Tyrant Set May 15 Release for Hereafter on Shadow Kingdom Records

Posted in Whathaveyou on March 17th, 2020 by JJ Koczan

The first full-length from Los Angeles heavy metallers Tyrant earns further intrigue — and likely its Candlemass-esque Thomas Cole artwork as well — with the inclusion of vocalist Robert Lowe. The powerhouse singer joined Tyrant, which was founded in 1978 by bassist Greg May, in 2017, following the conclusion of his stint with the aforementioned Swedish doom legends. Of course known for his work as well in Solitude Aeturnus, Lowe invariably brings some of his patented Dio-of-doom spirit to Tyrant‘s Hereafter as well, as the streaming title-track readily demonstrates.

The release is May 15 on Shadow Kingdom, whose affection for traditional metal goes back well beyond the current revivalist trend, and the band will also travel east to headline the New England Stoner and Doom Fest, as the PR wire informs:

tyrant hereafter

Shadow Kingdom Records sets May 15th as the international release date for the long-awaited comeback album of America’s Tyrant, Hereafter, on CD, vinyl LP, and cassette tape formats.

Hailing from Pasadena, California, Tyrant formed in 1978 and put out their first demo in ’82. However, it was with their pair of albums for Metal Blade – 1985’s Legions of the Dead and 1987’s Too Late to Pray – where they’d etch their name into cult heavy metal legendry. Proud and powerful, theirs was steel tempered in the purest and proudest tradition: neither NWOBHM nor speed metal nor doom nor hair metal by any strict definitions, but uniquely dipping that blade into all at any given moment, and given an almost medieval atmosphere considering the ever-changing stylistic landscape during those years, which would be deemed “old-fashioned” as the 1980s came to a close. It took nearly a decade for Tyrant’s next album to arrive, 1996’s King of Kings, and indeed were the band even more out of place in that landscape; despite staunchly sticking to their guns, this would be their otherwise-final album.

Just like Tyrant were when they originally formed so long ago, there existed true believers across the pond who were keeping the traditional metal faith alive as the ’90s came to a close, as well as a quietly growing renaissance in the States as the 2000s began. Tyrant’s catalog subsequently received a long-overdue reappraisal, and a new, younger generation of metalheads investigated their mysteries of steel. Although never “broken up” officially, the sleeping beast awoke, with the original Tyrant lineup reuniting for 2009’s esteemed Keep It True festival in Germany. Shadow Kingdom, who’ve indeed kept it true since the beginning, reissued Tyrant’s first two albums in 2018, furthering that reappraisal and bringing the band’s name to an even younger, hungrier generation. The stage was thus set for a grand return…

At last, it arrives with Hereafter, courtesy of truest believers Shadow Kingdom. With founding member Greg May on bass along with longtime guitarist Rocky Rockwell and powerhouse drummer Ronnie Wallace, who’s been with the band since 2010, Tyrant now feature a significant new addition on vocals: the one and only Rob Lowe, he of Solitude Aeternus and ex-Candlemass fame. His addition proves especially significant given Tyrant’s doomier direction on Hereafter. While no doubt sounding like the same band who delivered those two classics on Metal Blade so long ago, the Tyrant of Hereafter conjures forth a classy, ominously melodic style of doom METAL – or at least traditional heavy metal steeped in doom, much like Black Sabbath in the early ’80s with Dio and then Ian Gillan on the mic – with each of these 11 mini-epics headbanging forward with power, poise, and a stately sort of grace. Aiding that granite-thick surge is the production of one Bill Metoyer, the legendary producer who’s recorded all of Tyrant’s albums to date. Evading any sort of “retro” moves, Metoyer keeps the sound on Hereafter rich, robust, and above all timeless, just like Tyrant’s ever-unyielding style of metal. Truly, this is the homecoming the legions have been waiting for!

To coincide with this momentous event, Tyrant will be headlining this year’s New England Stoner & Doom Fest, performing the new album in its entirety along with a full set of classic material. In 2020 and beyond, long may Tyrant live Hereafter!

