Posted in Whathaveyou on January 2nd, 2013 by H.P. Taskmaster
Sometimes it feels like every other post around here is about Matt Pike, but what can I say? The dude makes news as much as he makes noise. Fresh off coming in second in The Obelisk’s Readers Poll for 2012, High on Fire have been announced as taking part in this year’s Metal Alliance (aka Metalliance)tour, set to run from March 23 to April 20.
And it’s not so much the fact that they’re on the tour that makes it news, so much as the company they’re keeping. I know High on Fire and Municipal Waste have done shows together in the past, but it puts the Oakland trio in a way thrashier context to have them alongside Anthrax doing all of Among the Livingand Exodus on Metalliance. They’ve already long since won over lovers of the riff, so it should be interesting to see how they do with a more straightforwardly metal crowd.
Here’s the info and dates, hot off the PR wire:
High On Fire Join The Metal Alliance Tour
The Metal Alliance Tour is back and now has added the mighty HIGH ON FIRE to its already impressive Festival line up. The band has just completed their own very successful headlining tour with GOATWHORE and LO-PAN. Their latest release De Vermis Mysteriis by eOne Entertainment was garnered as one of the Best Metal Records of 2012 and winning the Revolver Magazine Best Video of 2012.
The Metal Alliance Tour is scheduled to roll out in March and continue through April. It features the greatest bands within the genre including ANTHRAX performing their fan favorite 1987 classic Among The Living in its entirety along with San Francisco thrash legends EXODUS, HIGH ON FIRE, MUNICIPAL WASTE and HOLY GRAIL. This is a tour will go down as one of the greatest shows to hit the stage.
General Admission Tickets will be available on January 11th but fans can now order their VIP Tickets. There are only 50 VIP Tickets per market and will quickly sell out. Each VIP Ticket will include the following items:
General Admission Ticket Meet & Greet 30 Minutes Before Doors Limited Edition VIP Laminate Limited Edition 11 x 17 Tour Poster Metal Alliance Beer Koozie Bottle of High River Sauce’s Hellacious Hot Sauce (The Official Hot Sauce of The Metal Alliance Tour) Issue of Revolver Magazine
Sharing the stage each night and crushing heads on the Metal Alliance Tour will be San Francisco thrash legends EXODUS, MUNICIPAL WASTE, HOLY GRAIL and a couple of additional bands will be announce at a later date.
3/23 House of Blues Las Vegas, NV 3/24 Marquee Theatre Tempe, AZ 3/25 House of Blues San Diego, CA 3/27 House of Blues West Hollywood, CA 3/28 Regency Ballroom San Francisco, CA 3/29 The Crystal Ballroom Portland, OR 3/30 Commodore Ballroom Vancouver, BC 3/31 Showbox SoDo Seattle, WA 4/2 Summit Music Hall Denver, CO 4/4 First Avenue Minneapolis, MN 4/5 House of Blues Chicago, IL 4/6 The Fillmore Detroit Detroit, MI 4/7 Bogarts Cincinnati, OH 4/9 House of Blues Dallas, TX 4/10 House of Blues Houston, TX 4/12 House of Blues Lake Buena Vista, FL 4/13 Tremont Music Hall Charlotte, NC 4/14 The Fillmore Silver Spring, MD 4/16 House of Blues Cleveland, OH 4/18 Theatre of the Living Arts Philadelphia, PA 4/20 Irving Plaza New York, NY
Posted in Whathaveyou on December 28th, 2012 by H.P. Taskmaster
Okay, let me rephrase right off the bat — Sleep don’t need to put out an album at all. Sleep don’t need to do anything. With Al Cisneros in Om, Matt Pike in High on Fire and Jason Roeder in Neurosis, it’s not like the dudes in Sleep are lagging either on output or asskickery. However, “I think Sleep should put out a new record in an attempt to capture a special moment in the creative lives of its three members” hardly makes for a catchy headline. So here we are.
I’ve got a couple different levels of argument in favor of a new Sleep album, which would be their first since the epic Dopesmokerfinally saw the light of day officially in 2003. At the most basic level is the nerdy, “OMG more riffs”-type impulse — the side of me that wants to hear new Sleep just because it would be new stuff from the band who put out Sleep’s Holy Mountain20 years ago. I’m not about to invalidate that response. Fanboyism is what it is.
More than that, however, I think when you take a look at the response to the periodic shows Sleep have played over the last two-plus years (I first saw them in Brooklyn, Sept. 2010), their continued interest in performing live, their continued influence in the sphere of stoner metal, heavy psych, etc., and — because yes, this matters — the fact that there’s more of an audience for Sleep now than there ever was before, a new studio album is a logical next step. Most of all, creatively.
Take a look at this year’s releases from Om, High on Fire and Neurosis. All three bands had a records out in 2012, and all three were incredibly different. Cisneros explored lush melodies and a wider psychedelic expanse than ever before on Advaitic Songs (review here), while Pike issued High on Fire‘s most aggressive offering to date in De Vermis Mysteriis (review here), and in Neurosis, Roeder provided creative rhythms to ground some of the pioneering Bay Area outfit’s most complex material on Honor Found in Decay(review here). Each was a triumph completely on its own terms.
And that’s why I say now is the time for new Sleep. I’m not thinking that you put Cisneros, Pike and Roeder in a jam space and out comes “From Beyond Pt. 2.” Especially since it would be their first outing with Roeder on drums, I’d hope that a new Sleep record — while obviously steeped in Iommic tradition — sounded like nothing they’ve ever done before. If I wanted to hear what Sleep sounded as they were in their original incarnation, I’d put on one of the old albums. I want to hear what Sleep can put together sound-wise today. I want to hear Sleep with Roeder‘s drum fills, or some of the warmth of tone that Cisneros has developed in Om, or with the kind of solo that Pike wouldn’t have dared attempt at the time but has been decapitating audiences with ever since.
They’ve got their blueprint to work from in terms of riffs, tones and overall approach, but with as distinct as the three personalities have proven to be over the course of this year — and especially with how well the trio works on stage at this point; their set at Roadburn 2012 was hands down one of the best live shows I’ve ever seen — it just seems like there’s an opportunity now to stand up to the challenge of bringing together something that captures the different sides of each member’s personality while also remains uniquely Sleep‘s own, adding to the breadth of their ever-expanding influence.
