Posted in Whathaveyou on April 21st, 2015 by H.P. Taskmaster
Ohio sludgers Beneath Oblivion have an assortment of releases planned for the rest of 2015, including splits with Fister and Before the Eyewall, a new LP to be recorded in the Fall with none other than Billy (frickin’) Anderson and, to coincide with their upcoming round of tour dates next month, a two-song tape limited to a scant, probably-already-accounted-for 50 copies, self-recorded and probably unlikely to see repress. Sounds like a good time to me. The tour is 19 dates, so it’s hard to imagine they’ll return with any tapes left, and not that their omega-toned extremity really needs much of a sell other than its own viciousness, but a new tape never hurt anybody either.
The band sent the following dates and info down the PR wire, so have at it:
Cincinnati, Ohio’s longtime amp wielders Beneath Oblivion are set to embark on a 19-date tour in less than 2 weeks from now. Everything in their path along the Eastern Seaboard will be crushed with the band’s unique blend of sludge and funeral doom.
Beneath Oblivion has been described as a lurching, bleak soul searching type of experience that carries many of the old-school doom elements combined with extreme metal and punk, but with a fresh spin that thinks outside of the box. A behemoth of screechy and sometimes guttural vocals, massive guitars, pounding drums, and sludgy bass. Formed in 2003 and going strong. Beneath Oblivion are a rust belt doom band in the truest sense.
For this tour only, the band DIY recorded two songs for a release limited to only 50 cassettes which can’t be purchased anywhere other than one of these shows. In the next couple months Pirate Ship Records will be releasing a split 7″ with St. Louis sludge trio, Fister, a 10″ split with Before the Eyewall will come this summer, and Beneath Oblivion has plans to record a new full-length LP with Billy Anderson in the Autumn of this year.
Tour Dates: 05/04 – Cincinnati, OH – Rake’s End 05/05 – Pittsburgh, PA – the Smiling Moose 05/06 – Brooklyn, NY – The Acheron 05/07 – Worcester, MA – Ralph’s 05/08 – Boston, MA – O’Briens 05/09 – Salem, MA – Koto Lounge 05/10 – Portland, ME – Geno’s 05/11 – Burlington, VT – Nectars 05/12 – Wallingford, CT – Cherry Street Station 05/13 – Philadelphia, PA – Kung Fu Necktie 05/14 – Washington, DC – The Pinch 05/15 – Charlotte, NC – The Milestone 05/16 – Jacksonville, FL – Rain Dogs 05/17 – Gainesville, FL – 1982 Bar 05/18 – Valdosta, GA – Ashley Street Station 05/19 – Atlanta, GA – Atlanta Death Fest 05/20 – Raleigh, NC – Slim’s Downtown 05/21 – Richmond, VA – 25 Watt
Posted in Reviews on March 30th, 2015 by H.P. Taskmaster
I must be out of my damned mind. After wrapping up last year with a special feature comprising 50 reviews spread over five days, I’ve somehow decided that it’s not a bad way to do things. So here we are. It’s been three months, that’s a quarter of a year, so it seems only fair to have a Quarterly Review to catch up on some things that might otherwise have gone missed.
And that’s precisely what we’ll do. Between now and Friday, it’ll be 10 reviews per day, rounding up releases from the last couple months. Some are out now, some aren’t out yet, but it’s all recent one way or another. Like with the Last Licks 2014, I’ll be checking in each day as well. Should be fun to see how my mental status deteriorates over the course of the next few days, until my brains are little more than a stinky jelly dripping from out my ears on Friday. At least that’s how I remember it going last time.
