Sweet Chariot Premiere “Miles Away” from Lean into the Breeze

Posted in audiObelisk on March 11th, 2019 by JJ Koczan

sweet chariot (photo by Charlie Karr)

Oakland, California, doesn’t quite have the tech-industry gloss of its across-the-Bay kin city of San Francisco, but even that wouldn’t account for rambling sunset serenity of Sweet Chariot‘s second record, Lean into the Breeze. The album, which is due out April 15 through Who Can You Trust? Records and available to preorder now, comes across with a vibe extracted from the smoother end of the heavy ’70s as shades of Southern rock are held over from the band’s 2014 self-released, self-titled debut in cuts like “Wicked Night” and the later, well-harmonized “Over and Over,” the affect bringing to my East Coast ears an echo of a decidedly more Californian, less regretful, The Brought Low, similarly unafraid to touch on twang when so inclined, as on “Let it Start” or “My Front Pages,” but less strictly heavy rock even in the decidedly guitar-led “Miles Away” or “Can’t You See the Wind.” Vocals are shared between guitarists Eric Shea (also Hot Lunch) and Chris Guthridge (Ride the Blinds) while the rhythm section of bassist Doran Shelley (Nik Turner’s Hawkwind) and drummer Chris Labreche (Planes of Satori) provide the fluidity of groove to match the shifts of mood along the way, from “Billy Bliss” working on its night moves to the melancholic closing pair of “Night Light” and “Nothing Seems to Matter,” which touches on some of that wistful Southern nostalgia without going the full-Skynyrd. Something there seems to cry out for a grand piano, but the vocal arrangement is right on and Guthridge‘s winding lead lines certainly get the point across.

Analog production, sometimes used as an excuse for crappy sound, becomes part of the character throughout Lean into the Breeze. The breeze, by the way, is warm. sweet chariot lean into the breezeAnd so are the melodies. There’s a switch in who’s singing lead between “Wicked Night” and “My Front Pages,” which follow opener “Best I Had” — notice the use of past tense; immediate call to something bygone and remembered fondly — that expands the scope of the album as a whole and brings a via-’90s-college-rock vibe to the established classic pattern, but the songs are and remain central as the 10-track/36-minute long-player stretches out into the start-stop swag of “Miles Away” and the genuinely sweet melodies of “Billy Bliss” and “Let it Start,” the move from side A to side B flowing easily like, well, the warm breeze, I guess. Organ shows up and finds welcome on “Can’t You See the Wind,” and “Over and Over” pushes into a more complex arrangement of vocals to preface the closer still to come, but before they get there, Sweet Chariot dip into the three-minute “Night Light,” ahead of “Nothing Seems to Matter,” pulling back on the (relatively) grander feel of the tracks surrounding for a stretch of minimalist sentimentality no less effectively conveyed than anything in either “Over and Over” or the closer still to come. They end with the line “Nothing seems to matter anymore,” which taken in kind with “Best I Had” gives a decent impression of the point of view from which at least a good portion of Lean into the Breeze is working.

Sentiment suits Sweet Chariot, however, and with Shea and Guthridge sharing vocals, the band are that much more able to bring forward a classic but not necessarily backward or reactionary feel. Ahead of the release, I’m happy to be able to host “Miles Away” as a track premiere, and you’ll find it on the player below, followed by the vinyl info from the label.

Please enjoy:

Taken from the SWEET CHARIOT – Lean Into The Breeze LP | WHO-38

Release Date: April 15th
(** Pre-orders shipping two weeks earlier **)

Pre-orders at: https://whocanyoutrustrec.bigcartel.com/product/sweet-chariot-lean-into-the-breeze-lp

Edition of 500 copies on black vinyl.
(The first 100 copies include a free Sweet Chariot logo sticker!)

Sweet Chariot comprises singer/guitarist Eric Shea (Hot Lunch, Mover) and Planes Of Satori drummer Chris Labreche – both from the bygone band Parchman Farm. They also landed bass player Doran Shelley, a former member of The Cramps and Nik Turner’s Hawkwind. Ride The Blinds’ frontman Chris Guthridge completes the band with shared singing duties and top-shelf lead guitar playing.

