Sleep, Live at Third Man Records: The Botanist Goes to Nashville

Posted in Reviews on May 29th, 2019 by JJ Koczan

sleep live at third man records

‘The Vault’ is a quarterly subscription service from Third Man Records, the Nashville-based imprint, record store, studio and apparently live venue owned by Jack White, formerly of The White Stripes and currently of Jack White doing whatever the hell he wants, which would seem to include putting out Sleep records. The subscription fee is $60 per quarter, so not nothing, but the pull is that the releases are exclusive and limited, and at least in the case of Sleep‘s Live at Third Man Records, that $60 breaks down to $15 per each different-colored LP of a quadruple-LP box set release. It almost sounds sensible at that rate. I don’t know what releasing Sleep did for subscriptions, but the package in which Live at Third Man Records arrives is equal parts gorgeous and heavy — that is, you feel like you’re carrying records when you hold it, because you are — and with this kind of release, that’s definitely a piece of the experience, like the poster and patch also included.

The other part is a two-hour live set from Sleep — vocalist/bassist Al Cisneros, guitarist Matt Pike, drummer Jason Roeder — recorded in Dec. 2018, months after the release of their awaited album, The Sciences (review here), and its companion single “Leagues Beneath” (review here), that finds the landmark trio playing much of the record to a duly salivating audience, as well as classics from 2003’s Dopesmoker (discussed here) and the mega-influential 1993 sophomore outing, Sleep’s Holy Mountain (reissue review here). It is, essentially, a fan piece, special in hindsight for those who were there to see it and a work for the rest of us plebs to chase down however possible. For what it’s worth, I don’t imagine anyone who is a more than casual Sleep fan doing so would regret it. The sound throughout the 11-song set is raw in live-set-recorded-to-acetate fashion, but that does no disservice to the material, and the band of course sound spot on. If they didn’t, Live at Third Man Records probably wouldn’t exist. It’s about as close to a sure thing as you can get, again, if you’re a fan.

They open with “Leagues Beneath” and then go directly into the trimmed down version of “Dopesmoker” they’ve been playing live for however long. It’s broken up into “Dopesmoker Pt. 1” and a much-shorter “Dopesmoker Pt. 2” and when one factors in the subsequent “Holy Mountain,” that already covers sides A, B and C in basically three songs. Welcome to the Sleep show. It’s as though they knew their audience showed up wanting to get pummeled by riffs so they got it out of the way quickly so they could get down to the business of… more pummeling with riffs, I guess. But what a way to go. Cisneros‘ vocals sound right on in a way that demonstrates how much he’s found a way to meld the newer, less guttural vocal style of the more recent songs with his throatier past, and his vocal patterning in “Dopesmoker” only adds to that meisterwerk’s unique appeal.

sleep

Of The Sciences, only “Antarcticans Thawed” isn’t aired (or the title-track intro, if you want to be technical about it), and a slowed down version of “Sonic Titan,” particularly in following “The Clarity” (review here), which was released in 2014 as a standalone single and the band’s first studio work in more than a decade, which also hits the brakes on tempo to some degree, is a righteous highlight, with Roeder‘s march setting the pace via snare taps that do justice to original drummer Chris Hakius while adding his own sense of purpose to each crash that accompanies. Likewise, Pike‘s solo shred is a fitting reminder of his near-unmatched stage force. “Sonic Titan” accounts for side E all on its own after “The Clarity” and “Aquarian” on side D, and from there, the three-piece dig even deeper into The Sciences, with “Marijuanaut’s Theme,” “Giza Butler” and “The Botanist” one into the next.

The difference is a live version of “Sonic Titan” had appeared on the 2003 Tee Pee release of Dopesmoker, but the other three were exclusive to the new record. The band break into the manic groove of “Marijuanaut’s Theme” after “Sonic Titan,” and then follow with “Giza Butler”‘s mellow intro and omega-riff later. With the languid, solo-topped “The Botanist” as a comedown after that, it’s as dynamic as Sleep have ever sounded on a recording, and absolutely representative of what they do on stage, whether it’s Cisneros announcing “The pterodactyl flies again over emerald fields” as part of the weedian storytelling of “Giza Butler” or Roeder‘s final tom fill in “The Botanist.” Closing out with “Dragonaut” is essentially a victory lap.

