While Philadelphia-based Randall Coon has a few prior digital releases under his belt for the solo-project Skunk Hawk, as I understand it, the six-song self-titled/self-released tape is the first to receive a physical pressing. The cassette is limited to 100 copies with a pro-printed tape and two-panel j-card, and finds the multi-instrumentalist/vocalist Coon — who appeared with King Buffalo on their 2013 demo (review here) and was in Velvet Elvis at the time of their 2012 release, In Deep Time (review here); both obviously based in Upstate NY — employing a variety of gleefully strange pop textures in a meld of psychedelic folk and bedroom stoner fuzz. Interestingly, the tracklist on the j-card lists the song “Frigidaire,” which closes side two, twice. The download version (not included with the tape, but available on Bandcamp) has it listed with side one comprised of “Water Born Devil,” “High School Ball” and “All My Heart,” and side two “There Will be Another Day, Love” (listed on the tape as “Another Day”), “Lovers of Pompeii” and “Frigidaire,” though in the download version, “Lovers of Pompeii” and “Frigidaire” are the same song. The tape also lists “Stone Embrace” on side two, so maybe there are still some kinks to work out.
My working theory is that “Stone Embrace” and “Lovers of Pompeii” are the same track with a changed title, and that that song is the middle one on side two of the tape, also the most intense of the collection, and that the actual closer of the tape is “Frigidaire,” which has a pulsing bassline and howled hook, which is accidentally listed twice on the tape but doesn’t come in the download. Nonetheless, it’s kind of hard to know what’s where, but however one chooses to listen, there’s plenty to dig into. A rawer form of “There Will be Another Day, Love” appeared on Skunk Hawk‘s 2011 EP, I Fell into the Sea and into the Earth, but other than that, the material here is new, and from the Angelo Badalamenti-style pop drama of “High School Ball” to the church organ-laced rhythmic drive of “Stone Embrace/Lovers of Pompeii,” Coon never relinquishes the experimental edge in the sound. “There Will be Another Day, Love” winds up a highlight for its insistent play of fuzz guitar and keys and Neil Young-via-Arbouretum vocal performance, but the jangly oddity and blown-out singing of “All My Heart” and the subtly-drummed vulnerability of “Water Born Devil” offer likewise satisfying results even if they take different routes to get there. If it’s confusing in a practical way, Skunk Hawk is as proportionally an engaging listen, toying with the balance between fuzzy rock and off-kilter less-frenetic Man Man-style indie songwriting in a manner that few would attempt, and pulling it off while crafting a personality of its own.
One can see easily why after several other releases, Coon might see fit to make Skunk Hawk‘s Skunk Hawk the first physical pressing from the project. I hope it’s not the last. It may be tough to figure out where one is at any given moment, but somehow that makes the listener more receptive to turns like the sneering apex of “Another Day,” “High School Ball”‘s abrasive midsection feedback or the low-mixed currents of effects noise, drones and other flourish sounds that crop up throughout. It’s not a release looking to be fully understood, and that’s one of the most exciting aspects of it.
Posted in Radio on January 9th, 2015 by H.P. Taskmaster
Usually I approach doing a batch of radio adds with some trepidation — after all, I’m basically writing five (or, in this week’s case, six) short reviews — but after doing that Last Licks series last week, this honestly feels like a breeze. Perspective is everything, and to add to yours and mine, I’ve got 18 records joining The Obelisk Radio playlist this afternoon, and it’s a widely varied bunch, both in what’s written up here and the actual makeup of the stuff.
Full-lengths, EPs, splits, a live release, a single, some doom, some black metal, some heavy rock, sludge, psych, you name it. I had the radio going for a while yesterday and heard a few really satisfying changes in style. I like that and I hope you do too, because I don’t think it’s going to change anytime soon. Full list of adds is on the Updates and Playlist Page.
