Uncle Woe Post “Mania for Breaking” Video

Posted in Bootleg Theater on January 24th, 2020 by JJ Koczan

uncle woe

The intention behind Uncle Woe‘s new video would seem pretty clearly to be to give a sampling of what the project’s debut album, Our Unworn Limbs (review here), is all about, and in that regard, the song “Mania for Breaking” is more than suited to the purpose. At a little under five minutes, it is the shortest of the pieces on Our Unworn Limbs by a wide margin — the minute-long acoustic departure “When the Night Fell In Pt. 2” that precedes it notwithstanding — but still captures the tonal crunch and atmospheric reach of the album’s longer material. The video put together by Rain Fice, who also happens to be the sole figure behind the Ontario-based solo-project (more on that in a bit), is animated weirdness that underscores the emotional tumult on display in the chugging riffs and YOB-style cosmic atmosphere.

Video, song and album alike are equal parts entrancing and strange. The animation comes across with the avant feel of a darker Terry Gilliam, but still feels on-theme with the track it complements, moth-lady to the moon and all. Elsewhere on the record, 10-plus-minute songs like “Son of the Queen,” “That’s How They Get You” and the 15-minute closer “Push the Blood Back In” unfurl some of the same textures of “Mania for Breaking” on a grander scale of melody and heft, but particularly with the visual accompaniment, there’s enough here to begin to get the point across at least to a degree that one might be tempted to, say, stream the record in full via Bandcamp. Fortunately there’s a player embedded at the bottom of the post for precisely that purpose.

As noted, Uncle Woe is a solo-project, but my understanding is Fice‘s intent is to put a group of together and begin a full, live incarnation of it as a band. What that will ultimately look like, I don’t know — trio, four-piece, dude-plus-drummer, etc. — but it means that, if it happens, the follow-up to Our Unworn Limbs will invariably have a different dynamic, provided those players actually appear on the record as well. So as much as “Mania for Breaking” is a sampling of Our Unworn Limbs, maybe the album too is just a sampling of things to come from Uncle Woe as Fice gets the band going. Given what he achieves on his own with this debut, to say I’m intrigued to find out what happens next would be putting it mildly.

Video and album stream follow. Please enjoy:

Uncle Woe, “Mania for Breaking” official video

Now you can enjoy Uncle Woe at your next video dance party!

Official music video for, “Mania for Breaking,” from Uncle Woe’s Debut LP, “Our Unworn Limbs.”

Available for digital and assorted physical purchases at Bandcamp: https://unclewoe.bandcamp.com/releases

Hailing from the oft frozen hills of rural Canada, Uncle Woe is a phantom limb, shown here wielding some bludgeoning tool against mostly true tales of bittersweet sorrow, revenge, and regret.

Uncle Woe, Our Unworn Limbs (2019)

Uncle Woe on Thee Facebooks

Uncle Woe on Instagram

Uncle Woe on Bandcamp

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Quarterly Review: Sunn O))), Crypt Sermon, The Neptune Power Federation, Chron Goblin, Ethereal Riffian, Parasol Caravan, Golden Core, Black Smoke Omega, Liquid Orbit, Sun Below

Posted in Reviews on January 10th, 2020 by JJ Koczan

quarterly review

Hey all, we made it to the final day of the Winter 2020 Quarterly Review, so congrats to ‘us’ and by us I mean myself and anyone still reading, which is probably about two or three people. On my end today is completely manic in terms of real-life, offline logistics — much to do — but no way I’m letting one last batch of 10 reviews fall by the wayside, so rest assured, by the time this goes live, it’ll be complete, even though I’ve had to swap things out as some stuff has been locked into other coverage since I first slated it. Plenty around waiting to be written up. Perpetually, it would seem.

But before we dive in, thank you for reading if you’ve caught any part of this QR. I hope your 2020 is off to an excellent start and that finding new music to love is as much a part of your next 12 months as it can possibly be.

Quarterly Review #41-50:

Sunn O))), Pyroclasts

sunn o pyroclasts

The narrative — because of course there’s a narrative; blessings and peace upon it — is that drone-metal progenitors Sunn O))), while in the studio recording earlier-2019’s Life Metal (review here) with Steve Albini, began each day doing a 12-minute improvised modal drone working in a different scale. They used a stopwatch to keep time. Thus the four tracks of Pyroclasts were born. They all hover around 11 minutes after editing, which settles neatly onto two vinyl sides, and it’s the rawer vision of Sunn O))), with just Greg Anderson and Stephen O’Malley‘s guitars, rather than some of the more elaborate arrangements which they’ve been known to undertake. That they’d put out two studio records in the same year is striking considering it had been four years since 2015’s Kannon (review here), but I think the truth of the matter is they had these tapes and decided they were worth preserving with a popular release. I wouldn’t say they were wrong, and the immersion here is a good reminder of the core appeal of Sunn O)))‘s conjured depths.

Sunn O))) on Bandcamp

Southern Lord Recordings website

 

Crypt Sermon, The Ruins of Fading Light

Crypt Sermon The Ruins of Fading Light

Traditional doom rarely sounds as vital as it does in the hands of Crypt Sermon. The Philly five-piece return with The Ruins of Fading Light on Dark Descent Records as an awaited follow-up to 2015’s Out of the Garden (review here) and thereby bring forth classic metal with all the urgency of thrash and the poise of the NWOBHM. Frontman Brooks Wilson — also responsible for the album art — is in command here and with the firm backing of bassist Frank Chin and drummer Enrique Sagarnaga, guitarists Steve Jannson and James Lipczynski offer sharpened-axe riffs and solo scorch offset by passages of keyboard for an all the more epic vibe. The rolling “Christ is Dead” is pure Candlemass, but the galloping “The Snake Handler” might be the highlight of the 10-track/55-minute run, though that’s not to take away either from the Dehumanizer chug of “Key of Solomon” or the melodic reach of the closing title-track either. Take your pick, really. It’s all metal as fuck and glorious for that. If they don’t sell denim jackets, they should.

