Black Skies to Release Circadian Meditations on Nov. 19

Posted in Whathaveyou on October 29th, 2013 by H.P. Taskmaster

There’s little I enjoy more than some out-of-the-blue awesome news, and word of the new Black Skies album, Circadian Meditations, and the new track “Time Lord” now streaming definitely qualify. Black Skies will release the follow-up to 2011′s On the Wings of Time (discussed here) on Nov. 19 digitally and put proceeds from download sales toward an eventual vinyl issue. Founders Michelle Temple and Kevin Clark joined forces with Caltrop drummer John Crouch for the recording of Circadian Meditations, which was helmed by Kyle Spence of Harvey Milk and, true to the band’s stated intentions below, follows a more meditative, exploratory and psychedelic course. I’m just hearing it for the first time as I type this, but so far I dig it.

Here’s PR wire info and “Time Lord” so you can keep an eye and ear out:

new Black Skies releases

Circadian Meditations, the latest full length by Black Skies, will be released digitally Tuesday, November 19th. The album expands on the psychedelic leanings of the band’s 2011 release On The Wings Of Time. The group returned to Athens, GA in May to again record with Harvey Milk’s Kyle Spence. Joining founding Black Skies members Kevin Clark & Michelle Temple for this session was drummer John Crouch (Caltrop, Solar Halos, Horseback). Showcasing experimentation, while not abandoning the heavy elements of their sound, Circadian Meditations displays a musical & spiritual evolution for the band. With careful consideration to the sequencing of the songs, as well as the use of ambient sounds, short acoustic instrumental movements, and drones from an Indian shruti box to create transitions, Circadian Meditations is meant to be listened to as a full, flowing cohesive piece rather than a scattered collection of songs.

We are also releasing a digital single featuring an unreleased track, “Echoes In The Void” b/w “Dead Batteries” (previously released on a Digguptapes limited edition split cassingle with Caltrop). Both songs were recorded with Nick Petersen at Track & Field Recording Studio and feature Tim Herzog (Godspeed You! Black Emperor, Milemarker, DesArk) on drums. As an added bonus to our fans who purchase the download of Circadian Meditations, we will include a free download of this single. You can listen to these songs here: https://blackskies.bandcamp.com/album/echoes-in-the-void-b-w-dead-batteries

There have already been a number of people inquiring about the vinyl release of Circadian Meditations, so we want to let you all know that we definitely aim to get this out on vinyl ASAP. Every cent we make from selling this album digitally will be going toward making that happen.

Thank you all for your continued support & we hope you enjoy the music!

https://www.facebook.com/blackskiesnc
https://blackskies.bandcamp.com

Black Skies, “Time Lord” from Circadian Meditations (2013)

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audiObelisk: Stream Two New Psychedelic Explorations from Tasha Yar

Posted in audiObelisk on October 8th, 2013 by H.P. Taskmaster

Full of vague lyrical musings and intentionally languid drift, the two latest jams from North Carolina galaxy-crafters Tasha Yar (who may or may not have dropped the hyphen from their name) represent some of their most resonant work yet. Not quite ever giving in to a sun-drenched psychedelic impulse, there’s a sense of the room, of the rehearsal space, in the two live-recorded cuts, and that makes the tracks sound even more organic. Drummer Tim Greene — who also represents the “front desk” of the band when it comes to mailing out the discs that periodically show up around here — warns that either or both of these freeform jams could turn into songs down the road. Nebulous space rock. What could be more appropriate?

Listen to the guitars and you might hear nods to Neil Young, but rather than sit and pick apart the pieces — which are presumably titled for when they were recorded: “7-25-13, 8:30 PM” and the less specific and bluesier-riffed “‘Bout Nine” — both cuts are far more satisfying to put on and let go, let your mind wander with the echoes, the bits of boogie, the “what did he just say?” and the leftover summer humidity. “‘Bout Nine” is nearly twice as long as “7-25-13, 8:30 PM” and has room for some swing, but it still winds up in hard-panning swirl running from one channel to the next. The crux of what Tasha Yar have sent through the post is in the hypnotic aural meander, and it arrives not a moment too soon.

In case this is the first you’re seeing of the name, over the last couple years, Tasha-Yar have checked in a couple times with updates on their progress and audio to serve as landmarks of this or that captured moment. As they have in the past, songs arrive on CD (a band after my own heart) in a handmade paper sleeve with a note from Greene explaining some of what was going down at the time. This one also seems to have a map of the jam room.

