CHRCH & Fister Release Split LP Tomorrow

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

Do you love atmospherically switched on and utterly skull-cleaving extreme doom? Sure, we all do. One should therefore take note of tomorrow as the release date of the new split between Los Angeles soulcrushers CHRCH and their bet-we-can-write-an-even-longer-song scathing compatriots in Fister. Because, you now, with the cleaving and whatnot. Issued through respected purveyor Battleground Records and Crown an Throne Ltd., it’s just two tracks, but that’s frankly all you need and even franklier probably all you could stand anyway from these two litmus test outfits pushing the limits of hyperbole-worthy viciousness. Get it, get doomed.

The PR wire delivers humbling brutality:

chrch fister split

On November 17th 2017, the stunning new split by CHRCH & Fister will be released The album consists of two tracks and will be released on limited edition vinyl via Crown and Throne Ltd and Battleground Records.

CHRCH have been hard at work crafting their particular brew of sound since late 2013. There is no image or campy gimmick to uphold, only the humble continuation and glorification of those fundamental musical elements that first built and then sustained the genre and it’s offshoots over the course of decades.

This purity and honesty comes across in a striking manner on the band’s debut ‘Unanswered Hymns’, a sprawling roller coaster of an album that plumbs the heights and depths of emotion, whether be it sorrow, loss, or redemption. Recorded, mixed, and mastered by Patrick Hills at Earthtone Studios in Rocklin, CA, the recording exudes a warm, organic tone that draws the listener in to music heavily influenced by traditional doom, psych rock, drone, and ambience. CHRCH cannily wields dynamic songwriting, musicianship, and raw power to spin a spellbinding tale of occult darkness that clashes with illuminating melodies and riffs drenched in grimy reverb. Minimalistic, indulgent, or straightforward, the music of CHRCH is simply whatever the listener wants it to be.

Fister, coming off their recent reissue of “Gemini” on vinyl (Encapsulated Records), their split 7″ with TEETH (Broken Limbs Recordings), and of course their last 12″ “IV” (Crown and Throne Ltd.), continues to incorporate heavy influences from the black and death metal genres into a depressing sludge spewing heaviness that many have attempted, but few have mastered.

CHRCH: Eva Rose, Chris Lemos, Adam Jennings, Ben Catchart, Shann Marriott Jr.
Fister: Kenny Snarzdk, Marcus Newstead, Krik Gatterer

https://www.facebook.com/chrchdoomca/
https://www.facebook.com/fisterdoom/
http://crownandthroneltd.bigcartel.com/product/fister-chrch-split-12/
https://www.facebook.com/crownandthroneltd/
https://crownandthroneltd.bandcamp.com/
http://www.battlegroundrnr.com/product/chrch-fister-split-album
https://www.facebook.com/battlegroundrecords/
https://soundcloud.com/battleground-records

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Fireball Ministry, Remember the Story: Taking a Page

Posted in Reviews on November 7th, 2017 by JJ Koczan

fireball ministry remember the story

It’s difficult to believe that it’s been 18 years since Los Angeles-based heavy rockers Fireball Ministry made their debut with Où Est la Rock? (discussed here) on Bong Load Custom Records, but then, it’s also hard to believe it’s been seven since their self-titled (review here) was issued via Restricted Release. Fireball Ministry followed two strong outings in 2003’s The Second Great Awakening and 2005’s Their Rock is Not Our Rock, and while a perhaps overly slick production took away some of the impact one found in the songs on their earlier offerings, the band’s songwriting was as crisp and efficient as ever.

Prior to and following the release of that album, founding guitarist/vocalist James A. Rota spent time in supergroup The Company Band alongside guitarist Dave Bone, Clutch vocalist Neil Fallon, Fu Manchu bassist Brad Davis and CKY drummer Jess Margera, but still, seven years is a significant delay between full-lengths for Fireball Ministry, who in the interim have continued to play shows and brought bassist Scott Reeder (The ObsessedKyussUnida, etc.) on board the lineup with Rota, guitarist/backing vocalist Emily Burton and drummer John Oreshnick.