It seems like a ludicrous idea, right? Well, Black Sabbath have a new record in the works. Saint Vitus put out an album this year. Hell, even the dudes from Kyuss have something going at this point. So why not Sleep? I never thought I’d get to see the band live, and it’s been a couple times now. We live in a universe of infinite possibilities, and though it’s hardly the likeliest announcement to come down the PR wire, would you really have thought they’d get back together for shows in the first place? It’s been over two years now.
So yeah, they don’t need to release an album in 2013 — or ever, for that matter — but if they did, they’d be coming together at just the time when they each seemed to be most on their own path. Whatever that might result in, whether it’s another Dopesmoker or something completely different, it seems like a worthwhile endeavor no matter how you want to look at it.
Posted in Whathaveyou on December 21st, 2012 by H.P. Taskmaster
Apparently I missed a few pieces of news while I was spending eight and a half hours putting together my Top 20 yesterday, so in an effort to get caught up, here are the latest additions to Neurosis‘ shows in support of Honor Found in Decay– which, as fate would have it, featured prominently in the aforementioned list. I look forward to nerding out at the Brooklyn Masonic Temple,and if you were fortunate enough to catch them last time they were there, you should too.
The PR wire is wise in the ways of tour dates:
NEUROSIS Authenticates Additional 2013 Live Actions
Details On Vinyl Pressing Of Honor Found In Decay Released
NEUROSIS continues to confirm new live actions in support of the band’s tenth studio opus, Honor Found In Decay.
Following recent announcements on the outfit’s upcoming performances in Atlanta, Chicago, Los Angeles and Seattle, NEUROSIS have just proclaimed additional 2013 on-stage manifestations, with new shows in Brooklyn and Philadelphia planned for January, as well as Denver and Austin in February. Support acts for these new concerts are all being confirmed now, in addition to even more live performances.
The band has also been confirmed for 2013’s installment of the massive Hellfest festival in Clisson, France. The immense gathering runs from June 21st through 23rd, and will see NEUROSIS sharing the stage with Kiss, ZZ Top, Down, Bad Religion, At The Gates, Kreator and hundreds more.
A release date and further details on the anticipated vinyl edition of Honor Found In Decay have also been disclosed this week. This deluxe 2xLP pressing of the album will be unleashed February 5th in North America, February 8th in Germany/Benelux/Finland and February 11th in the UK/World, via Relapse Records/Neurot Recordings, and will be packaged in a gorgeous Stoughton tip-on gatefold jacket and accompanied by a stunning 16-page LP-sized booklet. The audio was cut directly from the original studio master tapes and pressed on 180-gram vinyl, which will be available in five different colors: 2000 on black, 1000 on translucent smoke grey, 500 on translucent yellow, 500 on translucent orange, and 100 on clear, not available to the public.
Preorders can be placed via Neurot and Relapse now!
NEUROSIS Honor Found In Decay Live Actions: 12/29/2012 The Masquerade – Atlanta, GA w/ Rwake, USX, Primate 12/30/2012 The Metro – Chicago, IL w/ Bloodiest, The Atlas Moth 1/04/2013 Fonda Theatre – Los Angeles, CA w/ Savage Republic, Ides of Gemini 1/05/2013 Showbox at the Market – Seattle, WA w/ Tragedy, Black Breath, Stoneburner 1/19/2013 Brooklyn Masonic Temple – Brooklyn, NY 1/20/2013 Union Transfer – Philadelphia, PA 2/16/2013 Summit Music Hall – Denver, CO 2/17/2013 Emo’s East – Austin, TX 6/21/2013 Hellfest – Clisson, France
Posted in Features on December 18th, 2012 by H.P. Taskmaster
I guess the first question here is, “Did High on Fire actually ever need to make a comeback?” Here’s how I see it: After signing with E1 in 2009 following a long tenure on Relapse Records, the Oakland, CA, trio released Snakes for the Divine(review here) in 2010. Song-wise, you could hardly call the album a dip in quality from what Matt Pike (guitar/vocals), Des Kensell (drums) and Jeff Matz (bass) brought to bear on 2007′s thunderous Death is this Communion, but the difference was in the production and presentation of the album. The songs were as thrashing as ever, but all of a sudden, they were also irrevocably, undeniably clean. And if there’s one thing High on Fire had never sounded before, it’s clean.
During the album cycle for Snakes for the Divine, I recall catching a High on Fire show in NYC and thinking that the band were done with the underground entirely, and that in time, strong>Snakes would be the turning point when they went from a visceral experience, influential even as they were still driving towards some yet-unknown creative apex, to a watered down and more accessible version of what they once were. Doubtless they could pull off such a transition and grow a wider audience for themselves, but for the fans who’d been with them since their earlier days when Pike, began to feel out this brash new musical direction after ending his time in Sabbathian legends Sleep, it wouldn’t ever be the same again.
That’s just not the way it turned out. At all.
With this year’s De Vermis Mysteriis (review here), High on Fire didn’t so much return to form as they did break the mold, smashing it on a sharply executed bed of thickened thrash extremity. The songs managed to capture every potential appeal of Snakes for the Divine– whether it was the opening catchiness of “Serums of Laio,” the rhythmic intensity of “Madness of an Architect,” searing turns of “Spiritual Rites” or the epic storytelling of powerful closing duo “Romulus and Remus” and “Warhorn” — and coupled with the production of Converge guitarist Kurt Ballou at his Godcity Studios in Salem, Massachusetts, they brimmed with tonal largesse and a sense of danger that hinted at a method behind High on Fire’s madness that had never been there before. To put a point on it, De Vermis Mysteriisdidn’t just happen by mistake.
Somewhere along the line, the band decided that their sixth album was indeed going to be a turn, not to a more commercial direction but instead away from it, and while the rough edges and post-stonerisms of early records The Art of Self-Defense(2000) and Surrounded by Thieves(2002) were gone, the progression came across naturally, not contrived. High on Fire were tighter, meaner than ever, and the songs the wrote, the presentation and the vague-but-characteristic narrative showed that. In the best case scenario of any long-running outfit’s latest album, everything they’d done before felt like it was leading up to the newest triumph.
All wasn’t well in the band, and dropping off the touring Mayhem festival this summer, Pike entered rehab. It was a move that significantly derailed their momentum, given the breadth of new audience they would’ve reached on the road alongside the likes of Slipknot and Slayer, but when High on Fire returned to the road for a headlining tour this fall alongside extreme metal stalwarts Goatwhore as well as Primate and Lo-Pan (review here) just wrapping up this week, the difference in the band was readily apparent. This too was a kind of comeback, even if the span of time was relatively short. They were focused, driven and delivering a performance that matched the severity of the album while also showcasing a conscious mastery of their environment — i.e. the stage — that even at their most crazed, they’d never had before.
