Posted in Whathaveyou on November 1st, 2016 by H.P. Taskmaster
Well yeah, it’s been a few months, so seems like it’s about time again for Ape Machine to announce a string of tour dates. The Portland, Oregon, four-piece will head out to shut the door on Spring 2016’s Coalition of the Unwilling (review here), which they released via Heavy Psych Sounds, and move ahead with road-testing new songs as they make ready to record a fourth long-player. Presumably that’ll be out sometime early next year, though whether through Heavy Psych Sounds or Ripple Music, which handled their prior full-length, 2013’s Mangled by the Machine (review here), remains to be seen. And by that I mean I don’t know. Just being honest, folks. Gotta stay humble.
The band sent the dates down the PR wire:
Ape Machine West Coast tour
Ape Machine is planning for one more run of dates before the year’s up. We’re basically wanting to try out some new material and have some studio time booked to start working on the next (fourth) full-length. We figured we might as well go rock a few shows while we’re at it!
November 9th: Starlite Lounge – Sacramento, CA November 10th: Frank’s Place – Fresno, CA November 11th: Til Two Club – San Diego, CA November 12th: Pier View Pub – Oceanside, CA November 13th: Silverlake Lounge – Los Angeles, CA November 16th: Dante’s – Portland, OR November 17th: Funhouse – Seattle, WA
The name APE MACHINE is a nod to the days of reel-to-reel magnetic tape audio recording; a fitting moniker for the Portland heavy-hitting quartet as the band plays through vintage tube amplifiers and lays down its songs using exclusively throwback quality studio equipment.
With a heady mix of animal aggression and technical precision, APE MACHINE’s music carries an organic depth and warmth rarely heard since the time of rock’s glorious early years (or your Dad’s bad ass record collection) infused with an exceptional modern sensibility. When the mystical lyrics of vocalist Caleb Heinze lock in with the band’s stone-cold groove, the band demonstrates an earth-shaking ability to rock. A true four-piece, the group has been called “a rock and roll band with a finger on the pulse of the 70’s and their asses firmly in the present” and “real heavy-psych for the iPhone generation” that delivers “true guts and glory rock and roll”.
APE MACHINE IS Caleb Heinze – Vocals Ian Watts – Guitar Brian True – Bass Damon De La Paz – Drums
This weekend, Portland, Oregon, five-piece Mane of the Cur take part in Ceremony of Sludge V at the High Water Mark Lounge, which may or may not be the final edition of the festival. To mark the occasion, they’ve released a new single called “Uncovering Time” and have put up a video accompanying the track, which is their first since their first EP, Three of Cups (review here), came out last year. The new track finds the returning lineup of vocalist Melynda Amann, guitarist Shawn Mentzer, bassist Cory DeCaire, drummer Blaine Burnham and keyboardist Nate Baisch digging further into atmospheric heavy rock, a natural foundation set in the rhythm section on which the keys and vocals build with melody and progressive undertones.
I dug the EP, and “Uncovering Time” shows growth in progress on the part of the band, so I’m in no way inclined to argue as Mane of the Cur figure out where they want to place elements in their mix, the keys rising here to fill space as the guitars step back, Amann‘s vocals taking the fore before relinquishing again to instrumental push. It’s a quick but telling four and a half minutes, and though it’s the first I’ve heard of what they may have put together since their last time out, I wouldn’t be surprised if there was more to come soon. In the interim, they should be right at home at Ceremony of Sludge V alongside groups like He Whose Ox is Gored, Serial Hawk, Holy Grove, Disenchanter and more.
If you happen to be in the Pacific Northwest, you’ll find the info for that show and links under the video for “Uncovering Time” below. Please enjoy:
Mane of the Cur, “Uncovering Time” official video
Ceremony of Sludge V
September 16 – September 17 High Water Mark Lounge 6800 NE Martin Luther King Jr Blvd, Portland, Oregon 97211
Good filthy fun.
Come celebrate our fifth (and perhaps final) year of dredging up the grittiest, haziest and most scorching heavy music roiling in the murk of our fine region’s musical under-underground.