So let’s go:
King Hitter, King Hitter
A North Carolina five-piece fronted by vocalist Karl Agell, best known as the frontman of Corrosion of Conformity for their 1991 Blind album – he’s also currently reviving that album live on stage with drummer Reed Mullin in C.O.C. Blind – the new outfit King Hitter reunites the singer with his former Leadfoot bandmate, guitarist Scott Little, and they test the waters with a five-track self-titled EP delivered via Candlelight Records. Crisply-produced, songs like “King Hitter” and “Feel No Pain” hit hard and gruff with just a touch of Southern heavy rock flair. The power of Agell’s voice is undiminished, but production is maybe too evident at times, and when they get down to the chugging “Suicide (Is the Retirement Plan,” politics meet personal perspective in a way that strikes deeper than might’ve been intended. Little and fellow guitarist Mike Brown, bassist Chuck Manning and drummer Jon Chambliss turn in worthy performances, but Agell’s command captures a good deal of the attention on this satisfying showcase of a songwriting process getting underway.
Because one invariably measures British anything in “waves,” we’ll put Oxford double-guitar five-some at the crest of the New Wave of British Burl. Omniscient is their third full-length behind 2013’s Horizontal Life and their 2010 debut, Forked Tongues (review here), and it arrives through Blindsight Records with all the brash Southern metal riffing and dudely bellow one might expect. Orange Goblin are an immediate name to drop in comparison to opener “Outlander,” but “Queen Reefer”’s quiet solo section adds breadth and the acoustic “Home,” the Clutchy “Night Bus Blues” and the stomping, subtle djentery of closer “Collapse of the Bison Lung” continue to reveal an extended palette. A richer listen than it might appear the first time through, Omniscient still revels in its heaviness on “Blue Snake Moan” and “Sway of the Tides,” etc., but changes like the tempo downshift in “Horizon” give fodder for repeat visits to Desert Storm’s howling third offering.
Welsh space rockers Sendelica feel out some pretty peaceful vibes on songs like “The Pillar of Delhi,” “Azoic” or the sweet-washing closer “The Hedge Witch” from their self-released cosmos-tripper Anima Mundi, but there’s no shortage of spaced-out push either in songs like the 12-minute jam “Master Benjamin Warned Young Albert Not to Step on the Uninsulated Air” and electronic-pulsing “Baalbek Stones.” An experimental spirit underlies each of the eight included instrumental cuts, elements like sax, synth, keyboards, theremin, flute and various effects intertwining throughout Anima Muni’s 54-minute sprawl. Quiet moments like “Azoic” work well, but I won’t take away from the buzzsaw tone or swing behind “The Breyr, the Taeogion and the Caethion” either. The truly fortunate aspect of Sendelica’s latest is that it flows between its individual pieces, putting the listener in a position of open-minded experience while working around and through various psychedelic impulses, carefully woven and balanced in the mix, but vibrant and exciting and loose-feeling just the same.
Of the 13 songs on Melbourne trio Drifter’s Desert Highways debut LP, Violent at Altitude, only four reach past the three-minute mark, and even most of those play off a fuzz-punk intensity, shades of Melvins weirdness and Nick Oliveri heavy punker charge showing up in cuts like “Cool Breeze” or the raw, open “Another Life.” Closer “So Long” is given another look from Drifter’s 2013 debut EP, Head (review here), which it also capped, but the feel across Violent at Altitude is that guitarist/vocalist Dan King, bassist/vocalist Troy Dawson and drummer/vocalist Dave Payne is exploring the place where grunge and punk met on pieces like “Bi Polar,” the relatively spacey “Devil Digger” and quick-blasting 1:45 rush of “Russian Roulette,” their tones mean and their attack primal in its overall affect in a way that belies the stylistic nuance at work throughout. You can listen on an analytical level or you can be steamrolled by “Drugs.” Your call. Either way, Drifter are gonna tear it up in accordance with the altitude they’ve apparently hit.
