New York‘s Tee Pee Records, not to be outdone, has just put out info on three showcases they’re doing in October, one in Brooklyn for CMJ, one in Montreal and one in Los Angeles. Good to keep busy, I guess. Here’s the PR wire info:

Tee Pee Records has announced a trio of label showcases set to take place this Fall. The independent record company will grandstand its diverse family of artists this autumn at special events on both sides of the US and also in Canada.

Pop Montreal 2010 presents the Tee Pee Records Showcase
Saturday, October 2
Katacombes (1635 St-Laurent, Montréal, QC H2X 2S9)

Featuring: Priestess, Naam, Mirror Queen, The Main Street Gospel
Tee Pee Records and CMJ present:
The 2010 Tee Pee Records CMJ Showcase
Friday, October 22
Union Pool (484 Union Avenue Brooklyn, NY 11211)
Featuring: Priestess, Naam, Quest for Fire, Mirror Queen, The Atomic Bitchwax, Hopewell, Weird Owl, The Main Street Gospel

Tee Pee Records proudly presents All Hallows Eve
Thursday, October 28 & Friday, October 29
Spaceland (1717 Silver Lake Boulevard, Los Angeles, CA 90026)
Featuring:
Night one: Black Cobra, Ancestors, Black Math Horseman, Imaad Wasif
Night two: Big Business, The Fucking Wrath & two more TBA
*Special kick off performance by Jason Simon on October 27 @ Vacation Vinyl

Say what you want about A Storm of Light making their name because Josh Graham handles visuals for Neurosis (the band’s first gigs were opening for them at Brooklyn Masonic Temple), countering all those arguments is a whopping list of tour dates in both the US and Europe that shows them working their collective ass off to support their second album, Forgive us Our Trespasses. And furthermore, that album kicked ass, so quit being grumpy that their friends are cooler than your friends and get with the program.

So there.

Here is the aforementioned plethora of dates, complete with comment from Graham on the work ahead, all courtesy of the PR wire:

Brooklyn kings of atmospheric doom, A Storm of Light, are gearing up for a short stint of US tour dates next week that include performances with experimental metal/noise exhibitionists Today is the Day and reunited stoner metallers Sleep before heading to Europe for a month’s worth of shows in October.

Said guitarist/vocalist John Graham of the upcoming shows: “The next couple of months are going to be a lot of fun for us. We’re lucky enough to share the stage with the legendary Sleep, brutalists Today is the Day, and then embark on our fourth European tour. Awesome!”

A Storm of Light US/Europe tour dates 2010:
08/31 31st St Pub – Pittsburgh, PA w/ Today is the Day
09/01 Ottobar – Baltimore, MD w/ Today is the Day
09/03 Santos Party House – New York, NY w/ Today is the Day
09/04 AS220 – Providence, RI w/ Today is the Day
09/07 Starlight Ballroom – Philadelphia, PA w/ Sleep
09/08 Brooklyn Masonic Temple – Brooklyn, NY w/ Sleep, Lichens
10/01 Brudenell Social Club – Leeds, UK
10/02 Whelans – Dublin, Ireland w/ Stand up Guy
10/03 The Spring and Airbrake – Belfast, Ireland w/ Stand up Guy
10/04 Captain’s Rest – Glasgow, Scotland
10/05 The Croft – Bristol, UK
10/06 The Underworld – London, UK w/ Sedula, Sons of Alpha Centauri
10/07 Nouveau Casino – Paris, France
10/08 Simplon – Groningen, Netherlands
10/09 013 – Tilburg, Netherlands
10/10 Juha West Matinee Show – Stuttgart, Germany
10/12 Rhiz – Vienna, Austria
10/13 Kset – Zagreb, Croatia
10/14 Randall – Bratislava, Slovakia
10/16 Firlej – Wroclaw, Poland
10/17 Powiekszenie – Warsaw, Poland
10/20 Nabaklab – Riga, Latvia
10/21 Nosturi – Helsinki, Finland
10/23 Garage – Oslo, Norway
10/24 Debaser – Stockholm, Sweden
10/25 Loppen – Copenhagen, Denmark
10/26 Hafenklang – Hamburg, Germany
10/27 Feierwerk – Munich, Germany
10/28 Spazio – Turin, Italy
10/29 Urban – Perugia, Italy
10/30 Init Club – Rome, Italy

