Thief Release Thieves Hymn in D Minor Debut LP

Posted in Whathaveyou on September 21st, 2016 by H.P. Taskmaster

thief

It looks like a total of 250 copies of Thief‘s debut album, Thieves Hymn in D Minor, have been printed. That doesn’t seem like very many at all, and even fewer when one considers the breakdown between red and black vinyl. Seems to me that if it’s the kind of thing one might be into, one might be inclined to get on it before the getting is no longer good. Available through Lay Bare Recordings — also responsible for recent outings by Yawning Man and the European distro for Seedy Jeezus & Isaiah Mitchell‘s collaboration — 100 copies will come with a special silkscreen art print as well, further sweetening the pot.

Lay Bare had this to say via the PR wire:

thief-thieves-hymn-in-d-minor-700

New Lay Bare Recordings release THIEF – THIEVES HYMN IN D MINOR

Laid Bare from the city of Angels, THIEF, an ambient electronic project from DYLAN NEAL (hammered dulcimerist from the experimental black metal band Botanist). Seven haunting hymns on two vinyl editions.

LBR015, Two vinyl editions
1. 100 copies on Oxblood Red vinyl
2. 150 copies on black vinyl
3. With both color variations a special silkscreen printed art by Comaworx (http://www.comaworx.com/ ) can be ordered as a special indulgence for this release, only 100 printed!!

THIEF is a dark electronic project based in Los Angeles. Mixing a delicate relationship between choral and electronica – the sacred and the future – and featuring two live members of the highly acclaimed experimental black metal band Botanist, THIEF creates a new haunting story in the search for spirits in the machines.

THIEF’s debut LP Thieves Hymn in D Minor throws away the use of synths and pads and is crafted almost entirely out of manipulated sacred orthodox music. Its seven electronic tombs beautifully unravel over distorted beats creating a lush, shimmering atmosphere. Mixing electronica, trip hop, and experimental sounds together, Thieves Hymn in D Minor will be available on vinyl through Lay Bare Recordings.

In the studio, it is a one-man project, but live it also features R. Chiang (the other live hammered dulcimerist in Botanist) on drums and Chris Hackman on bass.

THIEF is:
Dylan Neal – All music, vocals, production
Robert Chiang – Drums
Chris Hackman – Bass, Vocals

http://burningworldrecords.com/artist/thief
http://laybarerecordings.com/
http://www.facebook.com/laybarerecordings/
http://thiefdom.com/
https://www.facebook.com/THIEFsounds/
https://soundcloud.com/thief_official
https://twitter.com/THIEF_SOUNDS
https://thief-official.bandcamp.com/

Thief, “Skin to Jade”

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Friday Full-Length: Goatsnake, Flower of Disease

Posted in Bootleg Theater on September 9th, 2016 by H.P. Taskmaster

Goatsnake remain the standard by which a rolling groove should be judged. Rare are the instances in the last 50 years in which something that might be deemed heavy has been less fuckwithable than it is on their first two albums, I (discussed here) and Flower of Disease. Arriving in successive years in 1999 and 2000, they were an enema of riffs for a rock and roll that had been directionless since grunge ended and a heavy metal that was in the process of losing its way into dudely posturing and splintering into the overthought subgenres that now comprise it. And here comes Goatsnake, driven by the massive rhythm section of bassist G. Stuart Dahlquist (ex-Burning Witch, now The Poisoned Glass) and Greg Rogers (The Obsessed), and they just blew it all away. They weren’t the only heavy rock band emerging at the time, of course — we’re already years past Sleep’s Holy Mountain at this point, Man’s Ruin Records (which released this and the first record) was going strong, and this was the same era in which Orange Goblin, Acid King, Dozer and Electric Wizard were hitting their stride sound-wise — but Goatsnake were a different beast from them as well. To wit, the drearier stoner doom of “The Dealer,” or the nod of the opening title-track. Led by the riffs of Greg Anderson (who’d go on to find a generation’s worth of critical acclaim in SunnO))) and as the head of Southern Lord Recordings) and with Pete Stahl‘s soulful and quirky vocals out front, Goatsnake were able to cast a personality that no one else before or since has been able to touch.

