Posted in Whathaveyou on March 24th, 2015 by H.P. Taskmaster
Long Island trio Axis/Orbit have announced they’ll release their debut LP on limited vinyl through ultra-respected long-running German imprint Nasoni Records. The LP, of which the title has yet to be revealed, is the follow-up to a self-titled EP that contains three songs and was issued by the band digitally late in 2014, and to my knowledge, this will be their first physical pressing. Due date is June 1, though as the band notes, that’s tentative.
The prior EP is streaming on the band’s Bandcamp, and as you can hear below, they dig into classic heavy rock with some garage-style flourish. Tones are warm but not necessarily retro, and the vibe on cuts like “Hazy” and the bass-led “The Owl” is laid back — at least until the animal noises kick in — and closer “Riot Canal” has an open-spaced, jammy sensibility that follows a linear course toward a satisfying freakout. Not to spoil it if you were going to listen, but solos are had.
Here’s the announcement and the band’s bio off the PR wire:
Axis/Orbit sign with Nasoni Records to release limited edition vinyl!!
Long Island’s stone groovers Axis Orbit have signed with seminal Stoner/Psych label Nasoni Records in Berlin to release their debut LP in a limited edition run of colored vinyl. Tentative release is June 1, 2015. Distribution through Clearspot of the Netherlands.
The album was recorded at Freedom of Speech Recording and engineered by Micky James (Chris Angel Mindfreak). Original art by Vincent Scala (www.vincentscala.com).
Axis/Orbit makes Rock and Roll. Stoner rock, retro rock, doomy, but unabashedly not completely metal. More of a cavalcade of 60’s-70’s rock stylings from the menace of Sabbath to the spaciness of Floyd’s cosmic tracks, to the heavy prog jam trio art of Cream and Band of Gypsies, with strokes of classic Cali folk rock, vintage grunge and straight up garage rawk. Formed in 2014 on Long Island, NY by drummer Mike Margulis, guitarist Bill Fridrich and bassist Lee Greenman with all contributing to writing, arranging and vocal duties, the group is rapidly gaining a following headlining regional shows, releasing an EP and preparing for a full length album of heavy psyche rancor for 2015.
Posted in Whathaveyou on March 23rd, 2015 by H.P. Taskmaster
It is my sincere hope that, come April 18, I get to see Sun Voyager live. It would be a while in the making. Last time the New York groove-rolling four-piece made a trip north, I was already booked for the evening. Their current-planned excursion follows the arrival of a new tape on King Pizza Records compiling some recently-issued tracks onto an EP called Lazy Daze, with five-cuts of their heavygaze vibing that will be out digitally next week with a cassette release to follow shortly thereafter.
I’m not sure if the below is or isn’t the cover of Lazy Daze, but the band sent the following encouraging words down the PR wire, and new news is good news:
SUN VOYAGER “LAZY DAZE” EP RELEASE DETAILS
Wanted to reach out and share some super exciting news with you regarding a little release we’re putting out next week on King Pizza Records.
You may have heard Cosmic Tides, Mecca, or our latest split with our friends Greasy Hearts. Those all had three songs. This one’s got five, baby.
“Lazy Daze” is the title of our next release. It’s a tape. You may have heard God Is Dead, Be Here Now, Gypsy Hill, and Black Angel. Well those tracks will finally have a home. You can hear them now on soundcloud. The whole thing will be on bandcamp early next week. Spotify, iTunes, Amazon, & more coming soon.
We’re throwing release parties in Brooklyn, Newburgh, and Boston where you can buy our tape and share in the fun. Here are some details on those parties:
4/3 – Brooklyn, NY – Don Pedro w/ Psychiatric Metaphors, St James & The Apostles, The Off White 4/9 – Brooklyn, NY – Don Pedro w/ Mountain God, Kosmodemonic, Maggot Brain 4/11 – Newburgh, NY – The Wherehouse w/ St James & The Apostles 4/18 – Boston, MA – The Womb w/ Black Beach, Midriffs, & CREATUROS
Come party with us. We’re grateful to have you all as fans and can’t wait to share this with you.
