On Wax: Mark Deutrom & The Asound, Mini-Skirt/The Chief of Thieves Split 7″

Posted in On Wax on December 19th, 2014 by H.P. Taskmaster

mark-deutrom-the-asound-split-a-cover-vinyl

Austin-based Mark Deutrom and North Carolinians The Asound team up for a split 7″ released through Tsuguri Records, the imprint helmed by Asound bassist Jon Cox. One track from each outfit is included, Deutrom – who has a new band going called Bellringer (more on them to come) and has collaborated with no shortage of others but is probably best known for playing bass in the Melvins during their Stoner Witch era — tossing in a quick, punkish burst of an A-side in “Mini-Skirt,” while The Asound let their riffs breathe a little more on side B with “The Chief of Thieves,” a steady roll captured raw and suited to the 7″ form. Sound-wise, it’s not so different from their recent live split with Lenoir Swingers Club (review here), but the output is clear enough to indicate a studio recording, even if it’s one still punk enough to warrant the black and while cover art on the 7″ sleeve — a traditionalism well suited to both inclusions.

mark-deutrom-the-asound-split-b-cover-vinylDeutrom reportedly recorded “Mini-Skirt” at the same time he tracked the jazzy solo offering Brief Sensuality and Western Violence (review here), and with Aaron Lack on drums, what might’ve been left off the record on account of not fitting sonically earns a distinctive place here via thickened shuffle and unceasing forward motion. Easy enough to be reminded of Butthole Surfers and the Melvins both, but “Mini-Skirt” makes its point in the unflinching, almost garage-sounding nature and in its quick-turning solo culmination. Where the record from whence it doesn’t come was a headier affair, “Mini-Skirt” is simple and decidedly anti-progressive, a sprint put to tape. It contrasts effectively with The Asound‘s “The Chief of Thieves,” which keeps to a slower pace, but the two find common ground in their rougher-edged production an in the density of their tones, the fervency of their crash and the efficiency with which they deal out their riffing.

Guitarist/vocalist Chad Wyrick leads the proceedings for The Asound, with Cox and drummer Michael Crump following the lurching groove set by the guitars more or less for the duration. It’s a riff worth basing a song around, and even the solo section in the second half seems to base its rhythm around that same movement, the vocals by then having dropped out to let the band get to the heart of the matter. No question the B-side is longer than the A, but in the context of what they’re doing, Wyrick‘s singing over the wailing distortion recalling some of Floor‘s appeal in combining doom and more accessible sonic forms, I don’t think I’d call “The Chief of Thieves” less productive than its companion, only going for — mark deutrom the asound split coversand, I’d argue, hitting the mark — on a different side of the same style. The Asound end after all that rolling on a quick-fading feedback that calls to mind the constraints of the format. That is, there’s nothing sonically to make me think that riff couldn’t have gone on another seven minutes or so.

But then it would be an entirely different kind of release — and Deutrom would probably need more than one song — so I’ll instead take the tight-packed grooves on the platter itself to stand as a visual metaphor for what “The Chief of Thieves” has to offer during playback. The 7″ is limited to 200 copies in green or black vinyl, and while it might be a stopgap for both parties concerned, it also asks next to no indulgence on the part of its audience and easily proves worth the time it takes to listen.

Mark Deutrom & The Asound, Split 7″ (2014)

Mark Deutrom website

Mark Deutrom on Bandcamp

The Asound on Thee Facebooks

The Asound on Bandcamp

Tsuguri Records website

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On Wax: Lenoir Swingers Club & The Asound, Live at Dead Wax Records Split 12″

Posted in On Wax on October 16th, 2014 by H.P. Taskmaster

the-lenoir-swingers-club-the-asound-split-cover-and-vinyl

Capturing a Jan. 25, 2014, show that billed Lenoir, North Carolina, as “the fifth most miserable city in the US,” the new Live at Dead Wax Records split 12″ from Lenoir Swingers Club and The Asound delivers on its promise. Two sides of raw drive — the A side more punk-fueled, the B side thicker toned — but the uniting factor is the unbridled nature of the delivery. Dead Wax Records has the split out as the second in a series of two thus far, and with a clear recording from Brian Caudle and a mastering job from Chad Davis (of The Sabbathian, Tasha-Yar, Hour of 13, and so on), the record manages to capture the energy behind both bands’ sets and present some sense of dynamic between them. The only thing missing is a 15-minute breakdown between the two. Well, maybe not “missing,” but you know what I mean.