It was disappointing to roll into Ace of Clubs and find out Valkyrie had pulled out of the show. It was a family emergency, so you couldn’t really hold it against them, and with no shortage of killer bands left on the bill, the night would be more than salvageable. Any evening that gets topped off with an Earthride live set is alright by me.

I was at Alkahest‘s first show, and I’ve seen them three or four times since, and every time I do I get something completely different out of it. This time the guitars were played up in the live mix and the post-metal aspects of their sound were what came through most, but what I think is really fascinating about Alkahest (aside from the complexity of their pedal board arrangements) is how the rhythm section refuses to just do the Isis beat — you know which one I’m talking about — and leave it at that. It brings something new to the sound and makes them less derivative than they’d otherwise be.

Performance-wise, they were more subdued, especially vocalist Chris, who stood still most of the set and seemed to let the music wash over him, allowing for only occasional flareups of turbulent energy. One thing that’s remained consistent about Alkahest these last several months is the drama in their music, so that covers a lot of ground other bands might leave to thrashing around on stage.

Fuckin’ Admiral Browning. I know I’ve seen them before, but this might have been the first time I was lucid enough to actually remember what they were like, and mein gott, they fucking killed. Heavy, technical, grooving, they did it all, and they did it instrumental, and they demolished the unsuspecting Manhattan crowd almost immediately, as though dispatching them with a wave of the hand. It was sick. I reviewed their Magic Elixir EP a while back, but I hereby revise my position: the recording doesn’t do them justice at all. You need to see this band.

Only thing was they went on a little long, but beyond that, they were a highlight of the night. It seems like blasphemy to say any band playing with Earthride might be heavier than they are — because how could such a thing be possible? — but Admiral Browning were the most potent power trio I’ve seen in a long time. Totally righteous, totally unpretentious, just blisteringly heavy and so loud my earplugs seemed to be rendered useless. Yes, yes sir.

It was The Resurrection Sorrow‘s show, and as per usual, they had the biggest crowd of the night. I don’t know where they find these people, or how they get them to come from whatever dance club they were previously at and see at least part of a doom show, but then, their sound borders on a kind of post-Pantera groove metal, so that might have something to do with it. Needless to say, if I knew how to draw people like that, I would be too busy doing so to figure out The Resurrection Sorrow‘s methods.

And what a magical world that would be.

You couldn’t even get close to the stage — hence the faraway picture — and I know I wasn’t about to elbow past the steroid dude with Spartan helmet tattooed all around his head, so I stayed in the back and watched from there as they covered Ozzy‘s “Believer” from Diary of a Madman, bassist Alex Coelho making the most of its stomping lines. They’re obviously not without their commercial aspirations, but The Resurrection Sorrow are good at what they do, and I’m not going to hold that against them just because I prefer bands no one else likes. They played to their crowd and their crowd ate it up.

Earthride vocalist and Maryland doom legend Dave “Sherm” Sherman (Spirit Caravan, Wretched) showed off his new Motörhead tattoo, and the band ran through a monstrously heavy set of tunes from their albums Earthride, Taming of the Demons (the title track was a highlight), Vampire Circus and the latest, Something Wicked. I took some video which you’ll find below. Sherm rode the riffs of Kyle Van Steinburg with his arms up, chopper-style, and indeed, it was the evening’s high point. Yeah, it still was a bummer Valkyrie had to pull out of the last two nights of the tour, but even with some technical problems midway into the set, Earthride more than justified the trip to the city.

