Thunderbird Divine Announce Debut Album Title Magnasonic; Post “Madras Blue” Video

Posted in Whathaveyou on July 17th, 2018 by JJ Koczan

Tomorrow night, Philadelphia four-piece Thunderbird Divine take the stage at Arlene’s Grocery in Manhattan atop the bill for the latest installment of the Ode to Doom show series. The band is only just now announcing the title of their Salt of the Earth Records debut album will be Magnasonic and that it will be released in the coming months via Salt of the Earth Records. To lead the way into the record, Thunderbird Divine — who first made their presence known in Spring 2017 and confirmed the album being through Salt of the Earth earlier this year — have a new video.

Does the track come from the album? No. It doesn’t. Why not? I think because, at least in part, that would be predictable. You’d see that coming. A band who are about to put out their debut LP? Well of course they have a video, probably for the catchiest cut on the thing. Thunderbird Divine? Their video is for an off-album instrumental weirdo exploration piece called “Madras Blue,” because screw expectation. One can only hope the entire full-length is so willing to follow its own impulses.

And yeah, that means I haven’t heard it yet. Hopefully sooner than later. I watch my email like a hawk these days. Like the sleepiest motherfucking hawk you ever saw in your life.

But that’s a matter for a different discussion. Here’s the latest from Salt of the Earth, as well as the “Madras Blue” video, which is down at the bottom:

thunderbird divine in studio

Thunderbird Divine Reveals Debut Album Title “Magnasonic,” Releases Promotional Video for “Madras Blue”

Philly’s crew of psychedelic riffologists, Thunderbird Divine, has revealed the title of its first recording. Titled Magnasonic, meaning “great sounds” in Latin, the 30-plus-minute album will be released in both CD and digital download formats via Connecticut’s Salt of the Earth Records (https://www.saltoftheearthrecords.com/) in late Summer/early Fall.

“The rough mixes I’ve heard thus far are next-level,” says Scott Harrington, president of Salt of the Earth Records. “Nobody we know has a record like this. With Thunderbird Diviine’s Magnasonic, Salt of the Earth Records is going to have a landmark release. It’s heavy, it’s psychedelic, it’s layered… it’s really like nothing else out there right now.”

Produced by musician/songwriter LD Beghtol (Flare/Moth Wranglers/Magnetic Fields), the sounds on the upcoming release offer a different flavor from past projects made by this conglomeration of musicians. The quartet, which coalesced in March of 2017 from the remains of Wizard Eye (vocalist/guitarist Erik Caplan) and Skeleton Hands (drummer Mike Stuart, bassist Adam Scott and guitarist Flynn Lawrence), is open to experimentation.

“We all wanted to stretch out and try some different things with our first record,” Caplan says. “It’s not like we abandoned the idea of big riffs, but we went for some progressive moments and embraced the idea of embroidering the songs with textures you don’t tend to hear in heavy music. LD certainly encouraged and instigated this kind of behavior.”

For a band holding a straightforward stoner and riff-rock pedigree, the inclusion of varied textures like piano, sitar, pump organ, bouzouki, marxophone, mandolin, synths and choral voices may seem disparate, or, more damnably, weird for the sake of being weird.

“We were aware this album might be perceived as an attempt to do too much or cram a square peg into a round hole,” Caplan says. “I think the heart of this collection is a solid, heavy band playing good rock songs, and the additional instrumentation takes the music to a fully realized place with the textures the songs need to make them complete. When you’re a musician imagining a piano in one of your songs, for example, it makes sense to get that piano part into the recording of that song if at all possible. The recording will be around forever.”

In keeping with the band’s promise to offer fresh, non-album tracks with promotional videos, Thunderbird Divine’s newest video track, “Madras Blue,” is a trippy intergalactic foray into a realm of swirling electric sitars, pulsing beats and staggered drones. The self-recorded song was set to video by drummer/percussionist Stuart.

“The narrative here follows the story we set in motion with ‘Quaalude Thunder,'” Stuart explains. “There was an arrival in the first video. Now there’s a celebration of that arrival and a birth. We can’t wait to continue telling this tale.”

Check out Thunderbird Divine at New York’s Ode to Doom at Arlene’s Grocery July 18: https://www.facebook.com/events/138916263419072/

https://www.facebook.com/thunderbirddivine
https://www.instagram.com/thunderbird_divine/
https://www.facebook.com/SaltOfTheEarthRec/
www.SaltOfTheEarthRecords.com

Thunderbird Divine, “Madras Blue” official video

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The Age of Truth Release Threshold LP June 29; Preorders up Now

Posted in Whathaveyou on June 1st, 2018 by JJ Koczan

the age of truth photo useless rebel

Okay, so the news here is that Philly noise rockers The Age of Truth are getting ready to issue their debut album, Threshold (review here) on vinyl through Kozmik Artifactz at the end of this month. Preorders are up now. Bitchin’. Congrats to the band; nice pick for the label. Everyone wins.