The Obelisk Radio adds for Jan. 9, 2015:
Formes, Dysphoria Part 1
For an album that starts “Through this Hole” and finishes in “Dead Ends,” Formes‘ Dypsphoria Part 1 is a resoundingly progressive and diverse outing that, at its core, works primarily in playing shoegaze psych and extreme metal off each other. Somewhere between Dead Meadow and Akercocke, a song like “Dead Ends” finds a way to mesh wub-chug riffing with the crooning vocals of guitarist/bassist Steve McNamara with the responding death growls of his brother, drummer/guitarist Jordan. The UK three-piece is rounded out by Rob “The Alchemist” Hemingway, whose synths feature heavily in songs like “I am Nothing” and “Tumult,” which atmospherically expand on the ideas the opener presents, thrusting these two sides into the same place and, in defiance of what are generally thought of as the physics of genre, making it work. Formes‘ most effective moments are when they ram one into the other, as on the acoustic-to-doom-pummeling “Smile Club,” which follows quietly seething brooder “I Will Make You Ill” and rounds out with an extended whistle of harsh feedback, but I won’t discount the value they clearly place on structural variety either. Together, they make Dysphoria Part 1 as satisfying as it is unpredictable, and while I don’t know when one might expect Part 2 or just how many installments of Dysphoria there might be, I look forward to when I can next encounter the fruits of Formes‘ stylistic restlessness. Formes on Thee Facebooks, on Bandcamp.
Romero, Gold for the Hunt
Madison, Wisconsin, sludge poppers Romero made a New Year’s present out of “Gold for the Hunt” by offering the song as a free download on Jan. 1, but it’s also the first new studio material to come from the four-piece since their early 2013 full-length, Take the Potion (review here). Like that album, the single revels in a Floor/Torche influence, but seems to delight even more in its fuzzy tone and burly edge in the vocals of guitarist Jeffrey Mundt and drummer Ben Brooks. With the foundation of Patrick Hotlen‘s bass rumbling beneath, the guitar and vocals push through a tension-release chorus and into a well-layered chugging bridge that further highlights Romero‘s penchant for melodic bellowing. Guitarist/percussionist/organist Tim Consequence seems all but absent initially, but in the final movement, a sustained current of organ winds up as one of “Gold for the Hunt”‘s most distinguishing factors. Well, that and the brutal growing, anyway. Glad to hear from Romero, even in so abbreviated a manner. If you’ve never encountered them before, “Gold for the Hunt” provides a quick, efficient summary of their approach, and if you heard Take the Potion, the new song will only make you further anticipate the follow-up. Romero on Thee Facebooks, on Bandcamp.
Bellringer, Bellringer EP
Based in the weirdo haven of Austin, Texas, newcomer trio Bellringer – for whom this untitled/self-titled, self-released EP is the first outing — boast a familiar face (or at least a familiar cowboy hat) in guitarist/vocalist Mark Deutrom (Clown Alley, peak-era Melvins), who’s joined by bassist Corey Cottrell (ex-Megazilla) and drummer Craig Nichols (Guided by Voices, The Breeders) on these four tracks. The sound, while adventurous stylistically and in terms of the construction of individual parts, is rooted in heavy rock, opener “Vapor Lock,” a catchy number like “Wait” and the instrumental chorus of “Von Fledermaus” reminding some that, yes, Deutrom was the bass player on Stoner Witch, but particularly in the latter an even more resonant impression comes across like Masters of Reality‘s blend of pop and heavy rock oddness. That vibe continues on the nine-minute psych-jam closer “The Burning Gift,” which brings Deutrom‘s vocals forward and works in keyboard arrangement flourish, bell sounds, string sounds and various melodic volume swells to underscore the point that, even on Bellringer‘s introduction, pretty much anything goes if it works. So be it. The world needs more experimental rock that doesn’t forget there are two sides to that equation, and Bellringer seem to come out of the gate ready to gleefully tip the scales one way or the other. Bellringer on Thee Facebooks, on Bandcamp.