And even apart from its predecessor, Flower of Disease delivers on every level. The swinging hook of “A Truckload of Mamma’s Muffins,” the this-is-a-lifestyle sleaze of “Easy Greasy,” the dated-but-still-charming attitude in “Prayer for a Dying,” the blues harp in “El Coyote” that seems both completely out of place and completely perfect and the way that song launches its faster push, Stahl spitting out lyrics about the House of the Moon and who knows what other bluesy righteousness — all of this comes together with a glorious lack of pretense to make Flower of Disease even more special. Guest appearances from Petra Haden, Dave Catching, Chad Essig and Mathias Schneeberger add depth in violin, piano, the aforementioned blues harp, etc., but at the core remains the largesse of groove that closer “This River” summarizes so well after the quicker “Live to Die.” A nod that was more lucid than Acid King‘s but somehow no less potent, Goatsnake‘s style is one that on this record became entirely their own as much as it couldn’t be Sabbath‘s, which made it twice the bummer that Flower of Disease was their final album, or at least seemed to be for more than a decade.

Followed by the 2004 Trampled Under Hoof EP, which included Scott Reeder (ex-Kyuss, now Fireball Ministry) on bass, it would be 15 years before Goatsnake issued another full-length. Even by the standard of their reunion (discussed here with Anderson), which started in 2010, it was a considerable wait for last year’s Black Age Blues (review here), and though that album left its audience with a mixed impression — I think some were thrown off by the fact that maybe Goatsnake had grown in the decade and a half — what made them such a landmark act to start with remained wholly intact. I don’t know about you, but I was left hoping it wasn’t a one-off return, as I think heavy rock needs Goatsnake more than the band actually knows, and Flower of Disease is a clear demonstration of why.

As always, I hope you enjoy.

Oh boy, this week. Frustrating. Multi-tiered frustration, capped off by absolutely losing my shit last night when the takeout spilled in my car. Slamming doors, yelling so hard my jaw hurt on the rest of the ride home, polluting my wife’s disposition as I all too often do with my negative bullshit. Frustrating. There’s a new Nick Cave record out today. I preordered it and it’s set to arrive this afternoon, but I’m honestly not sure I can handle it at this point. Need a major realignment of my perspective.

Which is basically the goal for this weekend. We’ll see how it goes. Given the neck-deep mindset in which I’ve spent the last weeks (months, two, three years?) wading, I have a hard time seeing the walls of the tunnel let alone any light ahead. Nonetheless, one moves forward because that’s the only direction one can move, if you want to think of it in board game terms.

It looks like this Oslo trip next week is(?) happening. I’m in NYC on Wednesday and Thursday for work either way, so the question is basically whether or not I go from there to Norway for Høstsabbat or I spend a couple days in NJ seeing family and then head back north with my need-a-good-rock-show tail between my legs. We’ll see how it shakes out.

Accordingly, the plans for Thursday and Friday are kind of up in the air, but lot of good stuff coming up Monday, Tuesday and Wednesday nonetheless. Monday, a stream from Burn Pilot with an album review, Tuesday same deal from Katla, and Wednesday, fingers crossed for a lyric video premiere and album review from a certain desert rock legend who has a new album release at the end of this month. Don’t even want to jinx it by saying his name, but I’m obviously hoping it comes together. A few cool videos and announcements to catch up on as well.

Also need to start putting together the next Quarterly Review, which is a continually humbling experience. Some “bigger” releases in there this time, stuff I just haven’t gotten to yet — Sumac, Blues Pills, etc. — that’s been sitting on my desktop. I might have to push it to the first week of October because my personal schedule the next couple weeks is so hectic, but the more of a jump I can get on it, the better. Need to log mail for the first time in a while.