Lineup: He Whose Ox is Gored Serial Hawk Holy Grove Drunk Dad Will Hair Puller Disenchanter Owner Mane of the Cur Huger
Look, some shit just works. This track taken from their upcoming LP, Only Ghosts (out Oct. 10 on Relapse), marks the sixth time that Portland, Oregon’s Red Fang have collaborated with video director Whitey McConnaughy, and clearly it’s a system that isn’t broken. Hell, I think you could very easily make the argument that it was the viral takeoff from “Prehistoric Dog” from their 2009 self-titled debut that had a major part in Relapse picking them up for 2011’s Murder the Mountains (review here). And each subsequent clip the four-piece and McConnaughy have made together has been likewise entertaining and likewise successful. Remember “Wires” (posted here)? That was awesome.
You’ve probably seen this already — because the internet — but I wanted to get “Shadows” posted anyway, particularly as it comes coupled with a mighty package of tour dates that only further emphasize the fact that in addition to handing heavy rock and roll its ass with songwriting and their sense of humor, Red Fang also outwork just about everybody on the road. One doubts they’re sleeping on floors at this point, or at least not every night, but even as they moved through 2013’s Whales and Leeches (discussed here), they have kept that ethic going and as a result have become a powerhouse live act worthy of stepping into the headliner role they’ve taken on over the last several years. Dudes kill it. On just about every level.
Interested to dig into the Ross Robinson-produced Only Ghosts, and “Shadows” provides even more intrigue.
Red Fang, “Shadows” official video
Red Fang mess with the wrong comic book collectors in the band’s new video for “Shadows.”
“We had the pleasure of working with Whitey (McConnaughy) again on another music video,” Red Fang singer/guitar player Bryan Giles explains of the Predator like clip. “It was a crazy adventure through the woods in rural Oregon. It has stunt men, real firepower and some great explosions! We had a blast on this one.”
The video is the sixth video to pair Red Fang and director McConnaughy with the first clip from the partnership being 2010’s “Prehistoric Dog,” which saw the Portland-based band challenge a local role playing troupe only to suffer the consequences. The most recent video from the band is the 2013 clip featuring Fred Armisen and a horde of beer thirsty zombies in “Blood Like Cream.”
“Shadows” is the second new song to preview music from the band’s Ross Robinson produced album, Only Ghosts (Oct. 14, Relapse Records).
The band kick off an extensive fall tour on Sept. 26 with the first leg being a month of European tour dates followed by a month of U.S. dates. Label mates Torche will open on both runs with Whores joining the U.S. dates.
Red Fang tour dates: September 22 Portland, OR Northwest Hesh Fest September 26 Brighton, UK Concorde 2 September 27 London, UK Koko September 28 Bristol, UK Bierkeller September 29 Leeds, UK Leeds Stylus September 30 Manchester, UK Manchester Academy 2 October 2 Birmingham, UK Institute2 October 3 Glasgow, UK Garage October 4 Newcastle, UK Riverside October 5 Southampton, UK Engine Rooms October 7 Athens, Greece Desert Fest October 9 Paris, France Trabendo October 10 Munich, Germany Strom October 11 Vienna, Austria Szene Wien October 12 Berlin, Germany Huxleys October 13 Cologne, Germany Essigfabrik October 14 Antwerp, Belgium Desert Fest October 15 Leipzig, Germany Conne Island October 16 Hamburg, Germany Markethalle October 18 Odense, Denmark Posten October 19 Oslo, Norway John Dee October 20 Stockholm, Sweden Debaser Medis October 21 Malmo, Sweden KB October 22 Munster, Germany Skater’s Place October 23 Karlsruhe, Germany Substage October 24 Amsterdam, Netherlands Melkweg (OZ)
November 18 San Francisco, CA Slim’s November 19 Pomona, CA Glasshouse November 20 Los Angeles, CA Teragram Ballroom November 22 San Diego, CA Casbah November 23 Phoenix, AZ Rebel Lounge November 25 Austin, TX Mohawk November 26 Dallas, TX Three Links November 27 Houston, TX Warehouse Studio November 29 Atlanta, GA Masquerade (Hell) November 30 Durham, NC Motorco December 1 Washington, DC Rock and Roll Hotel December 2 Philadelphia, PA Underground Arts December 3 Brooklyn, NY Music Hall of Williamsburg December 4 Boston, MA The Sinclair December 5 New York, NY Mercury Lounge December 7 Pittsburgh, PA Spirit Lounge December 8 Cleveland, OH Beachland Ballroom December 9 Detroit, MI El Club December 10 Chicago, IL Metro December 11 Bloomington, IL Castle Theater December 13 Denver, CO Bluebird Theater December 14 Salt Lake City, UT Urban Lounge December 15 Boise, ID Neurolux December 16 Seattle, WA Showbox
Torche appears on all European and U.S. dates except Heshfest Whores appear on all U.S. dates except Heshfest
Posted in Whathaveyou on September 13th, 2016 by H.P. Taskmaster
Portland four-piece R.I.P. released their debut album, In the Wind (review here), through Totem Cat Records back in March, and as they embarked on a West Coast tour this past weekend, the news came in that the band has been picked up by the rightly-venerated RidingEasy Records for a new version of the outing. Solid company to keep on the part of the group all around, who notably tag themselves as “street doom” and endeavor to live up to that gritty an ethic, and who’ve shared the track “Black Leather” below in case anyone who hasn’t yet gotten a taste of In the Wind would like to get one.