Where High on Fire go from here is anyone’s best guess. European headlining dates set for February 2013 will lead into festival spots at Roadburn and doubtless others, and I wouldn’t be surprised to see them get another shot at Mayhem next summer — but what matters is that whatever heights High on Fire reach in the next several years, they will have done so on their own terms and by continuing to push themselves forward creatively. They will arrive not bowing to pressure to be something they’ve never been, but as the conquering marauders, axes in hand and blood dripping from their mouths. Nothing could be truer to their spirit.
Posted in Features on December 5th, 2012 by H.P. Taskmaster
This wasn’t the first time I’ve spoken to High on Fire guitarist/vocalist Matt Pike for an interview by a longshot, but it was the first time we’ve talked since he got sober earlier this year, and the difference was immediately apparent in his voice. He was about a week into the band’s current tour at the time — with Goatwhore, Primate and Lo-Pan for a five-week round of shows one of which I was fortunate enough to catch — and things were beginning to settle in. This is the first major touring that High on Fire has done since Pike entered rehab over the summer after dropping off the summer’s Mayhem festival, and though he admitted to some apprehension, Pike sounded clear-headed and glad to be back on the road.
Earlier this year, High on Fire revitalized their approach with the scathing De Vermis Mysteriis(review here). Not only in the fact that the album was based around a narrative concept — about a time-traveling Jesus twin — but just in the sheer sound of the thing. Pike, bassist Jeff Matz and drummer Des Kensell brought High on Fire’s tightness and chemistry to new levels, and captured by producer Kurt Ballou, songs like the arch-grooving “Madness of an Architect” or the ripping “Spiritual Rites,” the band sounded more vicious than ever before. The rawness of their bombast, something they moved away from with 2010′s Snakes for the Divine(review here), met with a maturity of process and crispness of sound that made the record easily among 2012′s best.
And while that position is nothing new for High on Fire — who’ve gone six full-lengths at this point without a real dud — the context surrounding De Vermis Mysteriismakes it standout as a landmark in the progression of the band, both musically and for the personal issues involved. Seeing them live last week, they’ve lost nothing of their on-stage potency, even if Pike is a little more reserved in his between-song banter — I was reminded a bit of his Sleep bandmate, Al Cisneros — speaking to the crowd rather than barking the war-cries of old. The tradeoff was in the performance, which was stellar, new material or old, and the band seemed poised to pick up their momentum right where they left off prior to the interruption this summer brought.
As honest and sincere as ever in the interview that follows, Pike talks about being on the road sober for the first time, about constructing De Vermis Mysteriis in the studio with Ballou and about the growth of the band as a trio with Matz — who came aboard as a full-time member prior to 2007′s Death is this Communion– taking on an increased role in the songwriting. You may also note I asked him about the Sonic Titan distortion pedal, which was something Jon Davis of Conan had mentioned earlier this year when I asked him about playing with Sleep in Norway. That interview is here if you’d like some context.
Posted in Reviews on December 3rd, 2012 by H.P. Taskmaster
Here’s a quick metaphor for how I feel about the city of Philadelphia. I was on my way down to Philly from my office, wanting to get to Union Transfer early to see High on Fire, Goatwhore, Primate and Lo-Pan. And I’m doing my usual not-there-yet stress thing. I’d never been to Union Transfer before, so what if there’s no parking anywhere, what if I can’t find it, what if I drive off the edge of a cliff — all that ultra-reasonable anxiety that sometimes is enough to keep me at home but generally accompanies me one way or another everywhere I go.
Parking space right outside the venue. Maybe 50 feet from the door. Street parking, free because it was after 6:30PM. Once more, Philly, your hospitality astonishes.
It was chilly waiting for the door to open, but I’d listened to enough NPR en route and the cold did me some good. My understanding is UnionTransfer is a relatively recent advent, show-wise, and if it was actually a train station at one point, it makes a decent club. The room was sizable and the stage can be moved either forward or back to allow for more space on the floor. It was pretty far up. Apparently advance sales for the Thursday night show weren’t great, so the balcony was also closed, which was a bummer because that’s probably where I’d have been otherwise.
I grabbed a beer early (it would be my only one of the night) and waited about an hour for Lo-Pan to go on, sitting at one of the side tables killing time to the best of my ability. Gradually I made my way toward the floor and then up front. Though the room wasn’t nearly as full as it would be later, there were already a bunch of people there and I figured better safe than taking pictures of the back of some dude’s head.
Of the four bands on the bill, I really only had more than nominal interest in two: Lo-Pan and High on Fire, the bookends on the bill. That said, I hardly suffered through either Primate or Goatwhore‘s sets. It went down like so:
I was especially looking forward to seeing Lo-Pan on this tour, it being the hardworking Columbus, Ohio, natives’ biggest yet. They lined up toward the front of the stage, all in a row, from bassist Scott Thompson on down through drummer Jesse Bartz, vocalist Jeff Martin and guitarist Brian Fristoe. Martin, who’s usually in the back while Bartz is out front — at least that’s how it’s been at every Lo-Pan show I’ve seen and I don’t mind saying I’ve seen a few at this point — was up there with everyone else and held his position well, projecting his powerful, soulful voice upward into the mic in front of him. Pipes for days. They played “Colossus” and “Eastern Seas,” the two new songs they had included in their set at the Small Stone Records showcase in Boston at the start of the month (review here), and though the one right after the other threw me for a bit, the driving “Chichen Itza” from Salvadorwas a highlight and “Dragline” from 2009′s Sasquanautwas something of a surprise. They intended to close with it but were granted some extra time and made the most of it with one more song. It wasn’t the most comfortable I’ve ever seen them, but as the openers, I imagine they’ve made a positive first impression on a lot of heads throughout this tour. They were more than worth showing up early for, and I hope they continue to tour at this level, because they’ve proven that they’re more than ready to carry the flag for heavy rock to a wider audience that won’t know what hit it.