How into Earthride was the audience that stuck around? Well, there was moshing, which you almost never see at a doom show (and I would argue rightly so). Chris from Alkahest was headbanging so hard I thought he’d give himself a concussion, and Alex Dementia from The Resurrection Sorrow jumped on stage several times. It was like it was a birthday party for The Riff, and we were all having our cake. Tired from a long day of driving, I didn’t think I’d make it through the whole set, but they kept me there right to the end, and when it over I was glad to have stayed.

It goes without saying that this show was at Ace of Clubs. Nowhere else in Manhattan has the gumption to put on a gig like this on a Saturday night. And even if they did, it wouldn’t be nearly as good without the cornbread upstairs, so there you go.

In thinking about writing this review, I looked up the last time I saw Devil to Pay at Ace of Clubs, and wow, I must have been in a shit mood that day. Tried to remember what would have had my panties all up my butt, but can’t think of any lasting traumas from November. As ever, I’m sure it was something trivial and there was nothing I could do about it. That’s usually what does it.

This time around, Devil to Pay sounded pretty killer. They’re kind of right in the heavy rock middle ground; not quite just stoner, not quite just doom, not entirely Southern but every now and then belting out a guitar lick that’d make Pepper Keenan smile. Some of their material is frustrating in that, standing there in front of the stage, I want the four-piece to really kick into it, bust out a balls-heavy groove and just ride it for five or six minutes, but that’s not their thing. The Indianapolis outfit is more focused on structure, on streamlined songwriting, and since they’re good at it, I’m not about to hold that against them. They had a good crowd for their set and everyone, myself included, was much pleased at the rock that ensued. I’d love to hear an album from them with a really vibrant, raw production. Take away some of the class from what they do, dirty it up a bit, and see how it comes out.

Lo-Pan, who followed immediately, are fast becoming one of my favorite bands. I’ve seen them three times now in the last four months (once in Michigan, twice at Ace of Clubs), and with every set they’ve delivered solid heavy American stoner rock, unabashed in its fuzzy glory, killer in its rhythms and topped with soulful vocals. They’re the real deal, and I get the feeling if all goes well, their next album might just be the best Small Stone Records debut since Sasquatch (though, admittedly, Lo-Pan have an advantage in this since it wouldn’t actually be their first album). I recorded video of one of their songs — a new one, I think — which you can view below.

I don’t know why I didn’t buy a Lo-Pan shirt last time I saw them, but needless to say, I rectified the oversight at Ace of Clubs.

The last band of the evening’s total four was local metal outfit Ikillya, who organized the show. Why a band so outwardly metal would want to play with stoner acts is beyond me, but although they were the odd men out on the bill — maybe they like it that way; it certainly has its appeal — they gave an admirable showing. There’s a lot of performance in what they do. They even have a banner to play in front of. But they back that performance with a level of metallic tightness that I’m just not used to seeing anymore. There are metalcore elements, but they’re more like a crunchier Shadows Fall than a Killswitch Engage, if you understand the difference. If you don’t, I’m sure you’ll survive. Either way, their sound might not have been in line with what else was happening that night, but their energy and dynamism would have made them stand out no matter who was on the bill, and yes, I do mean that as a compliment.

It was a good night. I saw some good friends, some good bands, and didn’t even get embarrassingly trashed doing it. I’ll be back at Ace of Clubs on August 7 to catch Earthride, Valkyrie, Alkahest and several others I can’t recall at the moment, so expect to hear more about how much ass the venue kicks. Devil to Pay and Lo-Pan are still touring. Check out the rest of the dates here.

It seems like every time Unsane do anything these days, it’s a comeback. I like that. They should just do comebacks for the rest of their career, and since they rule, I’m glad they’re throwing in the added shtick of playing Scattered, Smothered and Covered in its entirety. I hope it works out for them.