In the meantime, see & hear the brand-new lyric video for the title track “Hereafter” HERE at Shadow Kingdom’s official YouTube channel. Preorder info can be found HERE at Shadow Kingdom’s Bandcamp as well as HERE.

Tracklisting for Tyrant (U.S.)’s Hereafter
1. Tyrant’s Revelation
2. Dancing on Graves
3. The Darkness Comes
4. Fire Burns
5. Hereafter
6. Pieces of Mine
7. Until the Day
8. When the Sky Falls
9. Bucolic
10. Beacon the Light
11. From the Tower

Tyrant are:
Greg May (bass guitar)
Rocky Rockwell (guitars)
Robert Lowe (vocals)
Ronnie Wallace (drums)

https://www.facebook.com/TYRANT-172515856798/
https://www.facebook.com/ShadowKingdomRecords/
https://shadowkingdomrecords.bandcamp.com/

Tyrant, “Hereafter”

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Jason Simon to Release A Venerable Wreck May 22; Streaming “The Same Dream”

Posted in Whathaveyou on March 12th, 2020 by JJ Koczan

jason simon

Now we’re talkin’, but the catch is we’re talkin’ in a language only aliens can understand. Jason Simon of Dead Meadow will issue his first solo LP since 2016’s Familiar Haunts (review here) on May 22 through Chile’s BYM Records. Titled A Venerable Wreck, the record is advanced by the banjo-based “The Same Dream,” which is… just gorgeous. It’s just gorgeous. Clean out your ears and take a listen. Really. I could go on and on about what Dead Meadow have contributed to psych-gaze over the years, or how I dug Simon‘s last record and the Old Mexico self-titled (review here) he was a part of that came out last year on Cardinal Fuzz, but it’s more important that you spend your next three-plus minutes listening to the track, so whatever, just go do that. It’s at the bottom of the post, like always.

Some PR wire info to read while you listen, preorder link included:

jason simon a venerable wreck

JASON SIMON: A VENERABLE WRECK LP OUT ON 5/22

NEW TRACK THE SAME DREAM

Anachronistic troubadour, Jason Simon has announced the release of a new solo album for May 22nd. A Venerable Wreck will be released on LP/Digi via Chilean label, BYM Records (Föllakzoid, Chicos de Nazca, The Ganjas). With this announcement is the leak of first single The Same Dream which is a bucolic dose of lysergic Americana mainly composed of Simon’s banjo-picking and voice.

Speaking on the track (which he has already been playing in live shows recently) he said The Same Dream was written on a banjo where I’ve attached a 60’s gold foil pickup to the head allowing it to be amplified in way akin to an electric guitar and using a tuning I picked from the likes of Clarence Ashley and Dock Boggs. Lyrically the song investigates our shared delusions inherent in the concept of endless economic growth.

Though Simon has explored the amplified range of psychedelia for the past two decades fronting Dead Meadow, his solo material is used for the exploration of intimate and stripped-back music that touches upon country-tinged Psych-folk and more avant-garde moments. While it’s mostly Simon on the record, a circle of musicians including Nate Ryan of The Warlocks and Mark Laughlin, his band-mate in Dead Meadow were brought in to add their ingredients to a melting pot of arrangements.

Album pre-order: http://bymrecords.com/releases/148

https://www.facebook.com/DeadMeadowOfficial/
https://jasonsimon.bandcamp.com/releases
http://deadmeadowstore.bigcartel.com/
https://www.facebook.com/BYMrecords/
https://www.instagram.com/BYMrecords/
https://bymrecords.com/

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The Freeks to Debut New Lineup at Heavy Psych Sounds Fest in L.A.