Seems like the appeal of Atlanta-based grinders Primate was rooted in the fact that the band features Brutal Truth vocalist Kevin Sharp and Mastodon guitarist Bill Kelliher in the lineup. For a more Philly-specific angle, second guitarist Mike Brennan once slung for Philly dirt thrashers Javelina. Whatever the status of that band, his contributions to Primate were in line with the band’s general modus: Play fast, be angry. The barefoot Sharp has nothing to prove as a frontman, and his vocals remained consistently intense throughout the tightly-delivered set. Likewise, Kelliher‘s resume doesn’t exactly need padding at this point either. He made playing fast look like playing slow, hardly breaking a sweat as they went on. A straight-up hardcore punk persisted, and Primate only confirmed their intent with a cover of Black Flag‘s “Rise Above,” which the young dude standing next to me went — pun most definitely intended — apeshit for. He was not alone by any means. Theirs was a different kind of heavy from what I’m used to seeing, but hell man, I’ve done my time with extremity of sound and I can get down with that if need be. Their stuff was pummeling and precise in kind, and when that’s the case, even if it’s not what I’m interested in hearing on a given night, I have a hard time not appreciating it on its own level.
I’d have to go back and check the archives to be sure, but I think Goatwhore might be the fastest band I’ve ever taken pictures of. Maybe that’s not saying much, considering the context, but still, it was a new experience for me. It’s been more than half a decade since I even really vaguely paid attention to what they had going on, but it didn’t seem at Union Transfer that I’d missed all that much. Frontman Ben Falgoust still had his strangely effective hand gestures and every time I looked at guitarist Sammy Duet, I still just thought to myself, “Wow, he’s the dude from Acid Bath.” So it went. They were pro, though, and made the fine line between metal and capital-h Heavy seem much thicker than it has at other times. Duet spit on the stage at one point and I caught some ricochet, but other than that, it wasn’t unpleasant in the slightest. Despite all the time that’s passed since I heard one of their records, I recognized the breakdown in “Alchemy of the Black Sun Cult,” and that was as much landmark as I really needed. The crowd I guess wasn’t as into it as Falgoust was hoping for, since at one point he reminded from the stage that, “It’s cool to like metal again.” I didn’t know it was ever cool to like metal. Someone better tell Shakira to get on that shit, lest she lose her pop relevance. Either way, when they were done, they broke down their own gear, and for a band who’ve been around as long as they have and toured as much as they have, I found that admirable.
High on Fire
Near as I can tell from the small sample I’ve seen, here’s the difference between watching Matt Pike sober now and Matt Pike not at all sober before: Earlier in his career, he came out on stage like he was swinging a double-sided battle axe and conquered the stage, claiming the heads of any and all who opposed him as though anyone would be foolish enough to attempt such a thing. He was a shirtless madman. That’s enjoyable but hardly sustainable for a career. Now when Matt Pike comes out on stage, it’s not even a question whose stage it is. The battle axe need not apply. He just owns it. That’s not to say High on Fire were in any way lacking their trademark sonic fury, just that it had direction, knew where it was headed and the band — Pike, bassist Jeff Matz and drummer Des Kensell — were smarter with the tools of their trade. They fucking killed. Most of the set came from this year’s De Vermiis Mysteriis (review here), set opener “Serums of Laio” even more riotous on stage than it is starting off the record. “Last” and especially “10,000 Years” from the recently-reissued The Art of Self-Defense were highlights, and the moments of slower groove on “DII” or “Madness of an Architect” came as welcome changes of pace from the ripping likes of “Spiritual Rites,” “Fury Whip” or “Devilution.” High on Fire have a catalog of five strong albums to draw from — “Speedwolf” represented 2002′s Surrounded by Thieves — but it was the title-track to 2010′s Snakes for the Divinethat did the closing duties, and with its grandiose lead work, it seemed suited to the task. By then I’d long since moved to the back of Union Transfer to extricate myself from the violence up front, but wherever you were, there was no getting away from the fact that High on Fire have pushed themselves forward and that watching them now, there’s no doubt who the headliners are. Pike was more subdued in his stage persona, as one would have to expect, but he still played to the crowd, as did Matz, and Kensell was so buried in his kit you could only really see the top of his head, so if High on Fire have a rock star aura about them, it’s certainly one cast in their own image. However derailed they may have seemed or whatever hit their momentum may have taken earlier this year by their ducking out on the commercial exposure Mayhem fest would’ve brought, they’re back rolling hard and they seem clear-headed and ready for whatever could be coming their way. The stage looked small around them.
I’d taken Friday off from work, but a drive to Boston awaited in the morning and I had a two-hour trip home to my humble river valley, so I was out of there pretty quick once the house lights came on. Of course, it was Philly, so I had no trouble getting to where I was going, hit no traffic and made it home in record time. God damn I love that city.
Posted in Whathaveyou on November 28th, 2012 by H.P. Taskmaster
Some good news from the Neurosis camp and hopefully more to come. Though the band announced yesterday they’d parted ways with visual artist Josh Graham, they’ve just unveiled some new live dates via the PR wire for a lucky handful of people in L.A., Seattle and Atlanta. Dig it:
NEUROSIS: New Stateside Live Actions Declared
NEUROSIS has this week disclosed details on new pending live actions across the country in support of Honor Found In Decay.
Newly locked-down NEUROSIS performances are now set to take place late this year into the first week of 2013 in Atlanta, Los Angeles and Seattle, with tickets for all three shows set to go on sale this Friday, November 30th. Direct ticket links for these shows are posted below, and even more additional tour actions for the group will be announced in the days ahead.
Following their massive, recent release show for Honor Found In Decay in Oakland, this week the collective have traversed the Atlantic for two special UK performances, at ATP’s Nightmare Before Christmas hosted by Steve Albini’s band Shellac, followed by a show in London with support from Godflesh.
As critical acclaim of Honor Found In Decay continues to pour in, extensive and in-depth coverage from respected outlets including a feature on the band’s most detrimental influences at Spin, as well as a massive installment of The Out Door at Pitchfork, not to mention dozens of new reviews praising the album have posted. This follows the main cover feature from Decibel Magazine, the main cover feature of The Aquarian Weekly and outstanding new live footage from the Honor Found In Decay record release show.
