Mountains Sign to Rock Freaks Records; Dust in the Glare Vinyl out this Fall

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

mountains

Though it starts off showcasing some thickened All Them Witches-style psych-blues influence in its opening cut, what unfurls from there on Mountains‘ debut album, Dust in the Glare, digs into a crisp and progressive take on heavy rock by the time its gone from “Everglades” to “Towards the Woods.” An efficient delivery throughout veers toward the aggressive on “Fortess” and the closing title-track — also the only cut to cross the other side of the four-minute mark — but there’s a steady sense of atmosphere as a complement, and Dust in the Glare thereby avoids the chestbeating that so much of London’s underground can’t seem to escape.

The short full-length was originally released in March as a digital offering direct from the band — you can stream it via their Bandcamp on the player at the bottom of this post — and has been newly picked up by the Freak Valley fest-associated Rock Freaks Records for a vinyl pressing this Fall, which will also find Mountains playing shows around town with Green Lung and Wychhound.

As the PR wire confirms:

mountains dust in the glare

From the ale-swamps of the South come London based heavy-trio Mountains. Comprising of David Jupp (guitar/vocals), Chris Randall (bass) and Josh Hussey (drums), the band finalised their line-up in 2015 and began work on their debut album. In the summer of 2016 Mountains entered Rogue Studios in London to record the eight songs that would make up ‘Dust in the Glare.’

Mastered by Ed Woods (The Who, Ghost of a Thousand, Reuben) and released digitally on March 24th 2017, the record garnered great reviews from some of the big names in the scene. This momentum culminated in August 2017 with Mountains signing to German label Rock Freaks Records (Freak Valley Festival) for a run of heavyweight vinyl across white, marble and splatter variants. The release will be issued in the autumn to coincide with Mountains fall tour with Wychhound and Green Lung.

Tracklisting:
1. Everglades 03:13
2. Lonely Cities 03:59
3. Towards the Woods 02:57
4. Ten Paces 03:42
5. Keep Watch 03:04
6. Fortress 02:43
7. Ithaca 02:03
8. Dust In The Glare 04:24

Mountains live:
Sat Sept 30th – The Devonshire Arms – Camden / London
Sat Nov 11th – The Big Red – Holloway / London
Sat Nov 18th – Scream Lounge – Croydon / London
Thu Dec 14th – The Black Heart – Camden / London

Mountains are:
David Jupp – Guitar/Vocals
Chris Randall – Bass
Josh Hussey – Drums

https://www.facebook.com/mountainsuk/
https://mountains-uk.bandcamp.com
http://mountainsofficial.uk/
https://twitter.com/Mountains___
https://www.facebook.com/rockfreaksrecords/
http://www.rockfreaks.de/

Mountains, Dust in the Glare (2017)

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Review & Video Premiere: Steak, No God to Save

Posted in Bootleg Theater, Reviews on August 15th, 2017 by JJ Koczan

steak-no-god-to-save

[Click play above to watch Steak’s new video for ‘Living Like a Rat.’ No God to Save is available now via Ripple Music.]

In the nearly three years that have passed since the London four-piece made their full-length debut, Steak‘s desert rock loyalism has taken them back and forth across the UK and continental Europe for tours and appearances at festivals like Keep it Low, Reverence Valada in Portugal, Desertfest Athens, Stoned from the Underground, of course Desertfest London — of which guitarist Reece Tee is a founder/organizer — and, most recently, Bloodstock. Even prior to the arrival of Slab City (review here) via Napalm Records, their 2012 Disastronaught (review here) and 2013 Corned Beef Colossus (review here) EPs were earning them a reputation for raucous fuzz, comic-style storytelling and a formidable, growing presence in London’s crowded heavy rock underground.

The inevitable follow-up, No God to Save, finds Steak signed to respected purveyor Ripple Music out of California, and while the foursome made a point to travel to that most golden of states’ desert to record their debut — a once-in-a-lifetime chance of which any band would be foolish not to take advantage for the memory and life experience alone, never mind the actual fuzz captured at Thunder Underground — this time they’ve stuck closer to home, putting together the 10-track/48-minute offering at Titan Studios in Watford, northwest of London, with producer Steve Sears (KrokodilGallowsDiesel King, etc.). That’s a significant change of approach in itself — not to mention geography — but with the vocals of Chris “Kippa” Haley at the forefront of forward-driving cuts like “Coke Dick” and “Living Like a Rat,” Steak reemerge on their second full-length with a deeply recognizable sound in tone and structure. They sound, in other words, like themselves.