Posted in Whathaveyou on March 9th, 2020 by JJ Koczan

the freeks 2020 lineup

Still ostensibly based in Los Angeles, The Freeks have nonetheless amassed a new lineup that spans both coasts and in between. Coming off of 2018’s Crazy World (review here), the group has shifted Ruben Romano from guitar/vocals to drums and brought in Ed Mundell — known for his work in prior work in Monster Magnet and The Atomic Bitchwax as well as the more recent The Ultra Electric Mega Galactic — and Craig Riggs, vocalist of Boston’s Roadsaw and Kind and drummer for L.A.’s own Sasquatch, to take on guitarist and frontman duties, respectively.

In the meantime, Romano and returning guitarist Jonathan Hall have also picked up bassist Ray Piller of Ohio weirdos Biblical Proof of UFOs, completing a new five-piece that needs to shut up and go make a record immediately. Like, hey guys, stop what you’re doing today and go fucking record. You say you don’t have songs yet? Doesn’t matter. Get in the studio for two days, jam out, piece it together later and hand it to Riggs to throw vocals on. Dude’s good for it. Just make it happen. I want a June release date, and I want to hear a completed master by, let’s say, three weeks from now. If you wanted to shoot some raw mixes over in the interim, that’s acceptable as well. Chop-chop. Time’s a-wastin’.

Their actual plans involve making a stage debut at the Heavy Psych Sounds Fest on March 28 in Los Angeles, which Earthless will headline. I guess if they wanted to record that set and put that out the first week of April or thereabouts, that’d be fine too. Just something. The sooner the better. Make it happen.

From the PR wire:

heavy psych sounds fest california poster

The Freeks New Lineup! Feat. Ed Mundell!

The Freeks have recently been laying low, sinking themselves neck deep in a songwriting frenzy, while at the same time refreshing itself with rearranging some positions and transferring in some new blood.

Ruben has never really stopped playing drums but now after nine years of fronting the band vocally with guitar in hand, he has returned to rightfully regain his reign, deep seated once again on his drum throne! To excite the matter thus even more, enter Ed Mundell on guitar! Yes Mundell! Guitar hero from the likes of Monster Magnet, Atomic Bitchwax and The Ultra Electric Mega Galactic. The two have been longtime friends since they toured together on a shared Monster Magnet/Fu Manchu bill that traveled throughout the East Coast, MidWest and Canada back in the late 90’s.

Holding the groovest(sic) rhythm section alongside Ruben is Ray Piller on bass, who still sometimes rumbles with 25-plus year old original Cleveland, Ohio noise makers Biblical Proof of UFOs. Still in the mix is Freeks longtime guitar slinger Jonathan Hall who together with Ed can only summon the most exciting duel lead guitar action since Wayne Kramer and Fred “Sonic” Smith did with the MC5. This lineup is destined to be legendary and from the way things have been coming together during rehearsal it is most definitely something that should be not only heard but witnessed!

This new band of FREEKS debuts this line up on Saturday March 28th as openers for the now heralded “HEAVY PSYCH SOUNDS FEST” in Los Angeles at “The Moroccan Lounge”.

Joining them on stage to lend a growling hand will be Vocalist Craig Riggs from the Boston based band ROADSAW who also tackled a lot of miles touring with both Ruben and Ed during their Nebula and The Atomic Bitchwax periods.

The HEAVY PSYCH SOUNDS FEST, L.A. is an incredible one night bill with the lineup being:
Earthless
Danava
Crypt Trip
High Reeper
The Freeks

The Freeks are:
Ed Mundell – Guitar
Jonathan Hall – Guitar
Ray Piller – bass
Craig Riggs – vocals
Ruben Romano – Drums

https://www.facebook.com/TheFreeks/
https://www.instagram.com/the_freeks/
http://www.thefreeks.com/
http://www.heavypsychsounds.com/

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Album Review: Ozzy Osbourne, Ordinary Man

Posted in Reviews on March 9th, 2020 by JJ Koczan

ozzy-osbourne-ordinary-man

It’s a digital reboot in the truest sense and right down to the Ozzy Osbourne logo and the font of the Ordinary Man album title under the picture of the man himself, mouth open as if there’s a sign next to his face saying “insert bat here” with an arrow pointing to his mouth, the black eyeliner, and shiny jacket, fog, the whole bit. It’s like the new Star Wars movies, or any number of other things made and remade. Take the essential and most familiar elements of a beloved intellectual property and give them a refreshed look and feel. In the case of Ordinary Man, that means bringing in a star-studded cast featuring the likes guitar prodigy and producer Andrew Watt, a rhythms section of Duff McKagan and Chad Smith, and high-profile guest-star cameos from Elton JohnSlashTom Morello, and — giving any number of weird uncles something to talk about with their pop-loving younger relatives — Post Malone and Travis Scott, and essentially building a modern-sounding Ozzy record.