And if you’re wondering, “F.D.T-Y” is “Front Desk, Tasha-Yar.” Click either image to enlarge:

Right on. I always, always enjoy hearing from these cats, and with the permission to share the songs granted so explicitly — he put it in writing and signed it! — there was no way I was going to keep them to myself. What were you doing on July 25? Check out “7-25-13, 8:30 PM” and “‘Bout Nine” on the player below, and please enjoy:

Here is the Music Player. You need to installl flash player to show this cool thing!

Tasha Yar on Thee Facebooks

Tasha Yar on Twitter

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U.S. Christmas Heading Out on Long Weekender

Posted in Whathaveyou on July 15th, 2013 by H.P. Taskmaster

Pretty bold move to even think about leaving your house in the Southeast in July, let alone get in a vehicle and do shows, but intrepid North Carolinian psych purveyors U.S. Christmas are taking on the task nonetheless. With Generation of Vipers in tow they’ll be facing the swelter head on, finding refuge in venues alongside the likes of Sons of Tonatiuh and Divine Circles.

Get your icepacks on:

USX To Tour Southeast US With Fellow Appalachian Act Generation of Vipers This Week

Appalachian masters of dark psychedelia, USX, will take to the road this week for a run of shows through the Southeastern US states alongside local brethren Generation Of Vipers. The five-city run begins on Wednesday, July 17th in Asheville followed by Athens, Atlanta, Savannah and Columbia through next weekend, the two acts to share the stage with Sons of Tonatiuh, Across Tundras and more throughout the trek.

Stated USX founder Nate Hall of the trek: “We are anticipating some good hot and sweaty shows with our good friends Generation of Vipers, Sons of Tonatiuh, and some cool new southern bands. We are hitting some of our favorite cities and it would be cool to see a ton of people come out. As always, we will play as loud and hard as we can. And we are LOADED with merch.”

USX Tour w/ Generation Of Vipers:
7/17/2013 The Boiler Room – Asheville, NC
7/18/2013 Flicker – Athens, GA
7/19/2013 529 – Altanta, GA w/ Sons of Tonatiuh, Across Tundras
7/20/2013 The Jinx – Savannah, GA
7/21/2013 Jakes – Columbia, SC

A six-pack of talented musicians, USX, having converted the name from their initial moniker U.S. Christmas, is a long-running and major element to the Neurot Recordings roster, with a plethora of LPs and other releases as well as Nate Hall’s maiden solo effort on the label’s roster. The latest USX studio effort, the epic The Valley Path, was released via Neurot in mid-2011, the expansive album consisting of one mammoth, nearly forty-minute track of esoteric beauty, showcasing the sextet’s uneasily-classified folk and psyche-driven rock at its most expansive yet.

U.S. Christmas, The Valley Path (2011)

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Chad Davis Updates on Status of Hour of 13

Posted in Whathaveyou on May 3rd, 2013 by H.P. Taskmaster

No strangers over their years “together” to tumult, Hour of 13 seem to be entering into their next phase. Multi-instrumentalist and songwriter Chad Davis provides a glimpse of where the band is at, its continued turbulent relationship with vocalist Phil Swanson (also Vestal Claret, Seamount, etc.) and what the future might hold for the band, which released its third album, 333, in 2012. For more from Davis, he’s interviewed here.

Here’s the latest:

Chad Davis / Hour Of 13 official press release 5-3-2013:

I am grateful for all of the support everyone has shown for Ho13, and honored to have been able to bring everyone quality music to a very thriving and revitalized movement. It has been extremely trying over the years, the constant interchanging of personnel, missing out on great opportunities to move the band further to all of you in a live setting, internal strife and conflicts of interest. But, in hindsight, things happened the way they have, and it is pointless to dwell on the past. The future is now…

I am glad to announce that new material will be created to carry the Ho13 namesake into the next phase of its existence. A much needed break and rest from all of it was a good source of medicine, healing the mind and allowing me to be able to refocus energy back into this musical force. Ho13 has always been an amazing outlet for me, a magnificent way to incorporate all of the influences that had helped me sharpen my craft.

A recent interview with Phil Swanson that was posted on a rather small blog, in which he made some very bold statements. I am not here to defend myself or counteract anything he may feel towards Ho13 or myself directly. His point of view is entirely his own prerogative. In an attempt to not discredit his persona, his ideas are quite far from reality. My reality. So, with that said, I wish him nothing but the best in any musical endeavor he may embark on. A talented vocalist he is, but he is NOT the be-all-end-all of Ho13.