No doubt that’s a powerhouse presence and I won’t take away from what Reeder brings to the Hollywood rockers’ overall sound on their fifth long-player, Remember the Story (on Cleopatra Records), but as was the case seven years ago and has been the case with Fireball Ministry all along it is still the songwriting that most shines through. Elements bleed in from classic metal, desert heavy and voracious riff rock, but it’s the structural integrity of what Rota and company do with those pieces that makes the 10-song/51-minute full-length so undeniably their own.

Especially after the self-titled, production was a question heading into Remember the Story, but as opener “End of Our Truth” and the following “Everything You Wanted” set a tone through hook, comfortable tempo and a purposeful fervency of groove, the contribution of producer/engineer Paul Fig — who has helmed records for post-reunion Alice in Chains as well as Rush and Ghost, among others of a more metallic ilk — shines through in presenting the songs with a clean sense that nonetheless doesn’t detract from their harder-hitting aspects.

Oreshnick‘s drums push “End of Our Truth” into and through its chorus with ease as Reeder noodles his bassline beneath the core riffing from Rota and Burton, and an immediate balance is established that Remember the Story maintains for its duration as cuts like the bruiser-riffed “The Answer” and the melodic highlight “Weavers Dawn” bring a feeling of variety around the root approach, which remains straightforward and unabashed in its will to engage the audience on the level of classic heavy rock. That is, Fireball Ministry clearly aren’t looking to change the world.

fireball ministry

While peppered with raucous moments as on the cowbell-laden “Back on Earth” here or the transfigured Sabbathian swing and stomp of “All for Naught” — which seems to draw a direct line to “A National Acrobat” — it’s never been Fireball Ministry‘s intention to reinvent heavy rock so much as to highlight the best of what never needed reinventing about it in the first place.

They do that again with Remember the Story, and indeed as the songs play out through the meatier “Dying to Win,” the aptly-titled instrumental “Stop Talking” and the rolling title-track, that indeed becomes the narrative of the record as a whole. It is a story worth remembering, and the hooks the entire way through are earworm enough to make sure that listeners do precisely that, whether it’s the initial energy of the opening two cuts as bolstered by “Back on Earth” or the seeming B-side that begins with “Stop Talking” and moves inexorably toward acoustic-led closer “I Don’t Believe a Word.”

That latter, and last, track is a Motörhead cover taken from 1996’s Overnight Sensation and is given something of a manifesto feel as regards Rota‘s delivery of the lyrics. The perspective is very much in keeping with sentiments like Their Rock is Not Our Rock and the more political mindset of the self-titled — the band setting itself apart from its surroundings and offering a critique from a distant point of view. With Burton joining Rota on vocals in a follow-up to the harmonies that cap “Weavers Dawn” or the call and response in the verses of “Everything You Wanted” back on side A, it’s a moment of departure from the rest of Remember the Story, but still not so far removed as to upset the overarching flow of the record, which after finding itself on the steadiest of ground in its first half takes relative advantage of the opportunity to be a bit more adventurous with its second.

Again, classic form. And giving that classic form a modernist execution is what Fireball Ministry have done best for going on 20 years. Listening to Remember the Story, one can’t help but wonder if the band’s intention wasn’t to remind its audience of that in the first place — an urging toward recall rather than, say, the suggestion that this outing is the complete story to be remembered. It may or may not be, but especially as the title-track and “All for Naught” roll into “I Don’t Believe a Word” and the band get ready to make their collective exit, there’s a sense of summary that seems to extend beyond this record itself, speaking perhaps for the work of Fireball Ministry across their discography and examining the group’s place in the heavy rock underground, their accomplishments, their letdowns, and what they might still hope to do.

The question that will remain to be seen, especially with a seven-year gap between the last LP and this one, is whether Fireball Ministry‘s story has received its last chapter, or if it will continue. For what it’s worth, the returned vigor to their impact serves them remarkably well throughout here, and though well expected, their level of craft is as uncompromising in its accomplishment as ever. It’s not like they didn’t know what they were doing all along, but maturity suits them, and if this might be their final statement, they’ve reaffirmed their place among deeply underappreciated heavy rock songwriters.