Wizard Eye, Riff Occult Live
If, like me, you’ve been itching to get a handle on some new music from Philly’s theremin-laced, golly-these-guys-need-to-get-a-new-record-out stoner doom trio Wizard Eye, Riff Occult Live should do the trick. All but two of the tracks — “On the Banks of a River” and the meshed-together “Gravebreath/Say No More” — come from the riffy three-piece’s forthcoming sophomore outing, and while it’s definitely a live record, the dense fuzz and nod-ready roll that guitarist/thereminist/vocalist Erik Caplan, on-a-first-name-bassist Dave and drummer Mike Scarpone conjure wins out anyway on cuts like “Drowning Daydream” and “Flying/Falling,” Scarpone‘s kick drum a pop in the low end while Wizard Eye ooze their way through one Sabbathian jam into the next. Opener “Eye of the Deep” sets a tone for extended solos and thick groove, and Wizard Eye do not falter from that path as the set makes its way to the 11-minute final jam, each riff arriving, kicking ass, and moving on in well-purposed succession. Riff Occult Live doesn’t entirely sate the anticipation for a new album, but it certainly doesn’t hurt either. Wizard Eye on Thee Facebooks, on Bandcamp.
Lewd Flesh, Op I Røven, Dø I Smerte
Marked out immediately by the echoing, over-the-top bluesy vocals of Malene Pedersen, Copenhagen heavy rockers Lewd Flesh make their Spaghetti Casetti Records debut with the Op I Røven, Dø I Smerte 7″, bringing together the two songs “Acid Rider” and “Lewd Troves” to give a professional, crisp first impression across two sides and about 11 minutes. Guitarists Nanna Braunschweig Hansen and Casper Nilsson, bassist John Madsen and drummer Jakob provide the backdrop for Pedersen‘s rocked-out vocal thrust on “Acid Rider,” and more ’90s-style cues are taken on “Lewd Troves,” the wailing guitars offering a flourish of noise influence to coincide with the band’s straightforward production. It is their first outing, and two songs, and it’s a raucous start to make, but there’s room to grow as well in Lewd Flesh‘s hammering out their balance of grunge, noise and heavy rock impulses and figuring out where to place the vocals in the mix. To the credit of both the band and the release, Op I Røven, Dø I Smerte sounds both smoothly produced and on-stage energetic, and hopefully they can keep that spirit intact as they continue to grow. Lewd Flesh on Thee Facebooks, on Bandcamp.
Red Mess, Crimson EP
Familiar riffs abound on Red Mess‘ debut EP, Crimson, and the Brazilian trio give due reverence to the likes of Sabbath and Goatsnake, but it’s the rougher, semi-retro presentation that draws the listener into the atmosphere created by guitarist/vocalist Thiago Franzim, bassist Lucas Klepa and drummer Douglas Labigalini over the four tracks/22 minutes. There’s something theatrical in Franzim‘s vocals to opener “Trapped in My Mind” that also give a classic Alice Cooper Band feel to the proceedings as well, and that’s really just one element of heavy ’70s worship that continues on “Hole” and the subsequent, motor-ready “Stoneage Coopers,” but they save the best for last in 5:30 closer “Through the Trees,” which offsets Graveyard-style subdued blues noodling with heavy rock thrust, a highlight performance from Klepa alongside Labigalini‘s swinging cymbal and tom work, and an engaging build throughout. They’re feeling their way through developing their sound, and that’s exciting to hear since the three-piece already has some considerable chemistry between them. Hopefully they’re able to take lessons from Crimson – named, apparently, in homage to a classic prog influence — and move forward as they discover where they want to go and how they want their songs to take them there. Red Mess on YouTube, on Bandcamp.
Had to get that sixth one in there, and not just because it frees up another space on my desktop. The idea behind doing adds like this isn’t just to remind people there’s a radio component to this site. That’s part of it, sure, but the bigger agenda here is to hopefully give you another opportunity to check out music you might dig. That’s why the audio is right there under each review. I sincerely hope something above piques your interest and that you also share it with someone you think will enjoy.
Posted in Whathaveyou on January 6th, 2015 by H.P. Taskmaster
That most-anticipated-for-2015 list just keeps growing, and today, Philly five-piece Ruby the Hatchet make an entry with the impending Feb. 24 release of their Tee Pee Records debut long-player, Valley of the Snake. The cover art and tracklisting have just been posted for the album, for which Ruby the Hatchet have booked a trio of quality NYC gigs to support in Feb. ahead, presumably, of other live plans to be revealed. Their prior single, Eliminator, was released last Feb. on 7″ and tape, and like that single, the new album features cover art from Adam Burke.