Posted in On Wax on March 18th, 2015 by H.P. Taskmaster
It seems unlikely at this point that I’d need to once more trumpet the quality of STB Records‘ vinyl. The NJ-based label has quickly thrust itself to the fore of American heavy rock purveyors, bringing forth limited releases that seem to be gone before they’re even out and delving into next-generation heavy rock with an ear for tone and a consistently mindful presentation. In the case of the split 12″ between Sweden’s Lé Betre and New York’s King Buffalo, the vinyl is, of course, already gone. Second pressing coming soon. Numbers were limited — 350 or so copies in white, orange, white and orange or clear with orange splatter — but as with everything STB puts out at this point, speed is required if you actually want to get a copy. Pressed to 180g white vinyl with a two-sided liner (one side for each band) and evocative cover art, the Lé Betre and King Buffalo split does justice to the up and coming nature of both bands.
That in itself is saying something. Lé Betre also released what was apparently a super-limited, 30-copies-only edition of their 2014 debut album, Melas, through STB that likewise vanished as soon as it arrived, and it’s from that album that most of their material for this split comes. Three out of their five tracks, “Gowns and Crowns,” “Snake Eyes” and “By the Great White Lights,” which has a companion piece included on the prior release, seem to have their roots on Melas, the four-piece of guitarist/vocalist/pianist Marcus Jonsson, guitarist/vocalist Anders Westman, bassist/vocalist Roger Lysén and drummer Jonas Sahlberg tapping into Graveyard-style blues rock without going full-retro in terms of the production, a song like “Jesper Eriksson” pushing vocals forward amid a steady roll that’s open and natural-sounding, but not nearly as analog-minded as one might expect going into it. Keyboard and/or organ plays a large part as well, and with the due fuzz and strum, it’s hard to tell on “Gowns and Crowns” where the guitars end and the keys begin, but that winds up being half the fun. Soulful if familiar, the jangle of “By the Great White Lights” makes a suitable centerpiece to side A, though handclap-infused closer “Mother,” also the longest Lé Betre inclusion, is their most resonant take, providing a better look at the band’s balance of organic flow and tight songwriting than earlier, shorter cuts, catchy as those are.
I’ll admit to some pretty high anticipation when it came to hearing new material from King Buffalo, whose 2013 demo (review here) still gets regular plays. Then a four-piece and now a trio — if you’re looking for former guitarist/vocalist Randall Coon, check out Skunk Hawk — King Buffalo seem to have solidified some of their jammier impulses. Of their three inclusions, closer “Providence Eye” is the only one that previously appeared on the demo, and it was re-recorded by guitarist/vocalist Sean McVay along with the two new tracks, “New Time” and “Like a Cadillac,” which both follow suit from Lé Betre‘s jammy songwriting blend, if with their own, more pastoral take. McVay, bassist Dan Reynolds and drummer Scott Donaldson started out with a noteworthy chemistry and have only pushed it forward over the last year-plus, as a comparison of the two versions of “Providence Eye” shows, but “New Time” and “Like a Cadillac” tell more of the story of their progression, taking the swing and molten vibe of their looser, longer demo material and tightening it up with more structured songwriting. I’m dying to hear what these guys come up with for a full-length, and what experimental edge they might be able to bring to that form in acoustic parts, keyboard interludes, etc., but the commitment to a natural sound King Buffalo show on this split shines all on its own and wants little for expansion. They were on the right track before, they’re still on the right track. It’s good to know, and hopefully they keep writing.
While it would be inappropriate to call either band “established” at this point, both seem to be heading in that direction, Lé Betre following their Melas album, King Buffalo following their demo and lineup change, and it’s particularly remarkable that Lé Betre, for whom this split is ostensibly the first North American release, would get the A side and King Buffalo the B, considering the latter act has toured at least on the East Coast and is native to the region from which the label also hails. I chalk it up to STB and both bands making the decision to put exposing Lé Betre to as many ears as possible a top priority, and that proves a worthy cause as the Swedish act’s five songs play out. Lé Betre‘s bluesy inflection and King Buffalo‘s rural roll wind up giving a glimpse at where European and American heavy rock are headed, and wouldn’t you know, they fit together very, very well.
Tickets go on sale March 6 for Eye of the Stoned Goat 5, set to take place June 12-13 at Amityville Music Hall, on Long Island. The Golden Grass and Mos Generator will headline, and the lineup has been finalized to include acts from the East Coast, the West Coast and in between — Lord Fowl, Wounded Giant and Brimstone Coven, if you need an example of each — in what’s without a doubt the most expansive Stoned Goat festival yet.
