The Sabbathian Release Ritual Rites Sept. 3 on Svart

Posted in Whathaveyou on August 28th, 2014 by H.P. Taskmaster

If you follow the varied work of guitarist Chad Davis (Hour of 13, Tasha-Yar, etc.), then you probably at some point in the last year or two saw The Sabbathian namedropped as a project in the making. Their debut EP, Ritual Rites, has been a while coming, and apparently the band’s new label, Svart, is looking to make up for some lost time. All the better, what with the three-track offering reveling as it does in bleak, classic doom the likes of which Davis seems to be able to so readily conjure.

Doubtless part of the delay in putting the whole thing together — if you want to call it a delay; sometimes these things just take a minute to get going — was in coordinating with vocalist Anette Gulbrandsen, who is based in Norway while Davis and guitarist Joey Downs reside in North Carolina. Whatever the case, the vinyl/download will be out shortly and it’ll look like this:

the sabbathian ritual rites

THE SABBATHIAN to release SVART debut, feature Hour of 13 member

Today, Svart Records announces September 3rd as the international release date for The Sabbathian’s debut mini-album, Ritual Rites, to be released on vinyl and digital formats. The Sabbathian comprise two fundamental elements: doom metal, and the occult forces of nature and energy. These elements brought together three individuals in the form of The Sabbathian. Taking their roots to the core of true, heavy, darkened metal, The Sabbathian draw an unparalleled ion from the likes of Candlemass and Black Sabbath, all while retaining a sound very personable to them. Formed by Chad Davis (Hour of 13), the journey is to create music for the hours of darkness and gloom.

Joined by guitarist Joey Downs (Altar Blood), his contribution adds the element of power and everything the sense of heavy. Featuring the sheer vocal beauty of Anette Gulbrandsen (Leave’s Eyes, Nattsol, Mäctätus) at the forefront, her alto/soprano vocal stylings bring forth medieval choirs and haunting apparitions that complete what is The Sabbathian: a journey into darkness, a voyage into the cosmic void unknown. With Ritual Rites, The Sabbathianhave arrived as a force to be reckoned with in the world of modern-day occult doom rock, and will remain the top contender until death. First proof can be heard HERE. Cover and tracklisting are as follows:

Tracklisting for The Sabbathian’s Ritual Rites
1. Ancient’s Curse
2. Ritual Rites
3. Nightshade Eternal

MORE INFO:
www.facebook.com/thesabbathianband
http://www.svartrecords.com/

The Sabbathian, “Ancient’s Curse”

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Should’ve Been Sooner: Demon Eye, Leave the Light

Posted in Reviews on August 14th, 2014 by H.P. Taskmaster

“Better late than never,” or so the adage goes. If you’ve ever read more than two sentences on this site, chances are you’ve witnessed me complaining about being perpetually short on time, unable to fit in everything that I want to, etc. That’s been the case for at least the last four years. I’m always working at a deficit, and it’s usually just a question of whether or not I’m able to live with the level of behind that I am. In the case of Demon Eye‘s Leave the Light, I simply can’t take it anymore.

Released back in January on Soulseller Records, the debut long-player from the Raleigh, North Carolina, witch-rocking four-piece has haunted me — daily — as it has sat on the stack waiting to be reviewed, its righteously devilized jewel case cover burned into my consciousness no less than the cowbell-stomped chorus of “Adversary,” just one of the album’s 11 memorable exaltations of the left hand path. Comprised of guitarist/vocalist Erik Sugg, lead guitarist Larry Burlison, bassist/vocalist Paul Walz and drummer/vocalist Bill Eagen, Demon Eye owe much to early Pentagram‘s vaguely Luciferian swing and Sugg‘s touches of Eric Wagner influence go far in “Edge of the Knife” and the brooding “Fires of Abalam,” but they’re distinguished by proto-thrash riffing and ultimately wind up with an energetic, somewhat mystical concoction not entirely dissimilar in concept from Texas’ Venomous Maximus, though the
execution of Leave the Light works with its own blend.

To wit, opener “Hecate”‘s resonant hook and tradeoff of chugging and winding riffs and slower Motörhead spellcasting sets the stage for varied invocations of classic metal, but nowhere on Leave the Light do Demon Eye lose their heavy rock tonality or vibe. “Shades of Black” owes more to Thin Lizzy than Slayer, and the subsequent “Secret Sect” has a natural enough sound to namecheck Kadavar or Graveyard in terms of its ’70s loyalism. Side B branches out but remains catchy, with the shorter “Witch’s Blood” (2:47) setting up a moodier run with “Fires of Abalam” referencing Pentagram‘s “When the Screams Come” and delivering the band’s eponymous line while pulling back on the thrust to make “Devil Knows the Truth” sound even more motion-based, dueling leads just past the halfway point making it all the more a standout en route to “The Banishing,” which turns around the lyrical perspective to give Lucifer himself a chance to speak (anyone remember when Type O Negative did that for Black Sabbath‘s “Black Sabbath?”) and, before its 4:35 are done, earns a bit of sympathy for the devil to go with the classic heavy rock swagger, like Scorpions when they knew what was up.

demon eye leave the lightThe single-mindedness of a 46-minute full-length where just about every song is in one way or another about hellishness and ghouls and Satan and whatnot becomes a factor by the time Demon Eye get down to the closing duo of “From Beyond” and “Silent One” — both choice riffs, the latter locking into a groove every bit worthy to end the record — but what ultimately saves Leave the Light from monotony are the sonic shifts between the songs and the flow that the CD enacts as it plays out. It’s worth noting that, as their first outing, Leave the Light is remarkably consistent in the quality of its songcraft, and as six of these cuts — “Hecate,” “Witch’s Blood,” “Shades of Black,” “Fires of Abalam,” “Devil Knows the Truth” and “Silent One,” in that order — also appeared as Demon Eye‘s 2013 self-released debut EP, Shades of Black (a tape also came out through Sarlacc Productions), the band obviously knows a good thing when they hear it. Reusing one or two tracks from a first EP to first LP isn’t uncommon, but to incorporate all of them — and more importantly, to be right in doing so — shows a confidence in their approach that serves the band well as the other songs work their way between.

