Posted in Reviews on November 11th, 2015 by H.P. Taskmaster
Newly-formed trio With the Dead make zero effort to hide their malevolent intent. As frontman Lee Dorrian said in a recent interview here, they wanted to make, “the most depressive, soul-destroying heavy record we can possibly make between us,” and the six songs/42 minutes of their self-titled Rise Above Records debut bleed that intent front to back. Dorrian, both formerly of Cathedral and the head of Rise Above, adds his signature vocal declarations to the filth laden sludge ritual riffing of guitarist Tim Bagshaw (also bass) and the plod is pushed along by drummer Mark Greening.
Both Greening and Bagshaw were founding members of Electric Wizard, who also of course worked with Rise Above for years, but if anything is going to prevent With the Dead being pigeonholed as the “People Screwed Over by Jus Oborn Club,” it’s the album itself. More akin to the obscure, extreme drear proffered by Greening and Bagshaw together in Ramesses — though the lead of “I am Your Virus” has a touch of witchculting to it — With the Dead ultimately stands apart even from that in its vicious aural force and singular darkness. There are elements of preaching to the converted, which is to say that if With the Dead is the first doom record you’ve ever heard, your appreciation for it will be somewhat one-dimensional, but honestly, these songs have such a starting-point feel to them that I doubt audience was a consideration one way or another. Still, as doom for doomers, it stands among the top debuts and most crushing albums of 2015, and absolutely cakes itself in dirt and muck to meet its stated goal.
In a way, that’s the story of the thing. They made the album to be unreasonably heavy and succeeded.
It is not a record rife with nuance, and while the recording job by Jaime Gomez Arellano allows for an abyss of depth to the mix, With the Dead are much more concerned with bludgeoning than impressing with their subtlety. That’s true as feedback and odd sampling starts “Crown of Burning Stars,” which launches the album with a mid-paced roll that signals their immediate sonic dominance. Specifically to Dorrian‘s credit as the lyricist, he brings a hook to each of these tracks, and that of “Crown of Burning Stars” is particularly memorable as the leadoff, giving way to the faster “The Cross,” wherein a torrential riff races forward into chaos marked out by churning rhythms and, in the second half, some sampled Latin praying over a languid but thoroughly doomed solo. Bullshit factor: zero.
Closing out side A is “Nephthys,” a paean to the Egyptian goddess of the dead, which finds itself in comfortable nod as Bagshaw‘s riff opens up to Dorrian‘s effects-laden vocals. In addition to the chorus, Dorrian takes a page out of Black Widow‘s book, repurposing the “Come to the Sabbat” cadence of “Come, come, come to the sabbat/Come to the sabbat/Satan’s there,” into “Come, come, come to me Nephthys/Come to me Nephthys/I’m waiting here.” The affect is no less ritualized than the original, and Greening‘s toms plod out beneath the chant, punctuating and bolstering the words before Bagshaw takes over on a solo and they close out with noise and feedback.
For those who’d indoctrinate themselves into With the Dead‘s tumults and stretches of outright slaughter, “Living with the Dead” will no doubt be a highlight. After a quick sample, the song slams in and immediately chugs out the first line repeating the title. A defining moment for the album, its hypnotic through the guitar work of Bagshaw and and the lyrical repetitions, but more, it speaks to the kind of brutal decay on offer throughout. Later, the track offers as close to a “letup” as With the Dead ultimately come in a midsection break of organ, sparse guitar and drums that builds its way back up at around four and a half minutes in, at which point the riff that will lead the way out is established and ridden hard for the remaining three minutes, some far-back shouts providing a human touch early but giving way to the guitar, bass and drums soon enough. The subsequent “I am Your Virus” has a break of its own, but it’s shorter and the surroundings are overall less destructive, a companion piece for “The Cross,” though not nearing the same tempo, and when Greening crashes to start closer “Screams from My Own Grave,” it’s a clear signal of the slog that’s about to ensue.