Sula Bassana’s performance at Roadburn 2014 was their first as a full band. The experimental psychedelic project of guitarist Dave “Sula Bassana” Schmidt (see also Electric Moon, Krautzone, Zone Six, Weltraumstaunen, etc.) came to life with his Electric Moon bandmates Komet Lulu on bass and Marcus Schnitzler on drums, as well as Zone Six’s Rainer Neeff on guitar, and the four jams of the live recording Live at Roadburn 2014 tell the tale brilliantly. Schmidt, who is quite simply among the foremost heavy psych jammers in the world, leads the four-piece through cascading movements, immersive and clear on record as they were in person, rich with a sense of improvised creation even if based on prior parts. Anything went, as the 18-minute “Dark Days” showcases here, with synth and guitar and heavy bass intertwining to a brilliant cosmic whole, Schnitzler’s drums holding the proceedings together wonderfully. Short at 50 minutes, it’s every bit as switched on as one might expect in a studio album from these players, blurring yet another line as they expand psych-rock consciousness.
To listen to opener “Still Alone” from Strange Here’s Minotauro Records raw second LP, II, one might expect that Alexander Scardavian (ex-Paul Chain) and Domenico “Dom” Lotito (ex-Hand of God) are presenting some loosely-swung classic doom, shades of Candlemass and Death SS filtered through heavy riffing and Scardavian’s gruff vocals, but that’s barely half the story. More is told by putting eight-minute tracks “Born to Lose” and “Black, Grey and White” next to each other, as they appear here. Following the opening duo of “Still Alone” and the echoing “Kiss of Worms,” the two longer cuts unveil a sound alternately diving into morose doomed march and spacious psychedelic flourish. That blend continues as the marching “Acid Rain” gives way to the acoustic/drone interplay of “Only If…”and comes to a head on closer “Shiftless,” a contrast of back-and-forth impulses played off each other throughout the 47-minute offering. There’s work to do bringing the sides together should Strange Here choose to go that route, though the lines drawn between make it that much easier to catch the listener off guard, which II just might.
Marked out by the jazzy noodling of “The Douche Bag Guru” and the funky bassline on “Drift,” the new self-titled EP from Dayton, Ohio, four-piece Once-Ler dates back a decade in some of its material, the track “Law Dog” having appeared on the band’s 2005 full-length, Entropy. It’s an unassuming rumble, sort of humbly produced for a garage-heavy feel, but the clarity of purpose in centerpiece “Swing the Leg”’s crashing progression is plain enough to hear, and opener “The Victim” is the longest cut at 6:43, earning immediate points. A prog-metal undertone in that track sets up some expectation that the EP veers quickly away from with “Drift,” but guitarist Burns, bassist Deininger, vocalist Reif and drummer Minarcek make a solid case despite the rough sonic edges in the recording. At 25 minutes, Once-Ler’s Once-Ler is enough to give an impression of where the band is headed and a demo-style look at what their progressive heavy rock has to offer.
Pummel, pummel, pummel. Vancouver trio Waingro debut at full-sprint with their 11-track/31-minute self-titled, which wastes little time shaking hands and goes immediately for the jugular on “Firebird.” About 10 seconds in, and the ride is underway with little letup to come as Waingro shove heavy tones along at breakneck speed on cuts like “Tailwind,” “Force Fed” and “Bathed in Tongues.” A remarkable sense of control lies beneath, the trio blending hardcore punk, heavy tones and modern metal twists fluidly as interludes like “Matador,” “St. Regis” and “Arboria” add complexity of method and “Rekall,” “Ride” and most especially side B cappers “Black Dawn” and “True North” brazenly craft something of Waingro’s own from familiar components. This album is self-released, but particularly if Waingro are able to tour at any length, it’s hard to imagine some imprint wouldn’t want to stand behind their brash but engaging thrust, professional already in its assured sensibility and rhythmic impact. The real question is whether they’ll wait around for anyone to notice or push ahead with the momentum they build here.