Details off the PR wire spread blue cheer:
RUBY THE HATCHET to Release New LP Valley of the Snake February 24
Philadelphia Psych Metal Group Unveils New Album Details
Philadelphia psychedelic doombringers RUBY THE HATCHET are one of heavy music’s finest on-the-rise bands. The critically acclaimed psych metal group will release its new album, Valley of the Snake, on February 24 via Tee Pee Records. The hotly-tipped quintet recorded the new LP at Retro City Studios in Germantown, PA.
RUBY THE HATCHET’s music fuses the sinister tactic of brainwash with blistering riffs and the rebellious mood of sorcery, re-imagining a different path for metal. Evoking a decade’s worth of maturity gained in just a few short years, the genesis from the band’s 2011 self-titled EP to present day has been nothing short of stunning. Valley of the Snake is a six song journey; a fantastical trek with huge, blistering tracks that journey over peaks and valleys and ditches and oceans before leaving you spinning. Seething and spitting, RUBY THE HATCHET hammers behemoth waves of dogma and doom, merging precision and patience with a sinister foot-stomping, head-bobbing power. Vocalist Jillian Taylor’s serpentine vocals, scene-stealing howls and macabre lyrics conjure holistic atmospheres over swollen grooves that grow and flow in circles and waves. Guitars crunch, wail and burn.
Heavy-handed and hypnotic in equal parts, RUBY THE HATCHET creates the perfect shape shift between psych density and metal grandiosity, representing something utterly imposing; primeval and oppressively heavy while maintaining a level of breathless intensity over the course of the full album. This hex is for you.
RUBY THE HATCHET Valley of the Snake Track listing: 1.) Heavy Blanket 2.) Vast Acid 3.) Tomorrow Never Comes 4.) Unholy Behemoth 5.) Demons 6.) Valley of the Snake
* Valley of the Snake is available for pre-order purchase now:iTunes/Amazon.
RUBY THE HATCHET live dates:
February 5 New York, NY Saint Vitus (w/ Danava, Natur, Dirty Fences) February 14 New York, NY The Acheron (w/ Joy) February 17 New York, NY Cake Shop (w/ Joy, Carousel)
Posted in Whathaveyou on December 24th, 2014 by H.P. Taskmaster
Underrated Philly riffers Wizard Eye are gearing up to play the Feast of Krampus this weekend in their hometown and Brooklyn alongside Wino and Sixty Watt Shaman and others, but in the meantime, the three-piece have announced a new management deal with 313 Inc. (Sixty Watt Shaman, Order of the Owl, etc.) and released a new live album for pay-what-you-want download called Riff Occult Live. Pretty busy week, but if Wizard Eye are sending out 2014 with a bang — or perhaps a rumble, given their tones — one can only hope that portends an active 2015 around the release of their new album, Thunderbird Divine.
Word came down the PR wire as follows:
Wizard Eye Signs With 313 INC Artist Management; New Live Release Now Available on Bandcamp
“Sometimes you hear something that makes your heart rate jump and the little hairs on your neck stand straight up,” Harrington says. “For someone in my line of work It’s instinct telling you, ‘Damn, these guys are on fire… And we have to work with them!’
That sums up the first time I heard the giant riffs that spilled out of this killer trio. Fast forward a few months of intense negotiations, and we are proud as all hell to have Wizard Eye a part of the 313 INC Artist Management family.”
The band feels adding a management component to its strong catalog of material and its engaging live performances will help create a new level of awareness and build new opportunities for its future.
“Scott and 313 INC have a genuine interest in our music and our success, and we look forward to seeing what we can do as a team,” says Erik Caplan, guitarist/vocalist of Wizard Eye.
