GIVEAWAY: Win a Prize Pack from Salt of the Earth Records with Cortez, Scissorfight, Atala and More!

Posted in Features on June 1st, 2017 by JJ Koczan

salt-of-the-earth-records-prize-pack

[TO ENTER GIVEAWAY: Leave a comment on this post with your email address in the form. You’ll be contacted at that address if you win.]

My pleasure today to partner up with Salt of the Earth Records for a nine-album prize pack giveaway that includes releases from Cortez, Scissorfight, Buzzard Canyon, Ol’ Time Moonshine, When the Deadbolt Breaks, Atala, Oxblood Forge and Shadow Witch.

The occasion is the June 16 release of Cortez‘s new album, The Depths Below, and to mark it, the label is giving away CD copies of its entire catalog and then some out of its online distro, plus buttons and stickers and presumably any other whatnot they might have laying around the office. You never know with this kind of thing. “Here’s a stapler just for the hell of it!,” and so on.

Please note: I don’t think you’ll actually get a stapler. You will get plenty of killer releases though, which Salt of the Earth details below. Leave a comment on this post to enter. Winner is chosen one week from today, on June 8. Good luck to all:

To celebrate the much anticipated release of CORTEZ “The Depths Below”, we would like to hook a lucky The Obelisk reader up with a killer collection of heavy ass tunes!

The whole damn complete SALT OF THE EARTH RECORDS catalog!!!

CORTEZ – “The Depths Below” (not pictured, but you still get it!)
SCISSORFIGHT – “Chaos County”
BUZZARD CANYON – “Hellfire & Whiskey”
OL’ TIME MOONSHINE -“The Apocalypse Trilogies”
WHEN THE DEADBOLT BREAKS – “Until It All Collides”

Plus from the gems from the SALT OF THE EARTH RECORDS distro vaults…

CORTEZ – “Thunder In A Forgotten Town”
ATALA -“S/T”
OXBLOOD FORGE – “S/T”
SHADOW WITCH – “Sun Killer”

And of course we will also throw in some badass Stickers and Buttons too!

Don’t forget to sign up for our email list @ www.SaltOfTheEarthRecords.com

Remember: The Obelisk does not keep, sell or otherwise use any personal info submitted. Email addresses are gathered simply so the winner can be notified. The end. Thanks.

[TO ENTER GIVEAWAY: Leave a comment on this post with your email address in the form. You’ll be contacted at that address if you win.]

Cortez, “Walk Through Fire”

Cortez on Thee Facebooks

Salt of the Earth Records website

Salt of the Earth Records on Thee Facebooks

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Descendants of Crom: Penance to Headline; Solace, Karma to Burn, The Midnight Ghost Train and More Added to Lineup

Posted in Whathaveyou on February 14th, 2017 by JJ Koczan

descendants of crom

Lineup additions have continued to come out over the last week-plus since Pittsburgh-based fest Descendants of Crom made its first announcements with the formidable likes of EarthrideEYEFoghound and Stinking Lizaveta taking part. West Virginian instrumental trailblazers Karma to Burn, New Jersey rock destroyers Solace, Kansas boogie-thrusters The Midnight Ghost Train — as the names have appeared, the geographic reach of Descendants of Crom 2017, which is set for Sept. 30 on the Cattivo Nightclub‘s two stages, has only expanded, but perhaps the biggest addition yet brings the festival much closer to home.

Penance released their Alpha and Omega album in 2001 via the Martyr Music Group, and with it debuted a five-piece incarnation that will play for the first time in 15 years at Descendants of Crom, in a great add to the bill that fulfills the stated mission of the fest in honoring Pittsburgh’s own underground contributions as well as looking outside its borders. Badass all around.

In addition to the already-noted, CantOl’ Time Moonshine and Archarus, have also been added, so the more right on. Here’s the latest from the fest, including some comment from organizer Shy Kennedy on Penance signing on:

DESCENDANTS OF CROM – Penance to Headline with ‘Alpha & Omega’ Lineup

All-day fest set for Sept. 30, 2017, with two stages fueled by riffs created by the riddle of steel.

This all day music festival is the first of its kind in Pittsburgh, Pennsylvania. The underground scene of stoner and doom here is healthy and thriving and the location at Cattivo Nightclub is perfect with two large floors, a stage on each, and good sound with friendly staff.

Descendants of Crom Festival lineup:
CANT
MONOLITH WIELDER
OL’ TIME MOONSHINE
ARCHARUS
HORSEBURNER
WASTED THEORY
FOGHOUND
EYE
BRIMSTONE COVEN
SOLACE
THE MIDNIGHT GHOST TRAIN
KARMA TO BURN
VALKYRIE
EARTHRIDE
STINKING LIZAVETA
PENANCE (Alpha & Omega lineup)

Shy Kennedy on Penance headlining:

It all starts out with an idea of, ‘Hey, wouldn’t it be great if there were a gig in Pittsburgh that had a bunch of riff-fueled bands of all rock and metal genres?’ It’s the perfect place for it, really. The scene here is supportive and it’s an accessible city to many. It doesn’t come out of nowhere –- you have to make it happen.