There’s little room left for frills amid the sludge-punk sneer of Motorgoat’s The Iron Hoof of Oppression, which makes no bones about its affinity for booze, metal and fuckall on songs like “Satanic Slacker,” which boasts the lines, “Trippin’ balls is total bliss/He don’t know what day it is,” and so on. Obviously there’s a humor element to “Revenge of the Towndrunk” and “No Pants – No Problems,” but the German four-piece have a sincere vibe as well as they recount loser tales in a viciously-toned punk-metal spirit, less tune-in-drop-out than tune-out-drop-tune, but it turns out heavy either way. Cohesive in spite of its stated penchant for chaos, The Iron Hoof of Oppression offers partytime disaffection that’s so prevalent it might as well be post-modern. After the world has ended, there’s nothing left to do but dance, and Motorgoat seem (mal)content to let their own hooves stomp the floor. An album that gets better when you read the lyrics. Don’t be fooled by how dumb they seem to be calling themselves.
The tell? The tell is the scream just before North Carolina foursome The Seduction move into the bouncing bridge on “Volga,” which launches their Mechanical Pig Records debut, You Catch Fire. From there, it’s pretty easy to hear the metallic vibe beneath their stoner-punk aesthetic. It comes up again in the breakdown for the later “Hell on Two Wheels,” but it’s there anyway, adding an aggressive edge to the record, which at 53 minutes has plenty of room for the breadth of the rocking highlight centerpiece “Flavor of the Weak” or the depth-charge of the penultimate “Starmageddon” – a few more screams there amid spit-out hardcore shouts – but it’s the meld of these with the party-pit vibe of “Daughter of a Holy Man” and “Irish Flu” that makes You Catch Fire effective in taking cues from some of the West Coast’s heavy methods – some Red Fang, some Queens of the Stone Age — and presenting them with a definitively East Coast punch.
You’ve probably already seen Electric Citizen‘s video for “Light Years Beyond” elsewhere around the innertubes since it came out a week ago, but I felt like it needed to be here as well. Because the song’s good, yeah — it was a highlight of the Ohio four-piece’s 2014 RidingEasy Records debut, Sateen (review here) — but also because it kind of cuts to the heart of what the band is all about. Their sound is rooted in ’70s hard rock, and in the clip they push the Sabbath worship right over the ledge without looking back — you’ve seen that video for “Paranoid,” so you know what I’m talking about — but it’s plain to see that there’s a modern edge to it as well.
By that I mean that it’s not like the “Light Years Beyond” video was made by cutting tape and layering kaleidoscoping visuals over each other. It was done in editing software — and well fucking done at that. As much as the band is indebted to classic riffage, it’s a subtle reminder that, in fact, we live in the future and that this is a modern band carefully sculpting their aesthetic through their songwriting, and vice versa. That’s something worth keeping in mind as you make your way through, and keep in mind as well that Electric Citizen are already gearing up to hit the studio for a sophomore album and follow-up to Sateen. They’ll play the Psycho California fest in May, too.
For consideration and enjoyment:
Electric Citizen, “Light Years Beyond” official video
Electric Citizen is a rock n roll band from Cincinnati, Ohio who’s heavy sound is timeless and music to the ears of any rock n roll fan. Formed just over 2 years ago by guitarist Ross Dolan, vocalist Laura Dolan, Nick Vogelpohl (bass) and Nate Wagner (drums), the band has had a very busy year turning heads and ears onto their music. Since signing with RidingEasy Records in early 2014, they’ve done several direct support tours with Wolfmother, Fu Manchu, and Budos Band. The band’s debut album came out July 2014 and ended up on several end of year best of lists. In May, Electric Citizen will be taking a break from recording their sophomore album to hit the west coast to play Psycho California with headliners Sleep and Pentagram.
The last Emissions from the Monolith festival took place in 2007 in Austin, Texas, but the fest will always be associated with Youngstown, Ohio. A beaten, post-industrial burg off Route 80 on the other side of the Pennsylvania state line, there wasn’t much to see in Youngstown, and that was part of the point. Nestled deep in a street that, on any given day, someone might rob the deli down the block, the Nyabinghi itself was a mirror of dropped-out culture. Not the glorified kind, but the kind that actually didn’t give a fuck. From 2000 through 2006, Emissions from the Monolith was held at the Nyabinghi and its lineups looked an awful lot like the shape of heavy to come.
