Quarterly Review: Russian Circles, Salem’s Pot, Bridesmaid, Admiral Sir Cloudesley Shovell, Landing, Reign of Zaius, Transcendent Sea, Red Teeth, Sea of Bones & Ramlord, Holy Smoke

Posted in Reviews on October 6th, 2016 by H.P. Taskmaster


I’ll admit I’m a little surprised at the shape this Quarterly Review has taken. As I begin to look back on the year in terms of what records have been talked about over the span, I find it’s been particularly geared toward debut albums, both in and out of wrap-ups like this one. There’s less of that this time around, but what’s happened is some stuff that doesn’t fall into that category — releases like the first two here, for example — are getting covered here to allow space for the others. Let’s face it, nobody gives a shit what I have to say about Russian Circles anyhow, so whatever, but I’m happy to have this as a vehicle for discussing records I still think are worth discussing — the first two releases here, again for example — rather than letting them fall through the cracks with the glut of new bands coming along. Of course things evolve as you go on, but I wish I’d figured it out sooner. Let’s dive in.

Quarterly Review #31-40:

Russian Circles, Guidance


From the warm wash of guitar that begins “Asa” onward, and no matter how weighted, percussive and/or chug-fueled Russian Circles get from there, the Chicago trio seem to be offering solace on their latest outing, Guidance. Recorded by Kurt Ballou and released through Sargent House, the seven-track offering crosses heavy post-rock soundscapes given marked thickness and distinct intensity on “Vorel,” but the record as a whole never quite loses the serenity in “Asa” or the later “Overboard,” crushing as the subsequent “Calla” gets, and though the spaces they cast in closer “Lisboa” are wide and intimidating, their control of them is utterly complete. Six albums in, Russian Circles are simply masters of what they do. There’s really no other way to put it. They remain forward thinking in terms of investigating new ideas in their sound, but their core approach is set in the fluidity of these songs and they revise their aesthetic with a similar, natural patience to that with which they execute their material.

Russian Circles on Thee Facebooks

Sargent House website


Salem’s Pot, Pronounce This!


Following their 2014 RidingEasy Records debut, …Lurar ut dig på prärien (discussed here) – which, presumably met with some pronunciation trouble outside the band’s native Sweden – Salem’s Pot return with Pronounce This!, further refining their blend of psychedelic swirl, odd vibes and garage doom riffing. They remain heavily indoctrinated into the post-Uncle Acid school of buzz and groove, and aren’t afraid to scum it up on “Tranny Takes a Trip” or the slower-shifting first half of “Coal Mind,” but the second portion of that song and “So Gone, so Dead” take a more classically progressive bent that is both refreshing and a significant expansion on what Salem’s Pot have accomplished thus far into their tenure. Still weird, and one doubts that’ll change anytime soon – nor does it need to – but as Pronounce This! plays out, Salem’s Pot demonstrate an open-mindedness that seems to have been underlying their work all along and bring it forward in engaging fashion.

Salem’s Pot BigCartel store

RidingEasy Records website


Bridesmaid, International House of Mancakes


International House of Mancakes – yup – is the follow-up to Bridesmaid’s 2013 long-player, Breakfast at Riffany’s, and like that album, it finds the Columbus, Ohio, instrumentalists with a penchant for inserting dudes’ names into well-known titles – see “Hungry Like Nick Wolf” and “Ronnin’ with the Devil” – but it also expands the lineup to the two-bass/two-drum four-piece of Scott Hyatt and Bob Brinkman (both bass) and Cory Barnt and Boehm (both drums). Topped off with KISS-meets-Village People art from W. Ralph Walters, there are shortages neither of snark nor low end, but buried underneath is a progressive songwriting sensibility that doesn’t come across as overly metal on cuts like “Ricky Thump” and doesn’t sacrifice impact or heft for the sake of self-indulgence. Opening with its longest track (immediate points) in “It’s Alectric (Boogie Woogie Woogie),” International House of Mancakes unfolds a heavy rock push that, while obviously driven in part by its sense of humor, earns serious consideration in these tracks for those willing to actually listen.

Bridesmaid on Thee Facebooks

Bridesmaid on Bandcamp


Admiral Sir Cloudesley Shovell, Keep it Greasy!


Too thick in its tones to be a completely vintage-style work, the sleazy vibes of Admiral Sir Cloudesley Shovell’s Keep it Greasy! (on Rise Above) are otherwise loyal to circa-1971 boogie and attitude, and whether it’s the rewind moment on opener “U Got Wot I Need” or proto-metallic bass thrust of the “Hawkline Monster” or the brash post-Lemmy push of “Tired ‘n’ Wired,” the album is a celebration of a moment when rock isn’t about being any of those things or anything else, but about having a good time, letting off some steam from a shit job or whatever it is, and trying your damnedest to get laid. Radio samples throughout tie the songs together, but even that carries an analog feel – because radio – and the good Admiral are clearly well versed in the fine art of kicking ass. Familiar in all the right ways with more than enough personality to make that just another part of the charm.