Next, who headlines this underground, doom-rooted event? The answer would be Penance but they’ve been dormant for some time. The Alpha & Omega lineup are all right here and nearly all active in the scene someway or another. Turns out that you just have to ask. Penance are as excited to be a part of the Descendants of Crom as I am. A lot of the seasoned fans are going to appreciate this and for those who aren’t familiar with Penance are going to get a little lesson in Pittsburgh Doom History.

DESCENDANTS OF CROM will bring great regional talent to a hungry crowd, utilizing national fan favorites to lure them to learn about these other amazing artists. This first year is anticipated to be a contender among other established annual fests and will not be an event to miss.

http://facebook.com/descendantsofcrom
http://www.descendantsofcrom.com/

Penance, “Wizards of Mind”

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Quarterly Review: Crippled Black Phoenix, Zed, Mark Deutrom & Dead, Ol’ Time Moonshine, Ufosonic Generator, Mother Mooch, The Asound, Book of Wyrms, Oxblood Forge, The Heavy Crawls

Posted in Reviews on January 2nd, 2017 by JJ Koczan

the obelisk winter quarterly review

Now having spanned multiple years since starting way back in 2016, this Quarterly Review ends today with writeups 51-60 of the total 60. I’ve said I don’t know how many times that I could go longer, but the fact of the matter is it would hit a point where it stopped being a pleasant experience on my end and I’d rather keep things fun as much as possible rather than just try to cram in every single release that ever came my way. Make sense? It might or it might not. I can’t really decide either. From the bottom of my heart though, as I stare down the final batch of records for this edition of the Quarterly Review, I thank you for reading. Let’s dive in.

Quarterly Review #51-60:

Crippled Black Phoenix, Bronze

crippled black phoenix bronze

Nine albums and just about 10 years on from their 2007 debut, A Love of Shared Disasters, the UK’s Crippled Black Phoenix arrive on Season of Mist with the full-length Bronze and remain as complex, moody and sonically resolute as ever. If we’re lucky, they’ll be the band that teaches a generation of heavy tone purveyors how to express emotion in songwriting without giving up the impact of their material, but the truth is that “Champions of Disturbance (Pt. 1 & 2),” “Deviant Burials,” “Scared and Alone” and take-your-pick-from-the-others are about so much more depth than even the blend of “heavy and moody” conveys. To wit, the spacious post-rock gaze of “Goodbye Then” gives a glimpse of what Radiohead might’ve turned into had they managed to keep their collective head out of their collective ass, and the penultimate “Winning a Losing Battle” pushes through initial melancholia into gurgling, obtuse-but-hypnotic drone before making a miraculous return in its finish – then closer “We are the Darkeners” gets heavy. Multi-instrumentalist, founder and chief songwriter Justin Greaves is nothing shy of a visionary, and Bronze is the latest manifestation of that vision. One doubts it will be the last.

Crippled Black Phoenix on Thee Facebooks

Season of Mist website

 

Zed, Trouble in Eden

zed trouble in eden

Nothing shy about Trouble in Eden, the third full-length from San Jose heavy rockers Zed and second for Ripple Music. From its hey-look-guys-it’s-a-naked-chick cover to the raw vocal push from Pete Sattari –which delves into more melodic fare early on “The Only True Thing” and in rolling closer “The Mountain,” but keeps mostly to gruff grown-up-punker delivery throughout – the 10-tracker makes its bones in cuts like “Blood of the Fallen” and the resonant hook of “Save You from Yourself,” which are straightforward in intent, brash in execution and which thrive on a purported “rock the way it should be” mentality. Well, I don’t know how rock should be, but ZedSattari, guitarist Greg Lopez, bassist Mark Aceves and drummer Rich Harris – play to classic structures and seem to bring innate groove with them wherever they go on the album, be it the one-two punch of “High Indeed” and “So Low” or the Clutch-style bounce in the first half of “Today Not Tomorrow,” which leaves one of Trouble in Eden’s most memorable impressions both as a song and as a summary of their apparent general point of view.

Zed on Thee Facebooks

Ripple Music website

 

Mark Deutrom & Dead, Collective Fictions Split LP

mark deutrom dead collective fictions

Limited to just 200 copies on We Empty Rooms and Gotta Groove Records, the Collective Fictions split 180g LP between Melbourne noise duo Dead and Mark Deutrom (Bellringer, Clown Alley, ex-Melvins) is a genuine vinyl-only release. No digital version. That in itself gives it something of a brazen experimentalism, never mind the fact that one can barely tell where one track ends and the next track starts. Purposeful obscurity? Maybe. It’s reportedly one of a series of four LPs Dead are working on for the next year-plus, and they present two cuts in “Masonry” and “In the Car,” moving through percussion and mid-range drone to build a tense jazz on the former as drummer Jem and bassist Jace make room for the keys and noise of BJ Morriszonkle, which continue to play a prominent role in “In the Car” as well, which is also the only inclusion on Collective Fictions to feature vocals, shortly before it rumbles and long-fades snare hits to close out Dead’s side of the LP, leaving Deutrom – working here completely solo – thoroughly dared to get as weird as he’d like. An opportunity of which he takes full advantage. Over the course of four tracks, he unfurls instrumentalist drone of various stripes, from the nighttime soundscaping of “The Gargoyle Protocol,” which seems to answer the percussive beginning of Dead, through the spacier reverb loneliness of “Presence of an Absence,” like a most pastoral, less obtuse Earth, dreamy but sad in a way that denotes self-awareness on the part of the title, or at very least effective evocation thereof. Likewise, “Bring the Fatted Calf,” with its gong hits, Master Musicians of Bukkake-style jingling and minimalist volume swells, is duly ritualistic, which makes one wonder what the prog-style keys at the open of “View from the Threshold” are looking at. Deutrom moves through that side-closer patiently but fluidly and ends at a drone, tying up Collective Fictions as something of a curio in intent and execution. By that I mean what seems to have brought the two parties together was a “Hey, wanna get weird?” impulse, but each act makes their own level and then works on it, so hell yes, by all means, get weird.