Crypt Sermon on Thee Facebooks

Dark Descent Records on Bandcamp

 

The Neptune Power Federation, Memoirs of a Rat Queen

the neptune power federation memoirs of a rat queen

“Can you dig what the Imperial Priestess is laying down?” is the central question of Memoirs of a Rat Queen, the first album from Sydney, Australia’s The Neptune Power Federation to be released through Cruz Del Sur Music, and it arrives over an ELO “Don’t Bring Me Down”-style arena rock beat on leadoff “Can You Dig?” as an intro to the rest of the LP. Strange, epic, progressive, traditional, heavy and cascading rock and roll follows, as intricate as it is immediately catchy, and whether it’s “Watch Our Masters Bleed” or “I’ll Make a Man out of You,” the Imperial Priestess Screaming Loz Sutch and company make it easy to answer in the affirmative. Arrangements are willfully over the top as “Bound for Hell” and “The Reaper Comes for Thee” engage a heavy rocker take on heavy metal’s legacy, maddened laughter and all in the latter track, which closes, and the affect on the listener is nothing less than an absolute blast — a reminder of the empowering sound of early metal on a disaffected generation in the late ’70s and early ’80s and how that same fist-pump-against-the-world has become timeless. No doubt the costumes and all that make The Neptune Power Federation striking live, but as Memoirs of a Rat Queen readily steps forward to prove, the songs are there as well.

The Neptune Power Federation on Thee Facebooks

Cruz Del Sur Music on Bandcamp

 

Chron Goblin, Here Before

chron goblin here before

Have Chron Goblin been here before? The title of their album speaks to a kind of creepy deja vu feeling, and that’s emblematic of the Canadian band’s move away from the party rock of their past offerings, their last LP having been Backwater (review here) 2015. Fortunately, while they seek out some new aesthetic ground, the 11 tracks of Here Before do maintain Chron Goblin‘s penchant for straight-ahead songcraft and unpretentious execution — and frankly, that wasn’t at all broken. Neither, perhaps was the let’s-get-drunk-and-bounce-around spirit of their prior work, but they sound more mature in a song like the six-minute “Ghost” and “Slipping Under” (premiered here) successfully melds the shift in presentation with the energy of their prior output. Maybe it’s still a party but we watch horror movies? I don’t know. They’ve still got “Giving in to Fun” early in the tracklisting — worth noting it follows the swaying “Oblivion” — so maybe I’m misreading the whole thing, or maybe it’s more complex than being entirely one thing or the other might allow for. Perish the thought. Either way, can’t mess with the songs.

Chron Goblin on Thee Facebooks

Chron Goblin on Bandcamp

 

Ethereal Riffian, Legends

ethereal riffian legends

Ukrainian heavy rockers Ethereal Riffian make a pointed sonic shift with their Legends album (on Robustfellow), keeping some of the grunge spirit in their melodies as the eight-minute “Moonflower” and closer “Ethereal Path” show, but in songs like “Unconquerable” and the early salvo of “Born Again,” “Dreamgazer” and “Legends” and even the second half of “Kosmic” and “Pain to Wisdom,” they let loose from some of the more meditative aspects of their past work with a fiery drive and a theme of enlightenment through political and social change. A kind of great awakening of the self. There’s still plenty of “ethereal” to go with all that “riffian” in the intro “Sage’s Alchemy,” or the first half of “Kosmic” or the CD bonus “Yeti’s Hide,” but no question the balance has tipped toward the straightforward, and the idea seems to be that the electrified feel is as much a part of the message as the message itself. The only trouble is that since putting Legends out, Ethereal Riffian called it quits to refocus their energies elsewhere in the universe. Are they really done? I’m skeptical, but if so, then at least they went out trying new things, which always seemed to be a specialty, and on a note of directly positive attitude.

Ethereal Riffian on Thee Facebooks

Robustfellow Productions on Bandcamp

 

Parasol Caravan, Nemesis

parasol caravan nemesis

A second long-player behind 2015’s Para Solem, the eight-song/35-minute Nemesis is not only made for vinyl, but it’s made for rockers. Specifically, heavy rockers. And it’s heavy rock, for heavy rockers. Based in Linz, Austria, the double-guitar four-piece Parasol Caravan have their sound and style on lockdown, and their work, while not really keeping any secrets in terms of where it’s coming from in its ’70s-via-’90s modern take, is brought to bear with a clarity that seems particularly derived from the European heavy rock tradition. Para Solem was longer and somewhat fuzzier in tone, but the stripped down approach of the title-track at the outset and its side B counterpart, “Serpent of Time” still unfold to a swath of ground covered, whether it’s in the subdued instrumental “Acceptance” or “Transition,” which follows the driving “Blackstar” and closes the LP with a bit of a progressive metal edge. Even that has its hook, though, and that’s ultimately the point.

Parasol Caravan on Thee Facebooks

Parasol Caravan on Bandcamp

 

Golden Core, Fimbultýr

golden core fimbultyr

The title Fimbultýr translates to “mighty god” and is listed among the alternative names of Odin, which would seem to be who Oslo’s Golden Core have in mind in the leadoff title-track of their second album. Issued through Fysisk Format, it is not necessarily what one thinks of as “Viking metal” in the post-Amon Amarth or post-Enslaved context, but instead, the eight-song collection unfolds a biting modern sludge taking an edge of the earlier Mastodon lumber and bringing it to harshly-vocalized rollout. The 11-minute “Runatal” and only-seconds-shorter “Buslubben” are respective vocal points around which sides A and B of the release center, and each finds a way to give like emphasis to atmosphere and extremity, to stretch as well as pummel, and much to Golden Core‘s credit, they seem not only aware of the changes they’re presenting in their material, but in control of how and when they’re executed. The resulting linear flow of Fimbultýr, given the shifts within, isn’t to be understated as a victory on the part of the band.

Golden Core on Thee Facebooks

Fysisk Format on Bandcamp

 

Black Smoke Omega, Harbinger

Black Smoke Omega Harbinger

Harbinger may well be just that — a sign of things to come. The debut offering from Black Smoke Omega wraps progressive death-doom and gothic piano-led atmospherics around a thematic drawing from science-fiction, and while I’m not certain of the narrative being told by the Dortmund, Germany-based band, their method for telling it is fascinating. It’s not entirely seamless in its shifts, and it doesn’t seem like the band — seemingly spearheaded by multi-instrumentalist/vocalist Jack Nier, though Ashley James (The Antiquity) plays guitar on “A Man without a Heart” and Michael Tjanaka brings synth/piano to “Kainé” — want it to be, but there’s no denying that by the time “Falling Awake” seems to provide some melodic resolution to the often-slow-motion tumult prior, it’s doing so by bringing the different sides together. It’s a significant journey from the raw, barking shouts on “The Black Scrawl” and the lurching-into-chug-into-lurch of “The Man without a Heart” to get there, however. But this, too, seems to be on purpose. How it all might shake out feels like a question for the next release, but Black Smoke Omega seem poised here to leave heads spinning.