Fireball Ministry, “The Answer” official video

Fireball Ministry on Thee Facebooks

Fireball Ministry on Twitter

Fireball Ministry on Instagram

Fireball Ministry website

Fireball Ministry at Cleopatra Records

Cleopatra Records on Thee Facebooks

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High Priestess Sign to Ripple Music; Debut Album Due in 2018

Posted in Whathaveyou on November 6th, 2017 by JJ Koczan

I’ve had the debut demo from Los Angeles trio High Priestess on my desktop for a bit now waiting to be reviewed, and I think it’ll get in the next Quarterly Review next month as we round out 2017 and look ahead for to things to come for the New Year, but it would seem the verdict is already in, one way or the other. The newcomer three-piece have signed to Ripple Music to issue their first long-player in next Spring. In doing so, they join other recent Ripple pickups like Hungarian bruisers Ozone Mama, Austin’s Witchcryer, and Montreal’s The Hazytones on a roster that seems to always be growing steadily while continuing to make an impact from release to release. I’ll get there on that review, but in the meantime, congrats and kudos to the band on already earning some of the best backing a new group could hope for at this point in American underground heavy.

The PR wire makes it official:

high priestess

High Priestess Sign to Ripple Music for World-wide Deal – Debut Album to Come May 2018

Ripple Music is thrilled to welcome Los Angeles-based heavy psych-doomsters, HIGH PRIESTESS, to their family of the best bands in the heavy underground.

High Priestess made their name throwing down lush harmonies over psychedelic crushing riffs and grooves. Consisting of Katie Gilchrest on guitar and vocals, Mariana Fiel on bass and vocals, and Megan Mullins on drums, High Priestess has created a sound that echoes both past and future incarnations of doom and psychedelia.

Formed in the spring of 2016, High Priestess have taken the heavy underground by storm. When Mariana Fiel placed an ad on Craigslist seeking like minds for a devastating project, Katie and Megan heeded the call, and they immediately started producing long, hypnotic jams that morphed into crafted songs with dynamic crescendos and soaring improvisational sections. The band’s self-released demo tapes, simply titled “Demo” shot to upper reaches through sheer word-of-mouth, high critical praise, and a passionate, growing fanbase.

“We are really excited to be working with Ripple,” says Katie. “We’re honored to be part of a roster of so many awesome bands. Todd and the gang are very supportive and make us feel like family.”

“We recorded our music DIY style in the hopes of reaching just a few people, and the response has exceeded our expectations. We can’t wait for a full release through the Ripple channels, and are thrilled at the opportunity to share our stories through our melodies, harmonies, heavy drums, and luscious fuzz.”

Tours, both domestic and abroad, are coming, designed to spread the gospel of thick fuzz and rhapsodic melody. Basically, there is no limit to the heights High Priestess can ascend.

Prepare to worship at their altar.

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://twitter.com/HighPriestessLA
https://highpriestessmusic.bandcamp.com/
http://www.ripple-music.com
https://ripplemusic.bandcamp.com
https://www.facebook.com/theripplemusic/

High Priestess, Demo (2017)

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All Souls Self-Titled Debut Due Feb. 9; New Song Streaming

Posted in Whathaveyou on November 3rd, 2017 by JJ Koczan

all souls

Oh I am very, very much looking forward to this one. I was always a big fan of Tony Aguilar and Meg Castellanos‘ work in the vastly underrated Totimoshi, who released their last album, Avenger (review here), in 2011, so to find them once again embracing a more heavy rock-style form in All Souls is only awesome news as far as I’m concerned. They’ve spent some time exploring textures of folk guitar and dance in Alma Sangre as well, but with Erik Trammel of Black Elk on second guitar and Fatso Jetson‘s own Tony Tornay on drums, All Souls take straight-ahead heavy rock to exciting and intricate places on tracks like “Silence,” “The Ghost is Flying Home” and “Party Night,” all of which are streaming now on their Bandcamp page.