The songs — there are 11 of them, or 10 and a bonus track as it’s presented on the CD, which, yes, I bought — must be and are unfuckwithably tight. The guitar work must be and is top notch in the spirit of Ozzy‘s past work alongside heroes like Randy RhoadsJake E. Lee and Zakk Wylde. There must be and is a balance of bruisers and ballads, a couple of Beatles references in the George Martin-esque strings capping the title-track and the McCartney-style keyboard/piano bounce and backing vocals in the build of the somewhat overblown “Holy for Tonight,” which moves into a more modern pop-sounding progression before rounding out and giving way to the needless but speedy “It’s a Raid” and the hip-hop infused bonus track “Take What You Want,” both collaborations with Post Malone that are hardly Osbourne‘s first time delving into hip-hop. One recalls a collaboration with DMX and Ol’ Dirty Bastard on a South Park compilation CD in the late ’90s. These things are all cyclical.

And like a lot of digital reboots, there’s much about Ordinary Man that is inarguable. While Ozzy himself, as a persona, is well past being the coked-up madman of his earliest post-Black Sabbath days — lest we forget that his classic solo debut, Blizzard of Ozz, turns 40 later this year — and he’s mostly shed the “prince of darkness” image (this cover art notwithstanding), he remains inarguably and grandly charismatic. There are moments throughout Ordinary Man where he feels almost superfluous. Songs like “Under the Graveyard” or “Today is the End” carry an unmistakable mark of his work and style, and yet one almost has to search to hear Ozzy himself — his actual voice — within the shroud of the massive amount of production surrounding. Yet these tracks are, again, unfuckwithably tight and they and others surrounding them are likewise-proportionate in their catchiness. Meticulously, impeccably constructed, from the opening “Straight to Hell” onward, they very purposefully cast forth an Ozzy record for “today’s world.”

ozzy osbourne

If you’re of a certain age, you might remember the 1990s marketing obsession with things being “x-treme.” From fast cars to kids’ yogurt, everything had to fuel an “x-treme” lifestyle, even as the entirety of Generation X was accused by their Baby Boomer elders of being slackers — great times, and familiar in many ways. As we enter a new decade and the 2020s remain as yet undefined, Ordinary Man nonetheless carries with it the hallmarks of 2010s popular culture, even down to the simple fact of its existence. It is a thing that has been essentially made before being remade in a polished, lens-flare-laced and palatable way for a different generational audience. Its tracks are frontloaded in terms of putting the best material first thinking that the listenership won’t last the entire 49-minute stretch — which many won’t — and it is built around several key singles and “focus tracks” that serve a basic and relatable theme.

Perhaps most in the spirit of the modern reboot, Ordinary Man tells a story, and “storytelling,” from a marketing standpoint, is essential. In songs like “Straight to Hell,” “All My Life,” “Goodbye,” “Ordinary Man” — the new video for which seems to be Ozzy actually watching a movie of his life; indeed much of the album seems to be selling a screenplay for a heavy metal biopic that, almost sadly, will probably be pretty good despite igniting a fire of internet complaints when Geezer Butler is never mentioned — as well as “Under the Graveyard,” “Today is the End” and even “Holy for Tonight,” there is an ongoing frame of examining mortality across the proceedings. Osbourne, whose diagnosis with Parkinson’s Disease was recently unveiled on Good Morning America, has canceled tours owing to health problems and injuries, and has amassed a hard-lived 71 years, and is well within his rights to say something like, “Don’t know why I’m still alive” on the title cut. Some cucumbers are just better pickled, I guess.

