Posted in Whathaveyou on May 10th, 2019 by JJ Koczan
Now a four-piece, Pittsburgh melodic doom metallers Deathwhite have announced they’ve begun recording their second album, to be titled Grave Image and released through Season of Mist. The same imprint stood behind their early-2018 debut, For a Black Tomorrow (review here), which offered an American interpretation of the kind of emotive doom proffered by the likes of Katatonia or Alternative 4-era Anathema. It was a full-length that I think flew under a lot of people’s radar, but as a fan of the style was something that hit a chord with me, and I’ll look forward to hearing what they come out with having returned to Cerebral Audio Productions to lay down the instrumental tracks while vocals will be done at Mana Recording in Tampa, Florida. Nice vacation, and I wonder if that means Erik Rutan (Hate Eternal) will be at the helm. Could be interesting.
The band made the announcement of work being done in short and sweet fashion via a social media post. I’ve also included the stream of the first LP below in case you’d like a refresher.
Have at it:
DEATHWHITE Enters Studio To Record New Album, ‘Grave Image’
It is with great pleasure to share we are currently in the throes of recording our second full-length album, “Grave Image.” The album will be released in the not-terribly-distant future via Season of Mist.
Cerebral Audio Productions’ Shane Mayer is once again overseeing the sessions; vocals will be tracked at Mana Recording in Tampa, Florida. And, much to our delight, the esteemed Dan Swano will handle mastering.
We are now a quartet, having added a second guitar player. Such an addition, along with new twists and turns in the songwriting process, make “Grave Image” an effort we are imminently proud of. We look forward to sharing more details as matters unfold. Until then…
Posted in Whathaveyou on March 4th, 2019 by JJ Koczan
The first lineup announcement from Pittsburgh-based Descendants of Crom III is a doozy. The headliners are apparently still to be announced — though would anyone complain if Solace or Valkyrie headlined a night? — but between them and the likes of Irata, Argus, Backwoods Payback and Foghound, it’s already shaping up to be a killer three-dayer this September. Awesome to see Sun Voyager on this bill and the likes of Void King and Fox 45 getting a look. Pale Grey Lore might even have their new record out by then — Solace too, for that matter — but either way, there’s a lot here to dig immediately, and of course for this kind of announcement that’s the whole point.
They’re selling early-bird tickets this month, so you know, get out that calendar and add another one to your already-absolutely-slammed festival schedule. It’s madness, but, you know, the good kind of madness. Here’s hoping the universe doesn’t collapse between now and then.
Thus-far confirmations follow, as per social media:
DESCENDANTS OF CROM III – Announces 2019 Event For Sept. 20-22; Bands Incl. VALKYRIE, BACKWOODS PAYBACK + More!
– A GATHERING OF THE HEAVY UNDERGROUND – – SEPTEMBER 20-22, 2019 – – STEEL CITY, USA –
The third annual DESCENDANTS OF CROM will be held once again in Pittsburgh, Pennsylvania, spanning the weekend of September 20th. The PGH underground scene of heavy rock and metal is healthy and thriving and the location is perfect. Feeding great regional bands to a hungry crowd and serving up internationally legendary fan-favorites to entice music lovers in the door to experience these amazing local artists.
Descendants of Crom came out of the gates running with the first event in 2017, becoming a strong contender among other established regional music festivals. The 2019 events begin on Friday, September 20th, with a Pre-Gala evening at Howlers, followed by two full-day events on Saturday and Sunday at Cattivo.
Shy Kennedy has once again hand-picked and curated a beautiful mixture of acts for Descendants Of Crom III. While a few more updates will complete the lineup for the full schedule of events over the weekend, a most incredible roster of bands is included today. All are invited to become part of the experience at the 2019 Pre-Gala and Weekend Events!