In closing, the only thanks I can extend is once again to all of you. The fans. You have helped us more than anything. The music is for you. And I am extending to you guys the longevity of this band until the finality comes. Thank all of you!!

Regards,
Chad Davis

Hour of 13, “Who’s to Blame?” official video

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Corrosion of Conformity are Writing New Material

Posted in Whathaveyou on January 24th, 2013 by H.P. Taskmaster

…And it seems like it’s going to be a permanent situation. No harm there — C.O.C.‘s self-titled (review here) was killer and the subsequent Scion A/V EP, Megalodon, scratched a similar itch, so if the North Carolina stalwarts want to kick out another full-length as a trio on the quick, I’m not going to complain. The PR wire sends along word of the new album, recent touring, and an upcoming appearance at Metal Fest in Chile.

Dig it:

CORROSION OF CONFORMITY Writing New Material

CORROSION OF CONFORMITY has begun writing material for their next album, the follow-up to the well-received self-titled record released via Candlelight Records late February 2012, the reissue of their Eye For An Eye debut, and recently released Scion A/V EP Megalodon. The album, untitled at this time, will again feature the trio of vocalist/bassist Mike Dean, guitarist Woodroe Weatherman, and drummer Reed Mullin.

Last week the band announced their first live performance for the New Year at the annual Metal Fest Chile on April 13th. It will be the first CORROSION OF CONFORMITY appearance ever in Chile. Mike Dean comments, “We have been talking about going to South American forever and with Chile being a big source of so much of our Facebook traffic, I know it’s going to be epic. Another chance for us to do a festival with Down is always a very good thing.”

The festival follows the completion of the band’s recent US tour that concluded in southern California alongside High On Fire. The trio was also a featured participant on Barge From Hell that left Florida shores on December 7. Dean notes, “The cruise was pretty awesome. We had Rick and Jonathan from Torche masquerading as our crew and watching their antics alone was worth the trip. The seas were calm so there was no hurling over the bow.”

CORROSION OF CONFORMITY continues to promote the self-titled album in interviews with media as well spreading word on their recently released Megalodon EP. The EP, sponsored by the amazing folks at Scion A/V, is available for free now via various outlets. Dean says, “The EP was written, recorded, and released in two months time. It really challenged us in a good way. It feels good to get two releases out in one year and I expect that we will continue that level of productivity.” Continuing he shares, “The self-titled album is holding up very well for me. There is a wide variety of material there. It’s all definitely COC but at the same time everything is really a stretch for us. Within the realm of never being totally satisfied, I am very happy with how it came out.”

Formed in Raleigh, North Carolina 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 alone, the band continues to find new fans via non-stop touring.

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Patheticism, Patheticism: Go Forth and Wreck up the Place

Posted in Reviews on January 18th, 2013 by H.P. Taskmaster

The only one to surface of the six tracks included on the Tsuguri Records sort-of-reissue of Patheticism’s demo in any official way is the opener, “Go Get Jaguar,” which was included on the 2003 Destroysall: A Tribute to Godzilla compilation alongside heavy hitters like Rwake, Solace and Negative Reaction. Beyond that, the North Carolina four-piece never put out a record and reportedly sold this material at gigs, but never got it distributed or attached to a label for a genuine release. Had these tracks been recorded today instead of a decade ago, Patheticism would probably throw them up on Bandcamp and count whenever the upload finished as the release date, but in 2003, that was less of an option, so 10 years after the fact, Patheticism frontman Jon Cox has issued the abrasive and obscure sludge outfit’s only material a second look on his Tsuguri imprint. Cox, who handles the vicious screams heard throughout the EP/demo’s 20 minutes, is something of a figure in North Carolina’s sludge lineage – not just with the mining operation he runs in reissuing stuff through Tsuguri – but also for spending the mid-to-late ‘90s fronting Seven Foot Spleen (their Reptilicus post-script was issued through the label in 2010; review here), to which Patheticism bassist Scott Cline can also be traced (the two also played in Stone of Abel). Cline, now in Flat Tires who also shared a 2010 split with Cox’s more straightforwardly rocking unit The Asound, served a tenure in Mountain of Judgment with Patheticism drummer Dave Easter, and though the only member of Patheticism I haven’t been able to track more info on is guitarist Cory, chances are he was or is in one or more of these bands too, since that’s just kind of how it goes. Similar to what’s played out over the last couple years as Ohio’s sludge scene has settled into one of the country’s most seething, North Carolina had a similar period in the wake of Buzzov*en, whose nihilistic viscosity shows up in some of Patheticism’s angrier stretches, as on the second track, “Shit Ritual.” It’s also worth noting that the six songs included on the original demo that has become Patheticism’s self-titled EP were recorded in a basement in late 2002 and that the quality of sound reflects that. Personally, I enjoy sludge more with a harsh production value, but I also know that not everyone feels that way. Fair warning.