UK Honor Found In Decay Performances:
11/30-12/02/2012 ATP’s Nightmare Before Christmas – Camber Sands Holiday Camp, England 12/02/2012 HMV Forum – London, England w/ Godflesh
*NEW – Honor Found In Decay American Live Actions:
12/29/2012 The Masquerade – Atlanta, GA 1/04/2013 Fonda Theatre – Los Angeles, CA 1/05/2013 Showbox at the Market – Seattle, WA
If it seems like kind of a no-brainer to mix performance footage and nature shots to make a Scott Kelly video, it’s only because the songs are so damn organic. My Proud Mountain oversaw the putting together of this clip for “The Sun is Dreaming in My Soul,” from this year’s Scott Kelly and the Road Home full-length, The Forgiven Ghost in Me (review here), which is fitting, since they also released the album in the UK and Europe.
Kelly is on the road currently in that part of the world, and you’ll find his remaining tour dates courtesy of the PR wire after the video below. Please enjoy:
Scott Kelly’s solo tour is now underway and his only UK show at London’s Black heart is looming.
My Proud Mountain have this week released a brand new video for the song ‘The Sun Is Dreaming In The Soul’ – taken from his latest solo album The Forgiven Ghost In Me.
During this tour, Scott Kelly will play songs from his two most recent records which also includes, Songs Of Townes Van Zandt as well as The Forgiven Ghost In Me, both released earlier this year on My Proud Mountain in the UK/EU.
SCOTT KELLY (Neurosis) Europe Tour 2012
Wed 28.11. FI Turku Klubi Thu 29.11. FI Oulu Nuclear Nightclub Tue 04.12. UK London The Black Heart Wed 05.12. CH Luzern Sedel Thu 06.12. CH Martigny Sunset Bar Fri 07.12. CH Moudon Les Prisons Sat 08.12.CH Delémont SAS Sun 09.12. IT Parma Bandits Pub Mon 10.12. GER Karlsruhe Jubez Tue 11.12. GER Dortmund Pauluskirche Wed 12.12. GER Leipzig UT Connewitz Thu 13.12. GER Osnabrück Bastard Club Fri 14.12. GER Berlin Jägerklause Sat 15.12. PL Poznan Blue Note Sun 16.12. GER Hamburg Molotow Mon 17.12. GER Rostock Mau Tue 18.12. DK Copenhagen Loppen Wed 19.12. NL Groningen Simplon Thu 20.12. NL Tilburg O13 Fri 21.12. LU Luxenbourg Decibal Bar Sat 22.12. BE Brüssel Ancienne Belgique
New Om anything is good news, and this video for the song “State of Non-Return” just premiered today. The song comes from Om’s excellent 2012 offering, Advaitic Songs(review here), and the clip was directed by Terrie Samundra, shot as performance footage from when they put the album to tape, giving a sense of some of the serenity the trio is able to find from heavy tones and the roots of some of their influences.
Find it on the YouTube embed below, followed by accompanying info off the PR wire:
OM just debuted a video for “State of Non Return” from their latest LP Advaitic Songs. It’s an intimate black and white performance video from the recording sessions for the album, showing off both how effortless they make playing it look, as well as how much depth went into the overall process. They’re kicking off a tour in Chicago in a couple of weeks – full dates below.
Full US Tour dates (all with Daniel Higgs) Sat-Nov-17 Chicago, IL Empty Bottle Sun-Nov-18 Toronto, ON Great Hall Mon-Nov-19 Montreal, QC Il Motore Tue-Nov-20 Boston, MA Brighton Music Hall Wed-Nov-21 New York, NY Bowery Ballroom Fri-Nov-23 Philadelphia, PA Johnny Brendas Sat-Nov-24 Baltimore, MD Ottobar Sun-Nov-25 Chapel Hill, NC Cat’s Cradle Mon-Nov-26 Atlanta, GA 529 Tue-Nov-27 Nashville, TN Mercy Lounge Wed-Nov-28 Bloomington, IN Bishop
How could you not love those faces? So bright-eyed and innocent.
Today, I have the absurdly extreme pleasure of premiering three clips of heavy gods Sleep performing and being interviewed at the 2012 Scion Rock Fest. As with the Church of Misery premiere last week, these videos come courtesy of Scion A/V Metal, and I’m grateful for being given the chance to post them. With a hurricane bearing down outside my window and not knowing how long electricity is going to last, I can think of no better use for it than making public the videos of “Dragonaut,” “Jerusalem Pt. 1″ and the interview below. Well, maybe showering, but I’ll get to that in a bit.
If you’ve been lucky enough to see Sleep in the last couple years, you already know both that the three-piece are something special to behold and that the dynamic between bassist/vocalist Al Cisneros (also Om), guitarist Matt Pike (also High on Fire) and drummer Jason Roeder (also Neurosis) more than lives up to the legacy they made for themselves with landmark releases like 1993′s classic Sleep’s Holy Mountain, from which “Dragonaut” comes, and the ultimate stoner epic Dopesmoker, from which “Jerusalem Pt. 1″ is derived. As they’ve been playing live the last couple years — Roeder came aboard to replace original drummer Chris Hakius — they’ve broken up the pieces of the hour-long monster and dispersed them into the set, giving the whole thing an unhinged feel and continuing flow. I don’t feel the slightest bit hyperbolic when I say it’s among the heaviest things I’ve ever seen.
Please enjoy “Dragonaut,” “Jerusalem Pt. 1″ and the following interview with Cisneros and Roeder.
Sleep, “Dragonaut” Live at Scion Rock Fest 2012
Sleep, “Jerusalem Pt. 1″ Live at Scion Rock Fest 2012
Sleep Interview at Scion Rock Fest 2012
Thanks again to Scion A/V Metal for the permission to host these clips, and to Sleep, for all the riffs and badassery and crimson dragons and whatnot.
Posted in Features on October 26th, 2012 by H.P. Taskmaster
Talking to Neurosis is always an educational experience. This time, in conversation with guitarist/vocalist Steve Von Till, I learned that the processes by which the band makes records — specifically, the process that resulted in their latest album, Honor Found in Decay (review here) — isn’t as clean as one might think. Von Till calls it a “chaos process,” and that’s as apt a descriptor as I can come up with going by his recounting of how it all works. Where my impulse in listening to songs like “We all Rage in Gold” and “Bleeding the Pigs” is to hear either Von Till or fellow guitarist/vocalist Scott Kelly (recent interview here) at the fore and assume that whoever’s taking the lead at the moment wrote that song or that part, that’s not necessarily the case. Von Till stresses the group, the collective, and in the end, the search for or the need to put a structural idea to it says more about the listener than the band, who apparently are compelled to no such thing.
