Posted in audiObelisk on September 25th, 2014 by H.P. Taskmaster
If you didn’t know, this Saturday, Sept. 27, is Cassette Store Day, a tape-minded answer to the hugely successful Record Store Day initiative supporting independent music retailers. I’m sure you did know, because you’re on top of it like that, but more to the point, Allston’s Phantom Glue have a special release coming out to mark the occasion. Working with Negative Fun Records, they’ll release Angels of Meth, a four-track demo collection taken from their early going when they worked under that moniker.
A lot of what works today about Phantom Glue was present in their sound back then — their blend of raw punk, sludge and metal — but of course the demo material is less solidified than the band would become by the time they got around to releasing their 2009 self-titled debut (review here) or A War of Light Cones (review here) last year. Their aesthetic was plenty assured by the first album and refined as much as something so bruising can be called refined on the second. The Angels of Meth demo has the elements there, but it’s a nastier churn and a dirtier distortion lurching out of their amps. Of course, this has an appeal entirely of its own on a song like “Tazed,” which I’m happy to have the chance to host for streaming ahead of the demo’s release.
The track hasn’t been completely unavailable or anything. If you’re willing to dig through the morass that MySpace has become, you can find it hidden somewhere in Phantom Glue‘s profile. This, however, is much easier (and higher quality), so I’ll go ahead and encourage you to just press play below instead. Angels of Meth will be the first time this material has been physically pressed as well.
Track and release info follow, courtesy of Negative Fun. Enjoy:
For all intents and purposes, Phantom Glue is Angels of Meth. The band was birthed by Matt Oates and has existed in various states since the mid-2000s.
The band was known as Angels of Meth up through the recording of the Phantom Glue S/T’d record. It wasn’t until after the recording process was completed for the Phantom Glue’s s/t record that the band decided to change the name.
This is the 1st recorded output from the band, which has never existed in a physical format until now, and further illustrates the dramatic development and shift in sound from release to release.
Posted in Reviews on September 24th, 2014 by H.P. Taskmaster
There was one ticket left when I arrived at the Great Scott in Allston to see Earth on tour supporting their new album, Primitive and Deadly. Much to the venue’s credit, the show was sold out but not oversold, Plenty warm up front, but in back by the end of the night one could claim some semblance of personal space if desired and still see Seattle’s droniest on stage. Doors were at nine with just two bands on the bill — Earth and fellow Seattleites King Dude opening — and it would be over an hour before anyone went on. So, if you were looking to drink or, say, stare at inane bullshit on your phone, there was plenty of time to do it.
In the studio, King Dude is a solo-project of Book of Black Earth guitarist/vocalist TJ Cowgill, but live he led a trio dressed in a look that might appear in a catalog as “Heartland Gestapo,” matching black button-downs with collar pins, black pants, short hair calling to mind Baptist righteousness and fascist regimentation as was likely the intent as they played in front of a backdrop of a painted-black and tattered American flag. The songs were Americana-derived neofolk, tales of fire and brimstone and drinking out of some alternate universe USA, guitar, keys, cello, drums. I’m not sure where Cowgillgot his Southern accent, but he was enough of a charmer on stage to get two whiskys, one bought from the bar and a mini someone else had apparently snuck in. Well enough earned.
If you’ll permit me a minute to wax critical, one of the most respectable aspects of Earth‘s long tenure — their first demo surfaced in 1990 and but for a stretch between 1997-2003, they’ve been going since — is the relentlessness of their pursuit. Go see Earth for one album and then another and you’ll get two different shows. Guitarist Dylan Carlson, as the founder and driving force, has in the last decade built and continued to refine a legacy that seems no more solidified now than it was nine years ago when they released their landmark comeback full-length, Hex; Or Printing in the Infernal Method. It is a constant work in progress, shifting and remaking itself each time out. And perhaps because their music can be so raw — the repetition of riff cycles, steady drum plod of Adrienne Davies and the steadiness of their instrumental flow — that progression is all the more evocative and encompassing.
As they took the stage at the Great Scott, Carlson provided the news that Primitive and Deadly (review here), which came out Sept. 1 on Southern Lord, took only a week to become their highest-selling release to date. He thanked the crowd and then began the set with “Badger’s Bane” and “Even Hell has its Heroes” from that record, the album’s weightier production translating excellently live through Carlson‘s tone, Davies‘ swinging-arm march and the fills of bassist Don McGreevy, also of Master Musicians of Bukkake, who doesn’t play on the new full-length but took part in 2008’s The Bees Made Honey in the Lion’s Skull (discussed here) and had no trouble making the parts his own or fitting in alongside Davies as the rhythmic complement to Carlson‘s swaying guitar work.
Of course, a major distinguishing factor of Primitive and Deadly is the inclusion of vocals — Mark Lanegan and Rabi Shabeen Qazi (Rose Windows) guest — and while he had a mic on stage for thanking the crowd, they kept “There is a Serpent Coming” instrumental, that song coming out of “Old Black” from 2011’s Angels of Darkness, Demons of Light I (review here) and moving into “The Bees Made Honey in the Lion’s Skull,” which Carlson noted was their prior highest-seller and especially popular with female fans. I wondered how or why that might be the case as Carlson, Davies and McGreevy continued their droneout, the groove of the older material hitting not quite as heavy as that of the newer, reminding that whatever weight might reside in their tones or evocations, Earth is still far from being a “metal” band.
The new album’s opener, “Torn by the Fox of the Crescent Moon” served as the first installment of a closing duo with “Ouroboros is Broken” as the finisher, Carlson noting that they were the band’s newest and oldest songs, respectively. They paired together well, with the latter being somewhere between the reinvented textures of its appearance on 2007’s Hibernaculum EP and the original from 1991’s Extra-Capsular Extraction. Whatever version it was, it made a rolling cap on a set that didn’t so much celebrate the entire scope of Earth‘s career — at some point, particularly as they’re hinging on their 25th year, one imagines a retrospective live set of one form or another will happen — but emphasized the vitality of the work they’re doing now, their continued relevance and expanding influence. Given the expanse of time they’ve covered and the years and decades their growth has encompassed, it’s even easier to appreciate the restlessness underlying their evolution and the irony that so much of their reputation is for the stillness in their material. Still maybe, but never stagnant.
I had no line of sight to Davies, but there are a couple more pics after the jump. Thanks for reading.
Posted in Reviews on September 22nd, 2014 by H.P. Taskmaster
Of the more-than-several local shows I’ve been to since moving to New England now more than a year ago, this one had probably the strongest front-to-back bill. It was Elder‘s return gig to US soil. They and Rozamov and Summoner would head south the next day to appear Brooklyn’s Uninvited festival, and partnered with Worcester four-piece SET, it was night at the Middle East‘s upstairs room that highlighted some of the best Boston’s next-gen has to offer. Phrases like “all killer, no filler” were invented for evenings such as these.
To put a personal spin on it, I’ll say as well that it was a cap for me for my first year of living here. 13 months ago, I attended Elder‘s farewell at the Great Scott prior to their going on hiatus (Rozamov played that as well). I had lived in the area for barely two weeks, it was my first show in town as a resident. I was confused and uncomfortable in more than just that I’m-out-of-the-house kind of way. I’m not sure I’d have found the Middle East without the Maps on my phone, but at least when I got to Cambridge, I knew what to expect and where I might find parking. A work in progress, yes, but little things make a difference.
SET opened, and went on a couple minutes after 8:30, kicking off in raucous form. I wasn’t the only one who knew to show up early — upstairs at the Middle East isn’t a huge room, but it’s big enough that if you weren’t going to draw, it would look empty — and SET pulled a decent crowd. It was my third time seeing them behind shows at the Dragon’s Den (review here) and the Stoned Goat fest in Worcester (review here) and I was pleased to be more familiar with songs like “Valley of the Stone” and “Wolves behind the Sheep,” the balance of thrash and heavy rock within which threw down a heavy gauntlet for the other three bands to pick up. If they played it, I didn’t catch “Sacred Moon Cult,” the closer from their spring 2013 Valley of the Stone outing, but seeming to decide to do so off the cuff, they finished out with a convincing take on Pentagram‘s classic “Forever My Queen,” giving double-guitar thrust to the rawness of the original’s riffing.
