Thonian Horde Debut “Helltrain”; New Album Inconnu out Sept. 22 on Grimoire Records

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

Thonian-horde-Shane-Gardner-rock-n-roll-socialite

Sometimes puzzle pieces fit together so well you have trouble seeing it. So it is with Thonian Horde and Grimoire Records. With the band’s extreme take on heavy, their being located in Maryland and with the impressive onslaught they brought to bear in raw fashion on their 2016 self-titled debut (review here), they’re such a perfect match for working with Grimoire that I’m sitting here slapping my forehead because I can’t believe I didn’t see it coming. I’m a little ashamed to not have thought of it, to be honest.

Nonetheless, it’s happened, and Thonian Horde will release the Noel Mueller-recorded Inconnu Sept. 22 with a Grimoire stamp of approval. Can’t help but feel like that’s the way it should be.

The band are premiering the track “Helltrain” at the bottom of this post, and it’s got all the caustic torment you could possibly ask for. Enjoy it as you peruse the following PR wire info:

thonian horde inconnu

Thonian Horde “Inconnu” out 9/22/17 on Grimoire Records

This is a proper full-length release, with 10 tracks of thrashy black n’ roll for fans of Immortal, Satyricon, Dissection. The drums and bass were done in a single day, mostly live, in the Grimoire Studio (no reverb was used on the drums, thats au naturale Grimoire room reverb on that snare!). The final guitars and vocals were recorded shortly after, and the final master was wrapped up within about a week after the tracking was complete. The cover art was provided by the very talented Gilbert Miranda for Lingua Mortis Artwork, and the CD layout was finished by me.

“Inconnu” is released via limited edition CD and digital download on 9/22/17 through Grimoire Records.

Credits:
Thonain Horde is FeZZy (Bass & Vox), Dirty (Guitars), D-Mize (Lead Guitar), Tyler “The Beast” Lee (Drums). “Inconnu” was recorded on May 27th 2017 by Noel Mueller. Mixed and mastered by Noel Mueller. Cover art by Gilbert Miranda for Lingua Mortis Artwork.

https://www.facebook.com/thonianhordeofficial
https://www.facebook.com/grimoirerecords
https://grimoirerecords.bandcamp.com/album/inconnu
https://thonianhorde.bandcamp.com/releases

Thonian Horde, “Helltrain” official premiere

Tags: , , , , ,

Nap and Black Lung to Release Split Aug. 28; Preorder Available

Posted in Whathaveyou on August 2nd, 2017 by JJ Koczan

While Baltimore’s Black Lung and Oldenburg, Germany’s Nap both have elements of heavy psychedelia swirling at their core, there are still plenty of distinctions and disparities in their two individual sounds. Thus I can kind of understand why their forthcoming split 12″ on Noisolution might be framed as Black Lung vs. Nap, but it seems to me that — as the info below asserts — it probably works out to be less of a fight between them and more of a showcase of what each brings to the style. Complement more than competition, I guess is where my head is at, but I suppose if you’re putting out a release you have to call it something, and at least Black Lung vs. Nap gets the point across that it’s a split. Maybe I’m overthinking the whole thing.

In any case, the new release will be out by the time Black Lung return to Europe this fall to take part in Desertfest Belgium 2017 as they continue to support last year’s See the Enemy (review here) and for Nap, this split marks their first recorded output since their successful Villa (review here) debut in 2016, so brings all the more intrigue to see where they’re headed.

Info comes from Noisolution via the PR wire:

BLACK LUNG VS. NAP

Limited Split-12″with 6 unpublished tracks. White 180gr vinyl. Artwork by Alexander von Wieding.

Available from 28/08/2017 !!!!

Baltimore vs. Oldenburg.

This mini album documents a clash of two exceptional trios who are not competing but rather complementing one another. No longing to be the better, heavier or darker, but more so a friendly co-existence that turns out to be the perfect match.

A double A-side, if you wanna call it that. A split-mini-album, that more or less just came together by itself. Both bands‘ paths are crossing over and over again: first as labelmates, now on tour this fall and finally also on this shiny snowwhite piece of vinyl!