But all of these elements — the songwriting, the soaring guitar solos from Watt, who comes across as no less a shredder than any of the esteemed shoes he might be filling in that role, the digitized, pitch-corrected ‘layers of Ozz,’ the dopey but fun “Scary Little Green Men” and the who-actually-let-him-use-the-word-“defecate”-in-these-lyrics of the opening track — all combine to make a record that is undeniably Ozzy Osbourne circa 2020. Will Ordinary Man be the work for which Ozzy is remembered after he’s gone? Not a chance; his legacy was set decades ago. But it is probably the most relevant work he’s done since 1995’s Ozzmosis, even though the last 25 years accounts for three studio albums — 2001’s Down to Earth, 2007’s Black Rain and 2010’s Scream — and the 2005 Under Cover covers collection, and if it is to be his final outing, then the energy brought to it by Watt and McKagan and Smith, as well as a number of keyboardists and the other players involved, has not been misused, and doing some of your best work in a quarter-century isn’t a bad way to go out.

Will “the kids” dig it? More likely they’ll just wonder who that old guy is on stage next to Post Malone shouting at them to “go fucking crazy” (yes, even that catchphrase makes it onto the record), but whatever. A few resonant hooks, a lot of familiar pieces put together in familiar ways, and Ozzy himself at the center of it. It’s got enough of everything to make for a successful franchise reboot. The only question that remains, then, is what’s to be done about a sequel.

Ozzy Osbourne, “Straight to Hell” official video

Ozzy Osbourne on Thee Facebooks

Ozzy Osbourne on Instagram

Ozzy Osbourne website

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All Souls Post “You Just Can’t Win” Video from New Album Songs for the End of the World

Posted in Bootleg Theater on February 27th, 2020 by JJ Koczan

all souls

Here’s one for you: I could’ve premiered this video. And I would’ve been frickin’ thrilled to do it. It’s All Souls! Their 2018 self-titled debut (review here) was one of my favorite and most-listenend-to albums of that year and the news that they have a follow-up, titled Songs for the End of the World and due out sometime in the coming months, is nothing if not welcome. To top it off, “You Just Can’t Win,” which is the first single from this impending sophomore outing, rules. The guitar work is dynamic and emotionally resonant and the vocals of Antonio Aguilar bring out the best of the characteristic delivery he’s had since the days when he and All Souls bassist Meg Castellanos were laying waste in underappreciated heavy rockers Totimoshi.

And do I need to remind that along with the guitar of Erik Trammell alongside Aguilar‘s own there resides in the rhythm section one Tony Tornay of Fatso Jetson?

To top it off, the video rules! It’s creative, it’s got purpose and a message to deliver, and the mania that ensues in the imagery fits the song perfectly.

So what happened?

It went to spam.

Shit you not.

Worse — Facebook Messenger spam. For The Obelisk page.

I didn’t even know that existed! I stumbled on it by accident checking my messages yesterday and it was loaded with stuff, including the proposal to premiere this clip and hot damn if I wouldn’t have been all over it. Instead here I am posting it two-plus weeks after the fact and feeling like a chump because I just found out not only about the video and the LP but that All Souls are coming east next month to do shows. What a jerk.

I know Aguilar is talking about issues that actually matter in the song and that mine is only the white-privilegeliest of plights, but it’s good to know the message applies on multiple levels. For what it’s worth, he’s right on all counts.

My sincere hope is to have more on the new All Souls album before it comes out. Until then, please enjoy the video. It’s directed by Marcos Sanchez, record produced by Toshi Kasai. Note the blank space in the PR wire info where it says who did the premiere. Could’ve been me.

