Posted in Whathaveyou on February 23rd, 2015 by H.P. Taskmaster
I’m not sure if the song below is “Scaffolds of the Sky,” like the album title of Mirror Queen‘s forthcoming long-player due out April 21 on Tee Pee, or if it’s “Scaffold of the Skies,” which is what the track is listed at on the Soundcloud player, but it’s probably more important to take away the album’s release date anyhow. That was April 21, if you missed it, and since it’s the same day Tee Pee is releasing the new The Atomic Bitchwax record, Mirror Queen are in good company. I’ve seen the NYC four-piece play some excellent gigs since their 2011 debut, From Earth Below, was released — as well as seen them have a couple lineup changes — and the new cut, whatever you might want to call it, only makes the prospect of the album from which it comes more intriguing.
The PR wire asks you to dig:
MIRROR QUEEN to Release New Album Scaffolds of the Sky April 21
NYC Volume Dealers Take Guitar Rock by Force with Ominously Titled New LP
New York City’s MIRROR QUEEN will release its new album Scaffolds of the Sky on April 21 via Tee Pee Records. The follow-up to the band’s 2011 LP, From Earth Below, Scaffolds of the Sky was recorded in front of a wall of Marshall amplifiers at Momek Studios in Brooklyn, and was mastered by Jeff Lipton at Peerless Mastering (Roky Erickson, Big Star). A mainstay in the NYC hard rock scene, MIRROR QUEEN has shared the stage with heavyweight peers such as Earthless and The Shrine and toured Europe with legends such as Uli Jon Roth and UFO.
MIRROR QUEEN’s driving music accelerates at the distinct point where NWOBHM and heavy Prog Rock intersect; a direct and definite delineation of an era when urgent metallic sound was the order of the day. MIRROR QUEEN’s twin-guitar harmonies and rhythmic gallop? recall early Iron Maiden and Judas Priest, while its hook-laden, timeless riffs and instrumental fireworks reference cherished champions UFO, Blue Öyster Cult and Captain Beyond. Scaffolds of the Sky is a modern day collection of laser-focused, lights out songs that carry the listener across a myriad of musical thresholds, each at once, time-honored and top-notch.
Scaffolds of the Sky track listing:
1.) Scaffolds of the Sky 2.) Quarantined 3.) Strangers in Our Own Time 4.) Vagabondage 5.) At the Borderline at the Edge of Time 6.) Dark Ships Arrived 7.) Wings Wetted Down
Posted in audiObelisk on February 18th, 2015 by H.P. Taskmaster
Today — pretty much right now, if you want to be technical about it — Palaver Records has launched preorders for the first in a series of split 7″s it’s calling Sludgy Erna Bastard. Say the title out loud and with just the right accent and it becomes a play on “sludgier than a bastard,” which is a standard that the first installment, featuring Washington D.C. heavy rockers Borracho and Brooklyn’s own Eggnogg, easily lives up to across its relatively brief span. Both bands contribute one song, topped off with cover art by Eggnogg guitarist Justin M. Karol, and between the two of them it’s more or less 11 minutes of choice, thick-cut riffing and heavy, rolled-out grooves, Borracho‘s “King’s Disease” finding that trio pushing further its modus of hooks and badass swing, while Eggnogg‘s “Slugworth” unleashes an elephantine stomp that’s bound to turn some heads their way.
What the two bands have in common is that they’re both in the process of settling into their current configuration. For Borracho, Sludgy Erna Bastard Vol. 1 is another step forward from last year’s split with Boston’s Cortez (review here) and their second full-length, 2013’s Oculus (review here), and as one can hear on the track, guitarist/vocalist Steve Fisher, bassist Tim Martin and drummer Mario Trubiano sound not only cohesive but dynamic, the chemistry between the three of them having been honed across a bevvy of short tours, around the Eastern Seaboard, in Europe last year (including a stop at Desertfest), and most recently for three shows in California last month. As their reach has expanded — they’ll also have a split out on Ripple in April/May with Volume IV – their riffy style has solidified, and after starting as a four-piece on their first album, 2011’s grower Splitting Sky (review here), they’ve progressed into one of the finest three-pieces East Coast heavy rock has to offer. “King’s Disease” has a touch of Southern-styled raucousness to it, but is right in line with the kind of roll that Borracho does best.
