Magic Circle Premiere “The Damned Man” from Journey Blind

Posted in audiObelisk, Reviews on November 10th, 2015 by H.P. Taskmaster

magic circle (Photo by Dakota Gordon)

Boston doomers Magic Circle release their second album, Journey Blind, Nov. 20 on 20 Buck Spin. A dual-guitar five-piece, the band was a force to be reckoned with even before the release of their 2013 self-titled debut (review here), having garnered a formidable response to their initial single, Scream Evil/Lighting Her Fire, both online and in the physical realm with a 7″. The self-titled was light on frills but heavy on dark atmospherics and weighted riffing, and Journey Blind‘s seven tracks/45 minutes follow suit in that regard, but add stylistic nuance in the form of a decided lean toward ’80s-era NWOBHM metallurgy, taking cues on the opening title-track from Judas Priest fist-pumping chug in the guitars of Chris Corry and Dan Ducas, unconcerned with genre boundaries as it motors forward on a groove thickened by Justin DeTore‘s bass and propelled by the drumming of Q, topped off with classically soaring vocals from Brendan Radigan.

Their take on the sound is righteous and unabashed, and while Journey Blind is unmistakably different from what they were doing on Magic Circle, it makes sense as a next step. “Journey Blind” is both the opener and the longest track (immediate points) at 8:26, and does much work in setting the tone for what follows, but though it’s shorter, “The Damned Man” takes hold with pre-thrash intensity and vocal layering in its hook on the way to a surprising slowdown and build-up, a breakdown riff stomped out at around four minutes in that becomes the bed for soloing and a final verse before ending — wait for it — acoustic.

How any of that makes any fucking sense whatsoever, I haven’t the foggiest, but it does. In context, the acoustic finish of “The Damned Man” is as much intro for “A Ballad for the Vultures” as it is its own outro, but as a standalone it shows how willing Magic Circle are to bend the rules of verse-chorus to suit their whims, and that they can do it and not have a track fall apart. They’re due for a doom-out, and “A Ballad for the Vultures” delivers one in its first half, still tinged with Iron Maiden-style grandiosity and Dio-style poise, a midsection break serving as transition to a faster, more swinging movement of furious guitars and an magic circle journey blindongoing sense of build until its unbridled conclusion. They even slow down in there, but by the end, they’re at their most raging.

The subsequent “Lightning Cage” is maybe more ’70s than ’80s in its central riff early on, but the difference works out to be trivial with as much effort as Magic Circle put into making it their own. A meatier nod emerges in an extended bridge, but again, they end fast, reveling in the play of one tempo off another in a centerpiece track that’s the shortest inclusion at 4:19 but a standout moment all the same for its efficiency and the energy of its delivery. Already to this point, Magic Circle have galloped and stomped, they’ve howled and marauded, and they’ve torn into classic metal without giving up the atmospheric heft of their debut. More than a little impressive. They’ve grown — quickly — and remained cohesive working through a variety of structures. The final three songs of Journey Blind, which may or may not be side B, depending on where the vinyl puts “Lightning Cage,” present another turn, this time into more Sabbathian territory.

A doom band sounding like Sabbath? Not exactly news, but across “Ghosts of the Southern Front,” “Grand Deceivers” and the closing “Antediluvian,” Magic Circle seem to be on a campaign to redeem Tony Iommi‘s work post-Ian Gillan, and they make a convincing argument, whether it’s the steady pacing of “Ghosts of the Southern Front” or the highlight bass work DeTore brings to “Antediluvian.” And since this era of the genre progenitors coincides with the NWOBHM coming of age and even the birth of the thrash movement, it also makes sense in terms of the timeline in which Magic Circle are working throughout that they’d dip into such an influence.

The final three songs are almost an album unto themselves, but the straight-backed posture of “Grand Deceivers,” the chug and chorus of “Ghosts of the Southern Front” and the speedier takeoff that closes out “Antediluvian”‘s even-earlier Sabbathism mesh with Journey Blind‘s first four cuts in a way that maintains the flow of the record front to back. A considerable momentum is built across Journey Blind‘s span that makes it a quick listen, but the substance that Magic Circle put on offer isn’t to be discounted. Their second full-length outing goes beyond simply being a follow-up and pushes them into new stylistic ground that they conquer with boldness and confidence.