So if you need me, tomorrow my plan is to sleep as late as circumstances allow, watch as much baseball as circumstances allow, listen to good music and clear my head to the best of my ability before the alarm goes off Sunday morning and it’s time to get ready for the week ahead. I hope you enjoy these waning days of summer, I hope you have a great and safe weekend, and I hope you’ll take the time to check out the forum and radio stream.

Thanks for reading.

The Obelisk Forum

The Obelisk Radio

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Salem’s Bend Self-Titled Debut Due Oct. 7 on Ripple Music

Posted in Whathaveyou on September 2nd, 2016 by H.P. Taskmaster

salem's bend

You might recall Los Angeles heavy rockers Salem’s Bend hit the road on the West Coast earlier this year alongside Kind. That hardly felt like a coincidence at the time, so it makes sense that the trio would find themselves labelmates now to their once-tourmates on Ripple Music, which will issue Salem’s Bend‘s Salem’s Bend, on Oct. 7. The song “Balshazzar” is streaming to bolster the announcement of the release, and if you head over to the three-piece’s Bandcamp page linked below, you can hear the record, which was originally issued in late 2015, in its entirety.

From the PR wire:

salems bend salems bend

Ripple Music to release debut album from LA-based trio SALEM’S BEND | Stream and share new song ‘Balshazzar’

Salem’s Bend is released worldwide on 7th October 2016 via Ripple Music

Ripple Music is thrilled to announce that this October will see the official release of the self-titled debut album from LA-based rock trio Salem’s Bend.

Cutting their teeth in various outfits around LA through the years, after idly deciding to crawl into a garage together one day, three unassuming dudes emerged into sunlight as a mighty hard rock triumvirate skilled in the execution of maximum Sabbath, Priest and Zeppelin worship… For on this day, Salem’s Bend was born.

Running an aural gamut of ’70s sounding classic rock alongside the influence of melodic heavy-hitters from the contemporary realms of desert, doom metal, psych and stoner rock, the band coalesced in the summer of 2014 with the intention of turning heavy riffs into the catchiest of tunes. With seven songs eventually making the cut on what would become their self-titled debut, the trio earnestly self-released the album via Bandcamp in December of last year and in doing so caught the ear of Ripple Music. Garnering some early praise one reviewer commented on just how well the band managed to, “forge their own searing, raucous guitars; intense, deep bass; and athletic, punctuated stickwork around some of the most intelligently interesting melodies to float through the stonersphere in quite some time.”

Thanks to the good folk and fellow Californians at Ripple, the album in question – Salem’s Bend by Salem’s Bend – will receive an official worldwide release on 7th October.

Track Listing:
1. Balshazzar
2. Queen Of The Desert
3. Silverstruck
4. Losing Sleep
5. Sun And Mist
6. Mammoth Caravan
7. A Tip Of Salem

Artist: Salem’s Bend
Title: Salem’s Bend
Release Date: 7th October 2016
Label: Ripple Music
Formats: Vinyl/CD/Digital

https://www.facebook.com/salemsbend
https://salemsbend.bandcamp.com/releases
www.ripple-music.com

Salem’s Bend, “Balshazzar”

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BigPig, Grande Puerco: Stack it, Pack it, Wrap it

Posted in Reviews on August 31st, 2016 by H.P. Taskmaster

bigpig grande puerco

Desert rock has become many things over the last 25-30 years. It’s gone psych, or classic rock, or jammy, or commercial, and it’s spread to an international heavy underground that continues to flourish from roots in weighted groove and sandy vibes. Rarely has it gone punk as effectively as newcomer duo BigPig take it on their sort-of-self-titled, self-released debut full-length, Grande Puerco, and while intensity of youth is a definite factor in that — both members of the band are somewhere on either side of 20 — that drive is something that the style had at its very roots that has at least to some extent dissipated with age.