While Borracho went from four to three, Eggnogg have gone from three to four in the last couple years. Bassist Corey Dozier joined in 2013 as Bill O’Sullivan (also vocals) moved from bass to guitar alongside Karol, and drummer Jason Prushko (also of math-rockers Mean Little Blanket and numerous other projects) came aboard in 2012, following the recording of Eggnogg‘s most recent studio outing, the Louis EP (review here) — though they also had a compilation of material, Apocrypha, out in 2013. As the first recorded track with both Prushko and Dozier involved, “Slugworth” bodes remarkably well for what might come when Eggnogg get down to releasing their awaited next full-length, You’re all Invited, as their nod has never sounded more righteous. “Slugworth” starts out all quiet an unassuming, but once the full tonal thickness kicks in, it’s an enviable push of low end, Prushko‘s kick drum the hard foot landing each crater-making marker of time. Palaver says Eggnogg‘s You’re all Invited is due to release later this year. Listening to “Slugworth,” I hope even more that turns out to be the case.
Sludgy Erna Bastard Vol. 1: Borracho & Eggnogg is out March 19 and can be ordered now from Borracho‘s Bandcamp and Eggnogg‘s Bandcamp. Please enjoy the premiere of “King’s Disease” and “Slugworth” below, followed by the official announcement from Palaver:
Palaver Records announce split 7” featuring Borracho & Eggnogg
Palaver Records announce the release of a new split 7” single featuring Washington, DC riff monopolizers Borracho and Brooklyn, New York-based genre-bending heavy rockers Eggnogg, to be released on March 19. The record will feature a brand new Borracho original “King’s Disease” and new Eggnogg tripper “Slugworth.” The limited edition of 300 copies will be available on black vinyl, with original artwork by Eggnogg’s own Justin Karol. Both tracks can now be streamed at TheObelisk.net, and preorders are available from Palaver Records.
The record is the first in Palaver Records’ new “Sludgy Erna Bastard” series, that aims to pair up and highlight some of the best heavy underground acts today. Palaver Records representative Gary Branigan said “We’ve been working with Eggnogg for 4-5 years now and really want to embrace this scene. We’ve never seen such a responsive audience. Sludgy Erna Bastard will cater to fans of heavy rock (desert, stoner, doom, sludge, psychedelic), specifically those that love vinyl. The name Sludgy Erna Bastard is a play on words from an American phrase. This is the first of many Sludgy Erna Bastard releases. All of which will feature two bands with artwork by Justin Karol from Eggnogg.”
Sludgy Erna Bastard will be Eggnogg’s first release since 2013’s Eggnogg Apocrypha. After a break in studio recording following the departure of drummer Ryan Quinn, Eggnogg is proud to present the “Slugworth” single, a fascinating excerpt from their forthcoming LP You’re All Invited. Featuring the drumming of Jason Prushko, who joined Eggnogg’s ranks in the summer of 2012, “Slugworth” marks a new height of creative achievement for the band. “Slugworth” is an indication of things to come from a newly resurrected Eggnogg—one which promises to be “sludgier than a bastard.” Eggnogg’s part in the split single Sludgy Erna Bastard will pave the way for their full-length You’re All Invited, which will be released in 2015.
This release is Borracho’s second split 7” in the past year, following 2014’s split with Cortez. In that time the band has taken their live show to Europe and back, and will be kicking off a schedule of winter and spring dates in the eastern US starting tomorrow. The dates include some familiar stops, and team the band up with some powerhouses and rising stars of the US stoner/doom scene. Their March 20 hometown show at The Pinch in Washington DC will serve as the official 7” release show, and will also feature Columbus OH fuzz-freaks Lo-Pan and Detroit’s Against the Grain. Expect more news and new music from Borracho very soon.
Borracho Eastern US dates February 19 – Washington, DC @ Velvet Lounge w/ Carousel, Joy & Caustic Casanova March 20 – Washington, DC @ The Pinch w/ Lo-Pan & Against the Grain March 26 – Philadelphia, PA @ Kung Fu Necktie w/ Doctor Smoke, Wasted Theory & Heavy Temple March 27 – York, PA @ The Depot w/ Doctor Smoke & Wasted Theory March 28 – Baltimore, MD @ Metro Gallery w/ Elder, Fortress & The Convocation April 25 – Stroudsburgh, PA @ The Livingroom June 7 – Washington, DC @ The Pinch w/ Mos Generator, Wounded Giant & Wasted Theory
Posted in audiObelisk on February 17th, 2015 by H.P. Taskmaster
The single-song Forest of the Lost EP from Brooklyn four-piece Mountain God first came to my attention when the band played part of it at a late-2013 gig at The Grand Victory in their native borough. Mountain God had a different lineup at that point, but it was easy enough to see that their noise-infused post-sludge was coming together quickly in the wake of earlier-that-year’s Experimentation on the Unwilling demo tape (review here). Resonant in both its crushing tones and bleak atmospherics, Forest of the Lost is set to be released this Friday as a limited cassette at a show held at Brooklyn’s The Acheron after more than a year in the pipeline.
