rolling with it. You’re no longer a reunion band, you’re just a band. The second return album completely does away with the novelty of the first, and you reopen yourself to judgment based not on the fact that people are glad you’re back together again, but based solely on the merit of the work itself.
I doubt it’s anything Karma to Burn has lost sleep over, and if V is any indication, they’re keener on affecting a decent presentation of their sound than doing anything outlandishly new with it. No question that V is the band’s most produced album to date. Recorded by John Lousteau (who’s previously worked on albums by Motörhead, Foo Fighters and Danko Jones) at Dave Grohl’s Studio 606, the songs are crisp and clear – Mullins’ tone in particular sounds better than it ever has on a Karma to Burn record – but still in possession of some measure of the band’s original grit. There’s enough separation to enjoy Mecum’s guitar and Mullins’ bass in equal measure, and Oswald’s drums may have been replaced digitally, but if they were, it’s not offensively synthesized sounding. His snare is low and deep and serves as excellent punctuation for many of the tracks, including the sort-of-centerpiece, “The Cynic,” which is one of the three songs included on V with Davies on vocals.
Posted in audiObelisk on July 19th, 2010 by H.P. Taskmaster
Well, it’s official: There’s a whole buttload of audio streams from Roadburn 2010 for you to check out. I thought on this Monday afternoon, posting a few more to get you through whatever it is that has you sitting in front of a computer would probably be the way to go. Hope you enjoy:
Posted in audiObelisk on June 10th, 2010 by H.P. Taskmaster
Today The Obelisk is proud and thrilled to have been given permission to host the next batch of audio streams from the 2010 Roadburn Festival, which took place April 15-18 in Tilburg, Netherlands at the 013 Popcentrum. Please click the links below to listen, and enjoy.
Posted in Features on May 13th, 2010 by H.P. Taskmaster
Instrumental Los Angeles (by way of West Virginia) trio Karma to Burn have just released their first full-length since 2002 in the form of Appalachian Incantation, and are set to kick off their first US tour in support of the record tomorrow night in Brooklyn. For most bands, that would probably qualify as “busy enough,” but Karma to Burn, who officially reunited in Spring 2009 and have since had a bevvy of releases, seem to prefer their collective plate when it’s full.
Drummer Rob Oswald, guitarist Will Mecum and bassist Rich Mullins, in addition to playing as Karma to Burn, will now also be pulling duty as the band Year Long Disaster — of which Mullins was already a member — and in turn, Year Long Disaster vocalist Dan Davies has (sort of) joined Karma to Burn as their first singer since RoadrunnerRecords pressured them into having vocals on their self-titled album in 1997. Oh, and they’re apparently planning more work with John Garcia (ex-Kyuss, Slo Burn et al), who shows up on the Appalachian Incantation bonus track, “Two Times.” So there’s that as well.
If that seems like a fuck-load of information, and confusing information at that, it is, and rest assured, I don’t have any better grasp than you do, but Mullins, at least as he manages to keep it all straight in the interview conducted this past Monday, seems to have a hold on it, and that’s probably what’s most important. In our relatively short conversation (at least compared to how it usually goes around here), he not only confirmed the above, but revealed that Karma to Burn will likely be touring with The Sword in September, Monster Magnet sometime thereafter and recording a new album before the end of the year. Information abounds.
Please enjoy the interview after the jump, and if it helps, feel free to take notes. I did.
Posted in Reviews on May 10th, 2010 by H.P. Taskmaster
I always have to marvel at fans of Karma to Burn who can stand at a show and get into an argument about which was a better song, “Eight” or “Twenty Six,” as personally, I’ve never managed to sort out which numbers — since that’s how the West Virginia unit name their instrumental pieces — were which. Maybe I haven’t been paying close enough attention. Maybe I’m an asshole. All these things are possible.
In any case, after doing the reunion thing in 2009 following the release of a boxed set in 2007, two splits, a live album and a live DVD, Karma to Burn have officially begun the cycle anew with their first full-length since 2002’s Almost Heathen, Appalachian Incantation (Napalm Records). The album will no doubt delight those who’ve missed the band’s bullshit-free take on riff rock, balancing its lack of frills on the edge of minimalism without ever crossing over or coming off as pretentious in any way. It’s this balance, which no other instrumental stoner outfit has pulled off as well before or since, that Karma to Burn has been able to maintain on Appalachian Incantation, and their rock is as potent as ever for it.