The Admiral Sir Cloudesley Shovell on Thee Facebooks

Rise Above Records website


Landing, Third Sight


The invitation to completely immerse comes quickly on the 13-minute “Delusion Sound,” which opens Landing’s Third Sight (on El Paraiso), and from there, the Connecticut four-piece sway along a beautiful and melodic drift, easing their way along a full-sounding progression filled out with airy guitar and backing drones, moved forward patiently by its drum march and topped with echoed half-whispers. It’s a flat-out gorgeous initial impression to make, and the instrumental “Third Site” and “Facing South” follow it with a tinge of the experimentalism for which Landing are more known, the former led by guitar and the latter led by cinematic keyboard. To bookend, the 14-minute “Morning Sun” builds as it progresses and draws the various sides together while creating a rising soundscape of its own, every bit earning its name as the vocals emerge in the second half, part of a created wash that is nothing short of beautiful. One could say the same of Third Sight as a whole.

Landing on Thee Facebooks

El Paraiso Records website


Reign of Zaius, Planet Of…


While they’ve spent the last few years kicking around the deeper recesses of Brooklyn’s heavy underground, Reign of Zaius mark their debut release with the 26-minute Planet Of… EP, bringing together seven tracks that show what their time and buildup of material has wrought. Opener “Hate Parade” reminds of earliest Kings Destroy, but on the whole, Reign of Zaius are rawer and more metal at their core, the five-piece delving into shuffle on “Out of Get Mine” and showing an affinity for classic horror in both “They Live” – which starts with a sample of Roddy Piper being all out of bubblegum – and “Farewell to Arms,” previously issued as a single in homage to Evil Dead. The charm of a “Dueling Banjos” reference at the start of “Deliver Me” leads to one of the catchier hooks on Planet Of…, and the shorter “Power Hitter” closes with a bass-heavy paean to smoking out that digs into punkish summation of where Reign of Zaius are coming from generally as they continue to be a band up for having a good time without taking themselves too seriously.

Reign of Zaius on Thee Facebooks

Reign of Zaius on Bandcamp


Transcendent Sea, Ballads of Drowning Men


Kind of a mystery just where the time goes on Sydney rockers Transcendent Sea’s self-released 50-minute first album, Ballads of Drowning Men. Sure, straightforward cuts like “Over Easy” and “Mind Queen” are easily enough accounted for with their post-Orange Goblin burl and boozy, guttural delivery from vocalist Sean Bowden, but as the four-piece of Bowden, guitarist Mathew J. Allen, bassist Andrew Auglys and drummer Mark Mills get into the more extended “Throw Me a Line,” “Blood of a Lion” and closer “Way of the Wolf” – all over 10 minutes each – their moves become harder to track. They keep the hooks and the verses, but it’s not like they’re just tacking jams onto otherwise structured tracks, and even when “Way of the Wolf” goes wandering, Bowden keeps it grounded, and that effect is prevalent throughout in balancing Ballads of Drowning Men as a whole. It takes a few listens to get a handle on where Transcendent Sea are coming from in that regard, but their debut proves worth at least that minimal effort.

Transcendent Sea on Thee Facebooks

Transcendent Sea on Bandcamp


Red Teeth, Light Bender


Brothers Rael and Ryan Andrews, both formerly of Lansing, Michigan, art rockers BerT, revive their heavy punk duo Red Teeth with the four-song Light Bender 7” on GTG Records. Both contribute vocals, and Ryan handles guitar and bass, while Rael is on drums and synth through the quick run of “Light Bender, Sound Bender,” “Tas Pappas,” “134mps” and “Elephant Graveyard,” the longest of which is the opener (immediate points) at 4:49. By the time they get down to “Elephant Graveyard,” one can hear some of the Melvinsian twist and crunch that often surfaced in BerT, but whether it’s the ‘90s-alt-vibes-meet-drum-madness of “134mps” or the almost rockabilly riffing of “Tas Pappas,” Red Teeth – whose last release was eight years ago – have no trouble establishing personality in these songs. Approach with an open mind and the weirdness that persists will be more satisfying, as each track seems to have a context entirely of its own.