And that’s really how Patheticism’s lone recording should arrive: With a warning. Because of the lo-fi factor, they’re not as thick as they could be or probably were live in terms of prevalent low-end from Cline, so Patheticism winds up more biting than lumbering at times, a sharp feel permeating the songs even as the tempo varies from the faster thrust of “Go Get Jaguar” to the plodding opening section of “’77 Told the Truth,” which could just as easily have served as a model for Dopefight with its initial stonerly groove and more upbeat, punkish second-half, topped with Cox’s sore-throatery. Most of the time, they’re somewhere between, as Cline opens “Go Get Jaguar” and “Shit Ritual” both with a bassline that Cory soon joins on guitar and the nastiness gets underway with little ceremony and much furor. Their roots prove more toward the punk side than metal, their fuckall in the Eyehategod tradition but still caustic a decade after the fact. They don’t make the 20 minutes easy on the listener, but the grooves that Easter punctuates on his snare in “Shit Ritual” could qualify as a hook, provided the band had any interest whatsoever in accessibility. If “’77 Told the Truth” is anything to go by, they don’t, and the ensuing “Eat Shit Pie,” however familiar the lumber might prove to some who hear it, isn’t much friendlier, coated in buzzsaw fuzz and full-on tonal mud. At 4:07, “Eat Shit Pie” is one of the longer songs on Patheticism – only the opener surpasses it (immediate points) – and the feel is somewhat less raw than that of a song like “Shit Ritual,” but to anyone outside the immediate crust-loving sludge base who might hear it, noise is going to be noise. The fact that after they meander into a long-seeming instrumental break, Patheticism bring the verse of “Eat Shit Pie” back around for one last go – a genuine display of traditional songwriting – is outshined by the trough of vomit they’ve already dug on the three tracks prior. That said, if there was potential in Patheticism to climb out of their primordial sonic ooze, it’s “Eat Shit Pie” that shows it.

Read more »

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audiObelisk: Tasha-Yar Stream 14-Minute Psych Jam “Make Me Invisible”

Posted in audiObelisk on January 4th, 2013 by H.P. Taskmaster

It’s always a thrill to get mail from North Carolinian space rockers Tasha-Yar. Last we heard from them, the amorphous psychedelic outfit were jamming out the raw bliss of “Casting Lots,” and just before the New Year hit, a package showed up from drummer Tim Greene — who handles the “front desk” as well as his kit — containing the song “Make Me Invisible,” housed in what I’ve come to think of as the band’s characteristic folded-paper sleeve.

Greene, in addition to the song itself and an extra (and much appreciated) separate Thin Lizzy mixtape, once again passed on a handwritten note on the sleeve giving some insight into the background of “Make Me Invisible,” the writing and recording with guitarist Chad Davis (also of Hour of 13 and the recently-unveiled Witchcoven). Click the image below to enlarge:

As ever, awesome. Tasha-Yar continue to charm, and it’s interesting to consider that “Make Me Invisible” is an older song, since it’s a little more structured with verses and some of the most forward vocals I’ve yet heard from the band. Could it be that they’re moving ever further into the reaches of the space jam? I look forward to finding out whenever the next package arrives, and in the meantime,Greenewas also generous enough to send along permission to host the track for streaming, so here you go:

Here is the Music Player. You need to installl flash player to show this cool thing!

Check out Tasha-Yar on Thee Facebooks here and look for more to come in 2013. “Make Me Invisible” has also been added to The Obelisk Radio.

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Hour of 13 Release New Video for “Who’s to Blame?”

Posted in Bootleg Theater on December 12th, 2012 by H.P. Taskmaster

As it goes in December, there’s an awful lot of discussion around the interwebs lately about the best albums of the year. Well, as if to remind us all of their lurking presence, Hour of 13 have unveiled a new video for the track “Who’s to Blame?” from their 2012 third album, 333. Multi-instrumentalist Chad Davis (interview here) stripped the band down to its original parts for the latest outing, those being he and vocalist Phil Swanson, and the result was a collection of memorable cult doom right in line with the classic tenets of horror atmospheres and kickass riffs.