From the PR wire:
R.I.P. sign to RidingEasy Records, share first track from forthcoming debut album
Speedy gutter-metal group kicks off tour of Western U.S.
Portland, OR quartet R.I.P. announce their signing to L.A. label RidingEasy Records to release their debut album In The Wind later this year.
Operating on the belief that heavy metal didn’t come from the forest or beam down from outer space, but rather that it crawled up out of the sewer and writhed to life in the grit and grime of the streets, the four rock ‘n’ roll freaks of R.I.P. call their sound “Street Doom” and spread the message with heavy touring across the United States. Obsessed with death and disgusted with the scene, they dragged their knuckles into the studio in 2016 and excavated a debut LP dedicated to fear and trembling, calling it In The Wind.
R.I.P. is defined by fast, regressive riffs, terrified vocals, live shows akin to near-death experiences, and steadfast adherence to the notion that doom isn’t how slow or de-tuned you can play, but the combination of fear, death, and leather. In The Wind is just the right level of down ‘n’ dirty guttural rock that cuts and chews with raw fury.
In The Wind will be available everywhere on LP, CD and download on December 9th, 2016 via RidingEasy Records.
R.I.P. LIVE: 09/13 San Diego, CA @ Till 2 Club 09/14 Encinitas, CA @ The Saloon 09/15 Flagstaff, AZ @ Flag Brew 09/16 Santa Fe, NM @ The Cave 09/17 Denver, CO @ The Squire 09/19 Reno, NV @ @ Shea’s Tavern 09/20 San Fransisco, CA @ the Knockout
Artist: R.I.P. Album: In The Wind Record label: RidingEasy Records Release date: December 9th, 2016
01) The Scythe 02) In The Wind pt.1 03) Tremble 04) Black Leather 05) Smoke & Lightning 06) In The Wind pt. 2 07) The Tombstone 08) Bereaved 09) Brave In the Grave 10) In The Wind pt. 3
Posted in Features on September 12th, 2016 by H.P. Taskmaster
[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.]
Sorry, but the lineup here pretty much sells itself. Over three nights, Sept. 22-24, at Dante’s in Portland, Oregon, Northwest Hesh Fest 2016 will host:
Uncle Acid and the Deadbeats
The Blood Royale
If you enter now by leaving a comment on this post, you can win a three-day pass to see all of the above and get a limited, signed screenprint of the poster shown here, of which only 100 are being made. Obviously, you need to get your ass to Portland — if I could afford to fly you in, I would, believe me — but barring for anyone in that part of the world who’s maybe been on the fence about going or just hasn’t managed to buy tickets yet, yeah, entering seems like it would be kind of a no-brainer. High “duh” factor and whatnot.
For the headliners alone, never mind the chance to see locals like Witch Mountain, Danava and Diesto tear it up alongside imports from Austin, Texas, like American Sharks, The Blood Royale, Banquet and Greenbeard, essentially pairing two of the country’s strongest scenes — Portland and Austin — and topping it not only with the Pacific Northwest’s number one heavy rock export in Red Fang, but bringing up Uncle Acid and the Deadbeats on their tour with The Shrine, as well as Deafheaven, who seem to divide opinion everywhere they go while consistently drawing a crowd from both sides of the argument.
Killer lineups, killer shows, free pass and free poster. Like I said, it sells itself. One winner picked a week from today. Thanks to all who enter and to American Icon for letting me host the giveaway.
[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.]