It really has been months that Leave the Light has worn on my mind, and though I feel a bit like writing this review is an exorcism, the songwriting here and the cohesiveness of Demon Eye in what’s still their early going (they got together in 2012) stand as testament to the fact that this won’t be the last time we hear from them. Next time around, I’ll be ready.

Demon Eye, Leave the Light (2014)

Demon Eye on Thee Facebooks

Demon Eye on Bandcamp

Soulseller Records

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Wino Wednesday: Spirit Caravan, “Brother Blue Steel” Live in North Carolina, 1999

Posted in Bootleg Theater on August 6th, 2014 by H.P. Taskmaster

We’ve had a lot of Spirit Caravan around these parts lately for Wino Wednesday. Reasonably so, what with the reunion and the wealth of videos posted from their tours of the US and Europe. I thought maybe this week we’d run with it but change it up a bit and go back to the three-piece’s original run. Spirit Caravan as a working band rather than the returning conquerors, playing to small rooms and caving in the chest cavities of those fortunate enough to be in the know.

In March 1999, when the below version of “Brother Blue Steel” was recorded, Spirit Caravan hadn’t yet released their debut album, Jug Fulla Sun. That record, which came out through Joe Lally of Fugazi‘s Tolotta Records, was still two months off. They’d been kicking around for a couple years both as Shine and Spirit Caravan and had put the track “Darkness and Longing” on a split with Sixty Watt Shaman, but their full-length debut wouldn’t arrive until May. It makes more sense, then, that Spirit Caravan would take on a song like “Brother Blue Steel,” which Wino originally wrote and recorded with The Obsessed.

It was the opener from The Obsessed‘s 1991 return outing, Lunar Womb, and it seems fair to expect that if someone’s in the crowd at a Spirit Caravan show before the band has an LP out, they’ve probably heard The Obsessed, so yeah, a take on “Brother Blue Steel” is understandable. While there’s always some stylistic bleedthrough between Wino‘s bands because of his tone and songwriting process, I still think you can see in the below some of the differences in character between the two groups, bassist Dave Sherman and then-drummer Gary Isom hitting into a bounce that foreshadowed a big part of Spirit Caravan‘s sonic personality as Wino chugs out the verse riff. For being the same song, it’s definitely a different take.

Hope you enjoy and have an excellent Wino Wednesday:

Spirit Caravan, “Brother Blue Steel” Live at The Caboose, Garner, NC, March 27, 1999

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Weedeater Announce Tour Dates and Confirm New Album Recording Plans

Posted in Whathaveyou on August 4th, 2014 by H.P. Taskmaster

Not exactly like Weedeater have been sitting on ass for the last four years, what with the constant touring, sporadic singles and all, but three years going on four from 2011′s Jason… the Dragon (review here), it’s about time they got to it. All the more since this will mark their full-length debut on Season of Mist, which has also seen fit to reissue all their prior studio outings, including 2002′s Sixteen Tons, which is available now to preorder from the label.

In addition to confirming that they’ll once again work with Steve Albini to record the forthcoming LP, the PR wire also finds Weedeater to be, as ever, sneaking in some road time. Some bands simply will not be stopped.

Dig it:

WEEDEATER announce tour dates, new studio details

Notorious sludge outfit WEEDEATER (“Dixie” Dave Collins – Bass, Vocals; Dave Sheperd – Guitar, Vocals and Travis Owen – Drums) will record their new full-length album, and first for Season of Mist, with their long-time engineer Steve Albini (HIGH ON FIRE, NEUROSIS, NIRVANA, HELMET, and more).

The band has announced a brief tour around the recording. The string of dates, which begin on Sept. 5 in Richmond, VA with the band headlining the FALL IN LINE FEST, will eventually route them to Albini’s Electrical Audio studio in Chicago, IL. A full list of confirmed tour dates can be found below.

WEEDEATER recently announced the re-issue of their 2002 album, ‘Sixteen Tons’. The long out of print album will be available as vinyl for the first time, as well as a CD and digitally. Pre-order options of all sorts for ‘Sixteen Tons’ are available at the Season of Mist E-shop and the band’s store. ‘Sixteen Tons’ is also streaming here.

Tracklisting
Bull
Potbelly
Time Served
Dummy
#3
Woe’s
Buzz
Lines
Riff
Kira May
WEEDEATER was originally formed by front-man/bassist “Dixie” Dave Collins on bass / vocals, Dave “Shep” Shepherd on guitar / vocals and Keith “Keko” Kirkum on drums. Following the release of their 2001 debut ‘…And Justice For Y’All’, WEEDEATER immediately established themselves as a force in the U.S. tour circuit and quickly gained notoriety in the American metal scene. In the time since, the band have released three critically-acclaimed albums: ‘Sixteen Tons’ (2002), ‘God Luck And Good Speed’ (2007), and ‘Jason… The Dragon’ (2011), and toured around the world with the likes of DOWN, SAINT VITUS, HIGH ON FIRE, THE MELVINS, HANK III, EARTH, SUNN O))), CLUTCH and countless others.

The band has played prestigious festivals such as Maryland Deathfest, Hopscotch Festival, Stoned From The Underground, Asymmetry Festival, Roadburn Festival, Hellfest, and many more.