We got NAP from Oldenburg, Germany on one side, who only just made a great stir with their debut ‚Villa‘ in January. Before you knew it the first pressing was all sold out and gone. Their unique mix of Doom, Kraut and Stoner blended with epic instrumental parts quickly rewarded them with quite a fanbase, critical acclaim and a whole bunch of respect. Now on this new Split 12“ they‘re coming across somewhat more compact, more to the point, still never losing that certain playfulness that defines what became their signature sound. Adding a sprinkle of space rock as well they easily remind one of a darker version of the early Hawkwind. Something is truly growing here and we better keep an eye on what these three gentlemen will have in store for us in the future!

On the other side we got BLACK LUNG hailing from Baltimore, US. At first the band was just considered a side leap of of THE FLYING EYES‘ Adam Bufano and Elias Schutzmann who brought their psychedelic influences and shenanigans over to the new project. But eventually the trio fully established itself and an own dynamic taking over, forming their own unique and recognizable style. Two guitars that weigh down so heavily that there’s no need for a bass anymore. Completed by the hovering feverish vocals of Dave Cavalier who come as a perfect contrast, altogether creating an overwhelming wave of heavy sounds rolling over the clubs and their audience swallowing them both completely. A tiny hint of Pop and especially Soul has always been present on the previous two records. This time showing itself in a fantastic cover-version of Marvin Gayes‘ ‚Inner City Blues‘. Stonerrock mixed with sould mixed with rap: What seems completely incompatible comes together only so beautifully in this track. A truly exceptional track for a truly exceptional band in sound, style and songwriting – and a band who will absolutely blow your mind once again this time.

1. Black Lung – Strange Seed
2. Black Lung – Use This Stone
3. Black Lung – Inner City Blues
4. Nap – Djinn
5. Nap – Vorlaut
6. Nap – Teer

https://www.facebook.com/napband
https://napofficial.bandcamp.com/

https://www.facebook.com/blacklungbaltimore
https://blacklungbaltimore.bandcamp.com/

https://www.facebook.com/noisolution/
http://www.noisolution.de/shop/Vinyl/Black-Lung-vs-Nap-12-Vinyl-Strictly-limited-Weisses-180gr-Vinyl-mit-Download-Code::209.html

Nap, “Teer”

Black Lung, See the Enemy (2016)

Tags: , , , , , , ,

Dee Calhoun Announces New Novella Jesus, Devil, Deed Due Aug. 9

Posted in Whathaveyou on July 27th, 2017 by JJ Koczan

dee calhoun

It’s always awesome to see an artist hit a real creative stride, and though Dee Calhoun‘s main band, Iron Man, aren’t doing much at the moment, the vocalist known for his Halfordian shriek is hardly letting that slow him down. 2015 saw the issue of his first book project in a collection of short stories, and on Aug. 9, he’ll follow that up with a new novella titled Jesus, Devil, Deed. This is taking place even as Calhoun also prepares for the Argonauta Records release of his second solo album, Go to the Devil, which is landing on a quick turnaround from his 2016 just-because-it’s-unplugged-don’t-mean-it-ain’t-metal debut, Rotgut (review here).

So yeah, nothing about this not to like, as far as I’m concerned. Creativity flourishes, abounds and whatnot. Info about the book follows, as posted by the author himself:

dee calhoun jesus devil deed

Argonauta Recording Artist Dee Calhoun (aka “Screaming Mad Dee”), the voice of doom metal legends IRON MAN, has announced the release of his novella JESUS, DEVIL, DEED.

This novella marks Dee’s second venture into fiction writing; his first book, a collection of short stories called TALES OF THE SCREAMING AND MAD, was released in late 2015.

JESUS, DEVIL, DEED is the story of a broken man who petitions Christ for the return of his once devoted soul, so that he may sell it to Satan. The story is an expansion of the tale told in Dee’s song “Jesus, the Devil, the Deed,” which will appear on his upcoming album GO TO THE DEVIL, due later this year from Argonauta Records.

“It’s a story of desperation, exasperation, and of where one should ultimately place one’s faith and dependence,” Dee said. “It began as a song, and the song only tells a very condensed, basic version of the story. It’s almost like a twisted, modern version of the Crossroads myth, and it was great fun to flesh the tale out to see how the events fully unfolded.”

JESUS, DEVIL, DEED continues what has been a very productive year creatively for the singer/songwriter from Frederick, MD. In addition to this novella and GO TO THE DEVIL, Dee has also narrated Bruce Moore’s upcoming Christian Metal documentary METAL MISSIONARIES (due September 1st), and is fronting new Maryland-based heavy rockers THEE IRON HAND.