The poster for this year’s Stoned Goat is by Joe Mruk, and you can see the final version below (click to make it even larger) followed by the official lineup announcement from the fest:
‘Eye of the Stoned Goat 5’ announces official lineup for summer festival!
Snake Charmer Booking is pleased to announce the final artist lineup for the annual celebration of stoner-psychedelic rock and doom-heavy metal known as The Eye of the Stoned Goat Festival—now in its 5th year. The two-day fest, featuring some of the most exciting talent of the Mid-Atlantic, East and West Coast, will take place June 12th and 13th 2015 at the Amityville Music Hall in Long Island, New York.
Headlining the Friday night opener on June 12th are Brooklyn, New York trio The Golden Grass (Svart Records), whose catchy progressive psychedelic self-titled debut received numerous accolades as the “Best of 2014.” Another band that has received copious amounts of praise from rock blogs and music rags alike are none other than Long Island’s long-running rock outfit John Wilkes Booth, whose album ‘Useless Lucy’ was mentioned in many journalists “Best of 2014” lists. Also joining the bill from Long Island territory, those wildly eclectic heavy rockers Moon Tooth, who Metal Injection recently named one of “10 Awesome Underground Bands You Need in Your Life!”
Naturally, it wouldn’t be a ‘Stoned Goat’ show without giving attendees a healthy dose of band from the excellent Small Stone Records label. This year’s elite selection includes three bands that are simply a treat to bring to the stage: Boston’s master craftsmen and 2014 Desertfest alums, Gozu; local New York natives It’s Not Night: It’s Space; and returning ‘Stoned Goat’ retro rockers Lord Fowl, currently working on the follow-up to their 2012 riff encyclopedia, Moon Queen.
More contenders for total rock domination include Ripple Music stalwarts White Dynomite, composed of former members of such fine acts as Roadsaw, Lamont, and Wrecking Crew, to name a few. Also on the Ripple Music roster, from Frederick, Maryland: Weed is Weed, featuring Dave Sherman and Gary Isom of Pentagram, Earthride and Spirit Caravan fame. Additionally, hailing from Pittsburgh, Pennsylvania, fans will experience the infectious “sludge n’ space rock” vibe of Supervoid, who will be heading into the studio in February to record their follow-up to 2013’s Filaments.
For the first time, Seattle Washington’s own rising stars Wounded Giant will be bringing their blistering, monstrous, signature sound to this year’s festival. Also spearheading the volume-dealing campaign from STB Records is Connecticut’s Curse The Son, who’s latest offering Psychache (2014) was widely heralded as “the best of its kind in 2014” by The Sludgelord and other critics. Another band traveling a good distance to bring their doomy, occult craft to the east coast is Metal Blade Records’ newest acquisition, Brimstone Coven, who are currently working on their much anticipated next album for the label. Speaking of travelling a long distances, the festival will witness the U.S. debut of Toronto, Canada’s demonic stoner-blues rockers Ol’ Time Moonshine. Alongside this already hefty bill, ESG5 has decided to treat festival goers to the atmospheric retro-doom stylings of Totem Cat Records’ own Doctor Smoke.
One band that has been tenaciously trekking through the rock scene for over a decade now is Philadelphia’s working class groove dealers, Kingsnake. The four boys of Kingsnake have had the honor of performing alongside such acts as Clutch, The Sword, Scorpion Child, The Skull, and Vista Chino, to name a few. Also on board for the 5th installment of the festival, Long Island locals Borgo Pass—a popular act that has developed quite an impressive loyal following.
Last, but not least, officially closing out this year’s Eye of the Stoned Goat festival is none other than Port Orchard, Washington’s stoner rock torch-bearer’s Mos Generator. This marks the band’s first ever performance in New York. Mos Generator have released 5 studio albums, a retrospective album, numerous splits, and a live album, attracting such labels as Roadburn, Small Stone, Ripple, Nasoni, and Lay Bare. For charismatic singer/guitarist Tony Reed and crew, touring has been just as important to the profile of the band as making records. Over the years, Mos Generator has shared the stage with many great heavy rock bands, and in March of 2013 joined a 26-date European tour with Saint Vitus, earning a whole new fan base to their fuzzy, energetic sound. On stage, Mos Generator embodies the word “chemistry,” revolving their sound around swagger and groove, while improvising just enough to keep the songs feeling fresh from night to night—often with delightful results.