The PR wire informs of a comeback already in progress:

Legendary NYC rock powerhouse Unsane has announced summer, 2010 US tour dates. The revered trio — guitarist/vocalist Chris Spencer, drummer Vincent Signorelli and bassist Dave Curran — will kick off its plan of attack with a string of special US live shows this August that will see the band perform its classic 1995 album Scattered, Smothered and Covered from start to finish.

The announcement of the special Unsane live shows coincides with the 25^th anniversary of Amphetamine Reptile Records, once home to the band. As part of the cut to the bone August tour, Unsane will perform alongside The Melvins, Boss Hog and more as one of the featured artists at the AmRep 25^th Anniversary Bash, set to take place August 27 and 28 in Minneapolis, MN.

“We’re really looking forward to the Unsane shows in August,” Chris Spencer comments. “The idea of performing Scattered, Smothered and Covered in its entirety is something that I have wanted to do for a very long time. To do an album that I like that much from start to finish is going to be incredible. We’ve never done this before, and it’s going to be both challenging and very exciting. The thought of being able to also do this at the AmRep anniversary show really kicks it up a notch!”

Unsane tour dates:
August 5 New York, NY Santos Party House (w/ Keelhaul and Pigs)
August 7 Baltimore, MD Otto Bar (w/ Keelhaul)
August 22 Toronto, ON Sneaky Dee’s (w/ Today is the Day, Keelhaul)
August 23 Akron, OH Backstage Concert Club (w/ Today is the Day, Keelhaul)
August 24 Chicago, IL Empty Bottle (w/ Today is the Day, Keelhaul)
August 26 Madison, WI High Noon Saloon (w/ Today is the Day, Keelhaul)
August 27 Minneapolis, MN Grumpy’s Bar (* As part of Amphetamine Reptile Records’ 25th Anniversary Art Show)

Here’s a quick New York moment for you: I’m sitting in my car waiting for 7pm to roll around so I won’t have to pay for parking off 23rd St. in Manhattan. Bison B.C. go on at 7, so once I’m in the clear I’m going to head into the Gramercy Theatre to catch their set, but in the meantime, I’ve got a book with me, I’ve got the Yankees game on the radio and I’m basically good to go.

Then all of a sudden I look up and standing next to the car in front of mine, facing me, is a dude on his phone. Not uncommon. I do a double-take, though, because on second glance, he’s got his shwatz out and he’s pissing right there on the street. It’s not rush-hour or anything, but there are people walking by for sure, and I know damn well he saw me. It was one of those things that, if I was a tourist from the Midwest, I’d be talking about it for years. As it is, I was kind of like, “Eww, wiener,” and went back to reading. Surely I’d not just spent an hour and a half of my life getting to the city to see that.

I’d done it to see Bison B.C., Black Cobra and High on Fire, dammit, and when 7pm rolled around, I busted ass across the street to do that very thing. I didn’t know the show was sold out (dude at the door told me to watch my feet in my sandals), which was a daunting prospect. This was the biggest show I’d been to in a while — venue and people-wise — and to be honest, it’s more than I generally prefer. But that’s a killer mix of bands, and if humanity is the cost of bearing witness, I’ll tough it out.

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Hydra Head artsy rockers/metallers/experimentalists/thinky-thinky-doers Kayo Dot have yet to issue their new full-length, Coyote, which is due out, appropriately, on April 20. Nonetheless, the troupe, led by frontman Toby Driver, have embarked on their next offering already, dubbed Stained Glass. Some people just like to work. The PR wire has more:

Kayo Dot has entered the studio to begin recording their new EP, Stained Glass. The EP will consist of one, long composition of the same title, featuring the lineup of Coyote plus vibraphonist Russell Greenberg (Hi-Red Center, Yarn/Wire, Hunter/Gatherer). Kayo Dot will once again be recording with Jim Fogarty at Zing Studios in Westfield, MA — the man and studio behind Kayo Dot‘s Choirs of the Eye, Dowsing Anemone With Copper Tongue, Toby Driver‘s In The L..L..Library Loft, and maudlin of the Well’s Bath, Leaving Your Body Map, and Part the Second.