WEEDEATER Tour Dates
9/5 Richmond, VA @ Fall Line Fest
9/6 Wilmington, NC @ Ziggys by the Sea
9/7 Salem, NC @ Ziggys Winston
9/8 Huntington WV @ V Club
9/15 St Paul, MN @ Turf Club
9/16 Champaign, IL @ Highdive
9/17 St Luis MO @ FuBar
9/18 Johnson City TN @ The Hideaway
9/19 Charlotte, NC @ Tremont Music Hall
9/20 Atlanta, GA @ 529

http://weedeater.bandcamp.com/
http://shopusa.season-of-mist.com/pre-order
https://www.facebook.com/weedmetal
http://www.weedmetal.com/
http://www.season-of-mist.com/

Weedeater, Sixteen Tons (2014 Reissue)

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Corrosion of Conformity Announce West Coast Tour with Bl’ast and Brant Bjork

Posted in Whathaveyou on June 30th, 2014 by H.P. Taskmaster

Now, if you read the interview that went up last Tuesday with C.O.C. bassist/vocalist Mike Dean, or at least took a look at the comments, you probably figured out it was Bl’ast and Brant Bjork that Corrosion of Conformity would be touring with on the West Coast, but it’s always nice to have confirmation anyway, and as the PR wire informs, Portland death-sludgers Lord Dying will be opening for the trek. C.O.C.‘s new album, IX (short review here), is out tomorrow on Candlelight after a manufacturing delay pushed  back the original June 25 release date.

The legendary North Carolinian trio also head to Australia and New Zealand in July. All dates and info below:

CORROSION OF CONFORMITY: North Carolina Crossover Icons Announce North American Live Assault

With the official release of their new full-length, fittingly titled IX, now just days away, North Carolina crossover icons, CORROSION OF CONFORMITY, are very pleased to announce their first North American live assaults in support of the offering. The near two-week run will commence on August 20th in Spokane, and come to a close in Vancouver on September 1st. The band will be joined by Bl’ast!, Brant Bjork & The Low Desert Punk Band and Lord Dying!

The trek follows the band’s live takeovers next month in New Zealand and Australia. “We are really fired up to bring COC back to New Zealand and Australia for the first time in over a decade,” says vocalist/bassist Mike Dean. “I’ve been with Vista Chino and had a great experience on Soundwave and the shows on the side. Our set is shaping up to include songs from IX, Deliverance, the self-titled, and Animosity.”

CORROSION OF CONFORMITY:
7/18/2014 Kings Arms – Auckland, NZ
7/19/2014 Valhalla – Wellington, NZ
7/20/2014 Churchills – NZ
7/24/2014 Crowbar – Brisbane, AUS
7/25/2014 NSC – Sydney AUS
7/26/2014 Reverence Hotel – Melbourne AUS
7/27/2014 Enigma Bar – Adelaide AUS

w/ Bl’ast!, Brant Bjork & The Low Desert Punk Band, Lord Dying
8/20/2014 The Hop – Spokane, WA
8/21/2014 In The Venue – Salt Lake City, UT
8/22/2014 Summit Music Hall – Denver, CO
8/23/2014 Sister – Albuquerque, NM
8/24/2014 Club Red – Mesa, AZ
8/26/2014 Brick By Brick – San Diego, CA
8/27/2014 The Roxy – Los Angeles, CA
8/28/2014 DNA – San Francisco, CA
8/29/2014 Catalyst – Santa Cruz CA
8/30/2014 Dante’s – Portland, OR
8/31/2014 El Corazon – Seattle, WA
9/01/2014 The Rickshaw Theater – Vancouver, BC

Captured by the band alongside long-time friend and colleague John Custer, writing for IX commenced in the early months of 2013 with demoing and recording starting by Summer’s end. Completed in January, IX clocks in at nearly forty-five minutes. Sludge, doom, punk… it’s all in the grooves that fans have come to expect from CORROSION OF CONFORMITY.

The planned June 24th release date of IX was moved to July 1st with the 180-gram vinyl pressing expected later in the month. Fans that preordered the CD directly from Candlelight should be finding their copy in post boxes now as the eleven-song digipak continues to garner glowing reviews critics nationally.

http://www.coc.com
http://www.facebook.com/corrosionofconformity
http://www.candlelightrecordsusa.com

Corrosion of Conformity, “On Your Way” from IX (2014)

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Corrosion of Conformity Interview with Mike Dean: The Power of Expression

Posted in Features on June 24th, 2014 by H.P. Taskmaster

Next Tuesday, July 1, is the release date for Corrosion of Conformity‘s aptly-titled ninth album, IX, which also serves as the band’s second full-length through Candlelight Records since their reboot with the trio lineup of bassist/vocalist Mike Dean, guitarist Woody Weatherman and drummer/vocalist Reed Mullin, following on the heels of their 2012 self-titled (review here) and subsequent, Scion A/V-sponsored Megalodon EP. The latter, which was also released in 2012, seemed to solidify many of the ideas of the former, and helped to affirm the grooves and the varied approach that C.O.C., now 30 years on from their first album, Eye for an Eye, would present. IX (short review here), is consistent in progressing this roughness of sound and steady, rolling feel, but as cuts like “Denmark Vesey” and “Tarquinius Superbus” show, C.O.C. never completely let go of their roots in hardcore punk. Knowing that at any point they could immediately take off at top speed adds an element of danger to the proceedings, and Dean, Weatherman and Mullin sound only too happy to revel in it.