Mark Deutrom website

Dead website

 

Ol’ Time Moonshine, The Apocalypse Trilogies

ol time moonshine the apocalypse trilogies

Any record that starts with a narration beginning, “In the not too distant future…” is going to find favor with my MST3K-loving heart. So begins The Apocalypse Trilogies: Spacewolf and Other Dark Tales, the cumbersomely-named but nonetheless engaging Salt of the Earth Records debut full-length from Toronto’s Ol’ Time Moonshine, whose 2013 The Demon Haunted World EP (review here) also found favor. The burl-coated outing is presented across three chapters, each beginning with its own narration and comprising three subsequent tracks – trilogies – tying into its theme as represented in the cover art by vocalist/guitarist Bill Kole, joined in the band by guitarist Chris Coleiro, bassist John Kendrick and drummer Brett Savory. They shift into some more complex fare on the instrumental “Lady of Light” before the final chapter, but at its core The Apocalypse Trilogies remains a (very) heavy rock album with an undercurrent of metal, and whatever else Ol’ Time Moonshine bring to it in plotline, they hold fast to songwriting as the most crucial element of their approach.

Ol’ Time Moonshine on Thee Facebooks

Salt of the Earth Records webstore

 

Ufosonic Generator, The Evil Smoke Possession

ufosonic generator the evil smoke possession

Italian four-piece Ufosonic Generator (also stylized as one word: UfosonicGenerator) make themselves at home straddling the line between doom and classic boogie rock on what seems to be their debut album, the eight-track The Evil Smoke Possession, released through Minotauro Records. Marked out by the soaring and adaptable vocals of Gojira – yup – the band offer proto-metal shuffle on shorter early cuts “A Sinful Portrait” and the rolling nod of “At Witches’ Bell,” but it’s the longer pairing of “Meridian Daemon” (7:47) and “Silver Bell Meadows” (6:53) on which one finds their brew at highest potency, sending an evil eye Cathedral’s way without forgetting the Sabbathian riffery that started it all or the Iron Maiden-gallop it inspired. They cap with the suitable lumber of their title-track and pick up toward the finish as if to underscore the dueling vibes with which they’ve been working all along. Ultimately, the meld isn’t necessarily revolutionary, but it does pay homage fluidly across The Evil Smoke Possession’s span, and as a debut, it sets Ufosonic Generator forward with a solid foundation on which to progress.

Ufosonic Generator on Thee Facebooks

Minotauro Records on Bandcamp

 

Mother Mooch, Nocturnes

mother mooch nocturnes

Issued digitally in late-2015 and subsequently snagged for a 2016 vinyl issue through Krauted Mind, Nocturnes is the debut full-length from Dublin five-piece Mother Mooch, and in its eight tracks, they set their footing in a genre-spanning aesthetic, pulling from slow-motion grunge, weighted heavy rock, psychedelic flourish and even a bit of punk on the shorter, upbeat “My Song 21” and “L.H.O.O.Q.” Those two tracks prove crucial departures in breaking up the proceedings and speak well of a penchant on the part of vocalist Chloë Ní Dhúada, guitarists Sid Daly (also backing vocals) and Farl, bassist Barry Hayden and drummer Danni Nolan toward sonic diversity. They bring a similar sensibility to the closing Lead Belly cover “Out on the Western Plain” as well, whereas cuts like opener “This Tempest,” “Into the Water” and “Misery Hill” work effectively to find a middle ground between the stylistic range at play. That impulse, seemingly innate to their songraft, is what will allow them to continue to develop their personality as a band and is not to be understated in how pivotal it is to this first LP.

Mother Mooch on Thee Facebooks

Krauted Mind Records website

 

The Asound, The Asound

the asound self titled

To my knowledge, this only-70-pressed five-song tape release is the second self-titled EP from off-kilter North Carolina heavy rockers The Asound following a three-songer back in 2011 (review here). Offered by Tsuguri Records, the new The Asound starts with its longest track (immediate points) in the 6:54 “Moss Man” and touches on earliest, most righteous High on Fire-style brash, but holds to its own notions about what that that blend of groove and gallop should do. Through splits with Flat Tires (review here), Magma Rise (review here), Lenoir Swingers Club (review here) and Mark Deutrom (review here), the trio of Guitarist/vocalist Chad Wyrick, bassist Jon Cox and drummer Michael Crump have always had an element of the unpredictable to their sound, and that’s true as centerpiece “Human for Human” revives the thrust of the opener coming off “Controller”’s less marauding rhythm, but the sludgy rollout and later airy lead-work of “Pseudo Vain” and chugging nod of closer “Throne of Compulsion” speaks to the consciousness at play beneath the unhinged vibes that’s been there all along. They’ve sounded ready for a while to make a full-length debut. They still sound that way.