Sweet Chariot on Thee Facebooks

Sweet Chariot on Soundcloud

Who Can You Trust? Records on Thee Facebooks

Who Can You Trust? Records website

Who Can You Trust? Records on Bandcamp

Who Can You Trust? Records BigCartel store

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Neurosis Announce Summer US Touring with Bell Witch and Deafkids

Posted in Whathaveyou on March 8th, 2019 by JJ Koczan

neurosis-photo-by-stefaan-temmerman

Is it safe to assume at this point that Neurosis have done more touring for 2016’s Fires with Fires (review here). They’ve already done Europe and South America. They’ve done the US. Pretty sure they’ve been to Australia since that record came out. They just got back from Japan, and they’re about to do Europe again with more US summer dates just announced. I’m not complaining in the slightest, I just think it’s astounding that the band would be so (cherished and) driven more than 30 years on from getting their start. Not that one was short of things for which to admire them, but at very least put that on the list. They don’t seem to be able to stop, and frankly, I hope they don’t anytime doon.

But I don’t care if you’ve never seen Neurosis once or if you’ve seen them 100 times. Go see Neurosis. They’re quite possibly the best live band I’ve ever seen. Trying to come up with a name whose sheer force on stage can compare and I’m not thinking of anyone. If you have a suggestion, I’d love to hear it. Leave a comment. I won’t expect a flood of them.

Dates from the PR wire:

NEUROSIS Announces North American Summer Tour Dates With Support From Bell Witch And Labelmates Deafkids

Having just returned from their tour of Japan with Converge, visionary heavy music icons NEUROSIS have announced a new North American tour for this summer, with Bell Witch and Deafkids also on the bill.

NEUROSIS’ previously-announced tour of Europe runs from July 11th through 27th with support from Yob. NEUROSIS also plays a special one-off London performance with Godflesh on July 20th.

Upon their stateside return, NEUROSIS will now head back out to the Eastern US and Southeastern Canada for a run of performances in August. The new dates, confirmed to run from August 7th through August 17th, will see the band performing in Atlanta, Carrboro, Washington, Philadelphia, Brooklyn, Boston, Montreal, Toronto, Detroit, and Chicago. On this tour, direct support will be provided by Seattle doom metal outfit Bell Witch. Opening support will be deployed by Brazilian avant/noise/industrial trio Deafkids, who NEUROSIS signed to their own Neurot Recordings. This tour marks Deafkids’ first time on North American soil.

Showing their discontent with convention from the very beginning, NEUROSIS revealed what would become an instinct for transformation in sound and scope. Over the collective’s past eleven albums and their utterly memorable live shows, NEUROSIS has invited listeners to join them on the path their music carved. Going beyond the remarkable, the band has become unforgettable. For over thirty years, NEUROSIS has relished in the unpredictable and embraced the unknown possibility of where the music could take them.

NEUROSIS’ acclaimed eleventh studio LP Fires Within Fires is available now on CD, LP, cassette, and all digital platforms through the band’s own Neurot Recordings; stream the album HERE and see all bundles and options HERE.

Watch for additional NEUROSIS tour dates to be announced in the months ahead.

NEUROSIS w/ Yob:
7/11/2019 Roman Ampitheater – Rome Ostia Antica, IT
7/12/2019 Carroponte – Milan, IT
7/13/2019 Dour Festival – Dour, BE
7/14/2019 Dachstock – Bern, CH
7/16/2019 Sala Apolo – Barcelona, ES
7/17/2019 Biarritz Atabal – Biarritz, FR
7/18/2019 Bataclan – Paris, FR
7/19-21/2019 Supersonic Festival – Birmingham, UK
7/20/2019 O2 Forum Kentish Town – London, UK w/ Godflesh
7/22/2019 Metal Days – Tolmin, SI [info] (no Yob)
7/23/2019 Arena – Vienna, AT
7/24/2019 Akvarium – Budapest, HU
7/25/2019 Festsaal Kreuzberg – Berlin, D
7/26/2019 Progresia – Warsaw, PL
7/27/2019 B90 – Gdansk, PL