Black Smoke Omega on Thee Facebooks

Black Smoke Omega on Bandcamp

 

Liquid Orbit, Game of Promises

Liquid Orbit Game of Promises

While on the surface, Liquid Orbit might be on familiar enough ground with Game of Promises for anyone who has encountered the swath of up-and-comers working in the wake of Blues Pills, the Bremen, Germany, five-piece distinguish themselves through not just the keyboard work of Anders alongside Andree‘s guitar, Ralf‘s bass, Steve‘s drums and Sylvia‘s vocals, but also the shifts between funk, boogie, and edges of doom that play out in songs like “Shared Pain” and “Please Let Her Go,” as well as the title-track, which starts side B of the Nasoni Records-issued vinyl with a highlight guitar solo and an insistent snare tap beneath that works to bring movement to what’s still one of Game of Promises‘ shorter tracks at six and a half minutes, as opposed to the earlier eight-minute-toppers on side A or the psych-prog finale “Verlorene Karawane,” which translates in English to “lost caravan” and indeed basks in some Mideastern vibe and backward-effects vocal swirl. Bottom line, if you go into it thinking you know everything you’re getting, you’re probably selling it short.

Liquid Orbit on Thee Facebooks

Nasoni Records website

 

Sun Below, Black Volume III

Sun Below Black Volume III

As the title hints, the name-your-price Black Volume III is the third EP release from Toronto’s Sun Below. All three have been issued over roughly a year’s span, and the three-piece of guitarist/vocalist Jason Craig, drummer/backing vocalist Will Adams, bassist/backing vocalist Garrison Thordarson — who as far as I’m concerned wins this entire Quarterly Review when it comes to names; that’s an awesome name — and two have featured covers. On their debut, they took on “Dragonaut” by Sleep, and on Black Volume III, in following up the 12-minute nod-roller “Solar Burnout,” they thicken and further stonerize the catchy jaunt that is “Wires” by Red Fang. They’ve got, in other words, good taste. Black Volume III opens with “Green Visions” and thereby takes some righteous fart-fuzz for a walk both that and “Solar Burnout” show plenty of resi(n)dual Sleep influence, but honestly, it’s a self-releasing band with three dudes who sound like they’re having a really good time figuring out where they want to be in terms of sound after about a year from their first release, and if you ask anything else of Black Volume III than what it gives, you’re obviously lacking in context. Which is to say you’re fucking up. Don’t fuck up. Dig riffs instead.

Sun Below on Thee Facebooks

Sun Below on Bandcamp

 

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Quarterly Review: We Lost the Sea, Nebula Drag, Nothing is Real, Lotus Thief, Uncle Woe, Cybernetic Witch Cult, Your Highness, Deep Valley Blues, Sky Shadow Obelisk, Minus Green

Posted in Reviews on January 9th, 2020 by JJ Koczan

quarterly review

Yesterday was marked by a decisive lack of productivity. I got there, don’t get me wrong, but it took friggin’ forever to make it happen. I’m obviously hoping for a different result today and tomorrow. You would think 10 records is 10 records, but some days it’s easy flowing, bounce from one to the next without any trouble, and some days you’re me sitting there wondering how many times you can get away with using the word “style” in the same post. Punishing. The saving factor was that the music was good. Amazing how often that serves as the saving factor.

Just today and tomorrow left, so let’s dive in. Lots of different kinds of releases today, so keep your ears and mind open.

Quarterly Review #31-40:

We Lost the Sea, Triumph and Disaster

we lost the sea triumph and disaster

There is plenty of heavy post-rock floating — and I do mean floating — around these days, spreading ethereal and contemplative vibes hither and yon, but none have the emotional weight brought to bear instrumentally by Sydney, Australia’s We Lost the Sea. Across their 65-minute 2LP, Triumph and Disaster (on Translation Loss), the six-piece band recount a wordless narrative of the aftermath of the end of the world through the eyes of a mother and child on their last day. It is a touching and beautiful flow of sentiment, regret and weight that comes through the wash of three guitars and synth, bass and drums, and though 2015’s Departure Songs (review here, discussed here) worked in a similar vein in terms of style if not story, these seven tracks and 65 minutes are wholly distinguished by a willful-seeming progression on the part of the band and a patience and poise of execution as they alternate between longer and shorter pieces that only underscores how special their work truly is. At least the apocalypse is gorgeous.

We Lost the Sea on Thee Facebooks

Translation Loss store

 

Nebula Drag, Blud

nebula drag blud

Nothing against the progenitors of the form, but Nebula Drag seem with Blud to pull off the feat that Helmet never really could, bringing together a noise-rock derived dissonance of riff with a current of melody in the vocals and even moments of patience in the guitar to go along with the crunch of its more aggressive points. This inherently makes the Desert Records offering from the San Diego outfit a less outwardly intense affair than it might otherwise be, but songs like “Always Dying,” “Numb” and the closer “Mental” — as well as the album as a whole — are ultimately richer for it, and there’s still plenty of drive in opener “Dos Lados” and the shorter “Faces” and “What Went Wrong,” which arrive back to back on side B and lend the momentum that carries Nebula Drag through the remainder of the proceedings. It’s easy to hear to Blud superficially and pass it off as noise or heavy rock or this or that, but Nebula Drag earn and reward deeper listens in kind.

Nebula Drag on Thee Facebooks

Desert Records on Bandcamp

 

Nothing is Real, Pain is Joy

nothing is real pain is joy

Los Angeles oppressive and misanthropic noise project Nothing is Real manifested some of the harshest sounds I heard in 2019 on Only the Wicked are Pure (review here), and the just-months-later follow-up, Pain is Joy, reminds of the constant sensory assault under which we all seem to live. Across five extended tracks of increased production value — still raw, just not as raw — the band seems to be forming a coherent philosophical perspective in “Existence is Pain,” the guest-vocalized “Realms of Madness,” “Life is but a Dream,” “Pain is Joy,” and “We Must Break Free,” but if there’s a will to explain the punishment that is living, there’s not much by way of answer forthcoming in the sludgy riffing, grinding onslaught and surprising solo soar of “We Must Break Free,” instrumental as it is. Still, the fact that Pain is Joy allows for the possibility of joy to exist at all, in any form, ever, distinguishes it from its predecessor, and likewise the clearer sound and cogent expressive purpose. A focused attack suits Nothing is Real. I have the feeling it won’t be long before we find out where it takes the band next.