As a complement to this new signing and in anticipation of the band’s upcoming release,Thunderbird Divine, Wizard Eye has released a free live album, Riff Occult: Live, on Bandcamp.com. This set was recorded at The Balcony at The Trocadero in Philadelphia August 9, 2014, and it is available athttps://wizardeye.bandcamp.com/album/riff-occult-live
Posted in Whathaveyou on December 2nd, 2014 by H.P. Taskmaster
Philly doom five-piece — yeah, there’s four in the pic above, but take my word for it that there are five guys in the band — Crypt Sermon are getting ready to put out their debut album, Out of the Garden, on Dark Descent Records. Their first long-player follows Dark Descent‘s release of their Demo MMXIII (review here), which was one of my favorite short releases of 2013, and they’ve just made the song “Heavy Riders” available to stream as the first public audio from the record. That’s cool enough on its own for me to want to post about it, but Out of the Garden adds even more intrigue via its cover art, which was painted by vocalist Brooks Wilson and matches form with the band’s grand style.
Click to enlarge that, and check out the album info and “Heavy Riders” below:
CRYPT SERMON: Philadelphia Epic Doom Cult Debut a New Track from ‘Out of the Garden’
Philadelphia-based doom powerhouse CRYPT SERMON released its stunning first demo via underground tastemakers Dark Descent to wide critical acclaim, and have now debuted a new track from its upcoming darkened offering. “Heavy Riders” is currently streaming on Soundcloud and on Youtube—let the power of true doom compel you!
The project itself is new, but the musicians behind it have spent combined decades honing their skills and perfecting their vision. Crypt Sermon features members of Ashencult, Hivelords, Infiltrator, Trenchrot, and Labyrinthine. Drawing heavily upon Solitude Aeturnus, Candlemass, Mercyful Fate, and Dio-era Black Sabbath, Crypt Sermon amalgamizes the absolute best of traditional heavy metal and doom metal. Its members focus on excellent musicianship and well-crafted songs. They truly care about writing heavy riffs and killer solos – not just tuning their guitars low.
In the early days of 2015, the band will release their debut-full length, Out of the Garden, on CD/LP/digital format through Dark Descent once more. The breathtaking cover art was painted by the band’s vocalist Brooks Wilson.
CRYPT SERMON is:
Brooks Wilson – Vocals Steve Jansson – Lead and Rhythm Guitars James Lipczynski – Rhythm Guitars Mellor – Bass Guitar Enrique Sagarnaga – Drums
Posted in Reviews on October 31st, 2014 by H.P. Taskmaster
Even before I get to liking these bands, I’m biased on this show because both of the city and the venue. If you want to save some time reading, the short version is good times were had. I’ve seen some cool shows at Johnny Brenda’s, was more than a little bummed when Om recently rolled through and I couldn’t be there for it. That show was sold out and so was this one, with Pentagram returning to Philadelphia for what will be their last show in town before they go and record their next album. Traveling with Kings Destroy, we had to head out early, so I didn’t get to see them headlining, but caught Bang and a decent portion of Radio Moscow, and by the time Bang went on, second after Kings Destroy, the place was already packed out. One does not image it became less so as the evening wore on.
I had a weird, vegged out moment at the start of Kings Destroy‘s set. They kicked off this time with “Smokey Robinson,” and I was taking pictures from the balcony at Johnny Brenda’s, and I guess I just went on autopilot. My version of tour mode, maybe. It was a couple minutes before I sort of snapped back to consciousness, and I made my way downstairs from the balcony for “Turul,” which was also jumbled in the set, pushed much earlier than where it might usually appear. That song came to embody a lot of the character of last year’s A Time of Hunting LP for me, its unabashed strangeness and creepy feel standing in for how that material shifted outside the more straightforward riffy doom of the first record. Live, Kings Destroy always seem to revel in it, holding out the hits that slam down for the verse.
“Old Yeller” closed again, which I think works well, and “Mr. O” continues to reside comfortably toward the middle of the set, blindsiding people who think by then that they have the band figured out. With the added off-color element of the dude up front wearing one of those creepy horse masks and Steve Murphy‘s Clamfight shirt with “CENSORED” taped over the vagina-esque tentacle monster there featured, the vibe was pretty loose and where some of the bigger spots on the tour have seemed to kind of become events, this was just a show. It was kind of a relief, to be honest with you. I don’t know how many people showed up to Johnny Brenda’s in relation to how many were at the Soundstage the night before, but it seems like the tallies were probably close, and in the smaller room, it made for a much better mood all around. Sold out show. Hard to beat that in any size space.