Take a look though at the PR wire info below, and specifically I’d like to draw your eye to The Age of Truth‘s upcoming live dates. Yeah. Pretty sick. They’re doing the Chicago Doomed and Stoned fest, and Maryland Doom Fest 2018, and club shows besides with the likes of Heavy TempleBackwoods PaybackWasted Theory and Witchkiss. Some good-ass shows in there, and especially if you can’t make it to either of the noted festivals, might be one you want to keep in mind. The merch table’s always a good place to pick up a record anyhow.

Info follows in abundance:

the age of truth threshold

THE AGE OF TRUTH debut full-length ‘Threshold’ set for first press vinyl to be released with Kozmik Artifactz on June 29th

The Age Of Truth is four brothers-in-arms from Philadelphia, united in the singular pursuit of creating genuine heaviness for an honestly broken world. Our lives are bathed in twisted deception and they unravel it with a scouring purity. With a fully stocked riff arsenal wrapped in tones of Satanic honey, The Age Of Truth blends fuzz and diesel into heavy psych blues and stoner rock. The perfect soundtrack for a barroom brawl ignited from a single lie.

Their debut album Threshold was released November 1, 2017, and dominated for multiple months within the DoomCharts, as well as ranking #8 of the ‘Top 20 Albums of 2017’ at MoreFuzz.net. The Philly quartet has steadily built a reputation among the heavy underground music world with their superb debut, and will confirm their standing with upcoming appearances at the first Chicago Doomed & Stoned Fest, as well as the fourth edition of The Maryland Doom Fest.

Now for the first time, Kozmik Artifactz will bring this phenomenal slab of stoner rock to wax, with an exclusive vinyl release this June 29th. Plated and pressed on high performance vinyl at Pallas/Germany; with a limited and colored vinyl, 300gsm gatefold cover, and special vinyl mastering. A reissued CD format will also be available.

Pre-orders will begin June 1st at Kozmik-Artifactz.com

The Age Of Truth on Kozmik Artifactz: http://kozmik-artifactz.com/artist/the-age-of-truth/

HE AGE OF TRUTH is:

Kevin McNamara: Vocals
Mike DiDonato: Guitar
Scott Frassetto: Drums
William Miller: Bass

In addition to the upcoming vinyl press, Threshold is available now on CD, digital download, and full-stream via The Age Of Truth Bandcamp page, as well as Spotify, iTunes, Amazon, and regular internet radio rotation on Pandora.

The debut album was self-produced by The Age Of Truth and published by Hammerhead Music. Recording, engineering, and mixing was done by Joseph Boldizar at Retro City Studios in Philadelphia, PA; mastering by Carl Saff at Saff Mastering in Chicago, IL; album design and artwork by Michele Fitzgerald; and art direction by Damien Rizzello and The CHAOS Custom.

Threshold – Track List:
Host (Demon In Me)
Come Back A God
Supernatural Salesman
Holding Hands Like Thieves
Caroline
Oceanbones
Hígado de Hierro (interlude)
Threshold
Honeypot (Bonus Track)

Upcoming Live Dates:
Jun 1 – Chicago IL @ Reggie’s – Chicago Doomed & Stoned Festival
Jun 6 – Wilmington DE @ Oddity Bar
Jun 21 – Philadelphia PA @ Kung Fu Necktie (w/The Stone Eye, Transit Method, Rollin’ Loaded)
Jun 23 – Frederick MD @ Cafe 611 – THE MARYLAND DOOM FEST
Jul 6 – Wilmington DE @ Oddity (w/Kingsnake, Wasted Theory, Blood Law)
Jul 20 – Swarthmore PA @ War3house (w/The Electric Mud)
Jul 21 – Philadelphia PA @ Mestosis Room (w/Kingsnake, Temet Nosce, Mesmeria, Strange Aeons)
Jul 23 – Monclair NJ @ Meatlocker (w/Backwoods Payback, Witchkiss)
Aug 3 – West Chester PA @ Sprout Music Collective (w/Heavy Temple, Backwoods Payback)

http://www.theageoftruth.net
https://theageoftruth.bandcamp.com/
http://www.facebook.com/theageoftruth
https://www.instagram.com/theageoftruth/
http://www.twitter.com/theageoftruth
http://www.reverbnation.com/theageoftruth

The Age of Truth, Threshold (2017/2018)

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Thunderbird Divine Sign to Salt of the Earth Records; Premiere Video for “Quaalude Thunder”

Posted in Whathaveyou on May 7th, 2018 by JJ Koczan

First discussed here last May, Philadelphia four-piece Thunderbird Divine have signed on to release their debut album through Salt of the Earth Records. Inking the deal makes them labelmates to the likes of EarthrideScissorfight and Atala, though if their first public audio in the track “Quaalude Thunder” premiering in the video at the bottom of this post is anything to go by, they’re way dug into their own wavelength. All the better for the group, which features guitarist/vocalist/thereminist Erik Caplan, formerly of Wizard Eye and guitarist Flynn Lawrence, bassist Adam Scott and drummer Mike Stuart, all of whom used to play in Skeleton Hands.