For many, the 19-minute single-song narrative will be their first encounter with Mountain God, who also made the trip west last year to play Hoverfest in Portland, Oregon. Recorded as the four-piece of guitarist/vocalist Ben Ianuzzi, bassist Nikhil Kamineni, keyboardist Jonathan Powell (since replaced by vocalist/noisemaker Chris “Dickler” Dialogue) and drummer Ian Murray (since replaced by Ryan Smith, also of Thera Roya), “Forest of the Lost” works in two parts, both of which offer resolute churn as they make their way toward a noisy apex. One can see in the waveform that the split comes past the halfway point in the 19:19 sprawl — or what would be a sprawl but for the claustrophobic feel of the track — and the first part devolves from fervent chugging into a wash of noise only to have the second movement pick up with a near-psychedelic feel in the guitar, airy like post-rock gone awry and abducted along some desolate highway.
Prior to that divide, Mountain God (as they were) take doom’s tonal lurch and post-hardcore sludge’s bombast to someplace entirely more malevolent, never losing sight of atmosphere as Ianuzzi snarls out echo-soaked vocal misanthropy. Past the five-minute mark, they set about pulling the song to pieces, Murray‘s drums grounding an otherwise untenable onslaught of drone, and during minute 11, the guitar steps forward to introduce the central riff of the second half, an intensity that jams en route to a head that, by the time it gets there, is more slammed than played, the last hits of “Forest of the Lost” also proving some of the hardest hitting. The consuming force of the EP — recorded and mixed by Kamineni at Archaic Audio – isn’t to be understated, but it’s worth letting you find that out for yourself, so I’ll get the hell out of the song’s way and do that.
Stream “Forest of the Lost” on the player below and dig into the release/show info, which follows:
On February 20th, 2015, Mountain God will release its sophomore record, “Forest of the Lost”. The EP is a concept record, consisting of a single song broken down into different movements.
The diverse track twists and turns over the course of 20 minutes, focusing on the plight of a medieval village, located somewhere in the deepest recesses of mankind’s history. The village children, left to their own devices, disappear into the night searching for proof of a local witch, all the while their parents engage in acts of depravity and debauchery.
As the story reaches a climax, the listener is challenged into thinking about the cast of characters, and the true nature of good, evil, neutrality, and indifference. Musically, the record is a melding of 60s and 70s psychedelics and aesthetics with the heaviness, crunch, and shattering riffs of traditional doom and metal.
Mountain God, in conjunction with the acclaimed booking/promotion agency Signature Riff (New Jersey), is proud to announce the “Forest of the Lost” record release show, to be held at the Acheron (Brooklyn, NY) on February 20th, 2015. “Forest of the Lost” will be available to download through Mountain God’s bandcamp page, as well as physically through a limited run of 50 cassettes.
MOUNTAIN GOD (NYC) Record Release Show (Archaic Revival Records) w/ IMPERIAL TRIUMPHANT (NYC), HERCYN (NJ) and DREADLORDS (PA) When: Feb 20th, 2015 Where: The Acheron, 57 Waterbury Street in Brooklyn Cost: $5 advance/$8 day of Doors: 8pm
Posted in Whathaveyou on February 13th, 2015 by H.P. Taskmaster
Brooklyn trio The Golden Grass are headed overseas next month in support of their 2014 self-titled Svart Records debut (review here) and subsequent short releases. This will be the three-piece’s second trip to Europe following a stint last fall, but their first with new bassist Morgan McDaniel, who was announced as having joined the band at the start of the year in place of Joe Noval. Upon their return, The Golden Grass will also take part in the Eye of the Stoned Goat 5 in Amityville, Long Island, early in June, alongside Mos Generator, Wounded Giant and many more.
Joining them on the European trek will be Hypnos, from Sweden, whose self-titled debut came out in September. Of special note is the show on April 10, at which point The Golden Grass and Hypnos meet up with Lo-Pan and Abrahma en route to the last stop of the tour, which is Roadburn in the Netherlands.
