Nebula Announce Reunion Lineup; Shows and New Album to Come in 2018

Posted in Whathaveyou on September 20th, 2017 by JJ Koczan

After years of rumors, innuendo and — most of all — official silence from founding guitarist/vocalist Eddie Glass, Nebula are coming back. It’s been eight years since the release of their last full-length, 2009’s Heavy Psych (review here), and as they look to begin playing shows in 2018, they’ll be two full decades out from their landmark 1998 debut EP, Let it Burn. Last time we heard from Glass was in 2010, at which point, amid a canceled tour, he assured fans via MySpace that the band would continue. Seems fitting somehow that the announcement of their new lineup should come via Thee Facebooks. Age of wonders and all that.

Joining Eddie Glass in Nebula will be bassist Tom Davies, who played on Heavy Psych, and drummer Michael Amster, also of Blaak Heat and Abrams. News about live dates is reportedly coming this Friday. There’s been nothing specific yet revealed for touring or a new release, but new material is allegedly in the works as well.

Here’s where it stands:


nebula

L.A. power trio Nebula, whose cosmic cocktail of heavy riffs, electric blues and psychedelic space rock has earned the band international (and, dare we say, universal) acclaim have returned.

Nebula will be back after almost 10 years w/ a number of live shows in April and June 2018 and a new Studio Album.

Nebula released their first album on Tee Pee in 1998 titled Let It Burn. Let It Burn is being reissued on vinyl later this year and will be released as a limited edition double LP, the first LP containing the original Let It Burn album plus two bonus tracks and a second LP will contain the original demos from the Let It Burn sessions.

The great swirling, electrical ball of dynamism and potential known as Nebula formed in the mythical abyss of Los Angeles in 1997. Nebula creates pure guitar-driven, conscious expanding rock for the 21st century. They are a culmination of their rock forbearers such as Jimi Hendrix, MC5, The Stooges and Mudhoney turned up a notch, taken to the next level and blasting through space. Nebula spread their gospel through their music and what they are preaching will leave the congregation on the floor.

Lineup on the upcoming shows in 2018 will be:

Eddie Glass vox/guitar
Tom Davies vox/bass
Michael Amster drums

More news coming up THIS Friday !!

https://www.facebook.com/NebulaBand/
http://nebulamusic.com/

Nebula, Heavy Psych (2009)

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Trash Titan Release Welcome to the Banana Party EP on Friday; “Danger of Love” Video Posted

Posted in Whathaveyou on September 20th, 2017 by JJ Koczan

trash titan

One has to wonder how the respective duties for the new Trash Titan video wound up such that guitarist/bassist/baguitarist/vocalist Collyn McCoy wound up spanking someone in a chipmunk costume leaning over a park bench while drummer Jeff Broady — while wearing a Hed P.E. shirt, no less — stayed home to prepare and consume what seems to be a giant pancake topped with an inhumane amount of butter. I guess it’s a matter of some debate who actually got the short end of that particular stick, but needless to say, “Danger of Love” is completely over the top. Way over. Its four-plus minutes are a righteous sendup of hypermasculine stoner rock in a way that the fact that the song comes from a new EP called Welcome to the Banana Party makes seem only more purposeful. Take that, testosterone.

Welcome to the Banana Party is out on Friday and will be a name-your-price download from Trash Titan‘s Bandcamp page. It’s the first offering from Trash Titan since their 2011 self-titled EP, and clearly they have something to say with it.

Cover art, PR wire snark and the video follow here:

trash-titan-welcome-to-the-banana-party

TRASH TITAN drops New EP and New Video!

Sound the trumpets! Raise the flags! For Los Angeles by-way-of New Hampshire stoner rock duo Trash Titan returns after a six year hiatus with a brand new EP entitled “Welcome to the Banana Party.”

Therein you’ll find four skunky nuggets of down-home swamp-doom blues. It sounds like a bottle of Everclear became sentient and humped its own sister. And it’ll get your booty shaking like the DTs after a six week Mad Dog bender.

“Welcome to the Banana Party” finds Trash Titan returning to its original two-man-band form, comprised entirely of Jeff “Broadsword” Broady (Floodwatch) on lead drums and Collyn McCoy (Aboleth, Ultra Electric Mega Galactic) on lead vocals, dobro, lap steel, upright bass and baguitar. “Baguitar? What’s that?” you may ask. Fucked if I know, but it sounds like a rhino making love to a Denny’s dumpster. In other words – heavy. Heavier than Oprah after a six-week lockdown in the Hungry Jack R&D lab. And every bit as sexy.