And it comes through clearly in the songwriting that their time on stage over the last few years has helped them refine the definition of what “themselves” means. While it cut its teeth in tonal buzz and a generally straightforward build of momentum, Slab City was almost inextricably tethered to the post-Kyuss vibe it actively sought. No God to Save still showcases this influence in some of Tee‘s riffing on seven-minute opener and longest track (immediate points) “Overthrow” or the later “Creeper,” but when one examines the tracklisting as a whole, that becomes only one element at work across a much broader and ultimately richer presentation. Atop the solid foundation in the rhythm section of bassist James “Cam” Cameron and drummer Sammy ForwaySteak explore more spacious vibes beginning in “Overthrow” and throughout ensuing pieces like the bass-led “Clones,” “Mountain” and the penultimate “Wickerman.”

steak photo sam mellish

“Rough House” provides some rolling middle-ground in side B, as “King Lizard” does on side A, and instrumental closer “The Ebb” brings in acoustic atmospherics complemented by a sparse landscape of electric lead flourish and dramatic piano, cymbal hits and tom thud, and with the aforementioned thrust of “Coke Dick” and “Living Like a Rat,” there’s a firm sense of dynamics at work. But it’s the shift into this more multifaceted style that most distinguishes No God to Save from Slab City and Steak‘s prior short releases, and listening to the fluidity brought to bear as “Overthrow” shifts into “Coke Dick” and “Clones” moves through “King Lizard” en route to “Living Like a Rat,” No God to Save feels built with the intention to emphasize the variety between one piece and the next, even as the flow goes uninterrupted for the duration. If one takes “Mountain” as the leadoff for side B (also the longest track there; secondary points), Steak envision even wider expanses as “Rough House,” “Creeper,” “Wickerman” and “The Ebb” push further outward from what the first half of No God to Save already proves — namely that, while still earthy in their heft and tone, Steak are interested in expressing more than played-to-style desert rock.

That becomes the prevailing impression of No God to Save as the band groove and careen along their increasingly diverse path, and while one wonders how far they’d be willing to push that impulse before snapping back to dead-ahead riff-rocking à la “Living Like a Rat” as a focal point — they’ve jammed before, to be sure, but how psychedelic can Steak get? — the fact that they’re demonstrating multiple sides of their sonic personality establishes them as a more mature and complete unit. Add to that the sharp performances of TeeCameron and Forway, the commanding frontman-ism of Haley and the depth of mix given to the material by Sears‘ studio work, and No God to Save becomes more than just a check-in from a band who had an impressive debut a couple years back and positions them all the more as a group to be taken seriously when it comes to making an impact within and beyond their regional scene. All along, Steak have been a band with marked potential. Front to back, in its individual moments of detail and its increased range, No God to Save sees that begin to pay off.

Burgeoning maturity suits Steak well, and it’s worth pointing out that even as they learn the value of offsetting balls-out drive with more patient fare, they still deliver the material on No God to Save with a markedly energetic spirit. That too can be read as derived from their experience on various stages throughout the last couple years, but it’s certainly not something that was lacking before, and of the various aspects of their approach they’re carrying forward as they grow, no question it’s a helpful one to bring along for the ride. I will not claim to know where Steak are headed when it comes to their ongoing progression, but there’s an underlying sense of craft in No God to Save that bodes remarkably well for that journey, and as they reach new terrain in sound and substance, the core of who they are as songwriters becomes even stronger in its purposes. At this point, it’s hard to see them letting that go, and nor should they.