JESUS, DEVIL, DEED will be available on Wednesday August 9, 2017 via Amazon.com, CreateSpace eStore, and other online retailers. Dee will also have copies available at his live shows.

News regarding this and other things Dee-related can be found on his website, www.screamingmaddee.com.

https://www.facebook.com/screamingmaddee/
http://www.screamingmaddee.com

Dee Calhoun, Jesus, Devil, Deed teaser video

Tags: , , , ,

Wrapping up #VinylDay2017

Posted in Features on July 26th, 2017 by JJ Koczan

Grooves and platters galore. My motivation behind doing Vinyl Day 2017 was simple: I felt like listening to records and sharing that process. It was kind of an off-the-cuff thing. Just an idea I had and ran with it. I figure it doesn’t need to be anything more than that, right? Isn’t putting on an album its own excuse for putting on an album? I tend to think so.

And yeah, I made it a hashtag. Because it’s the future, and hashtags. Instagrammaphone and whatnot. I’m a novice at best when it comes to the social medias, but it seems to me that if you’re going to share a full day’s worth of what you’re listening to, that’s the way to do it. So that’s what I did. If I clogged up your feed or whatever and it pissed you off, sorry.

For anyone who might’ve missed it, it turned out to be nine records of various sorts. Here they are, complete with accompanying audio when I could get it, because it’s the age of instant gratification:

There you have it. Had to be Sleep to end it. Pretty awesome day of music on the whole, and whatever was on your playlist yesterday, if it was this stuff or anything else, I hope you enjoyed. I’m gonna call Vinyl Day 2017 a definite win. Thanks for reading.

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Friday Full-Length: Iron Man, The Passage

Posted in Bootleg Theater on July 7th, 2017 by JJ Koczan

Iron Man, The Passage (1994)

Originally issued on Halloween 1994 by venerable and long-defunct purveyor Hellhound Records — see also: The Obsessed, Saint Vitus, Count Raven, Wretched, Blood Farmers, Unorthodox and Revelation; woof — the second full-length from Iron Man, The Passage (reissue review here), should rightly be considered among the defining documents of Maryland doom. It is a record so direct in conveying its influence from and love for Black Sabbath, so unabashed in its worship, that it serves as a near constant reminder that guitarist “Iron” Alfred Morris III started the band back in 1988 specifically to pay homage to the metallic overlords. Formed roughly concurrent to the winding down of Morris‘ prior outfit, Force — whose lone long-player was issued in 1991 and whose discography was compiled onto a single limited release earlier this year by Blood and Iron Records (want) — Iron Man made their debut just one year before The Passage showed up, offering an early mission statement in 1993’s Black Night (discussed here; reissue review here).

Morris‘ guitar tone and ultra-Iommic riffing style, even at that most formative stage of the band, was the defining element of the group. That remains the case today, but a key difference between Black Night and The Passage was a swap in frontmen, and where Black Night was vocalized by Rob Levey, who would later found and curate the Stoner Hands of Doom series of festivals, the 11-track/43-minute The Passage brought in Dan Michalak as singer, and introduced a different style to the context of Iron Man‘s Sabbath worship. One doesn’t have to go far to hear it — and by that I mean it’s evident on the first riff of opener “The Fury,” which draws directly from “Neon Knights,” the corresponding launch-cut of Sabbath‘s 1980 LP, Heaven and Hell (discussed here), which was the beginning of the band’s era fronted by Ronnie James Dio. That’s a considerable shout for Iron Man to make, and would’ve been even in 1994 — Sabbath having reunited with Dio for the triumphant Dehumanizer, which seems to be referenced on The Passage in the foreboding synth of the titular interlude that precedes “Iron Warrior,” in 1992 before working once again with Tony Martin to issue Cross Purposes earlier in ’94 — but Michalak‘s lyrical patterning brazenly follows suit from Morris‘ set rhythm. We hear “Ride out,” references to “the night,” “fire,” hidden knowledge, and other Dio-style themes. Throughout the rest of The Passage, the play seems to be intended to fluidly move between the Ozzy and Dio eras. In the second half of “Unjust Reform,” a sudden stop brings a no less full-on take off from “Snowblind,” while the bit of finger and grander unfolding of “Waiting for Tomorrow” recall some of the more epic Dio-fronted tracks ahead of “Tony Stark” — get it? they didn’t call it “Iron Man” — shooting into the void and evil minds plotting destruction in closer “End of the World,” which caps with canned crowd noise to answer that at the beginning of “The Fury.”