The latter track, which appears deep into IX‘s side B sandwiched between the high-grade Southern heavy rock of “The Hanged Man” and “Who You Need to Blame,” is particularly interesting for how directly it plays one side off the other, its five-and-a-half-minute runtime split between raging forward motion and righteous nod. It serves to summarize what C.O.C. have done best since coming back as a trio, which is to foster an approach simple enough in its elements but based around a quality of songwriting that speaks to the band’s legacy both in albums like 1985′s Animosity and 1996′s Wiseblood while still forming something new from them. In both their style and how they’re developing within it, Corrosion of Conformity circa 2014 are geared toward a natural sound and focused on capturing a live feel in their recordings. As an album, IX not only succeeds in this, but shows the band sounding more comfortable and confident in their approach as well.

We were on a bit of a rough line in terms of connection, but in the interview that follows, Dean discusses how they’ve arrived where they are, including their longtime collaboration with producer John Custer, with whom Dean worked on this album as an audio engineer, the progression they’ve undertaken since the self-titled was put together, touring, and how finalizing material in the studio as it’s being recorded can help give a record a sense of spontaneity. Also discussed at the end is Dean‘s time in Kyuss-offshoot Vista Chino and what the future might hold there. After some drama with the booking, Corrosion of Conformity will head to Australia this summer, and they have plans in the works for a West Coast tour this fall and will no doubt continue to support IX for the foreseeable future, keeping their momentum going at a clip to match their speediest riffing.

Full Q&A is after the jump. Please enjoy.

Read more »

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Revolving Beast and Turbojugend Kokomo Stream Tracks from New Split 12″

Posted in audiObelisk on May 29th, 2014 by H.P. Taskmaster

Seems like a safe assumption that between the feedback-soaked intro to Revolving Beast‘s “Hogs,” the Voivod-meets-Mondo-Generator weirdness that plays out from there, and the acoustic, “Tiki-themed” cover of Turbonegro‘s “All My Friends are Dead” by Norwegian cover act Turbojugend Kokomo, at some point as you make your way through the nine minutes or so of music below, you’re going to wonder just what the hell is going on. It’s okay. That’s pretty much the whole idea.

The tracks come from a Self-Destructo Records split 12″ between the two vastly different acts, based alternately in North Carolina and Oslo, and yeah, things get pretty weird. Revolving Beast are given to layered solos, prog-metal rhythmic insistence, and deft turns that create overarching groove where one wouldn’t expect it could thrive. “Hogs” has a jagged feel and makes quick work of its shifts, which betrays some of the trio’s pedigree in acts like Valient Thorr, The Church of Zann and The Black Hellatones these are guys who’ve been around — but the three-piece keep a steady flow and hold the track together, which is a significant accomplishment considering how off-the-rails some of it sounds.

And “All My Friends are Dead?” Well, it’s an acoustic Turbonegro cover. At under 90 seconds, it’s over before you know it, but before then, it keeps the madcap infectiousness of the original, which appeared on Turbonegro‘s 2005 outing, Party Animals, but strips the song down to its bare bones, a verse, a hook, repeat. As zany as Turbonegro have been for the better part of the last 25 years, Turbojugend Kokomo emphasize that what’s underneath the wacky hats, drunken antics and perpetual cult following, there’s a quality of songwriting serving as the foundation for all the rest.

If you wanted something a little off from the norm, start with either. PR wire info follows the tracks below:


Self Destructo Records announces split 12” with North Carolina’s Revolving Beast and Oslo, Norway’s Turbojugend Kokomo

North Carolina power trio Revolving Beast and Scandinavian vocal/guitar quintet Turbojugend Kokomo to be featured on split LP out in late summer 2014 via Self Destructo Records. We welcome them to the family!!

Revolving Beast is a NC based power trio comprised of guitarist Benjamin Earl, drummer Storm Castañeda, and bassist Kenneth Ells. While their collective musical pedigree implies a form of rock and roll that is equal parts aggression and complexity – see Valient Thorr, Thunderlip, The Kickass, The Church of Zann, and The Black Hellatones for a short list of their previous work – they write songs in an unnamed argot. Amorphous and crystalline, a landlocked island, they pierce your hull, sever your canvas, and nurture you with their affectation.

Revolving Beast has already played a handful of shows around the Southeast area and has been met with good responses by the crowds.

Revolving Beast live:
– June 1st at The Cave (Chapel Hill, NC): Brief Lives, Revolving Beast, Bitter Resolve.

Turbojugend Kokomo is a vocal group consisting of five drunken Norwegian rock n rollers who are members of Turbojugend Oslo, the mother chapter of the Turbojugend, the global fan club of the Scandinavian hard rock band Turbonegro. Formed in the winter of 2006 under the influence of pizza and beer and hailing from the cold city of Oslo, these Beach Boy worshipping, Hawaiian shirt clad Scandinavians have traveled throughout Europe (most notably Germany and Sweden) using their natural talents to have audiences walking into bars in curiosity and walking out in disbelief since. They’ve played such events as the Welt Turbojugend Tage (St. Pauli, Hamburg) and the Oslo Bloodbath; they’ve been featured on various recordings and tribute albums from various labels (most notably for Trashcan Darlings and for Turbonegro).

Turbojugend Kokomo is:
Tanked Mongo – Vocals, Guitars and Tambourine
Party Cowboy – Vocals and Kazoo
Twin Turbo – Vocals and Triangle
Turbo Truls – Bass & Vocals
Peke PresHenning – Vocals

The two bands will have four songs each be featured on a limited split 12” LP out in early Fall 2014 via Self Destructo Records. Both bands, despite their difference in sound, are excited to be a part of this release and to be working alongside each other.