The Asound on Thee Facebooks

Tsuguri Records website

 

Book of Wyrms, Sci-Fi/Fantasy

book of wyrms sci-fi fantasy

Immediate bonus points to Richmond, Virginia’s Book of Wyrms for titling a track on their full-length debut “Infinite Walrus,” but with the Garrett Morris-recorded tones they proffer with the seven-song/53-minute Sci-Fi/Fantasy (on Twin Earth Records), they don’t really need bonus points. The five-piece of vocalist Sarah Moore Lindsey, six-stringers Kyle Lewis and Ben Coudriet, bassist Jay Lindsey and drummer Chris DeHaven mostly avoid the sounding-like-Windhand trap through stretches of upbeat tempo, theremin and other noise flourish, and harmonies on guitar, but they’re never far from an undercurrent of doom, as opener “Leatherwing Bat” establishes and the long ambient midsection and subsequent nod of centerpiece “Nightbong” is only too happy to reinforce. “All Hallows Eve” gets a little cliché with its samples, but the dueling leads on 11-minute closer “Sourwolf” and included keyboard noise ensure proper distinction and mark Book of Wyrms as having come into their first long-player with a definite plan of action, which finds them doing well as a showcase of potential and plenty immersive in the here and now.

Book of Wyrms on Thee Facebooks

Twin Earth Records on Bandcamp

 

Oxblood Forge, Oxblood Forge

oxblood forge self-titled

Despite the sort of cross-cultural ritualism of its cover art, Oxblood Forge’s self-titled debut EP has only the firmest of ideas where it’s coming from. The Whitman, Massachusetts-based five-piece boasts former Ichabod vocalist Ken MacKay as well as bassist Greg Dellaria from that band, and guitarist Robb Lioy (also in Four Speed Fury with MacKay) alongside guitarist Josh Howard and drummer Chris Capen, and in a coherent, vigilantly straightforward five-tracker they touch on aggressive fare in “Lashed to the Mast” as their Northeastern regionalism would warrant – we’re all very angry here; it’s the weather – and demonstrate a knack for hooks in “Inferno” and “Sister Midnight,” the latter blending screams and almost Torche-style melodies over clam chowder riffing before closer “Storm of Crows” opens foreboding with Dellaria’s bass and moves into the short release’s nastiest fare, MacKay sticking to harsher vocals as on the earlier “Night Crawler,” but in a darker instrumental context. They set a range here, and might be feeling things out in terms of working together as this band, but given the personnel involved and their prior familiarity with each other, it’s hard to imagine that if a follow-up is in the offing it’ll be all that long before it arrives. Consider notice served.

Oxblood Forge on Thee Facebooks

Oxblood Forge on Bandcamp

 

The Heavy Crawls, The Heavy Crawls

the heavy crawls self-titled

Ukrainian trio The Heavy Crawls set out as a duo called just The Crawls and released a self-titled debut in 2013 that was picked up in 2015 by ultra-respected German imprint Nasoni Records. Under the new moniker, they get another stab at a first album with the 10-track/42-minute classic rocker The Heavy Crawls, the three-piece of founding guitarist/bassist/keyboardist/vocalist Max Tovstyi, drummer Inessa Joger and keyboardist/vocalist/percussionist Iryna Malyshevska evoking spirited boogie and comfortable groove on “She Said I Had to Wait” and the handclap-stomping “Girl from America.” Elements of garage rock show up on “Too Much Rock ‘n’ Roll” and the soul-swinging “I Had to Get Away,” but The Heavy Crawls are more interested in establishing a flow than being showy or brash, and the payoff for that comes in eight-minute closer “Burns Me from Inside,” which stretches out the jamming sensibility that earlier pieces like the organ-laced “One of a Kind” and the staccato “Friday, 13th” seem to be driving toward. Some growing to undertake, but the pop aspect in The Heavy Crawls’ songcraft provides intrigue, and their (second) debut shows a righteous commitment to form without losing its identity to it.

The Heavy Crawls website

The Heavy Crawls on Bandcamp

 

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Ol’ Time Moonshine Confirm Dec. 10 Release for The Apocalypse Trilogies

Posted in Whathaveyou on November 30th, 2016 by JJ Koczan

ol-time-moonshine-700

After announcing late this summer that they’d signed to Salt of the Earth Records, Toronto heavy rockers Ol’ Time Moonshine have now confirmed a Dec. 10 release date for their new album, The Apocalypse Trilogies. The band’s debut behind their 2014 The Demon Haunted World EP (review here), it sneaks in under the wire on the year and should provide one final highlight in straightforward, riff-driven push with plenty to offer in a storyline about the end of the world and the various monsters, characters and demons that bring it about. I’m sure alcohol is involved in there somewhere as well.

The PR wire makes it official:

ol time moonshine the apocalypse trilogies

OL’ TIME MOONSHINE – “The Apocalypse Trilogies” (salt of the earth records)

Ol’ Time Moonshine’s new album, “The Apocalypse Trilogies” is a visceral step forward from their well- received debut “The Demon Haunted World”. Conceived as the trilogy of trilogies about the apocalypse, the album is presented in the style of classic horror and sci-fi anthologies and features Ol’ Time Moonshine’s distilled blend of doom, southern rock and heavy metal.