One more full dose of fuzz overload is applied, and Sleep ride the dragon on Mars all the way to unmatched stoner supremacy. The recording ends with Pike‘s guitar feeding back while the crowd cheers, which is a pretty efficient way of saying it all. I don’t think Live at Third Man Records is a release for a novice Sleep fan, and I also think that if one hasn’t seen Sleep since The Sciences came out, something of the context here will be lost. However, I also don’t really think Sleep have casual fans. This isn’t a band you maybe put on every now and again because, eh, whatever. This is a band that incites worship, as the increasingly rabid response to their post-reunion run has shown.

As they’ve shifted back to being a working band promoting a new album, touring, headlining festivals, etc., they’ve not only harnessed a new generation of followers, but they’ve managed to give those who would pay homage a fitting altar to do so. They’re as much a community as a band at this point, and Live at Third Man Records is more than just a companion to The Sciences. It’s a document for and of that community at a pivotal moment, just months after the surprise release of that studio album, capturing the band as they set about that work. Not everyone’s going to get it, but isn’t that part of the appeal too?

Sleep, “Dopesmoker” live at Third Man Records

Sleep on Thee Facebooks

Sleep on Twitter

Sleep website

Tags: , , , , ,

High Tone Son of a Bitch Set June 21 Release for New Single

Posted in Whathaveyou on May 28th, 2019 by JJ Koczan

HIGH TONE SON OF A BITCH

I couldn’t help but feel that, as I watched High Tone Son of a Bitch perform recently at Desertfest NYC (review here) that I had seen them before. I narrowed the possibilities down to some drunken afternoon at SXSW circa 2004 — I recall Paul Kott‘s past band, Kalas, played there one year, but the details are long gone. Hazards of the trade when it comes to drinking in the Texas sun, which, if I’m honest I’d probably be okay never doing again. At least the drinking part.

What matters more than whether or not I’d seen them before is the likelihood that I’ll see them again, what with the band pressing forward after a long absence with a new single release next month. The two-tracker is called Death of a New Day / Eye in the Sky and it’ll be out June 21, along with back catalog reissues that are only fair enough for a band who wasn’t around for so long.

The PR wire has details, a preorder link and a new track streaming:

high tone son of a bitch death of a new day eye in the sky

Reunited California Metal Band High Tone Son of a Bitch to Release New EP, ‘Death of a New Day / Eye in the Sky’, June 21

Bay Area Group Featuring Members of Kalas, Noothgrush, Neurosis, Necrot, Saviours, Alaric, and More Returns!

Oakland, CA underground metal band High Tone Son of a Bitch (aka HTSoB) will release a new EP, titled ‘Death of a New Day / Eye in the Sky’ on June 21.

The reunited Bay Area band, which features a core of Russ Kent (Noothgrush, Alaric), Chris Corona (Wildeyes), Joe Fucko (Strychnine), Paul Kott (Kalas, Cruevo), and Johann Zamora (Men of Porn, Totimoshi), along with studio and itinerant live contributions from HTSoB’s first singer, Scott Wagner, Dave Edwardson (Neurosis), and Sonny Reinhardt (Necrot, Saviours, Word Salad), and whose unique vision of heavy psychedelic hard rock breaks the genre box, recorded the new 2-track EP at Sharkbite Studios with famed producer Billy Anderson (Sleep, High on Fire). The EP features the herculean new song “Death of a New Day” along with a re-imagined, post doom metal take on the 1982 Alan Parsons Project classic “Eye in the Sky”. Pre-order ‘Death of a New Day / Eye in the Sky’ at this location.

Fresh off a crowd-capturing live performance as part of the inaugural Desertfest New York — where the band shared the stage with Elder, Windhand, Worshipper, and more — and a U.S. tour run with Weedeater and The Skull, High Tone Son of A Bitch has fully returned and is firing on all cylinders. First formed in 2003 by the brothers Paul and Andrew Kott with bassist Ron Nichols (a veteran of Neurosis’ Noah Landis’ legendary punk band Christ on Parade), and named after named after the bumper sticker on an automobile from the Steven King novel, ‘The Dark Half’, HTSoB ultimately pulled together the talents of an all star cast, with the line-ups and contributing guests coming from and heading into bands like Kalas, Cruevo, Noothgrush, Hammers of Misfortune, Christ on Parade, Men of Porn, Neurosis, and others. The original lineup’s trajectory was cut short by tragedy when Andrew, who was struggling with addiction, died unexpectedly. In 2018, Andrew Kott’s step-son Juan, who plays in the Latin Grammy-nominated Mexican regional band Banda Troyana, urged Paul to start HTSoB up again. Paul then gradually re-formed a revised lineup of the band that has now fully arisen in triumph from the ashes of tragedy.