The album, self-titled, was produced by Toshi Kasai and is set to release on Feb. 9 via Sunyata Records. I will very much hope to have more on it before then. Can’t wait to hear the full thing from the tracks posted so far.

From the PR wire:

all souls self titled

ALL SOULS (TOTIMOSHI, DESERT SESSIONS) RELEASE SELF-TITLED DEBUT ALBUM ON FEB. 9 VIA SUNYATA RECORDS

All Souls, the Los Angeles-based band featuring former members of Totimoshi (Meg Castellanos and Tony Aguilar) and The Desert Sessions (Tony Tornay), release their self-titled debut album on Feb. 9.

The band is streaming their new song, “Never Know” as an instant download with All Souls pre-orders, which are available now (https://itunes.apple.com/us/album/all-souls/id1301659862). All Souls, who formed in 2015 and have since toured with friends and colleagues in Red Fang, The Sword, Kvelertak, Torche and more, release the 9-track album via Barrett Martin’s (Screaming Trees, Mad Season) Sunyata Records.

“We had been wanting to be in another rock band,” explains Aguilar. “All Souls also reunited us with Toshi Kasai who produced three of our Totimoshi records. He has his own approach. It’s almost like you enter into a different world with his production. Each song becomes like a journey, and nobody curtailed that. We were all on the same page.”

All Souls was recorded at Sounds of Sirens Studio. Tool drummer Danny Carey guests on “Sadist/Servant.”

All Souls tracklist:

Party Night
Never Know
Money Man
Silence
Rename The Room
The Ghost is Flying Home
Sadist/Servant
Reveille
Time Bomb

All Souls is Tony Aguilar (Totimoshi), Meg Castellanos (Totimoshi), Tony Tornay (The Desert Sessions, Fatso Jetson) and Erik Trammel (Black Elk).

http://facebook.com/allsoulsband
https://twitter.com/allsoulsband
http://www.instagram.com/allsoulsband/
https://allsoulsband.bandcamp.com/
allsoulsband.com

All Souls, “Silence”

All Souls, “Never Know”

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Dommengang Post New Song “Color Out of Space”; Love Jail Due in January

Posted in Whathaveyou on October 24th, 2017 by JJ Koczan

dommengang

It’s only two and a half minutes long, but the new Dommengang track doesn’t need any more than that to set its vibe in laid back boogie and classic heavy rock. “Color Out of Space” is the first audio to come from Love Jail, which the Los Angeles-based trio will issue as their second full-length through Thrill Jockey Records on Jan. 26, and yeah, if you want to add a bit of sunshine to your day, look no further than the warm and fuzzy guitar tone of Dan “Sig” Wilson as featured here amid the easy-flowing groove from bassist Brian Markham and drummer Adam Bulgasem, brought to bear with naturalist underpinnings by the production of The Fucking Champs‘ own Tim Green. It’s an instant mood-setter in the best way possible. I hope I get to hear the rest of the record from which it comes.

Love Jail can be preordered from Thrill Jockey now, and you’ll find “Color Out of Space” at the bottom of this post. Dig in and enjoy:

dommengang love jail

Dommengang returns with the desert cruiser’s dream album Love Jail

Out Jan. 26th, 2018

Dommengang, guitarist Dan “Sig” Wilson, bassist Brian Markham, and drummer Adam Bulgasem, recorded their sophomore album Love Jail shortly after relocating to Los Angeles. It was not just a coast shift for two of the members, but the first time the band were together in one city. The sophomore album reflects the openness of their new surroundings as well as the energy and experience of being reunited and playing together in the same place. Dommengang have adapted to the arid climates, and imbued their particular brand of rock with a heavy dose of the best of 1970’s rock aesthetics, including at least one ballad. The album was produced by The Fucking Champs guitarist and engineer Tim Green (Joanna Newsom, Howlin’ Rain, Sleepy Sun, Fresh and Onlys) who perfectly captured the band’s sound while creating the space of older analog recordings. Love Jail includes Dommengang’s most melodic and lyric-heavy songs to date – a great road trip record, and a dynamic listen that is of the moment, organic and earthy with a heavy nod to the clear, lean recordings of a time long before any of its members were born.

