Posted in audiObelisk on August 25th, 2015 by H.P. Taskmaster
This past weekend, New Haven, Connecticut, pastoralists The Mountain Movers played the release show for their second album, Death Magic. Out this Friday, Aug. 28, through Safety Meeting Records, it’s their fifth long-player and first since 2010’s Apple Mountain, recorded by former drummer John Miller (Titles) and boasting a natural and subtly driving sound. Shoegazing and indie airiness pervade, and there’s a weighted undertone in Ross Menze‘s drums and the bass of Rick Omonte (ex-Crooked Hook) that meshes smoothly with guitarists Dan Greene (also vocals and artwork) and Kryssi Battalene (lead) to present an organic, at times understated psychedelia. Less space, more earth, but trippy all the same.
Opener “Short Life” does very little to hide its ’90s stylization, but by the time The Mountain Movers make their way to “Floating Holiday” two tracks later, the context has already widened considerably. It continues to do so throughout Death Magic, which builds tension and releases it in periodic bouts of fuzz and post-rocking dreaminess. “Dead Tomorrow” turns its title into a morose hook and seems to presage the immersive, slow-rolling swing of “Stray Cat in the Street,” which seems to be over before its really started at 2:20. Tempo and runtime seem to be playthings as much as the instruments on Death Magic, but the album lacks nothing for flow, pushing through the more jagged riffing of “I’ve Been Moved” and its near-seven-minute psychedelic thrust into the more peaceful but still discordant plod of closer “A Bird Flew in My Shed” in a manner suited to the vibe-intensive experience throughout.
At the center of Death Magic, one finds the seemingly companion “Nightsong of the Sea” and “I Watch the Sea.” The former lulls the listener to into a sort of semi-consciousness with its blissed-out lo-fi, but when it comes around, “I Watch the Sea” is immediately more abrasive, incorporating feedback Sonic Youth-style for purposeful abrasion even before it moves into its section of full-on jamming. Its six and a half minutes are among the rougher-edged on the album as a whole, but The Mountain Movers prove more than able to contain the fire they light, turning around in the last 30 seconds of the track in order to shift back to the chorus, like it ain’t no thing.
But it is, and you can find out for yourself by listening to the track on the player below, courtesy of Safety Meeting, which again, has the album out this Friday, Aug. 28. More info on the record follows the stream.
Although five years have passed since Apple Mountain, the Mountain Movers’ last full length album, the band has been working steadily, releasing a half dozen 7” EP’s and cassettes. Over the last couple years their line-up has stabilized, one of incredible chemistry, and with every live performance the band’s interpretations of Dan Greene’s song writing have become increasingly direct, focused, and tonally powerful. The result is the highly anticipated new full-length album, Death Magic.
Many bands described as “lo-fi” only begin that way, and as the artist improves, so does the level of fidelity. But the Mountain Movers have upended the usual trajectory. After their ambitious and incredibly realized album Let’s Open Up The Chest (2008), a hi-fidelity studio production, subsequent releases were grounds for experimentation and home recording, resulting in a sound that some might call lo-fi. For the Mountain Movers, this experimentation was a quest for an elusive tone, a far-off texture, and anyone who has seen their live shows over the last few years has witnessed the Mountain Movers distill their formula into something organic, pure, and unmasked. To make this album, the band set up in the modest basement studio of former member John Miller, whose production is live, transparent, and captures the feeling of what may be Greene’s best song writing to date. Death Magic is not another over-produced, ultra-digital pile of overdubs and effects. Rather, these ten tracks document an inspired, unified performance—fuzzed out, pounding, and hypnotic.
Posted in Reviews on July 3rd, 2015 by H.P. Taskmaster
The final day of the Quarterly Review is upon us. It has been one hell of a week, I don’t mind saying, but good and productive overall, if in a kind of cruel way. I hope that you’ve been able to find something in sifting through all these releases that you really dig. I have, for whatever that’s worth. Before we dig into the last batch, I just want to thank you for checking in and reading this week. If you’ve seen all five of these or if this is the first bunch you’ve come across, that you’re here at all is appreciated immensely.