Interestingly, the core trio of guitarist William Mecum, bassist Rich Mullins and drummer Rob Oswald (now ex-Nebula) chose to split Appalachian Incantation in half by means of a track with vocals, the album single, “Waiting on the Western World,” which boasts a guest appearance from Year Long Disaster’s Dan Davies. Despite the memorable riffs that permeate “41” and opener “44,” “Waiting on the Western World” comes off as an accessible nod that, yes, sometimes Karma to Burn’s methodology can be hard to keep up with. Whether it was the label or the band that put it where it is, it works and serves to give Appalachian Incantation a landmark just where one is needed.
The reunion of Karma to Burn is a story The Obelisk has been following since it was announced, and now that the resulting Scott Reeder-produced album, Appalachian Incantation, is just a week away from release on Napalm Records and the band are gearing up for a tour culminating with a performance at Rocklahoma (really?), I’m more than happy to showcase the premiere video, “Waiting on the Western World,” which features the vocals of Dan Davies of Year Long Disaster. Here it is with some PR wire whathaveyou tossed in for good measure:
Produced by Scott Reeder (ex-Kyuss, Black Math Horseman producer), Appalachian Incantation is the band’s first studio album in eight years. Known as an instrumental outfit, Karma to Burn invited two vocalists to join them for the new album: Daniel Davies of Year Long Disaster lends vocals to “Waiting on the Western World” and legendary Kyuss singer John Garcia performs on “Two Times” (exclusive to the bonus disc included with the first 2,000 copies of Appalachian Incantation).
Karma to Burn on tour:
May 14 New York, NY The Knitting Factory
May 15 WestChester, PA The Note
May 16 Baltimore, MD Ottobar
May 17 Springfield, VA Jaxx
May 19 Pittsburgh, PA 31st Pub
May 20 Charleston, WV The Sound Factory
May 21 Huntington, WV V Club
May 22 Morgantown, WV 123 Pleasant St.
May 23 Columbus, OH Ravari Room
May 24 Cleveland, OH Nehmeth’s Lounge
May 25 Detroit, MI Magic Stick
May 26 Chicago, IL Double Door
May 27 Madison, WI High Noon Saloon
May 29 Wichita, KS Lizard Lounge
May 30 Oklahoma City, OK Rocklahoma
Posted in Whathaveyou on February 25th, 2010 by H.P. Taskmaster
Fabled West Virginian instrumental stoner metallers Karma to Burn are reissuing two out of their three albums. Bet you can’t guess which ones?
Hint: It’s the two that Roadrunner didn’t make them hire a vocalist on. Zing!
Tee Pee Records via the PR wire gives the lowdown on the vinyls, plus some Euro dates. Nifty:
Tee Pee Records is very proud to announce the vinyl reissues of Wild Wonderful Purgatory and Almost Heathen from legendary stoner rock pioneers Karma to Burn. Both albums will be released on April 6th 2010 and will coincide with Karma to Burn‘s April 2010 UK/European tour.
Wild Wonderful Purgatory and Almost Heathen will each come with a 10″ vinyl of bonus material including demos from the first album, newly recorded versions of “20” and “30” and all new artwork by Alex Von Wielding.
Karma to Burn UK/European tour: 04.01.10 DE – Karlsruhe / Substage
04.02.10 FR – Paris / Nouveau Casino
04.03.10 NL – Schijndel / Paaspop Festival
04.04.10 DE – WeilderStadt / JH Kloster
04.05.10 DE – Hamburg / Molotow
04.06.10 DE – Berlin / Magnet
04.07.10 DE – Marburg / KFZ
04.08.10 DE – Köln / Underground
04.09.10 DE – Osnabrück / Westwerk
04.10.10 BE – Leuven / Het Depot
04.12.10 CH – Basel / Hirscheneck
04.13.10 CH – Zürich / Rote Fabrik
04.14.10 IT – Milano / Circolo A.R.C.I. Magnolia
04.15.10 CH – Bern / ISC
04.16.10 NL – Tilburg / Roadburn Festival
04.19.10 UK – Newcastle / Academy 2
04.20.10 UK – Glasgow / Cathouse
04.21.10 UK – Manchester / Academy 3
04.22.10 UK – Sheffield / Corporation
04.23.10 UK – Dublin / Academy 2
04.24.10 UK – Birmingham / Academy 2
04.25.10 UK – Bristol / Academy 2
04.26.10 UK – London / Garage
04.27.10 UK – Southampton / Talking Heads
04.30.10 GR – Thessaloniki / 8 Ball club
05.01.10 GR – Athens /AN Club
Posted in Whathaveyou on January 19th, 2010 by H.P. Taskmaster
Normally, I’d post the live dates here, but since I received an email directing me to West Virginia instrumetallers Karma to Burn‘s brandy-new website, I figured I’d pass along the info that way and allow others to discover the wheres and whens of the reunited trio’s latest European jaunt as I did. In case you missed it, Karma to Burn‘s Live 2009 — Reunion Tour DVD is out now thanks to Napalm Records.