Swamp Booking sent this down the PR wire:
American and Swedish Psychedelic Boogie Tour all over Europe, March/April 2015!
Presented by Swamp (Born to promote)!
Swamp Booking is proud to announce the the return to Europe by one of the most exciting new groups of the global underground Heavy Rock scene, THE GOLDEN GRASS! Feel-good heavy boogie rock music, complete with soaring soulful harmony-laden vocals, epic psychedelic/prog passages, southern/country vibrations and top-notch musicality!
They will on tour with another great band from Sweden on Crusher Records: HYPNOS. They play heavy action boogie rock and is at this moment one of the fastest growing bands on the Swedish heavy rock scene. Never before in the history of Crusher Records has a band been signed to the label this quickly!!
25.03 – Copenhagen (dk) – KB18 26.03 – Berlin (de) – DUSTOWN 27.03 – Ostrava (cz) – TBA 28.03 – Budapest (hu) – Trafik 29.03 – Bratislava (slo) – U O?ka 30-03 – Wien (at) – Arena 31-03 – Münich (de) – Backstage 01-04 – Graz (at) – Sub 02-04 – Zagreb (cro)- Vintage Bar 03-04 – Vicenza (ita)- CS Arcadia 04-04 – Castel D´ Ario – Mantova (ita) – L´Hostaria 05-04 – Olten (swi)- Coq dór 07-04 – Köln(de)- Yard Club 09-04 – Hamburg (de)- Kleiner Donner 10-04 – Lichtnefels (de)- Punchy Cats 11-04 – Den Haag (nl) – De Besturing 12.04 – Tillburg (nl) – Roadburn Festival
Posted in Whathaveyou on January 29th, 2015 by H.P. Taskmaster
I’m not sure where I got the idea, but for some reason I was thinking that Blackout‘s forthcoming debut on RidingEasy Records was a reissue of their 2013 EP, We are Here (review here). It’s not. It’s a new album, a full-length. I’ll be damned. Had I been correct to start with, there’s no way I wouldn’t have included Blackout‘s first LP in my 2015 most anticipated list, having so thoroughly dug that EP and the Converse-sponsored EP (review here) that followed it in 2014. Sometimes it takes me a minute to catch up on stuff, though, so better late than never.
Following the album’s release on March 31, Blackout will head west in May for a slot as part of the Psycho California fest’s dream-team lineup (info here). They’ll be in good company.
The PR wire makes sure we’re all on the same page:
Blackout announce release of new album via RidingEasy Records in March
This March Brooklyn’s self-proclaimed “pillars of rock and roll righteousness” will release their new, self-titled album through Los Angeles’ equally badass record label RidingEasy Records.
Blackout was initially formed by guitar player/vocalist Christian Gordy and drummer Taryn Waldman at Gordy’s July 4th cookout in the Bushwick neighborhood of Brooklyn, New York back in 2011. Waldman, a former Hooter’s waitress turned big time commercial film editor and Gordy; a one-legged bartender/artist/BBQ enthusiast were (by their own admission) something of an oddball couple for NY’s rigid metal scene. Yet with no direction and zero discussion both connected instantly and instinctively began banging out massive caveman jams against a patriotic backdrop of food, alcohol and the stars and stripes.
In fact as far as names go, choosing Blackout – suggesting a power crash, sudden and temporary loss of consciousness or a mob hit on an entire family – was a total no brainer.
In the months that followed the pair recruited close friend Justin Sherrell on bass duties, and as things began to get louder and considerably heavier in November 2012 the trio entered Vacation Island Studio with engineer and producer Rob Laakso (Diamond Nights, Swirlies, Kurt Vile) to record their debut release We Are Here. Choosing to self-release the album on vinyl in early 2013 it garnered plenty of acclaim from some of the hottest blogs du jour and was praised for its Melvins-esque ferocity and pounding Sleep-like groves.
Following an extensive gigging regime in, around and way beyond New York’s city limits with acts like Acid King, Weedeater and Trouble the band took to the studio once again in the summer of 2013 to record a body of new songs. Songs that strictly worked off the riffs spontaneously summoned during practice sessions where old material was revived, ideas hashed out and sounds reworked into the record you will soon hear in full. Songs that make up Blackout, the band’s eagerly awaited follow up and soon to be released revelation on RidingEasy Records.
Blackout by Blackout will be released worldwide on RidingEasy Records on 31st March 2015.