In addition to being a strong bill, it was also fairly diverse within a heavy scope. That became apparent as Summoner, who played next, made ready to take the stage with both a sound and a character far disparate from that of SET, trading out that’s band’s harsher edge and grittier presence for smoother, more progressive heaviness. What the two bands had in common was a clear thread of tonal heft — Rozamov and Elder followed suit in that regard as well — but Summoner‘s influences, more in the Mastodon/Baroness vein, were spaced out wide enough from the preceding act that they were immediately distinguished. This was also the first I’d seen them since the release of their second album, 2013’s Atlantian, on Magnetic Eye Records, and while I knew from prior experience they delivered live, it was interesting to see them do so as a more mature, established outfit than they were late in 2012 when I caught them in New York.
They pummeled and stomped and dug themselves into their material neatly, clearly enjoying the process as well, guitarists AJ Peters and Joe Richner tilting their heads back across various leads and riffs while vocalist/bassist Chris Johnson kept a consistent, sincere smile across his face no matter how hard he also happened to be slamming the song at the time, and behind, drummer Scott Smith propelled their neo-metallic stomp. Much of what they played came from their 2012 debut, Phoenix, but “Horns of War” represented Atlantian well and “The Interloper” and “Winged Hessians” seemed to rouse no complaints from the increasingly full room there to watch them. When Rozamov went on, the trio would be a turn back toward darker, rawer vibes, but a propensity for big tones remained firm. I stood in front of bassist Tom Corino and could just about have swam through the density oozing out of the speaker cabinet.
It was a bit much, apparently, since part-way through the Rozamov set the bass cut out, leaving drummer Will Hendrix and guitarist/vocalist Matt Iacovelli to fill the time while the problem was discovered, analyzed and ultimately remedied. Blown tube. It didn’t take long, but Rozamov‘s dark, thickened-thrash had built a good head of steam by then and they essentially had to put their momentum back together from scratch. To their credit, they did. By the end of their set, which was a little longer than SET or Summoner‘s had been, it was easy to forget there had been an interruption at all. Much of their material seemed newer than 2013’s Of Gods and Flesh EP, and I’m not sure what they might have in the works, but I think the only Boston band I’ve seen more in the last year is Gozu, and I’ve yet to emerge from a Rozamov set less than impressed.
And Elder. Well, Elder are world-class at this point. They hadn’t played in the States since that farewell show last August, but they did a run of European gigs and their third album is reportedly in the can headed for a 2015 release. One might expect a band in their circumstance to be a little rusty — guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto all live in different states as well — but there wasn’t anything I could’ve asked from Elder‘s set it didn’t deliver, including a glimpse at their new stuff. The song “Compendium” from the new record was the only new one aired, the rest of what they played drawn from 2012’s stellar Spires Burn/Release EP (review here) and 2011’s Dead Roots Stirring (review here), but it offered a sense of progression nonetheless, a forward motion in its central riff acting as a kind of launch point from which the trio boomeranged, pushing as far as they could before snapping back to the initial movement in the manner that has become as much a part of their style as Donovan‘s head-spinning bass fills or Couto‘s unmitigated swing.
To that, I’ll just note that, including this show, I’ve seen Couto play drums in three different bands/iterations in the last month — with Kindin Worcester, with Darryl Shepard‘s Blackwolfgoatin Allston, and here — and while those were a formative act and a sit-in jam, I think it’s still worth pointing out that with Elder, it was a different level of performance entirely. Locked in with Donovan and DiSalvo, he seemed decidedly in his element, and that goes for the other two members of Elder as well, the three of them air-tight on the expansive “Release” and Dead Roots Stirring‘s “Knot,” which rounded out the album and this set alike. It seemed we might get an encore, but I think venue curfew was a factor — it was getting on midnight, and it’s not like it was a Tuesday or anything — and the house lights came up in the universal sign of get-the-hell-out. I’d wanted to pick up a copy of Elder‘s Live at Roadburn, since I hear one or two of my photos is included, but it was packed over there and I had writing to do, so I split into the fall air to start the not-inconsiderable hike back to my car and home.
Posted in Reviews on September 17th, 2014 by H.P. Taskmaster
There was a point during Black Cobra‘s set last night at T.T. the Bear’s Place in Cambridge at which I felt like my head had been swallowed by some gargantuan octogod out of a Lovecraft horror. Five bands deep into a five-band Tuesday, it was hard to stand up let alone make any attempt to keep up with Black Cobra‘s intensity, which has been outdoing rockers far more riotous than I for over a decade. They were headlining, playing last, of course, a show that might as well have been billed as a festival, with their tourmates Lo-Pan and local support from Lunglust, Hepatagua and Connecticut’s Sea of Bones. My first time at T.T. the Bear’s was going to give me plenty of opportunity to get to know it.
If you’re looking for it, it’s quite literally next to the Middle East, which I don’t suppose will be much help when they turn that whole complex into condos as they’re allegedly going to do sooner or later, likely working at Boston’s usual we’ll-get-there-in-200-years pace in a continued effort to destroy any sense of culture not directly related either to the higher education of its imported money-spending rich kids or the steadfast working class scoffery of its actual citizens. A whole town dedicated to telling itself to fuck off. It’s a good place to like sports, not a good place to try and open a bar. So it goes.
Despite a few circles around the block for parking, I was early. Sea of Bones were opening, so we’ll start there:
Sea of Bones
I was surprised Sea of Bones would start the show. Not because they’re a huge commercial band or anything, but because the Connecticut-based three-piece are so loud, I know that if I was another opening act on the bill, I wouldn’t want to follow them. Their brutal post-doom emanated from a formidable wall of cabinets as Mammoth in sound as in their brand, the company founded by Sea of Bones guitarist Tom Mucherino given a weighty endorsement by the band’s own tectonic force. The tension in their quiet stretches isn’t to be understated, but when Mucherino, bassist Gary Amedy and drummer Kevin Wigginton all crash in on the material from their 2013 two-disc sophomore outing, The Earth Wants us Dead (review here), all three adding their vocals to the assault, they’re quite frankly one of the heaviest acts I’ve ever seen. I spent the last $10 to my miserable name on the CD of The Earth Wants us Dead, and no regrets. An early laugh for the night was when, after two or three songs, they were informed they had five minutes left and ended the set because none of their material is that short. Right fucking on.
It was Hepatagua guitarist/vocalist Aaron Gray who reportedly brought the Black Cobra and Lo-Pan tour to town in the first place, and after seeing his duo’s former moniker, Automatic Death Pill, on shows more or less since I moved here, I was glad to finally get to see them play. The band is Gray and drummer Nate Linehan (ex-Anal Cunt, Fistula, Finisher, etc.), and they tapped into various heavy impulses, indulging a thrashy impulse here or there but mostly sticking to a steady groove. Gray‘s vocals leaned aggressive but weren’t necessarily a given as growls, and the chemistry between the two was clear on stage, Automatic Death Pill having gotten their start in 2010, and they seemed most at home in raw sludge. They don’t have anything recorded as yet — rumor is they’ll address that this winter — but it’ll be interesting to find out how or if their material solidifies in the studio or keeps the edge with which they presented it at T.T. the Bear’s. Either way, I sincerely doubt this will be the last time I run into them, and they gave me something to look forward to for the next one.
A five-piece with Nicholas Wolf and Brad Macomber of The Proselyte (also Phantom Glue in the case of the former) on guitar and bass, respectively, Lunglust played that kind of dark hardcore that’s doom in its tone and metal in its fervor but still ready to toss in a breakdown every now and again. Drummer Reid Calkin had “You’re Shitty” emblazoned on the front of his kick, which didn’t seem very nice, but they were as tight as the style would require and five dudes’ worth of loud, guitarist Eric Lee in the dark on the far right of the stage and vocalist Jeff Sykes periodically stepping out onto the speakers in front of the stage to get further get his point across. No worries there. His t-shirt was the second logo sighting of the night for His Hero is Gone (Sea of Bones‘ Mucherino had a patch), and his disaffection bled into each cupped-mic growl. In terms of their basic sound, they weren’t really my thing, but they quickly showed why they were where they were on the bill and pummeled with speed, efficiency and viciousness, seeming to enjoy the violence every step of the way. I was glad no one in the crowd started throwing punches.