Tickets for ‘Eye of the Stoned Goat 5’ will officially go on sale on March 6th 2015. The Event will be 21+ with I.D. Tickets will be $15 per night, or $25 for a weekend pass. For more information on the Eye of the Stoned Goat festival, visitwww.TheEyeoftheStonedGoat.com
Posted in Whathaveyou on February 4th, 2015 by H.P. Taskmaster
Two more bands added to the Eye of the Stoned Goat 5 this afternoon, and it’s Ohio/Pennsylvania four-piece Doctor Smoke and Pittsburgh’s Supervoid, both of whom add to the festival’s already considerable tally of sonic heft. As it turns out, the lineup is nearly complete — just one more band to be announced, reportedly — and here’s the full roster of acts slated to appear thus far:
Weed is Weed
The Golden Grass
Curse the Son
John Wilkes Booth
Ol’ Time Moonshine
It’s Not Night: It’s Space
Don’t think I left anyone out there. Either way, that’s plenty for two days, and with one still to come, Amityville, Long Island, should definitely have its fill of heavy. Doctor Smoke‘s trip to New York will be their second of the year by the time we get to June, as they’ll team up with Wasted Theory for a weekender at the end of March in support of last year’s The Witching Hour full-length on Totem Cat Records.
Newly signed to Ripple Music, Supervoid join the Eye of the Stoned Goat 5 lineup with late-2013’s Filaments full-length (review here) and 2014’s The Other Side single (streamed here) as their latest releases, and their melodic and metallic approach to heavy rock is sure to stand out from the crowd, but they’re no less hopped up on riffs than anyone, and no doubt they’ll find welcome when they hit Amityville. I’ll be particularly interested to see if they get paired off with Moon Tooth, whose sound also has a bit of bite to it, or if they’re split up over the two days.
Presumably we’ll find out sometime after the last band is announced, when the schedule comes out. Here’s the announcement from the fest for these two:
ESG5 is proud to announce, from Totem Cat Records, Ohio’s newest doom masters Doctor Smoke!!!
Also making their ESG5 debut in Long Island NY is Pittsburgh’s space-sludge warriors Supervoid!!!
Only 1 more artist to announce.. stay tuned kids, It’s gonna be a monster!
Posted in Whathaveyou on February 2nd, 2015 by H.P. Taskmaster
Lineup additions continue to trickle out in pairs from this year’s Eye of the Stoned Goat fest, to be held June 12 and 13 in Amityville, Long Island. Last we heard, the fest reached across the nation to pluck Wounded Giant out from their Seattle base of operations and have them join with Connecticut’s Curse the Son, and today it’s feelgood Brooklynite trio The Golden Grass and LI’s own Borgo Pass who’ve hopped on board.
To be honest, it would be more of a surprise if Borgo Passdidn’t play Eye of the Stoned Goat 5. The long-running bruise rockers are an institution out on Long Island, gigging regularly and consistently throughout the region for nearly 20 years while staying true to their roots in classic heavy metal, loosely Southern-styled sludge rock and burly groove. Releases have proved infrequent — their latest full-length, Deadwater (review here), came out in 2011, six years after the prior Nervosa — but Borgo Pass have never shied away from a Long Island stage, and to have both them and John Wilkes Booth on the bill, no one could accuse Eye of the Stoned Goat 5 of showing up to Long Island without giving native acts their due.
As regards Brooklyn’s The Golden Grass, their appearance at Eye of the Stoned Goat 5 will follow a trip to Europe for a stop at this year’s Roadburn festival to follow-up on their across-the-pond live debut last fall, with which their latest 7″, A Curious Case/The Pilgrim, was issued to coincide. Their 2014 self-titled full-length (review here) was released by Svart and served as one of last year’s finest first-albums, and they’ll have along with them their new bassist Morgan McDaniel, who joined either at the start of the year or late in 2014 to replace Joe Noval in the trio lineup with guitarist/vocalist Michael Rafalowich and drummer/vocalist Adam Kriney, whose prior outfit, the psych-freakout-prone La Otracina, also seem to be rearing their head once more.
The Eye of the Stoned Goat 5 announced their additions as follows:
Alright Long Island, you wanted them.. You got ‘em!
Announcing that appearing on the ESG5 stage this year is none other than New York’s sonic bulldozers… BORGO PASS!!! Additionally, we are absolutely thrilled to announce for the first time on the ‘Eye of the Stoned Goat’ is Brooklyn’s psych-rockers The Golden Grass!!!