Track listing is as follows:

Turbojugend Kokomo:
1. All My Friends Are Dead
2. Whiskey in the Jar
3. Sloop John B.
4. House of The Rising Sun

Revolving Beast:
1. Four Banger
2. The Burning Of Salem
3. Hounds
4. Hogs

Revolving Beast on Thee Facebooks

Turbojugend Kokomo on Thee Facebooks

Self-Destructo Records

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Weedeater Announce Australia/New Zealand Tour with C.O.C.

Posted in Whathaveyou on April 25th, 2014 by H.P. Taskmaster

This week, even as they made ready to head to Desertfest, sludge mavens Weedeater unleashed a new Scion-sponsored single called “Hot Doughnuts Now,” and needless to say, but it features both their signature lurching tones and unmitigated charm. To wit, it’s about doughnuts. And “doughnuts” is spelled right. Not that there was ever any doubt, but Weedeater remain on the ball.

In addition to the new song, which is the first Weedeater studio track to surface since their signing to Season of Mist for the release of their next album, the band have announced a tour in Australia and New Zealand alongside Corrosion of Conformity, the two bands serving as ambassadors together of some of the best in heavy that the American South has to offer.

The PR wire digs it:

WEEDEATER announce new tour dates in Australia, New Zealand

Infamous sludge outfit WEEDEATER (“Dixie” Dave Collins – Bass, Vocals; Dave Sheperd – Guitar, Vocals) has announced a new tour in New Zealand and Australia. The tour, which begins on July 18 in Sydney, will travel through Melbourne, Perth, and more before ending on July 28, and will see WEEDEATER play alongside CORROSION OF CONFORMITY. A full list of confirmed dates can be found below.

WEEDEATER released a new track as part of the “SCION AV Presents…” series. The track, titled “Hot Doughnuts Now” can be streamed and downloaded here. The North Carolina-based band is currently writing new material for their first Season of Mist recording, slated for release in 2014.

WEEDEATER was formed by front-man/bassist “Dixie” Dave Collins. Following the release of their 2001 debut ‘…And Justice For Y’All’, WEEDEATER immediately established themselves as a force in the U.S. tour circuit and quickly gained notoriety in the American metal scene. In the time since, the band have released three critically-acclaimed albums: ‘Sixteen Tons’ (2002), ‘God Luck And Good Speed’ (2007), and ‘Jason… The Dragon’ (2011), and toured around the world with the likes of DOWN, SAINT VITUS, HIGH ON FIRE, and THE MELVINS, HANK III, EARTH, SUNN O))) and more. The band has played prestigious festivals such as Maryland Deathfest, Hopscotch Festival, Stoned From The Underground, Asymmetry Festival, Roadburn Festival, Hellfest, and many more.

For more WEEDEATER news and tour information, please visit the Season of Mist website, and the WEEDEATER website and Facebook page.

WEEDEATER TOUR DATES:
All dates with CORROSION OF CONFORMITY
7/18 Sydney NSW @ The Factory Theatre
7/19 Canberra ACT @ ANU Bar
7/20 Melbourne VIC @ 170 Russell
7/22 Auckland NZ @ The Kings Arms
7/23 Wellington NZ @ Bodega Bar
7/25 Adelaide SA @ Fowlers Live
7/26 Perth WA @ The Rosemount
7/28 Brisbane QLD @ The Hi Fi

http://www.season-of-mist.com/
http://www.weedmetal.com/
https://www.facebook.com/weedmetal

Weedeater, “Hot Doughnuts Now” (2014)

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Hour of 13 Pay Homage to Jason McCash with Final Recorded Song

Posted in Bootleg Theater on April 8th, 2014 by H.P. Taskmaster

Though they’ve been effectively defunct since their final full-length, 2012′s 333, and will remain that way, North Carolina’s Hour of 13 has been resurrected in the form of a one-off single called “Upon Black Wings We Die.” The track is a trad metal homage to The Gates of Slumber bassist Jason McCash, who passed away this weekend, and finds band founder Chad Davis (also of Romannis MötteTasha-Yar, etc.) playing all the instruments, adding the vocals and recording himself in a true one-man-band production.

Davis offers his own words of tribute to McCash even as he closes the book on Hour of 13, so I won’t delay further except to note that tribute shows for McCash are starting to come together in Baltimore and Boston, and those links as well as the link to the fund to help Jason McCash‘s family with their finances can be found below.

Enjoy:

Hour of 13, “Upon Black Wings We Die”

Cosmic dust. We all return to it from our birthplace. And a long journey it is to make that return. An act so simple brings forth the beginning of that journey, regardless of proper timing…

Upon hearing the news of Jason McCash’s passing, it left me extremely awestruck. The late night conversations we had, discussing the mysteries of the universe, the state of modern day Heavy Metal, and the amazing basslines that solidified all of Christian Death’s music. All now a thing of the past. And so it brings forth this:

Last night I wrote a song for Jason, a farewell to his unquestionable legacy as one of the most solid bass players in the US Heavy Metal scene. A farewell to his kind and supportive nature. A farewell to the ideas we had tossed around of doing a project in the future.

And with this memoriam brings forth the demise of Hour Of 13.

This is the last and final document of HO13. A document that proves US Heavy Metal is still alive and strong. With many great bands around to continue to carry that flame, there is no better time to let go and begin my own personal journey. Mentally I cannot foresee any other reason to remain active, as all of the bands that mattered in the resurrection of Traditional Heavy Metal have all suffered loss, it only brings about confusion and disdain. This feeling became apparent witht the passing of my celestial brother Selim Lemouchi, and now solidified with the passing of Jason. And so it begins….

Sleep well brothers, and may the experiences you both now have unlock all of the answers to the questions we had always asked.