Going to see Lo-Pan is a no-brainer. Oh, Lo-Pan‘s coming through town? Do you have feet? Well, you better use those feet to march your ass over to wherever they’re gonna be and enjoy. With the release of Colossus, the hard-touring Columbus, Ohio, unit’s fourth album, impending, it seemed all the more reason to be there. “Regulus” from that album was aired, as well as the expansive “Eastern Seas” and “Vox” (track premiere here), and “Marathon Man” was the highlight of my night. They dipped back to 2011’s Salvador (review here) only once, for “Chichen Itza,” and otherwise the whole set was new material. That was the case for the most part as well when they played the Small Stone showcase next door at the Middle East, but I was glad to be more familiar with the songs this time around. On stage, they were much as ever — ridiculously tight and locked in, guitarist Brian Fristoein a universe comprised of his own sleek grooves while on the opposite side of the stage bassist Scott Thompson bangs his head like he’s trying to shake it off, up front, drummer Jesse Bartz slams his cymbals so hard they bite through your earplugs and in back, vocalist Jeff Martin offers soul-stirring command. I thought he was going to blow out the P.A. during “Vox,” but no equipment was damaged. Still, it was easy to tell how deep into this tour Lo-Pan were. Not quite halfway through the run with Black Cobra, they had their inside jokes going (Martin shouted the whole set out to Guy Fieri, the crowd “didn’t need to know why”) and road eyes on, barely seeing the place, focused and intent on the work they were doing in it, looking right past, all straightforward drive and momentum build.
That made them an excellent lead-in for Black Cobra. I had wondered how it might be going from Lo-Pan‘s more heavy rocking style to Black Cobra‘s unadulterated thrash bludgeonry, but what the two bands have in common is they’re both killer live acts. In the case of Black Cobra, they’re now a decade removed from the release of their first EP, and the duo of Jason Landrian (guitar/vocals) and Rafa Martinez (drums) have dedicated most of that time to perfecting their craft on the road. The short version is they sound like it. I’ve already told you I was beat to hell by the time they went on. Black Cobra, on the other hand, were a torrent of adrenaline, Martinez and Landrian pounding out selections from their catalog starting with “One Nine” from 2006’s debut full-length, Bestial, and including highlights from their most recent outing, 2011’s Invernal (review here), like “Avalanche,” the righteously chugging “Corrosion Fields” and overwhelmingly extreme “Obliteration.” Like Lo-Pan before them, they sounded like a band who’s been on tour for about two weeks, dead set on what they want to do and how they want to do it. They’re about due for a new record as well, and I was hoping for some new material, but most of what they played came from Invernal, though they included the title-track from 2009’s Chronomega and closed out with “Five Daggers” from 2007’s Feather and Stone, Landrian seeming to take an opportunity between each cut to roar out a primal dominance and encourage the audience to join him in it. They did. No encore at the end, but nothing left to say. The house lights came on quick and those of us still in the room collected our well-demolished consciousnesses and shuffled out. For what it’s worth, Black Cobra looked like they could’ve kept playing with no problem.
I got pulled over on my way home, received a $55 ticket on a back road for my car not being inspected. My car has over 205,000 miles on it. The cop was visibly disappointed I wasn’t drunk, and I was visibly disappointed he existed. Another police vehicle pulled around and sat in a nearby parking lot and I thought about asking Officer McDickhead if he needed backup to tell me my license plate light was out, if maybe he didn’t want to break out the military surplus assault vehicles, but didn’t. He told me have a good night and I grunted at him and rolled up my window. Fucker. Worst part about it is cops are younger than me at this point. Got in somewhere around 2AM.
Posted in Reviews on September 15th, 2014 by H.P. Taskmaster
It was just over a month ago I last saw Blackwolfgoat, in Portland, Maine, opening for We’re all Gonna Die‘s final reunion gig, so I’d say the stuff was pretty fresh in my brain, even aside from listening to the new album, DroneMaintenance, for an I’ll-get-there-I-swear-I-will review, but this was the release show for that record and sometimes you feel like maybe you need to show up. Another chance to scope out Connecticut duo Bedroom Rehab Corporation was added appeal, and it was the live debut from Sea, which boasts bassist/vocalist Stephen LoVerme of Olde Growth and guitarist Liz Walshak, formerly of Rozamov, so put that together with noise-riff duo Shutup!! opening, and yeah, it’s a night. A Friday, in Allston, in September. College kids, hip youngsters, and me, rolling down Harvard Ave. like a forest troll looking for parking. Around and around and around Allston’s designed-for-the-crowded-populace-of-1700 blocks I went, ducking drunk undergrads and Bruins fans. There were other shows around town. I knew where I wanted to be.
O’Brien’s was much as I left it whenever the last time I was there was. Low, red lights, equipment along the wall. They played Floor between bands, which was a nice touch, and people shuffled in and out over the course of the evening in various degrees of stupor. It wasn’t a rock show entirely, but there was a bit of that going on. Here’s how it all went down:
One of the issues with going to see drone live is that the crowd, especially after a couple minutes in, invariably starts to chatter, and you hear it over the performance, still very much in progress. The guitar/bass two-piece Shutup!! avoided this issue neatly by being so fucking loud you could barely hear yourself think, let alone transmit those thoughts verbally to another human being. Clever. Bassist Aarne Victorine is set to debut with another band, UXO (featuring Steve Austin of Today is the Day and Chris Spencer of Unsane), next year, but paired with guitarist Jon Christopher in Shutup!! the modus was forceful low-end rumble all the way. They were on as I was walking into O’Brien’s and clearly audible from outside, tossing in a few lumbering riffs to go with the massive wash of amp noise, feedback and effects that seemed to bite right past one’s earplugs — the cheap foam kind, but still. It was a short set, less than 20 minutes, but I doubt anyone there would argue they didn’t get their point across. Exploratory but vicious, heavy drone not for the faint of heart or the weak of tolerance.
It is a cruelty to judge a new band or anything they do by their first show, so I won’t, but don’t take that to mean newcomer four-piece Sea didn’t come across well or like they knew what they were going for. With a blend of flowing doom and some post-metal churning inflection, as well as a strobing desk lanp on top of guitarist Mike Blasi‘s amplifier timed to be’chopped drummer Andrew Muro‘s kit, Sea seemed to be on their way toward solid construction and an aesthetic in the making. LoVerme varied his vocals between post-Mastodon shouts and more subdued melodies, and Walshak and Blasi added ambient sprawl to quieter sections to contrast and complement the heavier push. Their songs, as I understand, are as yet untitled, but one could hear an oceanic theme at work, and while the project is nascent, there seemed to be potential at work as well. They were the fullest band of the night with twice as many members as anyone else, but received a warm welcome that, especially for a debut gig, didn’t seem like it could’ve left them disappointed. Will be interesting to see where they go as they continue to hammer out their sound (and light show).
Bedroom Rehab Corporation
Speaking of good bands getting better, the night also re-confirmed for me how far ahead of their 2013 debut, Red over Red (review here), are bassist/vocalist Adam Wujtewicz and drummer Meghan Killimade of Bedroom Rehab Corporation. After seeing them for the first time earlier this summer, this was already apparent, but no less so in Allston, the New London, CT, twosome engaging in varying doomly methods, Melvins-style crunch and a bit of noise punk to boot, the gruff shouts of Wujtewicz adding a sense of burl to the set. He announced their intention to record with Justin Pizzoferrato, who also helmed Red over Red as well as past and upcoming efforts from Elder and many others, in the coming months, and though they’ve worked together before, I wouldn’t be surprised if the next Bedroom Rehab Corporation is a much different affair than was the first. They seem to be in the process of discovering their sound and that only makes watching them play, even the older material with its seafaring thematic — New London is on the no-less-ambitiously-named Thames River, and is a town with a port history — more enjoyable.