Quarterly Review #41-50:
Lucifer, Lucifer I
Vocalist Johanna Sadonis, who burst into the international underground consciousness last year with The Oath, resurfaces following that band’s quick dissolution alongside former Cathedral guitarist and riffer-of-legend Gary “Gaz” Jennings in Lucifer, whose Lucifer I eight-song debut LP is released on Rise Above Records. Joined by bassist Dino Gollnick and drummer Andrew Prestidge, Sadonis and Jennings wind through varied but thoroughly doomed atmospheres across songs like opener “Abracadabra” – the outright silliness of the “magic word” kind of undercutting the cultish impression for which Lucifer are shooting – or early highlights “Purple Pyramid” and “Izrael.” A strong side A rounding out with “Sabbath,” Lucifer I can feel somewhat frontloaded, but on repeat listens, the layered chorus of “White Mountain,” “Morning Star”’s late-arriving chug, the classically echoing “Total Eclipse” and the atmospheric finish of “A Grave for Each One of Us” hold their own. After a strong showing from Lucifer’s debut single, the album doesn’t seem like it will do anything to stop the band’s already-in-progress ascent. Their real test will be in the live arena, but they sustain a thematic ambience across Lucifer I’s 44 minutes, and stand ready to follow Rise Above labelmates Ghost and Uncle Acid toward the forefront of modern doom.
Drone-prone Philadelphia post-metallers Rosetta return with Quintessential Ephemera, the follow-up to 2013’s The Anaesthete and their fifth LP overall, which resounds in its ambience as a reinforcement of how little the band – now a five-piece with the inclusion of guitarist Eric Jernigan – need any hype or genre-push to sustain them. Through a titled intro, “After the Funeral,” through seven untitled tracks of varying oppressiveness and rounding out with the unabashedly pretty instrumental “Nothing in the Guise of Something,” they continue to plug away at their heady approach, relentless in their progression and answering the darker turns of their prior outing with a shift toward a more colorful atmosphere. At 52 minutes, Quintessential Ephemera isn’t a slight undertaking, but if you were expecting one you probably haven’t been paying attention to the last decade of Rosetta’s output. As ever, they are cerebral and contemplative while staying loyal to the need for an emotional crux behind what they do, and the album is both dutiful and forward-looking.
Pressed up by Brutal Panda Records for Stateside issue following a 2014 release in Europe on Svart, Death by Burning is the debut full-length from sans-bass Hamburg duo Mantar – vocalist/guitarist Hanno, drummer/vocalist Erinc – and as much as it pummels and writhes across its thrash-prone 10 tracks, opener “Spit” setting a tone for the delivery throughout, there are flourishes of both character and groove to go with all the bludgeoning throughout standout cuts like “Cult Witness,” “The Huntsmen,” the explosive “White Nights,” “The Stoning” and the more lumbering instrumental closer “March of the Crows,” the two-piece seamlessly drawing together elements of doom, thrash and blackened rock and roll into a seething, tense concoction that’s tonally weighted enough to make one’s ears think they’re hearing bass strings alongside the guitar, but still overarchingly raw in a manner denoting some punk influence. Bonus points for the Tom G. Warrior-style “ough!” grunts that make their way into “The Stoning” and the rolling nod of “Astral Kannibal.” Nasty as hell, but more subtle than one might expect.
Though it seems King Giant’s fate to be persistently underrated, the Virginian dual-guitar five-piece offer their most stylistically complex material to date on their third full-length, Black Ocean Waves (released on The Path Less Traveled Records and Graveyard Hill), recorded by J. Robbins (Clutch, Murder by Death, etc.) as the follow-up to 2012’s Dismal Hollow (streamed here). Still commanded by the vocal presence of frontman Dave Hammerly, the album also finds moments of flourish in the guitars of David Kowalski and Todd “T.I.” Ingram on opener “Mal de Mer,” the leads on “Requiem for a Drunkard” or the intro to extended finishing move “There Were Bells,” bassist Floyd Lee Walters III and drummer Keith Brooks holding down solid rhythms beneath the steady chug of “The One that God Forgot to Save” and “Blood of the Lamb.” Side A closer “Red Skies” might be where it all ties together most, but the full course of Black Ocean Waves’ eight tracks provides a satisfying reminder of the strength in King Giant’s craftsmanship.