Over the course of ten songs, Dommengang draw widely from the American rock music lexicon, primarily influenced by electric blues. The band draws from the guitar-driven sounds of the blues as much its energy and sense of freedom. The clash of Sig Wilson’s psychedelic roots and the punk-tinged backgrounds of Markham and Bulgasem, gives Love Jail its grit. From the earth-scorching passages of “Pastel City” to the spaced-out flourishes of “Dave’s Boogie,” to the dirty funk of “I’m Out Mine,” the album is a desert driver’s dream. The guitar and vocal interplay of “Color Out of Space,” or the anthemic choruses of “Going Down Fast” are rock the way it used to be: no heavy effects, just bass, drums, and guitar, great songs of love and lust, all with a healthy dose of guitar solos. In short Love Jail is Dommengang at their catchiest. Shimmering with the clarity of Tim Green’s engineering, the album’s live, in-the-room energy perfectly translates Dommengang’s core ethos: rock and roll will never die.

Dommengang tour dates
Nov. 29 – Portland, OR – Stumptown Cafe
Nov. 30 – Los Angeles, CA – Hi Hat

Dommengang – Love Jail
1. Pastel City
2. Lovely Place
3. Lone Pine
4. Stealing Miles
5. Love Jail
6. I’m Out Mine
7. Going Down Fast
8. Dave’s Boogie
9. Color Out Of Space
10. Stay Together

Pre-order Love Jail: http://thrilljockey.com/products/love-jail

https://www.facebook.com/dommengang/
https://dommengang.bandcamp.com/
http://www.thrilljockey.com/thrill/Dommengang/

Dommengang, “Color Out of Space”

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Friday Full-Length: Goatsnake, Trampled Under Hoof

Posted in Bootleg Theater on October 20th, 2017 by JJ Koczan

Goatsnake, Trampled Under Hoof (2004)

There’s a lot to like about Goatsnake‘s 2004 EP, Trampled Under Hoof, right? It’s not like the idea of, ‘Hey, here are some Goatsnake tracks’ needs much salesmanship. They do a lot of that work themselves just by being what they are. But this release particularly, from its goatly Stephen O’Malley cover art to its release on Southern Lord to the fact that the CD refers to the earlier-recorded covers of Saint Vitus and Black Oak Arkansas as a “goat bonus” to the fact that founding the founding duo of vocalist Pete Stahl and guitarist Greg Anderson brought in Scott Reeder to play bass, holds a multifaceted appeal. One thing I’ve always particularly enjoyed about it is that it essentially tells the story of the band twice; once with its three original songs, and then again with the two aforementioned cover tracks. As much as one thinks of massive, roll-grooving bluesy riffs, tonal density and soul when one thinks of Goatsnake, efficiency rarely comes to mind as a central notion of how they functioned, yet Trampled Under Hoof — produced as ever by Matthias Schneeberger — is in and out in 31 minutes, and more than two of those are silence after the end of “Junior’s Jam,” so it turns out to be pretty neatly packed.

What I mean by telling the same story twice though is that if you listen to the three goat-riginals (just trying to keep the theme) in “Portraits of Pain,” “Black Cat Bone” and “Junior’s Jam,” they encapsulate an awful lot about what made the band’s two full-lengths, 1999’s I (discussed here) and 2000’s Flower of Disease (discussed here), so righteous. They take the stoner ideology of the Man’s Ruin Records era in which they arrived and were released as part of, and crush it into a mid-paced nod on the seven-minute opener, with Anderson‘s tone molasses-thick and Stahl‘s voice molasses-sweet atop the crashing cymbal work of drummer John-Robert Conners, then also of Cave In. Of course, having the bassist role previously held by Guy Pinhas (also Acid King, ex-The Obsessed) and G. Stuart Dahlquist (ex-Burning Witch) filled by Reeder, already worthy of legend at that point with stints in The ObsessedKyuss and Unida to his credit — he was pretty fresh off the latter when he got hooked up with Anderson and Stahl, if they weren’t still going — wasn’t going to hurt when it came to tone or performance either, but “Portraits of Pain” is pure Goatsnake as it lumbers and rumbles to its finish ahead of the 2:53 “Black Cat Bone,” a faster boogie blues no less for density than the track before it, but moving in a way that still shows the rock side of what Goatsnake were able to bring to bear in their sound. In other words, it wasn’t just all about nod — they could also let loose and fire off a track with a real sense of propulsion behind it.