These are just a few of The Passage‘s more Sabbathian moments, but they’re by no means the only ones, and even in the general perspective of judgment from which the social commentary of “Unjust Reform” and the later “Waiting for Tomorrow,” “Time for Indecision” and “Freedom Fighters” stems — notions of man’s inhumanity to man, and so on — Iron Man are willfully adopting the methods of their forebears. Yet, The Passage is more than derivation. At a time when their chief inspiration was crisp and overproduced with a huge echoing snare like so many of their era, Iron Man took a grittier approach, and their identity was cast as much in the raw thrust of “Iron Warrior” — a highlight performance there from drummer Gary Isom, whose CV includes stints in Pentagram, co-founding Spirit Caravan and a current position as guitarist in Weed is Weed, among many others — as in the cover art with a lighting effect that seems to show Morris in flames as he plays guitar. I’ll gladly argue that image stands among the most righteous in American doom, every bit worthy of the gray-on-black logo of Saint Vitus‘ self-titled debut or the line-drawing that would adorn Pentagram‘s Relentless album in iconic terms, but the point is that for Iron Man, even the artwork shows what it’s all about. Yes, it’s a full band, with Michalak responsible for conveying the lyrics, Isom pounding away behind the chug of “Time for Indecision,” and bassist Larry Brown (also ex-Force) in the Geezer Butler role anchoring the low end, but it’s Morris‘ project through and through, and he leads the way accordingly.

The guitarist remains among the most pivotal figures in American doom. Though Hellhound Records is long gone, Shadow Kingdom Records has stepped up to reissue many of Iron Man‘s earlier works (it’s their version of The Passage in the Bandcamp player above) and Iron Man released I Have Returned (review here) through the label in 2009 before swapping out singer Joe Donnelly for “Screaming Mad” Dee Calhoun and signing to Rise Above for 2013’s South of the Earth (review here), which remains their latest offering. They got to the UK, playing internationally for the first time to support that album, and continue to perform local shows in Maryland with the lineup of MorrisCalhoun, bassist Louis Strachan and drummer Jason “Mot” Waldmann, but don’t really tour, and a series of health concerns seem to have sidelined larger activity. I’m not 100 percent sure what the situation is there, but obviously one wishes Morris and the rest of the band nothing but the best and a full return to stage and/or studio productivity soon. As anyone who dug into South of the Earth could tell you, Iron Man still have plenty more to say, and in a world that’s finally caught up to their ethic of Sabbathian homage, they’ve never been more relevant than they are now.

As always, I hope you enjoy. Thanks for reading and for listening.

Next week is the Quarterly Review. I’ve been working on setting up the back end for the last few days, and this weekend, as I also travel to the NY/NJ area to see a Yankee game (tonight) and family (tomorrow), I’ll be starting the actual process of digging into the 50 records that will be covered between next Monday and Friday. It’s already been a lot of work but I immediately regret not doing a sixth day this time around and maybe even a seventh. As I’ve been so busy the last couple months concerning myself with things like losing my job and the impending Pecan due in October, there’s a buildup of album folders on my desktop and mail piled high on my actual desk of records that want covering.

I wish I could get to everything. Sincerely.

But I’ll do the best I can and because I’m a flop at scheduling, there’s already other stuff slated for the days early in the week of the 17th where the otherwise extra Quarterly Review days would go. Fair enough, and at least it’s good. I’ve also got a bunch of premieres and whathaveyou slated for this week coming, so here are my notes as they stand now, subject to change without notice:

Mon.: Quarterly Review day 1; Fungus Hill video premiere.
Tue.: Quarterly Review day 2; Demon Eye track premiere/album review.
Wed.: Quarterly Review day 3; Salem’s Bend video premiere.
Thu.: Quarterly Review day 4; Arduini/Balich Six Dumb Questions
Fri.: Quarterly Review day 5.

If I can, I might just give myself a break on that last day and not slate anything else, roll with whatever news I’ll inevitably be behind on by then and the Friday Full-Length post, but we’ll see what comes in. I’m already about two weeks later on the Quarterly Review than I’d prefer to be, but whatever. Nobody cares except me. I have to keep reminding myself of that. Constantly. Nobody knows the arbitrary schedules I try to keep, and even if they knew, it wouldn’t matter. No one cares.