Perhaps it’s hard to separate BigPig from this larger context because guitarist/vocalist Dino von Lalli is the son of Fatso Jetson‘s Mario Lalli and also plays in that band with his father — they have a new album, Idle Hands, out this fall on which Dino participates in the songwriting — but in BigPig, the edge von Lalli brings to that established group comes right to the fore as he and drummer/vocalist Benny Macias tear into a raw and vibrant 10 tracks/42 minutes, starting with the outright sleaze of “Flesh Drive” and dipping into the angst of “Designer Drugs,” “Aldini Lopez” and “Mr. Cool” before the engagingly weird “The Last Red Baron Pizza,” also the longest cut at 8:31, underscores the notion of Grande Puerco as the initial stages of an exploration of what it means to be a songwriter, what material can and should do and how as artists BigPig want to get where they’re going.

In terms of this record, they get there with some noteworthy help. Toshi Kasai (Melvins, Leeches of Lore, etc.) recorded and produced, and it’s a suitably beefy fuzz he harnesses from von Lalli‘s guitar and a likewise crisp and full drum sound from Macias‘ kit as heard in the rush of the later “Don’t Think,” bolstered by a mix from Mathias “Schneebie” Schneeberger (earthlings?, producer for Fatso Jetson, Masters of Reality, etc.), so there’s pedigree here as well as lineage.

Nonetheless, BigPig admirably work to establish an identity of their own in these songs, bringing in influences from the more progressive modern heavy on cuts like “Sunny Side Up” to lead into the post-Queens of the Stone Age guitar work of “C-.” As noted, the album starts with “Flesh Drive,” which can seem crass at points — the line, “You look better glazed” is a standout — but boasts an undeniable midpaced groove that’s deftly misleading in the expectations it sets for what follows.

Clearly BigPig have a sense of mischief underlying their intentions, and that serves them well as “Sunny Side Up,” “C-” and the frenetic gallop of “King Baby” pick up at a speedier clip, since essentially they’ve written their own set of rules and then immediately, gleefully broken them. The swaggering “Lorde of the Deep” pulls back on the throttle but feels all the more thickened in its chug, and the vocals play to that well, leaning into a potent nod before room-mic drums start “Designer Drugs,” more reminiscent of something Mondo Generator might come up with, though perhaps not as outwardly aggressive. Still, raw.

bigpig

“Designer Drugs” hits into a slowdown about halfway through, conveying an addled sensibility and a burgeoning dynamic between Macias and von Lalli, but picks up somewhat in its last section, which leads into the particularly punkish “Don’t Think.” Like “C-,” there’s an undercurrent of Queens of the Stone Age‘s style of riffing, but BigPig are bringing more to it than most already, and in about two and a half minutes, they demonstrate how they take that influence and inject it into something of their own, sans frills, sans pretense, sans bullshit. Backwards, maybe sampled speech begins “Aldini Lopez,” manipulated into a swirl that builds to a head just as the angular central riff of the track kicks in.

If there’s anywhere on Grande Puerco that BigPig seem to draw a direct line to Fatso Jetson, it might be “Aldini Lopez,” which though the tones are dirtier could easily be said to be in conversation with that band’s 1995 debut, Stinky Little Gods, in its ability to find the swing in what in most hands would be a progression that didn’t groove at all. That’s not intended as speculation as to a direction BigPig will ultimately follow — though they could do far worse, obviously — but just to say that if they’re representing an actual next generation of desert rock, they’re doing so in a way mindful of the scene that was and still is.

The penultimate “Mr. Cool” has a particularly memorable hook and seems to find a comfortable pace while still leaving room to weird out in its bridge, and “The Last Red Baron Pizza” offers growling oddities and fuzzy insistence, pushing further into angularity, and even stepping out — boldly, in terms of the actual transition — into sparser atmospherics on guitar, which after a return to the push serving as the apex, which seems to straighten itself out as it hits near the seven-minute mark, is also how they end the album.