If you missed it, Davis‘ newest project Witchcoven premiered their first recorded track last Friday, so there’s even more to look forward to there, but Hour of 13 remain a constant shadow creeping behind, never quite there and never quite gone. Enjoy “Who’s to Blame?” on the player below:

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Frydee Witchcoven: “House of Death”

Posted in Bootleg Theater on December 7th, 2012 by H.P. Taskmaster

Bless their black hearts, Witchcoven is a new doomly duo from multi-instrumentalist Chad Davis, of Hour of 13, Tasha-Yar and many others. In Witchcoven, Davis is joined by vocalist Etienne “Hellscream” Chelleri, also of Slovenian black metal outfits Bleeding Fist and Naberius and whose lyrics on the demo track “House of Death” reference Black Widow‘s “Come to the Sabbath” with their insistent cadence. Not a bad place to start, and Davis‘ cult credentials are well in order. I can’t imagine it’ll be more than 15 or 20 minutes before Witchcoven is signed, so I figured I’d post the above clip of “House of Death” on the same day it went live so I could claim later I got in on the ground floor. Always thinking, this one.

The story this week is pretty much the same story as last week: Lots to write, not enough time, work to do, so on. You know the deal by now. Including this one, I put up seven posts today, and I guess that’s pretty good productivity. While I’m thinking of numbers, here are a few that stuck out to me from this week:

  • Over 120 people added their top 12 of 2012 to the readers poll since Monday.
  • Over 200 albums were added to The Obelisk Radio this week.
  • The Obelisk Radio now includes over 10,000 songs.

Wild stuff, and of course huge thanks to everyone who’s shown there support here on the blog and on the forum as well. It means more to me than I can say and every time someone reaches out with an email to say thanks, or to say, “Hey, you should check out this band,” or drops a comment, or likes a post, or tunes in to hear YOB or Kyuss or whatever happens to be playing at that second, it’s huge. I’ve spent a lot of time over the better part of the last four years doing this — you might say I’m spending my Friday night doing it right now — but I really never had any idea this site would turn into what it has and if you’ve been digging it for a while or if this post is the first thing you’ve ever seen, I deeply, deeply appreciate your being a part of it.

Alright, enough feelings. I always get mushy when the doom is on. Hope you enjoyWitchcoven, hope you have a great and safe weekend. I hope to get to kick around the forum for a bit as it was kind of a nutty week and I have a lot to catch up on, so if you get a second and want to say hey, that’d be awesome. I’ll also be adding records to the radio station, so keep your eyes out. If there’s anything you want to hear, I’m happy to take requests and fulfill them to the best of my ability.

Next week, reviews of Blaak Heat Shujaa and Dali’s Llama, more year-end wrap-type stuff (I guess that Kadavar post was a hit if the Thee Facebooks likes are anything to go by), and I’ll finally get that Bell Witch interview posted — transcribing it is on my weekend to-do list, right next to attending my four-year-old nephew’s Xmas pageant at his school tomorrow. It’ll be an afternoon of extremes. Looking forward to it and looking forward to seeing you back here Monday. Cheers.

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audiObelisk: Bloody Hammers Stream “Souls on Fire” from Self-Titled Debut LP

Posted in audiObelisk on November 27th, 2012 by H.P. Taskmaster


With goats on their brains and fuzz in their pedals, North Carolinian witch rocking foursome Bloody Hammers issued their self-titled debut on vinyl just this past Friday, Nov. 23. Soulseller Records, whose capable hands recently steered Groan‘s The Divine Right of Kings toward the public, provided their stamp of association, and the band, who previously sold out the CD version and all US-based LPs, once more rode their undeniable hooks to devil-worshiping glory.

Wavy logo font? Penta-goat head? Purple and black? They’ve got all the superficial trappings of post-Electric Wizard cult metal, and some of their fuzz bears that out, but the overarching thickness of “The Last Legion of Sorrow” and the nigh-on-gothic drama in bassist Anders Manga‘s vocals reminds more of an American-styled Uncle Acid and the Deadbeats, andBloody Hammers’ pop sensibilities seal the deal in that regard. Their debut strikes an odd balance, not quite placed in one camp or another, and as the penultimate track, “Souls on Fire” most excellently shows their roundabout route to individuality.