There’s a sad kind of freedom in that.

Speaking of sad freedom, if you’re in the US, I hope you had an enjoyable and safe July 4 celebration and that nobody got their hand blown off, etc. The Patient Mrs., the Little Dog Dio, the impending Pecan and I have been at the beach all week — the plus side of not having a job is being able to get up here and see sunrises like this one yesterday — and though I’m out of clean laundry and will be day-twoing it in these socks, it’s been an utter pleasure. We’ll be here until early Monday morning and then back home to Massachusetts, where no doubt copious errands will need to be run.

Whatever you’re up to this weekend, I hope it’s a great and also safe time. I’ll be writing in the passenger seat along the I-95 corridor if you need me, so yeah, that should be interesting. Thanks for reading and please check out the forum and the radio stream.

The Obelisk Forum

The Obelisk Radio

Tags: , , , , , , , ,

Gateway to Hell Premiere “Tin Roof” from Clovers EP

Posted in audiObelisk on July 6th, 2017 by JJ Koczan

gateway to hell

Baltimore doom rockers Gateway to Hell make a raucous entry on July 21 with their five-track Clovers EP. The band, currently comprised of vocalist Jerrod Sydnor, guitarist Alex Briscoe, bassist Eric Smythe and drummer Dan Petruccelli, have aligned with Unholy Anarchy Records for the release, which marks their most substantial outing to-date behind their 2014 demo and the subsequent digital-single “Scorched Earth,” which also appears on Clovers as the finale of the ultra-manageable 22-minute run. From the start of the opening title-track (posted here), Gateway to Hell demonstrate a keen sonic blend somewhere between trad metal, doom, burly Southern heavy and — because why not? — sludge, but the material comes tied together through a steady purpose of songcraft and structure, and goes out of its way to create an album-style flow as “Clovers” moves through “Tin Roof,” centerpiece “The Drizzard,” the acoustic interlude “Rain for Days” and the aforementioned capstone.

The interlude is of particular note, and not just because it is well-placed ahead of “Scorched Earth.” By includinggateway to hell clovers even just a sub-two-minute number of layered acoustic plucking, Gateway to Hell — grim in moniker but ultimately more varied in execution and less outwardly abrasive than one might think based on that — signal an intent toward future progression of sound, and I wouldn’t be surprised to find them either adding vocals to something similar (Sydnor could carry an acoustic-backed melody, easily) or working in acoustic layers to a harder-hitting song their next time out. Point is they’re setting themselves up for growth, which is never a bad thing, and they do so amid the thrust of “Tin Roof” and the crisp groove of “The Drizzard”; already showcasing a grip on where they want to be in terms of delivery. I thought on my initial listen to “Clovers” that the balance of the mix was off in putting the vocals too far forward, but to listen again, I’m ready to revise my position. May have just been whatever speakers I had it on the first time through. Certainly by the time “Tin Roof” and “The Drizzard” give way to “Rain for Days” and “Scorched Earth,” if there was an issue at all, it’s no longer a factor.

As you make your way through the track premiere below, pay specific attention to the atmosphere the song conjures — dark and heavy, but still given to motion and created not through self-indulgent flourish but through solid and traditional songwriting and a well-conveyed sense of direction. That holds true for the entirety of Clovers and is among the factors that most bodes well for Gateway to Hell as they move ahead toward their inevitable first full-length.

Unholy Anarchy has preorders up now for Clovers ahead of the July 21 release. That info, more background and some word directly from the band follow the premiere itself, which you’ll find immediately following.

Please enjoy:

Gateway to Hell on “Tin Roof”:

“Tin Roof” is our take on the dread conjured every time you turn on the TV news or pick up a newspaper. There’s an overwhelming sense that society as we know it is on a downward curve and that the ones up top are just completely oblivious as the world crumbles around them.

The title is a shout-out to “Love Shack” by the B-52s. We felt the pause in the song would be the perfect opportunity for Cindy Wilson to belt out the “tin roof, rusted!” from “Love Shack,” so “Tin Roof” was what we named the early demo tracks and it just stuck. We felt it fit thematically — years of neglecting the simple upkeep leading to a full collapse of the house.