Difficult as it is to hear Grande Puerco without considering who made it — and that’s not at all to minimize the contributions of Macias here either on drums or vocally — it’s even more difficult to make one’s way through the album and not appreciate the potential BigPig show, playing to both a sense of tonal fullness and a barebones mindset that suits their two-piece construction. With these songs, they begin the work of hammering out a songwriting process, and one only gets the feeling that they’ll continue to grow more expansive as they move forward.

BigPig, Live in Los Angeles, Aug. 6, 2016

BigPig on Thee Facebooks

BigPig on Instagram

BigPig on Twitter

BigPig on Bandcamp

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Fatso Jetson Reveal Idle Hands Album Details; Preorders Available

Posted in Whathaveyou on August 29th, 2016 by H.P. Taskmaster

Preorders are available now for Fatso Jetson‘s upcoming full-length, Idle Hands. Heavy Psych Sounds, which will release the album on Oct. 7 and co-present the Italian leg of the band’s upcoming European tour, has also posted two new songs on their Bandcamp page that you can and (I probably don’t need to tell you) should stream below. As previously noted, this is Fatso Jetson‘s first new LP since 2010’s Archaic Volumes (review here), and is well due for the fanfare it seems to be receiving. Not that I’ve heard it or anything, but it’s awesome and the collaboration between guitarist/vocalist Mario Lalli and his son, guitarist Dino von Lalli, is at the core of a righteous breadth of intensity and spaciousness.

It’s also been announced that Idle Hands producer Mathias Schneeberger will sit in on bass for Larry Lalli for the European tour in the rhythm section with drummer Tony Tornay. Not minor shoes to fill as regards groove, but if anyone’s up to the job, he’d seem to be the guy.

Copious info follows:

fatso jetson idle hands

HEAVY PSYCH SOUNDS RECORDS is proud to offer you a new incredible title: ***FATSO JETSON-IDLE HANDS***

Cover Artwork by Kelly Keith
Produced by Mathias Schneeberger and Mario Lalli
Recorded at Rancho de la Luna June 2016
Mixed and Mastered by Mathias Schneeberger

Tracklist Vinyl:
A 1 WIRE WHEELS AND ROBOTS
A 2 PORTUGUESE DREAM
A 3 ROYAL FAMILY
A 4 THE VINCENT LETTER
A 5 THEN AND NOW
B 1 LAST OF THE GOOD TIMES
B 2 NERVOUS EATER
B 3 48 HOURS
B 4 IDLE HANDS

Tracklist Cd:
1 WIRE WHEELS AND ROBOTS
2 PORTUGUESE DREAM
3 ROYAL FAMILY
4 NERVOUS EATER
5 SEROQUEL
6 IDLE HANDS
7 LAST OF THE GOOD TIMES
8 THEN AND NOW
9 THE VINCENT LETTER
10 48 HOURS
11 DREAM HOMES

RELEASE DATE OCTOBER 7th in SINGLE 12″ LTD CLEAR BLUE VINYL / SINGLE 12″ BLACK VINYL / CD / DIGITAL.

Mathias Schneeberger (Masters Of Reality, Gutter Twins, earthlings) will be the bass player on this tour.