A Sabbathian cadence (think “Under the Sun” in the verse) and mounting tension of drum stomp give way to organ-led melodic sweetness, the vocals high in the mix and slightly blown out, but winding up with swagger enough to deliver the rousing titular chorus. Aside from being among Bloody Hammers‘ most memorable cuts, “Souls on Fire” is also among the band’s best blends of the varying sides of their sound. It’s my pleasure to be able to stream the song today, and you’ll find it on the player below, followed by links to where you can get the album.

Please enjoy:

Here is the Music Player. You need to installl flash player to show this cool thing!

Bloody HammersBloody Hammers is available now on Soulseller Records. For more info, check out the Bloody Hammers Bandcamp or their page on Thee Facebooks.

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Corrosion of Conformity Announce New Batch of Tour Dates with ASG and Royal Thunder

Posted in Whathaveyou on September 24th, 2012 by H.P. Taskmaster

I think I’m gonna go to this show. I don’t know yet whether I’ll go to Brooklyn or Philly, but I haven’t seen trio C.O.C. — whom I’ve been secretly referring to as “C.O.Three” to myself mostly because I don’t have any friends who would know what I was talking about if I said that kind of thing to them — since they played last New Year’s Eve with Clutch, and, well, I’d kind of like to sing along to “Psychic Vampire” and maybe pick up a t-shirt if they have appropriate fat-dude sizes. Their self-titled album (review here), has an enduring appeal that’s hard to ignore as 2012 winds down and list time comes.

Dig the good news, fellow worshipers:

CORROSION OF CONFORMITY Announce North American Fall Tour Presented By Scion A/V

Eye For An Eye Reissue To Drop November 6 Via Candlelight Records

Following a hearty summer of live takeovers throughout North America and Europe, today North Carolina crossover kings CORROSION OF CONFORMITY announce a string of Fall and Winter dates through November and December. Presented by Scion A/V, the tour will include support from a host of esteemed ear-bleeders including Zoroaster, ASG, Royal Thunder, YOB, and Saviours. Additionally, the band will play a string of special shows with High On Fire, Goatwhore and LoPan on select dates. See full itinerary below. Tickets for all CORROSION OF CONFORMITY headlining shows go on sale TODAY through all local ticket outlets. Go HERE to get yours now!

The journey comes in conjunction with the North American release of CORROSION OF CONFORMITY’s Eye For An Eye full-length, set to drop November 6 through Candlelight Records. Originally issued in 1984, the special reissue has been remastered/packaged and includes the Six Songs With Mike Singing EP, both of which have been long out of print. A deluxe digibook edition of the album, limited to 1000 for North America, will be available at limited retailers and via Candlelight’s official webstore. The digibook version includes extended liner notes and a rare pictorial gallery.

CORROSION OF CONFOMRITY Fall/Winter Tour 2012
11/06/2012 Altar Bar – Pittsburgh, PA w/ Zoroaster, Royal Thunder
11/07/2012 Kingdom – Richmond, VA w/ ASG, Royal Thunder
11/08/2012 North Star – Philadelphia, PA w/ ASG, Royal Thunder
11/09/2012 Saint Vitus – Brooklyn, NY w/ ASG, Royal Thunder
11/10/2012 El ‘N’ GeesNew London, CT w/ ASG, Royal Thunder
11/11/2012 Mavericks – Ottawa, ON w/ ASG, Royal Thunder
11/13/2012 Revolutions – Kingston, ON
11/14/2012 Corktown Pub – Hamilton, ON w/ ASG, Royal Thunder
11/15/2012 London Music Hall – London, ON w/ ASG, Royal Thunder
11/16/2012 Harpo’s – Detroit, MI w/ ASG, Royal Thunder
11/17/2012 Mojoe’s – Joliet, IL w/ Zoroaster, Royal Thunder
11/18/2012 Cosmic Charlies – Lexington, KY w/ Zoroaster, Royal Thunder
12/11/2012 The Biltmore – Vancouver, BC w/ Saviours
12/12/2012 The Crocodile –  Seattle, WA w/ YOB, Saviours
12/13/2012 Dante’s – Portland, OR w/ YOB, Saviours
12/14/2012 Oak Street Speakeasy – Eugene, OR w/ YOB, Saviours
12/15/2012 Harlow’s – Sacramento, CA w/ YOB, Saviours
12/16/2012 Uptown Theater – Oakland,CA w/ Saviours
12/18/2012 Catalyst – Santa Cruz,CA w/ High on Fire, Goatwhore, LoPan
12/19/2012 The Brickhouse – San Diego, CA w/High on Fire, Goatwhore, LoPan
12/21/2012 The Observatory – Santa Ana, CA w/ High on Fire, Goatwhore, LoPan

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.