Album was recorded in Bedford, New Hampshire and Los Angeles, California in June of 2017. Mixed and Mastered by Katie Gilchrest (High Priestess) at Mythology Mastering. Album art by Mariana Fiel (also of High Priestess).

“Welcome to the Banana Party” drops digitally September 22nd, 2017 care of Trash Titan’s Bandcamp page, for the Smart Price of “whatever the f**k you feel like paying” — even if what you feel like paying is nothing. For those who prefer the tactile feedback of physical merchandise, the band will also debut a brand new tee-shirt design care of Los Angeles artist Skillit as well as Trash Titan’s exclusive “Beer & Leather” scented beard and mustache wax.

https://www.facebook.com/trashtitan
https://www.instagram.com/trashtitan/
http://trashtitan.bandcamp.com/

Trash Titan, “Danger of Love” official video

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Fireball Ministry Post Video for “The Answer”

Posted in Bootleg Theater on September 18th, 2017 by JJ Koczan

fireball-ministry

Executions of heavy rock as straightforward and yet as thoroughly satisfying in their melody and craft as that of Fireball Ministry are not easy to come by. On the West Coast of the US, maybe only Mos Generator would stand up to the standard of songwriting and I’m not sure even that Washington trio has the longevity factor working for them as does founding guitarist/vocalist Jim Rota‘s Los Angeles-based outfit. As Rota, guitarist/backing vocalist Emily Burton, drummer John Oreshnick and the noteworthy addition of bassist Scott Reeder prepare to release the new album, Remember the Story, on Oct. 6 via Cleopatra Records, they’ve posted a video for the track “The Answer” that only draws out some of the best elements the record has to offer.

Those elements? The hook, for one. Fireball Ministry have never been short on chorus quality, and Remember the Story certainly hits that mark as well. There’s also an overarching sense of professionalism at play in “The Answer” and in the video for it that comes through clear. Think “production quality” as a theme bringing together the aural and visual representation of the material The album was helmed by Paul Fig, who’s worked with Alice in Chains and others you can see listed below, and in addition to Rota‘s own video work, the band has partnered with director Brandon Trost for the clip, which seems to portray a narrative of betrayal, with a gutshot protagonist who meets his death in the most righteous and headbanging fashion possible.

Easy to dig for its melody, for the clarity of its performances and the multi-tiered appeal in general, there’s just about no way “The Answer” isn’t four and a half minutes well spent, and if you haven’t heard any of Remember the Story yet, it’s a resounding argument for why you should be looking forward to the release date. And make no mistake, you shoud be.

Video and PR wire info follows, as well as upcoming tour dates on the West Coast that include a stop at Cal Jam ’17.

Please enjoy:

Fireball Ministry, “The Answer” official video

With only a month to go until the release of their long-awaited, 5th studio album, Southern California’s reverends of rock ‘n’ roll Fireball Ministry unveil the video for their new single “The Answer.” The rock anthem is featured on Remember The Story, which debuts on October 6th via Cleopatra Records. Pre-order the album now at iTunes and BandCamp.

“We’re really excited to be teaming up again with director Brandon Trost for “The Answer” video. Brandon most recently worked with [Fireball Ministry vocalist] Jim [Rota] on the latest two Foo Fighters videos as Director of Photography and he has a visionary way of telling stories set to music.” – Fireball Ministry

“The Answer” is Fireball Ministry’s latest track from Remember The Story, and follow up to the previously released song “Back On Earth.” The band’s first album in nearly seven years delivers their tried and true signature stomp and fuzzy swing with an even broader scope and deeper emotional range. The album mines the depths of loss, pain, and confusion, exorcising demons with the spirited uplift this kind of music best delivers.

The record was produced/mixed by Paul Fig, the engineer behind records from Alice In Chains, Ghost, Deftones and Stone Sour. Sabbath soaked rhythms, Priest worshipping melodies, and no-nonsense Thin Lizzy mayhem collide in the Hollywood, California band, a group that has humbly but confidently flown the flag for rock authenticity since the hard-partying year of 1999.