I have the pleasure today of hosting “The Damned Man” as a track premiere. Find it below, followed by more on the album, and please enjoy:

20 Buck Spin will round out its roster for 2015 with the release of Journey Blind, the triumphant sophomore LP from Boston-based quintet MAGIC CIRCLE. This year has already been the most productive and expansive year for the label, but Journey Blind will fit into your parents’ unwavering classic rock collection the same as it could be the hottest thing on your younger cousin’s latest playlist.

Following their self-titled debut which was well-received in metal and hardcore circles, MAGIC CIRCLE returns with forty-five minutes of dominant, pure heavy metal on Journey Blind, a record which sees the outfit doing what they do, but doing it even better. Self-produced and recorded by the band at guitarist CC’s The Pain Cave, the record surges with the viscosity a team of top-tier producers would be proud to back.

The cover art for Journey Blind is an unused piece dating to 1979 by legendary artist Joe Petagno (Motorhead, Mammoth Grinder, Autopsy) which has been properly fitted to this modern ripper which could have been captured three decades ago yet booms with a refreshed spirit to guide today’s misguided youth back to their unbeknownst roots. Devotees to the scriptures immotalized by 1980s Black Sabbath, 1980s Trouble, Pagan Altar, Saint Vitus and the like should not pass this one by.

20 Buck Spin will make MAGIC CIRCLE’s Journey Blind a reality on November 20th in CD and digital formats, with the vinyl to follow in mid-December or whenever the pressing plants can get their shit together.

Magic Circle website

20 Buck Spin

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Live Review: Acid King, Gozu and Black Beach in Massachusetts, 10.26.15

Posted in Reviews on October 28th, 2015 by H.P. Taskmaster

Acid King (Photo by JJ Koczan)

I kind of love it that I don’t know what to expect at shows these days. Acid King, sold out, on a Monday night, for example. Don’t get me wrong, Acid King are fucking incredible live, and everyone and their cousin should show up to see them, but it was like a great correction in the universe to see that actually happen at the Cambridge’s Middle East Upstairs where the no-pun-intended riff royalty showed up aided by local support from Gozu and Black Beach, plus a liquid light show on three projectors shot upward from the lights 1 (Photo by JJ Koczan)front row of the crowd for all three sets. The packed house was a generational mix, some of those who probably saw Acid King on tour their last time through — some nine years ago — and others turned on and tuned in by this year’s excellent Middle of Nowhere, Center of Everywhere (review here) studio comebacker on Svart, but the gig was enough of a draw that even The Patient Mrs. came out for it, and that’s even rarer than a Monday sellout.

Speaking of not knowing what to expect, this was my first exposure to local trio Black Beach. The Middleboro, MA, trio have been around long enough to belt out a series of EPs and short releases since 2013 and have a debut full-length, Shallow Creatures, reportedly due early next year, and while they were the youngest act on the bill, that only served to add vigor to their swinging blend of heavy punk and indie, leaning at times toward stoner riffing but probably drawing from cooler influences than stuff like Nick Oliveri-fueled Queens of the Stone Age, even if they were taking the longer road around to get there. black beach 1 (Photo by JJ Koczan)They had a good early crowd on their side and made the most of it on cuts like “Rats” from last year’s Play Loud, Die Vol. 1 or “Future Failure” from the upcoming LP while geometric shapes and orange and blue oils colored the stage, winding up with enough grunge in their sound to be distinct from heavy rock but not entirely separate, their most intense moments satisfyingly cathartic but still thoroughly grooved.

It’s only been five months since I last saw Gozu play, but they’ve clearly spent the intervening time hammering out new material. The slower groove of “Bubble Time” was complemented well by also-new set-opener “Lorenzo Llamas” and “Mr. Riddle” from 2010’s sophomore outing and Small Stone debut, Locust Season (review here), and after “Meat Charger” from theGozu (Photo by JJ Koczan) same record, they hit into the nodding chug of “Oldie” and the unabashed throttle of “Nature Boy,” both new, and the latter of which might have to become their closer for sets, as once people get a grip on what they’re doing with its quick turns between the verse and chorus and its building fury, it will be a hard one to follow. The four-piece of drummer Mike Hubbard, bassist Joe Grotto, guitarist Doug Sherman and guitarist/vocalist Marc Gaffney were locked in as one would expect, but encouragingly, there was no hiccup in the switch between new material and old, and like Black Beach, they seemed readily comfortable on their home turf.