Nothing is Real on Thee Facebooks

Nothing is Real on Bandcamp

 

Lotus Thief, Oresteia

lotus thief Oresteia

If the name Oresteia isn’t immediately familiar, maybe “Agamemnon” will give some hint. San Francisco’s Lotus Thief, with their third full-length and second for Prophecy Productions, not only bring together progressive black metal, post-rock and drama-laced doom, but do so across eight-tracks and 38 minutes summarizing a 5th century Greek tragedy written in three parts. Ambitious? Yes. Successful? I’ll claim zero familiarity with the text itself, but for the eight-minute “Libation Bearers” alone — never mind any of the other immersive, beautiful wash the band emits throughout — I’m sure glad they’re engaging with it. Ambient stretches like “Banishment” and “Woe” and the barely-there “Reverence” add further character to the proceedings, but neither are “The Furies,” “Agamemnon,” “Sister in Silence” or subdued-but-tense closer “The Kindly Ones” lacking for atmosphere. Oresteia is grim, theatrical, stylistically forward-thinking and gorgeous. A perfect, perfect, perfect winter record.

Lotus Thief website

Prophecy Productions on Bandcamp

 

Uncle Woe, Our Unworn Limbs

Uncle Woe Our Unworn Limbs

Chugging, sprawling, and most of all reaching, the late-2019 debut LP, Our Unworn Limbs, from Ontario as-yet-solo-outfit Uncle Woe — composed, performed and recorded by Rain Fice — is one of marked promise, taking elements of modern progressive and cosmic doom from the likes of YOB‘s subtly angular riffing style and unfolding them across an emotionally resonant but still manageable 43-minute span. The stomp in “That’s How They Get You” is duly oppressive in following the opener “Son of the Queen,” but with the one-minute experiment “When the Night Fell Pt. 2” and jagged but harmonized “Mania for Breaking” ahead of 15-minute closer “Push the Blood Back In,” the record’s tumult and triumphs are presented with character and a welcome feeling of exploration. I would expect over time that the melodic basis and vocal presence Fice demonstrates in “Mania for Breaking” will continue to grow, but both are already significant factors in the success of that song and the album surrounding it, the first 20-plus minutes of which is spent mired in “Son of the Queen” and “That’s How They Get You,” as early proof of the sure controlling hand at the helm of the project. May it continue to be so.

Uncle Woe on Thee Facebooks

Uncle Woe on Bandcamp

 

Cybernetic Witch Cult, Absurdum ad Nauseam

cybernetic witch cult absurdam ad nauseam

Guitarist/vocalist Alex Wyld, bassist Doug MacKinnon and drummer Lewis May have processed the world around them and translated it into a riffy course of sci-fi and weirdo semi-prog thematics across Absurdum ad Nauseam. What else to call such a thing? At eight songs and 52 minutes, it stands astride the lines between heavy rock and doom and sludge in lengthier pieces like “The Cetacean,” “The Ivory Tower” and the finale “Hypercomputer Part 2,” yet when it comes to picking out discernible influences, one has to result to generalizations like Black Sabbath and Acrimony, the latter in the rolling largesse of “Spice” and “The Myth of Sisyphus” later on in the outing and the vocal effects there particularly, but neither is enough to give a sense of what Cybernetic Witch Cult are actually about in terms of the modernity of their approach and the it’s-okay-we-know-what-we’re-doing-just-trust-us vibe they bring as they rush through “Cromagnonaut” after the intro and “Hypercomputer Part 1.” I’m inclined to just go with it, which should tell you something in itself about the band’s ability to carry their listener through. They earn that trust.

Cybernetic Witch Cult on Thee Facebooks

Cybernetic Witch Cult on Bandcamp

 

Your Highness, Your Highness

Your Highness Your Highness

Heavy blues meets heavy metal on Your Highness‘ self-titled and self-released third album, collecting eight tracks that divide evenly across two sides of an LP, each half ending with a longer piece, whether it’s “Black Fever” (9:00) on side A or “Kin’s Blood” (14:14) on side B. Through these, in full-throttle movements like opener “Devil’s Delight” and “Rope as a Gift” and in nestled-in groovers like “The Flood” and “To Wood and Stone,” Your Highness don’t shy away from bringing a sense of atmosphere to their material, but maintain a focus on burl, gruffness and tonal weight, an aggressive undercurrent in a song like “Born Anew” — the riff to which is nonetheless particularly bluesy — being emblematic of the perspective on display throughout. It moves too fleetly to ever be considered entirely sludge, but Your Highness‘ 51-minute span is prone to confrontation just the same, and its ferocious aspects come to a head in satisfying fashion as the wash of crash pays off “Kin’s Blood,” shouts cutting through en route to a finish of acoustic guitar that lands as a reminder to release the breath you’ve been holding the whole time. Heavy stuff? Why yes, it is.

Your Highness on Thee Facebooks

Your Highness on Bandcamp

 

Deep Valley Blues, Demonic Sunset

Deep Valley Blues Demonic Sunset

Italy’s fervor for stoner rock is alive and well as represented in Demonic Sunset, the eight-song/34-minute debut full-length from Catanzaro’s Deep Valley Blues. Their sound works out to be more heavy rock than the desert one might imagine given the album cover, but that influence is still there, if beefed up tonally by guitarists Alessandro Morrone and Umberto Arena (the latter also backing vocals), bassist/vocalist Giando Sestito and drummer Giorgio Faini, whose fluid turns between propulsion and swing enable a song like “Dana Skully” to come together in its verse/chorus transitions. The penultimate nine-minute “Tired to Beg For” is an outlier among more straight-ahead songwriting, but they use the time well and close with the acoustic-led “Empire,” an encouraging showcase of sonic breadth to follow up on the start of “Lust Vegas” and a widening of the melodic range that one hopes Deep Valley Blues push further on subsequent releases. Centered around issues of mental health in terms of its lyrics, if somewhat vaguely, Demonic Sunset is a first LP that extends its focus to multiple levels while still keeping its feet on the ground in a way that will be familiar to experienced genre heads.