With his gravelly voice and a demeanor that’s gone above and beyond friendly every time I’ve been fortunate enough to encounter it, Geezer guitarist/vocalist Pat Harrington cuts an immediately warm figure. All the more so when he breaks out the slide for his guitar. Though after the STB Records vinyl release last year of Geezer‘s Gage (review here) sophomore full-length — and the impending Feb. 5 CD/digital issue of the same album on Ripple Music – and his continued success with his Electric Beard of Doom podcast, he’s become a formidable presence in the heavy underground, his pedigree includes a lead guitar stint in mid-aughts NYC hard rockers Slunt and a run from 2008-2013 with Killcode, his ongoing trio Gaggle of Cocks which also includes Geezer bassist Freddy Villano, and no doubt others who’ve taken advantage along the way of Harrington‘s soulful, classic soloing style.
To herald the CD release of Gage, Geezer – the three-piece rounded out by drummer Chris Turco — will support High on Fire and Mountain of Wizard on Jan. 13 at The Chance Theater in Poughkeepsie, New York. Already veterans of The Eye of the Stoned Goat festival and having a seemingly permanent residence set up at The Anchor in their native Kingston, NY, where their Live! Full Tilt Boogie limited tape (review here) was recorded, Geezer will look to expand their reach in 2015 and beyond.
The Obelisk Questionnaire: Pat Harrington
How did you come to do what you do?
I guess in relation to my current projects, that being the band Geezer and the Electric Beard Of Doom podcast, I ended up here by finally embracing that which makes me happy. As a musician and creative person, I spent too many years falling into the trap of chasing the brass ring; the now antiquated idea that one has to fit into a certain formula or jump through some ever-changing hoops just to get the approval of some gatekeeper who then deems you worthy of being a part of the mainstream music scene. Much like being knighted by some boy king who doesn’t even know how to hold a sword correctly.
Okay, now that I’ve used up all my metaphors… I love heavy music, I love the blues, I love creating music, I love listening to music and I love sharing music with other likeminded individuals. Thanks in large part to this wonderful underground heavy scene that we have here, I get to do all that now… my way… with no apologies. The fact that people have been so receptive to the band and the podcast is validation of a lifetime spent worshiping the riff.
Describe your first musical memory.
When I was about three or four, I remember being put to bed by a babysitter, my next door neighbor Joanie Maddie. She used to put on music to help me go to sleep. One of the albums she used to put on was Led Zeppelin IV and I distinctly remember hearing “Stairway to Heaven.” Sometimes when I hear that song, I can almost relive those moments. By the time I was five, I was getting KISS albums for Christmas. By the time I was eight, I was walking around school singing Doors songs.
Music has always been a huge part of my life. Thanks Joanie!
Describe your best musical memory to date.
I’ve been lucky enough to have done some substantial touring of both the US and parts of Europe with my old band SLUNT. We toured with Marilyn Manson, Motörhead and C.O.C. We even opened for Paul Stanley on a solo tour. I got to meet some of my heroes, get loaded with some of them and geek out about music. I got to travel more than ever before in my life. I got to play music in front of hundreds (sometimes thousands) of people virtually every night of the week with people that I truly loved. Nothing can compare to the feeling of freedom I felt during those times, I hope to feel that freedom once again.
When was a time when a firmly held belief was tested?
I play heavy rock music in America in the 21st Century. I’m 42 years old. I have a wife, a small child, a mortgage and an unruly dog. My beliefs get tested every damn day.
The point is, being an artist is a lot of fun, but it is extremely hard to stay committed to it in today’s world. Just the fact that I even made it this far and I’m still inspired to be a better musician and create music that I dig: that’s the biggest test of all.
Where do you feel artistic progression leads?
In a perfect world, artistic progression should lead to enlightenment, to empathy, to community, to a better world and a sense of togetherness. Art should evoke emotions, it should make people angry, it should comfort you when you hurt and it should be a joyous expression.
As we can see today, many people are afraid of art, they literally are trying to kill it. This is because it is a threat to power structures and false ideologies. It is a way of communicating ideas without using literal translations that can be exposed and distorted. Art ultimately leads to truth. We need that now more than ever.
How do you define success?
What is something you have seen that you wish you hadn’t?