Steak, No God to Save (2017)

Steak on Bandcamp

Steak on Thee Facebooks

Ripple Music on Thee Facebooks

Ripple Music website

Ripple Music on Bandcamp

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Uncle Acid and the Deadbeats to Reissue Vol. 1 Oct. 13

Posted in Whathaveyou on August 8th, 2017 by JJ Koczan

I’ve never heard Uncle Acid and the Deadbeats‘ first album. 2010’s Vol. 1 has been in my YouTube recommendations for years now, but I’ve blatantly refused to take it on — my position being that if I’m going to hear the super-limited, one-time-only release that started off one of the most landmark UK acts of this decade, I was going to do it right. The physical pressing. I didn’t even let it play when I grabbed the embed code to put it at the bottom of this post just now. And, well, as you can see in the PR wire info below, there were CD-Rs 30 made, and when I interviewed founding guitarist/vocalist Kevin R. Starrs back in 2015, I failed to ask him for one, so that was pretty much out. There you go. To this day, I’ve never heard Vol. 1, thinking maybe I’d run into it properly at some point or another.

Rise Above Records is about to make that much easier to do. The label that has stood behind the band since it stepped up in 2012 to issue their 2011 breakthrough, Blood Lust (discussed here), along with the subsequent offerings, 2013’s Mind Control (review here) and 2015’s The Night Creeper (review here), will oversee a first official pressing of Vol. 1 on Friday, Oct. 13, with a new mix and master by Starrs himself. It’s been kind of a quiet year for Uncle Acid so far, at least relative to the amount of touring they did in 2015/2016, and as such a perfect opportunity for the band to recount their beginnings to what’s now a vast and global audience. Myself included.

From the PR wire:

uncle-acid-and-the-deadbeats-vol-1

Rise Above Records To Release Uncle Acid The Deadbeats’ “Vol 1” Friday October 13th

First released on Friday February 13th, (40 years to the day after Black Sabbath’s debut LP), “Vol 1” was the first efforts of unknown songwriter, Kevin Starrs. Pressed in small numbers for a non existing fan base, the album took several months to shift all 30 CD-R copies and provided a small platform to fund its follow up, “Blood Lust” (2011).

Recorded on a tight budget of stashed dole money and with little knowledge or regard for conventional recording techniques, the chaotic results speak for themselves;

Distorted vocals, out of tune harmonies, ragged musicianship and everything pushed to the red. The clatter of mic stands falling over mid performance, the rustling of lyric papers, the missed key changes and flubbed lines. Everything you would want to avoid is here. Self-funded, self-recorded and self released to a fanfare of silence, “Vol 1” was a true D.I.Y. effort from start to finish. No great ambition, no target audience, no press support. Just a collection of songs for anyone who would listen. With it’s mix of budget horror lyrics, Everly Brothers obsessed harmonies, downer rock riffs, overly long guitar solos and bizarre high pitched vocals, “Vol 1” had very limited appeal outside a small group of underground fanatics.

In the years following, the album became something of a cult curiosity. Despite the shoddy work of bootleggers and impatient collectors, Starrs refused to re release the album until he could work on its remix and oversee the mastering. “It was a D.I.Y project from the beginning so I wasn’t going to give it up and let someone else mess with it. I also wasn’t going to cash in on something for the sake of it. I wanted it to sound the best that it possibly could. The record deserves my full attention, so with no new album to distract anyone in 2017, it was the perfect time to work on it and release it on CD and Vinyl. It can stand on its own… flaws included.”

So here it is, “Vol 1” in all its ragged glory… finally mastered and mixed for this release.

Enjoy.

“Vol 1” Track Listing:
1. Crystal Spiders
2. Witches Garden
3. Dead Eyes of London
4. Lonely and Strange
5. Vampire Circus
6. Do What Your Love Tells You
7. I Don’t Know
8. Wind Up Toys

https://www.uncleacidband.com
https://www.facebook.com/uncleacid/
https://www.facebook.com/riseaboverecords/
http://www.riseaboverecords.com/

Uncle Acid and the Deadbeats, Vol. 1 (2010)

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Motörhead Announce Under Cöver Collection Due Sept. 1

Posted in Whathaveyou on July 28th, 2017 by JJ Koczan

Motörhead were a band for more than 40 years, and one imagines that between collections like this one, live records, best-ofs, remasters, anniversary editions, definitive editions, original restorations and so on, there will be at least another 40 years’ worth of material coming from them, despite the fact that 2015’s Bad Magic (review here) remains their swansong as regards proper studio albums owing to the death some months later of bassist/vocalist/legend Lemmy Kilmister. Under Cöver combs a 20-year-plus span to find Motörhead‘s takes on the likes of David Bowie, the Rolling Stones, Judas Priest, The Ramones, etc., and it’s available to preorder now ahead of a Sept. 1 release.