Live at Dead Wax Records is pressed in limited numbers — a manufacturing problem seems to have made those numbers even more limited than originally intended — and included with the platter itself, a black paper sleeve, the-lenoir-swingers-club-the-asound-split-vinyl-the-lenoir-swingers-club-coverand the two covers is a two-sided liner, one sheet per band. For Lenoir Swingers Club, the manic collage of show flyers and photocopied look mirrors the classic punk of the band itself. A trio unsurprisingly native to Lenoir, they present five songs in a short-seeming burst — “Personal Space Invaders,” “People Under the Stairs” and “Student Driver” pushing out all the attitude and brashness one could ask of a three-piece so apparently keen on irreverence. I’m sure I wouldn’t be the first person to compare them to Dead Kennedys, but “Summer of Bugs” slows down the proceedings somewhat to give a different edge, and the finale “Thing Sloth,” which was going out to Tom, in case you were wondering, wraps with an assault of feedback and noise its capstone thud. They’ve reportedly got a full-length in the works and I wouldn’t be surprised if they pulled it off with an undercurrent of diversity, since that seems to come through even in their bare-bones live sound.

Late last year, The Asound released a self-titled debut full-length on bassist Jon Cox‘s own Tsuguri Records imprint, and on Live at Dead Wax Records, they present four songs from it, beginning with the rush of album-closer “Slave to the Saints” and moving toward the furious percussive rush and mega-stoner riffing of “Joan,” with “Tater Hole Blues” and “The Baron” between. Both “Joan” and “The Baron” havethe-lenoir-swingers-club-the-asound-split-vinyl-the-asound-cover been around for a bit — the latter having been featured on a 2011 split with Magma Rise (streamed here) and the former on an earlier 2010 self-titled EP (review here) and a 2010 split with punkers Flat Tires (review here) — but were certainly at their most realized on the full-length, and they sit well here alongside the Melvins-style thrust of the instrumental “Tater Hole Blues”and the high-gear “Slave to the Saints,” guitarist/vocalist Chad Wyrick tearing into a solo while Cox and drummer Michael Crump hold together the furious groove behind, the whole crude than on the studio offering, which winds its way into an Olde Growth-sort of punkish stoner melodicism, but satisfying in its own right, their set, like Lenoir Swingers Club, finishing with a suitably noisy payoff.

Two underground acts with a penchant for mean groove and underlying — or in the case of Lenoir Swingers Club, overlaid — fuckall, they might not seem on first listen to make for the best pairing, The Asound geared much more toward heavy riffing than their compatriots, but with their foundation likewise in punk, it works. I’m not sure who might be next in Dead Wax Records‘ series, but at least for one probably-cold-ass night in January, Lenoir’s misery got a riotous soundtrack. A 12″ in the tradition of punk 7″s, no surprise there’s more on offer here than it at first seems.

Lenoir Swingers Club & The Asound, Live at Dead Wax Records teaser

Lenoir Swingers Club on Thee Facebooks

The Asound on Thee Facebooks

Dead Wax Records

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Weedeater Finish Recording New Album and Announce Tour Dates

Posted in Whathaveyou on September 29th, 2014 by H.P. Taskmaster

Not that Weedeater need an excuse to hit the road at this point, but finishing a new album is as good an occasion as any. That record, yet untitled, will be out in 2015 as their debut on Season of Mist, who’ve also reissued the band’s first two full-lengths. Like its 2011 predecessor, it was helmed by Steve Albini, and while five years seems like a long time between Weedeater records, it’s worth considering that in addition to swapping out drummers, the band hasn’t really been off tour since before the last LP came out.

Dates for the upcoming run follow, courtesy of the PR wire:

weedeater poster

WEEDEATER announce North American Tour dates

Notorious southern metal outfit WEEDEATER (“Dixie” Dave Collins – Bass, Vocals; Dave Sheperd – Guitar, Vocals) have announced new North American tour dates. The tour starts on November 3. A full list of confirmed tour dates can be found below.

WEEDEATER recently re-issued their first two albums, ‘Sixteen Tons’ and ‘…And Justice for Y’all’. The long out of print albums are available as vinyl for the first time, as well as a CD and digitally at the Season of Mist E-shop and at Bandcamp.

The North Carolina-based band have finished recording 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).