I’d doubt “Quaalude Thunder” speaks for the whole of Thunderbird Divine‘s aesthetic, but it’s a pretty engaging introductory sampling, and one hopes it’s not too long before they dole out a follow-up ahead of the yet-untitled first long-player.

Salt of the Earth made the signing official by sending over the following announcement. Stoked on this one. Expect more to come:

Thunderbird Divine (Photo by Dante Torrieri)

Thunderbird Divine Signs With Salt of the Earth Records for First Album, Releases Exclusive Video Track

Colchester, Connecticut-based label, Salt of the Earth Records, has inked a contract with Philadelphia’s Thunderbird Divine for its first, as-yet unnamed album due late Summer 2018. The band, comprising former members of the now-defunct bands Skeleton Hands and Wizard Eye, formed in March 2017 and is presently wrapping up the recording process.

“I couldn’t be more psyched, nor could I be prouder to be able to announce the signing of Thunderbird Divine to Salt Of The Earth Records,” says label president, Scott Harrington. “These guys are doing something truly interesting, different and exciting–make no mistake, this is definitely a heavy record, but there are complex elements of psychedelia and weird, wild textures mixed with classic riffing. This thing has class, style and balls. That’s a rare combination.”

Thunderbird Divine, featuring guitarist/vocalist Erik Caplan, bassist Adam Scott, drummer Mike Stuart and guitarist Flynn Lawrence, is extremely pleased to be working with Salt of the Earth Records as well, a label featuring releases from the likes of Scissorfight, Atala and Earthride.

“I knew Scott very well from his work with my last project, and he did some wonderful stuff for that band,” says Caplan. “I have always considered him to be a solid, stand-up guy who shoots straight and makes things happen, and we’re proud to join the Salt of the Earth Records roster of talented, creative artists who feel the same way about Scott and his work ethic. We’re in good company.”

The band has been recording in both New York and Philadelphia, at TedAudio with Ted Richardson and Mother West with Charles Newman, respectively. The foursome also chose to work with a producer for its first release, landing Caplan’s longtime friend, composer/multi-instrumentalist/artist/producer LD Beghtol. Beghtol, known for his solo music as well as work with Flare, Magnetic Fields and various other ventures, is not the typical choice as producer for music on the heavier side of the music spectrum.

“I’ve known LD for 20 years or so, and he’s a great friend as well as a ridiculously talented person,” says Caplan. “He’s always been an excellent touchstone and confidante for me, and I knew he would bring a fresh mindset to our sound. I think it would have been easy to approach one of the usual sludge or stoner/doom producers with our music, and I think the result would have been a really strong but typical album. Working with LD has really expanded our horizons and made this into something extraordinary.”

Thunderbird Divine has also created a series of advance self-produced non-album tracks with video treatments to herald this release. The first of these, an instrumental called “Quaalude Thunder,” is a tongue-in-cheek reference to the way the late, great Frank Zappa described self-indulgent drumming.

“We have the capability to create our own recordings and make our own videos, so we wanted to offer some appetizers before we served up the main course,” says Stuart. “Every one of these tracks is a short teaser related to something you’ll hear on the album–variations on themes we’ve explored. ‘Quaalude Thunder’ certainly could have been a section of an album track, but we decided to give it a home of its own as an advance video track. The videos offer glimpses into the kinds of things we embrace as visual inspiration. Expect more as we get closer to the release date for the album.”

Photo credit: Dante Torrieri
(l-r) Erik Caplan, Flynn Lawrence, Adam Scott, Mike Stuart

www.facebook.com/thunderbirddivine
https://www.instagram.com/thunderbird_divine/
www.facebook.com/SaltOfTheEarthRec

Thunderbird Divine, “Quaalude Thunder” official video premiere

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Quarterly Review: The Atlas Moth, Across Tundras, The Wizards of Delight, Against the Grain, Our Solar System, Dommengang, Boss Keloid, Holy Smoke, Sabel, Blackwater Prophet

Posted in Reviews on April 4th, 2018 by JJ Koczan

Quarterly-Review-Spring-2018

This is a crucial moment in any Quarterly Review. Today we hit the halfway point one way or the other. I still haven’t decided if this will be a 50- or 60-album edition; kind of playing it by ear, but either way, today’s a landmark in my mind in terms of how far to go vs. how far we’ve come. Uphill vs. downhill to some extent, but I don’t want to give the impression that I’m either half-assing it from here on out or that I don’t enjoy the challenge of reviewing 10 records in a day, one after the next, for (at least) five days in a row. I’ve always been a glutton for a bit of self-flagellation. Ha.