Even if it means you’ve got just about nowhere to go. Bang went on second and ran through their set. It’s not their first time playing Philly since their reunion started, and they were treating it as a hometown show. So was the crowd. The room was plastered and dancing by the time Bang were rolling, and that seemed to suit the band just fine. Same set they’ve been doing, but no complaints. More so than in Baltimore, they looked again like they were really enjoying themselves, and it was fun to watch. As far as victory laps go, this tour would be a hard one for a band that hasn’t been on the road in 40 years, but “Keep On” was a stone groove as ever and the sound was heavier than it’s been all along with all the volume trapped in that confined room, nowhere to go but through the earplugs.
That served Radio Moscow well too, Parker Griggs‘ guitar screaming back on itself while young and old offstage got caught in the full-tilt conversation. A three-piece, Radio Moscow fit well on the stage where with five Kings Destroy had been somewhat more crowded — as had the four-piece Pentagram when they backlined their gear — and they took quick command of Johnny Brenda’s, which was happy to go along with them for “Just Don’t Know,” “Death of a Queen,” “Broke Down,” “Before it Burns” and “250 Miles,” which is what would remain stuck in my head for the rest of the night, its stripped down bluesy roll by now nestled well into the fractured, exhausted, tour-ebola-added remains of my consciousness. Paul Marrone‘s drum fills came in torrents and Anthony Meier‘s bass tone coated the room, and people just flipped out for them. That’s been the case all along — their audience skews young as compared to, say, Pentagram (though Pentagram have a fair number of younger heads out now as well thanks in part to Last Days Here, the documentary on frontman Bobby Liebling), and the kids go fairly apeshit with each arriving guitar solo — but their response seemed especially fervent in Philadelphia. What had been a chilly space quickly warmed up.
Load out started during Radio Moscow‘s set, all of Kings Destroy‘s gear had been brought down into the back hallway of the venue after they played and was basically just waiting for everyone to relax a bit and have a couple drinks, chat with Clamfight‘s Sean McKee, who was kind enough to come to the show, etc. I could still hear “These Days” while guitars and heads were being loaded in the back of the van, and we weren’t quite moving to a place 250 miles away, but I know it was about 130, so we took off before Pentagram, apologizing to drummer Sean Saley on the way out. See you tomorrows, all around.
Posted in Features on October 30th, 2014 by H.P. Taskmaster
10.30.14 — 4:17PM — Thursday — Johnny Brenda’s, Philly
“We got a call about a suspicious van…” — The Cop
The smell of barbecue sauce is immediate and pervasive upon walking into Johnny Brenda’s. I’ve said many times before that I’m a huge dork for Philadelphia, and there are a lot of times I miss being in Philly more than New York since I moved away last year. Even being a two-hour drive from this city, just knowing it was there was reassuring. The area around Johnny Brenda’s is much the same as I last left it — hasn’t been that long — if incrementally more gentrified. Someone should set up a camera on Girard Street and do a time lapse for the next five years. You can see the property values being raised in real-time.
A knock came on the hotel door this morning and it was Carl saying we were leaving. Like now? Like now. I took a quick shower anyway — there was time — and hit the Flying J for coffee, iced tea, orange juice and some Tylenol Cold and Sinus. I’d woken up coughing pretty viciously and needed to get that shit under control. Still feel better today than yesterday as regards tour ebola, better than in Pittsburgh. Coffee was alright, which was fortunate because I bought a 24 oz. cup of it, and soon enough we got going. Carl’s had an abscess on his leg for most of the tour and yesterday it became clear enough that it wasn’t going to go away on its own and something needed to be done about it. By something, I mean a lancing and draining of pus. Pop.