After stints in recent years in Hackman, Black Pyramid, The Scimitar and most recently Kind, Blackwolfgoat seems all the more like the vehicle through which guitarist Darryl Shepard can express unmitigated joy in his craft. He’s all alone up there — wasn’t at this show, but we’ll get there in a second — looping guitar pieces on top of each other and feeling out the spaces his tones create. The project has proved more progressive over time. His first album on Small Stone, 2010’s Dragonwizardsleeve (review here), was rife with darkened noise, while the subsequent 2012 outing, Dronolith (CD released by The Obelisk’s in-house label, The Maple Forum), branched out to more varied atmospherics. With the new Drone Maintenance, the release this show was celebrating and a record I was fortunate enough to see in the making, Shepard again pushes himself toward traditional songwriting ideology, but maintains a full-headed sense of purpose to each piece, each one accomplishing a goal of its own feeding into the larger whole of the album. At O’Brien’s, new works like “Axxtrokk” and “White Hole” led to Shepard bringing up his Kind bandmate Matthew Couto (also Elder) for an entirely improvised jam that ended the set in a chaotic swirl of effects noise that refused to be grounded, either by Couto‘s drumming or the crowd’s expectation. Having seen Kind recently, I had some sense of what to expect from the collaboration, but the results were still the highlight of the evening and something special that hadn’t been done before. If that jam foretells a direction Blackwolfgoat might take, it’s one of any number possible for the wide open creativity on display.
Turns out Allston hadn’t gotten any less fucked up while I was inside O’Brien’s, but I mowed down zombies with video-game accuracy and grooved out to the Masspike without further incident. A couple close calls here and there, but easily a trip worth the risk.
Posted in Reviews on September 15th, 2014 by H.P. Taskmaster
It hasn’t yet been a full month since Boston’s Ice Dragon issued their Seeds from a Dying Garden (review here) album, more or less dropping it on the heads of listeners in their customary Bandcamp/YouTube fashion, and this weekend the admirably prolific foursome followed it up with Loaf of Head. The new release starts off like the aural equivalent of showing up at a fancy dinner party, pulling down your pants and slapping your balls on the coffee table. It swaggers and swings and drunkenly pushes you out of the way with opener “Yes I Am,” working quick to proffer shouted-across-the-room dudely burl while the subsequent “Walking Tall” stomps its feelings away in a stupor of slide guitar and blown-out proclamations. Maybe after Seeds from a Dying Garden was out Ice Dragon decided they had to let loose a little — though one imagines the two were written concurrently — and Loaf of Head certainly follows suit with that. It is raucous and mean, and even when the guitar gets a little psychedelic at the end of “Walking Tall,” one would hardly call it a peaceful moment.
Yet there’s more to it than the initial boasting and riffbeating as well — not that I have a problem with either, particularly in the context of Ice Dragon‘s multifaceted sound — and Loaf of Head shifts with “The Question Unanswered” into a more style more psychedelic in its garage doom roll. The lead guitar is still over-the-top grandiose, and it’s still plenty heavy, but it’s a more languid unfurling, less immediately aggressive, and more of a nod. The band, comprised of vocalist Ron Rochondo (some drums), guitarist Carter (some bass), bassist Joe (some guitar) and drummer Brad, continue down this path with “A Song by Hildegarde Hawthorne,” a slower garage rocker more peaceful than either in the opening duo, but still with movement underscoring its warm distortion, layers of lead and rhythm guitar, rounding out with “aah” sweetness in a way that almost telegraphs how much it’s setting you up how-about-a-Hawaiian-punch-style for “I’m Sorry to all the Girls,” which returns to the knuckleheaded butt rock thrust of “Yes I Am” and “Walking Tall.” And just so there’s no mistaking, indeed, “knuckleheaded” is a compliment.
They said at some point over the last couple weeks that their next one was gonna be a rocker, and they were right. Continually, Ice Dragon show an awareness of what they’re bringing to each release sonically. Even down to Loaf of Head‘s artwork, which is manic and psychedelic but rawer than the Beach Boys-style sunshine of Seeds from a Dying Garden, the album reaffirms their consciousness of the scope they’re creating. They can come across as nihilistic, particularly on songs like “Yes I Am” or “I’m Sorry to all the Girls,” which delights in its scuzzy blues, but Ice Dragon know what they’re doing here, and every song, every album they make is a result of thought-out decisions, even if the decision involved is, “Okay, we’re gonna get loaded and hit record.” If you’re wondering why they might be sorry to all the girls, it’s because they need “a savory older lady.” That song sort of disintegrates behind Rochondo‘s vocals, and the sleaze continues on “Living in the Goddamn City,” though with a more socially-conscious turn in lines like, “There’s a rich woman yellin’ on her telephone/She’s never had a job she’s got a beautiful home.”
A punk ethic and accordingly a punk riff, though slowed down in a stonerly tradition. After a bridge and tripped-out solo, they repeat the chorus in what feels like surprisingly traditional fashion, and Loaf of Head rounds out with “The Rising Moon, the Setting Sun.” I thought they might try to tie the two sides of the offering together, or maybe begin a turn to the easy psych flow of “The Question Unanswered” and “A Song by Hidegarde Hawthorne” and just cut it short, and they seem to lean more to the former idea. A highlight bassline and swinging drum march meet with airy guitar and a chorus that satisfies in the tradition of big ’70s rockers — when Ice Dragon decides to do “their ELO record,” shit is going to hit the fan — and whatever it may be doing to tie the leave-‘em-loose ends of Loaf of Head together, “The Rising Moon, the Setting Sun” is the album’s best track, crafted fluidly and engagingly around a simple, central chug but opening in that chorus part to a glorious wash that’s as accomplished as anything I’ve yet heard from Ice Dragon on one of their many outings. A signature moment, and a fitting close.
Their progression, walking down several different avenues at the same time, continues unabated. I wouldn’t hazard a guess at what they might break out next — a metallic single? a drone-folk collection of peaceful resonance? — but whatever it might be, the underlying processes by which Ice Dragon are able to concoct all this diverse material move forward. They’re a lot to keep up with, but the catalog they’ve created — now upwards of 10 albums deep, plus other singles, splits, etc., all DIY — is unlike anything else out there. And in the case of Loaf of Head, I mean way out there.
Posted in Radio on September 12th, 2014 by H.P. Taskmaster
It’s been a couple weeks since the last time I was able to get together a proper round of adds to The Obelisk Radio, and the list as a result is accordingly huge. I’d have to go back and compare the last 18-plus months to be sure, but I think 40 albums is up there with what I might have uploaded during the initial buildup of the playlist, just basically getting everything I could think of and a bunch of stuff I couldn’t to expand on what was on the hard drive when I got it. We’ll be at two years since the Radio stream went live before I know it. Time goes quick, and seems to all the more when each post has a timestamp.
I say this every time, but there’s a lot of killer stuff included this week, so I hope you find something you enjoy.
The Obelisk Radio Adds for Sept. 13, 2014:
Bong, Bong Presents Haikai No Ku Ultra High Dimensionality LP
I wouldn’t be so presumptuous as to try to ascertain what plane of being Bong are residing on these days, but suffice it to say, they’ve evolved beyond corporeal form and merged with the all-consuming distortion of the universe. At least that’s how it sounds. The maddeningly prolific UK drone-doomers present this release but aren’t actually on it, save for guitarist Mike Vest, who leads the side-project Haikai No Ku through five tracks of blissful psychout on Ultra High Dimensionality. If you’re looking for differences between the two outfits, Haikai No Ku lean less toward grim droning than Bong, and songs like “Dead in the Temple” and “Blue at Noon” roll out huge psychedelic grooves — the band is completed by bassist Jerome Smith and drummer Sam Booth – but there’s consistency to be found in the wash of noise and the complete hypnosis of their repetitions anyway, and as high as the dimensionality might be, the volume should be higher. One to get lost in for sure, and there’s enough space for everyone. Bong on Twitter, on Bandcamp.