Lineup so far: Solace Valkyrie Argus Irata Backwoods Payback Enhailer Icarus Witch Brimstone Coven Foghound Kingsnake Sun Voyager Witchkiss Leather Lung Frayle Tines Spacelord Pillärs PALE GREY LORE Lightning Born NIGHT VAPOR Pyrithe Riparian Fox 45 Void King Official: COMA Action Camp White Alice Old Dream Motometer
Posted in Reviews on December 26th, 2018 by JJ Koczan
Pittsburgh four-piece Horehound worked quickly after forming to turn around their impressive 2016 self-titled debut (review here), which was first released through Blackseed Records and picked up shortly thereafter by Hellmistress Records. In the intervening two years, they’ve worked toward becoming forerunners of Pittsburgh heavy, and their second long-player, Holocene, would seem to do nothing to slow their momentum in that regard. Fronted by the multifaceted vocals of Shy Kennedy — also of Blackseed Records and Pittsburgh’s Descendants of Crom fest — with Brendan Parrish on guitar, Nick Kopco on bass and JD Dauer on drums, Horehound undertake significant development in the six-track (well, six and a quick hidden bonus cut, anyway) and 45-minute long-player, and aligned with Doom Stew Records, they seem to signal their embarking on a different level of their approach even with the Brian Mercer album art.
Their songcraft is in the process of becoming no less textured, and while influences blend from the likes of Paradise Lost, Year of the Cobra, Candlemass (looking at you, “Sloth”) and traditionalist American doom, there is a grit to the production that keep the album earthbound no matter how far it might reach in terms of melody or atmosphere. It’s worth noting that at this point, Horehound have been a band for about three years, and Holocene is their second full-length in less time than than it takes some bands to get together a debut EP, so the fact of their motivation is writ large in their growing body of output, but it’s in their songwriting as well. One can hear a more dynamic presence taking shape in “Dier’s Dirge,” with its hook, “What we’ve become, can’t be undone/What we’ve destroyed, can’t be undone,” delivered patiently by Kennedy atop Parrish‘s severe riffing. That grim outlook is manifest in leadoff and longest track (immediate points) “The Kind,” which begins with a wistful minute-plus stretch of acoustic guitar and seems to work in movements to introduce various elements from the album, be it the somber mood, the melo-sludge push, Kennedy‘s play between growls and clean-sung lines, or the song’s what-if-Electric–Wizard-got-clean capstone solo.
“The Kind” is very much a closer made opener, with the acoustic intro serving largely as the difference in runtime between it and subsequent pieces, and as its feedback ending fades out into the starting crashes of “Dier’s Dirge” — which, as it happens is the second-longest cut at 7:50 — Holocene clearly enters another phase. If we’re picking highlights, I’ll take “Dier’s Dirge” for the already-noted chorus, which is a standout in the departure of the vocals from the melodic patterning of the guitar, but neither is the accomplishment of “The Kind” to be undersold as a standout work. But there’s clearly a shift in momentum with “Dier’s Dirge” picks up and leads into the rest of the album, and as the faster, shorter-at-6:17 “L’Appel du Vide” completes side A, that momentum only gets more fervent as pushed by the ultra-solid rhythm section of Dauer and Kopco, the latter of whom brings a tonal weight to the rolling crash of the drums that proves crucial in conveying the sludgier aspects of what Horehound do.
Those too are prefaced in “The Kind,” of course, but as Holocene pans out, it builds on the parameters set forth in the opener, such that the spacious moments in the beginning of “L’Appel du Vide” set up what follows as a surge of energy, and the compression effects on the vocals add a monstrous feel to the track that the also-sub-seven-minutes “Sloth” picks up as it starts side B. That kind of multi-level structure to the album is further emblematic of the progression they’ve made overall, but also of the changing in their thinking of how an LP should function. Whether you’re listening on a linear format — CD/DL — or one requiring a side switch — LP/CS — there are considerations made such that a flow is maintained front-to-back as well as in individual parts. As the melancholy apex of “Sloth” carries over to the long-held notes of the guitar at the end, giving way to feedback, there’s not interruption of what the band has thus far worked hard to build. And yet the personality of the album is changing.