Fatso Jetson with Greenleaf:
23.09. Aschaffenburg / Colosaal (Ger)
24.09. Regensburg / Alte Mälzerei (Ger)
26.09. Berlin / Cassiopeia (Ger)
27.09. Copenhagen / Loppen (Den)
28.09. Hamburg / Headcrash (Ger)
29.09. Hannover / Chez Heinz (Ger)
30.09. Jena / KUBA (Ger)
01.10. Pratteln / Up in Smoke(Ch)
02.10. Lausanne / Le Romandie (Ch)
04.10. Paris/ Le Backstage (Fra)
05.10. Bordeaux / Void (Fra)
06.10. Nantes / Ferrailleur (Fra)
07.10. Utrecht / DBs (NL)
08.10. Vorselaar / Jeugdhuis (Bel)
10.10. Leipzig / Werk 2 (Ger)
11.10. Dresden / Scheune (Ger)
12.10. Poznan / Bazyla (Pol)
13.10. Katowicze / Kobra (Pol)
14.10. Gdansk / Ucho (Pol)
15.10. Vilinius / Kablys (Lt)
16.10. Warsaw / Hydrozagadka (Pol)
18.10. Zagreb / Klub Attack (Cro)
19.10. Trieste / Tetris (Ita)
20.10. Salzburg / Rockhouse (Aut)
21.10. Vienna / Fuzzfest (Aut)
22.10. Munich / Keep it Low (Ger)

Fatso Jetson Italian tour:
23.10. IT Pisa/Livorno – Stones from the Hill
24.10. IT Zerobranco – Altroquando
25.10. IT Torino – Blah Blah
26.10. IT Roma – Init
27.10. IT Cagliari – La Cueva Rock
28.10. IT Sassari – The Hor
29.10. IT Parma-Mu / HPS Fest 3
30.10. IT Erba – Centrale Rock
31.10. IT Savona – Raindogs

http://www.heavypsychsounds.com/shop.htm#HPS045
https://heavypsychsoundsrecords.bandcamp.com/album/fatso-jetson-idle-hands-pre-sale-2-tracks
https://www.facebook.com/fatsojetson
https://fatsojetson.bandcamp.com/
http://www.soundofliberation.com

Fatso Jetson, tracks from Idle Hands (2016)

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Ides of Gemini Sign to Rise Above Records; New Album Due in 2017

Posted in Whathaveyou on August 25th, 2016 by H.P. Taskmaster

Last heard from in April, Los Angeles heavy post-rockers Ides of Gemini had shifted their lineup and were setting out on a quick West Coast tour to hammer out new material. I guess they got there, because the band has now announced that they’ve signed with Rise Above Records for the follow-up to 2014’s Old World New Wave (review here), which they’ll record with Sanford Parker and release early next year.

So for Ides of Gemini, that’s two records on Neurot and one forthcoming on Rise Above. That’s a pretty impressive CV as far as label associations go. You’d think the band was really good or something. Oh wait, they are. Well, that’s another mystery solved.

From the PR wire:

ides of gemini photo by david lee dailey

IDES OF GEMINI Sign With Rise Above Records

Rise Above Records is delighted to announce the signing of Los Angeles based lampblack rock quartet, IDES OF GEMINI. Says label boss Lee Dorrian: “Having been a fan of theirs since the beginning and following them through all of their macabre twists and turns, it feels so great to have them joining the Rise Above family. It’s going to be a supreme association!”

IDES guitarist J Bennett adds: “We’re dying to hit the studio to record with our new lineup. This will absolutely be our best album by leaps and bounds – it’s got some of the heaviest tunes we’ve ever written, some of the least-heavy tunes we’ve ever written, and definitely some of the catchiest tunes we’ve ever written. There might even be a theme that links the songs together, but we’ll fill you in on all that later. Til then, stay tuned…”

The band will commence recording their third full-length album in LA with Sanford Parker and is scheduled for a Spring 2017 release. IDES OF GEMINI are also set to appear Psycho Vegas this weekend. In summary, Bennett concludes: “”We couldn’t be more thrilled to join Rise Above and their absolutely top-notch stable of artists. Lee obviously has impeccable taste, and our signing proves it!”