If there’s another word for The Unreal Never Lived beyond ‘masterpiece,’ I don’t know what it is. From its opening rumble and softly-spoken delivery of the title in “Quantum Mystic” through the final ultra-plodding drums and throat-singing of the 21-minute “The Mental Tyrant,” YOB‘s fourth album is nothing short of a treasure, and it stands among records like Neurosis‘ genre-defining A Sun that Never Sets and Earth‘s Hex: Or Printing in the Infernal Method as one of the most pivotal heavy releases of the 2000s. Issued in ’05, it comprised four tracks — “Quantum Mystic,” “Grasping Air,” “Kosmos” and “The Mental Tyrant” — and within the context of YOB‘s prior output across 2002’s Elaborations of Carbon, 2003’s mega-essential Catharsis and 2004’s The Illusion of Motion, it was the realization that the band had been pushing toward all along: A sound both spacious and crushing, looking inward thematically as it sought wisdom from outside, unremittingly heavy and still somehow psychedelic in its overall affect. If Catharsis was the moment when YOB came into their own sonically — and I’ll gladly argue it was, despite the potential their debut showed before it — then The Unreal Never Lived was when they showed just how expansive that definition of “their own” could be.
It’s worth noting that, for several years, it was also their swansong. The last YOB record. The Eugene, Oregon, trio of guitarist/vocalist Mike Scheidt, bassist Isamu Sato and drummer Travis Foster toured sparingly to support The Unreal Never Lived. I recall they came east once to play Manhattan at a basement club called The Pyramid. It got to be 2AM and they still hadn’t gone on, and The Patient Mrs. had to be to work in five hours so we left. Then the band broke up. It was — and I say this without irony or exaggeration — a significant source of resentment in my relationship with my wife. Because I was never going to get to see YOB! They’d just put out their best record, hit the East Coast once and disbanded (it didn’t happen in that quick succession, but still). I saw Scheidt‘s post-YOB project, Middian, in Brooklyn, and that was cool, but that band too was short-lived. Of course, YOB was reactivated with Scheidt, Foster and bassist Aaron Rieseberg, and would go on to release 2009’s The Great Cessation (review here), 2011’s Atma (review here) and 2014’s Clearing the Path to Ascend (review here) — each outdoing the one before it, expanding on the blueprint that The Illusion of Motion and The Unreal Never Lived set forth, and each one my pick for album of the year in its year of release — and I’d get to see them multiple times over, including playing The Unreal Never Lived in full at Roadburn 2012 (review here), so all was forgiven. But those years I spent thinking I’d never get to witness the space-doom mastery of “Kosmos” live? Not easy. I’m not even joking.
For all that time, the disc never left my trusty CD wallet. It’s still there, though these days I’m probably more inclined to play it off my phone, where the digital version has also taken up permanent residence. As with the best of albums, it has not dulled with age but only grown more worthy of reverence in light of the developments in sound it’s led to and the influence it’s had on other acts, which is broad in scope and far-reaching in number. As YOB have progressed, they’ve kept playing with and expanding some of the forms that were presented as solidified for the first time throughout The Unreal Never Lived — the quiet opening of “The Mental Tyrant,” its shift into chaotic noise and the furious gallop of its apex, the unmitigated thrust of “Quantum Mystic,” the roll and crash of “Grasping Air,” etc. — so it seems fair to me to think of the album as a landmark even in a catalog of landmarks. If they had stayed broken up, if they’d never done anything else, it would’ve still be enough to forge a legacy. Fortunately, that legacy has only continued to grow over their subsequent three albums.
Well, tomorrow’s the day. The first-ever The Obelisk All-Dayer at Saint Vitus Bar in Brooklyn (there is actually zero excuse if you haven’t bought a ticket yet), with Mars Red Sky, Death Alley, Snail, Kings Destroy, EYE, Funeral Horse, King Buffalo and Heavy Temple, plus Walter Roadburn and DJ Adzo for the aftershow. I don’t mind telling you I’m nervous as hell.
Advance ticket sales have been good — thank you if you’ve been a part of that — but still. It’s such a massive lineup, with so many variables. I hope everyone shows up. I hope the crowd has a good time, everybody’s chill, everybody gets into the spirit of the day, and so on. I just want it to be fun. Real, actual fun.
Today, nonetheless, is the calm before the storm. Yesterday evening, The Patient Mrs. picked up Walter Roadburn at the airport. I know Mars Red Sky made it over, and Death Alley as well. Snail are on the East Coast and Funeral Horse flew out yesterday from Texas. Everything’s coming together, and I’ve taken the day off from work to go to the beach in Connecticut, might do some record shopping, hit the farmers’ market and relax ahead of making the trip to Brooklyn tomorrow morning in time for a noon load-in. Like I say, I’m nervous, but also stoked.
