I’m gonna need you to take my word for it on this one. Really. You don’t want to miss Heavy Temple as they kick off The Obelisk All-Dayer this Saturday at Saint Vitus Bar in Brooklyn. You just don’t. They start the show at 2:30PM, and whether or not you caught onto their first, self-titled EP (review here), it doesn’t even matter because their new stuff blows it out of the water. Bassist/vocalist High Priestess Nighthawk — who needs real names, anyway? — has assembled a lineup of righteous compatriots and as a hard-fuzz power trio, they’re absolutely scalding on stage. Heavy nod, psych flourish, rhythmic density, memorable hooks and the occasional soaring moment that is absolutely bound to leave an impression.
Part of the reason I ask you to take my word for it is that the teaser below doesn’t actually give much of a taste of their upcoming next release, Chassit. The Philly three-piece will have a tape out via Tridroid by November, and presumably some more audio will precede before then, but the bit of noise and feedback proffered by Nighthawk, guitarist Arch Bishop Barghest and Siren Tempestas — who leads the march kicking into the track “Ursa” shortly hereafter — is the first audio to come from Heavy Temple since the self-titled and at very least it lets you know the kind of filthy tonality they’re getting down with these days. Way down.
Rest assured, there will be more to come on Chassit as we get closer to and through the release of the tape, but in the meantime, catch Heavy Temple this Saturday at The Obelisk All-Dayer with Mars Red Sky, Death Alley, Snail, Kings Destroy, EYE, Funeral Horse and King Buffalo. If you haven’t gotten tickets yet, get them here.
[Click play above to stream ‘Burn Out’ from The Company Corvette’s Never Enough. Album is out Aug. 5 on The Company Records.]
The Company Corvette don’t quite reinvent themselves on their third album, but they wind up pretty close to it by the time they’re done. It was five years ago that the trio of bassist/vocalist Ross Pritchett, guitarist Alexei Korolev and drummer Peter Hurd released their second album, End of the Summers (review here), and at the risk of being honest, it didn’t do it for me. I had seen the band live by then and found them engaging enough, but the record didn’t have the same effect. For the seven-track/38-minute Never Enough, the three-piece hit Gradwell House in New Jersey to work with engineer/mixer Matt Weber, and the resulting material, from the farty bass wah on “Devilwitch” to the spaced-out multi-layered solos of the ultra-stonerized “Burn Out,” showcase a fully developed sonic persona.
At times abrasive, The Company Corvette almost bring to mind a thicker-grooving take on Acid Bath‘s underlying sludge fuckall, and whether they’re messing with faster tempos on “The Stuff” or dug into all-out “Snowblind” nod on opener “Foot in Mouth,” they keep a sense of attitude central to the proceedings, Pritchett‘s vocals moving into harsher territory but even when clean holding onto a (purposefully) dazed drawl, calling to mind Thurston Moore at the start of closer “Pigeon.” Released once again through the band’s own The Company Records, Never Enough realizes the potential their earlier work showed and brings it to life with a sense of grunged-up heft that becomes its defining element. They’re an act who has clearly put work into sounding like they couldn’t give a shit.
To look at it on the surface, I don’t suppose much has changed since End of the Summers. Sure, Never Enough is a little shorter at 38 minutes (as opposed to 42), but both records end with an extended track, The Company Corvette are still very much a riff-based band, and there’s a consistent sense of dark humor — one can see it in the willfully grotesque album cover by Drew Elliott as well — that runs a thread between both releases. The development, then, is deeper. It’s in the songwriting, in the presentation, in the production and in the attitude, and all of these things come together to make Never Enough stronger from the rolling start of “Foot in Mouth” onward. They seem to wink at early Electric Wizard in “Devilwitch,” but it’s very much a wink, and hard to know if it’s influence or cynical parody — a question that makes the listening experience even more satisfying.
Either way, that added sense of misanthropic stoner-sludge informs the perspective of the tracks around it, and enhances the tuned-in-dropped-out atmosphere of the record as a whole. Feedback helps, of course. “Sick” starts off with a solo layered over its central riff and is somewhat shorter but rawer and more upfront in its groove, Hurd‘s kick drum punctuating as the solid foundation of an almost hypnotic sway, that solo returning after what may or may not be the chorus as Pritchett delivers indecipherable lines about who knows what in a blown-out drawl that’s no less suited to the faster thrust of “Sick” than to the slowed-down plod of album-centerpiece “Stomach,” which follows in garage doom fashion and nods its way through one of Never Enough‘s most memorable hooks across a five-minute duration.