Still, there are practical considerations. A Neurosis album doesn’t just happen to take shape out of some foggy ether — if it did, Honor Found in Decayprobably would’ve followed much sooner on the heels of 2007′s Given to the Rising. It’s a gritty, emotional process and gritty, emotional music, but it takes a tremendous amount of back and forth to put together, and with members spread as far out as Idaho, Oregon and California’s Bay Area, it’s not like they can all get together in a rehearsal space three times a week and collaborate. Small groups meet, ideas are emailed back and forth, but when it comes to actually being in the same room at the same time, Von Till puts it bluntly: “Couple times a year.”
In that context, Honor Found in Decayis all the more striking. Of course, the full band — Von Till, Kelly, bassist Dave Edwardson, drummer Jason Roeder and keyboardist/sampler Noah Landis – came together to finalize the album’s seven component tracks before entering the studio with Steve Albini at the helm as engineer for the fifth time. But even so, as much as some acts agonize and argue over parts and what should go where and how many times, Neurosis in their 27th year as a band make the most of their limited hours and days together, resulting in material that’s not only characteristic of what they do or what their style is, but advances their aesthetic further, smoothing out the transitions and contrasts between heavy riffing and sparse ambience, allowing room for melodies to flourish in deconstructed atmospheres and a pervasive sense of darkness.
Von Till discusses it as well, but in that particularly, Landis is more integral to Honor Found inDecaythan he’s ever been to a Neurosis album. Both Given to the Risingand its predecessor, 2004′s The Eye of Every Storm gave hints of the depths of Landis‘ contributions, but with the new record, his manipulations are every bit as essential as the guitars, bass or drums, and it’s important to understand that these things aren’t plotted in the sense of Kelly or Von Till stepping back and saying, “Alright, now we’re gonna do this with the sampler.” It’s what comes out of that chaos process, that collaboration with the whole band, it’s no different for Landis than it is for anyone else in Neurosis.
In the interview that follows, Von Till talks about putting the album together, from the songwriting to the concepts behind the Josh Graham cover art, the continued relationship with Albini, the contrast between the tension of pummeling churn and open musical spaces, the prospects for live shows in the coming months to support the record, his Harvestman and solo projects, the growth of the band’s label, Neurot Recordings, and much more.
The complete 4,400-word Q&A is after the jump. Please enjoy.
Posted in Reviews on September 21st, 2012 by H.P. Taskmaster
The advent of a new Neurosis album is noteworthy even in concept. If you count 2003’s collaboration with Jarboe, there have been four in the last decade – which is a better average than some – and yet each new release seems to arrive with more anticipation behind it, the band members’ prolific side-projects and solo outings only feeding the fire that burns its way back to the root act. The 10th studio full-length from Neurosis (that’s not counting the aforementioned collaboration) is called Honor Found in Decay. It features seven tracks and clocks in at an hour even, making it the shortest since 1990’s sophomore LP, The Word as Law, though the difference between it and much of the band’s post-Souls at Zero (1992) discography, time-wise, is only five to 10 minutes. Still worth noting. More pivotal, however, is the emotional and musical progression of the band. It’s been more than five years since Given to the Rising was issued in May 2007, and of course the work in individual members of Neurosis have done outside the band since then – guitarist/vocalist Steve Von Till in Harvestman and with his solo project, guitarist/vocalist Scott Kelly with Shrinebuilder and his solo projects, keyboardist Noah Landis’ outside collaborations with Kelly, drummer Jason Roeder with Sleep and even visual artist Josh Graham with A Storm of Light – has fed into that progression, but Neurosis at this point is like the temple to which these players – as well as bassist Dave Edwardson, whose work here and throughout the band’s discography is both overshadowed and essential – sojourn every few years, coming together for periodic shows from their various geographic locales in the western part of the country, California, Oregon, Idaho, and writing either via the internet, or individually, or some combination of that, or some mysterious other process. Perhaps distance is part of the reason it’s taken Honor Found in Decay (which, like everything Neurosis does at this point, is released on their own Neurot Recordings imprint) five years to materialize – engineer Steve Albini’s schedule might also have something to do with it – but even if so, the new full-length works quickly to justify the wait. Among the many hyperbolic things it is, it is the work of a group of artists unmatched in their relentless pursuit.
What exactly they’re pursuing could probably be the subject of a master’s thesis, but in the case of Honor Found in Decay, one need not look much farther than the album cover for some clue. Since 1993’s landmark Enemy of the Sun, but especially since 2001’s A Sun that Never Sets (the art for which came from the venerable Seldon Hunt), the visual presentation of Neurosis releases has been an especially apt statement of the mood of the album. Thanks to Graham, 2004’s more ambient, brooding The Eye of Every Storm came dressed in cloud-greys as though descended from some snowy mountain, weathered and tired, and Given to the Rising made its bleak, angrier perspective clear in its foreboding but still textural blacks. To look at Honor Found in Decay, then, Graham (who, judging by this and his cover for the forthcoming Soundgarden album, seems to have entered his “put stuff in a pile and take a picture of it” period; no complaints) brilliantly maintains the realistic aspects of Given to the Rising – a photograph, not a painting – while also feeding into a sense of ritual with candles and what looks like tribal-design covered armaments and keeping a connection to the land via the dirt and ash at the bottom. The lighting is natural, but there’s a human sensibility there too. You’re clearly in a room, looking at a wall behind, covered with pictures or who knows what, and there’s a workbench or some other shelving, covered in the chaos of a working life. It could very well be Graham’s studio space, I don’t know, but it gives that kind of impression, mirroring some of Honor Found in Decay’s more chaotic musical moments, like those of “All is Found… in Time”’s early stretches or the masterfully churning culmination of “Bleeding the Pigs.” So there is the earth, the bones, the ritual, the chaos, the humanity, and we can’t ignore the three spear or arrow points below the logo and title, so there’s violence as well, or at very least the aftermath thereof. It’s a scope no less encompassing than the songs themselves – all the more fitting for that – and the melding of browns and yellows with the black char underscores the central mood of the album, which is not as outwardly raging as was Given to the Rising, and still dark, but wizened, older seeming.