I only went to one. The last in Ohio, in 2006. A little band called Baroness opened one of the days and to date it’s the only US appearance Colour Haze have ever made. There was some blowup with SunnO))) that resulted in thrown monitors. To tell you the truth, there’s a lot of it I don’t remember. Apparently Orange Goblin and Scissorfight‘s tour took them out that way. Awesome. I remember seeing that in New York, but if I caught it at Emissions, it’s news to me. It was that kind of a thing. A blackout weekend every Memorial Day. There was very little fashionable about heavy rock and doom at the time, and barbecue sandwiches sold on the back patio. It’s hard to write about without glorifying it, but maybe it should be glorified. Probably not if we’re judging by standards of public safety. I remember handing one of my band’s demos to Greg Barratt, who owned the place and booked Emissions. He was polite enough.
Wino was a regular fixture at the fest, between Spirit Caravan in 2000 and 2001 and The Hidden Hand in 2003 and 2004. The year this week’s Wino Wednesday clip comes from is 2001. Spirit Caravan — Wino, bassist Dave Sherman, drummer Gary Isom — were joined on the bill by Warhorse, Bongzilla, Halfway to Gone, Weedeater, Witch Mountain, Disengage, Pale Divine, Tummler, Sherman‘s own Earthride and many others. I imagine it was a hell of a weekend. At the start of their set, Wino thanks Barratt for putting the thing on and says something about police activity the night before. That sounds about right.
Not sure who filmed it, but the audio is by Michael “Lucifer Burns” Lindenauer. Enjoy:
Spirit Caravan, Live at Emissions from the Monolith II, May 2001
Posted in Whathaveyou on February 5th, 2015 by H.P. Taskmaster
The first European tour for Ohio’s Lo-Pan has been a while in the making, but I don’t think you could possibly accuse the band of not doing it in style now that they’re actually doing it at all. With stops at Roadburn, both London and Berlin Desertfests, as well as Poland’s Asymmetry fest, and club shows alongside Abrahma and Black Pyramid, all in support of 2014’s righteous Colossus (review here) on Small Stone, it’s an enviable itinerary that will be preceded by a Northeast run with Against the Grain in March, the four-piece continuing their penchant for heavy road work even as they expand to new territories. They’re gonna kill it in Europe.
And while I patiently await my invitation to join them on the road for the European stint — picture my breath, not held — the PR wire has dates and particulars for your perusal:
LO-PAN: Ohio Riff Dealers Announce US + Europeans Tour Dates In Support Of Colossus
Ohio riff dealers, LO-PAN, will take to the streets next month on a near two-week Northeastern run of live dates. Kicking off on March 12th in Detroit, Michigan at Berserker II alongside Poison Idea, Iron Reagan, Incantation, Full Of Hell and many others, the NxNe Tour 2015 will trounce eleven cities, coming to a close on March 22nd in Columbus, Ohio. The band will be joined by Detroit rockers, Against The Grain. From there LO-PAN will take a short breather before crossing the Atlantic for a European expedition that will see the band level the stage of Roadburn, Desert Fest, Asymmetry Fest and more with psyche peddlers, Abrahma, and psychedelic war metallers, Black Pyramid, sharing the stage on select dates.
LO-PAN will be touring in support of their critically heralded Colossus long player, released last Fall via Small Stone. Produced and engineered by Andrew Schneider (Unsane, Rosetta, East Of The Wall et al) at his own Translator Audio Studio in Brooklyn, New York and named for an ancient statue of the Greek titan-god of the sun, Helios, the record continues to raise the eyebrows of fans and media globally.