In its first outing as a band in 13 years, High Tone Son of A Bitch teamed up with old friend Billy Anderson to create a sprawling new vision of heavy music. The new original, “Death of a New Day”, features HTSoB vocalist Russ Kent joining forces with singer Scott Wagner (who sang on the group’s 2003 debut EP ‘Better You Than Me’) to set epic melodic vocal lines against a backdrop of titanic riffs that descend into and emerge from a synth and guitar-drenched psychedelic black hole. “Eye In the Sky” sees HTSoB put its spin on the Alan Parsons Project’s pop hit. Heavy and audacious, the song’s psyched-out “Vietnam helicopter” synth intro and sparse build-up crawl into an epic doom undertaking. Charting a new course that builds on its original direction, High Tone Son of a Bitch’s ‘Death of a New Day / Eye in the Sky’ EP bends the possibility of the future of heavy music in a new direction, and sets a new course for the band’s bright future.

Track listing:

1.) Death of A New Day (6:43)
2.) Eye in the Sky (10:17)

Simultaneously upon the release of ‘Death of a New Day / Eye in the Sky’, High Tone Son of A Bitch will digitally reissue both of its previous releases, the aforementioned 2003 EP ‘Better You Then Me’ and the ‘Velocipede’ EP (2004). Both the Alex Newport-produced ‘Better You Then Me’ and ‘Velocipede’ will also see limited edition 2-on-1 vinyl release via Throne Records (Spectral Lore, Corrupted, etc.)

https://www.facebook.com/htsob.oakland/
https://www.instagram.com/htsob.oakland/

Tags: , , , ,

Psychic Hit Sign to DHU Records; Fortune’s Wheels EP Coming Soon

Posted in Whathaveyou on May 22nd, 2019 by JJ Koczan

The Fortune’s Wheels EP by Psychic Hit can be streamed in full through the band’s Bandcamp page. Formerly known as Promo 2018 and released on tape, the four-song outing will be pressed in an ultra-limited edition of 66 copies in what DHU Records is calling an “exclusive press.” I won’t quibble with that, but I can’t help but think that especially given the band’s traditionalist aesthetic that “private press” wouldn’t work just as well. No, not everything in the universe needs to be retro, but I mean, imagine 40 years from now trying to hunt down and original copy of this edition of this EP. Doesn’t “private press” just seem right for whatever bragging you’d end up doing for the rest of your life at having encountered such a thing?

Just saying.

Here’s the announcement from the PR wire:

psychic hit

Psychic Hit sign to DHU Records

DHU Records is extremely excited to announce the signing of Oakland, CA Proto Metal Sweethearts Psychic Hit to release their debut EP “Fortune’s Wheels” (DHU038) (previously known as “Promo 2018”) on extremely Limited Edition vinyl!

In a new series of releases by DHU Records known as an Exclusive Press, 66 copies will be pressed on Crystal Clear 180Gr Lathe Cut vinyl through Royal Mint Records.

Oakland, CA based hard rockin proto-metal sweetheart band, Psychic Hit, was formed in 2017 by guitarist Andrea Genevieve (Queen Crescent, Purple Rhinestone Eagle) and vocalist/violinist Ariana Jade (Hedersleben, Nik Turner’s Hawkwind). Having met through the thriving Bay Area rock n roll network, the tenacious pair began to dream up a project that fused their wide-ranging tastes in music. What resulted was a band that would combine the raw power of early Judas Priest and Scorpions, the melodic sensibilities of Fleetwood Mac, and the esoteric appeal of lesser known acts such as Lucifer’s Friend and Flower Travellin’ Band.

In 2018, the duo was joined by bassist Melanie Burkett (Ovvl) and drummer Justin Divver (Funeral Chant). With the talented rhythm section locked in, the four musicians began to embark on a songwriting enterprise that resulted in their first, self-recorded demo in the fall of that year. After the demo was recorded, the band welcomed fifth member, Jake Palladino (Pins of Light, Hightower), to join Andrea Genevieve on guitar.