Red Teeth on Bandcamp

GTG Records website


Sea of Bones & Ramlord, Split


One can hear the kind of spacious darkness and through-the-skin cold of New England winters in this new split EP from Connecticut crushers Sea of Bones and grinding New Hampshire compatriots Ramlord from Broken Limbs Recordings. What the two share most of all is an atmosphere of existential destitution, but there’s an underlying sense of the extreme that also ties together Sea of Bones’ “Hopelessness and Decay” (10:36) and Ramlord’s “Incarceration of Clairvoyance (Part III)” (10:10), the latter of which continues a series Ramlord started back in 2012 on a split with Cara Neir. Both acts are very much in their element in their brutality. For Sea of Bones, this is the second release they’ve had out this year behind the improvised and digital-only “Silent Transmissions” 27-minute single, which of course was anything but, and for Ramlord, it’s their first split in two years, but finds their gritty, filthy sound well intact from where they last left it. Nothing to complain about here, unless peace of mind is your thing, because you certainly won’t find any of that.

Broken Limbs Recordings on Bandcamp

Sea of Bones on Thee Facebooks

Ramlord on Thee Facebooks


Holy Smoke, Holy Smoke! It’s a Demo!


Philadelphia-based five-piece Holy Smoke formed in the early hours of 2015, and the exclamatory Holy Smoke! It’s a Demo! three-track EP is their debut release. Opening with its longest cut (immediate points) in “Rinse and Repeat,” it finds them blending psychedelic and heavy rock elements and conjuring marked fluidity between them. As the title indicates, it’s a demo, and what one hears throughout is the first material Holy Smoke thought enough of to put to tape, but on “Rinse and Repeat” and the subsequent “Blue Dreams” and “The Firm,” they bring the two sides together well in a way it’s easy to hope they continue to do as they move onto whatever comes next, pulling off “The Firm” particularly with marked swing and a sense of confidence that undercuts the notion of their being their first time out. They have growing to do, and by no means would I consider them established in style, but there’s a spark in the songs that could absolutely catch fire.

Holy Smoke on Thee Facebooks

Holy Smoke on Bandcamp


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Heavy Temple, Chassit: Daylight Save Me (Plus Track Premiere)

Posted in audiObelisk, Reviews on September 26th, 2016 by H.P. Taskmaster


[Click play above to stream ‘Key and Bone’ from Heavy Temple’s debut album, Chassit, out on tape Nov. 19 via Tridroid Records with preorders starting Oct. 3.]

Checking in at four tracks/28 minutes, I felt compelled to ask Heavy Temple whether their new release, Chassit, which is out in November on tape through Tridroid Records with other formats to follow, is a second EP or, in fact, their debut album. 28 minutes is short for a full-length — lest we forget that 30 years ago, Slayer pulled off Reign in Blood in that time — but part of the reason I thought I should ask was because of the flow the Philadelphia three-piece set up between their included tracks: “Key and Bone,” “Ursa Machina,” “Pink Glass” and “In the Court of the Bastard King.” The answer? An album, and I think that’s fair enough.

Since the release of their Ván Records self-titled EP (review here) in 2014 — the same year they formed — bassist/vocalist High Priestess Nighthawk has changed the band’s configuration entirely, and while bringing aboard drummer Siren Tempestas and guitarist Archbishop Barghest no doubt has affected the overall sound, lineup alone simply can’t account for the cohesion of aesthetic that has emerged in what they do. There’s legitimate growth here, and as Heavy Temple cast off some of the trappings of cult rock over time — others hold firm — what they’re finding is an individual presence and style between harder-edged fuzz, classic stoner swing, and more ethereal impulses. Principally though, their material hits with a firm sense of purpose on Chassit in a way that Heavy Temple had not yet found.

That’s not to trivialize the contributions of Tempestas — who rolls out a monster groove on “Ursa Machina” and is the foundation of the aforementioned swing, played with admirable vitality — or the tone of Barghest, which becomes a defining element here from the start of “Key and Bone” onward, rather to say that in the context of the first release, Chassit shows growth from Heavy Temple as a whole and not just because it’s different players making up the band.

It’s well worth noting that over the last couple years I’ve become a fan of their work, so that’s the perspective from which I’m writing — I invited them to play The Obelisk All-Dayer this past August because of that — but as much as the first EP turned heads in their direction, Chassit seems primed to take that a step further, and considering it as their debut full-length, the progression it establishes as already being in progress is both exciting for its future prospects and in its current execution, the shorter, catchier, punchier “Key and Bone” with its riotous thrust setting up the longer cuts that follow in “Ursa Machina,” a more patient push with stops culled from classic blues but hammered in feedback and spacious, leading to a fuzzed-out, you-are-here moment of arrival in the last two minutes, fluid and righteously heavy and full in its sound without any sense of being tentative about where it’s headed.