Lucifer in the Sky with Diamonds, The Shining One
The pun in the moniker of Moscow double-guitar four-piece Lucifer in the Sky with Diamonds probably doesn’t need to be pointed out. Featuring The Grand Astoria collaborator Igor Suvorov, Lucifer in the Sky with Diamonds pull together touches of psychedelic impulsiveness and classic heavy rock structures with the production clarity and catchy songwriting of mid-era Queens of the Stone Age. There’s a danger underscoring the boogie of “How to Fix Things” from the band’s self-released debut LP, The Shining One, that seems to find payoff later in the big-groove hook of “Highlow World,” which provides one of the album’s most satisfying listens before shifting into an airier dreamspace and fading into the noisier “Lords of the Damned,” reviving the largesse of riff prior to the closing title-track. An intriguing debut for an outfit loaded with potential, the fullness of their sound boding particularly well for their confidence in their sound and the precision of their execution. One not to be missed. Lucifer in the Sky with Diamonds on Thee Facebooks, on Bandcamp.
Desert Lord, To the Unknown
Finnish stoner-doom foursome Desert Lord get into some Sabbath-worship on their debut long-player, To the Unknown, but manage to avoid both the trap of retro ’70s-ism that has much of Europe so firmly in its grasp and the trap of sounding like Reverend Bizarre, whose legacy in their native land isn’t to be understated. Of particular note is that Desert Lord cite The Cult as an influence. One can hear shades of that in the guitars on opener “Forlorn Caravan,” but Desert Lord quickly move into doomier fare on the subsequent nine-minute “Wonderland,” which distinguished by weeded-out wah on Roni‘s bass. Middle-ground is sought and found on “New Dimensions,” with vocalist Sampo Riihimäki reminding of Earthride‘s Dave Sherman in his movement between rougher delivery, spoken word, and accentuated screaming, also hinting at roots in more traditional metal, though “Manic Survivor’s Song” gives way to more stoner territory in the guitar, reminding of some of Eggnogg‘s stylistic turns, though with less of a mind toward tonal thickness. They’re still figuring out where they want to be, but Desert Lord‘s To the Unknown has more than a few moments worth the effort of a listen. Desert Lord on Thee Facebooks, on Bandcamp.
Space Mushroom Fuzz, Onward, to the Future
Perpetually progressive and perpetually prolific bizarro psych rockers Space Mushroom Fuzz return with another new release, dubbed Onward, to the Future. The Boston outfit, led by Adam Abrams of Blue Aside, include two tracks this time out, “Onward, to the Future,” a laid back space rocker made strange in its midsection with some theremin-style keys, and the waltzing “Half the Way Down,” which shows off some classical guitar work over a subtly oompah backing rhythm with soft, brooding vocals. Is it possible to have a shoegazing waltz? Space Mushroom Fuzz never lack character in they do, Abrams periodically leading the way through jams that could and sometimes do run into indulgent (if satisfying) noodlefests, but particularly with “Half the Way Down,” there’s something more grounded and sadder at the root. “Onward, to the Future” tells a tale of alien invasion — short version: they win — and showcases the band’s exploratory side, but even that ends contemplative and relatively minimal, sort of dropping instruments one at a time by its finish on a long fade. A lesson in taming expectation, perhaps, and a fascinating, quick journey from this inventive outfit. Space Mushroom Fuzz on Thee Facebooks, on Bandcamp.
Plunger, Space Plumber
All seems to be on a course for weirdo noise punk as Los Angeles bass/drum duo Plunger get underway on their debut Space Plumber EP, some Melvins influence making itself felt on “Toxic Wrap,” and then they rumble and thump their way into the eight-minute centerpiece title-track, and it becomes apparent that there’s much more going on with twin brothers Mark (bass/vocals) and Kris Calabio (drums/vocals, also of Old Man Wizard) than it might at first seem. They quickly put their own minimalism to work for them on the faster opener “Blerg Rush,” but “Space Plumber” moves far off into sparseness, the drums barely there when they are and then gone ahead of the transition into “Sleep,” on which both Mark and Kris contribute vocals over a fuller rumble and steady roll, clearly enjoying the contrast. “Plunger” rounds out the release with a fuller take on some of the faster movement of the opener, starts and stops in the unpretentious 1;53 finale. One gets the feeling the (Super) Calabio Bros. are only going to get stranger from here, and that suits them well. Plunger on Thee Facebooks, on Bandcamp.
Once again, these are five cool releases, but there were 35 other records that join the playlist today, including full-lengths from Orange Goblin, Electric Wizard, Apostle of Solitude and on and on. A couple of these will be on the year-end list, so if you get the chance to check out The Obelisk Radio playlist and updates page, I think it’s worth a look.
Posted in Reviews on September 2nd, 2014 by H.P. Taskmaster
It was the lineup for Kind that drew me off the Fabled Couch of Self-Pity™ and out to Worcester on Friday night. A drummer of unstoppable swing in Elder‘s Matt Couto and a bassist of raw metallic power in Rozamov‘s Tom Corino meeting with a tripping-out Darryl Shepard (Black Pyramid, The Scimitar, so many others) on guitar and vocalist Craig Riggs of Roadsaw topping it off? This gig at Ralph’s Rock Diner was their second show — they’ll go down to New York in October on a weekender alongside The Golden Grass – but still, I knew it was something I wanted to see. Turns out I was right.
I’ve been hearing about Kind since before they had a name, Darryl mentioning to me somewhere along the line that he and Matt had been jamming. Both were excited about the project, and I was particularly interested when the focus seemed to be on effects, psychedelics and really exploring parts and where they might go. I wasn’t sure how Riggs was going to fit in, but figured it was at least worth showing up to see the band in a formative stage. They shared the bill with Connecticut sludgers Stone Titan, Worcester native death thrashers Xatatax and Maine’s Eastern Spell who dealt out doomly punishment to close the night, and though they’re a new act, I was still somewhat surprised when I rolled into Ralph’s – slowly through that dirt parking lot, always — and found they were going on first.
As advertised, the vibe was psychedelic. Shepard‘s guitar was a jam-leading wash right from the start. Song titles were a mystery, but Riggs had jotted down a lyric sheet as a reminder for certain parts, and there was a lot of line repetition and atmospheric vocalizing from him as well, adding to the melody and liberal soloing from Darryl over the more than solid foundation created by Couto and Corino in the rhythm section, the bass adding a few choice runs of its own to the mix. They were louder than the size of their amps would have indicated, coming through the Ralph’s P.A. — that place has good sound and a guy running it whose passion is obvious — but even more important to me than the volume was the tone, which was organic and full and made lush at times through an assortment of reverb, wah and loops.
In Blackwolfgoat, Shepard explores a wide range of effects and drones and experiments, but in actual groups, he’s always been a rock player and a rock songwriter. Even Hackman, which had plenty of far-out moments, was hardly a psychedelic band. For his guitar work specifically, Kind seemed to be the marrying of those two sides — loops, echoes, space leads trailing away endlessly meeting with driving riffs and forward movement. Couto, who at any point you might see him seems like he’s just two sticks away from jamming, set a varied pace throughout their set, tempo changes ultimately playing a role in mood as well as songs came to bigger finishes. For his part, Riggs held back the impulse to sing over everything, which is a trap a less experienced vocalist undoubtedly wouldn’t know to avoid, and gave the music plenty of room to develop and move on its own. Like Shepard, he’s more known for straightforward work — Roadsaw get down to business, live and on record — but he ran his voice through a range of effects and added to the ambience rather than pulled away from it.
Their last jam particularly started out with a softer echoing guitar line that reminded of YOB, but took a different evolutionary course, almost entirely instrumental by the end so that Riggs stood on the side of the stage with a bottle of beer and watched the trio finish it off in grand style. They were clearly still getting established and getting used to each other on stage — Riggs and Shepard used to play together in Roadsaw, but that was a while ago at this point — but what I was able to see from watching them was that they have a pretty clear idea of how open they want their sound to be and that they’re headed in that direction. When they record, it will be interesting to hear how much these jams turn into songs, and more, how much they don’t.