Additional recording will take place in various locations around the globe on portable four-track cassette and antique 1/4″ one-track reel-to-reel. The end result will be a dualistic rapport between Fogarty‘s super-clean, crystalline production and the intimate atmosphere of 2AM bedroom whispers. Stained Glass will be released by Hydra Head later in 2010.

Kayo Dot, “Whisper Ineffable” from Coyote:

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…(Alex knows I’m just breaking his balls.)

New York‘s sludgy testosterone rockers The Resurrection Sorrow kick off the first part of their Unholy Divine tour tomorrow, March 10, and the PR wire would like you to know all about it:

Still steadily promoting the hell out of their debut full-length Hour of the Wolf, thunderous New York rock quartet The Resurrection Sorrow will kick off the first leg of their three-part Unholy Divine tour tomorrow in Wilmington, Delaware.

The Resurrection Sorrow ‘s The Unholy Divine tour, Part I:
3/10/2010 Mojo 13 – Wilmington, DE
3/11/2010 The Smiling Moose – Pittsburgh, PA
3/12/2010 The Depot – York, PA w/ Backwoods Payback, Wrath of Typhoon
3/13/2010 The Black and Red Bar – Washington DC w/ King Giant
3/14/2010 The Brighton Bar – Long Branch, NJ w/ The Ominous Order of Filthy Mongrels
3/15/2010 Lit Lounge – New York, NY w/ Maegashira

As I told The Brought Low bassist/backing vocalist Bob Russell while we waited outside guitarist/vocalist Ben Smith‘s work for him to come down with a suggestion as to where to go to lunch and conduct this interview today (March 2, 2010), and as I’ve said on multiple occasions prior, every time I come to Midtown Manhattan, I swear it’s going to be the last time I ever do it. Sure enough, though, there’s always something to bring me back.

This time, it’s The Brought Low‘s Third Record (review here), the band’s first offering in five years since they made their Small Stone Records label debut with Right on Time. An entirely unpretentious and confident collection of songs, it was easily worth the drive into the city to discuss with Smith and Russell the process of making the album with producer Andrew Schneider (Throttlerod, Puny Human, etc.), and as we went to dine at Cafe Edison — located in the hotel on Broadway of the same name — the environment reminded me of something straight out of a New York movie, one of those scenes where intimacy is somehow managed in one of the planet’s most crowded spots. For the record, Smith credits his father with showing him how to navigate Midtown.

Likewise, both Smith and Russell agree that a good portion of Third Record‘s natural, organic sound comes from Schneider‘s work behind the board, but neither discounts their comfort in the trio lineup of the band — rounded out by drummer Nick Heller — as a factor in the positive results. Over our shared meal, there was a lot of joking and a lot of lighthearted sarcasm (one of the charms of The Brought Low has always been their self-deprecating sense of humor), but it’s no question that the band is passionate and serious about what they’re doing and how far they’ve come in their decade of existence.

After the jump, Smith and Russell discuss making Third Record, their plans surrounding South by Southwest in Austin, Texas, and, of course, how every other band is jive and The Brought Low kicks ass. It’s a given. Enjoy the interview.

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What New York City rockers The Brought Low have always managed to do best is get right to the point, and on their latest offering, the appropriately titled Third Album (Small Stone), the trio make it known right away that they’re open for business. “Old Century Man” is an upbeat rocker that plays directly into the trio’s old fashioned classic rock aesthetic. That song could be said to be the mission statement for the eight tracks following it, but The Brought Low do more sonically than hit overdrive for three minutes at a time and call it a day.

Which is fortunate, if you think about it, because if they did, we would have waited four years for a 27-minute record. And that seems silly somehow.