In some ways, “Burn Out” might be thought of as a continuation of some of the same impulses as “Stomach” for its tempo and general crunchiness, but in addition to being longer at 6:38, “Burn Out” also toys more with dynamics, playing back and forth with verses and jams throughout, Pritchett‘s bass playing more of a role in holding together the groove as Korolev spaces out the guitar, adding semi-psych flourish to the proceedings in a manner both classic and weedian. The solo section that comes apart over the bassline at the end and leads directly into the quicker-swinging “The Stuff” in particular is not to be missed. And “The Stuff” is well placed too as the penultimate cut. Between “Burn Out” and “Pigeon,” it’s the shortest track on the record and keeps momentum forward where it might otherwise be too easy to get lost — more evidence for how the band has grown since their last time out.
Breaking at its halfway point, it chugs out a slowdown that serves as a bed for Korolev‘s lead and finishes in feedback and fading hum to let the languid fluidity of “Pigeon” close Never Enough by essentially summarizing what has worked about the record all along, loose vibe, easy flow, for-the-converted groove and all. It’s not a flashy finish in the sense of some grandiose payoff for everything that’s come before it, but they ride out the last riff effectively (with soloing) and in that represent well the barebones, dudes-in-a-room feel conjured so effectively on the prior tracks. As to what The Company Corvette might do next, with five years between records and obviously a fair amount of progression done in that time, I wouldn’t speculate whether Never Enough is the start of a surge of activity or an intermittent check-in, but stylistic leap they’ve made in these tracks should not be understated.
Posted in Whathaveyou on June 7th, 2016 by H.P. Taskmaster
Philly trio The Company Corvette are confirmed to take part in Psycho Las Vegas this August, and seemingly in conjunction with that, the band will release their third album, Never Enough, through their own The Company Records imprint on Aug. 5. The full-length was tracked at Gradwell House in NJ with Matt Weber and though they’ve already started writing for the follow-up — you might say they’re living up to the album’s title — the first audio from Never Enough has been posted in the form of the track “Devilwitch,” which you can stream below.
Copious info and background comes off the PR wire:
THE COMPANY CORVETTE: Philly Psychedelic Doom Trio To Release Third LP, Never Enough; Band Confirmed For Psycho Las Vegas
Philadelphia-based THE COMPANY CORVETTE has completed their third full-length recording, Never Enough, with the final details being put in place for an independent, late Summer release, in conjunction with the band’s performance at Psycho Las Vegas and more.
Remaining true to their heavy riff-laden, psychedelically inclined, occasionally laid back, mostly loud, stoner rock-gone-metal-and-back stylistics, THE COMPANY CORVETTE has been fine-tuning and intensifying their sound, reaching towards new levels of sonic honesty that they are drawn to. While the band likes to think of their two earlier releases as “glorified demos,” the new album is a huge step forward for the band in virtually every department.
THE COMPANY CORVETTE’s new LP, Never Enough contains seven songs recorded at Gradwell House Recording in New Jersey with Matt Weber at helm, and mastered by Brad Boatright at Audiosiege (Sleep, Yob, Corrosion Of Conformity) in Oregon. The album features cover artwork by the excellent Drew Elliott (Sunn O)), Amorphis, Rwake, Necrophagia), which captures the imagery within the track Devilwitch and takes band’s visual presentation to new heights. Soon after the recording of Never Enough, Zach Price joined the co-founders, guitarist Alexei Korolev and bassist/vocalist Ross Pritchett taking over the drum duties. Once again releasing the album on their own, as with their prior two records, the trio is feeling super focused and prolific, already demoing a new batch of tunes and looking for opportunities to get out of town.
THE COMPANY CORVETTE will independently release Never Enough on cassette and digital on August 5th, to be followed by a vinyl pressing approximately a month after, all through their own imprint, The Company Records. Stand by for audio samples and more on the album to be issued in the coming weeks.
Never Enough Track Listing: 1. Foot In Mouth 2. Devilwitch 3. Sick 4. Stomach 5. Burn Out 6. The Stuff 7. Pigeon
The release of Never Enough is set in conjunction with THE COMPANY CORVETTE’s performance at Psycho Las Vegas 2016 with Alice Cooper, Electric Wizard, Blue Oyster Cult, Sleep, Boris, Converge, High On Fire, and tons more, the massive festival running from August 26th through 28th. Additional live actions from the band will be posted shortly.