Three summers ago, I saw Stone Titan in Wallingford, Connecticut, opening a varied five-band a lineup dubbed Fuzz Fest (review here), and though they were young, they left an impression with their raw take on sludge groove. At Ralph’s, they showed that the time since last I saw them has been put to use defining a more individual sound. There was still some Eyehategod in there, and they had that whole we-play-sludge-so-we-don’t-give-a-fuck-about-anything attitude down pat, but for the most part, their take was meaner, tighter and more cohesive than it had been. Three more years of playing will do that — at least you’d hope so — but I know they’ve had some road time as well over that time and it showed. I’m not sure they’re done growing, but I was impressed with the progression all the same.
Between each band, I went outside to my car. The Patient Mrs. was away for most of last week on one of her I’m-brilliant-so-I-do-awesome-things field trips, and I had brought the little dog Dio with me to the show, knowing she’d rather stay in the car for a couple hours with me checking in than be home alone. Worcester’s own Xatatax were on next, with SET guitarist/vocalist Mountain Jeff on drums, and I knew I wanted to see that, having run into a couple of their songs once at O’Brien’s in Allston. When the went on, they were aggressive and probably way more death metal than I was looking for, but as crisp and sharp as one would hope, with lots of Slayer in the guitars and some slow/fast tradeoffs that deepened the groove.
I wound up staying through Xatatax‘s whole set, but cut out during the five-piece Eastern Spell, who were lethal in a metallic sense but still more geared toward doom than Xatatax. They had multiple split 7″ with Maine countrymen Sylvia for sale — or one with multiple covers, maybe — and made a point of bludgeoning with riffs and metal-born aggro style. Mosh doom, I was calling it by the time I started to think about making my way out of Ralph’s. Like Xatatax, they were viciously tight, I just felt like it was time to go. The room still had plenty of heads left in it after I was left.
A bit of an investigative purpose — I wasn’t going so much to rock out as I was to see what Kind actually sounded like — but a solid evening all the same, and I was relieved to find the couch still waiting for us when the little dog and I returned.
Posted in Whathaveyou on September 1st, 2014 by H.P. Taskmaster
It was late Friday night when, in their usual fashion, Boston doom experimentalists Ice Dragon posted a link to their new album, Seeds from a Dying Garden, available to stream and download on their Bandcamp. This was surprising at first — not because it’s a new Ice Dragon; they’d said they were working on material and they’ve been almost maddeningly prolific over the last several years — but because it wasn’t free. A $7 download. Quite a jump from their usual “here, take it” name-your-price methodology.
I assumed at first there was something they were raising money to buy. Some piece of ancient and obscure recording or synth equipment, a Moog that George Harrison once looked at in a store or something like that, but nope, apparently they just ran out of free download credits on Bandcamp, which is apparently a thing. I’d never heard of it, but I don’t have a Bandcamp, so there you go. They’ve since lowered the price to a measly buck, and I think once you check out Seeds from a Dying Garden itself, you’ll find it worth the investment.
For their latest and umpteenth outing, Ice Dragon dive deep into classic psychedelic pop rock — as their Beach Boys-esque cover indicates — and emerge with Beatlesian characters like “Mr. Merry Melan Man” and the winking weed puns of “Mary Wants a Sunset” to craft a sound still characteristically their own, shades of doomed march working their way into languid progressions, an abidingly stoned sensibility arriving with the eight-minute dream-out “Your Beauty Measures More.” Front to back, it is a consuming journey into psych-ic expansion, but as ever, Ice Dragon maintain the penchant for songwriting that has made them forerunners among garage doom and the unflinching creative will that sees them so constantly broadening their style.
And while they often toy with biting metal tones and lunkheadedly badass riffing, Seeds from a Dying Gardenfeels more like it’s working to push the boundaries of last year’s Born a Heavy Morning(review here), and it does so even unto its ambient interludes “To Everything that Was” and “To Everything that Might Have Been,” which appear three tracks in and three tracks from the end to draw a linear thread through the album’s widely varied course. No doubt Ice Dragon will tackle their metal side again at some point, but for the boldness with which they approach psychedelia when they choose to do so — their sound also isn’t necessarily limited to one or the other — I tend to find this path even more engaging. The title may hint at some sense of loss or foreboding, but the general mood is more suited to the bright nostalgic wash of the cover photo, though of course if Ice Dragon only did one thing all the time, it just wouldn’t be them.
Seeds from a Dying Gardenis available now for download and follows Ice Dragon‘s July 2014 split with Space Mushroom Fuzz (info here). Check it out on the player below.
Posted in Reviews on August 27th, 2014 by H.P. Taskmaster
I parked behind what used to be Boston’s legendary punk venue The Rat and made my way over a bridge across the Masspike, which cuts right through the city, and down a street behind Fenway Park to the House of Blues. It was Sunday night. The evening prior, I’d been in Pennsylvania watching All Them Witches, King Buffalo and King Dead (review here) win hearts and minds at The Living Room in Stroudsburg. I was beat from the drive, but this was Sleep, and some things you just don’t miss when you’re lucky enough to get the chance to see them.
House of Blues. Big. Corporate, but clearly run by professionals. Mezzanine tickets cost more, I think. The privilege of standing further away at a premium. Uh huh. I walked in and over to the crowded merch area — even Sleep‘s t-shirts seemed to cause a mosh pit to break out — and found Arik Roper selling vinyl, pillowcases, posters, etc. He seemed to be busy all night, and for good reason. Sleep‘s new single, “The Clarity” (review here), had just gotten a 12″ release, and legitimately it was sweet looking. Then, poof, it was gone.
Run down though I was — and, if I’m honest, still am — I’d have had a hard time pretending not to be excited for this show. Anytime Sleep comes around, it’s a special occasion, something to be celebrated, and the support slot being filled by a one-off Earthless Meets Heavy Blanket jam only added to the appeal, the influential San Diego trio — it seems fair to think of them at this point as a nexus for the current crop of heavy psych bands coming out of that area — teaming up with J. Mascis (Heavy Blanket, Witch, Dinosaur Jr.) for what if I’m not mistaken was the first time since their performance at Roadburn 2012 (Sleep also played that year), a staggering landmark of jammed heavy recently issued as the Earthless Meets Heavy Blanket, In a Dutch Hazevinyl and CD (review here). As far as nights go, I knew this was going to be a good one.
There was no grand introduction as Earthless – guitarist Isaiah Mitchell (also Golden Void), bassist Mike Egington and drummer Mario Rubalcaba – took the stage, no “Guess who this is!” posturing. They rolled in, turned on their amps, Rubalcaba took his seat behind the drums, in front of the riser that Sleep‘s Jason Roeder would soon occupy, and slammed into 45 minutes of straight jamming. The interplay between Mitchell and Mascis, who shared a side of the stage, was unbelievable, and as Egington and Rubalcaba locked a foundation down early, the guitarists set about tripping out solos and effects washes and riffs that would carry through for the entirety of the cosmic exploration. Whatever you might’ve called the piece — “In a Fenway Haze?” — it moved up and down and sideways, was molten in its changes and overwhelming in its sprawl.
The thing to do was to lose yourself in it. That’s harder in a live space — at least sober — than when listening to a record, but if anyone was ever going to take you on a ride, it was these cats. And they did. Even the big rock finish of the set was about five minutes long, everything huge, swirling and terrifying in both cohesion and scale. I dug it, I dug it, I dug it, and I’m willing to bet six new bands formed in the crowd while Earthless Meets Heavy Blanket played. All the better. Sleep would be on a different rip when they came out, but were no less glorious, the kings of stoner riffing riding high both on the new single and on the promise of an inaugural Australian tour to come, and a couple more shows on this run as well. Bassist/vocalist Al Cisneros (also Om), guitarist Matt Pike (also High on Fire) and Roeder (also Neurosis) came out after a short break, and it was plain from the start of opener “Sonic Titan” that everyone was having a really good time on stage.