Deep Valley Blues on Thee Facebooks

Deep Valley Blues on Bandcamp

 

Sky Shadow Obelisk, The Satyr’s Path

sky shadow obelisk the satyrs path

You can toss a coin as to whether Sky Shadow Obelisk are death-doom or doom-death, but as you do, just keep an eye on the bludgeoning doled out by the solo-project of Rhode Island-based composer Peter Scartabello on his latest EP, The Satyr’s Path, because it is equal parts thorough and ferocious. Flourish of keys and melody adds a progressive edge to the proceedings across the five-track release, particularly in its two instrumentals, the centerpiece “Ouroboros” and the first half of closer “Shadow of Spring,” but amid the harnessed madness of “Chain of Hephaestus” — which from its lyrics I can only think of as a work song — and the one-two of “The Serpent’s Egg” and the title-track early on, those moments of letup carry a tension of mood that even the grand finish in “Shadow of Spring” seems to acknowledge. It’s been since 2015 that Scartabello last offered up a Sky Shadow Obelisk full-length. He shows enough scope here to cover an album’s worth of ground, but on the most basic level, I’d take more if it was on offer.

Sky Shadow Obelisk on Thee Facebooks

Yuggoth Records on Bandcamp

 

Minus Green, Equals Zero

Minus Green Equals Zero

Following up on a 2015 self-titled the material on Minus Green‘s sophomore album, Equals Zero, would seem to have at least in part been kicking around for a couple years, as the closer here, “Durial” (11:22) was released in a single version in 2016. Fair enough. If the other three cuts, opener “Primal” (9:58), “00” (11:51) and the penultimate “Kames” (10:08), have also been developed over that span, the extra rumination wouldn’t seem to have harmed them at all — they neither feel overthought to a point of staleness nor lack anything in terms of the natural vibe that their style of progressive instrumentalist heavy psychedelia warrants. The procession unfolds as a cleanly-structured LP with two songs per side arranged shorter-into-longer, and their sound is duly immersive to give an impression of exploration underway without being entirely jam-based in their structure. That is, listening to “00,” one gets the feeling it’s headed somewhere, which, fortunately it is. Where it and the record surrounding go ultimately isn’t revolutionary in aesthetic terms, but it is well performed and more than suitable for repeat visits. Contrary to the impression they might seek to give, it amounts to more than nothing.

Minus Green on Thee Facebooks

Kerberos Records website

 

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Fuzzed and Buzzed Records Presents The Powder Box Triple-7″ Box Set

Posted in Whathaveyou on November 26th, 2019 by JJ Koczan

Think of it like a split. If it was a split LP, you’d have three bands splitting a 12-inch platter or something like that, and it would be business as usual. Everyone would agree to art and cover some portion of the costs, the label would get behind it and blamo, the magic happens. Fuzzed and Buzzed Records out of Toronto has made the idea a little more complicated. The forthcoming The Powder Box — available direct from them in Canada, through DHU Records in Europe or the All That is Heavy store in the States — brings together Head, Cherry Hooker and Darlene Shrugg under an appropriately glam-style roof, with three separate seven-inchers all snuggled up together in a box set.

This is the second time the label has done this, arriving behind The Altar Box, which has long since sold out. I’d expect much the same with this round, despite the shift in aesthetic. In any case, kudos to the label for changing it up, and continuing its mission of highlighting their regional underground. That’s how you make shit happen. They obviously believe in it, and there’s very little better than that to sell something as far as I’m concerned.

They’ve posted a lot about it, here’s a bit of it:

va the powder box

THE POWDER BOX (2019)

HEY ROCKERS!!!!

OUR EUROPEAN HOMIES OVER @dhu_records ONLY HAVE 6 COPIES LEFT AND THAT’S IT!!!!

BOOGIE ON OVER AND SCORE ONE OF THE LAST POWDER BOXES FEATURING TORONTO ROCKERS @headrnr @cherryhooker @darleneshrugg

IF YOU’RE IN CANADA OR THE STATES, HIT UP @allthatisheavy OR YOURS TRULY @fuzzedandbuzzed!!

STAY BUZZED!!! @fuzzedandbuzzed FEST STARTS THIS THURSDAY NOV 28th 10pm @swandiveto!! NOV 29th IS THE HAMILTON RELEASE PARTY @doorspubhamilton AND THE FOLLOWING DAY, NOV 30th WE HAVE THE FINAL PARTY AT LEGENDARY @bovinesexclub

COME PARTY, BRING SOME FRIENDS OR MAKE NEW ONES!!!!!!!

3 Record Box (45″ Vinyl)

HEAD
A: Shudder
B: Journey to the Center of the Mind

CHERRY HOOKER
A: City Sidewalkin’
B: Machine

DARLENE SHRUGG
A: Reptile Radio
B: Some Weird Sin

https://fuzzedandbuzzed.myshopify.com/
https://www.instagram.com/fuzzedandbuzzed/
https://www.facebook.com/Fuzzedandbuzzed-631019733954614/

Head, “Shudder”

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Sons of Otis Finish Writing New Album; Reissuing Paid to Suffer & Spacejumbofudge

Posted in Whathaveyou on September 12th, 2019 by JJ Koczan

Okay, yeah, I’ll admit that I saw the below posted from Totem Cat Records last week and held off putting it up here. I guess maybe I was hoping from a more substantive update or something specific, but what that doesn’t account for is that, hey man, it’s Sons of Otis. Take what you can get. Fair enough. The new album from the Toronto-based megastoners — who toured Europe last year, playing Hellfest and then some — is reportedly finished, and that’s nifty news because when it comes out, it’ll be their first studio offering since 2012’s Seismic (review here). They’ve also been saying they were writing for over a year now, but what the hell. Slow music happens slowly. Be really surprised or don’t.

You might recall that late last year, Totem Cat released the Live in Den Bosch LP capturing the band in 2011 in the Netherlands in an edition of a paltry 300 copies. They’re currently down to their last copies at the BigCartel store linked below, and I haven’t heard the thing, but I’ll happily spend your money and say you should pick it up. If for nothing else than to dedicate the shelf space to Sons of Otis, that’s probably better than whatever else you were going to buy. What was it? Groceries? A car? Nah, screw that. There’s riffs to be had.

The rather efficient announcement below also includes the news that the band’s 1994 debut EP, Paid to Suffer, and their 1996 debut album, Spacejumbofudge (discussed here) are being reissued. CLF Records also put out a vinyl of 2001’s Songs for Worship in 2017, leaving 1999’s Templeball in desperate need of another look.