I could’ve done without those ass-tulip videos. And I NEVER look at those videos nowadays of people squeezing zits or have spiders crawling out of their legs. Seriously, who the fuck watches those things?!?
Describe something you haven’t created yet that you’d like to create.
Not to be crass, but I’d like to create an artistic career that has some kind of sustainable income. I don’t need to be rich and famous, but I’d like to at least be able to give my wife a little relief from the financial burden of being married to a musician.
Something non-musical that you’re looking forward to?
My wife and I have been talking about getting a van, RV or Airstream, taking the kid and do some extended traveling across the country. He’s two now, so I’d like him to be a little older so he will at least remember it, so maybe in a year or two. I loved being on the road and traveling all across this country of ours, being able to share that feeling with my family would be amazing.
Posted in Whathaveyou on December 8th, 2014 by H.P. Taskmaster
Unquestionably one of 2014’s finest doom releases, Blood Farmers‘ long awaited studio return, Headless Eyes (review here), is set to be released tomorrow on vinyl through PATAC Records. Their sophomore outing and first with drummer Tad Leger (ex-Toxic) alongside bassist/vocalist Eli Brown and guitarist Dave Szulkin (also of The Disease Concept), it’s an unpretentious slab of classic-minded horror doom, rife with memorable tracks like its sprawling 10-minute title cut and “Gut Shot,” but immersive, eerily psychedelic and spiraling continually downward.
Since Headless Eyes was 19 years in following-up Blood Farmers‘ self-titled debut, your guess is as good as mine when they might get around to putting out a third one, so all the more reason to note the occasion of the LP coming out. If you haven’t heard it yet — and I’m sure you have, because you’re up on it like that — the title-track “Headless Eyes” is on the YouTube player under PATAC‘s announcement below.
Blood Farmers ‘Headless Eyes’ will be hitting stores worldwide 12/09/2014! Be sure to pick up the doom metal masterpiece on vinyl!
150 on Red Vinyl 450 on Black Vinyl
“Who would have thought that the within doom circles well appreciated band Blood Farmers would ever release a follow-up to their ‘Blood Farmers’ debut? Okay, the band had reunited in 2007 and did play live quite frequently, but unfortunately bass player Dr. Phibes passed away in 2010. Vocalist Eli Brown took over bass duty and the band continued with in 2009 on drums Tad Leger. Tad Leger, you say? Yes, the tad Leger of Toxik’s two albums fame. First technical thrash and now doom, that is a different ballpark entirely. In 2011 Blood Farmers even played at the renowned Roadburn festival. But at the time I didn’t expect any new studio work. Pleasantly surprised I was that nineteen years after their debut there is now a follow-up in the guise of ‘Headless Eyes’ in front of me.
But will the band be able to achieve the same level as before? Well, I shouldn’t have worried for a second. What a scorcher of an album ‘Headless Eyes’ turned out to be. Still traditional doom in the vein of Saint Vitus and Internal Void with quite a bit of stoner. Six absolute top songs is what this album contains, be it the title song or the instrumental ‘Night Of the Sorcerers’ which clocks in at over ten minutes or closing cover song ‘The Road Leads To Nowhere’ which is taken from 1972 horror film ‘The Last House On The Left’. All doom diamonds of the purest form. ‘Headless Eyes’ is up to now the doom album of the year for me and I am of the opinion that this album can become a true genre classic. I am as happy as a kid in a sweetshop with the return of Blood Farmers in recorded form.”Limited to 600 copies. 150 copies on opaque red vinyl, 450 copies on black vinyl. All copies include a double-sided ‘grindhouse’ insert and 5?x5? sticker of the cover art.
Originally formed in 1989, BLOOD FARMERS combine the atmosphere of ’70s horror with heavy doses of psychedelia and doom in the tradition of BLACK SABBATH and SAINT VITUS. The band’s 1995 debut on the legendary Hellhound Records has been cited as an influential underground classic by such bands as ELECTRIC WIZARD and CHURCH OF MISERY.
BLOOD FARMERS‘ current lineup includes Dave Szulkin (guitar), Eli Brown (vocals) and Tad Leger (drums; ex-TOXIK).
“Headless Eyes” track listing: 01. Gut Shot (6:17) 02. Headless Eyes (10:49) 03. The Creeper (4:51) 04. Thousand-Yard Stare (6:34) 05. Night Of The Sorcerers (10:15) 06. The Road Leads To Nowhere (5:59)