He and Steve had tried to go to an urgi-center this morning near the hotel, but to no avail in terms of the place taking Carl’s insurance, so we had to head north a bit into Jersey to find another spot. I think we were somewhere around Cherry Hill when we pulled into the parking lot and he went in, set about filling out forms and all the rest. Steve and Jim Pitts went for a bite of pizza and C-Wolf, Rob, Aaron and I just hung around by the van. It was going to be a while, and yeah, that’s how it worked out. Rob went down the way to CVS and bought a devil mask that he may or may not wear tomorrow night in Burlington for the Halloween show, and I started the review of last night sitting in the parking lot using the place’s wifi so as not to eat up data in the van. My hope is it was vaguely coherent, but I have my doubts. The whole idea for today was that since there wasn’t a long drive — we’ll have five hours tomorrow, give or take, up to Burlington after two-and-a-half tonight to Steve’s place outside NYC — we’d just kind of loaf around the Comfort Inn until it was time to head to Philly. Didn’t quite pan out.
Carl had gone to the CVS to fill his prescription when the cops showed up. Two cars, two officers, said they’d gotten a call about the van. Fair enough. School kids were crossing the street by then and legitimately, it’s a van full of weirdos and longhairs. I mean, in a perfect world they’d be too busy locking up ass-grabbing crossing guards and shit, but I get where they’d want to ask a question and confirm what we were doing there. Steve explained to them that we’re just souls whose intentions are good and asked that we please not be misunderstood. It was an easy enough interaction but any time the cops are involved it could just as easily go the other way, so yeah, a little tense. We picked Carl up in the CVS parking lot and headed out at a perfectly normal speed. Nothing to see here, folks.
In the spirit of Brooklyn’s St. Vitus bar, Johnny Brenda’s is a small place that does good shows. The difference is there’s also a bar/restaurant downstairs here. The gig is sold out, so I expect it will be good and crowded offstage as well as on. I should probably get some food between now and then, or I could just sit here and continue to cough.
Posted in Whathaveyou on September 8th, 2014 by H.P. Taskmaster
Freaked out heavy psych rockers Ecstatic Vision will release their debut long-player next year on Relapse Records. The four-piece trace their origins to Philly — which seems to be following in Brooklyn’s footsteps in becoming a home to an East Coast psychedelic surge — and are a new band with some faces that metallers might recognize in guitarist/vocalist Doug Sabolick and drummer Jordan Crouse, both formerly of A Life Once Lost. Perhaps unsurprisingly, the new group is a long way from the old one.
And hey, if you’re starting out with a new band, signing to Relapse is a pretty good beginning considering for most underground acts out there it qualifies as “living the dream,” so cheers to Sabolick and Crouse on the fresh take and if the demo for “Astral Plane” below is something to go on, 2015 will hold much reverby weirdness.
They announced the inkery as follows:
Ecstatic Vision Sign To Relapse Records
Band to Record Full-Length Debut this Month
Relapse Records is proud to announce the signing of Philadelphia, PA heavy psych quartet ECSTATIC VISION (Doug Sabolick – Guitars / B3 / Vox, Michael Field Connor – bass, Jordan Crouse – Drums / Percussion, Muffinman – Percussion). Formed earlier this year, the group has quickly made a name for themselves in Philly, having already played numerous high profile shows.
ECSTATIC VISION will complete the recording of their full-length debut upon their return which will be released via Relapse in early 2015.
A demo for the song “To The Astral Plane”, from the band’s upcoming debut, can be heard HERE while footage of the group live can be viewedHERE. Frontman Doug Sabolick commented on the new material:
“We are currently recording our debut album at various studios around Philly. The album is a great mix of trance inducing primitive African tribal meets heavy psych a la Hawkwind. We are stoked to be working hand in hand with Relapse to bring this unique album to fruition and bring our brand of heavy psych to the masses.”
Stay tuned for more information on ECSTATIC VISION.
Ecstatic Vision Tour Dates: Sep 09 Winston-Salem, NC The Garage Sep 10 Charlottesville, VA Tea Bazaar Oct 28 Brooklyn, NY St. Vitus w/ Pallbearer and Tombs