Interpretations will of course vary, but it’s important to keep in mind that Neurosis themselves are not that calculating or cerebral in their processes. Even if Graham was playing off the atmospheres in the songs in his creation of the cover art, there’s no doubt he had something completely different in mind than what I’ve stated above; the work’s success is in being evocative. In this as well the art stands in line with the audio density of Honor Found in Decay, the album’s atmosphere allowing the imagination to foster a host of visual landscapes and scenes – “Bleeding the Pig” being particularly vivid – while nonetheless crushing everything in its expansive sights with tonal and ambient weight and lyrics concerning time, kin, penance, nature and the passage from one to the next that the titular “decay” hints at. The progression between the songs is markedly fluid – Kelly discusses his feelings on structuring albums in the recent interview for his latest solo album – but because the personalities of the tracks are nonetheless distinct and representing individual ideas, it seems appropriate to engage them one at a time in a track-by-track analysis. I was back and forth on the idea, because I didn’t want to take away from how well Honor Found in Decay works taken as a whole – it should be taken as a whole, it’s not like Neurosis are writing 12 three-minute radio singles – but hopefully a better look at the pieces will lead to a more engaged understanding of the whole. We’ll begin with the opener, “We all Rage in Gold.”
1. We all Rage in Gold (6:36)
Shortly before the five-minute mark into late album cut “Water is Not Enough” from Given to the Rising, the song hit its peak in furious riffing topped with a kind of high-pitched swirl – presumably from Landis, but I wouldn’t count out the possibility of that being either Kelly or Von Till’s guitars, either – and that same kind of noise begins Honor Found in Decay. Here it is repurposed into a lonely, spiritual kind of digital smoke that winds its way up from silence to precede the opening guitar figure that becomes the basis tempo-wise for what follows. Edwardson joins with subtle rumble, and it’s all unassuming until at 54 seconds, “We all Rage in Gold” bursts to life, Roeder signaling the launch with a crash that brings the full version of the initial progression, surprisingly upbeat in its kick and higher-end while the bass underscores with runs that will stand out as some of the album’s best. The first vocal lines of the album are, “I walk into the water/To wash the blood from my feet,” and they resound the interplay between Kelly and Von Till that will ensue. The duo’s deliveries have grown so much in tandem with each other that it’s hard at times to pick out where the one or the other is singing when the themes are as consistent as they are on Honor Found in Decay – one always wants to credit Kelly with a harsher, angrier growl and Von Till with reverence to the land, but that’s no more a metric than anything – but they’re most effective and most serving the dynamic when they come together, as they do on the subsequent “At the Well” or the later “Casting of the Ages,” as well as elsewhere throughout. With “We all Rage in Gold,” it’s the encompassing whole that carries you with it, rather this or that element, though Kelly’s vocal readily displays the range of emotion he’s come to convey as a singer over time. Following an elongated verse, the song breaks at 2:41 to a quieter stretch – once again Edwardson’s bass shines from beneath the guitar – and when Roeder breaks on the drums, Landis chimes in to fill out the soundscape with foreboding keywork. A soft vocal line turns guttural at 4:05 and the instruments offer likewise explosion, rounding out the last two minutes-plus of the track with a slower push topped at first by throaty vocal lines, and then marches out instrumentally, strings arriving at 4:52 – I don’t want to assume it’s Jackie Perez Gratz on the cello, though she’s contributed to Neurosis before; if you told me Landis’ keys or a tape loop, I’d believe you; the noise is obscure but melodic – and rumbling to a close that feeds into the quiet opening of “At the Well.”
2. At the Well (10:05)
The core of “At the Well” is a linear build. It’s one of Honor Found in Decay’s most effective – going from near silence to raging cacophony in its 10-minute span – and made all the more so by various fluctuations between. A soft guitar strum and breathy Von Till vocal offer initial minimalism torn through at the one-minute mark by Roeder’s tribal drumming and distorted guitar and bass. They seem at first to plateau here, Von Till raging out a verse over Roeder’s precision thumping – presented, as ever, cleanly and naturally by Albini’s recording – and sustained, feedback guitars openly riffed, but even here there are changes taking place to signal movement in the overarching build. Flourishes of (what sounds like) slide guitar add to the tension being created, the stomach tightening for a release that comes 3:24, when Roeder adds cymbals to roughly the same rhythm, no less driving, and Kelly joins on in on vocals. The apex of “At the Well” is still a long way off, but that’s something of a preview, breaking to synth swirls, ambient guitar and backwards cymbal washes at 4:19, either sampled or real bagpipes bringing up a mournful feel that persists even as the instruments resume their lumbering trail, the slide guitar resuming, echoing behind the revived vocal line and fuller distortion. The line “Smoke from a gaping wound,” is a standout and should be telling in terms of the track’s overall impression at this point. They break again to quiet circa six minutes, Landis’ synth taking the fore once again, though a quiet guitar remains, and a likewise subdued spoken word recitation begins, culminating with the line, “Prophecy flows in whispers” before at seven minutes in, “At the Well” meets its payoff. It’s important to remember for the longer track that this is still relatively early into the context of the whole album, and though there’s no shortage of back and forth playing out, the line Neurosis draw is still very much moving forward. Nonetheless, it is with their own and so often imitated feeling of apocalyptic claustrophobia that they culminate “At the Well.” As has been the case thus far into Honor Found in Decay, there’s tension but no gradual swell. The song explodes. Its action is tornado violent. Eight repetitions of the lyric “In a shadow world” only make the churn more visceral before two guitar leads take hold, the first a wavering, plotted course and the second a buzzsaw that cuts through everything in its path – including Roeder’s increasingly manic tom runs – and threatens to derail the song entirely with the force of its plunder. Any other band and it might have, but the “In a shadow world” incantation resumes, this time for a course of 16 that acts as a foundation for additional vocals built on top of it, bringing in Edwardson to excellent effect alongside Von Till and Kelly, the first two blocks of four lines marking the changes and the last eight acting as the apex prior to the finishing crash and feedback hum at 9:41. Neurosis have arranged three-part vocals before – the prior instance that comes to mind most immediately is “Falling Unknown” from A Sun that Never Sets – but they employ it well here, and at the point “At the Well” crashes, it legitimately feels like there’s nowhere else the song could have gone. Like they pushed it to the very edge and then off the side of a cliff.