Alright, let’s dive in.

Quarterly Review #21-30:

The Atlas Moth, Coma Noir

the atlas moth coma noir

If one still wants to consider Chicago’s The Atlas Moth post-metal after hearing Coma Noir, at least do them the courtesy of emphasizing the “metal” part of that equation. For their debut on Prosthetic Records and fourth full-length overall, the five-piece worked with producer Sanford Parker to solidify a progressive metal sound that, whether in the harsh and weighted impact of the opening title-track or the later interplay between guitarists Stavros Giannopoulos and David Kush on screams and cleaner vocals in “Furious Gold,” seems to take cues from groups like a less manic Strapping Young Lad and a less watered-down Mastodon more than Isis or Neurosis. With prominent synth from Andrew Ragin (also guitar), and the solid roll from the rhythm section of bassist Alex Klein and drummer Mike Miczek, the band brings revitalized edge to “The Streets of Bombay,” and even on the slower, more atmospheric closer “Chloroform,” they’ve never sounded more lethal. It suits them.

The Atlas Moth on Thee Facebooks

Prosthetic Records webstore

 

Across Tundras, Tumbleweeds III

across tundras tumbleweeds iii

A collection of odds and ends from Across Tundras, the 10-track/52-minute Tumbleweeds III may or may not sate anyone hoping for a follow-up to 2013’s Electric Relics (review here), but it provides some curio fodder along the way to be sure, from raw opener “Final Breath over Venom Falls” to the acoustic-percussion jam “Bullet in the Butt” to the fuller roll of “Cold Ride” and later demos for “Spinning Through the Cosmic Dust,” “Hijo del Desierto,” “Stone Crazy Horse” and “The Stacked Plain,” which later became “Seasick Serenade” on Electric Relics, it’s at very least something for fans to dig into and a fascinating listen, as Across Tundras’ rambling sound is almost eerily suited to a home-recording vibe, as the “Stone Crazy Horse” demo, featuring vocalist Shannon Allie-Murphy along with frontman Tanner Olson, sounds all the more folksome as a result of its lack of production polish. Closing with Bob Dylan’s “The Ballad of Hollis Brown,” then, could hardly be more appropriate. Still waiting for a proper long-player to surface, but happy at this point to take what comes.

Across Tundras on Thee Facebooks

Across Tundras on Bandcamp

 

The Wizards of Delight, The Wizards of Delight

the wizards of delight the wizards of delight

Like a chicanery-laced dusty vinyl with a naked lady on the cover, The Wizards of Delight emerge from the London underground to solidly declare “We’ve got the rock ‘n’ rollz.” And yes, they spell it with a ‘z.’ The presence of frontman Andreas “Mazzereth” Maslen will be familiar to anyone who ever even briefly encountered Groan – dude makes an impression, to be sure – and the four tracks he and the surrounding five-piece of guitarists/backing vocalists Dan Green’s Myth and Lenny Ray, bassist/backing vocalist Eponymous, organist/backing vocalist Henry and drummer Reece bring is both funky and classically heavy, “Gypsy” referencing Dio Sabbath in the first line while “Mountain Woman” brings a heavy ‘70s shuffle to answer the way-un-P.C. “Shogun Messiah,” which seems to be working under the thesis that because it sounds like it’s from 40 years ago, they can get away with it. I’ll give them that the track is, to an unfortunate degree, catchy. As to the rest, give me the groove of “We Got the Rock ‘n’ Rollz” any day. It’s been a while since anyone so brazenly interpreted Mk. II Deep Purple and actually pulled it off.

The Wizards of Delight on Thee Facebooks

APF Records website

 

Against the Grain, Cheated Death

against the grain cheated death

Hard-touring Detroit heavy rockers Against the Grain are known for speed, and rightly so. When they burst into high gear, as on “Sacrifice,” “No Sleep,” “Last Chance,” “Rolling Stone,” “Enough’s Not Enough,” and “Jaded and Faded” from their latest offering and Ripple Music debut, Cheated Death. The follow-up to 2015’s Road Warriors (review here) sees them no less infectious in their live energy, but it’s hard to ignore the more versatile approach that seems to be growing in their sound, from the classic rocking “Smoke” to the near-centerpiece “Devils and Angels” which ballads-out its boozy regrets before entering into an effective mid-paced build that rounds out in choice dual-soloing. Likewise, though they open at a good clip with the title-track, closer “Into the Light” finds a middle ground between thrust and groove. The truth is Against the Grain have never been just about speed, but they’ve never so directly benefited from a dynamic approach as they do on Cheated Death either.