After “Nature Boy,” they wrapped with “Bald Bull,” the only inclusion in the set from 2013’s The Fury of a Patient Man (review here). That was somewhat surprising, but I guess time was limited, and the show moved Gozu (Photo by JJ Koczan)along at a pretty solid clip. Between that, the simple fact that Acid King were touring at all, that Gozu were on the bill — Kings Destroy played with them as well over the weekend, but weren’t doing the Boston-area show; nothing against Black Beach, but it would’ve been nice to see them and a three-band night with Kings DestroyGozu and Acid King would be like the god Apollo doing me personal favors — and that in keeping it to three bands, the show seemed to acknowledge the fact that most people there probably had to go to work in the morning, the whole vibe of the night felt like getting away with something. Like the entire room full of people snuck out of their lives to show up, or maybe that was just me.

Nearly all of Acid King‘s set — from “Intro” to “Outro” — came from Middle of Nowhere, Center of Everywhere, and as I continue to be enthralled with that record, that was just fine by me. Through “Red River,” “Laser Headlights” and “Infinite Skies,” tAcid King (Photo by JJ Koczan)he San Francisco three-piece of guitarist/vocalist Lori S., bassist Mark Lamb (also of Fought upon Earth) and drummer Joey Osbourne unfurled tonal bliss and unmatched rhythmic roll, Osbourne‘s swinging snare work in “Laser Headlights” like a master class in how to do groove right. The nod? Infectious. The performance? Dead on. Acid King took the stage and melted the room. Philistines moshed, others nodded, still others disrobed. I’m pretty sure three people called into work and quit their jobs in the midst of “Infinite Skies.” It was fantastic. It may have taken them 10 years to get a record out, but watching them play to the full-to-the-brim Middle East, it was more like Acid King had just been waiting a decade for the rest of the world to catch up, which obviously it has begun to do.

They played two older songs, “Electric Machine” from 1999’s landmark Busse Woods was led into perfectly by “Coming down from Outer Space” off the new record, and “2-Wheel Nation”Acid King (Photo by JJ Koczan) from 2005’s III, which was the encore. “Electric Machine” might have gotten the biggest response of the night, though I was even more stoked for “Coming down from Outer Space,” not that it’s worth quibbling one or the other in a reality that was kind enough to present both. Lori‘s guitar finished out “2-Wheel Nation” alone after Lamb‘s bass and Osbourne‘s drums dropped out, the fuzz imprinting itself in a last remaining mental cast on those there to hear it. I consider myself fortunate to have been in that number.

More pics after the jump. Thanks for reading.

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Friday Full-Length: Grief, Come to Grief

Posted in Bootleg Theater on October 10th, 2015 by H.P. Taskmaster

Grief, Come to Grief (1994)

Boston outfit Grief weren’t the first sludge band, but they might have been the first extreme sludge band. The really insane thing is that by the time they got around to putting out their sophomore album, Come to Grief, in 1994 — on Century Media, no less — their rawest work was already behind them. Their debut long-player, Dismal, had hit a year earlier, preceded by an EP of the same name, as well as the band’s first short release, 1992’s Depression. Between those and the couple splits between the first album and the second one, Grief‘s catalog had already forged some of its meanest output, and while I won’t take away from the grueling misanthropy that still pervaded their later work, albums like Miserably ever After (1996) and Torso (1998), Come to Grief seemed to be the perfect balance between regressive chaos and stylistic forward-thought that it’s the source of much of their enduring legacy to the point that when putting together a short-lived semi-reunion earlier this year, guitarist Terry Savastano (currently of Conclave) did so under the moniker Come to Grief.