Regards,
Chad Davis – Hour Of 13

Hour of 13 on Thee Facebooks

Baltimore Jason McCash tribute event page

Boston Jason McCash tribute event page

McCash Family Fund

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Graves at Sea and Sourvein to Release Split on May 13

Posted in Whathaveyou on March 27th, 2014 by H.P. Taskmaster

So you take the reignited Graves at Sea, and you put them in the studio with Billy Anderson. Right? Fucking brilliant. Then you take Sourvein, now past the 20-year mark, and you put them in the studio with C.O.C.‘s Mike Dean. Also, fucking brilliant. Then you take the results of these sessions, slap some badass war-wolf art on it, press it to CD and LP, and presumably take the rest of the day off, because I don’t care what else you come up with, you’re just not gonna top that idea.

And I’m not saying I’ve heard any of this material yet or anything, but you’re in for a surprise if you think you know what to expect from Sourvein.

The two bands start a European tour April 10 at Roadburn, and Seventh Rule has the split out on CD and LP on May 13.

Check out the PR wire, telling it like it is:

GRAVES AT SEA And SOURVEIN Unite For A Release Of Ultimate Amplifier Worship; Preorders Available This Friday

Two of doom metal’s mightiest of feedback-laden riff worshippers – Portland’s GRAVES AT SEA and Cape Fear’s SOURVEIN – have united in sound, mind and spirit for the ultimate split of earth-smoldering amplifier worship.

GRAVES AT SEA, whose contributions leave an eerie aura complete with tortured vocals, foreboding composition, and a general sense of dread, occupy Side A. Recorded by Billy Anderson, (Melvins, Sleep, Neurosis) “Betting On Black” and “Confession” finds the all-consuming sludge for which the band is notorious, flooding in amongst the tortured howls and shrieks of vocalist Nathan Misterek.

SOURVEIN, who’ve now existed for two decades of distortion, damage and total doom, solidify Side B. With three songs produced and recorded by Mike Dean Of Corrosion of Conformity, these odes of heavy combine toxic riffs, grooves and just the right amount of psychedelic appeal.

Track Listing:
1. GRAVES AT SEA – Betting On Black
2. GRAVES AT SEA – Confession
3. SOURVEIN – Driffter
4. SOURVEIN – Equinox
5. SOURVEIN – Follow The Light

Both sides were mastered by Brad Boatright (Sleep, Beastmilk, Nails) at Audiosiege Engineering and will be released via Seventh Rule Recordings on both CD and LP on May 13th, 2014 during the two bands’ duel conquest touring Europe and prior to their appearances at this year’s edition of the illustrious Maryland Deathfest. The first pressing of the LP will be limited to 1000 copies and come available on 160-gram black wax with an included download code. Recommended for fans of Eyehategod, Black Sabbath, Electric Wizard, and all things loud and fuzzy.

Preorders will be available THIS FRIDAY (3/28) at THIS LOCATION.

http://www.facebook.com/GravesAtSea
http://www.facebook.com/pages/SOURVEIN/238932972468
http://www.seventhrule.com
http://instagram.com/seventhrule
http://seventhrulerec.tumblr.com/
http://twitter.com/seventhrule

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Corrosion of Conformity are Recording Their Next Album

Posted in Bootleg Theater on January 14th, 2014 by H.P. Taskmaster

Last year, Corrosion of Conformity‘s Scion A/V-sponsored Megalodon EP continued to win the long-running North Carolina outfit favor in the wake of their 2012 self-titled (review here), their first album as a trio since 1985′s Animosity. As the studio footage of drummer Reed Mullin recording some vocal parts demonstrates, work on a follow-up is underway now.

It’s funny to think of a band who’ve been at it since 1982 — and who are back in their original lineup — as having something to prove, but with the C.O.C. audience contingent who can’t or don’t want to move beyond the fact that guitarist/vocalist Pepper Keenan isn’t in the band at this point and may or may not rejoin them at some future date (he’s in Down if you’re looking for him), the three-piece of bassist/vocalist Mike Dean (also Vista Chino), Mullin and guitarist Woody Weatherman seem to still be pushing against expectations born of their Deliverance era. I’m not going to argue that’s not a great, landmark record, but it was also 20 years ago, and you’re only cheating yourself if you miss out on the quality output from modern C.O.C. – who, again, are also the original C.O.C. – because of Keenan‘s absence.

My two cents. Check out Mullin belting out a new song below, followed by some PR wire info courtesy of the band’s label, Candlight Records and the link to the event page for their upcoming show at The Underworld in London on March 13:

C.O.C., Back in the Studio

Raleigh, North Carolina legends Corrosion Of Conformity are recording their next album, the follow-up to the well-received self-titled record issued via Candlelight Records in late February 2012, the reissue of their “Eye For An Eye” debut, and the released Scion A/V EP “Megalodon”. The forthcoming CD, untitled at this time, will again feature the trio of vocalist/bassist Mike Dean, guitarist Woodroe Weatherman, and drummer Reed Mullin. A new video clip from the studio can be seen below.

The initial work on the new album found the band not long out of the recording studio, having recently completed their “Megalodon” EP. The special EP was included free to all customers to the band’s official webstore. Dean said: “The EP was written, recorded, and released in two months’ time. It really challenged us in a good way.”

Formed in Raleigh in 1982, CORROSION OF CONFORMITY quickly transformed heavy music. Politically charged and socially aware, the band has influenced countless others and today remains humble about their accomplishments. With over 1.1 million albums sold in the United States, the band continues to find new fans via nonstop touring.