Confident. Assured. Powerful. These aren’t things one would necessarily expect from a band making their debut, or even one putting together a second EP to demonstrate their wares — and depending on what Heavy Temple does next, Chassit might indeed wind up being their second EP — but by the time they’re two verses into “Key and Bone,” it’s clear they’ve thrown the subgenre rulebook out the window and worked to become their own band.


This shift in approach only continues to suit them as “Ursa Machina” bleeds into the start of “Pink Glass.” As both tracks top eight minutes, they make up a significant portion of Chassit‘s total runtime, and it’s probably fair to call them the “meat” of the record, which is all the better for the blend of hooks and atmosphere they convey. Similar to the cut before, “Pink Glass” saves its largesse for the second half, but its beginning is perfectly paced in not rushing but still upbeat, with a catchy bounce in its chorus that sets up the latter portion, to which the transition begins at around the 3:30 mark as they work their way out of the last chorus.

Bass takes over complemented by sparse guitar, and for the next three and a half minutes, Heavy Temple show a quiet, patient side they haven’t yet displayed as they subtly build their way toward “Pink Glass”‘ explosive finish, an apex groove that builds its tempo smoothly as it arises and pays off the album as a whole as much as the song itself. Vocals return and soar in an ending chorus further marked out by an added layer of lead guitar — just a second or two of flash, but skillfully arranged — before the whole thing collapses into feedback and the start-stop beginning of “In the Court of the Bastard King.” Somewhat shorter at 6:03, the closer also pushes pretty far out, but in a different way, playing between an overarching thrust and hard-funk shuffle as it moves through its verses and layered chorus before departing the stomp in which it winds up via transitional tom work toward an ending wash of psychedelic noise.

There’s no coming all the way back this time, and having done so to such satisfying effect only one song prior, that makes the structure of “In the Court of the Bastard King” that much more engaging in how it ends the record. The underlying rhythm holds as the guitar freaks itself out and they do turn around to the central progression of the track in the last second or two, but by then the context has changed considerably, which is a further testament to their craft.

Part of the excitement of any impressive debut — or any impressive album at all, really — is imagining where the band’s creative growth might lead them in the years to come. To say as a fan already of their work that Heavy Temple exhibit significant potential to become something special on Chassit feels like underselling it, because to my ears, that moment is already happening here. Nonetheless, while they’ve set a high standard with these songs, I hear nothing in them to make me think Heavy Temple won’t keep growing and pushing forward from the elements presented here, and that their multifaceted but sonically consistent style will do anything other than continue to flourish. Here’s hoping.

Heavy Temple on Thee Facebooks

Heavy Temple on Bandcamp

Tridroid Records on Bandcamp

Tridroid Records on Thee Facebooks

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The Obelisk All-Dayer Countdown: Heavy Temple, Chassit Teaser

Posted in Bootleg Theater, Features, The Obelisk Presents on August 17th, 2016 by H.P. Taskmaster

the obelisk all-dayer

The Obelisk All-Dayer tickets

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.

Thank you and enjoy:

Heavy Temple, Chassit teaser

The Obelisk All-Dayer tickets

Heavy Temple on Thee Facebooks

Saint Vitus Bar website

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The Company Corvette, Never Enough: To Get a Fix (Plus Track Premiere)

Posted in audiObelisk, Reviews on July 15th, 2016 by H.P. Taskmaster

the company corvette never enough

[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 RecordsNever 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.

the company corvette

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.

The Company Corvette on Thee Facebooks

The Company Corvette on Bandcamp

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The Company Corvette to Release Never Enough Aug. 5

Posted in Whathaveyou on June 7th, 2016 by H.P. Taskmaster

the company corvette

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 never enough

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.

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 Company Corvette, “Devilwitch”

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KINGS DESTROY and HEAVY TEMPLE Confirmed for The Obelisk All-Dayer, Aug. 20 at Saint Vitus Bar

Posted in The Obelisk Presents on May 26th, 2016 by H.P. Taskmaster

the obelisk all-dayer

Buy Tickets Here

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:

Kings Destroy

kings destroy
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.

Heavy Temple

heavy temple
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.

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Mose Giganticus Launch Singles Series with “We are One” Video

Posted in Bootleg Theater on May 12th, 2016 by H.P. Taskmaster

mose giganticus

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.

Mose Giganticus is Matt Garfield and Joe Smiley.

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Crypt Sermon Interview with Steve Jansson: Where Doom Grows

Posted in Features on May 3rd, 2016 by H.P. Taskmaster

crypt sermon 1

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.

Please enjoy:

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