This notion hits with immediate contrast in “Junior’s Jam,” which seems to start off referencing Black Sabbath‘s “The Wizard” with its echoing harmonica before unfurling its suitably Iommic doomly plod. Stahl‘s harmonica returns later to draw emphasis to a bluesy feel, but only after “Junior’s Jam” shifts fluidly from its slow start to a more uptempo hook, drawing from some of the same swinging impulse as “Black Cat Bone” before it, but even catchier as Stahl repeats the line “Which way world” and then shoves into a secondary chorus as a bridge before rounding out with one more hook and that harmonica return, which comes back and ends the song on a note of humor, sounding almost like a chicken as a dog barks in the background and the band laughs in the studio and someone says, “I like it.” One wonders if that’s the session that took place at Reeder‘s The Sanctuary studio, as the bassist also had a hand in recording vocals and mixing, but it’s hard to know either way without asking, and frankly, that seems like kind of a random and/or creepy question to drop on the band some 13 years after the fact. In either case, that track is the final original inclusion on Trampled Under Hoof and only paints a more complete portrait of the cross-subgenre appeal of the band between its doom, classic boogie, offbeat weirdness and thorough, defining sense of heft.

All of which show up again as Goatsnake take on Saint Vitus and Black Oak Arkansas in immediate succession. The covers, originally recorded in 1999, seem like a purposeful pairing for what they say about the band’s influences in classic doom and heavy rock, and the post-Sabbath edge Goatsnake give to “Burial at Sea,” with the whispers in the verse and Stahl‘s drawling lines, makes it all the more fitting, where the sample that starts out “Hot Rod,” talking about guitarist Shawn Lane joining the Southern rock outfit and telling a story that basically ends in a threat of a beating from some cops, pulls the listener all the more into Goatsnake‘s world. After that spoken immersion, the song itself is almost an afterthought, but like “Black Cat Bone,” “Junior’s Jam,” or indeed the post-tempo change charge of “Burial at Sea,” it highlights the rocking aspects of Goatsnake with clarity in its purpose and a bizarre vibe that, once again, efficiently captures a crucial piece of what made Goatsnake such a special band.

Aside from the I + Dog Days comp/reissue that Southern Lord also put out in 2004, Trampled Under Hoof was the last Goatsnake offering to be issued until the band’s 2015 Black Age Blues (review here) comeback full-length, manifested some five years after their reunion officially started and perhaps too late to give them the momentum they seemed to desire from it. I’ll still happily maintain that record was easily among 2015’s best, however, and of a quality easily worth consideration among its two predecessors in Goatsnake‘s LP catalog as well as Trampled Under Hoof before it. Just a killer, killer album. Strange to think of Goatsnake, who’ve influenced heavy rock bands across the planet for going on two decades, as winding up putting out an LP that could be thought of as underrated, but there you go. Somehow it’s just strange enough to be fitting for them. Nonetheless, like everything they’ve ever done, it was a beast. “Jimi’s Gone,” man. “House of the Moon.” “Grandpa Jones.” So right on. Guess I know what I’m putting on next.

Hope you enjoy Trampled Under Hoof. Thanks for reading.

I’ve been asked a couple times in the last 24-36 hours and nope, no baby yet. The Patient Mrs. is living up to her name, and it would seem The Pecan is exercising some free will early in setting his own schedule. Yesterday was my birthday (I’m 36 years old: wa. fucking. hoo.), so we kind of had our fingers crossed he’d show up and give me an excuse never to have to “celebrate” that again — which, rest assured, I’d relish, because I fucking hate my birthday; like I need a reminder of how utterly useless I’ve been over the passage of time — but no dice. Dude can make an appearance at his leisure at this point and it’s fine by me, though for the general morale level in the house, sooner might be better.