Grief at the time was Savastano, guitarist/vocalist Jeff Hayward (now of Morne), bassist Randy Odierno and drummer Rick Johnson. Eric Harrison, who supplied Come to Grief‘s manic cover art, would later play bass in the band, and a full 21 years after its release, the album itself remains no less challenging than that cover. It is a slog, plain and simple. Single-minded in its disgruntled fuckall and deeply indebted as is much of sludge to hardcore punk, some of its riffing is no less akin to the death metal of the time — the key difference separating the two on a song like “Hate Grows Stronger” would be the swing in Johnson‘s drums — but even more than that, the album’s extremity is one of perspective. It would still be half a decade before Sleep belted lines about dropping out of life, bong in hand, but Grief give a way more accurate depiction of what mindset might actually lead someone to do that. Whether it’s “I Hate You” or “Stricken” or “Come to Grief” or “Fed Up,” which is almost Black Flaggian in how straightforward its lyrics are, Grief‘s pill-popping depressiveness is writ large front to back across the album, and being as it was the CD era, that’s a significant span at 54:32. I feel like anyone could take 36 minutes of this stuff, but then, Grief never seemed all that interested in making it easy for their audience.

Hope you enjoy, such as it is.

Rough day at work. I don’t think one breaks out Grief otherwise. I won’t go into it, but suffice it to say, I really, really, really wish I could do this for a living.

Went and saw Clutch, C.O.C. and The Shrine tonight. All three were killer. More expansive review on Monday. Yeah, I know it’s a holiday. Writing for this site is a treat for me at this point. It’ll be like fucking Xmas.

Also next week, a Snail review, and a Monster Magnet review, or maybe All Them Witches, depending largely on mood. Also hope to write up that Admiral Browning tape. Because it’s Admiral Browning, dang it!

It’s headed toward three in the morning, so I’ll leave it there. There’s other stuff coming up this week, but it’ll just have to be a surprise because it’s too late for me to think of it. We’ll be surprised together.

Please have a great and safe weekend, and please check out the forum and the radio stream. Especially the forum. The forum is fucking awesome. That’s the knowledge I have to share.

The Obelisk Forum

The Obelisk Radio

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Magic Circle Sign to 20 Buck Spin; Journey Blind Due Nov. 20

Posted in Whathaveyou on September 21st, 2015 by H.P. Taskmaster

Details were pretty minimal last month when Boston doomers Magic Circle posted two tracks from their forthcoming second record, Journey Blind, on YouTube in much the same spirit as how they released their first single in 2012. If you click that link, you’ll see that “Lightning Cage” and “Grand Deceivers” have both been taken down, so if you caught them while they were out, kudos on having a leg up. At the time, I wasn’t sure if Journey Blind would be released through Armageddon Shop, which put out the band’s 2013 self-titled debut (review here), but today we get the answer with the announcement that 20 Buck Spin will release the album — perfect for the increasing darkness of late Fall — on Nov. 20.

The artwork seems to have been pulled as well, but it’ll be back soon enough. I’ve been curious as to what Magic Circle might due to follow-up the first outing, if they’ll work in the same kind of bleak atmosphere, expand on it or turn to something else, so if the details below are a step in the direction of finding that out — and they are — then even better.

Dig in:

Magic Circle (Photo by Dakota Gordon)

MAGIC CIRCLE: Boston Quintet Joins 20 Buck Spin Cult For Release Of Triumphant Journey Blind Sophomore LP

20 Buck Spin will round out its roster for 2015 with the release of Journey Blind, the triumphant sophomore LP from Boston-based quintet MAGIC CIRCLE. This year has already been the most productive and expansive year for the label, but Journey Blind will fit into your parents’ unwavering classic rock collection the same as it could be the hottest thing on your younger cousin’s latest playlist.

Who said anything about running out of ideas? The stubborn ones were born to linger, to nose out newer, more subtle permutations with the help from a few ragged fucks willing to practice them. The MAGIC CIRCLE mutts roll in heavy metal whatness, striking a balance with the pituitary culture it begat, and the tunes it jacked out. Suburban drag races. Basement bum wine scrum. Every collective thought burnt into a dirty tape dub of Mob Rules. Sabbath, especially in its later incarnations, hulks ephemerally among all openings, rests, and codas. When Chris Corry and Dan Ducas’ guitars aren’t jelly-legging around Iommi, they’re rekindling “Neon Knights,” brandishing “Die Young” credo. Meanwhile, Q clubs the kit like a drunken Cozy Powell. Brendan Radigan stakes big, black flag in vocal territory long occupied by Saint Vitus, Saxon, Armored Saint, and Trouble. Bassist Justin DeTore alternates creepy crawl and thunder word belch, laying yoke over each tune and driving them prejudicially underground.