Pre-order the CD/Vinyl of Remember The Story here: FireballMinistry.cleorecs.com

Fireball Ministry will be performing with Foo Fighters, Queens of the Stone Age and more at the Cal Jam 17 Festival on October 7th at Glen Helen Amphitheater and Festival Grounds in San Bernardino, CA. Tickets are available at https://www.caljamfest.com/. The band has also announced a handful of Southwest dates with Red Fang, including a hometown show at the Troubadour, in Los Angeles on October 28th. Buy tickets at http://fireballministry.com/.

Fireball Ministry Tour Dates:
Oct 7 – San Bernardino, CA – Cal Jam 17 Festival @ Glen Helen Amphitheater
Oct 25 – Long Beach, CA – Alex’s Bar
Oct 26 – Phoenix, AZ – Crescent Ballroom
Oct 27 – Las Vegas, NV – Beauty Bar
Oct 28 – Los Angeles, CA – Troubadour

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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Queens of the Stone Age, Villains: Casting Roles

Posted in Reviews on August 23rd, 2017 by JJ Koczan

queens of the stone age villains

Who are the rockstars of our age? Whither thou the dearly departed Bowies, the Lemmys, the Frank Zappas and the Led Zeppelins of modernity who might otherwise be teaching the next up and coming generation how to not suck. Queens of the Stone Age frontman Joshua Homme would seem to have made it his mission to step into this role, and one might argue that Villains — the band’s second offering through Matador Records following 2013’s resurgent …Like Clockwork (review here) — is his highest-profile attempt to-date. I don’t know whether the proverbial “kids” are attuned at all to its frequency when it comes to getting the point — at 44, he might simply be part of a generation that’s too old (also too loud?) to have that kind of impact — but it’s something that wouldn’t shake out for another 10 to 15 years anyway, so we’ll see how it goes.

In the meantime, the seventh QOTSA full-length comprises nine songs and 49 minutes of Homme‘s choice-as-ever songcraft, delivered with a sense of answering the record prior that extends even to the return of artist Boneface for the cover, as well as the stated intention of danceability that (almost) immediately bears out on opener “Feet Don’t Fail Me,” as Homme‘s guitar and vocals take check-out-this-hook stance atop a bounce from the returning lineup of keyboardist/guitarist Dean Fertita, guitarist Troy van Leeuwen, bassist Michael Shuman — all three of whom also contribute vocals — and drummer Jon Theodore in the ultra-pop, ultra-clean production by Mark Ronson, noted for his work with pop megastars like Bruno Mars, Adele, and Amy Winehouse, among others.

If this is the company Homme is looking to keep, it’s entirely possible he’s found the right moment to do so. Without the label-reinforced pay-to-play structure of radio promotion as in decades past, pop culture is sorely lacking in rockers — though it seems to be getting along just fine without, and rockers seem to be doing the same in more underground spheres. The question becomes whether Homme‘s Warhol-esque willful adoption of style as substance as presented throughout Villains is the right message to send that inevitable next generation of would-be actual-guitar heroes, and that, of course, is an entirely different debate.

While there’s something inherently cloying about the process of appealing toward mainstream legitimacy — Homme wants that next number-one chart position, wants the thus-far-elusive Grammy — it’s worth noting that Queens of the Stone Age are doing so on their own terms. The first lines of opener “Feet Don’t Fail Me” come from Homme speaking about being born in the desert, and whether it’s the frantic “Head Like a Haunted House” with its playful call and response of “You okay?” and “I’m fine,” or the handclap-laden shimmy and buzzsaw tone of “The Way You Used to Do,” Villains feels in no small part built from similar impulses that drove the swaggering but still ironic “Smooth Sailing” from …Like Clockwork. A key difference between that record and this one, however, is in the narrative crux and the urgency of expression. The story there was Homme had nearly died in surgery, had just gotten through suing his former Kyuss bandmates and was making a return to Queens of the Stone Age after several years away that included releasing the self-titled debut from supergroup power trio Them Crooked Vultures (review here). The story here is, as the guitarist has said, he’s over all that and just wants to dance.