The 14 single-word-title tracks of Si Ombrellone’s Horns on the Same Goat were originally recorded in 2006, but for a 2015 release, Connecticut-based multi-instrumentalist/vocalist Simon Tuozzoli (Vestal Claret, King of Salem) took them back into his own UP Recording Studio for touch-ups and remastering. The endeavor is a solo outing for Tuozzoli, styled in a kind of post-grunge rock with Frank Picarazzi playing drums to give a full-band feel, and finds catchy, poppy songwriting coming forward in the layered vocals of “Innocence,” while later, “Forgiveness” and “Darkness” offset each other more in theme than sound, as “Love” and “Hate” had done earlier, the album sticking to its straightforward structures through to six-minute closer “Undone,” which boasts a more atmospheric take. It’s an ambitious project to collect 14 sometimes disparate emotional themes onto a single outing, never mind to do it (mostly) alone – one might write an entire record about “Trust,” say, or “Rage,” which opens – but Tuozzoli matches his craftsmanship with a sincerity that carries through each of these tracks.
Boasting a close relationship to Duster69 and Mother Misery and featuring in their ranks Daredevil Records owner Jochen Böllath, who plays guitar, German heavy rockers Grand Massive revel in commercial-grade Euro-style tonal heft bordering on metallic aggression. 2 is their aptly-titled second EP (on Daredevil) and it finds Böllath, lead guitarist Peter Wisenbacher, vocalist Alex Andronikos, bassist Toby Brandl and drummer Holger Stich running through six crisply-executed tracks of catchy, fist-pumping riffy drive, slowing a bit for the creepy ambience of the interlude “Woods” or the more lurching tension of “I am Atlas,” but most at home in the push of “Backseat Devil” and closer “My Own Sickness,” a mid-paced groove adding to the festival-ready weight Grand Massive conjure. Word is they’re already at work on a follow-up. Fair enough, but 2 has plenty to offer in the meantime in its tight presentation and darker vibes, Grand Massive having been through a wringer of lineup changes and emerged with their songwriting well intact.
Carlton Melton Meets Dr. Space, Live from Roadburn 2014
If you guessed “spacey as hell” as regards this meeting between NorCal psych explorers Carlton Melton and Scott “Dr. Space” Heller of Danish jammers Øresund Space Collective, go ahead and give yourself the prize. Limited to 300 copies worldwide courtesy of Lay Bare Recordings and Space Rock Productions, Carlton Melton Meets Dr. Space’s Live from Roadburn 2014 is a consuming, near-100-minute unfolding, Heller joining Carlton Melton on stage for four of the total seven inclusions, adding his synthesized swirl to the swirling wash, already by then 26 minutes deep after the opening “Country Ways > Spiderwebs” establishes a heady sprawl that only continues to spread farther and farther as pieces unfold, making “Out to Sea” seem an even more appropriate title. It will simply be too much for some, but as somebody who stood and heard the sounds oozing from the stage at Cul de Sac in Tilburg, the Netherlands, as part of the Roadburn 2014 Afterburner event, I can say it was a special trip to behold. It remains so here.
According to El Paraiso Records, Sela was held up as so many releases have been owing to plant production having been overwhelmed by Record Store Day and will be out circa August. Fair enough. Consider this advance warning of Danish improve collective Shiggajon’s first outing for the Causa Sui-helmed imprint, then, and don’t be intimidated as we get closer to the release and people start talking about things like “free jazz” and dropping references to this or that Coltrane. The real deal with Shiggajon – central figures Mikkel Reher-Lanberg (percussion, drums, clarinet) and Nikolai Brix Vartenberg (sax) here joined by Emil Rothenborg (violin, double bass), Martin Aagaard Jensen (drums), Mikkel Elzer (drums, percussion, guitar), Sarah Lorraine Hepburn (vocals, flute, electronics, tingshaws) – is immersive and tipped over into music as the ritual itself. One might take on the two 18-minute halves of Sela with a similarly open mind as when approaching Montibus Communitas and be thrilled at the places the album carries you. I hope to have more to come, but again, heads up – this one is something special.