C.O.C. on Thee Facebooks

Candlelight Records on Thee Facebooks

C.O.C. at the Underworld event page

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Friday Full-Length: Weedeater, …And Justice for Y’all

Posted in Bootleg Theater on January 11th, 2014 by H.P. Taskmaster

Weedeater, …And Justice for Y’all (2001)

“Maybe I’ll just head back/To West Virginia, by god…”

I’m not going to say that Weedeater are a band I put on all the time. They’re not. If I’m sitting down to a nice dinner with The Patient Mrs. after a long day, and we’re having cheese and crackers or something like that, she’s got a glass of wine, maybe I’m nursing the end of an iced tea or whatever it is, I’m not likely to be like, “Hey baby, time for some Dixie Dave.” My mother, bless her heart, used to tell me when I said fuck too much in school that there’s a time and place for everything. Ultimately, and after much reprimand, I realized she was correct.

And to that, I will say there are corresponding times when nothing else but Weedeater will do. I know that Buzzov*en and Eyehategod were there before them in the South and Grief and Negative Reaction too in the North — to say nothing of Bongzilla or any such Western predecessor contingent — but they captured something right from the start on 2001′s …And Justice for Y’all that I don’t think any of those other acts managed to nail in quite the same way. It’s not even about having an angry attitude, which of course plenty of sludge has. It’s about just sound like you absolutely do not give a fuck about anything or anyone. Stoned nihilism put to warped tape.

This was one of those times when nothing else would do but Weedeater, and as it happens, they’re kicking off a tour  in a couple days on the West Coast with Black Cobra and they’re slated to reissue their four to-date LPs through new label Season of Mist in advance of a fifth later in the year. One to watch for, I guess. Their last outing, 2011′s Jason… the Dragon (review here), was a hoot.

As always, I hope you enjoy.

I was all set to sit here and type out some blues song woe is me shit. Lousy week, front to back. And I don’t know if it’s the Weedeater or what, but seriously, fuck it. I don’t have the energy for that shit anyway and what would it accomplish? Bum someone out who’s maybe enjoying some good tunes? Fuck that. I hope you had a great week, and I hope you hear the Weedeater and fucking groove out and it’s a good time.

Tonight ended strong at least. Got back a bit ago from seeing Gozu debut their new lineup. An interesting venture they’ve undertaken, adding a second lead guitar. The show was good, and hell, it’s probably still going on. I split a little while after they finished to come back here and start this. Leaving a show to go home and write about music. There’s probably not a lot of people who would understand that one. That’s how it went.

Monday I’ll review that, and I’ll hit up Weedpecker and Insider next week as well for album reviews. Also Monday I hope to have up my list of albums to watch for in 2014. My hope is to start writing over the weekend. So far I’m over 30, so yeah, I guess it’s gonna be a pretty large undertaking. I think maybe I’ll leave lists alone for a while after that, though they seem to be pretty popular. Fucking even the New York Times does that shit now. Capturing a moment, I guess. I’ve never been much for the moment.

From the bottom of my heart, I wish you a great and safe weekend. Have fun, kick ass, and we’ll see you back here Monday for more good times.

Please hit up the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

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The Obelisk Radio Add of the Week: Innominandivm, Nocturnivm Ritvalis

Posted in Radio on January 2nd, 2014 by H.P. Taskmaster

I happened to see on New Year’s Eve there were a few people who tuned into the radio stream the whole night. Presumably this was done as maybe some background for festivities or whathaveyou. That’s fucking awesome and I was thrilled. Innominandivm‘s Nocturnivm Ritvalis is not that kind of album. Basically, it’s the opposite. Comprised of four unflinchingly bleak drones, it’s not without a pulse, but is so resoundingly dark that light is hard-pressed to escape. The project, whose name is nigh-on-impossible to type correctly the first time — Innominandivm; nope, missed it again — is the dark-ambient alter ego of Chad Davis, multi-instrumentalist for Hour of 13 and any number of other outlets, among them Romannis Mötte, Anu, Tasha-Yar, Chains, Draath, Set, and so on. One more outlet in an already densely-populate discography? Maybe, but that doesn’t take away from the value of Nocturnivm Ritvalis in the slightest.

Each of the four cuts, titled “I” through “IV” on the 35-minute Innominandivm debut is based around a central atmosphere. The first is creeping and cinematic, the second more religious with a slow progression of organ-style tones amid open-drone wind, the third lower, more mechanical like if a cybernetic didgeridoo suddenly became sentient, and the last a 13-minute enfolding that’s tension without mercy and, like the opener, something John Carpenter would’ve been lucky to have in his heyday. Nothing is under six minutes, it’s all instrumental. There’s no payoff, no release, no hope, and since that’s obviously the intent, I can only say it works to glorious fashion. It’s easy to imagine that Davis wound up with these ideas as the result of working on other projects, or that maybe these pieces or the initial sparks from which they arose (such as anything here arises; mostly it sinks deeper and deeper) were intended for use in another context. So be it. They may be formative and minimal, but they resound nonetheless with aesthetic intent. If Davis wants to use them as the basis for future idea development or keep Innominandivm in his back pocket as a project to periodically toss out similar explorations, that’s his business.