Here’s the latest, for posterity, as well as a video of the band last year in Paris that unsurprisingly kicks ass:

sons of otis logo

New Sons of Otis album is fully written and will be recorded soon, we’re excited to be releasing it early next year. Paid To Suffer & Spacejumbofudge will be reissued on CD & LP as well.

https://www.facebook.com/sonsofotis/
https://www.reverbnation.com/sonsofotis
https://www.facebook.com/totemcatrecords/
http://totemcatrecords.bigcartel.com/

Sons of Otis, Live in Paris, 2018

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Astral Witch to Work with DHU Records and Fuzzed & Buzzed Records on Self-Titled LP Release

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

Ontario three-piece Astral Witch were brought to my attention earlier this summer by the good folks of Fuzzed and Buzzed Records, who included them in a 7″ box set called Altar Box they kindly passed my way. The band also issued a self-titled debut full-length last year, and the thing about it is it’s pretty awesome. That only makes the news that Astral Witch and Fuzzed and Buzzed have aligned with DHU Records to work together on a vinyl release that will seemingly encompass both the Love two-songer that was in Altar Box as well as the self-titled together all the better. DHU‘s taste is becoming increasingly reliable over time, and the cooperation between imprints here I can only see as strengthening everybody’s position, most especially that of the band. Mark it a win.

I don’t see a firm release date, but maybe November? Maybe December or February? I don’t know. Keep an eye out, either way. If you need to know why you should, both releases are up on Bandcamp.

Here’s DHU‘s announcement as per the social medias:

astral witch

DHU Records is excited to announce the signing of Canadian Doom Rockers Astral Witch to release their debut S/T 2018 Record together w/ Fuzzedandbuzzed Records on Limited Edition Vinyl!

When Fuzzed and Buzzed released the Altar Box earlier this year, it did not take long for DHU and the Fuzzed and Buzzed crew to work out an agreement to release full lengths on each side of the ocean for Rough Spells, Häxan and Astral Witch. It was a match made in Hell!

For all 3 releases there will be a DHU, F&B and Band Edition and all Editions will be available from both record labels and band to save on shipping, how about that!

More info & details coming soon…

STAY DOOMED STAY HEAVY
STAY FUZZED STAY BUZZED

http://www.facebook.com/astralwitchband
https://www.instagram.com/astralwitchband
https://astralwitch.bandcamp.com/
https://www.facebook.com/Fuzzedandbuzzed-631019733954614/
https://www.instagram.com/fuzzedandbuzzed/
https://www.fuzzedandbuzzed.com/
https://www.facebook.com/DHURecords/
https://www.instagram.com/dhu_records/
https://darkhedonisticunionrecords.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/

Astral Witch, Love 7″ (2019)

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Quarterly Review: Elizabeth Colour Wheel, Black Lung, Giant Dwarf, Land Mammal, Skunk, Silver Devil, Sky Burial, Wizzerd, Ian Blurton, Cosmic Fall

Posted in Reviews on July 5th, 2019 by JJ Koczan

quarterly-review

Got my laptop back. Turned out the guy had to give me a new hard drive entirely, clone all my data on it, and scrap the other drive. I’m sure if I took it to another technician they’d have said something completely different, either for better or worse, but it was $165 and I got my computer back, working, in a day, so I can’t really complain. Worth the money, obviously, even though it was $40 more than the estimate. I assume that was a mix of “new hard drive” and “this is the last thing I’m doing before a four-day weekend.” Either way, totally legit. Bit of stress on my part, but what’s a Quarterly Review without it?

This ends the week, but there’s still one more batch of 10 reviews to go on Monday, so I won’t delay further, except to say more to come.

Quarterly Review #41-50:

Elizabeth Colour Wheel, Nocebo

elizabeth colour wheel nocebo

A rare level of triumph for a first album, Elizabeth Colour Wheel‘s aesthetic scope and patience of craft on Nocebo result in a genre-spanning post-noise rock that maintains an atmospheric heft whether loud or quiet at any given moment, and a sense of unpredictability that feels born out of a genuinely forward-thinking songwriting process. It is dark, emotionally resonant, beautiful and crushing across its eight songs and 47 minutes, as the Philadelphia five-piece ebb and flow instrumentally behind a standout vocal performance that reminds of Julie Christmas circa Battle of Mice on “Life of a Flower” but is ultimately more controlled and all the more lethal for that. Bouts of extremity pop up at unexpected times and the songs flow into each other so as to make all of Nocebo feel like a single, multi-hued work, which it just might be as it moves into ambience between “Hide Behind (Emmett’s Song)” and “Bedrest” before exploding to life again in “34th” and transitioning directly into the cacophonous apex that comes with closer “Head Home.” One of the best debuts of 2019, if not the best.

Elizabeth Colour Wheel on Thee Facebooks

The Flenser on Bandcamp

 

Black Lung, Ancients

black lung ancients

Ancients is the third full-length from Baltimore’s Black Lung, whose heavy blues rock takes a moodier approach from the outset of “Mother of the Sun” onward, following an organ-led roll in that opener that calls to mind All Them Witches circa Lightning at the Door and following 2016’s See the Enemy (review here) with an even firmer grasp on their overarching intent. The title-track is shorter at 3:10 and offers some post-rock flourish in the guitar amid its otherwise straight-ahead push, but there’s a tonal depth to add atmosphere to whatever moves they’re making at the time, “The Seeker” and “Voices” rounding out side A with relatively grounded swing and traditionalist shuffle but still catching attention through pace and presentation alike. That holds true as “Gone” drifts into psychedelic jamming at the start of side B, and the chunkier “Badlands,” the dramatic “Vultures” and the controlled wash of “Dead Man Blues” take the listener into some unnamed desert without a map or exit strategy. It’s a pleasure to get lost as Ancients plays through, and Black Lung remain a well-kept secret of the East Coast underground.

Black Lung on Thee Facebooks

Ripple Music website

Noisolution website

 

Giant Dwarf, Giant Dwarf

Giant Dwarf Giant Dwarf

This just fucking rules, and I feel no need to couch my critique in any more flowery language than that. Driving, fuzzy heavy rock topped with post-Homme melodies that doesn’t sacrifice impact for attitude, the self-released, self-titled debut from Perth, Australia’s Giant Dwarf is a sans-pretense 35 minutes of groove done right. They may be playing to genre, fine, but from the cover art on down, they’re doing so with a sense of personality and a readiness to bring an individual sensibility to their sound. I dig it. Summery tones, rampant vocal melodies in layers, solid rhythmic foundation beneath. The fact that it’s the five-piece’s first album makes me look less for some kind of stylistic nuance, but it’s there to be heard anyway in “Disco Void” and the bouncing end of “High Tide Blues,” and in surrounding cuts like “Repeat After Defeat” and “Strange Wool,” Giant Dwarf set to the task before them with due vitality, imagining Songs for the Deaf with Fu Manchu tonality in “Kepler.” No big surprise, but yeah, it definitely works. Someone should be beating down the door to sign this band.