THE COMPANY CORVETTE Live: 7/06/2016 The Acheron – Brooklyn, NY w/ La Otracina, Fox 45. 8/26-28/2016 Hard Rock Hotel & Casino – Las Vegas, NV @ Psycho Las Vegas
The Company Corvette: Alexei Korolev – guitars Ross Pritchett – bass, vocals Peter Hurd – drums
The first-ever The Obelisk All-Dayer is set for Aug. 20, 2016, at Saint Vitus Bar in Brooklyn, NY. So far the announced lineup includes Mars Red Sky for their first East Coast appearance, Snail for their first East Coast appearance, Ohio’s EYE supporting their new album, Funeral Horse for their first East Coast appearance and King Buffalo, who’ll be playing the last night of their release tour.
I’m proud and thrilled today to add Kings Destroy and Heavy Temple to the bill.
I can’t say enough about what each of these bands brings to the show, and I couldn’t be more stoked to have them involved. One thing I’ve been trying to do all along is build a genuine flow to the day that I think will make sense as one set leads to the next. It’ll make sense once the full running order is posted, but for the time being, let me just say that both these bands hold a special place in the lineup.
Here’s more on each:
There isn’t a band today I feel closer to than Brooklyn’s Kings Destroy. If you read this site at all, you probably already know that. I’ve been a nerd for these cats since their first 7″ and I’m fortunate today to consider them as friends and the bottom line is there’s just no way in hell I’d put on this show and not have them involved. They were out on tour earlier this year with Black Cobra, Lo-Pan and Bongzilla supporting their 2015 self-titled third album, for which they’ve already started writing the follow-up. They have a new 15-minute song that last I heard was about half done and they don’t know it yet, but I’m calling them out to play it at this show. The gauntlet is thrown down, gentlemen.
Oh my god, the new Heavy Temple is so good. Don’t get me wrong, I knew before I heard it that I wanted them on this bill — I’ve known it since Vultures of Volume last year, but the Philly trio have a new EP in the can and it’s absolutely stellar. They’ll open the show hopefully playing tracks from it and I expect by the time August comes around, there will be some official announcement as to the release, but even if you don’t know it yet, you’re in for a treat as they kick things off at The Obelisk All-Dayer. I shouldn’t have to tell you to get there early — looking like a 2:30PM start — but I will anyway, just to reinforce the importance of the issue. Get there early.
The Obelisk All-Dayer is Aug. 20, 2016, at Saint Vitus Bar in Brooklyn, New York, and will feature full sets, after-show DJs, food truck on-hand, live recordings, limited edition merch and much more. One more band to be announced in June, along with DJs and the running order.
With their new song and video, Philadelphia heavy post-rock duo Mose Giganticus begin an ambitious project intended, it seems, to basically put songs out as they’re written. They’re calling it a singles series, and their new video for the track “We are One” adds visual flourish and deeply creative lighting to the marching rhythm and atmospheric heft of the track, but I think what it rounds out to is the two-piece of Matt Garfield and Joe Smiley would rather go one or two cuts at a time at this point than put together an entire record. The arguments in favor are easy. Attention spans are short, production times are long, and for Mose Giganticus, whose last outing was 2010’s sophomore LP, Gift Horse, which was released via Relapse, maybe anything at all is better than nothing after six years. Fair enough.
The good news is that despite their time away, “We are One” finds Mose Giganticus indeed functioning as a cohesive unit, progressive in their intent and sounding as focused on songwriting as the titular declaration might lead a listener to believe. Of course, if they keep going with releasing one track after another, they might wind up with a full-length album anyway, but it should say something about their intentions going forward that they’re handling a return to activity — and they played shows periodically between Gift Horse and now — with such outwardly perceptible care, as opposed to storming back, saying they’re going to put together a record and then not doing it. One song at a time. It’s an almost gentle approach, which of course makes a fitting contrast to the melodic but still plenty heavy “We are One.”
You can check out the video below, followed by credits and more background.
Mose Giganticus, “We are One” official video
Announcing the release of our new video / single “We Are One.”
We’re thrilled to announce the release of our latest video single “We Are One”. This is the first release of our “Singles Series”. Rather than releasing an album every few years, we’ll be releasing new songs in the Singles Series in more frequent intervals. This allows us to work on new material as our inspiration strikes us and turn it around quickly.