What his long-term intent for the project might be, I don’t know, but he seems to hint that there’s more to come from Innominandivm and if that’s the case, Nocturnivm Ritvalis (am I wrong in thinking that U should be a V?) sets a deeply ambient foundation on which to build. It’s not friendly. It’s not party music. The depressive challenge Innominandivm makes, however, is one worth taking on, and for that reason, I’m glad to be able to add it to The Obelisk Radio. Check it out there now as part of the regular 24/7 stream or get a taste of “IV” in the YouTube clip below:

Innominandivm, “IV”

Innominandivm on Thee Facebooks

Chad Davis on YouTube

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Black Skies, Circadian Meditations: Crowned in Stars

Posted in Reviews on November 26th, 2013 by H.P. Taskmaster

Whether or not Black Skies had Richard Strauss in mind when they put together the introduction of “Lifeblood” that opens their second full-length, Circadian Meditations, I don’t know, but there’s a definite resemblance to that composer’s “Also Sprach Zarathustra,” AKA the main theme from 2001: A Space Odyssey. That would be fitting as well with the North Carolina three-piece’s space-themed artwork and the overall more psychedelic approach that comes up throughout the album, but life is rarely that neat. Still, the Circadian Meditations opener arrives with enough circumstance to make the actual start of the song feel like an event, and as the rest of the 37-minute LP plays out, it gets easier to think of it that way. “Lifeblood” is the longest track on the record at 10:08 (immediate points), and together with closer “The Dusk/Invisible Fingers” (9:21), forms an apparent bookend around shorter songs that had me searching the final moments for similar crashes and guitar noise. I didn’t find them, but what was there satisfied anyway, as does entirety of Circadian Meditations, as the Black Skies core duo of bassist/vocalist Michelle Temple and guitarist/vocalist Kevin Clark (also synth and shruti box drones) — joined here by drummer John Crouch, imported from somewhat likeminded North Carolinian outfit Caltrop in apparent place of Tim Herzog, who played on 2011′s On the Wings of Time debut LP — have gracefully expanded their aesthetic reach without sacrificing either the spaciousness of the recording (helmed like the last one by Kyle Spence of Harvey Milk) or losing the impact of the songs to excessive indulgences. Not that the album doesn’t have any, it’s just that as Temple and Clark trade vocal lines back and forth once “Lifeblood” gets underway, they’re quick to engage with warm tones, hypnotic riff repetitions and the aforementioned vocal tradeoffs. The sense of movement is palpable throughout “Lifeblood” — knowing his work in Caltrop, part of that credit has to go to Crouch – and still the band is able to hone in on a contemplative, exploratory feel. In that way, the opener sets the tone perfectly for the rest of the album to follow.

A smooth build brings “Lifeblood” to an apex topped with wah-soaked guitar leads propelled by Crouch‘s punctuating snare and held steady via Temple‘s rumbling bassline. The rush toward the end, the cycles it goes through, sound a bit like space rock, but that’s a designation that would seem to pull away from the earthiness of their tones, which isn’t to be understated. “Celestial Coronation,” which follows the opener, features one of the album’s best choruses, with shades of what always worked best about Kylesa being repurposed into a structure that loses none of its appeal for telegraphing its moves through the first two verses, whereupon it departs to a brooding instrumental stretch that in turn shifts back first to a solo over the chorus riff and then to the hook itself, rounding out in traditional fashion a construction given a more avant feel by the subdued psychedelic wandering of the last minute-plus which devolves as the drums get softer into a kind of measure-by-measure lull, ultimately ringing out to silence. On a lot of records, this would be standard trickery. The band puts you to sleep in order to wake you up again. Black Skies, to their credit, play it differently. “The Dawn,” which would seem to be the end of a vinyl side A, is a two-minute pastoral exploration led by Clark‘s guitar, and even when Temple and Crouch crash in after about 40 seconds, the serene vibe is maintained, a patient sway holding some tension but keeping steady to a sustained final rumble and another few seconds of quiet. There isn’t a physical pressing of Circadian Meditations yet, though one can only imagine it’s bound for the aforementioned vinyl if not both that and CD (I’ll be the last holdout hoping for CD), but it’s worth noting that the experience of “The Dawn” into “Black C” would be completely different were the album to be broken up onto two sides. In the linear, digital version, it’s a sudden kick after a moment of peace. If one had to flip a record between, to be pulled out of that moment by the physical act might play into the effectiveness of “Black C”‘s swaggering launch.

Read more »

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Black Skies Head to the Woods in “Celestial Coronation” Video

Posted in Bootleg Theater on November 12th, 2013 by H.P. Taskmaster

Look, science has proven over and over that the woods are the best place to shoot a video. North Carolina’s Black Skies know this, and so their new clip for “Celestial Coronation” from the forthcoming Circadian Meditations (more info here) also reflects what studies in well reputed academic journals have shown time and time again: Hanging out in the forest kicks ass.

While we’re working on a boot-to-cheek thematic, it’s worth noting that Circadian Meditations hits next Tuesday, Nov. 19, and the fucking thing smokes. Vibe for days. It’s consuming and psychedelic, but as the track “Celestial Coronation” contained in the video below shows, it’s also got a bit of that post-Kylesa churn to it that 2011′s On the Wings of Time also showcased. Some of the best moments on the new one though aren’t in the driving push — that’s not the discount the work of Caltrop drummer John Crouch, who joined guitarist/vocalist Kevin Clark and bassist/vocalist Michelle Temple for the album — but  reside in the exploration of parts, in those moments right after the release of the tension so ably built is over and band and music alike seem to be taking a satisfied breath. You can hear it at the end of “Celestial Coronation.”

Hopefully in the next couple weeks (or seven months if my current pacing is anything go by) I’ll get a review of the record itself up. I just keep listening to it for the time being, so you’ll hopefully forgive me a period of unfettered enjoyment while I get to know it better. Ahead of next Tuesday’s release, please feel free to dig into the homemade video for “Celestial Coronation” and ponder the correlation between being crowned in heavens and still stomping around on dried leaves among Appalachian hilltops. We live in a wonderful age.

Enjoy:

Black Skies, “Celestial Coronation” official video

Black Skies on Bandcamp

Black Skies on Thee Facebooks

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