Dig:

All Souls, “You Just Can’t Win” official video

LA-based rockers All Souls are set to unleash a new single “You Just Can’t Win”—a blistering commentary on the populist-inspired prejudice and violence plaguing modern society — digitally on January 24 and have also shared an accompanying video to the song directed by Marcos Sanchez (The Breeders). The video premiered today at____. All Souls creates songs that are lyrically dark, infused with the band’s unique style and perspective on the state of today’s world and this one is no exception. Produced by Toshi Kasai (Tool, Melvins, Foo Fighters), the song seethes with the tightly coiled angry vocals and menacing guitar of founder Antonio Aguilar. Also appearing on the track are Meg Castellanos (bass, vocals), Erik Trammell (guitar), and Tony Tornay (drums). “You Just Can’t Win” is taken from their forthcoming album, Songs For The End Of The World, which will be released later this year. The new material is the follow up to their 2017 eponymous debut album and follows a spectacular 2018 which saw the band embark on tours with Tool and Meat Puppets. All Souls will celebrate the release of the single with a headlining show at The Paramount Ballroom on January 25th.
Info: https://www.eventbrite.com/e/all-soulscfmdarsombrabiblical-proof-of-ufos-dj-dale-crover-tickets-86881592181?aff=odwdwdspacecraft

Says Aguilar: “I write from the perspective of a brown man. A man subjected to continuous subjugation from his youth into adulthood. When I sing ‘You Just Can’t Win,’ I have multiple tiers of emotions happening. One is combative anger, but then I feel a sense of sadness and compassion, and not just towards the victims mourned in the song, but towards the lost and deranged person. By the ending ‘Oh they fell, oh they fall’ – it’s just pure sadness.”

The video, which incorporates fittingly dystopian stock footage augmented and brought to life by stunning hand drawn animation, was conceived and directed by Chilean artist, animator and filmmaker Marcos Sanchez who most recently created the video for the Breeders’ “Walking With A Killer” which was released on Halloween of last year.

Says Sanchez: “The video is a mix of found footage and 2D, hand drawn animation. I gathered footage that could relate to this in an interesting way, not really wanting to illustrate the idea but to complement it with a parallel story that conveyed the feelings of dread and senseless violence that I see in the subject matter. The band wanted very strong imagery. We discussed about Images of the “perfect” American way of life being “threatened” by immigration and social change. We also discussed about having lots of destruction, as a way to show the threat of violence that the song talks about. As for the animation I propose the band to use images of skeletons representing death which curiously coincided with the art for the new album, which was perfect.”

All Souls live:

•March 17: Once Lounge w/Child Abuse and Il Mostro
156 Highland Ave Somerville, MA 02143

•March 18: St Vitus Bar w/Child Abuse
1120 Manhattan Ave Brooklyn, NY 11222

•March 19/TBA

•March 20: Westside Bowl
2617 Mahoning Ave Youngstown, OH 44509

•March 21: Rockerbuilt Studios
2012 Northwestern Pkwy Louisville, KY40203

•March 22: Rose Music Hall
1013 Park Ave Columbia, MO 65201

•March 23: The Record Bar Mini Bar w/Pamper the Madman
1520 Grand Blvd Kansas City, MO 64108

All Souls are:
Antonio Aguilar (vocals, guitar)
Meg Castellanos (bass, vocals)
Erik Trammell (guitar)
Tony Tornay (drums)

All Souls on Thee Facebooks

All Souls on Instagram

All Souls on Bandcamp

All Souls website

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Sunyata Records website

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Black Math Horseman to Embark on “Next Chapter” with Return to Stage Next Month

Posted in Whathaveyou on February 17th, 2020 by JJ Koczan

black math horseman 2009

Okay, the post isn’t long from Black Math Horseman in some grand announcement fashion heralding their return, but there is a bit to unpack, so let’s do that.

First of all, there’s the news. Black Math Horseman have confirmed their first live appearance in seven years will be at The Echoplex in their native Los Angeles with YOB and Unsane-offshoot Human Impact on the bill. Good show.

Second, it’s been just over a year since the much-missed heavy post-rockers put up the picture above, originally from, 2009 as a promo shot for their only LP, Wyllt (discussed here and here), on Thee Facebooks, as well as one of parting clouds, giving the first hint of some kind of activity on the band’s part since 2013. Not an insignificant amount of time, but really, why rush anything?