Much to the band’s credit, they stick to the lumbering dirge the entire 8:40, and yeah, there’s a bit of weirding out with organ and all-tinted-brown guitar swirl, but the core of the finale, like the core of the album as a whole, is in the oppressive weight brought to bear. It’s easy to think that With the Dead might invariably expand their sound some as they move forward, which they reportedly will, but their real challenge in doing so will be finding a way to progress (regress?) and keep things interesting for themselves while also holding onto the rawness that makes their debut so unbridled and harsh. Or maybe they’ll go prog — who the hell knows? Point is, With the Dead‘s With the Dead is a temple built on misanthropic riffs and standout performances from three longtime contributors to the style who very obviously knew what they were doing when they came together in the first place. Whatever they do next, this album will remain devastating.
With the Dead, “Crown of Burning Stars” official video
Posted in Features on November 5th, 2015 by H.P. Taskmaster
It must be surreal in some ways for Lee Dorrian to be talking about fronting a new band. After a 23-year run, he put Cathedral to bed in 2013 following their final album, The Last Spire (review here), and despite contributing to the reborn side-project Septic Tank, his reported intent was to focus on his label, Rise Above Records, which has become a defining presence in underground tastemaking. Releases by the likes of Ghost, Uncle Acid and the Deadbeats, Blood Ceremony and so on have expanded what the very notion of heaviness might encompass on a given release, and Dorrian has been at the core of that process.
Enter With the Dead. Guitarist Tim Bagshaw (also bass on the record) and drummer Mark Greening — both formerly of Electric Wizard and Ramesses — were getting together a new band with a clear intent toward raw, decaying doom, and they needed a singer. Tracks came together, they hit the studio, sent Dorrian the tracks, hit the studio again, and With the Dead‘s self-titled debut emerged — on Rise Above, obviously — living up to its promise of low-drama high-fuckall doom. To-date, I don’t think they’ve played in the same room together.
The album is a masterful churn that sludges up some of the ethereal ritualizing of Ramesses and finds Dorrian right at home in the dense, miserable, but somehow-still-atmospheric swirl. It’s a sound that makes sense as a logical extension of the work from those who made it, but it also pushes forward into territory not quite covered by anyone’s past work, its seven tracks digging into a tonal muck on songs like “Living with the Dead” or “I am Your Virus” and showing the band as immediately able to control the madness they evoke. That turns out to be one of its great strengths, but if With the Dead are to continue, no doubt it will also be the beginning point for a progression all their own.
So are With the Dead to continue, or is it a one-off? That and a lot of questions about starting a new band, recording, singing over riffs not written by Gaz Jennings and much more were on my mind when I spoke to Dorrian for the first time since 2010 (interview here) about the project, the potential of playing live, curating Roadburn 2016 and, of course, how the whole thing got started.
Please find the complete Q&A after the jump, and enjoy.
Posted in Whathaveyou on November 5th, 2015 by H.P. Taskmaster
Desertfest London 2016 continues to break out big guns in its lineup for the end of next April. The latest? Oh, just the reunited Deliverance-era lineup of Corrosion of Conformity. That’s all. Oh, and they’ll co-headline the Friday night with Crowbar. No big deal. Oh wait, it’s a friggin’ huge deal. By that time, C.O.C. will likely be working toward their previously announced next full-length — which will be their first in 16 years with all four of its current players — and it doesn’t seem unreasonable to think that ahead of the Fall 2016 release on Nuclear Blast, they’ll have a new song or two in the set.
These are wild days, my friends. The PR wire sent over the following announcement:
DESERTFEST LONDON 2016: Corrosion Of Conformity to headline the Friday!
It is with great excitement that we’re revealing the second headliner to walk the DESERTFEST LONDON stage next April 29th in Camden, with America’s coolest volume dealers CORROSION OF CONFORMITY and no one but their historical frontman Pepper Keenan at the helm! Icing on this greasy cake: their sludgy brothers in arms CROWBAR will co-headline the night, for a “southern special” Friday at Desertfest!
UK’s forerunner stoner/doom/psyche gathering DESERTFEST couldn’t reach the milestone of their 5th edition without having cult acts on the bill. And who could open this special weekend better than one of America’s most inspiring and outstanding bands of musicians in heavy music, CORROSION OF CONFORMITY, reuniting with their iconic guitarist and frontman Pepper Keenan (also well-known for founding leading southern metal unit Down). With the recent news of COC’s signing on Nuclear Blast Records and recording of a new album due out in the fall of 2016, there is no doubt that this fifth Desertfest London will go down in history!