Not exactly compelling, but fair enough. Add to that the fact that where …Like Clockwork wasn’t shy about bringing in guests like Sir Elton John, Nine Inch Nails figurehead Trent Reznor and even former Queens of the Stone Age/Kyuss bassist Nick Oliveri (also Mondo Generator, Vista Chino, etc.) for guest appearances, Villains is a completely in-house affair for the five-piece, which even with the measure or two of Oliveri-esque screams that someone — presumably Shuman, but don’t quote me — adds to the end of the maddeningly catchy “Domesticated Animals” positions Homme all the more as the defining presence in the band. Whatever else van Leeuwen — who is otherwise the longest-tenured member of the band, having joined 15 years ago around the release of 2002’s ultra-seminal Songs for the DeafShuman, Fertita or Theodore add to the mix, Villains finds the group more about Homme than ever.

queens-of-the-stone-age-Andreas-Neumann

He’s more than capable of carrying the band, but after the slow build into the wistfully poppy “Fortress,” which proves to be a highlight of the album as a whole after the these-are-the-singles opening salvo of “Feet Don’t Fail Me,” “The Way You Used to Do” and “Domesticated Animals,” and the aforementioned thrusting centerpiece “Head Like a Haunted House,” Villains — almost following the structure of the preceding album in a way that 2005’s Lullabies to Paralyze was in direct conversation with Songs for the Deaf before it — moves deeper into its second half, marked by the longer songs “Un-Reborn Again,” “The Evil Has Landed” and the finale “Villains of Circumstance,” each of which tops six minutes. Again, …Like Clockwork functioned similarly, with pieces like “Kalopsia,” “Fairweather Friends” and “I Appear Missing” (which weren’t all necessarily longer, but were broader nonetheless) before a subdued closing title-track. “Un-Reborn Again” stomps and struts behind a keyboard line and buzzing guitar as Homme taps his inner Elvis even as he references Georgia Satellites in the lyrics and is the longest cut on Villains at 6:41, but stays even in its bounce and offers little in terms of build or emotional resonance.

A more melancholy vibe that persists in the shorter “Hideaway” (4:21), again marked by the heavy use of Fertita‘s keyboards, would seem to be filling this role, but the earlier “Fortress” did so in more memorable fashion and with greater nuance of melody and arrangement. It functions to bring Villains back to ground after “Un-Reborn Again,” but feels as much about setting up the turn into “The Evil Has Landed,” which feels intended as the rocking finish before the emotive epilogue “Villains of Circumstance” plays to ’80s pop and New Wave the way the first season of Netflix’s Stranger Things was so chock full of nostalgia for a time that only debatably earned it. Indeed, “The Evil Has Landed” has its moment of drive toward the end, but works in three stages to get there, swaying through bopping early verse/chorus trades and a somewhat meandering solo section before shifting back into the hook and bridging to a faster push that, while marked by Homme crooning “Here we go” after a punctuating drum stop, still feels restrained in its tonal impact compared to some of the group’s time-to-go-all-out moments in the past, whether that’s “A Song for the Deaf” or even “Suture up Your Future” from 2007’s Era Vulgaris.

Longtime listeners of the band hoping Homme might “go back” to his roots and the modus of LPs like Queens of the Stone Age‘s 1998 self-titled debut, 2000’s Rated R or Songs for the Deaf that’s proven to have so wide an influence on desert rock around the world are dreaming. That time, that lineup, and those motives are long gone, and there’s very little in Villains that won’t feel toothless to anyone who approaches it looking for them, up to and including the ending of “The Evil Has Landed” and “Villains of Circumstance,” the relatively scorching guitar of “Domesticated Animals” or the rhythmic focus of “Feet Don’t Fail Me” and “The Way You Used to Do.”

What Homme and company present instead is a successful realization of their stated mission — to dance — and a collection of ultra-crafted songs that reimagine pop as something that just might not shy away from rocking out every now and again. I have no idea if it will get them a Grammy, or top whatever chart it might be aiming for, or cast Homme as a generation-defining rockstar of his age — one could easily argue this already happened a decade and a half ago — but on a basic level of craft, Queens of the Stone Age continue to be a singular presence in rock’s broadest sphere, and Villains offers plenty to remind its audience of how they got there.

Queens of the Stone Age, “The Evil Has Landed”

Queens of the Stone Age on Thee Facebooks

Queens of the Stone Age on Twitter

Queens of the Stone Age on Instagram

Matador Records website

Matador Records on Thee Facebooks

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Fireball Ministry Set Oct. 6 Release for Remember the Story; New Single Streaming

Posted in Whathaveyou on August 21st, 2017 by JJ Koczan

fireball ministry

Been waiting a while for this one. Los Angeles heavy rockers Fireball Ministry are gearing up to release their fifth album, Remember the Story, on Oct. 6 via Cleopatra Records. I’ll admit I wasn’t a huge fan of their last record, a 2010 self-titled (review here) that struck as having tipped the balance accessibility that was always there in their sound over to the sacrifice of the classic heavy rock thrust that made earlier outings like 1999’s Où Est la Rock? (discussed here) and 2003’s The Second Great Awakening so righteous, but one piece of the equation that’s never been missing has been songwriting, and as the streaming single “Back on Earth” (not an Ozzy cover) reintroduces that heavier edge — plus cowbell — they continue to live up to the high standard of craft they’ve set over their 18 years together.