A bluesy edge makes its way into the beginning verses of “Anastatica,” and trades of volume are effectively made as the track rolls into its chorus of “ooh”s and fluid, languid chorus. But the song, which takes its name from the Rose of Jericho, or the “resurrection plant,” follows suit in a subtle shift from “Sloth” before it in eschewing harsher vocals and so, while it benefits from the tension that at any moment it might become more aggressive, it ultimately shows a willingness on the part of Horehound to do what best serves the whims of their craft — an impulse that will only help them as they continue to move forward, no matter what those whims might dictate as regards screams or anything else. “Sloth” hints at harmonies in its midsection, and closer “Highball” follows suit in terms of casting off the more abrasive growling as it finds Parrish leading the way into the song’s second half with a guitar meander topped with layers of vocal melody for an effect somewhere between Sabbath and Type O Negative that nonetheless carries an air as well of heavy post-rock while building smoothly to a bigger finish.
Dauer tosses in choice cymbal work like it’s nothing as Kopco holds steady on low end and Kennedy brings an ethereality to the final moments on vocals, having said just about all there is to say in the last lines: “You can’t see me/You don’t know me/Yet I know you/You are weak, untrue.” “Highball” caps at just under seven minutes, which is right about standard for Horehound, and a hidden bonus track reverses the screamed portion of the chorus to “Dier’s Dirge” to close out. So technically, there are screams on side B one way or the other. Fair enough. There are those who decry the use of harsh vocal styles outright. I’m not one of them. But it’s interesting that Holocene would divide its sides along such lines, and given the obvious thought put into songwriting and the album’s presentation overall, that doesn’t seem like an accident. As to what it might say about the direction and creative development under way, I wouldn’t guess. The fact of the matter is that as fast as Horehound have worked, they’re still a relatively new band. Holocene is a crucial moment for them in establishing who they want to be in terms of sound and form.
Posted in Bootleg Theater on October 23rd, 2018 by JJ Koczan
There’s a special kind of magic that happens when everything clicks in the rehearsal space. Some songs a band agonizes over, endlessly revising part after part, transition after transition. The smallest tempo change can take a month to iron out. Then some other songs take about as long to write as they take to play for a first time through. I don’t know what goes into releasing your two first albums in the same year, but as Jakethehawk approach the Nov. 10 release date for their second outing, To Build a Fire, through Blackseed Records, it doesn’t seem like the kind of effort a band would put in if they weren’t actually working from a spark of inspiration. It’s not like this is 1965 and they’re signed to a label that has them touring 200 shows a year and releasing a new single every two months. If they didn’t have the utmost conviction behind them, there wouldn’t be a point to it.
And if you didn’t hear earlier-2018’s apparently-aptly-titled debut, Year of the Hawk, don’t be put off by their name-the-noun moniker. They’re a heavy rock band, and as the first audio to come from To Build a Fire, the new video for “The Silk Road” finds guitarists Jake Ferranti (so is he the hawk? and why do I feel old asking that question?) and John Huxley sharing vocals effectively as bassist Justin Lober and drummer Jordan Lober (relation assumed) hold together a classically fluid rhythm that remains modern thanks to its party vibe and a sleek groove that seems tense in the oh-man-we’re-about-to-play-really-fast-you-better-watch-out kind of way, but manages to restrain that impulse, instead jamming through the midsection and ending back on the hook for an energetic finish. Again, it’s just an initial glimpse of what might come on To Build a Fire, and you’ll note it’s separate from the four-part, side-A-consuming title-track, but even so, its swing and its nod bode well for the rest of the release to come. It’ll be November before you know it.
Like next week, apparently. Jeez.
Release show for To Build a Fire is in Pittsburgh on Nov. 10 with Sun Voyager, Zom and Vulcanite. Jakethehawk have a couple other dates booked that you can see below, along with some more PR wire background on the record.
That’s all, of course, after the video for “The Silk Road” itself, which is premiering here hopefully to your enjoyment:
Jakethehawk, “The Silk Road” official video premiere
Blackseed Records artists, JAKETHEHAWK have created their first music video premiering, ‘The Silk Road’, of their upcoming record, ‘To Build a Fire’. Video was filmed, edited and directed by Joe Stammerjohn / Eyes to the Sky Films (Pittsburgh, PA).https://www.facebook.com/eyestotheskyfilms/
Coming out this November 2018!