LO-PAN NxNe Tour 2015 w/ Against The Grain: 3/12/2015 The Loving Touch – Berserker II – Detroit, MI 3/13/2015 Grog Shop – Cleveland, OH 3/14/2015 The Lost Horizon – Syracuse, NY 3/15/2015 TT The Bear’s – Boston, MA 3/16/2015 Wonder Bar – Asbury Park, NJ 3/17/2015 The Depot – York, PA 3/18/2015 Saint Vitus – Brooklyn, NY 3/19/2015 Kung Fu Necktie – Philadelphia, PA 3/20/2015 The Pinch – Washington, DC 3/21/2015 31st Street Pub – Pittsburgh, PA 3/22/2015 Spacebar – Columbus, OH w/ Abrahma: 4/09/2015 Mudd Club – Strasbourg, FR 4/10/2015 Paunchy Cats – Lichtenfels, DE 4/11/2015 Rare Guitar – Munster, DE 4/12/2015 Roadburn – Tilburg, NL 4/14/2015 Black Sheep – Montepellier, FR 4/15/2015 Maravillas Club – Madrid, ES 4/16/2015 Rocksound – Barcelona, ES 4/17/2015 Helldorado – Vitoria, ES 4/18/2015 Le Volume – Nice, FR 4/19/2015 TBA – IT 4/20/2015 Altraquando Club – Zero Baranco, IT 4/21/2015 Orange House – Munich, DE w/ Black Pyramid: 4/23/2015 Desertfest – Berlin, DE 4/24/2015 Romer – Bremen, DE 4/25/2015 Desertfest – London, UK 4/28/2015 Sedel – Lucerne, CH 4/2/20159 Gaswerk – Winterthur, CH 4/30/2015 Das Bett – Frankfurt, DE 5/01/2015 Schaubude – Kiel, DE 5/02/2015 Asymmetry Fest – Wroclaw, PL
Colossus is out now via Small Stone Recordings. Order your copy today atTHIS LOCATION.
Posted in Whathaveyou on January 12th, 2015 by H.P. Taskmaster
The PR wire brings word that Ohio-based Southern-style heavy rockers Mississippi Bones have inked a deal to release their third album, Songs for the Rejects, Slackers and Rabble Rousers later this year on German vinyl-minded label Bilocation Records. No exact release date yet, but it seems likely they won’t waste too much time getting the album out provided it’s actually done — Bilocation has a busy schedule just about all the time for their constantly expanding operation. If I hear, I’ll let you know.
Announcement goes like this:
MISSISSIPPI BONES are signing with Bilocation Records.
Hardin County, Ohio: Mississippi Bones signed for a vinylrelease with Bilocation Records. Their album ‘Songs for the Rejects, Slackers and Rabble Rousers’ will be out during 2015 on handnumbered, limited edition high performance 180g vinyl.
“Mississippi Bones formed in the flat lands of Hardin County, Ohio in 2010 as a 2 man studio project, thanks to some free studio time, with no other motives than to lay down some rock and no intentions of a future. In the last 4 years the rock has not stopped. They have moved from a 2 to a 6 man (5 men 1 lady) band, and have went from peddling discs in their small town to selling albums across the globe, but the goal remains the same, laying down some rock.
Inspired by all things that rock, bad sci-fi movies, beer, comics, good sci-fi movies, and bad jokes, they come bearing loads of riffs, tasty grooves, run on sentences, and a serious irreverence. Over the years they have continued to expand the borders of their sound but one thing always holds true, whether it be fast and furious, tinged with metal, dirty, swampy, bluesy, fuzzed out, or low and slow just like a good barbeque, it will always be about laying down some sweet rock.
They like to laugh. They like to make music. They like watching horror movies on the garage door in the drive way while eating pulled pork sandwiches. People know them as Mississippi Bones. You can become one of those people. I’m sure they’d appreciate it.”
Mississippi Bones: Dusty Donley – Guitars Jared Collins – Vocals Derik “The Moustache” Dunson – Guitars Jason Rector – Bass Jason Miller – Drums Heather “Baby Swiss Pissy Sheets” Collins – Backing Vocals
Posted in Whathaveyou on January 9th, 2015 by H.P. Taskmaster
Before they split out for Europe in April and, presumably once reaching its shores decide never to return, Ohio fuzz rockers Lo-Pan will hit the road like they do with Detroit speedfreaks Against the Grain. The tour will be in the north and northeast, which should be almost thinking about thawing out by then, and is set to start March 12 and run until March 22. For Lo-Pan, they’re out supporting last year’s Colossus (review here), while the oft-touring Against the Grain will have by that time recorded their fourth album, which is set to release later in 2015.