w/ Bell Witch, Deafkids:
8/07/2019 The Masquerade – Atlanta, GA
8/08/2019 Cat’s Cradle – Carrboro, NC
8/09/2019 9:30 Club – Washington, DC
8/10/2019 Theatre Of Living Arts – Philadelphia, PA
8/11/2019 Brooklyn Steel – Brooklyn, NY
8/13/2019 Paradise Rock Club – Boston, MA
8/14/2019 Corona Theatre – Montreal, QC
8/15/2019 The Opera House – Toronto, ON
8/16/2019 St. Andrews Hall – Detroit, MI
8/17/2019 Thalia Hall – Chicago, IL

http://www.neurosis.com
http://www.facebook.com/officialneurosis
https://neurotrecordings.merchtable.com
http://www.twitter.com/neurosisoakland
http://www.neurotrecordings.com
http://www.facebook.com/neurotrecordings

Neurosis, Fires Within Fires (2016)

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Sweet Chariot to Release Lean into the Breeze April 15

Posted in Whathaveyou on March 4th, 2019 by JJ Koczan

sweet chariot (photo by Charlie Karr)

There’s still a bit of slide to be had on songs like “Billy Bliss” and the organ in closer “Nothing Seems to Matter” definitely gives a sense of revival, but it’s more of the Creedence Clearwater-type than anything in danger of being preachy, unless you count warm vintage tones and classic-styled rock and roll as proselytizing. Arguments to be made either way, I suppose, but Sweet Chariot make a convincing case for the glories of melodies past with their second album, Lean into the Breeze. Due out April 15 through Who Can You Trust? Records, which continues to know a thing or 10 about what to look for in vintage-minded acts, the 10-track/36-minute offering is a wholesome, grand funky good time, less about who can sound more like it’s 1972 than who can remember what made those bands want to sound like that in the first place. It’s a vibe you can’t screw with and one you probably won’t want to.

One track posted from it so far, and it’s streaming at the bottom of this post, so you might get some sense of where they’re coming from with it, so have fun. I hear they might have more audio coming next Monday. Swing low.

Info from the PR wire:

sweet chariot lean into the breeze

SWEET CHARIOT – Lean Into The Breeze LP (Out April 15th / 2019)

Sweet Chariot is a San Francisco and Oakland based band with members who prefer old gear and cold beer. Their timeless rock ‘n’ roll is a blend of pickled pub rock and greasy biker boogie trimmed in the smoky tones of West Coast canyon-twang.

Lean Into The Breeze is the band’s second album, but it’s their first for Who Can You Trust? Records. These songs were tracked and mixed on a vintage Tascam 388 analog eight track by producer and recording artist Walker Phillips. Though the band’s eponymous debut flirted with ‘70s inspired California country rock, this album finds the foursome dialing down the Gram Parsons and turning up Graham Parker. Lean Into The Breeze is still rooted in rustic tones, but the songwriting comes from a more modern take on British pub rock, jangly guitar pop and hard throttled boogie jams.

Influenced by such bygone bands as Creedence Clearwater Revival, The Grease Band, The Byrds and Big Star, Sweet Chariot also found themselves inspired by Teenage Fanclub, GospelbeacH, Shannon And The Clams, Endless Boogie, and Chris Robinson, who along with Isaiah Mitchell, jumped up onstage with the band last year. Sweet Chariot has also shared stages with NRBQ, Mother Hips, The Flamin’ Groovies, New Riders Of The Purple Sage, Jesse Dayton, Beachwood Sparks, Allah-Las and the late, great Pegi Young.

Sweet Chariot comprises singer/guitarist Eric Shea (Hot Lunch, Mover) and Planes Of Satori drummer Chris Labreche – both from the bygone band Parchman Farm. They also landed bass player Doran Shelley, a former member of The Cramps and Nik Turner’s Hawkwind. Ride The Blinds’ frontman Chris Guthridge completes the band with shared singing duties and top-shelf lead guitar playing.

https://www.facebook.com/SweetChariotRides/
https://soundcloud.com/sheabones
https://www.facebook.com/pages/Who-Can-You-Trust-Records/187406787966906
whocanyoutrustrec.wordpress.com
whocanyoutrustrec.bandcamp.com
https://whocanyoutrustrec.bigcartel.com/

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High on Fire Won a Grammy for “Electric Messiah”