Lyrically, it spins tales of the end of humanity – annihilation comes via space werewolf, pagan goddess, and ancient magick. While the songs share common themes, the album is diverse in scope and sound and fans of heavy music will find a lot to sink their teeth into here.

Ol’ TIME MOONSHINE’s brand new album “The Apocalypse Trilogies” was recorded at the capable hands of Dave Draper, a film sound technician, microphone enthusiast and tone hound. Capturing the essence of the band’s heavy live sound while still incorporating the dark, layered melodies that grace their debut, the album’s 12 tracks show the band progressing into new territory without abandoning the foundation of their sound.

Available: 12/10/16 @ www.SaltOfTheEarthRecords.com

Ol’ TIME MOONSHINE is:
Bill Kole (vocals, guitar)
Brett Savory (drums)
Chris Coleiro (guitar)
John Kendrick (bass)

https://www.facebook.com/oltimemoonshine/
https://oltimemoonshine.bandcamp.com/
http://saltoftheearthrecords.com/

Ol’ Time Moonshine, “Raven vs. Hawk”

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Ol’ Time Moonshine Sign to Salt of the Earth Records; Announce New Album The Apocalypse Trilogies

Posted in Whathaveyou on August 30th, 2016 by JJ Koczan

ol time moonshine-700

With the pickup of Toronto heavy rockers Ol’ Time Moonshine for the release of their upcoming debut album, The Apocalypse Trilogies, the roster of Salt of the Earth Records expands to cover international ground. Already in 2016 the upstart Connecticut imprint has announced alliances with New England acts Scissorfight, Cortez, Buzzard Canyon and When the Deadbolt Breaks — the latter just last week — and worked quickly to actually get material out from these bands, so I tend to believe it when the label says The Apocalypse Trilogies will be out before the end of 2016.

As advance notice/warning of the album’s arrival, Ol’ Time Moonshine today premiere the track “Raven vs. Hawk” in addition to announcing the signing and their impending first album, which follows their 2014 EP, The Demon Haunted World (review here). Look for more on this one in the months to come, but in the meantime, here’s info and audio, courtesy of the PR wire:

ol time moonshine the apocalypse trilogies

The END of the world soon approaches and it all begins with a bite from a space werewolf! That’s right… A space werewolf! And things are about to get real heavy.
SALT OF THE EARTH RECORDS is intensely proud to be welcoming Toronto’s riff firing heavy hitters Ol’ TIME MOONSHINE to the family!

Ol’ TIME MOONSHINE’s brand new album “The Apocalypse Trilogies” was recorded at the capable hands of Dave Draper, a film sound technician, microphone enthusiast and tone hound. Capturing the essence of the band’s heavy live sound while still incorporating the dark, layered melodies that grace their debut, the album’s 12 tracks show the band progressing into new territory without abandoning the foundation of their sound.

An album filled with unforgiving riffs that hold captive to whiskey scorched vocals…combine that with a thunderous rhythm section… Ol’ TIME MOONSHINE hits like a freight train and doesn’t let up!

Conceived as THE trilogy of trilogies about the apocalypse, the album is presented in the style of classic, horror and sci-fi anthologies and features Ol’ Time Moonshine’s potent and distilled blend of doom, southern rock and heavy metal. Lyrically, it spins tales of the end of humanity – annihilation comes via space werewolf, pagan goddess, and ancient magic. While the songs share common themes, the album is diverse in scope and sound and fans of heavy music will find tons to sink their teeth into here.

“The Apocalypse Trilogies” will be released through SALT OF THE EARTH RECORDS in late 2016.

Ol’ TIME MOONSHINE is:
Bill Kole (vocals, guitar)
Brett Savory (drums)
Chris Coleiro (guitar)
John Kendrick (bass)

https://www.facebook.com/oltimemoonshine/
https://oltimemoonshine.bandcamp.com/
http://saltoftheearthrecords.com/

Ol’ Time Moonshine, “Raven vs. Hawk”

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Eye of the Stoned Goat 5 Official Poster Unveiled; Lineup Finalized

Posted in Visual Evidence on February 19th, 2015 by JJ Koczan

Tickets go on sale March 6 for Eye of the Stoned Goat 5, set to take place June 12-13 at Amityville Music Hall, on Long Island. The Golden Grass and Mos Generator will headline, and the lineup has been finalized to include acts from the East Coast, the West Coast and in between — Lord FowlWounded Giant and Brimstone Coven, if you need an example of each — in what’s without a doubt the most expansive Stoned Goat festival yet.

The poster for this year’s Stoned Goat is by Joe Mruk, and you can see the final version below (click to make it even larger) followed by the official lineup announcement from the fest:

eye of the stoned goat 5 poster

‘Eye of the Stoned Goat 5’ announces official lineup for summer festival!

Snake Charmer Booking is pleased to announce the final artist lineup for the annual celebration of stoner-psychedelic rock and doom-heavy metal known as The Eye of the Stoned Goat Festival—now in its 5th year. The two-day fest, featuring some of the most exciting talent of the Mid-Atlantic, East and West Coast, will take place June 12th and 13th 2015 at the Amityville Music Hall in Long Island, New York.