But no, The Brought Low offer substance in more than just temporal fashion right off the bat. There has always been an underlying emotionality to their songs, a blues-driven sense of loss made palpable to the listener through the vocals of guitarist Ben Smith. “Everybody Loves a Whore” keeps the vibe of the opener going, albeit more aggressively (or many that’s just me reacting to the name), but with “The Kelly Rose,” the band begins to show a personality in their work that 2006’s Right on Time had, at its strongest moments, started to fulfill. “The Kelly Rose” is catchy and memorable — a solid transition into “A Thousand Miles Away,” which takes a wistful, acoustic turn, highlighting a road-weary loneliness in the lyrics that’s perfectly suited to the pop melancholy of the music.

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New York doom rockers The Resurrection Sorrow, whose album, Hour of the Wolf (review here) boasted the kind of testicles that get in the way while you’re trying to do household chores, are heading out on the road and have let it known via the PR wire exactly what path their chaos will take. Witness:

With a steady stream of local and regional shows played over the last few months TRS are now booking the rest of the winter and spring months with more gigs, including Part I of the band’s three-part The Unholy Divine Tour. The next segment will be announced shortly. But next up is this Saturday’s brutal stoner throwdown at Ace of Clubs alongside Black Pyramid, Hull, Maegashira and Archon.

2/13/2010 Ace of Clubs - New York, NY w/ Hull, Black Pyramid, Maegashiria, Archon
2/27/2010 Social Pariah Festival @ Holiday Inn – Fishkill, NY
3/05/2010 Sounds Asylum - Goshen, NY
3/06/2010 The Electric Factory – Utica, NY w/ Malice in Underland, Structural Integrity Compromised

The Unholy Divine Tour, Part I
3/10/2010 Mojo 13 - Wilmington, DE
3/11/2010 The Smiling Moose – Pittsburgh, PA
3/12/2010 The Depot - York, PA w/ Red River Revival, Backwoods Payback, Wrath of Typhoon
3/13/2010 The Black and Red Bar – Washington D.C. w/ King Giant
3/14/2010 The Brighton Bar - Long Branch, NJ w/ The Ominous Order of Filthy Mongrels
3/15/2010 Lit Lounge – New York, NY w/ Maegashira, Archon

A heartfelt “Fucking a” goes out to NYC‘s best pure rock band, The Brought Low, who landed the gig of gigs opening for much-lauded supergroup Them Crooked Vultures Monday night, Feb. 8, at Roseland Ballroom in Manhattan! Quite a score, gentlemen. If you’ve ever seen The Brought Low live, you already know they’re more than equal to the task, since, to put it succinctly, they kill.

In also-ruling news, The Brought Low also recently finished their new album, Third Record, for upcoming release via Small Stone. They’ve just put up a new track, “The Kelly Rose,” on their MySpace. This year is looking better and better.

Here’s the deal in the band’s own words:

Just confirmed we are opening for Them Crooked Vultures this Monday night, February 8th @ The Roseland Ballroom in NYC! Super duper psyched!

Also, just posted a song from the new album Third Record called “The Kelly Rose” on our MySpace page so check it out! Should be up on iTunes in a few weeks and available as an actual CD later this spring.

I also just set up a Twitter account for the band so if you’re into that sort of thing check it out: http://twitter.com/TheBroughtLow.

Also looking very likely we will be playing some shows in the Midwest on our way down to the Small Stone Records South by Southwest Showcase in March. Stay tuned for tour dates.

Ever since reviewing their album and interviewing vocalist Alan Dubin about how much the city of Hoboken sucks ass, NYC horror doom industrialists Gnaw have had a soft spot in my heart. As much as possible, anyway, given how unpleasant the music is to the ear — which is on purpose, of course. Now Gnaw have scheduled some in-person type goings on and the PR wire has the info. Dig:

Following a recent appearance at NYC‘s Apex Fest III, as well as several other shows, the city’s harshest infected industrial doom unit Gnaw continue to sonically erode landscapes, announcing more local live action and more in the coming months.