Posted in Whathaveyou on February 11th, 2019 by JJ Koczan

high on fire dressed to kill

I don’t imagine this is breaking news at this point. My social media feed crapped its digital pants last night when High on Fire picked up a Grammy award for “Electric Messiah” and the rest of the heavy blogosphere already has its thinkpieces out there. I’m not really interested in adding to that. Pretending the Grammys care about metal or any other heavy music is like pretending metal or any other heavy music cares about the Grammys. It’s just two different worlds. But — and I said as much on the already-noted social medias this morning — if High on Fire make more money playing shows now and that can help Matt Pike with what are no doubt significant medical bills, then sure. Whatever gets High on Fire to keep doing what they do is a win for everybody. The rest is as irrelevant as the better part of the music industry it represents.

But basically here it is for posterity, the PR wire news about High on Fire‘s Grammy. Well earned, certainly:

high on fire grammy

HIGH ON FIRE WINS GRAMMY FOR BEST METAL PERFORMANCE

High On Fire took home the GRAMMY for “Best Metal Performance” last night at the 61st annual Grammy awards ceremony in Los Angeles, the music industry’s only peer-recognized accolade and highest achievement.

This was the band’s first nomination and first win. HIGH ON FIRE was nominated for “Electric Messiah,” the title track off their 2018 album of the same name. The band, now as winners, join the ranks of past winners such as Black Sabbath, Motörhead, Metallica and Slayer.

“We never really needed an award for doing what we love,” says frontman Matt Pike. “Twenty-one years later, we finally got this. Thank you to the Academy.” Pike went on to thank producer Kurt Ballou among others. Bassist Jeff Matz sent out a heartfelt shoutout to long-time manager and friend Nick John who passed away last year and who was an instrumental figure in the band’s success.

High On Fire will be performing at 2019 Psycho Las Vegas taking place August 16-18, 2019 in Las Vegas at Mandalay Bay Resort. Tickets are on sale now, click here for more info.

HIGH ON FIRE features Matt Pike (guitar, vocals), Des Kensel (drums) and Jeff Matz (bass).

https://www.facebook.com/highonfire
https://www.instagram.com/highonfireband/
www.highonfire.net
https://twitter.com/eoneheavy
https://www.facebook.com/eOneHeavy

High on Fire, “Electric Messiah” official lyric video

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Dealer Premiere “Gemini”; Release New Single of Final Recordings

Posted in audiObelisk, Whathaveyou on February 8th, 2019 by JJ Koczan

dealer

Oakland rockers Dealer have called it quits, but their final recordings surface in the form of the single End Breed / Gemini, issued as a seven-inch platter through Who Can You Trust? Records in an edition of just 100 copies as part of something the label is calling the “From WCYT? With Love” series. I don’t know what else is in the series or what might be coming, but Who Can You Trust? is streaming the Dealer track “End Breed” now and I’ve been given permission to premiere “Gemini” and it’s a three-minute banger with no time to screw around, as though the band was like, “Okay let’s finish these songs so we can stop being a band already,” and though the imprint continues to ask the question in its name, they’ve proven more than trustworthy in the past, particularly when it comes to mining obscure studio sessions for 7″ releases like this one. And they’re not half bad at series either, as the Sweet Times split singles — in which Dealer took part — also showed.

Dealer‘s lone full-length was released in 2016, and though I haven’t seen a reason for their disbanding, they leave a striking bit of potential behind in doing so. You can stream the premiere of “Gemini” and the A side “End Breed” at the bottom of this post.

From the PR wire:

dealer end breed

Dealer – End Breed / Gemini

“Dealer rips” should be a familiar adage to anyone in the Bay Area who has given a damn about rock and roll through the past few years, and the band’s final recordings—“End Breed” b/w “Gemini”—hammer in that sentiment like a nail in a coffin. There’s very little beauty in this music. The songs are ugly and mean, way too fast and a little out of tune, everything competing and melding together in some vain, chaotic display of ignorant bravado. You might even call it Dealer at their finest.

1. End Breed
2. Gemini

Edition of 100 copies on black vinyl, housed in a hand-stamped recycled cardstock sleeve.

Part of the “FROM WCYT? WITH LOVE..” series.