The PR wire brings details and the tracklisting:

motorhead under cover

MOTÖRHEAD to Release “Under Cöver” Album on September 1, 2017

One thing Lemmy Kilmister, Phil Campbell and Mikkey Dee liked to do throughout their years together in MOTÖRHEAD was grab a favorite song by another artist and give it a good old fashioned ‘Motörheading’. To run them through the Motörizer, if you will. To rock them, roll them and even give them an extra twist and edge.

In celebration of some of those finest moments, the band will release Under Cöver, a collection of some of their best covers, and a collection which will include the previously unreleased version of David Bowie’s timeless classic “Heroes”. Recorded during the Bad Magic sessions in 2015 by Cameron Webb, and was one of the last songs the band recorded together.

Under Cöver will be available in 1CD (Digipak), 1x 180 grams Black Vinyl in gatefold, Super Deluxe Boxset (1CD digipack, 1x 180 grams black vinyl and VIP guest pass), Digital Audio and MFiT Audio.

Pre-order links as follows:
CD: http://hyperurl.co/MHUnderCoverCD
Vinyl: http://hyperurl.co/MHUnderCoverLP
Boxset: http://hyperurl.co/MHUnderCoverBS
iTunes: http://hyperurl.co/MHUnderCoverIT

“It’s such a great Bowie song, one of his best, and I could only see great things coming out of it from us, and so it proved to be,” says Phil Campbell, “and Lemmy ended up loving our version.”

“He was very, very proud of it,” says Mikkey Dee, “not only because it turned out so well but because it was fun! Which is what projects like this should be – fun!”

To that ethic, the rest of the album contains loud and proud, raucous and raging rock ‘n’ roll takes on the likes of “God Save The Queen” (Sex Pistols), “Cat Scratch Fever” (Ted Nugent), “Rockaway Beach,” (The Ramones), Breaking The Law” (Judas Priest) and “Whiplash” (Metallica) which earned the band a Grammy in 2005 for Best Metal Performance.

“We were happy with them at the time and we’re happy with them now!” affirms Campbell, whilst Dee says, “We should remember that it’s about having some fun with songs that we all loved.”

If that doesn’t have you scrambling for your music delivery device, then check your pulse pronto. Or just start scrambling for a copy of Under Cöver immediately. You won’t be sorry.

Under Cöver Track listing
1. Breaking the Law (Produced by Cameron Webb) 2008
2. God Save the Queen (Produced by Bob Kulick and Bruce Bouillet) 2000
3. Heroes (Produced by Cameron Webb) 2015
4. Starstruck (Produced by Cameron Webb) 2014
5. Cat Scratch Fever (Produced by Peter Solley) 1992
6. Jumpin’ Jack Flash (Produced by Bob Kulick and Bruce Bouillet) 2001
7. Sympathy for the Devil (Produced by Cameron Webb) 2015
8. Hellraiser (Produced by Billy Sherwood) 1992
9. Rockaway Beach (Mixed by Cameron Webb) 2002
10.Shoot ‘Em Down (Produced by Bob Kulick and Bruce Bouillet) 2001
11. Whiplash (Produced by Bruce Bouillet and Bob Kulick) 2005

All songs performed by MOTÖRHEAD.

MOTÖRHEAD is:
Lemmy Kilmister – Bass/Vocals
Phil Campbell – Guitar
Mikkey Dee – Drums

https://www.facebook.com/OfficialMotorhead/
https://twitter.com/myMotorhead
https://www.instagram.com/officialmotorhead/
http://imotorhead.com/

Motörhead, “Breaking the Law”

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Savoy Brown Announce New LP Witchy Feelin’ Due Aug. 25

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

savoy-brown-Photo-Jim-Summaria

Led by founding guitarist vocalist Kim Simmonds, UK blues rock forebears Savoy Brown will release a new studio full-length, Witchy Feelin’ via German imprint Ruf Records next month. One might ask any number of internet-based oracles how many records Savoy Brown has put out since the band’s inception in 1965, but suffice it to say that even if one doesn’t count live releases, greatest hits collections, other compilations and so on, the number ranges upwards of 30. It’s the kind of no-rest-for-the-wicked discography that can result from a truly creative, passionate heart, and an absolute refusal to do anything but press forward despite whatever challenges invariably arise across years and decades.