As previously announced and to make it even more special, NOLA’s sludge metal heroes CROWBAR will co-headline the Friday along with COC, bringing their influential slow-and-low sound to the masses. Once again this is a first, as Kirk Windstein and his crew of titans have never played any Desertfest before. A night dedicated to US sludge and rock heavyweights!
– DESERTFEST LONDON 2016 – April 29th to May 1st in Camden, London (UK) Weekend tickets availableAT THIS LOCATION
Current lineup is as follows: ELECTRIC WIZARD CORROSION OF CONFORMITY w/ Pepper Keenan GODFLESH CROWBAR TRUCKFIGHTERS ELDER EGYPT CONAN WO FAT MOTHERSHIP MONOLORD ROTOR RAGING SPEEDHORN PLANET OF ZEUS WITCHSORROW
Posted in Whathaveyou on October 29th, 2015 by H.P. Taskmaster
Goodness gracious. There wasn’t really any doubt that Desertfest London 2016 meant business when it came out of the gate with Electric Wizard, Elder and Conan in the lineup, but the Camden Town festival has continued to swing hard with its next batch of adds, which includes Godflesh, Crowbar, Truckfighters, Wo Fat, Mothership, Egypt (if those last three aren’t touring Europe together around their Desertfest appearance, they should be), Monolord, Rotor and Planet of Zeus. It’s a pretty significant round two from Desertfest London 2016, which, again, wasn’t exactly struggling to make its quota of awesome to start with. If I had a bank holiday weekend, that would seem to be the way to spend it.
Tickets are on sale now. Details follow, as seen on the PR wire:
Godflesh, Crowbar, Truckfighters, Egypt and more acts confirmed to play DESERTFEST LONDON 2016!
UK’s #1 stoner, doom, sludge and psych event DESERTFEST LONDON is thrilled to announce the second wave of artists who will be taking the stage at the 2016 edition, taking place in April 29th to May 1st across multiple venues in the legendary musical hub of Camden Town…
NOLA’s sludge metal heroes CROWBAR will be heading back over seas to make ears bleed, bringing their influential slow-and-low sound to an eager, ready, and willing Desertfest. Kirk Windstein and his crew of titans haven’t graced UK revellers with their rowdy presence since 2014; and Crowbar has never played Desertfest London. Making for a truly exciting, and long over-due, addition to the already stellar proceedings next year has in store.
Desertfest are also pleased to reveal that our friends at Old Empire will once again be curating a stage, bringing an eclectic and exciting array of acts to broaden the pallet. First to be announced are industrial legends GODFLESH, who will be headlining the Old Empire offerings. Their experimental and aggressive sound has established the Birmingham-based duo as one of the most innovative bands in industrial music, cited as influencing everyone from Metallica to Faith No More.
As if all that wasn’t enough to process, there’s of course a healthy helping of doom and stoner rock goodness joining the mix for Desertfest 2016. Heavy-hitting warriors TRUCKFIGHTERS will be chucking riffs left, right and centre, alongside fellow Swedish fuzz lords MONOLORD, who will be riding easy and destroying all in one slow, hard and loud blow. Psychedelic monsters WO FAT are a welcome return, having well and truly mastered the art of trippy doom – many can do it, but few do it as well as the Dallas desert trio. EGYPT will also be heading over and hitting the bill hard to bring some Dakota doom goodness to the haze, alongside eccentric instrumental gurus ROTOR. Southern rock lovin’ PLANET OF ZEUS are bringing their raw grooves out of the Greek underground and into thirsty a London, and finally heavy rockers MOTHERSHIP will be taking fans well out the galaxy – musically speaking, of course.
– DESERTFEST LONDON 2016 – April 29th to May 1st in Camden, London (UK) Weekend tickets availableAT THIS LOCATION
Current lineup is as follows: ELECTRIC WIZARD GODFLESH CROWBAR TRUCKFIGHTERS ELDER EGYPT CONAN WO FAT MOTHERSHIP MONOLORD ROTOR RAGING SPEEDHORN PLANET OF ZEUS WITCHSORROW
Posted in Whathaveyou on October 7th, 2015 by H.P. Taskmaster
UK’s heavy rock scene continues to reshape itself and grow. Trippy Wicked and the Cosmic Children of the Knight, who haven’t been heard from much since 2013’s Underground EP (review here), have joined forces with Wizard Fight and Lacertilia to hit the road for a handful of shows next weekend in England, hitting Cardiff, Bristol, Manchester for the Noiz All-Dayer, which also features Groan, Alunah, Chubby Thunderous Bad Kush Masters and Monolith Cult, among others, and closing out in London. They’re calling the long weekender “Carry on Tripping,” but really, whatever they wanted to call it, it’s heavy.