Although Psychic Hit’s sound is heavily influenced by both 70s greats and rarities, the band is anything but an anachronism. Like modern contemporaries such as Kadavar, Lucifer, and Hällas, Psychic Hit seeks to recast rock music in their own image, rather than to just simply imitate eras past. In an age where the dark forces of monotony and monocracy loom large on the horizon, Psychic Hit appeals to their listeners to embrace the regenerative, communal power of rock n roll.

Exclusive Press
Limited to 66 copies
Single Sleeve w/ 3mm Spine
Black flood inside
Double sided full color inlay
Black polylined innersleeves
Artwork by Caitlin Mattisson
Housed in a PVC sleeve
Comes on 180Gr Crystal Clear 12″ Lathe Cut vinyl

Side A:
A1. The Fool
A2. Fortune’s Wheels

Side B:
B1. Plateau
B2. The Whip

Pre order and release date coming soon…

Psychic Hit
Ariana Jade (vocals, violin, synthesizer)
Andrea Genevieve (lead guitar, synthesizer)
Melanie Burkett (bass guitar, acoustic guitar)
Justin Divver (drums)

https://www.facebook.com/psychichit/
https://www.instagram.com/psychic_hit/
https://psychichit.bandcamp.com/
https://www.psychic-hit.com/
https://www.facebook.com/DHURecords/
https://www.instagram.com/dhu_records/
https://darkhedonisticunionrecords.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/

Psychic Hit, Promo 2018

Psychic Hit, “Plateau” official video

Tags: , , , , ,

Om Heading Back to Europe This Summer; Monolith on the Mesa This Week

Posted in Whathaveyou on May 13th, 2019 by JJ Koczan

om

This week, Om embark on a Southwestern tour (it’s spicier) alongside Wovenhand that will pass through the Monolith on the Mesa festival in Taos, New Mexico, on Friday, May 17, where Om will headline. It’s been a busy year so far for them. They’re fresh off a quick trip to Europe for Desertfest in London and Berlin as well as two shows in Oslo and one in Stockholm, and in February, they toured the West Coast as well. Newly unveiled summer plans reveal they’ll be back in Europe throughout July and August — they’d been announced for SonicBlast Moledo and Lake on Fire, so yeah, a tour makes sense — and as posted by Odyssey Booking (which put together the European tour), they would seem to have a new lineup with Tyler Trotter taking the multi-instrumentalist role formerly occupied by Robert Aiki Aubrey Lowe. I have no clue if that’s a permanent change or what, but it would seem to have been Trotter with Al Cisneros and Emil Amos at Desertfest, so there you go.

I’ll keep my fingers crossed that autumn brings Om east, more specifically northeast, even more specifically to my house for a nice Sunday brunch, but of course, if they wanted to go ahead and spend that time finishing a new album, it would be hard to complain about that.

Dates follow, as seen on social media:

om summer tour

OM / Wovenhand
Southwest 2019 tour
5/15/2019 Mesa, AZ The Nile
5/16/2019 Flagstaff, AZ Green Room
5/17/2019 Taos, NM Monolith at the Mesa
5/18/2019 Grand Junction, CO Mesa Theater
5/19/2019 Denver, CO Gothic Theater

OM European summer tour 2019 dates announced! Tickets now onsale for all shows

26-07 DE Karlsruhe @ Jubez
27-07 NL Utrecht @ Tivoli – Pandora
28-07 DE Dortmund @ FZW
30-07 DE Bremen @ Tower
31-07 DK Copenhagen @ Pumpehuset
01-08 DE Leipzig @ UT Connewitz
02-08 PL Katowice @ OFF festival
03-08 AT Waldhausen @ Lake On Fire fest
04-08 HU Budapest @ Durer Kert
06-08 CH Zurich @ Bogen F
07-08 IT Livorno @ Fortezza Vechia
08-08 IT Milan @ Magnolia
10-08 PT Moledo @ Sonic Blast
12-08 CH Valais @ Palp festival – Rocklette

OM – 2019 lineup:
Al Cisneros
Emil Amos
Tyler Trotter

https://www.facebook.com/om.band
http://www.omvibratory.com/
https://www.facebook.com/odysseybooking/

Om, Live in Los Angeles, Feb 28, 2019

Tags: , , , ,

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

Tags: , , , , , ,

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)

Tags: , , ,

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/

Tags: , , , , , ,

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

Tags: , , , , ,