I haven’t seen a preorder link for Witchy Feelin’ as yet, but if you’re looking to dig into the Savoy Brown catalog beyond the late-’60s/early-’70s era, or even in that era, it’s not like there’s a lack of options out there. The PR wire sent over the following notice:

savoy brown witchy feelin

new studio album coming from seminal British blues band SAVOY BROWN

Being released August 25, 2017 on Ruf Records, veteran British Blues band Savoy Brown’s Witchy Feelin’ proves the Devil still has all the best tunes. From the thrillingly brittle guitar riff that opens Why Did You Hoodoo Me, we are in the hands of a master, with founding member Kim Simmonds reigniting the seismic vocals and searing fretwork that established Savoy Brown as linchpins of the ’60s British blues boom. “On this album, I tried my best to get my voice in its power zone,” he explains. “I’m a baritone singer. I like listening to singers I can relate to, such as J.J. Cale, Mark Knopfler, Tony Joe White and Tom Rush. For my guitar playing, I still get inspiration from Otis Rush, Buddy Guy and all the Chicago players I grew up listening to back in ’63… but I always listen to new music too.”

Recording alongside Pat Desalvo (bass), Garnet Grimm (drums) and engineer Ben Elliott, Simmonds leads us into a world of dark nights, wild weather, women and whiskey: all perennial themes given a modern twist by this ageless bluesman. “The songs on this album have been two years in the making,” he reflects. “I tried to write songs that had a personal point of view yet can be relatable to everyone. On Vintage Man, I wrote about being the type of guy who doesn’t change as he gets older. I wrote about the power of love on Why Did You Hoodoo Me. And with Guitar Slinger, I wrote a song about seeing a great guitar player in an old country bar – as I did when I first saw Roy Buchanan in ’69.”

Blues is not for the faint-hearted. Since the genre first drew breath, its greatest practitioners have embraced the darkness, spinning tales of hardship and death, hellhounds and devilry. If the sleeve of Witchy Feelin’ suggests that Kim Simmonds, too, has a tendency towards the macabre, then Savoy Brown’s iconic leader is happy to confirm it. “Blues has always dealt with themes of the Devil, witchcraft and so forth, and I’ve always written along those lines. At least three of the songs on Witchy Feelin’ have that hoodoo vibe…”

Anyone who witnessed Savoy Brown leave the blocks in 1965 would speak of a similar epiphany. Back then, the band were the spark that ignited the blues-boom, signing to Decca, opening for Cream’s first London show and boasting a lead guitarist who was being namedropped in the same reverential breath as peers like Clapton and Hendrix (with whom Simmonds jammed). Already, the guitarist was emerging as the band’s driving force. “I had a vision,” he reflects. “When I started the band back in 1965, the concept was to be a British version of a Chicago blues band. And the exciting thing now is, that vision is still alive.”

Even in the post-millennium, while his peers grow soft and drift into semi-retirement, Simmonds retains a vision and an edge, spitting out acclaimed albums that include 2011’s Voodoo Moon, 2014’s Goin’ To The Delta, 2015’s The Devil To Pay – and the emphatic new addition to Savoy Brown’s catalogue, Witchy Feelin’. “I’m amazed that I still have the energy inside me to play guitar, create music and write songs,” he considers. “I’ve been blessed in my life and I thank God for that. I’ve never been a believer in holding on to the past – I don’t look over my shoulder and congratulate myself. I always want to climb the next mountain – and I’m very pleased with this new album…”

http://www.savoybrown.com
https://www.facebook.com/SavoyBrownKimSimmonds/
https://www.twitter.com/savoy_brown
http://www.rufrecords.de/
http://www.facebook.com/RufRecords
http://www.twitter.com/RufRecords

Savoy Brown, “When You’ve Got a Good Thing”

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With the Dead Announce New Album Love from With the Dead out Sept. 22

Posted in Whathaveyou on July 13th, 2017 by JJ Koczan

with the dead ester segarra

If you were thinking you had a grip on what the rest of 2017 had to offer in doom, don’t forget to put With the Dead on your wishlist. The Lee Dorrian-fronted group — which now along with guitarist Tim Bagshaw of Ramesses also features bassist Leo Smee (formerly a bandmate of Dorrian‘s in Cathedral) and ex-Bolt Thrower drummer Alex Thomas — will follow-up their 2015 self-titled debut (review here) on Sept. 22 with Love from With the Dead, a record that will attempt to outdo the first outing’s utter sense of decay and disaffection.