Kicking off Saturday, December 5th the unit will destroy Brooklyn‘s Club Europa alongside Chicago‘s Earthen Grave (featuring Ron Holzner from doom legends Trouble, members of The Living Fields and more, and virtuoso violinist Rachel Barton Pine) and Iron Man (heavy doom from Baltimore, featuring the guitar wizardry of Al Morris III).

Next up, Gnaw want the airwaves! On Tuesday, December 8th the band will rape the city and all other lands via a live radio broadcast from WFMU 91.1 FM studios, on Brian Turner’s Show on-air and on http://www.wfmu.org.

The band will be concentrating heavily on composing their second album in the winter months, but will break February 12th for a set at John Zorn‘s NYC performance space The Stone, dedicated to experimental and avant-garde performers.

Gnaw features members Alan Dubin (ex-Khanate, OLD), Jamie Sykes (ex-Burning Witch, Thorr’s Hammer, Atavist), Carter Thornton (Enos Slaughter), Jun Mizumachi (of NYC industrial icons Ike Yard), Brian Beatrice (Emmy Award-winning sound design/mix wizard), and most recent addition Eric Neuser.

Gnaw live bashings:
12/05/2009 Europa – Brooklyn, NY w/ Iron Man, Earthen Grave
02/12/2010 The Stone – New York, NY

In a word: Ballsy.

As much as I?ve tried to come up with other descriptors for Hour of the Wolf, the self-released (through their own Midnight Dreams Productions) full-length debut from New York?s The Resurrection Sorrow, they all boil down to the same thing. This is testosterone driven doom rock that stands out like a high five across the table at a fancy restaurant. Think C.O.C., BLS, Crowbar, some Borgo Pass-style sludge, etc. So yeah, like I said: ballsy.

Bassist Alex Coelho (Tides Within) and vocalist Alex Dementia (After Dark) form the songwriting core of the band, and work tightly together. There is rarely a moment wasted on Hour of the Wolf; a well-suited straightforward approach gives the album an aggressive feel without being silly losing focus. The catchy opener, ?Resurrect the Sorrow,? walks a thin line between heaviness and accessibility that makes it clear audience is a consideration for The Resurrection Sorrow, however there is no real pandering to be found there or elsewhere. Likewise, ?Buried Dreams? and slower-paced later cut ?Plague of the Dying Sun? don?t feel dumbed down or like they should be doing more than they are. They?re well-written pop songs, and they accomplish everything they should on that level.

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If you’re in the New York City area, which I think I’ve made clear enough this week that I am, you might want to consider spending your Wednesday evening tomorrow night with A Storm of Light, who are trekking all the way from Brooklyn to Manhattan for their CD release show. Should be a good time. The PR wire has this to say about it:

Brooklyn, NY doom/post rock experimentalists A Storm of Light — who recently returned from an extensive European tour in support of their newly released Forgive Us Our Trespasses full-length (Neurot Recordings) — will hold their official record release show tomorrow, November 18, 2009, at Ace of Clubs in New York City. Admission is free and vocalist Nerissa Campbell (Primitive North) will be joining the band for the show. Also on the bill: Biclops and Goes Cube. Details below:

A Storm of Light Record Release Show
Wednesday, November 18
Ace of Clubs
9 Great Jones St.
New York, NY 10012-1128
Doors 7:30 – Free Admission

8:00pm – Biclops
9:00pm – Goes Cube
10:00pm – A Storm of Light
More info: http://www.aceofclubsnyc.com

A Storm of Light features guitarist/keyboardist/vocalist Josh Graham (Neurosis visuals, Blood and Time, Battle of Mice), bassist/vocalist Domenic Seita (formerly of Tombs and Asea) and guitarist/keyboardist Joel Hamilton (Book of Knots, Battle of Mice), who also recorded the latest full-length.