You can stream “Back on Earth,” which also marks the studio introduction of bassist Scott Reeder (yup, that’s the one), at the bottom of this post. Fireball Ministry are also set to play Cal Jam ’17 in October, and they were just out in the desert a couple weeks ago to shoot a video for “The Answer” from Remember the Story, so expect more before the album surfaces. Right on.

Here’s word from the label:

fireball-ministry-remember-the-story

FIREBALL MINISTRY – Remember the Story

Remember the Story, the band’s 1st album in nearly seven years, delivers their tried and true signature stomp and fuzzy swing with an even broader scope and deeper emotional range. The album mines the depths of loss, pain, and confusion, exorcising demons with the spirited uplift this kind of music best delivers.

“Remember The Story is about moving forward while staying connected to your past. With this album we’ve reached a new stage of crystallization and prowess in our riffage.” – Emily J Burton

“This is a very personal record to me and was written from down deep. It’s also an honor to be playing alongside Emily (Burton) and John (Oreshnick) for the last 20 years. Having Scott (Reeder) with us along for the ride has made our greatest music to date in my humble opinion.” – James A Rota

The upcoming record was produced/mixed by Paul Fig, the engineer behind important records from Alice In Chains and Ghost. Sabbath soaked rhythms, Priest worshipping melodies, and no-nonsense Thin Lizzy mayhem collide in the Hollywood, California band, a group that has humbly but confidently flown the flag for rock authenticity since the hard-partying year of 1999.

Remember The Story’s cover artwork was created by Caitlin Mattisson and conveys the album’s theme of death and renewal. Speaking about the art, Mattisson says, “the vulture represents renewal and transformation and has connections to many mythologies and cultures, from being descended from Griffins in Greek Mythology to the scientific (Latin) name of Turkey Vulture translating to Golden Purifier, which ties in to Jim’s theme about a 2nd chance at life. Elements inspired by Hildgard of Bingen have been worked into the border shapes, as well as 2 blown out candles on the front. The book on the front is a Fireball Ministry hymnal shooting light. On the back of the album the candles are lit again and the vulture is flying away towards a new moon, new beginning.”

Fireball Ministry will be performing with Foo Fighters, Queens of the Stone Age and more at the Cal Jam 17 Festival on October 7th at Glen Helen Amphitheater and Festival Grounds in San Bernardino, CA. Tickets are available at www.caljamfest.com.

1. End Of Our Truth
2. Everything You Wanted
3. Back On Earth
4. The Answer
5. Dying Win
6. Stop Talking
7. Weavers Dawn
8. Remember the Story
9. All For Naught
10. I Don’t Believe A Word

Fireball Ministry live:
Oct 07 Cal Jam 17 Glen Helen Amphitheater San Bernardino, CA

Fireball Ministry is:
James A. Rota II – Vocals/Guitar
Emily J. Burton – Guitar/Backing Vocals
Scott Reeder – Bass
John Oreshnick – Drums

https://www.facebook.com/fireballministry
https://twitter.com/fireballmin
https://www.instagram.com/fireballministry/
http://fireballministry.com/
https://fireballministry.bandcamp.com/album/remember-the-story
https://www.facebook.com/CleopatraRecords
https://twitter.com/cleopatrarecord
https://instagram.com/cleopatrarecords/
http://cleopatrarecords.bandcamp.com/

Fireball Ministry, “Back on Earth”

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Queens of the Stone Age Post Video for “The Way You Used to Do”

Posted in Bootleg Theater on August 17th, 2017 by JJ Koczan

queens-of-the-stone-age-Andreas-Neumann

As a people, a collective and a universe constantly in flux, we’re inching closer to the Aug. 25 official release date of Queens of the Stone Age‘s new album, Villains, on Matador Records. The record, which was announced back in June, has carried a sense of production value as a forward-facing theme since the outset — even the announcement was a well-directed and clever video — and with the emphasis on the recording by Mark Ronson (Lady Gaga, Bruno Mars, etc.) plays into that as well. So to it would seem does the new clip for the uptempo leadoff single “The Way You Used to Do.” Nothing quite like being on theme.