Rest assured, it has its work cut out for it in that effort, but if you don’t believe With the Dead can go darker, heavier and more completely-fucked than they already were, you should take another look at that lineup above. I’m putting in an early bet that this one’s going to be a god damned monster. Hopefully more to come.

Fresh off the PR wire:

with-the-dead-love-from-with-the-dead

With The Dead To Release Sophomore Album “Love From With The Dead” September 22nd via Rise Above Records

Doom is all around us. The optimism of a new millennium has steadily disintegrated. The light at the end of the tunnel turned out to be a burning tower block and the powers-that-be are dancing in the smoldering ruins. Humanity is eating itself and we’re all terminally fucked. As a result, it makes perfect sense that the emergence of British doom metal mavens With The Dead would strike a dissonant chord with so many people. Formed in 2014 by former Cathedral/Napalm Death frontman and Rise Above Records boss Lee Dorrian and ex-Electric Wizard/Ramesses bassist/guitarist Tim Bagshaw, the band coalesced in a monetary burst of spontaneity and shared fury, resulting in the release of their eponymous debut album in 2015: one of that year’s most widely acclaimed releases and a welcome shot in the arm for fans of merciless, unrelenting sonic despair.

Hell-bent on staking a further claim to be doom metal’s most intense and remorseless practitioners, With The Dead have now completed work on their second album, “Love From With The Dead”, which will be released September 22nd on Rise Above Records. Comprising tracks recorded during two separate sessions with celebrated studio guru Jaime Gomez Arellano, the new material represents the first fruits of the band’s recently retooled line-up. Joining Lee and Tim are bassist Leo Smee and drummer Alex Thomas, who replaces the departed Mark Greening.

For those who flinched at the sheer, unforgiving brutality of With The Dead’s first record, the songs on “Love From With The Dead” are liable to cause major emotional trauma. Darker, denser, more despondent and sickeningly heavy in numerous senses of the word, this is an album that re-establishes doom as a genre that embraces the extreme and not just some cozy, nostalgic reimagining of the early ’70s. “Love From With The Dead” grimly extinguishes the light of hope and hammers home the hatred and futility that plagues our brief and brittle lives.

“The thinking was that the first LP was meant to be the heaviest we could possibly make, but then what do you next?” Lee muses. “Well, the only thing you can do is make the next one even heavier. So that was the ambition and the intention, to make it even more crushing. But to be able to do that you have to be crushed yourself. This last couple of years have been quite soul-destroying. There’s been a lot of personal shit going on, and during this whole process so much fucking bad shit has happened in my personal life and other people’s personal lives. Everything you hear on this LP, the angst is very real. I’ve never felt so disillusioned with life and the world around me, not since the first Cathedral album,” says Lee Dorrian.

He continues, “I’m 50 next year and you’re supposed to mellow out when you get older, but why?” Lee asks. “I don’t feel like mellowing out. The world’s getting worse, the atmosphere is getting heavier, people treat each other like shit and there’s so much negativity, how are you supposed to chill out when all that’s going on? I’m in a privileged position to be able to be in a band like this, so why fuck around? The band’s called With The Dead and it’s a doom band, why would you want to mellow out? It’s got to be pure nihilism or nothing.”

“Love From With The Dead” Track Listing:
1. Isolation
2. Egyptian Tomb
3. Reincarnation of Yesterday
4. Cocaine Phantoms
5. Watching the Ward Go By
6. Anemia
7. CV1

https://www.facebook.com/withthedead/
https://www.facebook.com/riseaboverecords
http://www.riseaboverecords.com

With the Dead, “Living with the Dead”

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Orange Goblin Announce Only US Appearance of 2017

Posted in Whathaveyou on July 10th, 2017 by JJ Koczan

orange goblin

The last few years have been once of marked dominance for Orange Goblin. They’ve emerged as a central point of influence for a massive underground movement in their hometown of London, and as they set their eyes on broader territory — i.e. touring, everywhere — they couldn’t seem to find a stage they didn’t subsequently crush. In the meantime, records like 2014’s Back from the Abyss (review here) and 2012’s A Eulogy for the Damned (review here) — as well as the 2013 live album, A Eulogy for the Fans (review here) — went a long way toward earning Orange Goblin wider respect that they’ve long since deserved.