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 FULL OF HELL and LAZER/WULF

Nov. 3 Pittsburgh, PA @ Rex Theater
Nov. 4 Baltimore, MD @ Soundstage
Nov. 5 Philadelphia, PA @ Kung Fu Necktie
Nov. 6 Holyoke, MA @ Waterfront Tavern
Nov. 7 Brooklyn, NY @ Saint Vitus
Nov. 8 Dayton, OH @ Rock Star Arena
Nov. 9 Chicago, IL @ Double Door
Nov. 10 Grand Rapids, MI @ Pyramid Scheme
Nov. 11 Indianapolis, IN @ 5th Quarter Lounge
Nov. 12 Newport, KY @ Thompson House
Nov. 13 Atlanta, GA @ 529
Nov. 14 Savannah, GA @ Jinx
Nov. 15 St. Petersburg, FL @ The State Theater

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

Weedeater, Live in Los Angeles, CA, Jan. 29, 2014

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Sourvein Signs to Metal Blade; Aquatic Occult Due in 2015

Posted in Whathaveyou on September 11th, 2014 by H.P. Taskmaster

The Dirty South finds a new home out west! Earlier this year on a split with Graves at Sea, North Carolina sludge stalwarts Sourvein began to show a different side of themselves, founder and vocalist T-Roy Medlin experimenting with a cleaner approach to singing over the band’s signature rolling riffs. On tour this spring in Europe, they worked this stylstic shift successfully into the context of their past material — raucous, riotous and filthy — and I guess it worked out. Their next album, Aquatic Occult, will be released on Metal Blade Records.

Their plan is to record with Mike Dean of C.O.C. early next year and put it out sometime thereafter. Medlin has bled hard for his band over the years, been through more lineups than I can count, and even Sourvein‘s last full-length, Black Fangs (review here), was badass, so I’d definitely say he deserves the push Metal Blade will give. Congratulations to him and to the band.

Fresh off the PR wire:

sourvein aquatic occult banner

Sourvein signs to Metal Blade Records, plan release of “Aquatic Occult” for 2015

Critically-acclaimed sludge/doom veterans Sourvein have signed with Metal Blade Records! The new partnership’s first effort will be the release of the band’s fourth full-length album, “Aquatic Occult” in 2015. The album is scheduled to be recorded with Corrosion of Conformity’s Mike Dean in early 2015 and will finally see its release later that year. Sourvein main man Troy “T-Roy” Medlin was interviewed by friend and fellow musician, Randy Blythe of Lamb of God fame, who penned the band’s new biography. The text will serve as an excellent introduction for the uninitiated. It’s a recap of the past twenty years of the band, and a look towards a bright future for Sourvein.

Below is an excerpt from the biography, which includes comments on the signing and the upcoming album:

Over twenty long dues-paying years later, Sourvein has at long last found a proper home for their doom-laden Southern noise with underground stalwarts Metal Blade Records, and Medlin couldn’t be happier. “Aquatic Occult”, the band’s first offering on the label, promises to be heavier than a two-ton anchor dropped into an antique porcelain bathtub– it’s going to break things. But getting here hasn’t been easy.

“Finally, man. Finally,” he says, shaking his head in disbelief as he reflects on the lengthy, grueling trek that brought his band to Metal Blade’s roster.

“It’s the record I wanted to make when I was in those rooming houses, but I couldn’t,” Medlin says, “There was too much pain, so I got lost for bit, falling back into the party life and trying to numb myself with alcohol. But motherfuckers need to feel the pain. There is more to life than numbing yourself.” Is that what “Aquatic Occult” will be about, bringing the pain? “I’m going to bring the truth. The lyrics are reality to me; I don’t write about cars or chicks or fucking horror movies, I write about getting my nose fucking broken, all the stuff I saw growing up and now. But I want it to be positive, to let people know that there is a way out of bad times and tough situations. I’m living proof,” he says. When Sourvein hits the road in 2015 to support “Aquatic Occult”, is that what he’ll be talking from the stage, positivity?”

Man, it’s not all peace and love; it’s just not coming from hate anymore. And when I’m on stage, I’m not up there to talk to you anyways. I’ll let the amplifiers do the talking. I want you to feel it. You’ve got to feel alive, and life sometimes includes pain. Masking it doesn’t do any good, because it’s still there. It’s better to live and feel it. All of it, the good, the bad, and the ugly.”

For more information and to stay up to date, follow Sourvein on facebook and twitter here:
https://www.facebook.com/pages/SOURVEIN/238932972468
https://twitter.com/sourveinoffical
http://www.metalblade.com/us/

Sourvein, “Follow the Light” from Split with Graves at Sea (2014)

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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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