Posted in Whathaveyou on November 3rd, 2009 by H.P. Taskmaster
The PR wire has it that West Virginian instrumental assassins Karma to Burn are in the studio prepping their comeback album for Napalm Records, and that they’ll also have a DVD out this December, and that they’ll be touring Europe for a month in 10 days’ time. Busy busy busy. Check it out:
Karma to Burn are currently recording their new album w/ Mathias Schneeberger (Gutter Twins) in Pasadena, California and features special guest Matt Maiellaro of Aqua Teen Hunger Force (director, writer, creator, bus driver, also producing the band’s new video for “43″). KTB has also re-recorded their hit songs “Twenty” and “Thirty” to appear on their upcoming DVD out December 15th courtesy of Napalm. The re-recorded track “Twenty” will also appear on a split 7-inch w/ ASG to be released on Volcom.
Karma to Burn Live!
USA Nov 6 2009 Spaceland Los Angeles, California w/ 16 and Totimoshi
Europe Nov 12 2009 MUZ Club N?rnberg Nov 13 2009 HDO Brandenburg Brandenburg Nov 14 2009 Titty Twister Dresden Nov 15 2009 Modra Vopice Prague Nov 16 2009 Arena Vienna Nov 17 2009 KSET Zagreb Nov 18 2009 Channel Zero Ljubljana Nov 19 2009 Circolo A.R.C.I Fidenza Nov 20 2009 Bloom Mezzago Nov 21 2009 United Club Torino Nov 22 2009 Bronson Ravenna Nov 23 2009 Sinister Noise Roma Nov 24 2009 Sabotage Bar Vicenza Nov 25 2009 Le Romandie Lausanne Nov 26 2009 Sonnenkeller Balingen Nov 27 2009 Musiktheater Piano Dortmund Nov 28 2009 SPEEDFEST Eindhoven w/ Peter Pan Speedrock,GBH, Death Angel, US Bombs Nov 29 2009 Le Grillen Colmar Nov 30 2009 GRRRNDZERO Lyon Dec 1 2009 Le Mojomatic Montpellier Dec 2 2009 La MDE Poitiers Dec 3 2009 Hotel de la musique Roubaix
UK w/ Monster Magnet Dec 5 2009 Rock City Nottingham Dec 6 2009 KOKO London Dec 7 2009 Garage Glasgow Dec 8 2009 Cabaret Voltaire Edinburgh, Scotland * no Monster Magnet Dec 9 2009 Academy 2 Manchester Dec 10 2009 Assembly Leamington Spa Dec 11 2009 Wulfrun Wolverhampton Dec 12 2009 Met University Leeds
As a loyal denizen of several of northern New Jersey‘s respected independent record stores, it’s with a heavy heart that I hereby call shenanigans on some shady-type business practices going on around here. I won’t name the stores, because the indie record shop is a dying breed (not that anything I said would have the power to kill it anyway) and I do genuinely support both establishments. Knowing what I know, I not only still bought their products, but I would and undoubtedly will do it again too.
There are two instances I wish to report: the first at a shop not too far from the valley to which I’ve been going for years now. Last week I went to pick up a new Black Sabbath bootleg, just for the hell of it, and after failing to obtain the legendary Paris 1970 show, I opted for a collection of demos from what would become Dehumanizer. Hardly the best tradeoff, but whatever. I’ll take what I can get most of the time.
You can see from the front cover (and the back cover after the jump), it’s an inkjet job. That is, whoever distributes the disc probably also manufactured it with an inkjet printer and CD burner. The decline in quality of printed bootlegs is an unfortunate consequence of the digital age, but it’s also a gripe for another time. I’ve come to accept that it’s the way things are now. When you shop for bootlegs, you’re probably going to get some homemade crap.