I hope you can make it to the show, but even if not, I hope you have a great and safe weekend whatever you’re up to. I’ll be posting pics on the social medias over the weekend I’m sure, so keep an eye out, but will check back in on Monday with an update on how it all went down. In the meantime, thanks for reading, and please check out the forum and radio stream.
Posted in Whathaveyou on August 5th, 2016 by H.P. Taskmaster
So, blackened experimentalists Eight Bells currently list their lineup as consisting of guitarist/vocalist/founder Melynda Jackson, bassist Dan Barone and bassist/vocalist/synthesist Melynda Marie Amann. Something tells me the Portland-based outfit might not be done announcing lineup changes considering there isn’t a drummer mentioned anywhere in there. Rae Amitay played on the band’s second album, Landless (review here), which came out earlier this year on Battleground Records, but I guess it’s entirely possible they’ll get someone else for the role if she’s not still in it.
The PR wire brings the latest update and a couple dates Eight Bells will do with SubRosa in the Pacific Northwest:
EIGHT BELLS: Experimental Doom Unit Announces Updated Lineup; November Shows With SubRosa Confirmed
Experimental doom unit EIGHT BELLS — featuring within their eclectic ranks guitarist/vocalist Melynda Jackson, formerly of SubArachnoid Space, the San Francisco psych rockers whose final album, released in 2009 on Crucial Blast, is the origin of the EIGHT BELLS name — is pleased to welcome bassist/SubArachnoid Space alumni Dan Barone and Melynda Amann of Portland’s Jamais Jamais to the fold.
Comments Jackson of the band’s new recruits: “I am super excited for this upcoming next chapter. I am thrilled to be playing again after five or so years with Dan Barone. He played a writing role as well as bass on the final SubArachnoid Space album, and I feel lucky to have reunited with him. Melynda — yes we have the same name spelled the same way — honors me by joining. She will be adding some keyboard and of course her amazing voice. To have our first performance in Portland be with our friends in SubRosa is amazing, and we can’t wait to travel with them, even if it is short but sweet!”
The trio-turned-quartet will play their first shows together this Fall supporting SubRosa with additional live appearances in the plotting stages.
EIGHT BELLS: 11/16/2016 Mississippi Studios – Portland, OR w/ SubRosa, Jamais Jamais 11/17/2016 Cobalt – Vancouver BC w/ SubRosa 11/18/2016 Highline – Seattle, WA w/ SubRosa
EIGHT BELLS released their sophomore full-length, Landless, via Battleground Records earlier this year.
EIGHT BELLS was forged in 2010 by Melynda Jackson (SubArachnoid Space) and began as a songwriting collaboration with jazz-trained six-string bassist Haley Westeiner and drummer Chris Van Huffel. Based in Portland, Oregon, EIGHT BELLS explores dark sonic realms with a blackened dissonance combined with ethereal and haunting female vocals.
Posted in Whathaveyou on August 4th, 2016 by H.P. Taskmaster
The reason I say it’s Red Fang‘s first tour in the US for their new album Only Ghosts is because we know damn well it won’t be the last. Forerunners of Portland’s heavy rock scene and having already had a significant influence on the development thereof, Red Fang will issue Only Ghosts on Oct. 14 via Relapse Records, and while they were already booked to head overseas with Torchewhen the record was announced and the first track streamed, it seems the two groups will partner for a US run a few weeks after the European one is finished. Whores will also join in on the fun for the US dates, which bring the band right up to the holidays.
Doubtless they’ll be back on the road in 2017 — the future! — so keep an eye out in the next couple months for more to come. A corresponding Spring run doesn’t seem unlikely, though we also know that’s when a lot of US acts go abroad to take advantage of festival season. Either way, the cycle is just starting, as much as it ever stopped.
From the PR wire:
RED FANG Announce US Tour With Torche; Music Featured on PBR Can Crusher Pinball Machine
In addition to their recently-announced UK/EU dates this coming fall, Portland hard rockers RED FANG have announced a new US tour with labelmates Torche set to kick off this November. The trek will see the bands touring from coast to coast in support of their signature brands of stoner metal for a full month. Noise rockers Whores will also support; tickets will be on sale this Friday at 10 AM PST. Check out a full itinerary of dates below.