Directed by Christopher Kayfield and Matt Garfield. Produced by Matt Garfield. Photography by Christopher Kayfield. Production Design by Matt Garfield and Christopher Kayfield. Lighting by Matt Garfield. Audio Recorded at Red Planet by Joe Smiley. Audio Mastered by James Plotkin.
Posted in Features on May 3rd, 2016 by H.P. Taskmaster
Philadelphia’s Crypt Sermon made one of last year’s most impressive debuts with Out of the Garden (review here), a full-length of driving and metallic substance that recalled a heyday before doom and metal could really be thought of as separate entities. To call it a “powerhouse” effort would not be overstating it, since the five-piece’s command ran so strongly through the material as to betray the album’s being a debut at all. The response it earned after its release on Dark Descent Records was suitably fervent for a group brazenly lending a sense of freshness to a traditional style that so often prides itself on being stale.
Comprised of vocalist Brooks Wilson, guitarists Steve Jansson and James Lipczynski, bassist Will Mellor and drummer Enrique Sagarnaga, the story of Crypt Sermon is really just at its beginning point. Prior to Out of the Garden, the band issued 2013’s Demo MMXIII (review here) to serve notice of their arrival and intent, but while their denim-and-leather, fist-pump-ready doom seems to have arrived fully matured, Out of the Garden tracks like “Into the Holy of Holies” and the classically chugging “Heavy Riders” signaled as well that Crypt Sermon have begun a creative progression that, one hopes, will continue to play out as they move forward.
They’re keeping busy in the interim, of course. Local shows in Philadelphia with luminaries of various repute — they recently opened for the Philly date of the Decibel tour with Abbath and High on Fire, among others — plus strategic slots at major fests as they spread the word about who they are and what they do. Maryland Deathfest is booked for later this month, and they’ll be at Psycho Las Vegas in August. This spring, they also participated in Metal Blade Records‘ Metal Massacre 14, hand-picked to do so by curator Alan Averill, frontman of Primordial.
The upshot is Crypt Sermon, in addition to having songwriting and performance on their side, are putting in work-smarter-type work to spread their darkened, sometimes extreme gospel. I had the chance recently to chat with Jansson about the band’s latest doings, and you’ll find that complete Q&A after the jump.
Posted in Whathaveyou on April 28th, 2016 by H.P. Taskmaster
Following a couple weekenders next month — including one alongside Brooklyn’s Tombs — and a gig in Baltimore with The Body and Krieg, Philadelphia blackened psychedelia purveyors Hivelords will head out in June for about a month solid of touring the East Coast and Midwest. They’ll do this partially in the company of Set and Setting and Choking, but also with a fair amount of solo shows on what seems like a considerable summertime slog through a region that, at that point, will be humid enough to no doubt inspire much buzzsaw tone and atmospheric murk.
They go supporting their 2015 full-length, Tapered Limbs of a Human Star, which was released last August by Anthropic Records. The PR wire brings dates, details, links and audio:
HIVELORDS announce spring/summer tour dates
Philadelphia psychedelic black metal band HIVELORDS announces new tour dates for spring and summer 2016. The tour, which starts on May 5th in York, Pennsylvania, sees HIVELORDS travel throughout the months of May, June and July before ending on July 3rd in Philadelphia. HIVELORDS will have direct support from SET & SETTING (Florida, Prosthetic Records) and CHOKING (Ohio). HIVELORDS will also be direct support for Brooklyn-based blackened heavyweights, TOMBS (Relapse). This is HIVELORDS fifth fully DIY North American tour.
A full list of confirmed tour dates and lineups can be found below.
HIVELORDS will be touring in support of their critically acclaimed album, Tapered Limbs of a Human Star. HIVELORDS full discography is streaming now at the Anthropic Records Bandcamp site.