“The Spell” proves right away that Alps-based heavy rockers Mount Hush (I love that they don’t specify a country) have the post-Queens of the Stone Age fuzz-thrust down pat on their debut EP Low and Behold, but the band also bring an element of heavy psychedelia to their guitar work and the vocals – forward in the mix – have a bluesier but not caricature-dudely edge, so even as they bounce through the “Come on pretty baby” hook of “The Spell,” they’re crafting their own sound. The subsequent “King Beyond” showcases how to have a Graveyard influence without simply pretending to sound like Graveyard, even going so far as to repurpose a classic rock reference – “Strange Days” by The Doors – in its pursuit, and the seven-minute “The Day She Stole the Sun” stretches out for a more psychedelic build. Most exciting of all on a conceptual level is closer “Levitations.” Drumless, it sets ethereal vocals and samples over a tonal swirl and airy, quieter strumming. Hardly adrenaline-soaked and not intended to be, but it shows Mount Hush have a genuine will to experiment, and it’s one I hope they continue to develop.
Joined for the first time by drummer Bas Snabilie (apparently since replaced by Aletta Verwoerd) Amsterdam heavy art rockers Labasheeda mark four full-length releases with Changing Lights on Presto Chango, the violin/viola of vocalist/guitarist Saskia van der Giessen and guitar/bass/keyboard of Arne Wolfswinkel carrying across an open but humble atmosphere, touching here on Sonic Youth’s dare-to-have-a-verse moments in “My Instincts” and pushing into more blown-out jarring with the slide-happy “Tightrope.” They bring indie edge to a cover of The Who’s “Circles,” and round out with a closing duo of the album’s only two tracks over five minutes, “Cold Water” and “Into the Wide,” van der Giessen’s croon carrying a sweetness into the second half of the former as the latter finishes Changing Lights with a rolling contrast of distortion and strings as engrossing as it is strange. Labasheeda will go right over a lot of heads, but approached with an open mind it can just as easily prove a treasure for its blatant refusal to be pinned to one style or another.
Everybody’s gotta have a specialty, and Connecticut four-piece NightBitch take exploitation-worship to the level of artistry. Their new, self-titled EP is out now via The Ajna Offensive/Doomentia Records, and as all their work has to date, it revels in classic heavy metal. And lady-parts. You get a lot of both, and if the moniker didn’t already tell you, NightBitch aren’t really shooting for subtlety. Even so, the organ horrors and infectious riffing of “Caged Heat” stand out even without the copious ’70s boobage in the video, which pulls clips from the 1971 movie, Women in Cages, and the song is almost troublingly catchy.
But sleaze is NightBitch‘s business, and business is good. From what I hear, the vinyl version of the EP is moving quick and they’re heading out later this summer alongside Maine thrashers Hessian for a weekender on the East Coast after playing their release show this Friday at Cherry St. Station in Wallingford, CT, and making an appearance earlier in August at the Death to False Metal fest alongside Valkyrie and fellow Connecticut natives Bedroom Rehab Corporation, among many others. They’re maybe not the first to revel the territory they do, but they certainly seem to enjoy it.
If you’re at work, I’m just going to say flat out that you probably shouldn’t watch this. I don’t care if you have your own cubicle, office or building, or if you’re nursing a crush on Pam Grier as all-consuming as that which is clearly driving NightBitch to pay such homage. Wait till you get home. Beyond that and any political issue one might take with the band, I’ll just say “enjoy” and let this one speak for itself.
Live dates follow the video:
NightBitch, “Caged Heat”
From the NightBitch 10″ EP out now on The Ajna Offensive/Doomentia Records.
Nightbitch live dates: 06/05 Cherry St. Station, Wallingford, CT (Record Release) 06/28 Cafe Nine, New Haven, CT (free matinee) 08/14 The Outer Space Ballroom, Hamden, CT, Death to False Metal Fest 08/21 Lucky 13, Brooklyn, NY W/ Python (ex-Villains) 08/27 Sidebar, Baltimore MD W/ Hessian 08/28 TBA Richmond, VA W/ Hessian 08/29 Kung Fu Necktie, Philadelphia, PA W/ Hessian
A five-track release of pro-produced, deeply aggressive beer metal, Entierro‘s Entierro EP has been pressed to tape in a limited edition of 50 copies. The tape itself is white, the J-card professionally printed as a one-side foldout, and the five songs included repeat on both sides. Download included. Both the material and its presentation are straightforward — the Connecticut outfit would much rather steamroll than impress with nuance — and as their first release under the moniker after forming as Treebeard in 2010, I’d expect no less from the Waterbury/New Haven double-guitar four-piece. Bassist/vocalist Christopher Taylor Baudette doubles in Nightbitch, but Entierro are a far more down-to-earth project, proffering dudely, metallic chugging and beer-raising groove with more than an edge of East Coast intensity.Baudette, guitarist/vocalist Javier Canales, guitarist Christopher Begnal and drummer John Rowold all feed into a burl that stays consistent throughout and only gets more prevalent as they push toward the thrashy closer “Fire in the Sky.”