But motherfuck simply “sounding” like these bands. MAGIC CIRCLE celebrates them, and in doing so honors the form they have found. It’s HEAVY METAL. Hit hard. Write riffs that clack along like rustbucket tanks into perpetuity. “Play” bass in ways that make you at once inseparable from every punch the drummer lands, and also ghosts every riff — working beneath, between, behind the rhythm. Sing that fucking story as every ancient did their Homer. It means something. It stands for something. Bring that to the tape.

And so MAGIC CIRCLE does. Tunes are rude, vicious. Some lumber ominously along, bare-fisting the downbeat through riffs raised from basements held in the odors of stale beer, mold, and want. Others stuff the song’s shape with directional changes — tipping a cap to Trouble and Saint Vitus via Sabbath. All the dots are easily connected. There’s no sport there. But, in lieu of refinement, we get an honest reckoning: MAGIC CIRCLE is a band (quickly) becoming. Through the web of influence and itchy, artistic compulsion they’ve found savage and ultimately promising ways of reanimating long since taxidermied forms.

Following their self-titled debut which was well-received in metal and hardcore circles, MAGIC CIRCLE returns with forty-five minutes of dominant, pure heavy metal on Journey Blind, a record which sees the outfit doing what they do, but doing it even better. Self-produced and recorded by the band at guitarist CC’s The Pain Cave, the record surges with the viscosity a team of top-tier producers would be proud to back.

The cover art for Journey Blind is an unused piece dating to 1979 by legendary artist Joe Petagno (Motorhead, Mammoth Grinder, Autopsy) which has been properly fitted to this modern ripper which could have been captured three decades ago yet booms with a refreshed spirit to guide today’s misguided youth back to their unbeknownst roots. Devotees to the scriptures immotalized by 1980s Black Sabbath, 1980s Trouble, Pagan Altar, Saint Vitus and the like should not pass this one by.

20 Buck Spin will make MAGIC CIRCLE’s Journey Blind a reality on November 20th in CD and digital formats, with the vinyl to follow in mid-December or whenever the pressing plants can get their shit together.

Having successfully toured with metal lifers Satan (the band, not the deity) in 2014 and more, MAGIC CIRCLE will be raging the stage surrounding the release of Journey Blind, so stand by for handcrafted flyers announcing stages to soon be smoldered to be tacked up on grimy bathroom walls in your local venue in the months ahead.

Journey Blind Track Listing:
1. Journey Blind
2. The Damned Man
3. A Ballad For The Vultures
4. Lightning Cage
5. Ghosts Of The Southern Front
6. Grand Deceivers
7. Antediluvian

Audio samples of Journey Blind, review copies of the album and more are in store. Get ready to rock steady.

Magic Circle, Live at the Whiskey a Go Go, Oct. 24, 2014

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Shatner Book Studio Time for Nazareth Cover and New Material

Posted in Whathaveyou on September 17th, 2015 by H.P. Taskmaster

Boston trio Shatner have booked studio time at Amps vs. Ohms to track their cover of Nazareth‘s “Whiskey Drinking Woman.” The three-piece, which features members of We’re all Gonna Die — guitarist/vocalist Jim Healey and bassist Jesse Sherman — and Cocked ‘n’ Loaded — drummer Rob Davol — are just over a month removed from the release of their debut EP. Called simply EP, that five-track outing was also recorded in Cambridge, MA, at Amps vs. Ohms, and in addition to the Nazareth tune, which will be included in Underdogma Records‘ upcoming tribute, Go Down Fighting, the band will reportedly be putting down a few new originals as well.