Silly poster, info and dates follow:
In the year of 2015 three bands come together to bring fourth the heaviest, dirtiest carry on saga one would struggle to fully comprehend! Coming October 15th-18th 2015!
Trippy Wicked and the Cosmic Children of the Knight A rolling, thundering mass of infectious riffs, distorted gut-busting bass, tripped out vocals, relentless beats and hairy sweaty faces twisted with grins and gurns. Trippy Wicked & the Cosmic Children of the Knight cut a groove deeper than the ocean abyss.
Wizard Fight Formed in 2012 by Luke Bolton (ROTS) and former Steak drummer of 7 years, Dan Kinsey. They set out as a two piece to play insanely sludgey filth with a good measure of Doom and a wee bit of hazy Stoner groove. Early 2013 see the addition of Dave on bass adding the much needed earth shaking guts needed to add to the Wizard Fight sound.
Lacertilia Lacertilia are a tripped out rock n roll machine from South Wales that brings together the manic stomp and wild stage performance of The Stooges, the fuzzy desert sounds of Kyuss, the weird psychedelic frequencies of The 13th Floor Elevators and the proto doom of Pentagram.
Rolling in on…. October 15th – Fuel Rock Club, Cardiff October 16th – Stag & Hound, Bristol October 17th – Rebellion, Manchester (NOIZ ALL-DAYER) October 18th – The Unicorn – London
Posted in Reviews on September 28th, 2015 by H.P. Taskmaster
Truth be told, I’ve been looking forward to this Quarterly Review since the last one ended. Not necessarily since it clears the deck on reviews to be done — it doesn’t — but just because I feel like in any given week there’s so much more that I want to get to than I’m usually able to fit into posting that it’s been good to be able to say, “Well I’ll do another Quarterly Review and include it there.” Accordingly, there are some sizable releases here, today and over the next four days as well.
If you’re unfamiliar with the project, the idea is over the course of this week, I’ll be reviewing 50 different releases — full albums, EPs, demos, comps, splits, vinyl, tape, CD, digital, etc. Most of them have come out since the last Quarterly Review, which went up early in July, but some are still slated for Oct. or Nov. issue dates. Best to mix it up. My hope is that within this barrage of info, art and music, you’re able to find something that stands out to you and that you enjoy deeply. I know I’ll find a few by the time we’re done on Friday.
Fall 2015 Quarterly Review #1-10:
Steve Von Till, A Life unto Itself
A new Steve Von Till solo outing isn’t a minor happening in any circumstances, but A Life unto Itself reads more like a life event than an album. As ever, the Neurosis guitarist/vocalist puts a full emotional breadth into his material, and as it’s his first record in seven years since 2008’s A Grave is a Grim Horse, there’s plenty to say. Sometimes minimal, sometimes arranged, sometimes both, the seven tracks feature little of the psychedelic influence Von Till brought to his Harvestman project, but use lap steel, strings, electrics, acoustics, keys and of course his meditative, gravelly voice to convey a broad spectrum nonetheless, and cuts like “Chasing Ghosts,” “In Your Wings” and the centerpiece “Night of the Moon” (which actually does veer into the ethereal, in its way) are all the more memorable for it. The richness of “A Language of Blood” and the spaciousness of the drone-meets-sea-shanty closer “Known but Not Named” only underscore how far Von Till is able to range, and how satisfying the results can be when he does.