We’ll get there.

That’s pretty much what it’s been this week. Writing and waiting. Texts from my family: “Any update?” “Yeah, she had the kid on the can like those reality shows where the ladies don’t know they’re pregnant. We were gonna put it on Facebook, just haven’t gotten there yet — you know, placenta and all.”

That’s a lot to put in a text, so I’ve just gone with “nope.” Keep it simple.

Here’s what’s in store for next week, subject to change blah blah:

SOMETIME NEXT WEEK: Baby.
Mon.: Tuber review, video premiere for Weed Priest.
Tue.: Oresund Space Collective review, video premiere for Doomstress.
Wed.: Mirror Queen album stream/review.
Thu.: Monolord review.
Fri.: Cities of Mars review.

Built in some flex toward the end of the week there for obvious reasons, but that’s what I’m rolling with for now. We’ll see how it works out.

In the meantime, the plan for this weekend is to read, spend as little time as possible on social media, buy some coffee, watch the Yankees hopefully make their way into the World Series to face the Dodgers — I think they can take them; Kershaw’s due to choke — and try to get my head around to not being such a miserable bastard before this baby comes so that the first thing he sees when he opens his eyes isn’t my stupid, ugly, old, frowning useless fucking face.

Ugh. Obviously I have some work to do. Also, at the risk of telling you way more than I’m comfortable with about myself and how I operate, I haven’t eaten anything not made of protein powder in like two days and I’m not sure when I’m going to let myself do so again. While we’re being honest: Fuck everything. I hope my fucking organs shut down one by one. I want to be obliterated. So far it’s not working.

Piss piss piss.

Have a great and safe weekend. I’m gonna go read Star Trek books, listen to more Goatsnake, not eat and wait for baseball to come on. Because life.

Please don’t forget to check out the forum and radio stream.

The Obelisk Forum

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Interstelar Set Dec. 8 Release for Resin via Kozmik Artifactz

Posted in Whathaveyou on October 17th, 2017 by JJ Koczan

interstelar

Los Angeles heavy troupe Interstelar released their Resin album last year independently and will follow-up with a reissue via Kozmik Artifactz on Dec. 8, all official-vinyl-like. The cover art alone justifies an LP pressing, but one finds Resin a work of professional-grade production and songcraft — heft and melody coexisting fluidly in material that borders on the psychedelic without necessarily losing itself in a structureless void. Plus, if you ever wanted to spend the rest of your day walking around with the word “resin” repeating in your head, well, look no further than the title-track. That always helps too.

The original version of Resin can be streamed in its entirety at the bottom of this post via the Interstelar Bandcamp page, and the following info came down the PR wire:

interstelar resin

Introducing INTERSTELAR: Los Angeles-based rockers to officially release Resin worldwide on Kozmik Artifactz

Resin by Interstelar is released on 8th December 2017 through Kozmik Artifactz

Since 2005, Interstelar has been grinding it out on every filthy, neon splattered stage in Los Angeles. Honed razor sharp by the laws of the concrete jungle and piloted by founding member, singer/guitarist Jason Kothmann.

Originally enlisting the help of friends Gio DalMonte on bass (replaced shortly afterward by Earl Houston) and Kiko Montecillo on guitar, the trio eventually found Jeff Murray – who now tours with world beating psych thrashers The Shrine – to play drums. With that line-up Interstelar recorded and released their debut EP React in Silence in 2006 and continued to play live in and around the Los Angeles area, making inroads wherever they could.

Following numerous line-up changes, the band entered Total Annihilation Studios in East LA in 2011 with engineer Eddie Rivas to record a follow up EP, On Black Waves. The band’s first full-length album, Resin, swallows everything in its path from the underground skyward, pulling monstrous, stoner rock riffs high above Terra Firma and into realms of sweeping and celestial post and progressive rock. It’s arguably their finest release to date.