That Shatner would be taking part in the Underdogma tribute to Nazareth makes sense, as We’re all Gonna Die released their three full-lengths through the label between 2004 and 2008. While that band played a could reunion shows last year, Davol‘s band, Cocked ‘n’ Loaded called it quits last Fall after building a considerable reputation locally. How or if that momentum will carry over into Shatner remains to be seen. They have shows booked for later next month and November in New Hampshire and Allston, but more interesting is that they’re talking about hitting the road in 2016. I’ll look forward to seeing how that pans out and just how much touring they’re looking to do.

For now, here’s their update:

shatner (Photo by JJ Koczan)

Shatner Update

Hey Everyone…Here’s a Shatner Update!

We recently released our first EP online:

We are heading back into Amps VS. Ohms at the end of this month to record our cover of “Whiskey Drinking Woman” by Nazareth for the upcoming Underdogma Nazareth tribute release.

We will also be recording couple of new originals as well. We have a few local/regional shows coming up (10/29 – Shaskeen in NH, 11/1 O’Brien’s) , but plan on doing some roadwork in 2016, so stay tuned!

Jim Healey – Guitar and Vocals
Jesse Sherman – Bass and Backing Vocals
Rob Davol – Drums

Shatner, EP (2015)

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Cortez Finish Work on New Album The Depths Below

Posted in Whathaveyou on September 1st, 2015 by H.P. Taskmaster

cortez (Photo by Bruce Bettis)

Good news from the camp of Allston, Massachusetts, heavy rockers Cortez. The five-piece outfit have finished work on their impending sophomore full-length, and unveiled the title as The Depths Below. They began the recording process last December with the esteemed Benny Grotto at the helm at Q Division Studios in Somerville, MA, and have gradually chipped away at the tracks — names like “Farewell to Kings” and “Orison” have been leaked — since then at both Q Division and the seemingly-compatriot Moontower Recording Studio, taking time here and there for gigs at the now-defunct TT the Bear’s Place — I’ll buy it; sign me up — and at the Grub, Sweat and Beers fest with ShatnerHessianSetGozuBlackwolfgoatConclave and a host of other local heavy luminaries.

No public word on the release plan for The Depths Below — which is to say, if Cortez know when or how it’s coming out, they haven’t posted about it — but when it arrives, it will be the follow-up to 2012’s self-titled debut (review here) and their 2014 split single with Borracho (semi-review here) and their first full-length outing since they added Alasdair Swan on second guitar alongside the established four-piece of six-stringer Scott O’Dowd, vocalist Matt Harrington, bassist Jay Furlo and drummer Jeremy Hemond. Naturally one expects that shift in dynamic will show itself in the material, but we may yet be a while off from finding out exactly how. A 2016 seems fair to expect, but one never knows. Could show up earlier if the art and pressing plans are done.

More info when I see or hear it, but for now, their announcement of the record’s completion was quick and victorious:

cortez matt singing

Our new album is finished and has been mastered. We have settled on the title “The Depths Below”. It didn’t take quite as long to finish as GnR’s Chinese Democracy, and unlike that album, we’re confident that it’ll have been worth the wait.

Cortez, Studio Snippet 2015

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Kind Premiere “German for Lucy”; Announce Release of Debut LP Rocket Science

Posted in audiObelisk on August 27th, 2015 by H.P. Taskmaster

kind (Photo by Nicole Tammaro)

I’m going to do my absolute very best to keep this brief, because there’s much more to say about Kind and their upcoming Ripple Music debut, Rocket Science, but there’s also a lot of time in which to say it. It’s out on December, and in addition to being the first track premiere from the new band, the first studio-recorded, non-demo audio to be made public, it’s also the first announcement of the album itself. So there’s time, is what I’m saying, and as much as I’d like to dive into the record headfirst, preorders aren’t even up yet.

Still, if one might have be reminded to cool one’s jets, it’s well justified. I recall hearing late in 2013 that guitarist Darryl Shepard (Milligram, Black Pyramid, etc.) was jamming kind rocket sciencewith Elder drummer Matt Couto, and that wound up as the root of Kind. Tom Corino from Rozamov plays bass, and Craig Riggs of Roadsaw rounds out on vocals, and many of the songs on Rocket Science — dig that Alexander von Wieding cover art — are born out of those same jams. They’ve come a long way, having been developed over a series of local shows fit between the four-piece’s otherwise busy schedules (review here, here and here), but listening to “German for Lucy,” that raw vitality holds up.