Bizarro vibes pervade Devil Worshipper’s debut LP, Devil Worshipper, what may or may not be a one-man project from Jeff Kahn (ex-Hideous Corpse, Skeleton of God; spelled here as Jevf Kon), mixed by Tad Doyle and released on Holy Mountain. Based in Seattle (that we do know), the project wields molten tones and slow groove to classic underground metal, heavy psych and bleary moods to hit into oddly cinematic moodiness on “Ash Brume” and even nod at Celtic Frost from a long ways away on closer “Lurker (Death).” Most of the drums are programmed, save for “New Spirit World Order,” “Ash Brume” and “Lurker,” but either way, they only add to the weirdness of the chanting layered vocals of “New Spirit World Order,” and just when it seems like eight-minute second track “Chemrails” will have been as far out as Devil Worshipper gets, side B’s “Desert Grave” takes hold for a five-minute dirge that turns out to be one of the record’s most satisfying rolls, reminiscent of something Rob Crow might’ve done with Goblin Cock on downers. Unexpected and living well in its own space, the album manages to be anchored by its lead guitar work without seeming anchored at all.
So, how many guitars on London trio Dr. Crazy’s 13-minute/four-song EP, 1,000 Guitars? Two, I think. The side-project of Groan vocalist Andreas “Mazzereth” Maslen and Chris West, formerly the drummer of Trippy Wicked and Stubb who here plays guitar and bass while Groan’s former guitarist Mike Pilat handles drums, make a bid for the possibility of playing live in bringing in Pilat to fill the role formerly occupied remotely by Tony Reed of Mos Generator on their 2014 debut EP, Demon Lady. Whether that happens will remain to be seen, but they affirm their ‘80s glam leanings on “Bikini Woman” and keep the message simple on opener “Hands off My Rock and Roll” while “1,000 Guitars” makes the most of guest lead work from Stubb’s Jack Dickinson – he’s the second guitar, alongside West – and yet another infectious Mazzereth-led hook, and well, “Mistress of Business” starts out by asking the titular lady to pull down her pants, so, you know, genius-level satire ensues.
An aggressive core lies beneath the progressivism of German five-piece Linie (actually written as ?inie) on their debut full-length, What We Make Our Demons Do, but the material holds a sense of atmosphere as well. Vocalist/guitarist Jörn is very much at the fore of post-intro opener “Blood on Your Arms,” but as the crux of the album plays out on the chug-happy “Lake of Fire” and “No Ideal,” Linie showcase a wider breadth and bring together elements of post-hardcore à la Fugazi, darker heavy rock and purposefully brooding metal. Comprised of Jörn, guitarist/vocalist Alex, bassist/vocalist Ralph, drummer/vocalist Alex and keyboardist Iggi, the band impress on their first offering with not only how assured they seem of their aesthetic, but the expansive manner in which they present it. Their songwriting is varied in approach but unified in mood and while I don’t know what has them so pissed off on a cut like “Inability,” there’s no question whether they’re putting that anger to good use.
Austrian trio The Heavy Minds make their full-length debut on Stone Free with Treasure Coast, a seven-cut LP that fuzzes up ‘70s swing without going the full-Graveyard in retro vibe. “You’ve Seen it Coming” seems to nod at Radio Moscow, but a more overarching vibe seems to share ideology with Baltimore three-piece The Flying Eyes, the classic rock sensibilities given natural presentation through a nonetheless modern feel in the tracks. The bass tone of Tobias (who also plays guitar at points) alone makes Treasure Coast worth hunting down, but doesn’t prove to be the limit of what the young outfit have to offer, drummer Christoph swinging fluidly throughout “Diamonds of Love” in a manner that foreshadows the emergent roll of “Seven Remains.” That song is part of a closing duo with “Fire in My Veins,” which boasts a satisfying bluesy howl from guitarist Lukas, rounding out Treasure Coast with an organic openness that suits the band well.
Momentum is key when it comes to Road Warriors, the new full-length from Detroit four-piece Against the Grain. They amass plenty of it as they thrust into the 12-track/38-minute rager of an outing, but there are changes to be had in tempo if not necessarily intent. Comprised of bassist/vocalist Chris Nowak, guitarist/vocalist Kyle Davis, guitarist Nick Bellomo and drummer Rob Nowak, the band actually seems more comfortable on fifth-gear cuts like “’Til We Die,” “What Happened,” the first half of “Afraid of Nothing” or the furious “Run for Your Life” than they do in the middle-ground of “Guillotine” and “Night Time,” but slowing down on “Sirens” and “Eyes” allows them to flex a more melodic muscle, and that winds up enriching the album in subtle and interesting ways. If you want a clue as to the perspective from which they’re working, they start with “Here to Stay” and end with “Nothing Left to Lose.” Everything between feels suitably driven by that mission statement.