I say “it would seem” as regards the new video though because all I’ve seen of the thing is the teaser clip below. Queens of the Stone Age released it exclusively through Apple Music, and while I’m sure it’ll make its way to YouTube in short order if it hasn’t by the time this post is live, the notion of paying to watch a music video in 2017 strikes me as more than its fair share of ridiculous. Most bands can barely give away a video, and while I’ve already reconciled myself to writing about it and subsequently purchasing Villains when it comes out — I used to be cool enough to get promos of their stuff to review; this one’s got me chasing down leaks like I’m the dag-nab Attorney General — you’ll pardon me if I try and hold onto some measure of propriety, at least, you know, until I don’t.

Anyway, I’m sure you’ve all heard the record by now and have your own opinions on it. I’ll have a review up I think next week for it if all pans out the way I’m hoping it does, and then the universe will proceed on its merry way, catchy songs and whatnot.

Here’s the teaser for the video and more info from Matador‘s website:

Queens of the Stone Age, “The Way You Used to Do” teaser

“Dancing and headbanging are truly individualistic expressions of losing oneself fully in appreciation of music—who better to combine these things into a singular vision than someone who’s directed Madonna and Lady Gaga videos–and also happens to have been a member of Bathory?”—Joshua Homme

“The Way You Used To Do,” the recently released first single from Queens Of The Stone Age’s ominously approaching seventh album ‘Villains’, has been realized as a fever dream Satanic dance ritual extravaganza—featuring QOTSA founder and frontman Joshua Homme lighter on his feet and darker in his soul than ever before.

Conceived by Homme, directed by Jonas Akerlund and produced by Serial Pictures, “The Way You Used To Do,” somehow fit its multiple sets, wardrobe changes and intricate dance routines into one day of shooting August 8th in Los Angeles. Considering potential reactions to the sinister shuffle of “The Way We Used To Do” being translated into a panoramic soul-selling dance trip, Homme says “It’s our way of paying tribute to Cab Calloway and the film Hellzapoppin’. I fully realize that may be a little more than some are open to, and that’s perfectly fine with me. There’s the door. If some of the more close-minded are gently pruned, that just leaves more room on the dance floor for the open-minded ones to get loose. That’s been the spirit of Queens Of The Stone Age and the space we’ve worked to create from day one.”

‘Villains’ is co-produced by Mark Ronson and will be released worldwide on August 25th.

Queens of the Stone Age on Thee Facebooks

Matador Records website

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Black Mare to Release Death Magick Mother Sept. 15; Tour Dates Announced

Posted in Whathaveyou on August 9th, 2017 by JJ Koczan

You can go right ahead and sign me up for Black Mare‘s Death Magick Mother. Sight unseen, I’m on board. A second full-length of otherworldly psychedelic neofolk brooding helmed by Sera Timms? Yeah, sorry. Way I see it, that’s an absolute no-brainer, gotta-hear-it kind of essential release. It’s out Sept. 15 via Magic Bullet Records and follows Timms‘ 2013 debut with the project, Field of the Host (review here), as well as a couple short releases, a 2015 split with Lycia (review here), and so on.

Of course, Timms has had a prolific few years anyway between those one-offs, her contributions to the desert-psych fusion of Zun and the ongoing atmospheric metallurgy of Ides of Gemini, but word of a new Black Mare coming out next month has flat out made my day. The sooner it gets here, the better, and I’ll hope very much to have more posted before it’s out. Preorders are up in the meantime, as the PR wire informs:

black-mare-death-magick-mother

BLACK MARE: Dark Ambient Project Led By Sera Timms To Unveil Death Magick Mother Via Magic Bullet; Album Details Revealed + Tour With Junius Confirmed

Amidst a backdrop of political strife wherein such fundamental principles as the health, safety, and common decency toward women continue to erode more with each executive order and Twitter fit, the spirit of BLACK MARE stands unbridled under the singular vision and limitless purview of its driving force, one Sera Timms.