This song is about as political as we’ll ever get but we tried to be careful not to be too specific, as there’s nothing more boring than when a singer sounds like they are reading from a newspaper. As always, the riff comes first…

Clovers will come available digitally and on limited edition vinyl July 21 in three color variations (orange/pink merge, clear with blue splatter, and standard black) via Unholy Anarchy Records. Preorders are currently available RIGHT HERE.

Gateway to Hell is:
Jerrod Sydnor – vocals
Alex Briscoe – guitar
Eric Smythe – bass
Dan Petruccelli – drums

Gateway to Hell on Thee Facebooks

Gateway to Hell on Bandcamp

Unholy Anarchy Records on Thee Facebooks

Unholy Anarcy Records website

Unholy Anarchy Records webstore

Tags: , , , , ,

Thee Iron Hand Post New Demo & Announce First Live Show

Posted in Bootleg Theater on July 3rd, 2017 by JJ Koczan

thee iron hand

When Thee Iron Hand made their existence public back in May with the unveiling of the track ‘Lungful of Blood,’ the Maryland doom four-piece threatened that they’d make their way to the stage for the first time this summer. Well, it’s hot and humid as shit in Frederick, so it must be summer, and we now know where and when the live debut from the supergroup with members of Iron Man, Ironboss and The Hidden Hand (you can see the lineup below) will take place. Thee Iron Hand hit the stage next Friday, July 14, at the Shamrock Inn in Baltimore, in the considerable company of Weed is Weed and Mangog.

weed is weed mangog thee iron handOne could hardly think of more appropriate compatriots for Thee Iron Hand to play their first show, particularly if the running theme of the night is “pedigree.” Weed is Weed, of course, is fronted by Maryland doom godfather Dave Sherman, of Earthride and Spirit Caravan infamy, and Mangog features in its lineup former Iron Man drummer Mike Rix and Beelzefuzz/ex-Revelation bassist Bert Hall, Jr., so indeed, on the level of dudes-in-bands-who-were/are-also-in-other-bands, it makes an awful lot of sense. And I’ve no doubt it’ll be a damn good time, front to back across the entirety of evening. Also, it’s free. So there’s that too.

To mark the occasion, Thee Iron Hand have posted a second rehearsal demo clip, this one featuring a minute of a track given the uncomfortable-sounding title “Pissing Chrome.” You can once again hear Thee Iron Hand straddling the line between heavy rock and metal here, and I’m increasingly interested to find out where they’ll ultimately fall on that scale when they hit the studio for a first outing of one sort or another. Presumably we’ve got a little ways to go before they get there, but when I hear more in that regard, I’ll let you know.

For now, enjoy:

Thee Iron Hand, “Pissing Chrome” rehearsal outtake

“The track is about perseverance, not letting obstacles interfere, and reveling in the joy of accomplishment.” — Dee Calhoun

(lyrics: Calhoun; music: Crocco, Falkinburg, Kennedy) c. 2017

Thee Iron Hand is:
Screaming Mad Dee (Iron Man) – voice
Matt Crocco (Lifetime Shitlist, Ironboss) – guitar
Bruce Falkinburg (The Obsessed, The Hidden Hand) – bass
Patrick Kennedy (Ironboss) – drums

Thee Iron Hand on Thee Facebooks

Thee Iron Hand on YouTube

Tags: , , ,

Darsombra Summer Tour Starts this Week

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

If you’re of the belief that sonic resonance can affect those who experience it on a spiritual level, or if you’re looking to be convinced of same, I can only recommend you open your mind as wide as it will open and then go see Darsombra, as the Baltimore duo stand among the best arguments I can think of in that regard. Further, there are few live acts I’ve had the pleasure of watching who so clearly revel in the process of what they’re creating on stage and presenting what they have created, and accordingly, it’s hard not to be swept up in that joy as it hits in swells and waves of drone and experimentalist guitar, keys, percussion, vocals, visuals, and so on. Simply put, it is something you should witness for yourself if you can.

And Darsombra, who tour almost incessantly and released their latest album last year in the form of the two-song Polyvision (review here) via Translation Loss Records, are not stingy when it comes to giving opportunities to do so. This week, they head out across the US and Canada on a month-plus run that will take them through the end of August, and no doubt the next tour is already in the works for when they get back. In the meantime, note the dates in the Pacific Northwest with Thrones (aka Joe Preston) and YOB‘s Mike Scheidt. Righteous company to keep.