The band shared some insight into creating the new album:
“The bones of this album were mostly written on acoustic guitar with the idea that it would give the music a more ‘song focused’ feel. The title track songs were rewarding, because they contain cohesive musical and thematic journey. To Build a Fire’ is a representation both of where we are as a band and where we want to go musically and texturally.”
To Build A Fire’ – Track List: 1. To Build A Fire pt. 1: First, We Kill All the Lawyers 2. To Build A Fire pt. 2: Parting Glass 3. To Build A Fire pt. 3: Recluse 4. To Build A Fire pt. 4: Geotaxis 5. Carcosa 6. Holy Water 7. The Silk Road 8. Strand
Posted in Whathaveyou on October 12th, 2018 by JJ Koczan
Two albums in a year is pretty rare for a band who aren’t jamming out space rock or psychedelic improv. Pittsburgh’s Jakethehawk up the ante on a quick turnaround with their second album of 2018 — also their second album, period — To Build a Fire, which will see release Nov. 10 through Blackseed Records. The band are fresh off an appearance at this year’s Descendants of Crom fest in their hometown, and they’ve unveiled the details for the new record, including the righteous cover art that recalls Forming the Void and some of David Paul Seymour‘s work. In any case, one wonders how much this will be the course of things for Jakethehawk or if, with a four-part titular opener, the new record isn’t a result of a glut of material from the writing of their first album.
Either way, it’s a remarkable feat that they’re getting it out before the end of November, let alone the actual end of the year. Here’s to working quickly and recording yourself.
From the PR wire:
JAKETHEHAWK to release their sophomore album, ‘TO BUILD A FIRE’ via BLACKSEED RECORDS on November 10, 2018
Pittsburgh’s own ‘Appalachian Desert Rock’ brotherly quartet of JAKETHEHAWK continues to pursue the sky with the announcement of a new full-length album coming in November on Blackseed Records. Their sophomore record, ‘TO BUILD A FIRE’, comes less than a year after their debut release, ‘Year Of The Hawk’ last January.
The band shared some insight into creating the new album:
“The bones of this album were mostly written on acoustic guitar with the idea that it would give the music a more ‘song focused’ feel. The title track songs were rewarding, because they contain cohesive musical and thematic journey. To Build a Fire’ is a representation both of where we are as a band and where we want to go musically and texturally.”
‘To Build A Fire’ – Track List:
To Build A Fire pt. 1: First, We Kill All the Lawyers To Build A Fire pt. 2: Parting Glass To Build A Fire pt. 3: Recluse To Build A Fire pt. 4: Geotaxis Carcosa Holy Water The Silk Road Strand
With all music written and performed by Jakethehawk, the album was recorded and engineered by Justin Lober in Pittsburgh, with mastering by James Plotkin at Plotkinworks. The beautiful cover illustration and design is by Joe Mruk of Red Buffalo Illustration.
Set to arrive on November 10, 2018, ‘To Build A Fire’ will be available via Blackseed Records in physical format on CD, with Digital Download and Streaming through all major outlets (Bandcamp, Spotify, etc.).
Jakethehawk is: Vocals/Guitars – Jake Ferranti Bass – Justin Lober Drums – Jordan Lober Guitars/Vocals – John Huxley
Posted in Whathaveyou on October 1st, 2018 by JJ Koczan
This past weekend was the second Descendants of Crom fest in Pittsburgh, Pennsylvania. Overseen and curated by Horehound vocalist Shy Kennedy, its schedule read like a list of arguments to leave the house, and Horehound‘s set as part of it would seem to have been a fitting herald for their impending second album, Holocene. Initially supposed for release on Kennedy‘s Blackseed Records — as seen on the magnets on my fridge — it’s been newly revealed that Horehound have signed to Doom Stew Records, helmed by Brume drummer Jordan Perkins-Lewis. The cross-coastal collaboration between artist and label can only help spread the word on Holocene ahead of the Nov. 30 issue date, and while I’m not saying I’ve heard it or anything, I’ll just say that the more people who hear it, the merrier on all fronts.