Angel Eyes, Things Have Learnt to Walk that Ought to Crawl
With the ‘t’ and the ‘ought’ in its title, Angel Eyes’ posthumous third full-length, Things Have Learnt to Walk that Ought to Crawl, brims with oddly rural threat. Like the things are people. The Chicago outfit unfold two gargantuan cascades of atmosludge on “Part I” (15:54) and “Part II” (19:18), pushing their final recording to toward and beyond recommended minimums and maximums as regards intensity. They called it quits in 2011, so to have the record surface four years later and be as blindsidingly cohesive as it is actually makes it kind of a bummer, since it won’t have a follow-up, but the work Angel Eyes are doing across these two tracks – “Part I” getting fully blown-out before shifting into the quiet opening of “Part II” – justifies the time it’s taken for it to be released. They were signed to The Mylene Sheath, but Things is an independent, digital-only outing for the time being, though its structure and cover feel ripe for vinyl. Who knows what the future might bring.
Textured, hypnotic and downright gorgeous in its psychedelic melancholy, Baron’s Torpor is a record that a select few will treasure deeply and fail to understand the problem as to why the rest of the planet isn’t just as hooked. A thoroughly British eight-track full-length – their second, I believe, but first for Svart – Torpor creates and captures spaces simultaneously on organ-infused pieces like “Mark Maker,” executing complex transitions fluidly and feeding into an overarching ambience that, by the time they get around to the eight-minute “Stry,” is genuinely affecting in mood and beautifully engrossing. The Brighton/Nottingham four-piece fuzz out a bit on “Deeper Align,” but the truth is that Torpor has much more to offer than a single genre encapsulates and those that miss it do so to their own detriment. I mean that. Its patience, its poise and its scope make Torpor an utter joy of progressive flourish and atmosphere with a feel that is entirely its own. I could go on.
So get this. For their first EP, Swedish trio Creedsmen Arise – guitarist Emil, drummer Simon and bassist Gustaf (since replaced by Jonte) – have taken it upon themselves to pen a sequel to Sleep’s Dopesmoker that, “tells the story about what happened centuries after the Dopesmoker Caravan and it’s [sic] Weedians reached their destination.” Admirably ballsy terrain for the three-piece to tread their first time out. It’s like, “Oh hey, here’s my first novel – it’s Moby Dick from the whale’s perspective.” The three tracks of the Temple EP are fittingly schooled in Iommic studies, but the band almost undercuts itself because they don’t just sound like Sleep. They have their own style. Yeah, it’s riffy stoner metal, but it’s not like they’re doing an Al Cisneros impression on vocals, so while the concept is derived directly, the sound doesn’t necessarily completely follow suit. Between the 10-minute opening title- and longest-track (immediate points), “Herbal Burial” and “Circle of Clergymen,” Creedsmen Arise make perhaps a more individualized statement than they intended, but it’s one that bodes well.
Nola’s cool and all, but when it comes to the nastiest, most misanthropic, fucked-up sludge, choosy moms choose Ohio, and Deadly Sin (Sloth) are a potent example of why. Their Demo Discography tape revels in its disconcerting extremity and seems to grind regardless of whether the Xenia, OH, trio are actually playing fast. Comprised of Jay Snyder, Wilhelm Princeton and Kyle Hughes, Deadly Sin (Sloth) cake themselves in mud that will be familiar to anyone who’s witnessed Fistula on a bender or Sloth at their most pill-popping, but do so with sub-lo-fi threat on the tape and are so clearly intentional in their effort to put the listener off that one could hardly call their demos anything but a victory. Will not be for everyone, but of course that’s the idea. This kind of viciousness is a litmus test that would do justice to any basement show, maddening in its nod and mean well beyond the point of reason.