Headlining the Friday night opener on June 12th are Brooklyn, New York trio The Golden Grass (Svart Records), whose catchy progressive psychedelic self-titled debut received numerous accolades as the “Best of 2014.” Another band that has received copious amounts of praise from rock blogs and music rags alike are none other than Long Island’s long-running rock outfit John Wilkes Booth, whose album ‘Useless Lucy’ was mentioned in many journalists “Best of 2014” lists. Also joining the bill from Long Island territory, those wildly eclectic heavy rockers Moon Tooth, who Metal Injection recently named one of “10 Awesome Underground Bands You Need in Your Life!”

Naturally, it wouldn’t be a ‘Stoned Goat’ show without giving attendees a healthy dose of band from the excellent Small Stone Records label. This year’s elite selection includes three bands that are simply a treat to bring to the stage: Boston’s master craftsmen and 2014 Desertfest alums, Gozu; local New York natives It’s Not Night: It’s Space; and returning ‘Stoned Goat’ retro rockers Lord Fowl, currently working on the follow-up to their 2012 riff encyclopedia, Moon Queen.

More contenders for total rock domination include Ripple Music stalwarts White Dynomite, composed of former members of such fine acts as Roadsaw, Lamont, and Wrecking Crew, to name a few. Also on the Ripple Music roster, from Frederick, Maryland: Weed is Weed, featuring Dave Sherman and Gary Isom of Pentagram, Earthride and Spirit Caravan fame. Additionally, hailing from Pittsburgh, Pennsylvania, fans will experience the infectious “sludge n’ space rock” vibe of Supervoid, who will be heading into the studio in February to record their follow-up to 2013’s Filaments.

For the first time, Seattle Washington’s own rising stars Wounded Giant will be bringing their blistering, monstrous, signature sound to this year’s festival. Also spearheading the volume-dealing campaign from STB Records is Connecticut’s Curse The Son, who’s latest offering Psychache (2014) was widely heralded as “the best of its kind in 2014” by The Sludgelord and other critics. Another band traveling a good distance to bring their doomy, occult craft to the east coast is Metal Blade Records’ newest acquisition, Brimstone Coven, who are currently working on their much anticipated next album for the label. Speaking of travelling a long distances, the festival will witness the U.S. debut of Toronto, Canada’s demonic stoner-blues rockers Ol’ Time Moonshine. Alongside this already hefty bill, ESG5 has decided to treat festival goers to the atmospheric retro-doom stylings of Totem Cat Records’ own Doctor Smoke.

One band that has been tenaciously trekking through the rock scene for over a decade now is Philadelphia’s working class groove dealers, Kingsnake. The four boys of Kingsnake have had the honor of performing alongside such acts as Clutch, The Sword, Scorpion Child, The Skull, and Vista Chino, to name a few. Also on board for the 5th installment of the festival, Long Island locals Borgo Pass—a popular act that has developed quite an impressive loyal following.

Last, but not least, officially closing out this year’s Eye of the Stoned Goat festival is none other than Port Orchard, Washington’s stoner rock torch-bearer’s Mos Generator. This marks the band’s first ever performance in New York. Mos Generator have released 5 studio albums, a retrospective album, numerous splits, and a live album, attracting such labels as Roadburn, Small Stone, Ripple, Nasoni, and Lay Bare. For charismatic singer/guitarist Tony Reed and crew, touring has been just as important to the profile of the band as making records. Over the years, Mos Generator has shared the stage with many great heavy rock bands, and in March of 2013 joined a 26-date European tour with Saint Vitus, earning a whole new fan base to their fuzzy, energetic sound. On stage, Mos Generator embodies the word “chemistry,” revolving their sound around swagger and groove, while improvising just enough to keep the songs feeling fresh from night to night—often with delightful results.

Tickets for ‘Eye of the Stoned Goat 5’ will officially go on sale on March 6th 2015. The Event will be 21+ with I.D. Tickets will be $15 per night, or $25 for a weekend pass. For more information on the Eye of the Stoned Goat festival, visit www.TheEyeoftheStonedGoat.com

http://www.TheEyeoftheStonedGoat.com
https://www.facebook.com/TheEyeOfTheStonedGoat
https://www.facebook.com/events/853840991328849/
https://twitter.com/stonedgoatfest

The Golden Grass, A Curious Case/The Pilgrim (2014)

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Eye of the Stoned Goat 5: White Dynomite and Weed is Weed Added to Lineup

Posted in Whathaveyou on January 26th, 2015 by JJ Koczan

eye-of-the-stoned-goat-5-logo

Lineup announcements have started coming through for the previously revealed The Eye of the Stoned Goat 5 festival, which will take place June 12 and 13 in Amityville, NY. It’s looking like a pretty tight assemblage of bands hitting Long Island for the fest, with Lord Fowl and John Wilkes Booth leading the charge as the first two announcements a couple weeks ago and Weed is Weed and White Dynomite just added last night to a bill that already also includes KingsnakeGozuIt’s Not Night: It’s Space, Brimstone Coven and Ol’ Time Moonshine.

If you’ll indulge me, I’ll get caught up on the announcements, including those for Weed is Weed and White Dynomite, just so we’re all on the same page going forward.

Here they are going all the way back:

Alright folks, it’s time to drop a couple heavy hitters on ya!

We are extremely proud to announce, appearing at this year’s festival is Massachusetts Rock n’ Roll time bomb White Dynomite!

Also, a band that truly needs no introduction, with former members of Pentagram, Spirit Caravan and Earthride… the almighty Weed is Weed!!!