Posted in Reviews on August 13th, 2012 by H.P. Taskmaster
Om’s exploration of spiritually resonant drone continues. Advaitic Songs takes its title from a reference to the Hindu school of thought regarding the self and a greater whole, and the band’s fifth album (second to be released through Drag City) is their most sonically expansive yet, the sense of communion that’s been imbued into their work since 2005’s Variations on a Theme no less prevalent for the lushness it’s grown into over the last seven years. Bassist/vocalist Al Cisneros (also Sleep) is the constant factor, and drummer Emil Amos (also Grails) has been aboard since 2008, but new to Om’s last album, 2009’s God is Good, was the tentative inclusion of multi-instrumentalist Robert Aiki Aubrey Lowe (also Lichens), who added tambura and backing vocals to flesh out songs like “Thebes” and the two-part “Cremation Ghat” closing duo. Lowe, now a full-time member of the band, seems to have had a liberating effect on the band’s sound, which feels limited now either by genre or some perception of what it’s supposed to be. The five tracks/43 minutes of Advaitic Songs hold fast to Om’s always contemplative sense of aural journey, but whether it’s Jackie Perez Gratz of Grayceon’s cello on “State of Non-Return” – a gorgeous accompaniment for Cisneros’ bass, Amos’ drums and Lowe’s piano that appears several times here throughout – or the beginning chant that sets the mood of opener “Addis,” it’s readily apparent right from the start of the album that Om have shed the minimalism that was so much a marker of their earliest work in favor of a richly atmospheric psychedelia that is, among other things, entirely their own sonically. Simply put, there isn’t another band that sounds like Om do on Advaitic Songs – yet – and the grace which with they execute this material, coupled with Steve Albini’s production, gives the album a sense of mastery that wasn’t there either on God is Good or its 2007 predecessor, Pilgrimage. As the latter was the last album Cisneros made with former Sleep drummer Chris Hakius and God is Good the first with Amos and the introduction of Lowe to the recorded incarnation of the band – he’d done several tours with them already, if I recall correctly – it makes sense to think of Advaitic Songs as, if not an arrival (which would negate the sense of transience both in the music itself and in terms of the shifts that have gone into its creation; they are anything but stagnant), then a landmark along the way of Om’s continuing journey.
And whatever the root cause is for the trio (it still feels strange thinking of Om as a three-piece) to move in this more lush direction, unquestionably at least some of the shift is a result of the lineup involved. Amos has long explored a wide variety of sounds and styles in Grails, but though his drumming on Advaitic Songs, much of the textures across these tracks seems to be traceable to Lowe, who plays the x-factor role well, adding piano here, guitar there, vocals here and, in the second half of “Addis,” following Gratz in a descending progression that sets a bed for the chanting vocals – either a sample or a guest performance – that telegraph the notion that though he’s the lone original member at this point, Om is not just about Cisneros, but about the whole of the band. In fact, but for a minimal bass line that follows the patterning of some of the percussion, he’s barely there at all, and it’s not until the more distorted tone of “State of Non-Return” kicks in that the bassist really makes his presence felt. That’s not a negative for the record, however, since the mood that the opener sets is so vivid, and “State of Non-Return,” though it’s probably the heaviest-sounding song Om has ever made, keeps that mood always at the fore. The cello provides an instrumental chorus, but the song revels in its heft in its own subdued way, working counter to the idea of “heavy” as an intangible aspect of creation which Om has always conveyed in their atmospheres – that is, “heavy” without the crush – but not really contradicting it, as the wavy groove of “State of Non-Return” will be immediately familiar and recognizable to anyone who has experienced any of Advaitic Songs’ predecessors or seen the band live. It’s just fuller, which, again, could be and probably is on some level a result of the added personnel, i.e. Lowe and Gratz, who feel no less committed to the overall vibe of the record than do Cisneros or Amos. However much Cisneros is a focal point for Om because both of his massive influence as a part of Sleep and the considerable impact he’s had with this project already to date, Om is now a full band and Advaitic Songs is a full-band. Parts of it are damn near orchestral.
Posted in Whathaveyou on August 13th, 2012 by H.P. Taskmaster
No better way to start the week than this:
NEUROSIS: Title Of Eleventh Full-Length From Musical Pioneers Revealed
It is said that great art has the power to take us outside of ourselves and bring us closer to ourselves simultaneously. Few bands have accomplished this rare feat on a more profound and consistent basis than NEUROSIS. For nearly three decades, their music has touched the hearts and minds of young men and women seeking contact with something beyond the physical world, something intangible, something that expresses the inner tumult of the human condition in a way that transcends time and space. Something that not only provokes questions but maybe even hints at answers.
Since 1985 this matchless force has surpassed the boundaries of any genre, never ceasing to mutate and progress their songwriting and sonic delivery, and never failing to mesmerize audiences both in the studio and onstage. And as the anticipation from their diehard fanbase reaches a boiling point, this week NEUROSIS unveil the title of their eleventh full-length studio creation, which will manifest itself as Honor Found In Decay.
The follow-up to their acclaimed 2007-released Given To The Rising album, the music on Honor Found In Decay is both torturous and transcendent. It is the ongoing exposition of a vast internal dialogue that seems to carry the weight of eons. With the right kind of ears and eyes, it can seem like the trials and tribulations of mankind are being channeled through five individuals: Steve Von Till, Scott Kelly, Noah Landis, Jason Roeder and Dave Edwardson. And yet? They will be the first ones to tell you that they are just regular people trying to make sense of the world around them. Aided by Josh Graham, their resident visual guru, they transmit their interpretations through multiple sensory planes. The degree to which Neurosis allows them to step out of their everyday lives is the distance between one and zero, the distance between thinking and doing, the distance between this minute and the one that may or may not follow. Which is to say: NEUROSIS takes them outside of themselves and brings them closer to themselves. Simultaneously.
This next chapter in the evolution of NEUROSIS will see worldwide release through the band’s own Neurot Recordings this Autumn, in Germany October 26th, in the UK October 29th, and in North America on October 30th.
Further details on Honor Found In Decay will be made available over the coming weeks.
NEUROSIS: Scott Kelly – vocals/guitars Steve Von Till – vocals/guitars Dave Edwardson – bass Jason Roeder – drums Noah Landis – keyboards Josh Graham – visual effects, art
Neurosis continue their process of mysteriously teasing their upcoming, yet-untitled new album. You know what would be awesome? If they just put out the record, like, next week. If they pressed the whole thing in secret, got it out to stores on the sly, no advance notice, no track premieres, no advance press. Nothing. Just an album that came out and no one even knew the name of it or any of the songs until it dropped. Not bloody likely. Either way, these clips continue to pique the already-there interest in the first Neurosis release in half a decade.