The exact moment of Dealer’s formation is almost impossible to pin down. Lost in a fug of thick smoke, alcohol and noise; somewhere and someplace out of time and mind.

Tentatively starting out life as Sexless – featuring founding member Kevin Klausen on guitar/vocals and fellow Los Angelean Samantha Mancino on drums – the duo would make a habit of throwing open jam sessions to anyone in earshot. Years prior and by his own admission, Klausen had lost heart after numerous false starts attempting to form his own band and gave up on making music to assume the mantle of tour manager for close friends, The Shrine. Helping the band across Europe and struck by their professionalism, after years on the road he returned in the Spring of 2013 with a handful of songs and a newfound focus.

Relocating to Oakland, Sexless performed a first few shows with whatever bassist could be landed until the night the band met Aaron Cundy of local outfit Easy Living. Followed soon after by the conscription of John Zamora on drums after the departure of Mancino they soon hit upon the sound they were seeking. Sorely shredding their way through discordant moments of pre-punk history – often in a crazed reverie of hard rock solos and cocksure hellfire – they stalked the grooves of Black Flag’s “Slip It In” and the riffs of Voivod’s “Killing Technology.” All the while, sporting the sharpest Canadian tuxedos they could find.

When Zamora eventually chose to leave the band in May 2015, Klausen and Cundy sought total reformation. Drafting in new drummer Darien McKinney for shows, they performed their final gig as Sexless on the 4th of June 2016 before entering Earhammer Studios to record a debut album with producer Greg Wilkinson (Iron Lung, Graves at Sea, Lecherous Gaze) just two days later.

A proposed “cocktail of heavy metal, punk, grunge and rock and roll,” the trio emerged with “Billionaire Boys Club” in hand as Dealer. With the journey at its end, the album is now available worldwide through the band’s own imprint, Wicked World Records.

Dealer:
Kevin Klausen – Guitar/Vocals
Aaron Cundy – Bass
Darien McKinney – Drums

https://www.facebook.com/dealerrips/
http://dealeroakland.bandcamp.com/
http://dealerrips.tumblr.com/
https://whocanyoutrustrec.bigcartel.com/product/dealer-end-breed-gemini-7-vinyl
whocanyoutrustrec.bandcamp.com
whocanyoutrustrec.bigcartel.com

Dealer, “Gemini” premiere

Dealer, “End Breed”

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Friday Full-Length: Om, Variations on a Theme

Posted in Bootleg Theater on January 11th, 2019 by JJ Koczan

Om, Variations on a Theme (2005)

Sometimes it feels like Om‘s 2005 debut, Variations on a Theme, gets forgotten about to some extent. At very least overshadowed by what the band has gone on to do with subsequent offerings. But I remember when Variations on a Theme came out. I still have the promo CD that came to what was then my office — because in 2005, things like “offices” and “promo CDs from labels” both existed — and I remember putting it on and being blown away by how unique the sound was. And 14 years later, it remains so. Om were by no means the first act to convey a sense of heavy without massive guitar riffs belting you in the face, but the patterning of Al Cisneros‘ vocals and the sheer barrage of his opaque lyrics, the depth of his bass tone and the unmitigated swing and inimitable movement in the drums of Chris Hakius came together in a way that forced one to recognize that, yes, this was something new. And for as mellow as the overarching spirit of Variations on a Theme was and is, it was new. And it was heavy.

On the most basic level, a duo was rarer. The most immediate association was a pop group like The White Stripes, who had taken the overblown sound of stadium rock and stripped it to its essential hooks and core attitude. Were Om doing the same thing to the idea of heavy music? Maybe, to a point. But their project on the three-song/45-minute Holy Mountain-released long-player was different — more exploratory. More spiritual, and less about plunging to the center of a thing than emerging outward from it. Cisneros and Hakius were both refugees from the then-defunct Sleep, who’d broken up years before but whose grand opus, Dopesmoker (discussed here), had finally seen release in 2003 through Tee Pee Records. It would be a few years still before the social media generation that brought Sleep to their stoner-lordly stature really came to prominence, but even then, the name of course resonated.