Third, note that in the post below they don’t just say “come together again,” they say “come together again creatively.” That means making something new. That means new material. New material could mean new album. A “next chapter” could be anything from sporadic live dates on the West Coast to a full two-month European tour of summer fests — neither would really surprise me at this point — but from that, the use of “creatively” and the “there’s more to come” that follows, it seems pretty clear that at very least Black Math Horseman aren’t just testing the waters here. They’re invariably doing that as well, but there’s a plan at work behind the scenes, whatever it might be, that, in keeping with the character of the group, is obscured from outside observation. Mysteries abound.

Conclusion: Who wants to fly to L.A. for the night?

Whatever Black Math Horseman might do next, all we can do is wait to find out.

Show poster and their statement follow as per social media:

black math horseman return show

We are so grateful to have come together again creatively, and to be embarking on this next chapter of Black Math Horseman. Thank you to everyone who has supported us along the way, there’s more to come.

Thank you @church8thday & Yob for having us.

We’re excited!

https://www.facebook.com/Black-Math-Horseman-77475471220/
https://blackmathhorseman.bandcamp.com/

Black Math Horseman, Wyllt (2009)

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High Priestess Set April 10 Release for Casting the Circle; Streaming Title-Track Now

Posted in Whathaveyou on February 12th, 2020 by JJ Koczan

high priestess

This one’s a no-brainer. New High Priestess is a yes. It’s been on the gotta-hear list since the band hit the studio last November, and the stream below of the title-track does nothing to negate its position thereupon. The Los Angeles trio reaped praise far and wide for their 2018 self-titled debut (review here), and Casting the Circle will serve as the five-songer LP follow-up. Preorders are up and are here, so really, I don’t even know why I’m still writing. The album exists in pending form, so look forward to it. There. Post done.

PR wire has, you know, actual details and such to follow-up on the nuanced insight above (I know that’s what keeps you coming back):

high priestess casting the circle

HIGH PRIESTESS share heady new track and details about upcoming new album ‘Casting The Circle’ on Ripple Music

Los Angeles-based ritualistic psych-doom trio HIGH PRIESTESS unveil all details about their upcoming sophomore album ‘Casting The Circle’ on Ripple Music. Stream its mesmerizing title track now.

“After playing these songs live for many months, we are pleased to have captured them in their definitive recorded versions for the whole world. We honor gods and goddesses, ancestors and spirits from the past, present and future and sing songs of misfortune. The title song Casting the Circle was written as an opener for shows to bring good energy into the room, we hope you love it as much as we do.” says guitarist and vocalist Katie Gilchrest.

Their 2018 eponymous debut on Ripple Music quickly turned heads in the heavy music underground, leading to tours in the US and Europe. Their sophomore full-length “Casting the Circle,” releasing in April 2020, seasons the psych-doom cauldron with keyboards, tribal percussion, signature harmonies and grandiose prog rock arrangements, all while pushing the boundaries of just how “heavy” heavy music can be. ‘Casting The Circle’ will be available on April 10th through Ripple Music. The artwork was designed by Jill Colbert at Manfish Inc.

HIGH PRIESTESS ‘Casting The Circle’
Out April 10th on Ripple Music

Preorder: https://ripplemusic.bigcartel.com/product/high-priestess-casting-the-circle

TRACK LISTING:
1. Casting The Circle
2. Erebus
3. The Hourglass
4. Invocation
5. Ave Satanas

High Priestess is:
Katie Gilchrest – guitars, vocals, organ
Mariana Fiel – bass, vocals
Megan Mullins – drums, percussion

https://www.facebook.com/highpriestessmusic/
https://www.instagram.com/highpriestessmusic/
https://highpriestessmusic.bandcamp.com/
http://www.ripple-music.com
https://ripplemusic.bandcamp.com
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Ozzy Osbourne Sets Feb. 21 Release for Ordinary Man; Preorders up Now