Posted in Whathaveyou on January 16th, 2015 by H.P. Taskmaster
Though they’ll end their career as a four-piece with the lineup of Nicholas Palmirotto, Seanbryant Dunn, Carmine Laietta and Jeff Stieber, when it came time to find a picture of the band to go with this post, I had to roll with the fivesome that included Drew Mack. Not that Brooklyn’s Hull couldn’t knock you on your ass with four members on stage, but it was the five-piece who in 2011 released the should-have-been-a-landmark full-length Beyond the Lightless Sky (review here), their second album for The End Records following their 2009 debut, Sole Lord, and 2007’s Viking Funeral demo, which the band later self-released on vinyl.
That album solidified what seemed a nebulous debut into one of the most innovative takes on post-metal to come from the East Coast — and yes, that counts Isis as a Boston band. Beyond the Lightless Sky was dynamic, ambitious and gorgeous even at its most brutal moments. Hull were in utter command of their sound and their songwriting. Peaks rose out of deep valleys, ambient stretches led to wave after crushing wave of furious riffing. They crossed genres the way most people step on slabs of sidewalk, and were perhaps underappreciated in a native borough drawn to sonically friendlier forms of psychedelia, heavy rock and doom, but when they got on stage and launched into “False Priest” or “Fire Vein,” there was no fucking with the world they created in their volume. They’re the kind of band who, people who saw them, will talk about having seen them.
Hull‘s final release was last year’s Legend of the Swamp Goat 7″ (review here), a reworked and expanded early recording issued to coincide with a European tour alongside Elder that included a stop at Roadburn in Tilburg, the Netherlands. I did not imagine last April as I showed up early to watch them soundcheck that would be the last time I’d get to see them play, but the earplug-melting heaviness they brought to bear was only further evidence of their broad reach, and it was no less lethal coming from Stage01 than it might’ve been at the Saint Vitus Bar. I always kind of felt like I took Hull for granted when I lived in the New York area. Beyond the Lightless Sky showed me the jackassery of that position, and at least I can say that the last time I watched them, I appreciated the hell out of being able to do so.
A follow-up to that record had been discussed for some time, and it’s unfortunate we won’t get to hear the next stage of Hull‘s development. On Saturday, Feb. 21, theywill play their last show — never say never, of course, but one approaches a disbanding with some finality — with Wizard Rifle, their former tourmates in Elder and Cleanteeth, in whose lineup Mack currently resides, at CoCo 66.
Palmirotto announced the gig and thanked those who’ve supported the band over the years:
So, after 11 years with my brothers, Seanbryant, Carmine, Jeff, and Drew, It is with bittersweet sentiment to announce the “final” (what does final mean anyway?) HULL show on February, 21 at Coco SixtySix. This is the longest relationship I’ve ever been in, and although we all love each other like family, there are so many other things going on in our lives now that we decided it was best to throw a rager in celebration of the blood, sweat, tears, hardships, good times, etc. spent over the last decade, and go out with dignity.
A huge shout out to The Acheron and Bill, Denis, Carmen, Adrienne and Saint Vitus Bar and David, George, Arthur and Justin for the constant support and inimitable dedication to the scene. We figured that there was no way to choose between the two venues, so we decided to have the show elsewhere. Immense love to our manager, Luis with Necromono Mgmt for dealing with our bullshit over the years, our label, The End Records and Andreas Katsambas for putting up with our demands. Never ending love to Liz Ciavarella-Brenner and Dave from Earsplit Compound for the great PR, Kim Kelly for being the fucking awesome human she is, Atsuhiro Saisho for our logo and dear friendship, Jorden Haley, Tamara Waite-Santibanez, Nathan Overstrom, Josh Graham, Seldon Hunt, John Cook and David Cook for believing in us enough to grace us with your superb artwork, Brett Romnes for being our first drummer and brother in arms from the beginning and the I Am the Avalanche crew, Vinnie Carijuana, Mike Ireland, Kellen Thomas, Brandon Swanson for always being bros. caltrop and Sam, Adam, Murat and John for being the best tour buddies a band could ever ask for.