And Variations on a Theme felt like an outgrowth of some of what Sleep had done in that final, single-song LP. “On the Mountain at Dawn” (21:19), “Kapila’s Theme” (11:59) and “Annapurna” (11:53) indeed were longform pieces — not an hour long, but long — and their lyrics cast an impression born from philosophy texts and mythological traditions, patterned to coincide with tantric, mesmerizing basslines for a meditative feel worthy of the band’s name. It’s been 14 years and I still have no idea what’s going on in the repeated verse of “Annapurna”:

The flight to freedom gradient raise the called ascendant
And reach supreme the coalesced eye into surrender
Centripetal core of soul sojourn the field vibrates to absolution
I climb toward the sun to breathe the universal

om variations on a themeBut that last line is key. It’s the only lyric on Variations on a Theme that’s in first-person. All of “On the Mountain at Dawn” is in implied-third. There are no pronouns used, but the verb forms are “he does” or “she does.” “Kapila’s Theme” could be first or second or third, it’s never clear, but the line “I climb toward the sun to breathe the universal,” with later becomes “I climb toward the sun to breathe the indrawn universal,” conveys both the sense of pilgrimage — which would become an ongoing theme for the band — and the ritual smoke that seemed to be rising from the album itself as it played. As vague as its lyrics may have been, they were like an unearthed text, full of references and turns of phrase that would take years to be understood if they ever were.

Dopesmoker had that sense of journey, but there was a clearer narrative taking place as well. Variations on a Theme found Cisneros like an out-of-body prophet spewing lines that would either predict the flow of the universe or be lost to some other interpretation. But the transitional moment could be heard in more than just the lyrics or the cleaner vocal style. It’s in the tone. Working with producer Billy Anderson — who’d also helmed Sleep‘s studio material — Om centered around its tone in a way that a band with a guitar never could. After a short blip of feedback, “On the Mountain at Dawn” unfurled a sound that managed to be both full in its distortion and still somehow minimalist, understated. The bass tone was low, and dirty, but gorgeous, and it was fluid enough to shift from lumbering to rolling alongside Hakius‘ ping-ride groove at a moment’s notice, the kick drum adding an underlying sense of activity that gave the whole thing its forward motion.

It wouldn’t be the last time Om used a distorted tone, but as they moved forward from their debut with Conference of the Birds (discussed here) in 2006, they introduced a cleaner sound and would only continue to branch out from there. Following splits with Current 93 and Six Organs of Admittance, in 2007 they released Pilgrimage, which would be their final album with Hakius on drums. Replacing half a duo is no minor change, but Cisneros brought in Emil Amos — also of GrailsHoly Sons and a number of other projects — and on 2009’s God is Good (review here) introduced not only Amos, but a broader feel that included multi-instrumentalist Robert Aiki Aubrey Lowe, also of Lichens. By the time they got around to 2012’s Advaitic Songs (review here), Om were a trio, the arrangements had never been so grand, and the resulting work remains one of the best albums of this decade. Seven years after the fact, one anxiously awaits a follow-up.

Of course, Cisneros has been plenty busy with the Sleep reunion and, last year, their own long-awaited studio album, The Sciences (review here), but just as that record showed up with a day’s advance notice, suddenly dropped on an unsuspecting public after years of rumors and “yeah it’s happening”-kinds of updates, it’s hard not to hope 2019 produces something similar from CisnerosAmos and Lowe with Om. Last I heard, songs were being done in somewhat piecemeal fashion, but either way, if Advaitic Songs demonstrated anything plainly, it’s that Om had much more to offer, so if it takes them a while to manifest that, there’s little doubt it will be worth that wait.

And however far they might continue to move beyond what now seems like their rudimentary beginnings on Variations on a Theme, they’re still to some degree living out the title of their debut, exploring the outer reaches of the journey that those three songs set in motion.

As always, I hope you enjoy.

I keep hearing phantom baby shouts from upstairs. He’s not really up yet — he will be soon; it’s quarter-to-six –but my brain is so trained at this point that I hear him when he’s not really yelling. It’s a bird outside, or it’s the house settling in some way. It’s the wind. It’s something. Whatever it is, it’s not the baby yet. But again, we’ll get there momentarily.