Dates follow here, and really, if you can, go:

darsombra photo matt condon

Darsombra – Canada / U.S. summer tour 2017 • 7/5-8/31

Our tour for summer 2017 kicks off [this] week! Please check back closer to dates as changes may occur.

July 5 – Bethpage NY @ Mr. Berry’s w/ Ruckzuck, Claire Raby, Richard Arriaga
July 6 – Allston MA @ O’Brien’s w/ Planet of Adventure, The Modern Voice
July 7 – Manchester NH @ House Show w/ Green Bastard, Lunar Locust
July 8 – Portland ME @ Geno’s w/ All Night, Cadaverette, Apis Malfiore
July 10 – Halifax, NS @ Menz & Mollyz w/ Brett Waye, Hemineglect
July 11 – Moncton NB @ Plan B w/ Gemstonez, The Continuance, Våras
July 13 – Montreal QC @ Casa Del Popolo w/ Pachyderm, Eliza
July 14 – Ottawa ON @ The Record Centre w/ The Visit, Raphael Weinroth-Browne, Heather Sita Black
July 15 – Toronto ON @ The Cavern
July 16 – Sudbury ON @ The Asylum
July 17 – Sault Ste. Marie ON @ New American w/ Pointless, Bizotic
July 19 – Thunder Bay ON @ The Apollo w/ Road Waves
July 20 – Winnipeg MB @ Handsome Daughter w/ Mahogany Frog, Scab Smoker
July 21 – Regina SK @ Cloud 9 w/ The League of One, Robot Hive
July 22 – Saskatoon SK @ Amigo’s w/ Hoopsnake, Black Thunder, The Switching Yard
July 23 – Edmonton AB @ Bohemia w/ Faith Crisis
July 27 – Calgary AB @ Nite Owl w/ Bridal Party
July 29 – Vancouver BC @ 333 Clark (Half Satan)
July 30 – Nanaimo BC @ White Room w/ Crotch, El Hombre Al Aqua
July 31 – Victoria BC @ Vinyl Envy w/ Scars & Scarves
Aug 3 – Olympia WA @ McCoy’s w/ Thrones, Teach Me Equals
Aug 4 – Seattle WA @ Highline w/ Thrones, Teach Me Equals, Noise-A-Tron
Aug 5 – Portland OR @ The Know w/ Thrones, Stöller, Mike Scheidt
Aug 6 – Salem OR @ Fifty Pub & Grub w/ Thrones, Mike Scheidt
Aug 9 – Eugene OR @ Old NIck’s w/ Mike Scheidt
Aug 10 – Bend OR @ Third St. Pub
Aug 11 – Boise ID @ The Shredder w/ Desert Graves, Brett Netson
Aug 12 – Missoula MT
Aug 17 – Bozeman MT @ Filling Station
Aug 19 – Rapid City SD @ Black Hills Vinyl
Aug 22 – Sioux Falls SD @ Total Drag
Aug 23 – Minneapolis MN @ Kitty Cat Club w/ Comets ov Cupid, Magnetic Ghost, RYKYGNYZYR
Aug 24 – Duluth MN @ Red Herring
Aug 25 – Marquette MI @ Women’s Federated Clubhouse w/ Terminal Orchestra, The God Eaters
Aug 26 – Milwaukee WI @ Circle A w/ The Old Northwest
Aug 27 – Chicago IL @ Subterreanean Downstairs w/ Andy Slater, Cascader, Byzmuti
Aug 29 – Detroit MI @ Trumbullplex
Aug 30 – Cleveland OH @ The Magalen w/ Blind Spring, Dead Peasant Insurance
Aug 31 – Pittsburgh PA @ Black Forge w/ Bear Skull, The Van Allen Belt
Sept 22 (rain date Sept 23) – Baltimore MD @ Leakin Park w/ Marian McLaughlin

https://www.facebook.com/events/251836911930646/
http://facebook.com/darsombra
https://www.instagram.com/darsombra/
http://www.darsombra.com/
https://www.facebook.com/TranslationLossRecords/
https://translationlossrecords.bandcamp.com/
translationlossrecords.bigcartel.com/

Darsombra, Polyvisions (2016)

Tags: , , , , ,