I think back to the first time I saw Sleep, four years ago in Brooklyn. They killed. God damn were they loud. But watching them play, you could see the differences in how they handled themselves on stage. Cisneros came across like he might’ve with Om, a very contemplative, subdued presence. Pike, in contrast, was battle-axe brazen, everything one might expect from watching a High on Fire gig. As the two founding members of the band with Roeder between them, the split in personality was evident, right there to be seen. At House of Blues, it was just the opposite. Not only in how Cisneros and Pike interacted, but in their individual presences and in how solid the three-piece was with Roeder, Sleep weren’t so much a reunion act whose members went on to find success in other bands. That disparity was nonexistent. They were a vital trio, reveling in their classic material — Sleep’s Holy Mountainfeatured heavily with “From Beyond” and “Holy Mountain” early and “Aquarian” and “Dragonaut” after delving into “Dopesmoker” — but more than ever that I’ve seen them, very obviously ready to move forward as well.
Perhaps that was most evident in Cisneros‘ performance. He toyed with the rhythm of his vocal delivery for “Dopesmoker” and elsewhere — the clarion lines “Drop out of life with bong in hand/Follow the smoke toward the riff-filled land” marked by a sustained, almost growling “drop” — and when the stoner caravan of “From Beyond” arrived, it did so with delighted emphasis on “stoner.” Predictably, at some point late in the set, someone tossed a joint on stage, and Pike, who had an electric cigarette on standby, gave it over to Cisneros, who lit up and earned a round of applause for it. He was far from the only one in the room.
“Dragonaut” got the biggest response of the night, which one would expect, but for me, seeing them play “The Clarity” complete with the sampled, compressed intro of its central riff, was a particular highlight, and the appeal of watching Sleep perform their first new recorded material in over a decade’s time wasn’t lost on the crowd either. They closed out with a wash of noise and riffs in “Antarcticans Thawed” and “Cultivator,” as if to further emphasize the vitality and relevance of their project and its ongoing nature. By then, House of Blues was a place of worship, and anywhere Sleep wanted to go, the place was ready to follow. Their utter command of their sound, the joy and chemistry they conveyed in delivering it, and the sheer volume with which they did were remarkable. Even before they were done I found myself asking what could’ve been better, any sense of impartiality I might posture having been reduced to a pummeled mush of fanboy glee.
Feedback carried over after they were done, but those who hadn’t left still showed appreciation after the amps were turned off — pretty sure that was Stoneburner‘s Damon Kelly I saw tech’ing, and if so, I wonder if he was in charge of the endearingly fake setlist at the front of the stage with some choice Montrose song titles like “Rock the Nation” and “Clown Woman” — and there was a short cry for one more song before the house lights came up. Soon enough, it was time to mill out and back across that highway-spanning bridge to the car, the bounce of “Dragonaut” still holding sway on my consciousness, though, admittedly, that seems to be a permanent condition.
Posted in Reviews on August 13th, 2014 by H.P. Taskmaster
Recorded in early 2013 as a blizzard pummeled the East Coast, The Proselyte‘s Our Vessel’s in Need EP hardly conveys any of the snowed-in claustrophobia or manic feel one might expect. Its five songs move, and have tones thick enough to fortify the walls of New Alliance Audio against the storm, but there’s little in the sound that seems to be trying to get away from itself. Maybe they finished tracking early on, or maybe that’s just a testament to the Cambridge, MA, outfit’s songwriting, which is all the more a highlight component of the new EP — released by Gypsyblood Records, an imprint helmed by Stavros Giannopoulos of Chicago’s The Atlas Moth – even than it was on The Proselyte‘s prior 2011 sophomore full-length, Sunshine(discussed here). In the interim, aside from completing several tours, The Proselyte have cut their lineup by one, leaving drummer/vocalist Alec Rodriguez (who also produced), guitarist/vocalist Nicholas Wolf (also of Phantom Glue) and bassist Brad Macomber (also “circuitry”) as a tight-knit power trio with a sound that confidently stands on either side of the border between heavy rock and metal and still focuses on blending melodic and growling vocal arrangements and keeping a sense of atmosphere. About a decade ago, Boston’s Cave In were picked up by RCA using similar elements, but while that band may or may not have had an influence on the rushing churn of Our Vessel’s in Needopener “End Regions,” The Proselyte are by and large a more bruising, heavier group, and even when they dip into upbeat, driving sounds, as on “End Regions” or the irresistibly catchy “Irish Goodbye,” and seem like they might be channeling some of Red Fang‘s crowdpleasing heaviness, they do so with the born-in intensity of the Seaboard they call home.
Our Vessel’s in Needis in and out in a brief 23 minutes, the time feeling that much shorter for the push in the songs themselves, and as with the prior full-length, Rodriguez‘s recording job is clean and professional. The sound overall, however, is bigger on these five tracks than the prior outing, and The Proselyte fill it with likewise sizable riffs and rhythmic movement. Each has a factor distinguishing it from the others, whether it’s “End Regions” with its stomping drumline and harmonized bridge, “Log Computer” with the catchiest chorus of the release — the lines, “Caveman committee/Prehistoric and sitting pretty/Unpolished stone/Built this city,” becoming a landmark hook — “Existential Risk” which seems to deconstruct as it hypnotically follows the guitar into oblivion, “Irish Goodbye,” which touches on classic Queens of the Stone Age-style thrust, or the slower, more open finale of “A Stubborn Hem,” but all manage to flow together smoothly as well, and while Our Vessel’s in Needis definitely an EP in the sense of not trying to come across as a single work but a collection of individual pieces, there’s no ignoring the tact with which The Proselyte execute their material. That’s particularly evident in the vocals, and the timing of the harsh/clean tradeoffs in “End Regions” and “Log Computer” and the times when both come together — “Log Computer” is about as close as they come to falling in the modern metal trap of the growled-verse/sung-chorus, but they avoid it successfully precisely because the arrangement is more complex — but no less true ultimately of the guitar, bass or drums. On the most general level, they sound more focused, but how that specifically manifests in the EP is with the impact each cut seems to have on its landing, even “Existential Risk,” which is the longer than all but the closer here at 4:44 and the moment at which they most depart from their structural base and build a near-abrasive wash of noise.
Though, to be fair, that wash comes more or less after the song itself is done, and thinking in terms of the flow between one song and the next, feels as much about launching “Irish Goodbye” as closing “Existential Risk.” All the more, then, it’s a point at which The Proselyte branch out sonically but maintain their focus on the task at hand. “Irish Goodbye” has a compressed runthrough of the riff before Rodriguez kicks in on the drums and is soon joined by Wolf and Macomber for the progression that most rivals the memorability of “Log Computer,” a Songs for the Deaf vibe and dual-clean vocal interplay/layering taking hold in stark contrast to “Existential Risk” prior, which in terms of the vocals is as rough as Our Vessel’s in Needgets. Fitting that the two tracks should be next to each other and placed such that the latter slams into the feedback beginning of “A Stubborn Hem,” which rounds out the EP with its most doomed moment but shows off some of the progressive tendencies that had appeared on Sunshinein its second half, albeit only en route to the dual-vocal, slow-marching apex of the release which also serves as its leadout. At 6:36, it’s easily the longest track present — “End Regions,” “Log Computer” and “Irish Goodbye” hover at just under four minutes apiece — but its time is efficiently spent, and ultimately, the stylistic branching out it does in relation to the surrounding tracks makes Our Vessel’s in Needa much richer release. I wouldn’t speculate about how the band may have grown or come more into their own as a three-piece in the year and a half since the EP was recorded, but their progression since Sunshineis evident in every second of these songs and the force with which they’re delivered, and if Our Vessel’s in Needis a step en route to someplace even more definitive of where The Proselyte are as a band, it will be well worth seeing this potential further realized. Bring on the next blizzard.
Exactly what kind of audio/visual project is Old Man Gloom‘s forthcoming Here is a Gift for You? Hell if I know. The Boston post-metal don’t-call-us-a-supergroup-even-though-we-are-most-definitely-a-supergroup four-piece keep it cryptic with their just-unveiled trailer, as one would have to expect, showing off documentary interview footage — seen looking comfortable on a balcony at the start, Thor Anderson is a visiting professor at the San Francisco Art Institute — as well as a burning Zozobra effigy and live performance from the band that, because there are lights on and they’re actually visible, I’m going to assume was not filmed in their hometown. Old Man Gloom toured Europe earlier this year, including a stop at Roadburn (review here) and it could easily have come from one of those shows or just about anywhere else. Could be Nate Newton‘s basement. Anything’s possible with these guys.