We’ve been trying to get these guys on the ‘Stoned Goat for years, this year the planets all aligned in our favor.. Bringing their tough-as-nails, working class grooves to Long Island this year is none other than Philadelphia’s own Kingsnake!!!

Announcing the next two artists joining the Amityville Music Hall stage at ESG5 this June…. Small Stone Records and local New York Psych-Rock trio It’s Not Night: It’s Space!!!

Also, hailing from the depths of Toronto Canada, the demon-rock peddlers Ol’ Time Moonshine!!!

Alright folks, it’s time to kick things up a notch! Joining us on this year’s ESG5 installment is none other than Small Stone Records and Desertfest 2014 alums GOZU!!!

Next up…. We are thrilled to announce that appearing at ‘Eye of the Stoned Goat 5″ on June 12-13th is Long Island’s very own Moon Tooth and Metal Blade Records Occult Rock Dealers Brimstone Coven!!!

Eye of the Stoned Goat is proud to announce the first two bands appearing at ESG5 in Long Island, NY June 12-13th are none other than former ESG alums- LORD FOWL and John Wilkes Booth!

https://www.facebook.com/TheEyeOfTheStonedGoat
http://www.theeyeofthestonedgoat.com/
https://www.facebook.com/WeedIsWeed
https://www.facebook.com/WhiteDynomiteBoston

White Dynomite, White Dynomite (2014)

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In the Round: Reviews of The Devil Rides Out, Manthra Dei, Ol’ Time Moonshine, Robot Lords of Tokyo and Rowsdower

Posted in Reviews on January 27th, 2014 by JJ Koczan

Heavy stuff from all over the world. These have all been available for a little bit, and I’ve included audio and links as much as possible. Hope you dig:

The Devil Rides Out, Ugly Creatures EP

Checking in at just the other side of a half-hour, Perth four-piece The Devil Rides Out‘s self-released Ugly Creatures launches with its title-track, which, like the closer “Blood River,” tops seven minutes. There are five-songs total, and they get shorter as you approach the middle from either side, second cut “Empty Sky” and the penultimate “The Righteous Walk” being 5:59 and 5:44, respectively, and centerpiece “Burn Again” running just 4:05. It’s a kind of parabolic listening effect and an interesting structural note on the band’s part, but whatever progressive ideals they may proffer in terms of how the EP is put together, Ugly Creatures is a rock record and doesn’t attempt to be anything else sonically. The guitars of Andrew Ewing lead the way with Joey K.‘s bluesy, gravelly vocals with some airy flourish in the solos, but the vibe is consistently earthy, and the heft and inventiveness of play in Scott Paterson‘s bass and the consuming wash of Royce Uyen‘s drums keep the proceedings grounded stylistically. It’s a loose, swinging heavy rock that emerges by the time they get to “Burn Again,” if deceptively atmospheric, but The Devil Rides Out in their midpoint introduce a thicker lurch and though Ewing‘s vocals seem to be high in the mix, they offer a commanding presence up front. “Blood River” strikes a better balance in having a somewhat bigger guitar sound and allowing the throaty delivery to cut through, decidedly un-reverbed as it is, and the ending tone of the EP winds up stronger for it. There are more than a few interesting explorations here, and if The Devil Rides Out were looking to delve into new stylistic ground, they’ve set themselves up well in doing so for their next full-length.

The Devil Rides Out on Thee Facebooks

The Devil Rides Out on Bandcamp

Manthra Dei, Manthra Dei

It’s somewhat jarring when Italian mostly-instrumental heavy psychedelic four-piece Manthra Dei launch from the languid beginnings of “Stone Face” at the open of their self-titled full-length Acid Cosmonaut Records (vinyl through Nasoni) debut and into more driving space rock, propelled by the keyboard work of Paolo Tognazzi, but it comes to make sense in the progressive sprawl and mounted swirl of the 51-minute album overall. Paolo Vacchelli handles the sole guitar in the foursome, with Branislav Ruzicic on bass and Michele Crepaldi on drums, but throughout, each player gets an opportunity to shine, whether it’s the bass in “Stone Face,” the guitars pushing heavier riffage at the apex of “Xolotl,” the keys adding jazzy melody to a King Crimson-style run in the 17-minute “Blue Phantom” or taking an organ solo on “Urjammer” or the hard-tapping snare punctuating the fervent groove of “Legendary Lamb.” Vocals show up in that last cut, handled by Crepaldi, and with as natural as he sounds amid the instrumental complexity surrounding, I’m not sure what would keep Manthra Dei from employing them more often, but this is a first release, and the band are making pretty clear efforts to hammer out their style, so with as much as is going on and as many parts as a given track has, there’s not a lot of room as they flow from one to the next for verses and choruses. Still, Manthra Dei‘s Manthra Dei is engaging, holding attention even through the aforementioned 17-minute monster and on through the acoustic epilogue that reprises “Stone Face” in a much humbler form. They’re feeling their way, but the push they’ve concocted on their first outing is both exciting and impressively held together, melding progressive flow, space rock rhythms and a psychedelic tendency toward open structures.