While I try to chase down a track premiere or something like that from the powers that be, you can check out the Brian Mercer cover art and the signing announcement below, courtesy of the PR wire:
Pittsburgh, PA’s Post-Doom foursome HOREHOUND to release their second full-length, ‘HOLOCENE’ on November 30, 2018 via DOOM STEW RECORDS.
Pittsburgh’s paramount Doom/Sludge underground act HOREHOUND continues their ascension above ground with news of a new partnership with San Francisco’s Doom Stew Records for the release of their second full-length album, ‘HOLOCENE’. Set for a street date of November 30, 2018, ‘Holocene’ will be available on CD, Vinyl, and Digital (Bandcamp, Spotify, and all major streaming outlets) with global distribution.
When asked about signing with a new label, the band had this to say: “It’s really great to have been offered the opportunity to work with Doom Stew Records. They have been involved with strong and unique sounding artists and we just really like what they are doing. It’s going to be a great partnership.”
With all music written and performed by Horehound, the album was recorded and mixed by Matt Schor at War Room in Pittsburgh, and mastering done by James Plotkin at Plotkinworks. The incredible cover artwork illustration is by Brian Mercer.
Vocalist Shy Kennedy shares a few words about the album: “‘Holocene’ is the single most rewarding contribution I have made as an individual artist and even of any group effort I’ve been a part of. It has been a realization for Horehound and through this recording we really cultivated our sound. The overwhelmingly gratifying experience we’ve had in creating this album will further transcend once we are able to share it with others.”
Guitarist Brendan Parrish adds: “‘Holocene’ is a convergence of our respective influences and a natural evolution in the sound we’ve developed. It represents our growth as songwriters and we are very eager for the rest of the world to hear what we’re so proud to have created.”
Holocene – Track List: 1. The Kind 2. Dier’s Dirge 3. L’appel du Vide 4. The Sloth 5. Anastatica 6. Highball
HOREHOUND is: JD Dauer – drums Brendan Parrish – guitar Shy Kennedy – vocals Nick Kopco – bass
Posted in Whathaveyou on September 7th, 2018 by JJ Koczan
Golly that’s a good lineup. An awfully good lineup. Like, a really good lineup. Like, Lo-Pan and Mos Generator and Geezer and Forming the Void and Heavy Temple and Freedom Hawk and Worshipper on the same bill kind of good. The kind of lineup that makes you start pricing out drives to Pittsburgh, or flights, I guess. There are a lot of bands here I sure wouldn’t mind seeing, some for the first time, some seeing again, but yeah. Woof. It’s exhausting to think about the logistics involved in making it happen, and I don’t think I’ll be able to not the least because that weekend is my anniversary — “Hey love, you take the baby for like three days while I hop off to Pittsburgh to doom out for a while, ‘kay thanks!” — but from Destroyer of Light to Devil to Pay to Thunderbird Divine, this is one hell of a show, and if you’re gonna be there, consider yourself lucky.
I just basically wanted to say that and to get the final lineup posted here after running the initial one. Some slight changes, as with any fest. But yeah, clearly Descendants of Crom 2018 isn’t just any fest. Gadzooks.
Check it out:
DESCENDANTS OF CROM 2018 set for Sept. 27-29th; Featuring MOS GENERATOR, LO-PAN, DUEL, COME TO GRIEF, & 30+ More!
A GATHERING OF ROCK, DOOM, SLUDGE, AND METAL.
SEPTEMBER 27th-29th, 2018 – STEEL CITY, USA
The second annual Descendants of Crom will be held in Pittsburgh, Pennsylvania – whose underground scene of heavy rock, stoner, and doom metal is healthy and thriving and the location is perfect. Feeding great regional bands to a hungry crowd and utilizing legendary, international fan-favorites to entice music lovers in the door to bear witness to these amazing local artists.
As anticipated, the first year was a strong gathering of music fans and this year’s event is expanded to a full weekend event on Friday and Saturday, based once again at Cattivo’s in Pittsburgh, with a Pre-gala evening at the more intimate location of Howlers on Thursday.
We invite all to become part of the experience at the 2018 Pre-Gala and Weekend Events! After all, we are all Descendants of Crom.