Death Magick Mother is the second proper full length album from Los Angeles, California’s BLACK MARE. Seven songs in length, this documentation captures Timms amidst a dynamic cohesion and confluence of inspiration unlike any prior. Whereas previous output operated under a founding principle of rhythmic repetition and atmospheric simplicity toward trace-like escapism, Death Magick Mother is Timms stepping right in front of the lens for a closeup. Mixed by Andrew Clinco of Drab Majesty and mastered by Dan Randall at Mammoth Sound Mastering, bolder arrangements lend themselves toward soaring, dynamic vocal melodies and nuanced harmonization to highly-satisfying effect. Spot-on performances and command of all instrumentation across the spectrum further propels the sense of arrival in mastery over her chosen craft. In many ways, this album is an awakening for both its creator and listeners alike.

Death Magick Mother will see release digitally via Magic Bullet on September 15th with LPs to follow. Preorders are currently available at THIS LOCATION.

Death Magick Mother Track Listing:
1. Ingress to Form
2. Femme Couverte
3. Death By Desire
4. Coral Vaults
5. Babylon’s Fold
6. Kala
7. Inverted Tower

Live appearances are robust in conjunction with the album’s release and range from a women’s mass replete with a bloodletting ritual, a midnight ceremony in celebration of a total eclipse with France’s Celeste, and even a traditional tour of the western United States in direct support of Junius.

BLACK MARE:
8/13/2017 Women’s Mass: A Benefit for The Satanic Temple @ Union – Los Angeles, CA w/ Night Club
8/21/2017 The Federal Underground – Long Beach, CA w/ Celeste, Destroy Judas, Hexa
w/ Junius, Mustard Gas & Roses:
9/21/2017 Yucca Tap Room – Phoenix, AZ
9/22/2017 The Viper Room – West Hollywood, CA w/ Hours
9/23/2017 The Golden Bull – Oakland, CA w/ Daxma
9/24/2017 Cafe Colonial – Sacramento, CA
9/25/2017 Tonic Lounge – Portland, OR w/ Wovoka, Drainage
9/26/2017 Highline Bar – Seattle, WA w/ They Rise We Die
9/27/2017 The Shredder – Boise, ID
9/28/2017 Urban Lounge – Salt Lake City, UT
9/29/2017 Hi-Dive Denver – Denver, CO w/ Ghosts Of Glaciers
10/01/2017 The Sidewinder – Austin, TX

BLACK MARE is the solo project of Sera Timms, vocalist and bassist for Ides Of Gemini and of the now-disbanded Black Math Horseman. With a focus on rhythmic repetition and atmospheric simplicity, BLACK MARE steps outside the collaborative dynamic to reveal a creative process that is all Sera’s own. Her songs traverse hidden realms, fragments of dreams, submerged memories, and mythical imagery. Where Black Math Horseman and Ides Of Gemini demand volume and collusion, BLACK MARE requires quiet contemplation. If Black Math Horseman and Ides Of Gemini seek to summon the deafening roar of inevitability, BLACK MARE delivers its verdicts on cresting waves and solemn whispers. And yet each operates, in its own way, within the darkened spheres of oceanic hypnosis.

https://magicbulletrecords.bandcamp.com/album/black-mare-death-magick-mother
http://www.theblackmare.com
http://www.facebook.com/Black-Mare
http://www.magicbulletrecords.com
http://www.facebook.com/magicbulletrecords
http://www.twitter.com/magicbulletrecs

Black Mare, Field of the Host (2013)

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Blaak Heat Premiere “Al-Andalus” from The Arabian Fuzz

Posted in audiObelisk on August 9th, 2017 by JJ Koczan

blaak heat

As they make ready to embark on a European tour this week, Blaak Heat take nine minutes to massively expand their already significant aesthetic breadth by means of their upcoming single The Arabian Fuzz on Svart Records. Set for issue on Aug. 18 following an appearance at this weekend’s SonicBlast Moledo in Portugal but ahead of slots at Woolstock in the Netherlands and the Obelisk-co-presented Emerald Haze in Dublin on Sept. 1, the follow-up to the somewhat-nomadic and consistently-amorphous four-piece’s 2016 Tee Pee Records third album, Shifting Mirrors (review here), takes on more of a Middle Eastern flair than anything they’ve done before.