HIVELORDS tour dates: *Hivelords only dates 5/5 York, PA –Skid Row Garage* 5/6 Utica, NY-Gordon’s Tap Room* 5/7 Binghamton, NY-Greasy Manor* 5/8 New Hope, PA-John & Peter’s* 5/13 Philadelphia, PA-Kung Fu Necktie w/ Tombs 5/14 Pittsburgh, PA-Roboto Project w/ Tombs 5/15 Detroit, MI-EL Club w/ Tombs 5/16 Chicago, IL-Chop Shop w/ Tombs 5/26 Baltimore, MD-Metro Gallery w/ The Body & Krieg 6/9 Lindenwold, NJ-The Sex Dungeon* 6/10 Allentown, PA-Alternative Gallery* 6/11 Pittsburgh, PA-The Smiling Moose* 6/12 Dayton, OH-Blind Bob’s w/ Choking 6/13 Cincinnati, OH-Junker’s Tavern w/ Choking 6/14-Indianaplos, IN-State Street Pub w/ Choking 6/15-Louisville, KY-Modern Cult Records w/ Choking 6/16-Nashville, TN-The East Room w/Choking 6/17-Birmingham, AL-TBA w/ Choking 6/18-Chattanooga, TN-JJ’s Bohemia w/ Choking 6/19-Atlanta, GA-The Earl w/ Set and Setting 6/20-Jacksonville, FL-Burro Bar w/ Set and Setting 6/21-Orlando, FL-The Space Station w/ Set and Setting 6/22-Miami, FL-Churchill’s Pub w/ Set and Setting 6/23-Tampa, FL-New World Brewery w/ Set and Setting 6/24-Savannah, GA-The Jinx w/ Set and Setting 6/25-Columbia, SC-New Brookland Tavern* 6/26-Wilmington, NC-TBA* 6/27-Charlotte, NC-The Station* 6/28-Raleigh, NC-Slim’s* 6/29-Richmond, VA-Strange Matter* 6/30-Harrisonburg, VA-Golden Pony* 7/1-Baltimore, MD-The Sidebar* 7/2-Egg Harbor City, NJ-Friendship Mountain* 7/3-Philadelphia, PA-Homecoming show at Kung Fu Necktie*
Posted in Whathaveyou on March 1st, 2016 by H.P. Taskmaster
It would seem Philly heavy psych rockers Ruby the Hatchet and I share an enduring affection for the artwork of Adam Burke. Also for reverb. The forthcoming vinyl pressing of their 2012 debut album, Ouroboros, would seem to offer plenty of both while also giving a glimpse to those who came on board after they signed to Tee Pee and released Valley of the Snake (review here) last year where they’re coming from. Not technically a reissue, since it’s the first vinyl pressing, but if you want to quibble semantics, do it up. The comment section is below. By all means, take me to task.
Kind of bothers me that I’ve yet to see this band live. Gotta see if I can work on that this year at some point.
The PR wire has news it would like to share:
RUBY THE HATCHET: Debut Album ‘Ouroboros’ to See Deluxe LP Release April 29
Psychedelic Philly Force’s First Full-Length Pressed to Physical Format
Philadelphia psych-metal band RUBY THE HATCHET will see its debut album, Ouroboros, issued on deluxe LP April 29 via RUR Records / Outer Battery. Recorded three years prior to the group’s celebrated Tee Pee Records debut, Valley of the Snake, the 2012 digital-only release — now presented for the first time on any physical format — offers insight into RUBY THE HATCHET’s formative years and blues-based hard rock sound. The limited edition colored vinyl LP is available to pre-order now at this location.
Ouroboros features RUBY THE HATCHET founding members Jillian Taylor (vocals), Johnny Scarps (guitar), Owen Stewart (drums) and Mike Parise (bass). The nine song release was recorded at Retro City Studios in Germantown, PA by audio-engineer Joe Boldizar with assistance from Barry Knob and Sean Hur. Now a full-time member, organist Hur makes his RTH debut here on the tracks “The Lean,” “Holy Father,” and “Good God Damn.” Released on the heels of the band’s self-titled debut EP and written mostly as a three-piece (Taylor, Scarps and Stewart), Ouroboros explores what would be the next realm for the band – playing with harmony, tone and overall style.
“It has been a long time coming and we are beyond excited that after four years our first album is getting a proper vinyl pressing,” comments Taylor. “Ouroboros holds a lot of nostalgia for us and is a fan favorite. This album shows our blues and classic rock beginnings and it is also where organ enters the soundscape, shaping our sound from this point on.”
Track listing: 1.) Taking Sides 2.) Black Tongue 3.) Can’t Get Him Away 4.) Strange Hold 5.) The Lean 6.) Holy Father 7.) Wicked Ones 8.) Nowhere 9.) Good God Damn
In addition to Jillian Taylor, RUBY THE HATCHET features Johnny Scarps (guitar), Lake Muir (bass), Owen Stewart (drums) and Sean Hur (organ).