Against the Grain on Thee Facebooks

Ripple Music on Bandcamp

 

Our Solar System, Origins

our solar system origins

Immediate kudos to Stockholm-based psychedelic progressive explorers Our Solar System – aka Vårt Solsystem – for opening their third full-length for Beyond Beyond is Beyond, the five-track/41-minute Origins, with the side-consuming 21-minute “Vulkanen.” One could hardly ask for more effective immersion in the band’s world of patiently unfurled, languid psychedelia, and with the accompaniment of “Babalon Rising,” the jazz-prog tracklist centerpiece “En Bit Av Det Tredje Klotet,” the birdsong-laced “Naturligt Samspel” and the semi-freaked-out melodic wash of “Monte Verita” on side B, a full, rich, and mind-expanding cosmos is engaged, free of restriction even as it remains thoroughly lysergic, and adherent to no structural will so much as the will to adventure into the unknown, to find out where one progression leads. As regards the long- and short-form material on Origins, it leads far, far out, and if you don’t come out the other side wanting to own everything the band has ever released, you’re decidedly in the wrong.

Our Solar System on Thee Facebooks

Beyond Beyond is Beyond website

 

Dommengang, Love Jail

dommengang love jail

Once calling Brooklyn Home, Los Angeles trio Dommengang waste no time in getting down to the business of boogie on their second album for Thrill Jockey, Love Jail. Produced by Tim Green (The Fucking Champs), the 10-track/50-minute long-player has all the room for organ/guitar mashups, righteous West Coast vibes and easy-flowing classic heavy rock one could hope for, and in the opening salvo of “Pastel City,” “Lovely Place” and “Lone Pine,” the three-piece of guitarist Dan “Sig” Wilson, bassist Brian Markham, and drummer Adam Bulgasem reaffirm mellow bluesiness as well on the title-track and dig into ‘90s-style alt bliss on the penultimate “Color out of Space.” There’s a welcoming air throughout that holds steady regardless of tempo, and in heavier moments like the second half of “I’m out Mine,” the band resonates with fuzz and noisy elements that bring just enough danger to the proceedings to keep the listener riveted. Classy, but not too classy, in other words.

Dommengang on Thee Facebooks

Thrill Jockey Records website

 

Boss Keloid, Melted on the Inch

boss keloid melted on the inch

It would seem that Wigan, UK, outfit Boss Keloid — newly signed to Holy Roar Records for the release of their third LP, Melted on the Inch – internalized a few crucial lessons from their sophomore outing, 2016’s Herb Your Enthusiasm (review here). At six tracks and 40 minutes, Melted on the Inch is about 20 minutes shorter than its predecessor. Its title isn’t a weed pun. Its cover art conveys a work of dimensionality, and most importantly, the album itself turns to be precisely that. Taking a significant step toward a more progressive sound, Boss Keloid maintain the heft of their prior outing but base it around material that, frankly, is more complex and dynamic. I won’t say that “Tarku Shavel” and “Lokannok” are without their elements of self-indulgence, but neither should they be for the five-piece to do justice to the multifaceted nature of their purpose. They still roar when they want to, but Boss Keloid strike with breadth on Melted on the Inch as well as sheer impact.

Boss Keloid on Thee Facebooks

Holy Roar Records website

 

Holy Smoke, Pipe Dream

holy smoke pipe dream

After forming in 2015, Philadelphia’s exclamatory Holy Smoke! issued their first three-track release, It’s a Demo! (review here) the next year and showed marked stylistic promise in cuts like “Rinse and Repeat” and “Blue Dreams.” Both of those tracks, as it happens, stand at the opening of the band’s latest EP, the five-song Pipe Dream, and reaffirm the potential in the group. The opener (also the longest track once again; immediate points) is a tale of workaday redundancy, the very sort of monotony that the rest of the offering seems to leave behind in favor of post-grunge heavy rock, marked by the wah-bass on finale “Asch Backwards” and the brooding sensibility of the prior “Golden Retriever,” which surges in its midsection like a lost Alice in Chains demo only to end quiet once again, a departure from the linearity of centerpiece “Missing the Mark” just before. Less psychedelic than their initial impression conveyed, they seem to have undertaken the work of crafting their own sonic niche in Philly’s increasingly crowded scene, and there’s nothing on Pipe Dream to make one think it’s not a realistic possibility they’ll get there.