Like I said, after this, Lo-Pan are off to Europe alongside Black Pyramid, but it’s worth noting that this will be their first tour with guitarist Adrian Zambrano, so it should be a chance for them to further solidify before they go. They’ve given themselves a high-energy companion in Against the Grain, who will no doubt keep them on their toes for the duration.
The PR wire brings details and dates, and we all like details and dates, right? Okay then:
Lo Pan & Against The Grain to tour Northeast in March
Columbus riff titans Lo Pan will be pairing up with Detroit neck breakers Against The Grain for a ten date Northeast tour in the month of March in what will be a travelling showcase of two of the heaviest bands going from the Midwest.
Both bands coming off a successful campaigns in 2014 with Against The Grain seeing the release of Motor City Speed Rock on vinyl and nonstop touring throughout the year with dates that included runs with Guttermouth, Koffin Kats and Nashville Pussy and Valient Thorr to close out the year.
Against The Grain start the year doing a two shows with Detroit’s own Koffin Kats in Chicago (Reggie’s) and in Westland, MI (Token Lounge) and a local show with notable punk/metal band Gang Green in the Detroit area (Corktown Tavern). From there, the four will be spending the month of February recording the follow up to 2012’s “Surrounded By Snakes” at Train – A Comin’ Studios in Mt. Clemens, Michigan which will be slated for a summer release.
Dates: March 12 – The Loving Touch (Ferndale, MI) March 13 – Grog Shop (Cleveland, OH) March 14 – The Lost Horizon (Syracuse, NY) March 15 – TT the Bears (Boston, MA) March 16 – TBA March 17 – TBA March 18 – Saint Vitus Bar (Brooklyn, NY) March 19 – Kung Fu Necktie (Philadelphia, PA) March 20 – The Pinch (Washington D.C.) March 21 – 31st St. Pub (Pittsburgh, PA) March 22 – Spacebar (Columbus, OH)
Posted in Whathaveyou on January 5th, 2015 by H.P. Taskmaster
It’ll be a riffy couple days in March when Doctor Smoke and Wasted Theory combine forces for a weekender to close out the month. For Wasted Theory, who reside in Delaware, they’ll be making their way more or less around their stomping ground of Philly, York, and Brooklyn, but Doctor Smoke are making the trek east from Ohio for the occasion, and upon doing so, they’ll meet up not only with D.C. heavy rockers Borracho, but Boston’s Gozu as well, who’ll help close out the three-date run with Wasted Theory, Doctor Smoke and Reign of Zaius at Bar Matchless in Brooklyn.
Both Wasted Theory and Doctor Smoke are supporting albums released last year. Doctor Smoke‘s The Witching Hour is the more recent of the two, and while they toured the east coast in 2014 on the heels of their prior demo, this will be the first time they’re on the coast since their debut hit. Again, for Wasted Theory, they’re on familiar turf, but since their own full-length debut, Death and Taxes (review here), came out last Spring, I wouldn’t be surprised if they have a new cut or two to work into their set, and I’ve yet to see them that they haven’t delivered live.
Dates and info follow for the tour, which kicks off March 26:
Ohio Occult-Rockers Doctor Smoke team up with Delaware Riff Slingers Wasted Theory for a 3-day run in March 2015.
Thursday, March 26th 2015 Philadelphia, PA @ Kung Fu Necktie*
Friday, March 27th 2015 York, Pennsylvania @ The Depot* *With support from Washington DC Heavy Groove Dealers and Desertfest 2014 alums Borracho!
Saturday, March 28th 2015 Brooklyn, New York @ Bar Matchless* *With support from Small Stone Records and Desertfest 2014’s very own GOZU!