After countless recording and re-recording sessions, endless mixing and that usual dose of intermittent drama, Resin was self-released digitally in August 2016 and featured the current line-up of Kothmann on vocals and rhythm guitar, Gary Gladson on lead, PJ McMullan on drums and Joe “Pooch” Puccio on bass.

Out this December for the very first time on vinyl and at last scheduled for a worldwide release on 8th December 2017 through Kozmik Artifactz, the official arrival of Resin marks a giant progression for the band and one that will raise them up from the underground.

Interstelar:
J. Kothmann – Vocals, Guitar
Gary Gladson – Lead Guitar
P.J. McMullan – Drums
Joe “Pooch” Puccio – Bass

Resin tracklisting:
1. SiL0
2. Resin
3. High Horse
4. Hold It
5. Opposite Daze (II)
6. Armada (II)
7. Behold
8. Sequoia

http://www.interstelar.com
http://www.facebook.com/interstelarLA
http://www.twitter.com/interstelarla
http://www.interstelar.bandcamp.com
http://kozmik-artifactz.com/

Interstelar, Resin (2016)

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The Obelisk Presents: Sasquatch & House of Broken Promises Nov. 2017 West Coast Tour

Posted in The Obelisk Presents on October 6th, 2017 by JJ Koczan

Los Angeles heavy rock magnates Sasquatch released their fifth album, Maneuvers (review here), earlier this year. It was their first record not to be issued through Small Stone, and their first to feature Boston-based drummer Craig Riggs (also vocalist of Roadsaw) in the lineup with guitarist/vocalist Keith Gibbs and bassist Jason “Cas” Casanova, but even with these changes, Sasquatch not only retained but basked in the enduring righteousness of their songwriting. Working at Mad Oak Studios with producer/engineer Benny Grotto, their hooks in cuts like “Bringing Me Down,” “Anyway” and “Just Couldn’t Stand the Weather” as infectious as ever, if not more so.

Some questions in life are really hard. You have to think before you answer. Those “a train leaves Chicago at the same time a train leaves New York” word problems? I still don’t know how to solve that shit. However, when I got the email from Heavy Talent asking if I wanted to have The Obelisk present Sasquatch‘s upcoming West Coast run with House of Broken Promises (fresh off the release of their new EP on Heavy Psych Sounds), I don’t even think I finished reading the sentence before I shot back “YES!” as my reply. Because it’s Sasquatch, dag nabbit, and in addition to having put out one of 2017’s best records, they’re pretty darn okay in general.

Still a couple dates to be filled in — so get on that if you can help — but Sasquatch start the tour Nov. 3 at the Ozzfest Meets Knotfest pre-party, where they’ll join Lo-PanBrant Bjork and Monster Magnet (info here) and pick up thereafter to kick ass with House of Broken Promises all the way up and down the coastline. As we say here on the other side of the country: Frickin’ awesome.

Also, speaking of — somebody needs to save me one of these posters. Check it out:

sasquatch house of broken promises tour

SASQUATCH NOV. 2017 WEST COAST TOUR
All Dates with House of Broken Promises except where indicated:
Nov 3 – Los Angeles, CA – Ozzfest Pre-Party * Sasquatch Only
Nov 4 – Las Vegas, NV – Dive Bar
Nov 5 – Flagstaff, AZ – The Green Room
Nov 6 – Salt Lake City, UT – The Metro Music Hall
Nov 7 – Lake Tahoe, NV – Rojo’s Tavern
Nov 8 – Eugene, OR – Old Nick’s Pub
Nov 9 – Seattle, WA – El Corazon
Nov 10 – Portland, OR – (TBA)
Nov 11 – Sacramento, CA – Cafe Colonial
Nov 12 – Bay Area (TBA)

Sasquatch, Maneuvers (2017)

Sasquatch on Thee Facebooks

Sasquatch on Twitter

Sasquatch website

Sasquatch on Bandcamp

Mad Oak Records website

Mad Oak Studios on Thee Facebooks

Heavy Talent website

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