Holy Smoke on Thee Facebooks

Holy Smoke on Bandcamp

 

Sabel, Re-Generation

sabel re-generation

Sabel know what they want to be and then are that thing. Their third album, Re-Generation, arrives via Oak Island Records as six tracks of to-the-converted stonerism, and from opener/longest track (immediate points) “In the Walls of Eryx,” the Swedish trio do little more than ask their listeners to smell the smoke emanating from their speaker cabinets (oddly sweet), and hone walls of fuzz that each seem to be bigger than the last. There are some elements of earliest Electric Wizard at play in “Atlantean” or the sneering “Voodoo Woman,” but belters like “Interstellar Minddweller” and “Green Priestess” stave off their sounding overly derivative, and though at the end of Re-Generation’s 42-minute run, one might feel as though they need a shower, the record itself proves well worth the dive into the muck. The band would seem to have carved their own descriptor with the title of their self-released 2015 LP, Hard Doom, and that’s as good as anything I could come up with, so let’s roll with it. They seem to.

Sabel on Thee Facebooks

Oak Island Records on Thee Facebooks

 

Blackwater Prophet, As I Watch it Freeze

blackwater prophet as i watch it freeze

Cheers to Christian Peters of Samsara Blues Experiment for putting me onto Spokane, Washington’s Blackwater Prophet, who with the seven-track As I Watch it Freeze collect various tracks recorded between 2015 and 2017. Thus something of a compilation, the 40-minute outing wants nothing for overarching flow, “In My Passing Time” leading off with a mellow psych-blues spirit that only grows more classic-feeling through “House of Stone” and the gorgeously pastoral “The Swamp.” The band have two proper full-lengths out, and if they wanted to count As I Watch it Freeze as their third, I don’t think they’d find much argument, as centerpiece “Gold in the Palm” opens like a gateway leading to the increasingly resonant “Careworn Crow,” the fuzzy swing of “Eating the Sun” and finally, the title-track itself, which answers the acoustics of “The Swamp” earlier while adding flourish of volume-swelling and swirling electric guitar and late choral vocals that only make the proceedings seem all the more complete in their engagement.

Blackwater Prophet on Thee Facebooks

Blackwater Prophet on Bandcamp

 

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High Reeper Announce European Tour Dates

Posted in Whathaveyou on March 29th, 2018 by JJ Koczan

When Philly heavy rockers High Reeper were announced for a slot at Desertfest Berlin last week, I speculated that European tour dates were forthcoming because they’d previously been confirmed for Tube Cult Fest in Italy. Sure enough, a couple hours later, the dates showed up from the PR wire in a newsletter from the band’s label, Heavy Psych Sounds. Does this make me psychic? Nope. Does it even make me a reasonably thoughtful individual, putting two and two together on the notion that the band probably wouldn’t fly internationally for two shows on concurrent weekends?

Nah. Mostly it makes me forgetful, because when High Reeper posted their video for “Die Slow,” they said Euro dates were in the works. So there’s my big brain. Good thing I saw that in the older post though; I almost had a second there of self-congratulation. Obviously we can’t have that. Ever. Also, my pants don’t fit.

Oh look, I made myself sad. Better cut my losses and head to the PR wire. Let’s do this thing:

high reeper tour

Formed in 2016, High Reeper is made up of Zach Thomas, Napz Mosley, Andrew Price, Pat Daly and Shane Trimble. Originally started as just a studio band, it rapidly became apparent that these songs were meant to be heard live and loud. The band made their debut in the Philly/DE stoner rock scene in early 2017 with success which was followed up by the recording of their self-titled debut in May. With a sound deeply rooted in modern stoner rock while still giving a nod to the earliest Sabbath records, High Reeper’s first offering is driven by pounding rhythms, thick guitars and soaring, screeching vocals.

The band has signed with Heavy Psych Sounds Records and released the self-titled debut album in march 2018. The sound of the record is running from uptempo straight ahead rock, to slowed down, heavy, early doom. With a rhythm section throwing down grooves that are deeper than the darkest abyss and guitars big enough to put a hole in your chest.
High Reeper is meant to be played loud and to be played often!!!

***HIGH REEPER EUROPEAN TOUR 2018***
26.04.2018 IT Roma-Let It Beer
27.04.2018 IT Pescara-Tube Cult Fest
28.04.2018 IT Castelfidardo-On Stage
29.04.2018 IT Castelnuovo del Garda-Secret Show
30.04.2018 IT Zerobranco-Altroquando
01.05.2018 IT Livorno-Secret Show
02.05.2018 IT Torino-Blah Blah
03.05.2018 CH Olten-Coq D’Or
04.05.2018 CH Kreuzlingen-Horst
05.05.2018 DE Berlin-Desertfest
07.05.2018 DE Leipzig-Black Label
08.05.2018 DE Dresden-Chemo w/ Alunha
09.05.2018 DE Erfurt-Tiko
10.05.2018 DE Chemnitz-Zukunft
11.05.2018 DE Mannheim-7er
12.05.2018 DE Frankfurt-Dkk
13.05.2018 looking for show****
14.05.2018 AT Graz
15.05.2018 AT Salzburg-Rockhouse
16.05.2018 CH Basel-Hirschneck
17.05.2018 looking for show****
18.05.2018 IT Parma-Titty Twister
19.05.2018 IT Toscana TBA