Manthra Dei on Thee Facebooks

Acid Cosmonaut Records

Ol’ Time Moonshine, The Demon Haunted World EP

Gruff four-piece Ol’ Time Moonshine hail from the humid backwoods Southern bogs of… Toronto? Okay, so maybe the “Southern” we’re talking about is Southern Ontario, the Down-style chug-and-stomp these dudes get up to on their self-released The Demon Haunted World EP is whiskey by any other name. The seven-tracker finds the two, sometimes-three guitar outfit with a distinctly riffy push, not afraid to get big and angry in the second half of “March of the Trees” or turn things on their head with a little High on Fire gallop on the subsequent “Jazz Cigarettes.” They make little bones about their predilections or tastes in “There be Dragons,” “Jazz Cigarettes” or “This Black Hole is a Demon Rift,” but the ride is enjoyably varied nonetheless, with vocalist Bill Kole showing a range beyond that of the typical post-Anselmo “whoa yeah momma” drawl, getting into sludgier fare when called upon by his own and Chris Coleiro‘s riffing. On instrumental opener “There be Dragons,” “Seven Deadly Suns” and the swayingly grooved “She Dances in Graveyards,” Ol’ Time Moonshine brings in Chris Kendrick of Galaxies in the River for distinct solos, but even elsewhere, Ol’ Time Moonshine show no trouble in offering sonic variety across these tracks. Kole, who also did the jewel-case layout and recorded the guitars and vocals while Ronald Roy of Threshold Sound did Kyle Marnoch‘s bass and Brett Savory‘s drums, seems to be in the lead role, but the band offer a full, active presence throughout, and show themselves to be more than capable songwriters in making something of their own out of familiar genre elements. At just under half an hour, The Demon Haunted World packs enough dirt and grit to be called a full-length, and particularly for being the band’s debut, hits hard enough to leave a mark.

Ol’ Time Moonshine on Thee Facebooks

Ol’ Time Moonshine on Bandcamp

Robot Lords of Tokyo, Virtue and Vice

With their artwork in homage to KISSLove Gun, Ohio-based Robot Lords of Tokyo proffer pro-rocking burl of the sort that Brand New Sin pounded out over a decade ago on their self-released third full-length, Virtue and Vice, and while that doesn’t necessarily say much about the originality of the influences under which they’re working on the follow-up to 2008’s Whiskey, Blood and Napalm (review here), the songwriting at the heart of cuts like “Great Escape,” the swaggering “Hate’s Eternal Spring” and the dudely stomp of “Chicken Little” distinguish the metal-infused core of Rick Ritzler (drums, backing vocals) and Paul Jones (vocals), collaborating bassist Joe Viers (who also recorded and mixed, played some guitar and did backing vocals) and Beau Vanbibber (rhythm and acoustic guitar, lead and backing vocals) as they bring in a host of guest guitarists, from Tracy G. to Chris Poland to Terry Adams and Wayne Findlay. One might think that an album with no fewer than 12 players appearing throughout would sound uneven, but Robot Lords of Tokyo actually hold it together pretty well — doing themselves a service by keeping the songs straightforward and mostly upbeat — even finding room to cover Cinderella‘s “Night Songs” in the second half. Rounding out with the nine-minute build of “Through Perdition’s Flames,” their testosterone-powered motor rock seems to delight in how over the top it gets, but still represents a kind of lost commercial viability for heavy rock in general, as though beamed in from an alternate time and space in which Robot Lords of Tokyo are the rockstars they sound like, instead of self-releasing quality albums so dickhead reviewers like me can me months behind on reviewing them. There are times where Virtue and Vice comes on strong, but at its core it’s professional work.

Robot Lords of Tokyo on Thee Facebooks

Robot Lords of Tokyo’s website

Rowsdower & Send the Mistress, Split CD

Taking their moniker from the lead character in the cult-classic action movie The Final Sacrifice (also one of the best Mystery Science Theater 3000 episodes of the Mike Nelson era), St. Louis heavy blues rockers Rowsdower emerge in making their Dead Grooves Records debut on a split full-length with fellow Missourians Send the Mistress. The latter act appear second and have a much more metalcore-derived sound — i.e. there are breakdowns and mixed screaming and clean vocals — but the five-piece Rowsdower bring together blues-swinging heavy riffs and Facelift-style vocals, hitting on a sonic niche that Salt Lake City’s Dwellers made their own on their first album. “Monday Morning Space Invaders” is bar-ready, even if the hook isn’t as strong as the opening “Acid Healer,” but the tone is set quickly, and with considerable bounce in their step, Rowsdower show promise throughout their four included tracks, notable for their comfort at a middle pace and for the easy mesh of classic heavy rock and distinct ’90s stylization, which shows up not only in the vocals, but in the snare drum sound as well. It’s an enticing affair ultimately, and as much as it’s Rowsdower‘s name that got my attention, the boozy debauchery of “Redemption Denied” and the Mastodon-style riffing that hits in the second half of “Victor’s Waltz” make it plain that there’s more to Rowsdower than there might at first seem. Not sure how they got paired with Send the Mistress, but I imagine there was alcohol involved one way or another. The second act’s three cuts, “Tired Limbs Energetic,” “A Magnificent Feast” and “Medusa’s New Do” are crunchier-toned all around, but there are heavy rock roots in there, even if they take them someplace else, genre-wise. Sometimes geography makes for strange bedfellows.

Rowsdower on Thee Facebooks

Send the Mistress on Thee Facebooks

Dead Groove Records

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