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Black Skies and Caltrop to Tour to the West Coast

Posted in Whathaveyou on September 19th, 2012 by H.P. Taskmaster

The only bummer about the news that North Carolinian acts Black Skies and Caltrop have teamed up for a tour is that they’re not coming north and playing a show with Hull. I guess you can’t win ‘em all, and good for you West Coast types getting these bands out your way. Why shouldn’t Long Beach have the best weather in the universe and killer gigs? Seems only fair.

Black Skies‘ last album, On the Wings of Time, will be a year old by the time this tour is over. I never gave it a proper review (to my regret), but it’s a solid record and I’ve included the stream from their Bandcamp page below if you want to check it out. Caltrop‘s latest, Ten Million Years and Eight Minutes (review here), was also a hoot.

Here are the dates [PLEASE NOTE: Dates updated as of Sept. 24]:

North Carolina bands Caltrop and Black Skies announce Fall tour dates

Friends through the North Carolina Triangle Area metal scene, Black Skies and Caltrop were obvious tour mates as the two both share psychedelic sludge leanings and Southern heavy rock roots. This November, the two bands will hit the road for a coast-to-coast tour.

Oct 31 – Lexington, KY @ Sidecar
Nov 1 – Chicago, IL @ Reggie’s Music Joint
Nov 2 – Iowa City, IA @ Gabe’s
Nov 3 – Omaha, NE @ The Sandbox
Nov 4 – Denver, CO @ Aqualung’s
Nov 5 – Salt Lake City, UT @ Burt’s Tiki Lounge
Nov 6 – Boise, ID @ The Shredder
Nov 7 – Seattle, WA @ The Comet
Nov 8 – Portland, OR @ Plan B
Nov 9 – Eureka, CA @ Little Red Lion
Nov 10 – San Francisco, CA @ Hemlock Tavern
Nov 11 – Long Beach, CA @ Blue Café
Nov 12 – Tempe, AZ @ Yucca
Nov 13 – Albuquerque, NM @ Burt’s Tiki Lounge
Nov 14 – Oklahoma City, OK @ The Conservatory
Nov 15 – Texarkana, AR @ Arrow Bar
Nov 17 – Atlanta, GA @ 529
Nov 18 – Chapel Hill, NC @ Chapel Hill Underground

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Hour of 13 Interview with Chad Davis: Naming the Threes

Posted in Features on August 24th, 2012 by H.P. Taskmaster

Last year when I conducted an Hour of 13 interview, it was with then-vocalist and Obelisk contributor Ben Hogg about having landed the singer spot as a replacement for Connecticut-based Phil Swanson. What changes a year can bring. This time, speaking with North Carolinian multi-instrumentalist and songwriter Chad Davis, it was about the band splitting with Hogg following a tour with Kylesa last summer and eventually having Swanson come back on board for the recording of the band’s appropriately named third album, 333.

Also Hour of 13‘s Earache Records debut, 333 marks the third time Swanson has joined the band — once for their 2007 self-titled debut and again for 2010′s The Ritualist before now — but Davis seems to take the tumult in stride. He’s uncomfortable talking about the situation with Hogg, I think the interview transcript shows that, but gives some sense of what led to the dissolution of Hour of 13 as a touring act. The live lineup also featured bassist John Mode and guitarist Brandon Munday, who’ll do a smattering of shows this October with the Swanson-fronted incarnation rounded out by a new drummer, but as to larger touring, Davis makes his position clear when he says, “To me, it’s not really a necessity.”

Nonetheless, the band has joined the growing roster of acts playing Roadburn 2013, and their cult-minded traditional doom continues to resonate with audiences around the world, who’ve responded with suitable clamor to 333, which Davis reveals was written both before going into Epiphonic Studios to record and after he got there, songs like “Who’s to Blame?” and the righteous closer “Lucky Bones” — also released on a limited Svart Records vinyl with Hour of 13′s earlier Razorrock Tapes recordings — given a sense of spontaneity for how freshly composed they were. The first two albums, Davis notes, took three days each. 333 took two weeks.

And maybe that’s the last of the three threes in the title. One for it being the band’s third album, one for it being Swanson‘s third return, and one for the three days it used to take Hour of 13 to make a record. Whatever the case, Davis‘ commitment to Hour of 13‘s bleak musical and conceptual aesthetic remains firm, and in the interview that follows, he discusses not only lineup shifts and live gigs, but what drives the project and the processes at work in Hour of 13 as opposed to his black metal outfits Anu and Set or the psychedelically jamming Tasha-Yar, who’ll reportedly add the recently-streamed “Casting Lots” to a series of other improv recordings for a new CD in the next month or so.