And they’ve stepped rightly into focus as a headlining act, on tour and otherwise. They just hit Download, play SonicBlast Moledo 2017 next month, and this Fall, they’re already confirmed to take part in Desertfest Athens 2017 and Up in Smoke 2017. Then there was that time that drummer Chris Turner apparently got to hang out with Tony Iommi, which is always a win. Amid the nebulous notion of “working on” their ninth studio full-length, the band signed to Spinefarm Records in March 2016 prior to headlining at Freak Valley, and today they announce they’ll join such major commercial properties as Ozzy Osbourne, Rob Zombie and Marilyn Manson at this year’s Ozzfest Meets Knotfest which (1:) is apparently a thing that exists and (2:) will mark their only US appearance for 2017.

They teased the announcement over this past weekend, and while I’ll be honest and say I was hoping for news about their next album, it’s good to see them continuing to get the respect and recognition they’ve long since earned on a bill like this one.

Word follows via the social medias:

ozzfest meets knotfest 2017

ORANGE GOBLIN FOR OZZFEST MEETS KNOTFEST 2017!!

It is an honour to announce that Orange Goblin will return to the US later this year to play the biggest Heavy Metal Festival in America…Ozzfest Meets Knotfest!

This will be an exclusive and the ONLY US show for the band in 2017.

Tickets on sale Friday July 14 @ 10AM Pacific Time.

See you there!

Orange Goblin is:
Ben Ward – Vocals
Joe Hoare – Guitar
Martyn Millard – Bass
Chris Turner – Drums

https://www.facebook.com/orangegoblinofficial/
http://twitter.com/OrangeGoblin1
http://www.orange-goblin.com/
https://www.facebook.com/spinefarm

Orange Goblin, A Eulogy for the Fans (2013)

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Ancient Lights Sign to Ritual Productions

Posted in Whathaveyou on July 10th, 2017 by JJ Koczan

A new project with members from 11Paranoias and Switchblade? I’ll check that out. Sign me up. One of the best things Adam Richardson ever did was set up Ritual Productions as an outlet, first for his own work with Ramesses and subsequently as a place to release like-minded groups — looking at you, Bong — and those who take sonic cultistry beyond lyrics about the devil or killing ladies and to a place of genuine volume worship.

Ancient Lights, in which Richardson plays bass and handles vocals, posted an early jam on their Thee Facebooks, and I’d embed it if I could, but it sounds immediately like heady stuff that’s right in line with the kind of sonic gruel one might expect. Will be interested to hear what comes of the new outfit as they move forward, but as an initial welcome, it’s easy enough to dig the way they’ve said hello.

More to come, I hope.

From the PR wire:

ancient lights

RITUAL PRODUCTIONS INTRODUCES NEW SIGNING, ANCIENT LIGHTS; MEMBERS TAKEN FROM BANDS INCLUDING 11PARANOIAS, RAMESSES, 5IVE, INTRCPTR, SWITCHBLADE

Ritual Productions have a new offering for the masses – Ancient Lights – comprised of members from esteemed bands of the darkened palette, 11PARANOIAS, Ramesses, 5ive, INTRCPTR and Switchblade. The origins of our new signing comes after 13 unholy years of jammed discourse and psychic plotting between Adam Richardson (11PARANOIAS, Ramesses) and Ben Carr (5ive, INTRCPTR), with the optimal addition of Tim Bertilsson (Switchblade) catalysing the final reality of this band.

The band met in the early 2000s whilst playing shows together and they envisaged a future musical project…however distant that may be. 2017 now sees the manifestation of such surreptitious sonic scheming and the subsequent integration of the members within a united space – considering the trio all live in different countries. The band recorded their debut RITE in North London under the spell of the summer solstice sky which is currently in the mixing process. Prepare to be suffused!

ANCIENT LIGHTS IS:
Adam Richardson (bass/vocals)
Ben Carr (guitar)
Tim Bertilsson (drums)

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11PARANOIAS, “Milk of Amnesia” official video

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