Posted in Whathaveyou on January 15th, 2020 by JJ Koczan

I’ll admit I’m somewhat back and forth on the prospect of the new Ozzy record. Of course, it’s the first one in a decade, so that in itself is an event considering he is who is he is. There have been a few songs put out, and I haven’t listened to the title-track of Ordinary Man yet — I’ll get there — but both “Straight to Hell” and “Under the Graveyard” are maddeningly catchy. If it’s the best Ozzy Osbourne since Ozzmosis — which seems like a realistic best-case-scenario, as his earliest solo work is just never going to be topped and I think we all know it — well, that was 25 years ago, so that’s not nothing, right?

At the same time, the use of “defecate” in “Straight to Hell” is laughable and the video for “Under the Graveyard” looks like a treatment for one of the new generation of bio pics à la James Brown, Freddie Mercury and Elton John — can David Bowie be far behind? — so it’s not like either one comes without its hitch. Still, L.A.-type guitar prodigy/producer Andrew Watt seems to have done a good job reinvigorating Ozzy‘s signature style, which was nothing if not ripe for a reboot. I’d go see the tour if I was cool enough to get a photo pass, which I don’t think I am. So it goes.

Anywho, Ordinary Man is out Feb. 21 on Epic and preoders are up. Here’s some info and the songs that are currently available from it:

ozzy osbourne ordinary man

OZZY OSBOURNE’S ‘ORDINARY MAN’ SET FOR FRIDAY, FEBRUARY 21 RELEASE ON EPIC RECORDS

ALBUM WAS RECORDED IN LOS ANGELES WITH ANDREW WATT, DUFF MCKAGAN AND CHAD SMITH

SPECIAL GUESTS INCLUDE ELTON JOHN, POST MALONE, SLASH AND TOM MORELLO

ORDINARY MAN AVAILABLE FOR PRE-ORDER FRIDAY, JANUARY 10, 2020

Rock and Roll Hall of Fame inductee and Grammy®-winning singer and songwriter OZZY OSBOURNE has set Friday, February 21 as the release date for his new ORDINARY MAN album. Marking his first new solo music in almost 10 years, the album has been preceded by the release of two singles, the title #1 rock track “Under The Graveyard,” which was followed by “Straight To Hell” featuring Guns N’ Roses guitarist Slash. The album’s track will be available instantly with any pre-order of the album. Pre-order the album here: https://ozzy.lnk.to/OrdinaryMan

ORDINARY MAN will be available as a standard CD, deluxe CD, black vinyl, deluxe gatefold swirl color vinyl, picture disc and digital album. In addition, all physical copies of the album will include a unique code that will allow the purchaser to enter a sweepstakes for a chance to win one of over 300 OZZY prizes (including an official OZZY laminate to get into any show on the 2020 “NO MORE TOURS 2,” meet and greets with OZZY, a gift certificate to the OZZY global store and much more!) All details on the sweepstakes can be found at www.ozzy.com.

“It was a lot of fun to do though it’s a lot different from my other albums,” OZZY says of the album. “We recorded it quickly, which I haven’t done since the first Black Sabbath album. This made it a different process, which I actually enjoyed.”

Recorded in Los Angeles, the album features producer Andrew Watt on guitars, Duff McKagan (Guns N’ Roses) on bass and Chad Smith (Red Hot Chili Peppers) on drums. Beyond the core band, ORDINARY MAN, features a who’s-who of OZZY friends and collaborators including Elton John, Post Malone, and Tom Morello.

“It all just came together,” OZZY explains of the guest stars. “Slash is a dear friend of mine, as is Elton. When I was writing ‘Ordinary Man,’ it reminded me of an old Elton song and I said to Sharon, ‘I wonder if he would sing on it?’ We asked and lo and behold, he agreed and sings and play piano on the song.”

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Ozzy Osbourne, “Ordinary Man”

Ozzy Osbourne, “Straight to Hell” official video

Ozzy Osbourne, “Under the Graveyard” official video

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