Opening with the longest inclusion in the 5:11 “Cross to Bear” (immediate points), Entierro‘s Entierro starts out slow with a rolling, crisply produced riff around which the vocals work in a clean, metallic melody, the pace quickening in the second half to a chugging shuffle. As it should, “Cross to Bear” sets the tone. Guitars trade and combine leads, the tempo builds from slow to raucously fast, and Entierro cap with a big round of riffing, drawing back to the chorus and reinforcing a structure that — while not in doubt — shows they’re coming out of the gate with a good handle on their songwriting. The subsequent “Time Rider” provides the most memorable hook of the tape, and centerpiece “The Mist” opens up the groove and stomps out its rhythm with a sense of foreboding befitting its lyric. Again, Canales and Begnal impress on guitar, as they did in the early going of “Time Rider” as well, and though it seems like “Entierro/More Dead than Alive” is going to be somewhat calmer — the eponymous part of the song seems to be a bass solo from Baudette — it winds up a rager to set up the further aggro-ism of “Fire in the Sky,” which rounds out as if to remind the listener Entierro were a metal band the whole time.
There was no doubt, whatever other heavy elements they worked in, but “Fire in the Sky” is sufficient payoff for the tension of the tracks preceding either way, its lyrics not bothering to look to tales of monsters or horror but focusing on the everyday terrors that exist on the current world stage. What they have to say about it is basically that the situation is grim and we’re all screwed, and it’s hard to fault them the perspective. Four years on from getting together, Entierro have a handle on their sound well enough, but I’d be interested to hear how it sounds live in comparison to the tape, since the clarity of production is such a big part of what makes it sound so particularly metal. I don’t take metal as a negative necessarily, I’m just curious if the band’s next outing will continue down that path or expand soundwise into more of a rock feel in kind with some of the earlier riffing on “Time Rider” or “The Mist.” I wouldn’t speculate, and more importantly for the time being, Entierro‘s Entierro intrigues enough that seems worth waiting to find out.
Posted in Whathaveyou on September 24th, 2013 by H.P. Taskmaster
It’s been more than two years since I stood before Sea of Bones‘ wall of cabinets for the Fuzz Fest (review here) at Cherry Street Station in Wallingford, Connecticut, but I still feel like my ears are ringing. Theirs was one of those rumbles that not only shook the venue, but vibrated the earplugs in your head, rendering them moot. The New Haven crushers’ debut long-player was 2007’s The Harvest(review here), and the trio will issue their sophomore full-length, The Earth Wants us Dead, before the end of the year. Opening cut “The Stone, the Slave and the Architect” from the album is streaming now for your skull-caving needs below.
The PR wire takes it from here:
SEA OF BONES: Atmospheric Doom Metal Miscreants To Unleash First Full-Length In Six Years
Connecticut atmospheric doom metal miscreants, SEA OF BONES, are pleased to soil the masses with their latest slab of slow motion desolation in the form of The Earth Wants Us Dead.
Their first offering in six years, the crushing full-length serves as a true testament to the band’s impenetrable determination. Having weathered all manners of hell both collectively and personally, from a tour-ending van crash and personnel changes to two scrapped recordings, trashed songs, and a near breakup, The Earth Wants Us Dead could have, quite easily, not been. However SEA OF BONES returns triumphantly to their original three-piece lineup, bruised, gnarlier and more determined than ever before.
Recorded with guitarist Tom Mucherino and longtime friend David Lutz at a secret underground location (aka Tom’s cellar) and mastered by Mell Dettmer (Earth, Kayo Dot, Thou), The Earth Wants Us Dead heaves forth a cataclysmic wall of soul-rumbling distortion. Crowned, “beautifully agonizing,” in an early review by Verbicide, who furthers, “pure, uncut ugly, cooked up on a bloody spoon, and slowly shot into your ear hole…with a railroad spike,” the six track offering is unapologetically severe; an introspective outpouring of sound and emotion that is at once morose yet infuriated. SEA OF BONES’ The Earth Wants Us Dead is the thick, sordid resonance of true despair and includes a near forty-minute soul-swallowing, droney, instrumental improv piece (the title track) recorded at InnerSpaceSoundLabs with Scott Amore.