Giant Dwarf on Thee Facebooks

Giant Dwarf on Bandcamp

 

Land Mammal, Land Mammal

land mammal land mammal

Land Mammal‘s debut outing is a 14-minute, proof-of-concept four-songer EP with clarity of presentation and telegraphed intent. Marked out by the Robert Plant-style vocal heroics of Kinsley August, the band makes the most of a bluesy atmosphere behind him, with Will Weise on wah-ready guitar, Phillip PJ Soapsmith on bass, Stephen Smith on drums and True Turner on keys. On opener “Dark with Rain” and closer “Better Days,” they find a pastoral vibe that draws from ’90s alternative, thinking Blind Melon particularly in the finale, but “Earth Made Free” takes a bluesier angle and “Drippin’ Slow” is not shy about nor ashamed of its danceability, as its lyrics demonstrate. For all the crispness of the production, Land Mammal still manage to sound relatively natural, which is all the more encouraging in terms of moving forward, but it’ll be interesting to hear how they flesh out their sound over the course of a full-length, since even as an EP, this self-titled is short. They have songwriting, performance and production on their side, however, so something tells me they’ll be just fine.

Land Mammal on Thee Facebooks

Land Mammal on Bandcamp

 

Skunk, Strange Vibration

skunk strange vibration

Even before they get to the ultra-“N.I.B.” patterning of second track “Stand in the Sun,” Skunk‘s Sabbathian loyalties are well established, and they continue on that line, through the “War Pigs”-ness of “Goblin Orgy” (though I’ll give them bonus points for that title), and the slower “A National Acrobat” roll of “The Black Crown,” and while that’s not the only influence under which Skunk are working — clearly — it’s arguably the most forward. They’ve been on a traditional path since 2015’s mission-statement EP, Heavy Rock from Elder Times (review here), and as Strange Vibration is their second album behind 2017’s Doubleblind (review here), they’ve only come more into focus in terms of what they’re doing overall. They throw a bit of swagger into “Evil Eye Gone Blind” and “Star Power” toward the end of the record — more Blackmore or Leslie West than Iommi — but keep the hooks center through it all, and cap with a welcome bit of layered melody on “The Cobra’s Kiss.” Based in Oakland, they don’t quite fit in with the Californian boogie scene to the south, but standing out only seems to suit Strange Vibration all the more.

Skunk on Thee Facebooks

Skunk on Bandcamp

 

Silver Devil, Paralyzed

Silver Devil Paralyzed

Like countrymen outfits in Vokonis or to a somewhat lesser degree Cities of Mars, Gävle-based riffers Silver Devil tap into Sleep as a core influence and work outward from there. In the case of their second album, Paralyzed (on Ozium Records), they work far out indeed, bringing a sonic largesse to bear through plus-sized tonality and distorted vocals casting echoes across a wide chasm of the mix. “Rivers” or the later, slower-rolling “Octopus” rightfully present this as an individual take, and it ends up being that one way or the other, with the atmosphere becoming essential to the character of the material. There are some driving moments that call to mind later Dozer — or newer Greenleaf, if you prefer — such as the centerpiece “No Man Traveller,” but the periodic bouts of post-rock bring complexity to that assessment as well, though in the face of the galloping crescendo of “The Grand Trick,” complexity is a secondary concern to the outright righteousness with which Silver Devil take familiar elements and reshape them into something that sounds fresh and engaging. That’s basically the story of the whole record, come to think of it.

Silver Devil on Thee Facebooks

Ozium Records website

 

Sky Burial, Sokushinbutsu

sky burial Sokushinbutsu

Comprised of guitarist/vocalist/engineer Vessel 2 and drummer/vocalist Vessel 1 (also ex-Mühr), Sky Burial release their debut EP, Sokushinbutsu, through Break Free Records, and with it issue two songs of densely-weighted riff and crash, captured raw and live-sounding with an edge of visceral sludge thanks to the harsh vocals laid overtop. The prevailing spirit is as much doom as it is crust throughout “Return to Sender” (8:53) and the 10:38 title-track — the word translating from Japanese to “instant Buddha” — and as “Sokushinbutsu” kicks the tempo of the leadoff into higher gear, the release becomes a wash of blown-out tone with shouts cutting through that’s very obviously meant to be as brutal as it absolutely is. They slow down eventually, then slow down more, then slow down more — you see where this is going — until eventually the feedback seems to consume them and everything else, and the low rumble of guitar gives way to noise and biting vocalizations. As beginnings go, Sokushinbutsu is willfully wretched and animalistic, a manifested sonic nihilism that immediately stinks of death.

Sky Burial on Thee Facebooks

Break Free Records on Bandcamp

 

Wizzerd, Wizzerd

wizzerd st

One finds Montana’s Wizzerd born of a similar Upper Midwestern next-gen take on classic heavy as that of acts like Bison Machine and Midas. Their Cursed Tongue Records-delivered self-titled debut album gives a strong showing of this foundation, less boogie-based than some, with just an edge of heavy metal to the riffing and vocals that seems to derive not directly from doom, but definitely from some ’80s metal stylizations. Coupled with ’70s and ’90s heavy rocks, it’s a readily accessible blend throughout the nine-song/51-minute LP, but a will toward the epic comes through in theme as well as the general mood of the riffs, and even in the drift of “Wizard” that’s apparent. Taken in kind with the fuzzblaster “Wraith,” the winding motion of the eponymous closer and with the lumbering crash of “Warrior” earlier, the five-piece’s sound shows potential to distinguish itself further in the future through taking on fantasy subject matter lyrically as well as playing to wall-sized grooves across the board, even in the speedy first half of “Phoenix,” with its surprising crash into the wall of its own momentum.

Wizzerd on Thee Facebooks

Cursed Tongue Records webstore

 

Ian Blurton, Signals Through the Flames

Ian Blurton Signals Through the Flames

The core of Ian Blurton‘s Signals Through the Flames is in tight, sharply-executed heavy rockers like “Seven Bells” and “Days Will Remain,” classic in their root but not overly derivative, smartly and efficiently composed and performed. The Toronto-based Blurton has been making and producing music for over three decades in various guises and incarnations, and with these nine songs, he brings into focus a songcraft that is more than enough to carry song like “Nothing Left to Lose” and opener “Eye of the Needle,” which bookends with the 6:55 “Into Dust,” the closer arriving after a final salvo with the Scorpionic strut of “Kick out the Lights” and the forward-thrust-into-ether of “Night of the Black Goat.” If this was what Ghost had ended up sounding like, I’d have been cool with that. Blurton‘s years of experience surely come into play in this work, a kind of debut under his own name and/or that of Ian Blurton’s Future Now, but the songs come through as fresh regardless and “The March of Mars” grabs attention not with pedigree, but simply by virtue of its own riff, which is exactly how it should be. It’s subtle in its variety, but those willing to give it a repeat listen or two will find even more reward for doing so.