Accordingly, I should probably keep this short. We’re still in New Jersey — The Patient Mrs., The Pecan and I — and that feels like something of a godsend. I do not look forward to going back north to Massachusetts, which will happen I think after next weekend, but whatever. Gotta go. The Patient Mrs. gotta make that money so I can continue to spend it on custom coffee blends, peanut butter and Sandra Boynton board books.

I’m going to write another children’s book by the way. About the purple octopus that has kind of become this site’s mascot. I named her Petunia. I’m thinking Petunia The Octopus Joins the Band. If you want to illustrate it, let me know, because I’m useless at that stuff. Could be a fun project.

Next week is pretty packed though. I guess the music industry went back to work this week, which is fair enough, because the PR wire started up again and my calendar got pretty full. Here are the notes, subject to change blah blah:

MON 01/14 King Witch video premiere; Glory in the Shadows video premiere.
TUE 01/15 BUS track premiere; Lumbar video.
WED 01/16 Nebula Drag video; another possible premiere.
THU 01/17 Ian Blurton’s Future Now track premiere.
FRI 01/18 Hibrido LP stream; Yawning Man live review.

On the side of that, I also have two bios to write and I just signed on for a bunch of announcements for Desertfest London, because later this month they’re going to bring a bunch more kickass bands on board. Today I also need to finish putting together the playlist for the next episode of ‘The Obelisk Show’ on Gimme Radio, which will be my 2019 preview. There’s a lot of good stuff in the coming months. It was pretty easy to pick bands. Just need songs now.

And sure enough, the baby’s up.

That’s my cue.

Please have a great and safe weekend, and please don’t forget to check out the Forum, the Radio stream and Obelisk shirts and whatnot at Dropout merch. Thanks for reading.

The Obelisk Forum

The Obelisk Radio

The Obelisk shirts & hoodies

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High on Fire Cancel Tour Due to Health Issues

Posted in Whathaveyou on January 8th, 2019 by JJ Koczan

high on fire

Hey, look. Everybody wants a healthy Matt Pike. We all saw the thing with his toe, and the internet’s response to it, frankly was kind of shitty. “Check out Pike’s fucked up amputated toe! So metal!.” Yeah, okay dude, but the fact is the guy is a human being, not a fucking cartoon character, and obviously health issues should be more than your dipshit clickbait. End of story.

Get well soon, Matt Pike. Hope to see you marauding again in no time. But health first.

Toke and Year of the Cobra were set to open this tour, and accordingly, both bands ordered a butt-load of merch that they’re kind of stuck with now. If you’ve got some cash, both acts are worthy of it. I don’t usually post direct merch links and tell you to buy, but these are exceptional circumstances:

Toke merch: https://tokenc.bandcamp.com/merch

Year of the Cobra merch: https://yearofthecobra.bigcartel.com/

Here’s the announcement from High on Fire‘s label, E1 Music, via the PR wire:

high on fire tour cancel

HIGH ON FIRE CANCELS “ELECTRIC MESSIAH TOUR 2019” DUE TO MEDICAL EMERGENCY

High On Fire will not participate in the 2019 “Electric Messiah Tour.” Fans can refund their tickets through the point of purchase.

Frontman Matt Pike has provided a statement:

“Dear Friends and fans,

To my brothers, my crew, and anyone else this affects. I do apologize for the inconvenience of this cancellation. I feel as though I’m explaining lightning striking twice. I wanted nothing more in the world to play these songs live, nor ever cancel something I say I’m gonna do.”

“I am a warrior for our art, and have endured some painful things to what we do. The timing and repeating nature of this is my nightmare and almost impossible. Nevertheless, to save yet another toe, my big one, I have been grounded by circumstances out of my control. I will have more of a medical report to come but right now I’m at great risk of losing it, and/or a bigger portion of my foot due to Diabetes. Which I have been managing very well.”

“It just shows how this disease can affect our lives. Please forgive me, and if you know anything about me, you know this is not like me. We will be back!”