Elaborates the band, “This album is more than just music to us, it is a testament to our friendship and the chemistry we have with each other. This album was made for the three of us but we hope you all will enjoy it as much as we do.”
The Earth Wants Us Dead will be unleashed later this year. Further info, including live assaults, to be announced in the weeks to follow.
The Earth Wants Us Dead Track Listing: 1. The Stone The Slave And The Architect 2. Black Arm 3. Failure Of Light 4. Beneath The Earth 5. The Bridge 6. The Earth Wants Us Dead
SEA OF BONES: Gary Amedy – bass, vocals Tom Mucherino – guitar, vocals Kevin Wigginton – drums, vocals
Posted in audiObelisk on June 24th, 2013 by H.P. Taskmaster
Lord Fowl, Moon Queen (2012)
At some point this weekend, I heard the opening title-track of Lord Fowl‘s Moon Queenand that was it — it’s been stuck in my head ever since. Doesn’t take much to do it from that record (review here), since the whole thing more or less is hooks, and as I’m planning sometime in the next couple days to take another look at my Best of 2012 list as I’m wont to do each year six months after the fact, it seemed only appropriate to give Moon Queena revisit to start of what was an exhausting week even before it started.
For what it’s worth, I only flipped off one other motorist on the drive back from Cudahy, Wisconsin, where Days of the Doomed III was held. Not bad for 15 hours in the car. I made it all the way to the Delaware Water Gap, but when I came up behind a guy doing 60 in the left lane (it’s a 65mph zone), waited for him to move to let me pass and then whipped around him when he didn’t and had him flash his brights from behind me, that was pretty much it. Sorry, but it was Sunday night at one in the morning. Move the fuck over or get passed. I wouldn’t have been on the road at all if I didn’t have somewhere to be.
I made it back to my humble river valley otherwise without incident and crashed out hard sometime after 3AM to get up in time for work this morning and refresh that overwhelmed feeling I know so well and can’t fucking stand. Over 750 emails later, I’m not quite caught up and, as usual, questioning my life decisions and whether or not I should quit every job I have, cut my hair, take up jogging and go find something where the compensation is remotely commensurate with the effort put in — or, wow — become an actual writer. I won’t. But I should. Also, fuck everything.
Reviews this week of Steak — would like to do it today, but it’s already almost 2 and I probably won’t have time, so tomorrow — and Goatess, plus a Buried Treasure on Sleaze and maybe another on the haul from the Midwest this year, which is staggering. There doesn’t seem to be any way in hell I’ll get to it, but I’ll plug that forthcoming Dust interview just in case, and tomorrow I’ve got tracks going up for streaming from The Flying Eyes‘ new split with Golden Animals. Thursday night, The Atomic Bitchwax are playing a Rocks Off Concert Cruise around Manhattan with Mirror Queen (more info to follow shortly) and you can bet your ass I’m going to that.Will have a review up on Friday.
This weekend was my grandmother’s 98th birthday. It was also the largest full moon in something like 800 years. I wanted to mention both of those things in my Days of the Doomed III conclusion but was too tired to remember at the time. We always think of the best stuff after the fact.
So while I sit here and debate the finer points of tweeting “YOU FUCKING PEOPLE ARE DISGUSTING. EAT SHIT AND DIE.” to the Heritage Foundation 100 times in a row (take ’em down a peg!) and also try to actually accomplish, well, anything, today, I’ll just take a second to say I hope you have a fantastic, truly wonderful week and that just because I’m out of my head doesn’t mean I don’t appreciate you checking in on the site. Thanks again to everyone who took a gander at the updates from the fest this weekend. This site was what got me out of bed this morning.
It’s a scientific fact that Connecticut-based heavy rocking foursome Lord Fowl have enough cool on hand at any given moment they could rent it out to other bands running low. I think what I like best — aside from the star-wipes — about the double-guitar slinging outfit’s new video for the title-track of 2012’s Moon Queen sophomore full-length (review here), also their debut on Small Stone, is that every time I watch it I could swear I’ve somehow just slipped back in time and I’m watching something I taped off local access circa 1991.