Including what got him into Epiphonic earlier than he intended and working long-distance with Swanson, Davis illuminates on a range of topics. You’ll find the complete Q&A after the jump.

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Wino Wednesday: A Spirit Caravan Four-Parter From 2002

Posted in Bootleg Theater on August 1st, 2012 by H.P. Taskmaster

Happy Wino Wednesday

It shames me to say it, but there was no Wino Wednesday last week. Can you believe it? I don’t really have an excuse for my behavior — or, I suppose, lack of behavior — but I wanted to make up for it right off the bat this week and get back on the winning track with some live Spirit Caravan. As we come ever closer to a full year of Wino Wednesdays, it seems only right to make up for the lost time.

They’re not HD (I don’t think anything was a decade ago except rich people’s lives), but below you’ll find four clips of the trio Spirit CaravanWino on guitar/vocals, Dave Sherman (Earthride) on bass and Gary Isom (everybody) on drums — killing it live in North Carolina. This show was filmed about a month before the band called it quits following the release of their So Mortal Be single, and it’s among the latest into their tenure that I’ve seen. I don’t know what the situation was like in the band at this point, but the songs still sound awesome.

For a bonus, they even start the third part with a take on “Mourning” from The Obsessed‘s The Church Within, and while I’m not going to advocate for watching it out of order and missing out on the full 20 minutes, that’s pretty badass. However you approach it, hope you dig and as always, have a happy Wino Wednesday:




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Caltrop Interview with Sam Taylor: Measuring Space in Time

Posted in Features on May 15th, 2012 by H.P. Taskmaster

My general assumption when it comes to conducting interviews — especially for people with whom I’ve never spoken before — is that the other person has no idea who I am, what I may have written about their work or any of it, and neither do they have interest in knowing. In that regard, guitarist/vocalist Sam Taylor of North Carolinian foursome Caltrop caught me a little off-guard when he asked if I was the one who wrote the review of his band’s latest album, Ten Million Years and Eight Minutes (Holidays for Quince) that appeared on this site.

Without mentioning that I’m the only person who does reviews here, I said I was. I’d been asking about the pairing of obscure and concrete ideas that, to me, the album title and the names of several of the songs — “Shadows and Substance,” “Form and Abandon,” and so on — seemed to be driving toward. When I brought it up, Taylor already had some idea of what I was talking about. I was wrong, as it happened, in my interpretation. The real answer, go figure, was both more specific and more vague: 10 million years is how long it takes energy to form in the sun and eight minutes is as long as it takes to get to the earth. I was way off.

But I mention it not just to point out how off-base I was in estimating what I thought the album was trying to convey, but also to note that in his response, Taylor seemed to be speaking more to the review than to the question I’d actually asked, which was something unique among all the interviews I’ve done so far for this site. I’ve spoken to people who’ve seen their reviews beforehand before, and sometimes I’m more comfortable about that than others — it depends on the review and the amount of typos I find in it later — but Taylor was directly answering the case I made, and even having been wrong, that was exciting.

For me, it was also a thrill to talk to someone from Caltrop, of whom I’ve been a fan since their self-titled EP my way in 2005. I’d missed the release of 2008′s World Class (also on Holidays for Quince), but caught up to it later, and found the band’s growth as a heavy and intricately pastoral act as engaging as it was progressive. Ten Million Years and Eight Minutes, four years later, loses nothing creatively for the length of time, and as Taylor explains in the interview that follows here, the process by which he and the rest of the band — bassist/vocalist Murat Dirlik, guitarist Adam Nolton and drummer John Crouch — rounded out the record is as interesting as the record itself, basically moving away from their joint writing process to each write a whole track and bring it in to the others.

Below, Taylor talks about some of Caltrop‘s motives for taking this approach with Ten Million Years and Eight Minutes, gives his feelings as regards his band’s close relationship with Brooklyn post-metallers Hull, with whom Caltrop has toured several times (the two groups also appeared in each other’s press shots: see if you can spot them here and here), and discusses a range of other topics, including touring-life vs. real-life concerns and the reasoning behind noting who’s singing which part of a song between him and Dirlik in the liner notes of the album.

You’ll find the (mostly) complete 3,500-word Q&A after the jump. Please enjoy.

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