Posted in Whathaveyou on September 9th, 2015 by H.P. Taskmaster
Since Stubb got going in 2007, guitarist/vocalist Jack Dickinson has been through two complete lineups. The London-based trio most recently said goodbye to bassist/vocalist Peter Holland at a gig in July, and he was the last remaining member from what we’ll call Stubb Mk. II, after the departure of drummer Chris West, who was subsequently replaced by Tom Fyfe. One could say Dickinson, Fyfe and newcomer bassist/vocalist Tom Hobson now comprise StubbMk. III — or Stubb Mk. Tom, depending on how clever you’re feeling — but of course with people coming and going at different times it’s not really as clear as one era into the next. Still, it’s been a kind of rotating cast, though it’s worth pointing out that the material has been of consistent quality, whether it’s their split with Mos Generator (track stream here) or their contribution to Magnetic Eye Records‘ 2015 Hendrix tribute, The Best of James Marshall Hendrix (review here).
Last I saw the new lineup was working on new material as well, so hopefully 2016 brings a third album to follow-up last year’s Cry of the Ocean (review here) for Ripple Music. We’ll see when we get there. Until then, since Holland features in Elephant Tree, I’m sure all kinds of fist-fighting dude drama is bound to go down when the two bands share the stage on Oct. 9 with The Picturebooks headlining, all thrown cabinets and whatnot, since everybody seems to be on such terrible terms. Or, you know, not.
This from the PR wire:
London power-trio STUBB announce UK live dates this October
Heavy psych rockers to play live dates with The Picturebooks & Siena Root next month
STUBB; the heavy rocking London-based power-trio are taking to the stage this October for what promises to be an impressive outing of blistering live performances.
Following the recent release of their split LP The Theory Of Light And Matter with USA rockers Mos Generator (HeviSike Records), and a blinding cover of Jimi Hendrix’s ‘Little Wing’ for The Greatest Hits Of James Marshall Hendrix on Magnetic Eye Records, the band are rehearsing their back catalogue and prepping new material before entering into the studio early next year to record their highly anticipated, third full length album for Ripple Music.
With these lives dates the band also kick off a new and exciting chapter in Stubb’s story with the arrival of Tom Hobson, who joins forces with Jack Dickinson (Guitar, Vocals) and Tom Fyfe (Drums) as the band’s new bass player, after the recent departure of Peter Holland.
Live Dates: 9th October – Boston Music Rooms, London with The Picturebooks 15th October – The Exchange, Bristol with Siena Root 16th October – The Black Heart, London with Siena Root
Posted in Whathaveyou on September 2nd, 2015 by H.P. Taskmaster
Desertfest London 2016 will be held April 29 through May 1 in the (black) heart of London: Camden Town. This is the fifth year the fest has been held, and while I’m not sure that was on their minds when they decided to open their season with an opening shot of five band announcements, it works out nicely all the same.
That’s true in no small part because of the bands announced. For a first headliner, Desertfest London 2016 unveils Electric Wizard, and they’re joined by a considerable battalion comprised of Conan, Elder, Witchsorrow and reactivated sludge rockers Raging Speedhorn, whom I once saw play — true story — in a hotel bar way off the beaten path at SXSW in Austin, Texas, maybe 2005 or 2006? I mean that show was so far out it might as well have been in Houston. Long walk. They were worth it though, and I don’t think they ever came back to the US, which is fair enough. Hard to beat “Fuck You, Pay Me.”
Anyhoo, of course we’ll have a ton more to come on Desertfest London 2016 by next April, though for now it’s cool to see Elder will apparently be making their way back to Europe. Very interested to find out how London’s lineup will interact with that of the Berlin-based Desertfest. When I see something, I’ll say something.
***DESERTFEST IS BACK WITH A BANG! FIVE BANDS FOR APRIL 2016!***
Hello all! We at Desertfest HQ hope you’ve had a great summer so far and as we sidle into September we’re thrilled to bring you some great news about the fifth annual Desertfest in Camden this coming April. Our first headliner to creep out of the shadows are those mighty legends of true British doom Electric Wizard! Marching behind the standard they bear for us all come Liverpool’s battle-hardened warriors Conan, Boston’s heralded masters of heavy psych Elder, the UK’s blackened doomsters Witchsorrow and those heroes of sludgy hardcore Raging Speedhorn!
Head over to our new-look website to find out more about these incredible bands and stick with us in the coming weeks as we bring you yet more of the world’s greatest doom, psyche, stoner, sludge and all things in between this April in Camden!