Between the vintage effects, the soundstage look and the stacks of amps behind, it hits all its marks in much the same way Moon Queen did when it dropped last year, so all the better. In case you missed the news a little while back, Lord Fowl are heading out on the road later this week with Irata and their fuzz-loving Virginian labelmates in Freedom Hawk, which makes the timing on the new video coming out even better. You’d almost swear these things were planned out ahead of time.
So as Lord Fowl prepare to hit up SXSW, Fuzzed Out! fest and more, here’s the clip for “Moon Queen,” followed by the tour dates:
Freedom Hawk, Lord Fowl & Irata: SXSW & More 03/08 Chapel Hill, NC @ Nightlight w/ Collossus 03/09 Murrell’s Inlet, SC @ Rockin Hard Saloon 03/10 Columbia, SC @ New Brookland Tavern w/ Carolina Chupacabra 03/11 Athens, GA @ Caledonia Lounge w/ Savagist, Guzik 03/12 Birmingham, AL @ Nick w/ Aethenoth 03/13 Lake Charles, LA @ Luna Live w/ Large Marge 03/14 Austin, TX @ Headhunters – Small Stone SXSW Showcase 03/15 San Antonio, TX @ Nightrocker Live – SXSA Small Stone Showcase w/ Wo Fat & Las Cruces 03/16 Austin, TX @ Scoot Inn – Converse/Thrasher “Deathmatch” @ SXSW – The Power of the Riff – Free Day show 12-4pm. 03/16 Fort Worth, TX @ The Grotto – Fuzzed Out! Fest w/ Wo Fat and Southern Train Gypsy, Ape Machine, Been Obscene, Mothership 03/17 Nashville, TN @ TBA
Posted in Reviews on January 23rd, 2013 by H.P. Taskmaster
Based out of New Haven, Connecticut, fuzzy trio Crooked Hook were a rarity for East Coast heavy rock. During their time together, they put out a self-titled demo EP (2006) and a follow-up full-length, called The Captain Will be Your Guide (2007), garnering some considerable appreciation among the faithful, but not really fitting in with the heavy rock of the day. There were a few others around of their ilk — Pennsylvania’s Pearls and Brass come to mind most readily — but Crooked Hook had more classic rock swagger mixed with their blues, and their tones were straight-up vintage ’70s in a way that hadn’t really caught on yet as a viable approach. In the end, they faded following the release of The Captain Will be Your Guide and haven’t been heard from since.
Safety Meeting Records, which initially issued the 28-minute demo as well as the subsequent album on CD, is revisiting Crooked Hook‘s beginnings with a reissue of the former. Pressed to 150 gram, 45 RPM vinyl (a CD is also included), they are limited to 100 copies and duly faithful to the sweet, organic tonality of the original release. In fact, with a similarity in packaging that goes right down to the thick cardboard stock of the LP sleeve and the stamped design on the front cover — the CD came in the same style package, but obviously smaller — everything about this seven-years-later version of Crooked Hook‘s Crooked Hookharkens back to when these songs first appeared. The only difference is the format and the fact that in 2013, one can listen to the five tracks in a totally different context.
The difference? Well, in the last seven years, what was an oddball approach from Crooked Hook as early adopters of the post-Witchcraft vintage ethic has become a mainstay element of underground heavy. It’s always easy (and often fun) with a reissue to imbue an album with posthumous import, as though simply because it’s removed now from its original sonic ecosystem, it matters more, but there’s little question in my mind that the band were ahead of their time. In fact, that was probably the problem. If Crooked Hook were kicking around the seven-minute “I Just Might Crack” today, they’d be right in line with some of Tee Pee Records‘ best echoey retro heavy psychedelia. Their songs were catchy and straightforward enough to be readily accessible, thick enough in bassist RickOmonte‘s tone and imbued with a grooving nonchalance by guitarist Joey Maddalena‘s vocals that “cool” became as much an instrument as anything else. Even on the closing jangle of “Slow Sun,” on which drummer Jason Bates thumps out a blues stomp beneath more open guitar, they seem to presage the big-sky Americana that’s currently working its naturalist way into US heavy psychedelia.