HIGH REEPER are:
Shane Trimble-bass
Zach Thomas-vocals
Pat Daly-guitar
Andrew Price-guitar
Napz Mosley-drums

https://www.facebook.com/HIGHREEPER/
https://highreeper.bandcamp.com/
https://www.facebook.com/HEAVYPSYCHSOUNDS/
http://www.heavypsychsounds.com/
https://heavypsychsoundsrecords.bandcamp.com/

High Reeper, “Chrome Hammer” official video

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Ruby the Hatchet Announce April Tour Dates with Youngblood Supercult, Windhand and Heavy Temple

Posted in Whathaveyou on March 14th, 2018 by JJ Koczan

If this was a package tour, you’d shit a brick, right? Imagine all four of those bands on the same bill. That’s not how this one’s playing out. It’s Ruby the Hatchet — otherwise known as Philadelphia’s chief heavy psychedelic export; it’s them or Ecstatic Vision, take your pick — starting out with Youngblood Supercult for a few days in the Midwest,then picking up with Windhand on the West Coast, and then meeting fellow Philly natives Heavy Temple for a run through the South after putting in an appearance at Levitation Fest in Austin, TX. Still pretty awesome when it comes right down to it, even if it might be a different kind of deal than what you thought of at first glance at the headline. I did the same thing. So it goes.

Ruby the Hatchet are still out in support of last year’s excellent Planetary Space Child (review here), which is a better cause than most when it comes to reasons to hit the road. Shows start April 13, as the PR wire tells us:

ruby the hatchet tour poster

Ruby the Hatchet Announces U.S. Tour Dates

Philly Heavy Psych Band Set to Hit the Road in Support of New Album ‘Planetary Space Child’; Showcase at Austin’s Levitation Fest

Philadelphia psych rock quintet Ruby the Hatchet has announced U.S. headlining tour dates in support of its celebrated new album Planetary Space Child. Fresh off U.S. dates alongside Pallbearer, Ruby the Hatchet will launch the tour on April 13 in Canton, OH. The spring trek will include support from Youngblood Supercult and Heavy Temple and also see Ruby the Hatchet’s perform as part of Austin’s acclaimed Levitation Festival on April 26. From April 19-23, Ruby the Hatchet will play west coast live dates supporting Windhand.

Ruby the Hatchet tour dates:

w/ Youngblood Supercult
April 13 Canton, OH Buzzbin
April 14 Chicago, IL Reggie’s
April 15 Kansas City, MO Riot Room
April 16 Denver, CO Streets Of London

w/ Windhand
April 19 Seattle, WA Neumos
April 20 Portland, OR Stump Fest
April 21 Sacramento, CA Blue Lamp (* no Windhand)
April 22 San Francisco, CA Slim’s
April 23 Los Angeles, CA Roxy
April 26 Austin, TX Barracuda (as part of Levitation Festival w/ Dead Meadow, etc.)

w/ Heavy Temple
April 28 Houston, TX Satellite Bar
April 29 Little Rock, AR Vino’s
April 30 Nashville, TN The End
May 1 Atlanta, GA The Earl
May 2 Raleigh, NC The Pour House
May 3 Richmond, VA Champion

RUBY THE HATCHET features vocalist Jillian Taylor, guitarist Johnny Scarps, bassist Lake Muir, drummer Owen Stewart and organist Sean Hur. Find the band online at RubytheHatchet.com.

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Ruby the Hatchet, “Planetary Space Child” official video

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Ecstatic Vision Covers EP Under the Influence out May 11

Posted in Whathaveyou on March 14th, 2018 by JJ Koczan

ecstatic vision

Almost precisely a month ago, Italian imprint Heavy Psych Sounds and Philadelphia’s Ecstatic Vision — who are arguably the City of Brotherly Love’s number one export in the style; it’s them or Ruby the Hatchet, take your pick — announced they were collaborating on a “project” of some sort. Now, aside from the basic guess that this meant a release was forthcoming of some kind, there was just about no hint given as to what that really meant. Now we know. It’s a covers EP. It’s being released in May. Preorders start tomorrow. Isn’t solving mysteries fun?

I can think of few things that make as much sense as Ecstatic Vision taking on Hawkwind‘s “Master of the Universe,” and they get pretty obscure with digging into ’70s era Zambian heavy psych — because of course they do — so it looks like a good time all the way around. Turns out it’s a pretty cool project. Go figure.

From the PR wire:

ecstatic vision under the influence

Philly cosmic freaks ECSTATIC VISION to unleash their new record “Under The Influence” this May on HPS Records.