Ian Blurton on Thee Facebooks

Ian Blurton on Bandcamp

 

Cosmic Fall, Lackland

Cosmic Fall Lackland

“Lackland” is the first new material Berlin three-piece Cosmic Fall have produced since last year’s In Search of Space (review here) album, which is only surprising given the frequency with which they once jammed out a record every couple of months. The lone 8:32 track is a fitting reminder of the potency in the lineup of guitarist Marcin Morawski, bassist Klaus Friedrich and drummer Daniel Sax, and listening to the Earthless-style shred in Morawski‘s guitar, one hopes it won’t be another year before they come around again. As it stands, they make the eight minutes speed by with volcanic fervor and an improvised sensibility that feels natural despite the song’s ultimately linear trajectory. Could be a one-off, could be a precursor to a new album. I’d prefer the latter, obviously, but I’ll take what I can get, and if that’s “Lackland,” then so be it.

Cosmic Fall on Thee Facebooks

Cosmic Fall on Bandcamp

 

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Ian Blurton Sets June 7 Release for Signals Through the Flames

Posted in Whathaveyou on April 24th, 2019 by JJ Koczan

ian blurtons future now

Way back in January, you might recall a track was premiered from Ian Blurton’s Future Now called “Space is Forever.” That first single will be issued as a 7″ next month and even when that was being posted, it was intended as a lead-in for Blurton‘s upcoming solo-ish record, Signals Through the Flames. Well, I got the album yesterday and the short version is it kicks ass, which is why I’m writing about it now. It’s due out June 7 and I’m sure there will be preorders and advance public audio all that fun stuff, but consider this a heads up. If you’re not from Toronto or the surrounding area, maybe you’re less familiar with Blurton‘s three-decade-plus career in bands and producing, and that’s fine. Don’t worry about it. That context is nice, but in listening to Signals Through the Flames, the songs stand on their own. I’m going to hope to have more on the record before it’s out, but yeah, just early warning here, that’s all. It’s the kind of record that’s really going to hit with some people. I think I might be one of them.

Art and PR wire info follow:

Ian Blurton Signals Through the Flames

Ian Blurton – Signals Through The Flame – Pajama Party

Release: 7 June 2019

It’s time for a veteran to show the new generation how it’s done. After 35+ years in the Canadian music industry, playing in over 40 bands and producing, engineering and mixing over 100 albums, Ian Blurton is finally releasing a solo record. You’ve probably seen Blurton play in your town, fronting Change of Heart, Blurtonia, Bionic, C’mon, or the still-active Public Animal. If you missed those bands, his name is still likely to pop up somewhere in your record collection; you’ll find Blurton’s producer credit on career-defining albums for Blood Ceremony, Cursed, Tricky Woo, the Weakerthans and more. Or you may have caught him guest with acts as diverse as Richard Lloyd, Buffy Sainte-Marie , the Sadies, Teenage Head, Twink or The Viletones.

It’s no surprise that Blurton’s inaugural solo effort pulls from an impressive pool of talent and a range of influences. In 2017 a sudden torrent of inspiration brought him a slew of songs best suited to a power-trio format. Enlisting friends who also happened to be some of his favorite drummers and bassists, he set out on a quest to create a combination of dark pop hooks, molten riffage and ambient soundscapes that is his heaviest work to date. Between Blurton’s layers-upon-layers of guitar, a plethora of gifted musicians such as Mike Armstrong (King Cobb Steelie), PJ Dunphy (Iron Giant), Eric Larock (Tricky Woo), Glenn Milchem (Blue Rodeo), Damon Richardson (Danko Jones), Anna Ruddick (Randy Bachman), Nick Sewell (Biblical), and Darcy Yates (Flash Lightnin’) all make appearance on Signals Through the Flames. The result is a heavy music melting pot with one foot in the past and the other planted firmly in the future.

Mixed by Daryl Smith (Godspeed You! Black Emperor) at Chemical West and mastered by Brad Boatright at Audiosiege, Signals Through The Flames will be released by new Toronto imprint Pajama Party digitally, on vinyl and cassette June 7, 2019.

The first single, Space Is Forever b/w Upon Yesterday, is out May 4 on Yeah Right! Records, launching at a release show at Toronto’s Dakota Tavern and can be heard here: ianblurton.bandcamp.com

The live band, Ian Blurton’s Future Now, draws from the same talent as the record, and currently features drummer Glenn Milchem, bassist Anna Ruddick and Aaron Goldstein as second guitarist. This spring and summer sees the band playing dates between Montreal and Calgary, including appearances at Sled Island and Hillside Festival.

Tracklisting
01 EYE OF THE NEEDLE 4:55
02 SEVEN BELLS 3:34
03 DAYS WILL REMAIN 3:30
04 THE MARCH OF MARS 4:18
05 NOTHING LEFT TO LOSE 3:16
06 ICQ 2:58
07 KICK OUT THE LIGHTS 4:53
08 NIGHT OF THE BLACK GOAT 4:47
09 INTO DUST 6:37

Tour dates
May 1 Montreal – Turbo Haus w/ Dead Quiet, Mountain Dust
May 4 Toronto – Dakota Tavern w/ Sick Things, Rough Spells
May 17 Peterborough – Gordon Best Theatre w/ Mokomokai
June 6 Toronto – Sneaky Dees w/ Spirit Adrift
June 7 Kitchener – The Starlight w/ Hawkeyes
June 14 Toronto – secret show NXNE
June 17 Sudbury – The Townehouse
June 18 Thunder Bay – The Apollo
June 19 Winnipeg – The Handsome Daughter
June 20 Saskatoon – Amigo’s
June 21 Edmonton – The Rec Room Edmonton South
June 22 Calgary – The Palomino/Sled Island Festival
June 23 Regina – The Club at The Exchange
July 14 Guelph – Hillside Festival
July 19 Hamilton – This Ain’t Hollywood
July 20 Toronto – The Horseshoe Signals Through The Flames record release

ianblurton.bandcamp.com
twitter.com/ianblurton

Ian Blurton, “Space is Forever”

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