After three years of vigorously touring the world, RED FANG, the beer-loving Portland-based rock band re-emerge with their greatest and latest full-length album, Only Ghosts. Produced by the legendary Ross Robinson (At The Drive In, The Cure, Slipknot, and many more) and mixed by Joe Barresi (Queens of the Stone Age, Kyuss, Melvins), Only Ghosts consists of 10 new tracks of the band’s signature, high-impact, hook-filled, hard rock. RED FANG prove once again they are top-notch songwriters who have mastered the heavy anthem without taking themselves too seriously. Only Ghosts is a rock album of incredible magnitude that demands to be played at maximum volume!
Only Ghosts is set for release this October 14 on CD/LP/Digital via Relapse Records. Physical pre-orders are available via Relapse.com here, and digital pre-orders can be found at the band’s Bandcamp page at this location.
RED FANG Live: Aug 4 Copenhagen, DK Jr Vega Aug 5 Wacken, DE Wacken Open Air Aug 6 Utrecht, NL Tivoli Pandora Aug 7 Lokeren, BE Lokerse Feesten
Aug 17 Tacoma, WA Jazzbones Aug 18 Walla Walla, WA Main Street Studios Aug 19 Missoula, MT The Palace Lounge Aug 21 Spokane, WA All Age Rage @ The Viking Sept 22 Portland, OR Northwest Hesh Fest
**All Dates from Nov 18 – Dec 16 with Torche and Whores*** Nov 18 San Francisco, CA Slims Nov 19 Pomona, CA Glasshouse Nov 20 Los Angeles, CA Terragram Ballroom Nov 22 San Diego, CA Casbah Nov 23 Phoenix, AZ Rebel Lounge Nov 25 Austin, TX Mohawk Nov 26 Dallas, TX Three Links Nov 27 Houston, TX Warehouse Studio Nov 29 Atlanta, GA Masquerade (Hell) Nov 30 Durham, NC Motorco Dec 1 Washington, DC Rock and Roll Hotel Dec 2 Philadelphia, PA Underground Arts Dec 4 Boston, MA The Sinclair Dec 5 New York, NY Mercury Lounge Dec 7 Pittsburgh, PA Spirit Lounge Dec 8 Cleveland, OH Beachland Ballroom Dec 9 Detroit, MI El Club Dec 10 Chicago, IL Metro Dec 11 Bloomington, IL Castle Theater Dec 13 Denver, CO Bluebird Theater Dec 14 Salt Lake City, UT Urban Lounge Dec 15 Boise, ID Nuerolox Dec 16 Seattle, WA Showbox
***All Dates with Torche*** Sept 26 Brighton, UK Concorde 2 Sept 27 London, UK Koko Sept 28 Bristol, UK Bierkeller Sept 29 Leeds, UK Leeds Stylus Sept 30 Manchester, UK Manchester Academy 2 Oct 2 Birmingham, UK Institute2 Oct 3 Glasgow, UK Garage Oct 4 Newcastle, UK Riverside Oct 5 Southampton, UK Engine Rooms Oct 7 Athens, Greece Desert Fest Oct 9 Paris, FR Trabendo Oct 10 Munich, DE Strom Oct 11 Vienna, AT Szene Wien Oct 12 Berlin, DE Huxleys Oct 13 Cologne, DE Essigfabrik Oct 14 Antwerp, BE Desertfest Oct 15 Leipzig, DE Conne Island Oct 16 Hamburg, DE Markthalle Oct 18 Odense, DK Posten Oct 19 Oslo, NO John Dee Oct 20 Stockholm, SE Debaser Medis Oct 21 Malmo, SE KB Oct 22 Munster, DE Skater’s Place Oct 23 Karlsruhe, DE Substage Oct 24 Amsterdam, NL Melkweg (OZ)
The band has also premiered the first in a multi-part series of behind-the-scenes webisodes documenting their studio sessions for Only Ghosts. The clip, which can be seen here or below, focuses on John Sherman and the drum tracks for the new album.
Additionally, RED FANG’s music and likeness are featured on Pabst Blue Ribbon’s new pinball machine, the Can Crusher, which was unveiled at San Diego Comic-Con. The machine, developed in partnership with Stern Pinball, Inc., features a retro game design with art by Dirty Donny.
RED FANG is: John Sherman – Drums Aaron Beam – Bass, Vocals David Sullivan – Guitar Maurice Bryan Giles – Guitar, Vocals