For More Info Visit:
https://www.facebook.com/IdesofgeminI/
http://idesofgemini.com

Ides of Gemini, Old World New Wave (2014)

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Yidhra Southwestern Tour Starts Tonight

Posted in Whathaveyou on July 20th, 2016 by H.P. Taskmaster

yidhra

Tonight, Los Angeles doom metallers Yidhra hook up with Wisconsin sludgers Attalla for a stint of Southwestern tour dates running through the weekend. Attalla are on a longer stretch, having looped around the Pacific Northwest to meet up with Yidhra in L.A., and together they’ll head into Arizona and Nevada before Attalla continue on back home toward the upper Midwest. If that geography is confusing, it’ll make more sense when you see the routing of the tour (the rest of Attalla‘s dates are here).

Yidhra of course head out supporting their late-2015 Cult of Bathory EP (review here), which as the PR wire informs is now also available on tape:

yidhra attalla tour

YIDHRA: Stoner/Doom Alchemists Announce Southwest Tempest Tour With Attalla; Signature Fuzz Pedal Launched + Cult Of Bathory EP Available On Limited-Edition Cassette

California stoner/doom alchemists YIDHRA will join Attalla for a short run of live dates later this week. The Southwest Tempest Tour will run from July 20th through July 24th hitting Los Angeles, San Diego, Tucson, Phoenix, and Las Vegas.

The band will be touring in support of their Cult Of Bathory EP. Initially released this past Winter via Black Voodoo Records on limited ten-inch vinyl and digital formats, the follow-up to 2013’s critically-lauded Hexed full-length was captured live with master engineer and producer Bill Metoyer (Slayer, Corrosion of Conformity, Trouble, etc.) at Skull Seven Productions and boasts four dark, lead-footed hymns centered on the occult, witchcraft, life, death and imminent destruction. Cult Of Bathory is now available on cassette through The Harmacy Records’ Giallo imprint. Limited to fifty-five units worldwide, it can be obtained at THIS LOCATION.

YIDHRA w/ Attalla – Southwest Tempest Tour:
7/20/2016 Complex – Los Angeles, CA w/ Sisters Ov The Blackmoon, Ancient Spell
7/21/2016 The Merrow – San Diego, CA w/ Great Electric Quest, Supersonic Dragon Wagon
7/22/2016 SurlyWench Pub – Tucson, AZ w/ Abhorrent Contagion, Blacklidge
7/23/2016 The Sandlot – Phoenix, AZ w/ Tombstalker, Goya, Grey Gallows
7/24/2016 The Warehouse – Las Vegas, NV w/ The CG’s, The VD’s, Duct Tape Shoes, Commital, Grim Reefer, Wax Pig Melting

In other YIDHRA news, the band recently launched their own “signature” pedal, the Hexed Fuzz Custom through Arts In Bloodshed Custom Effects. There is a music realm made of heaviness, where goblins dwell and witches prepare their potions in wicked cauldrons. A doomed land where the trees are evil and the sky’s dark green. If you belong in here, then the Hexed Fuzz Custom is for you. Built according to the specs of YIDHRA guitarists Dave Krocker and Ted Venemann, the pedal provides an extra thick yet detailed high gain fuzz distortion perfect for extra low tunings. The fat and squished texture is filtered through a custom three band EQ and features a soft action true bypass switch as well as a bright creepy green led. Switchcraft jacks complete the high quality hardware. Heavy, extra gainy, and quiet. Now’s the time to get your hoof on it and begin to compose your malevolent chant. For more info visit THIS LOCATION.

http://www.yidhra.com
http://www.facebook.com/YidhraWitchQueen
http://www.yidhra.bandcamp.com
http://www.blackvoodoorecords.myminto.com

Yidhra & Attalla tour trailer

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Saint Vitus Announce Live Vol. 2 Due in Sept.; Premiere “War is Our Destiny”

Posted in audiObelisk, Whathaveyou on July 20th, 2016 by H.P. Taskmaster

saint vitus (photo by Audry Jarrett)

The 1990 Live album by Saint Vitus is a landmark, showcasing the doom legends’ raw power in a still-shockingly pure form. Originally released by Hellhound and reissued by Southern Lord in 2005, it was no less visceral 15 years later, and more than a decade after that, to say it still holds up is to brutally understate the case. Season of Mist will issue a follow-up to Live in the form of the aptly-named Live Vol. 2 on Sept. 23, from which one can stream a premiere of “War is Our Destiny” below right now.