If you know the members’ other groups, that still doesn’t really prepare you for what Kind bring to the table. “German for Lucy” opens the record, and immediately the listener is immersed in a heavy psychedelic vibe. Riggs‘ vocals are as much a part of the atmosphere as Shepard‘s effects-drenched guitar, pushed deep in the mix and set for maximum spaciousness. This really is just the beginning of what there is to say about this one, but if you want to get stoked, the stream works even better than my nerding out.

More to come. For now, stream and announcement follow. Enjoy:

KIND; A new doom project from Black Pyramid, Elder, Roadsaw and Rozamov

Formed in 2013 by Matt Couto (Elder), Darryl Shepard (Black Pyramid, The Scimitar) and Tom Corino (Rozamov) – after the trio spent time jamming together in-between day-to-day commitments – the doom supergroup KIND quickly cemented their formation with the addition of Roadsaw vocalist Craig Riggs.

Out of the mind-bending riffs and extended jam sessions, whole songs began to take shape through winter 2014 rehearsals down in Couto’s freezing cold basement, where the newly formed quartet began laying down ideas for their soon to be released debut, Rocket Science, which officially lands this December on Ripple Music.

Shows were soon booked to share the tunes with the curious. Further riffs materialized, new songs banged into shape, and yet more shows booked, so keen were the band to test their mettle and mixture of heavy metal, psych, Krautrock and straight-up classic rock and roll. With four songs recorded at Mad Oak Studios serving as the band’s demo, in the spring of 2015, KIND entered New Alliance Studios with engineer Alec Rodriguez to record their first full-length, Rocket Science.

Kind on Thee Facebooks

Ripple Music

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Worshipper Release New Single Place Beyond the Light

Posted in Whathaveyou on August 18th, 2015 by H.P. Taskmaster

worshipper (Photo by Bob Maloney)

Boston four-piece Worshipper have issued their second digital single, and it’s a bit of a doozy. The classic-style metallers made their debut in the frigid wee hours of early 2015 with Black Corridor b/w High Above the Clouds (review here), and their second two-songer, the newly-unveiled Place Beyond the Light b/w Step Behind, pushes even deeper into prime metallurgy while also adding a distinctly catchy hard rock edge that, especially on “Place Beyond the Light” itself, reminds me on first listen of some of Scorpions‘ poised infectiousness.

The band also have some killer shows coming up, including one this week in Allston, and they’ll play Tee Pee Records‘ upcoming two-day fest, Cosmic Sonic Rendezvous (info here), in Brooklyn at The Wick over Labor Day weekend, where they’ll open the second night with The Golden Grass, The Bevis Frond, Carousel and Witch. Some more than solid company to keep.

Release details and audio follow:

worshipper no place beyond the light

Worshipper just released Place Beyond the Light | Step Behind

We are pleased to announce the release of our new single “Place Beyond the Light / Step Behind.” Download it now from bandcamp. See us live Aug. 21 at Great Scott!

WORSHIPPER plays the kind of darkly epic rock that can only be found in the vinyl collection of your “cool uncle.” Through their unique mix of contemporary and classic influences, WORSHIPPER prove that the horn-throwing soul of melodic heavy music of the past still burns brightly.

1. Place Beyond the Light 5:04
2. Step Behind 4:46

released 17 August 2015

Music by Worshipper
Lyrics by John Brookhouse

Worshipper is:
John Brookhouse – Vocals, guitars
Dave Jarvis – Drums
Bob Maloney – Bass, vocals
Alejandro Necochea – Guitars

Recorded & Mixed by Benny Grotto at Q Division
Mastered by Mike Quinn at The Moontower

Aug 21 Great Scott Allston, MA
Sep 06 The Wick/The Well Brooklyn, NY
Sep 22 Wilbur Theatre Boston, MA
Oct 02 The Last Safe & Deposit Company Lowell, MA

Copyright Inspector Lucius Music ASCAP (2015)

Worshipper, Place Beyond the Light (2015)

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