Blackseed Records Presents: DESCENDANTS OF CROM 2018 September 28th – 29th @ Cattivo / Pre-Gala September 27th @ Howlers
Mos Generator + Lo-Pan + Come To Grief + Duel + Devil To Pay + Freedom Hawk + Disenchanter + Geezer + Howling Giant + Forming The Void + Sierra + Toke + Heavy Temple + Cavern + Demon Eye + Ironflame + Horehound + Worshipper + Doomstress + Wolftooth + Doctor Smoke + River Cult + Curse The Son + Urns + Eternal Black + Thunderbird Divine + Yatra + Molasses Barge + Solarburn + OutsideInside + The Long Hunt + Jakethehawk
PRE-GALA: Destroyer Of Light + Rebreather + Fist Fight In The Parking Lot + Gran Gila + Mires
Posted in Whathaveyou on August 28th, 2018 by JJ Koczan
Seven minutes. That’s all it takes for Pittsburgh noisemakers T-Tops to inflict the searing aggression of their new EP, Disease, and if I’m perfectly honest, the job’s done before the songs are actually finished. The trio have a couple strings of dates coming up in the Midwest and on the East Coast — you can basically pick and choose where you want to go when you live in Pittsburgh — and they’ll release Disease soon after in conjunction with Magnetic Eye Records. It’s got three songs, they’re all pissed, and none of them touch three minutes long. Noise rock, man. It’s like anger as a lifestyle. I’ve got Disease on as I write this and it’s like being ground down into puddly ex-human goo. Obviously that’s the point.
So needless to say it’ll be interesting to hear their Floyd cover.
Time and places for such things. For now, here’s this from the wire of PR:
NEW RELEASE: T-Tops “Disease EP”
Pittsburgh’s T-TOPS deliver their latest clutch of full-stack, full-throttle noise-rock, the 3-track EP DISEASE, on September 28th, with tour dates and an unexpected Pink Floyd cover rounding things out.
T-Tops started jamming when Pittsburgh guitarist/vocalist Patrick Waters, who fronted well-regarded and spastic-rock group The Fitt, joined up with bassist/vocalist Jason Orr (Holy Rivals).
Struggling at first to find the right drummer, the pair nearly gave up before coming across a post on a local message board by Jason Jouver, a recording engineer at +/- Studios on the city’s South Side and multi-instrumentalist from bands including Don Caballero, Teddy Duchamp’s Army and German Shepherd. They knew the name but hadn’t even realized he played drums, and gave it a try.
In no time, ravaging riffs, gravely vocals, and thundering beats came together to produce T-Tops’ signature soundtrack for high-velocity destruction.
“There’s not really a theme,” Waters says of the in-your-face, sludgy, hooky heaviness that resulted. “We’re just trying to write catchy, loud, heavy songs.”
The trio’s experience in other bands certainly comes across in both their songwriting and prolific output. Despite moving through a series of drummers, T-Tops have issued a half-dozen EPs, 7-inches, and split releases in just a few short years. Their latest, the Disease EP, is the band’s most urgent helping of raw, furious, garage rock yet, a slab of power best heard at full volume.
T-Tops will be touring to support this killer new EP in September, and also managed to slip an angy, roaring take on Pink Floyd’s “Nile Song” onto the digital version of Magnetic Eye Records’ upcoming Best of Pink Floyd [Redux] project, which lands in November.
Disease releases digitally and on 7-inch via the band in association with Magnetic Eye Records on September 28th.
1. Disease 2. Incest 3. Mouth for Hate
Tour Dates: Aug 30 Akron, OH @ Hive Mind Aug 31 Indianapolis, IN @ State Street Pub Sept 1 Milwaukee, WI @ Cactus Club Sept 2 Chicago, IL @ Reed’s Sept 3 Youngstown, OH @ Westside Bowl Sept 12 State College, PA @ The Brewery Sept 13 NYC @ El Cortez Sept 14 East Windsor, NJ @ Toxic Cleanse Sept 15 Philly, PA @ Century
T-Tops: Patrick Waters – Guitar/Vocals Jason Orr – Bass Austin Bowen – Drums