Philadelphia cosmic freaks ECSTATIC VISION are back this spring with a unique collaboration with Heavy Psych Sounds Records. The band have announced the release of a mind-altering covers project entitled “Under The Influence” on May 11th.

ECSTATIC VISION unleash “Under The Influence”, a collection of six raw, fuzzy, psychedelic slabs of cosmic rock. “Under The Influence” sees the band covering tracks by some of their biggest influences: the primitive stoner doom sounds that came out of Zambia in the early/mid 70s that is known as Zam Rock, the godfathers of space rock Hawkwind and the early kings of Detroit rock’n’ roll MC5, all delivered with ECSTATIC VISION’s signature bone-crushing, blown-out in-all-the-right-ways recording style.

“Under The Influence” will be released as Limited Transparent Splatter Black/Red/Green vinyl, Black vinyl, CD and digital.

ECSTATIC VISION “Under The Influence”
Out May 11th on Heavy Psych Sounds Records
Pre-orders from March 15th

TRACK LISTING:
1. Troublemaker
2. The Bad Will Die
3. History Of Man
4. Born To Go
5. Master Of The Universe
6. Come Together

ECSTATIC VISION is
Doug Sabolik
Michael Field Connor
Kevin Nickles
Ricky Kulp

https://www.facebook.com/ecstaticvision
https://twitter.com/ecstaticvision_
https://www.instagram.com/ecstaticvision
https://www.facebook.com/HEAVYPSYCHSOUNDS/
http://www.heavypsychsounds.com/
https://heavypsychsoundsrecords.bandcamp.com/

Ecstatic Vision, Raw Rock Fury (2017)

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High Reeper Premiere “Chrome Hammer” Video

Posted in Bootleg Theater on February 14th, 2018 by JJ Koczan

high reeper

High Reeper mark their first release on Heavy Psych Sounds March 16. Their self-titled debut (review here) was given a sneaky self-release last year, but if you by any chance were feeling crazy and wanted to get a preview of what’s to come with the Heavy Psych Sounds version of the offering, it wouldn’t take anything more than checking out the five-piece’s previous video for “Die Slow” (posted here) and the one below for “Chrome Hammer,” because it just so happens that’s the one-two punch that starts off the album.

And a considerable punch it is. The Philly outfit made it clear with the record the first time around that they weren’t screwing around, and yeah, that very much continues to be the case. Even before they get to the drum-sol0-laden eponymous “High Reeper” or the later riff-worship of “Weed and Speed” and “Black Leather (Chose Us),” which would straddle the line between doom, classic metal and heavy rock were it not so busy using its legs to meter out the rhythmic stomp driving all of it, “Die Slow” and “Chrome Hammer” together set up the “Why’s it gotta be NWOBHM or thrash?” central question High Reeper is asking, backing up its argument with a firm reminder that, indeed, Black Sabbath still kicks everyone’s ass.

You can see their classic-minded aesthetic on display in the clip for “Chrome Hammer” below, which I’m thrilled to be able to premiere today. You’ll note the citrus hue of the amplification through which the guitars and bass come, and the occasional upside-down shot here and there as well. All good fun, and plenty of heavy boogie to go with it, so by all means, dive in.

Some comment from the band and PR wire info follows.

Please enjoy:

High Reeper, “Chrome Hammer” official video premiere

High Reeper on “Chrome Hammer”:

When we wrote Chrome Hammer we just had the title as the idea for the song and then we filled in the lyrics and music around the title. When we decided to make the video we wanted something that didn’t relate to the song in a literal way but still captured the idea and then feeling of not just the song but also the band. We gave the director (Dan Dome) free reign to do whatever he wanted and we feel like he fucking nailed it.

High Reeper’s self titled debut is an unapologetic punch to the face for fans of early ‘70s proto-metal. The sound and smell of leather, weed, boozing, gambling and death permeate the record from start to finish. Nine tracks that run from uptempo straight ahead rock, to slowed down, heavy, early doom. With a rhythm section throwing down grooves that are deeper than the darkest abyss and guitars big enough to put a hole in your chest, the record’s finale hits just as hard as its opening track. Vocals that soar above the guitars with laser like precision, while delivering a direct hit to your soul.

Produced, engineered and mixed by bass player Shane Trimble at TTR studios in Philadelphia and at his home studio Delwood sound in Delaware. The production is laced with old school elements while still maintaining the focus of a modern release.

Recorded in the fall of 2017, HIGH REEPER IS MEANT TO BE PLAYED LOUD AND TO BE PLAYED OFTEN.

High Reeper is:
Pat Daly
Zach Thomas
Andrew Price
Napz Mosley
Shane Trimble

High Reeper on Thee Facebooks

High Reeper on Bandcamp

Heavy Psych Sounds on Thee Facebooks

Heavy Psych Sounds website

Heavy Psych Sounds on Bandcamp

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