Affected dates:
High on Fire Jan/Feb. tour:
Jan. 10 – Atlanta, GA – Masquerade
Jan. 11- Carrboro, NC – Cat’s Cradle
Jan. 12 – Richmond, VA – Broadberry
Jan. 13 – Baltimore, MD – Baltimore Soundstage
Jan. 15 – Philadelphia, PA – TLA
Jan. 16 – Brooklyn, NY – Warsaw
Jan. 18 – Boston, MA – The Sinclair
Jan. 19 – Montreal, QC – Fairmount
Jan. 20 – Toronto, ON – Opera House
Jan. 22 – Chicago, IL – Metro
Jan. 23 – Minneapolis, MN – Skyway
Jan. 25 – Denver, CO – Oriental
Jan. 26 – Omaha, NE – Slowdown
Jan. 27 – St. Louis, MO – Delmar Hall
Jan. 29 – Dallas, TX – Gas Monkey Bar and Grill
Jan. 30 – Austin, TX-Barracuda
Jan. 31 – Houston, TX – White Oak
Feb. 1 – New Orleans, LA – House Of Blues

HIGH ON FIRE features Matt Pike (guitar, vocals), Des Kensel (drums) and Jeff Matz (bass).

https://www.facebook.com/highonfire
https://www.instagram.com/highonfireband/
www.highonfire.net
https://twitter.com/eoneheavy
https://www.facebook.com/eOneHeavy

High on Fire, Live at Psycho Las Vegas 2018

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High on Fire Announce Jan./Feb. Touring

Posted in Whathaveyou on December 5th, 2018 by JJ Koczan

high on fire

Before High on Fire guitarist/vocalist Matt Pike‘s toe became the stuff of heavy metal clickbait — which to my biased estimation is just about the saddest kind of clickbait there is — his band were supposed to tour with Municipal Waste. Didn’t happen, what with the gnarlyfoot and all, so High on Fire have newly posted a run through January and into February that includes dates along the East Coast and in the Midwest. They of course are still supporting this year’s Electric Messiah (review here), which is their fourth studio LP for eOne Music, and they’ve recently been announced for a return slot at Psycho Las Vegas, where Pike is pretty much as high a roller as they come.

You don’t need me to tell you to go see High on Fire. That’s something you already know. If you missed them at Psycho this year, however, their set is streaming in full below. Because that’s how it works now.

Shows are here:

high on fire 2019 tour

HIGH ON FIRE ANNOUNCE ELECTRIC MESSIAH TOUR 2019

PSYCHO LAS VEGAS CONFIRMED

TICKETS ON SALE NOW

http://highonfire.net/

High On Fire have announced the Electric Messiah tour 2019 in continued support of their new LP released earlier this year.

These dates will be the first time the band has played live since the cancellation of their tour with Municipal Waste earlier this year due to the partial amputation of Matt Pike’s toe.

Additionally, High On Fire will be performing at 2019 Psycho Las Vegas taking place August 16-18, 2019 in Las Vegas at Mandalay Bay Resort. Tickets are on sale now, click here for more info.

High on Fire Jan/Feb. tour:
Jan. 10 – Atlanta, GA – Masquerade
Jan. 11- Carrboro, NC – Cat’s Cradle
Jan. 12 – Richmond, VA – Broadberry
Jan. 13 – Baltimore, MD – Baltimore Soundstage
Jan. 15 – Philadelphia, PA – TLA
Jan. 16 – Brooklyn, NY – Warsaw
Jan. 18 – Boston, MA – The Sinclair
Jan. 19 – Montreal, QC – Fairmount
Jan. 20 – Toronto, ON – Opera House
Jan. 22 – Chicago, IL – Metro
Jan. 23 – Minneapolis, MN – Skyway
Jan. 25 – Denver, CO – Oriental
Jan. 26 – Omaha, NE – Slowdown
Jan. 27 – St. Louis, MO – Delmar Hall
Jan. 29 – Dallas, TX – Gas Monkey Bar and Grill
Jan. 30 – Austin, TX-Barracuda
Jan. 31 – Houston, TX – White Oak
Feb. 1 – New Orleans, LA – House Of Blues

HIGH ON FIRE features Matt Pike (guitar, vocals), Des Kensel (drums) and Jeff Matz (bass).

https://www.facebook.com/highonfire
https://www.instagram.com/highonfireband/
www.highonfire.net
https://twitter.com/eoneheavy
https://www.facebook.com/eOneHeavy

High on Fire, Live at Psycho Las Vegas 2018

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