Recorded in 2013, it captures Saint Vitus supporting their 2012 reunion album, Lillie: F-65 (review here), on a European tour with that album’s lineup: vocalist Scott “Wino” Weinrich, guitarist Dave Chandler, bassist Mark Adams and drummer Henry Vasquez. Original vocalist Scott Reagers has since stepped back into the frontman role, and with him, the band will head out with The Skull and Witch Mountain on a US tour just days after Live Vol. 2 comes out.

From the PR wire:

saint vitus live vol 2

Doom pioneers SAINT VITUS are a heavy metal institution. The forthcoming ‘Live Vol. 2’ captures a dominating, Wino-fronted 2013 Euro festival headline set from the ‘Lillie: F-65’ line-up. The band roars through a set of classics (“War Is Our Destiny”, Born To Late”, “Dying Inside” + ) at maximum volume leaving no doubt that this is prime VITUS. Strictly limited to one-pressing only on CD and LP. In stores on September 23rd.

Track-list
01. War Is Our Destiny
02. Look Behind You
03. Let Them Fall
04. The Bleeding Ground
05. Patra (Petra)
06. The Troll
07. The Waste Of Time
08. White Stallions
09. Thirsty And Miserable
10. Dying Inside
11. Born Too Late

Recording line-up:
Dave Chandler: guitar
Scott “Wino” Weinrich: vocals
Mark Adams: bass
Henry Vasquez: drums

Pre-order link: http://smarturl.it/SaintVitusLive2

Available formats:
Digipak CD
Gatefold double vinyl
Digipak CD with digisleeve bonus CD
Triple gatefold vinyl with bonus album

Saint Vitus on tour w/ The Skull & Witch Mountain:
Sept. 27 Austin, TX @ Midway Field House
Sept. 28 Dallas, TX @ Gas Monkey Dallas
Sept. 29 San Antonio, TX @ The Mix
Sept. 30 Shreveport, LA @ Riverside Warehouse
Oct. 1 New Orleans, LA @ One Eyed Jack’s Saloon
Oct. 2 Atlanta, GA @ The EARL
Oct. 3 Raleigh, NC @ Kings
Oct. 5 Philadelphia, PA @ Underground Arts
Oct. 6 Boston, MA @ @Middle East
Oct. 7 Brooklyn, NY @ Saint Vitus Bar
Oct. 8 Cleveland, OH @ Grog Shop
Oct. 9 Indianapolis, IN @ 5th Quarter Lounge
Oct. 10 Chicago, IL @ Reggie’s Bar
Oct. 11 Madison, WI @ High Noon Saloon
Oct. 12 St. Paul, MN @ Turf Club
Oct. 14 Missoula, MT @ Erosion Festival
Oct. 15 Seattle, WA @ El Corazon
Oct. 16 Portland, OR @ Star Theater Portland
Oct. 18 Sacramento, CA @ Starlite Lounge
Oct. 19 Oakland, CA @ Oakland Metro Operahouse
Oct. 20 Costa Mesa, CA @ Wayfarer.
Oct. 21 Los Angeles, CA @ The Viper Room
Oct. 22 San Diego, CA @ Brick By Brick
Oct. 23 Tucson, AZ @ Southwest Terror Fest

http://saintvitus.bandcamp.com/
https://www.facebook.com/saintvitusofficial
https://twitter.com/SAINTVITUSBAND
http://shop.season-of-mist.com/predefined-search?id_list=207
https://www.facebook.com/seasonofmistofficial/

Saint Vitus, “War is Our Destiny” (Premiere)

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