Mike , Travis, and Aaron from Yob for always being awesome to us. Billy Anderson for the skillz and the good times. Walter and Jurgen from Roadburn Festival for believing in us. Cameron Whitman for the amazing photographs and shoulder to lean on. David Jacobs for his lawful consulting and smiles and Ben Ritter for your images and laughs. Jason Flanell for the stupid tattoos and weird conversations. Tuck Pendelton for shredding the bass in the beginning. Markus Shaffer from Old Scratch Fabrications for his unbelievable craftsmanship and friendship. Joshua Lozano for always being there. Fade Kainer for always helping out. Of course my family, Gary, Carla, Lindsay and Stuart for always loving and never giving up on me. This list could go on forever. If I forgot anyone, I’m truly sorry. Please join us. XO
February 21st HULL (The final show) Elder Wizard Rifle Cleanteeth
Seems only fair to close out another year of Wino Wednesdays with the most recent clip possible. I guess it’s not really such a novelty anymore that a show can happen and video from it can surface almost immediately — instant gratification isn’t really anything new at this point, at least as regards digital media — but I still get a kick out of it when something like this clip of Wino at the St. Vitus bar in Brooklyn this past weekend comes up. Because, hey, this pretty much just happened. And I’m old. The latter probably has something to do with it as well.
The occasion was a two-night fest called Feast of Krampus held in Philly at Underground Arts and the aforementioned St. Vitus bar. Also on the bill with Wino were Sixty Watt Shaman, Godmaker, Moon Tooth, Birch Hill Dam, Wizard Eye and Buzzard Canyon. A stacked lineup, to say the least, and plenty of volume to precede an acoustic set that probably would be a mystery to all but the converted who knew what and whom they were watching. Anyone else might wonder why six loud-as-hell bands might precede a guy playing (mostly) unplugged solo singer-songwriter material.
But you get it, so it doesn’t really need explaining. I’m happy to be able to round out 2014’s many Wino Wednesdays with this latest show from the man himself, and all the better that it was filmed by ubiquitous Brooklyn cameraman Frank Huang, whose work is as admirable as the ethic that so steadily produces it. Seems like it was a pretty cool show, and of course no matter the context, Wino always manages to pull off unmatched heavy vibes.
Hope you enjoy and hope you have a great New Year’s:
Wino, Live at Feast of Krampus, St. Vitus bar, Brooklyn, 12.28.14
Posted in Whathaveyou on December 30th, 2014 by H.P. Taskmaster
Brooklyn four-piece Mountain God are getting ready to release their Forest of the Lost EP in Feb. on Archaic Revival Records, and they’ve announced the release show Feb. 20 at The Acheron. Joining them on the bill for the night will be Imperial Triumphant, Hercyn and Dreadlords, so it should prove an evening of varied extremities, but some pretty steady pummel throughout. I’ll be interested to hear how Mountain God‘s lineup shifts since the release of their 2013 demo, Experimentation on the Unwilling (review here), and if you make your way through the info below, you’ll notice I’ll be streaming the EP a week before it’s officially out, so we’ll get an advance answer on that question when the time comes.
Mountain God: “Forest of the Lost” Record Release Show Announced
Mountain God, in conjunction with the acclaimed booking/promotion agency Signature Riff (New Jersey), is proud to announce the “Forest of the Lost” record release show, to be held at the Acheron (Brooklyn, NY) on February 20th, 2015. “Forest of the Lost” will be available to download through Mountain God’s bandcamp page, as well as physically through a limited run of 50 cassettes. Additionally, the band is proud to announce that the Obelisk, noted blog for all things heavy, will stream the record beginning the week before the release date.
Mountain God arrived on the scene back in 2013 with their first record, “Experimentation on the Unwilling”. Since that time, the band has continued to explore and develop their own musical identity, melding guitars, bass, and various types of keyboards and synths to create what some concert attendees have described as a “wall of sound, emotion, and texture”. Live, Mountain God works toward making each individual show an experience unto itself, a non-stop, unrelenting barrage of riffing, melody, and noise.
The band is proud to share the stage with black metal juggernauts Imperial Triumphant, who have been hard at work on their sophomore release “Abyssal Gods”, and are no strangers to the Brooklyn scene. Also on the bill are New Jersey’s own Hercyn, who recently put out a split with Brooklyn act Thera Roya. They are known for their own trailblazing style of experimental, atmospheric black metal, complete with plenty of tremolo picked, intense passages. Rounding out the bill is Pennsylvania’s Dreadlords, who recently made CVLT’s Top 6 Avante Garde releases for their first full length, “Death Angel”.
Huge thanks to New Jersey’s Signature Riff, well known in the metal community for their work on such festivals as Martyrdoom, as well as countless other shows supporting bands from all over the world.
When: Feb 20th, 2015 Where: The Acheron, 57 Waterbury Street in Brooklyn Cost: $5 advance/$8 day of Doors: 8pm