Old Man Gloom‘s last release was 2012’s No, which marked the return of the project and their first outing since 2004’s Christmas, the lineup of Newton (also of Converge) on guitar/vocals, guitarist/vocalist Aaron Turner (ex-Isis), bassist/vocalist Caleb Schofield and drummer Santos Montano (Zozobra) refreshing the cerebral pummel that made their earlier work like 2001’s one-two punch of Seminar II: The Holy Rites of Primitivism Regressionismand Seminar III: Zozobraboth so distinct in what was than a nascent post-metal movement and years ahead of their time. I intended to pick up a copy of Noafter their performance at Roadburn was so blistering and didn’t because I suck and I’m broke, but the clip here is another argument in favor of digging through the couch for change to put toward that cause.
Whatever Here is a Gift for Youis, it’ll reportedly be out this fall, produced and directed by Kenneth Thomas with burning Zozobra and everything. Here’s the trailer:
Posted in Whathaveyou on July 15th, 2014 by H.P. Taskmaster
I don’t usually like to post crowdfunding stuff if I can avoid it. Nothing against the process, it’s just there’s so much of it there wouldn’t be time for anything else. This, however, is a cause worthy of exception.
You may know Darryl Shepard from his time in Milligram, or Slapshot, or Blackwolfgoat, or The Scimitar, Black Pyramid, Hackman, Roadsaw or countless others. You may not know him at all. Regardless, the man is a walking institution of rock and roll. Someone who has personally played a direct role in the development of American heavy rock, and even if you don’t listen to his bands, chances are that someone in bands you listen to did. In and around Boston, he’s a legend, and if standing on the Hellfest stage last year with Black Pyramid was anything to go by, his reach is much further than any single city’s borders.
Because of a number of medical conditions, Darryl has racked up a considerable amount of debt. In a lot of places around the world, this would be taken care of through a public system, and wouldn’t stand the chance of crippling someone’s livelihood, but then again, in a lot of places around the world bands also get paid for playing shows. That’s not here. A fund has been set up to help Darryl with these expenses, and I personally urge you to give something, anything, to help him out. It’s not even a donation. Darryl has earned this money a thousand times over.
Hey folks, our good friend and intrepid rocker, Darryl Shephard is in need of our help. Darryl has numerous medical issues, including: Hordeolum, GERD, Coronary Stent, Cervical Radiculopathy, Pacemaker (permanent), Hx of Depression, Hypothyroidism, SVT (Supraventricular tachycardia, Hyperlipidemia, Cardiomyopathy (Ischemic), Status Post Myocardial Infarction (anterior wall), and Coronary Artery Disease. He has been a fixture in the Boston music community for over 25 years, having played with acts such as: Slapshot, Blackwolfgoat, The Scimitar, Slaughter Shack, Hackman, Roadsaw and Deslok, among others. Despite having a fulltime job, and health insurance, Darryl, is badly in need of assistance in covering medical expenses. We’ve set the goal pretty low in hopes that people will be more than generous. There are no reward levels, but an incentive or two, are being considered. Helping a friend should be reward enough. Please give what you can. It would be literally life-changing for Darryl. Thanks!!!
Posted in Whathaveyou on July 14th, 2014 by H.P. Taskmaster
Ice Dragon and Space Mushroom Fuzz have more than a few things in common: They share geography in being based out of Boston. They’re both committed to self-releasing albums without charging for them, and they both do so at a prolific clip. Both bands have a varied and open sound, and while Ice Dragon lean more toward a doomed-out psychedelic nod, recorded raw with physical pressing a matter left to the ages — their Dream Dragon(tape review here) has a CD issue coming — and Space Mushroom Fuzz tend toward the progressive and space rocking side of the heavy spectrum while periodically gathering single tracks and other output for collected release — their 2013 double-tape, Back from the Past(review here), brought together four outings — I don’t think there’s anyone who’d argue they don’t make a solid pair.
To be perfectly honest, I was kind of hoping that Crystal Futurewould be a collaborative release from Ice Dragon. As Space Mushroom Fuzz is a one-man project — helmed by Adam Abrams, also known for Blue Aside – it would be easy enough to bring him into an Ice Dragon session, but the four-song release is a proper split, each act on their own. I’m not about to complain. Each band contributes a longer work and a shorter ambient piece, and as ever from both, the resulting EP is available as a free download.
Links, info, Samantha Allen‘s gorgeous cover art and Ice Dragon‘s announcement follow:
We have a new split out with Space Mushroom Fuzz. Their track is most excellent, and definitely gets stuck in your head. Little interlude action in there too, ours is from an old 4-track tape we did on the porch while recording a few Tome tracks.
Posted in Whathaveyou on July 10th, 2014 by H.P. Taskmaster
Based out of Boston, four-piece drone-folk magnates Owlfood, who released their fourth long-player last year in the form of the 27-minute single-track Destroyers of the Moon, have been confirmed for this year’s Gilead Media Fest in Wisconsin on July 19. Accordingly, they’ll head west next week and make four stops along the way with travel time in between, hitting Boston, Brooklyn, Columbus and Chicago before getting to Oshkosh, and sharing the stage with the likes of Windmills by the Ocean and Taiga.
I hadn’t heard Owlfood before the PR wire sent along the info and dates below, but the lineup for the Boston gig on Sunday looks right on, and unless a piano falls on my head between now and then, I’ll be there. More to come.
Until then, check out the Bandcamp stream of Destroyers of the Moonbelow for your fix of moody, dark psychedelics and minimalist, hopefully-no-one-talks-over-it-at-the-gig ambience:
OWLFOOD: Experimental Drone Folk Quartet To Kick Off US Tour En Route To Gilead Fest
Boston-based experimental drone folk quartet, OWLFOOD, will levy their bleached-out desert tones upon adventurous ears beginning next week. The short journey will begin on their home turf on July 13th and run through Brooklyn, Columbus and Chicago. The band will be joined by instrumental psyche rockers Windmills By The Ocean featuring members of Isis and Blacktail as well as the undulating and cinematic Taiga project featuring Bryant Clifford Meyer (Isis, Palms, Red Sparrows) on select dates. OWLFOOD will make their final descent in Oshkosh, Wisconsin on July 19th at Gilead Fest where they will share the stage with the likes of Thou, The Body, Inter Arma, Sea Of Bones and many more.
OWLFOOD will be journeying in support of their fourth LP, Destroyers Of The Moon, self-released last April. Featuring one twenty-seven-minute movement, the soundscape evoked in Destroyers Of The Moon began as a drawing; a graphic landscape. Conceiving the composition in a visual register in which, for example, barren plains give way to mountainous peaks, allowed OWLFOOD to develop a fuller tonality; a sonority richer and more differentiated than any of their previous recordings. Fans of OM and Scott Kelly pay heed. Dubbed “a glorious epic landscape of cinematic swirls,” by Aquarius Records and, “beautiful and exceptionally original,” by Anti-Gravity Bunny, Destroyers boasts a host of collaborators including Greg Moss (27), Meghan Mulhearn (Divine Circles, The Judas Horse, U.S. Christmas), David Bently and Nicholas Giadone Ward (both of Hallelujah The Hills).
OWLFOOD Live Rituals 2014: 7/13/2014 Middle East – Boston, MA w/ Windmills By The Ocean, High Aura’d, Neptune 7/15/2014 Matchless – Brooklyn, NY w/ Windmills By The Ocean, 27, Thurn & Taxis 7/17/2014 The Fuse Factory – Columbus, OH w/ Taiga, DOT 7/18/2014 Burlington Bar – Chicago, IL w/ Taiga, Rare Animals 7/19/2014 Gilead Fest @ Oshkosh Masonic Temple – Oshkosh, WI