That’s not necessarily untrod ground for Blaak Heat, who since making their debut as Blaak Heat Shujaa with their 2010 self-titled (review here) and deep-diving into desert-hued psychedelia across the subsequent 2012 EP, The Storm Generation (review here), and 2013’s The Edge of an Era (review here) that followed have always had some of that minor-key meditative vibe. If accompanied at times by frenetically progressive rhythm-making, blinding turns and effects-laden explorations, this has been part of a modus of unrelenting willful sonic growth that has made Blaak Heat a standout among next-generation heavy psych outfits, and certainly The Arabian Fuzz continues that thread blaak heat the arabian fuzzas guitarist/vocalist Thomas Bellier, guitarist Nicolas Heller, bassist Guillame Theoden and drummer Michael Amster bring in Jordanian ethnomusicologist Fareed Al-Madain to contribute guest vocals on the leadoff track “Marr El Kallam” (posted here), which is accompanied by the instrumental “Al-Andalus,” premiering below.

As noted, both cuts work to build on Blaak Heat‘s prior output in atmosphere and approach, and while that’s invariably going to come through most strikingly in “Marr El Kallam,” what with the track being the band’s first in Arabic and all, one can hear it in the tension created throughout “Al-Andalus” as well, the winding path of Bellier‘s guitar taking cues from his oud and the percussion in “Marr El Kallam” to transpose such complexity onto a more Western-feeling traditional rock arrangement of guitar, bass and drums. Both songs run just over four and a half minutes long and they share the atmospheric impression born of the Middle Eastern influence, but as Blaak Heat have since their outset, they make this influence their own and build a context of coexistence that reaches a new level of individualism in the shimmer and crash of “Al-Andalus” that’s as furious as anything they’ve done before and all the richer for the A-side it complements.

By now, one wouldn’t hazard a guess as to where Blaak Heat might go on a given outing of any type, be it a single, EP, LP or something else. Their sound has simply become too open with its jazzy precision, we-can-really-make-this-move-when-we-want-to sonic heft and landscape-building psychedelia, but they’ve proven over the course of this decade time and again that their commitment to an ongoing sonic progression is no fluke, and the safest bet is that whatever they’re up to next, it will be a considerable step forward from where they were previously. That’s a hell of a track record to keep up, but as The Arabian Fuzz demonstrates once again, Blaak Heat are ready to follow their creative path to anywhere and everywhere it might lead them.

More info and tour dates follow “Al-Andalus” below. Please enjoy:

Blaak Heat, “Al-Andalus” official audio premiere

BLAAK HEAT returns with an oriental heavy psych manifesto, THE ARABIAN FUZZ! The band fur thers its signature East meets West grooves by blending intricate Spanish guitars, surf rock, and Middle Eastern psych.

With Jordanian ethno-musicologist Fareed Al-Madain on vocals, MARR EL KALLAM is an homage to 1960s underground Turkish and Persian psychedelic pop. The climactic line of the song, “The shit who owns a weapon will kill”, as performed in Arabic by a US-French-Jordanian-Greek-Canadian lineup, rings ominously true in 2017 America. Along with the traditional lineup of guitars/bass/drums, BLAAK HEAT mastermind Thomas Bellier plays acoustic oud, and percussionist Peter Valsamis rounds up the band on doumbek.

AL-ANDALUS is a heavy surf rock explosion, a mind-blowing exploration into reverb fuzz wilderness led by astounding musicianship. It’s retro, yet futuristic – dig it!

The songs were recorded in Los Angeles by Jason Schimmel (of Secret Chiefs 3) and produced/mixed/mastered by Bellier.

THE ARABIAN FUZZ comes out via Svart Records on August 18, 2017. You can pre-order it here.

We have a number of festival & club dates for August & September 2017 – Come party, more TBA !

Aug 12 Sonic Blast Moledo – Moledo (PT)
Aug 25 Woolstock Festival – Tilburg (NL)
Aug 27 Blaak Heat DJ Set @ Le Glass – Paris (FR)
Aug 30 The Black Heart – London (UK)
Sept 1 Emerald Haze Fest – Dublin (IRL)
Sept 2 Festival Arteficial – Ribadavia (ES)
Sept 3 Filho Sarilho – Alcobaça (PT)
Sept 4 Cine Incrivel – Lisbon (PT)
Sept 5 Cave 45 – Porto (PT)
Sept 6 Rock Beer The New – Santander (ES)
Sept 8 Bucéphale – Draguignan (FR)
Sept 9 Cheapstock Fest – Barcelona (ES)
Sept 10 Supersonic – Paris (FR)
Sept 11 Blaak Heat DJ set @ Pigalle Country Club – Paris (FR)

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