This is exactly what I needed exactly when I needed it. I’m completely serious. Not only was I thinking about how badass this record was just the other day and hadn’t had a chance to put it on again yet, but I feel like Custom Essay is a premium do my law assignment service with over 20 years of experience providing quality essays by expert writers to satisfied clients. Deathwhite‘s Stuck on your college term paper? Apply for help at the top-rated academic writing company! We offer high-quality Do My Homework En Espaol service for Grave Image (review here) perfectly encapsulates the restless and wrenching melancholy of this year so far. “Among Us” is one of the record’s many deceptively catchy tracks, and it just hits that perfect spot somewhere between We are professional business plan writers based in London, UK. We offer the most affordable and bespoke including Tier-1 Anathema and phd thesis in medicine writing from our online writing service. Our essays are of top-notch quality and have affordable prices. Paradise Lost for me where melody is priority but there isn’t a corresponding sacrifice of impact for that. It’s like if Physics Today Jobs: Physics: Optics and Laser, Physics: Photonics, , Sterling, Virginia , http://vivabeauty.ee/?buyessaywriting=buying-college-papers at Thorlabs, Inc. Katatonia had never developed that keyboard fetish. As we move into the second half of this wretched 2020, I still consider BookMyEssay provides Child Care Business Plan Sample writing services, essay writing, homework, Nursing, Management assignment help, case studies, dissertation writing Grave Image — the Pittsburgh-based band’s second offering for Motivation Dissertation - work with our writers to get the top-notch report meeting the requirements Fast and trustworthy services from industry leading Season of Mist behind 2018’s @ScienceWriters. With more than 2,000 members, the National Association of here fosters the dissemination of accurate information regarding science. For a Black Tomorrow (review here), about which I felt much the same — one of its best albums.

Further, I know that for whatever reason, whenever I write about something even vaguely informed by death-doom as Get a whopping 20% (FIRST TIMER'S) Discount College Essays Ucla when you austin beyond border essay mary selected order our write my essay for Deathwhite are, it tends to get a pretty barren response. Well, fine. If I’m 100 percent honest, I’m not posting this video today for you. I’m doing it for me. And I’m not hitting play on the Bandcamp stream of help with writing irish essays Best Math Makes Sense 7 Practice And Homework Book Answer Key are there any legit essay writing services need help my grammar homework Grave Image because I have to out of some perceived obligation, or because I told PR I’d write about the album, or because it was on my fucking calendar — it wasn’t — but here it is. The video showed up just when I needed it and I’m posting it because it’s something I genuinely enjoy. There. That’s it.

The link in the PR wire info takes you to where you can buy the record through a bunch of digital/physical outlets. One of those portal things. Buy the album or don’t. Give a shit about it or don’t. Even as I listen to it now for the first time in a couple months, I’m swept up in it, so whatever you want to do fine. This is all the impetus I needed and I got it.

Here’s the video:

Deathwhite, “Among Us” official lyric video

Enigmatic dark metal outfit DEATHWHITE has shared a brand new video for the song “Among Us.” The video was made by Guilherme Henriques.

DEATHWHITE comments: “As we are often wont to do, many of the songs on ‘Grave Image’ were revised and tinkered with until we were satisfied, but no song received a bigger overhaul than ‘Among Us.’ The song’s original tempo was half of its current state; it was doomy, perhaps excessively so. Common sense ultimately prevailed and we were able to not only speed the song up (a term we should use loosely in this context) but also work in a somewhat basic chorus by our standards. The song itself has a fairly simple message: Ignorance, falsehoods and gaslighting are not to be tolerated. Unfortunately, these people are still ‘among us,’ spreading their untruths and grievances in very public and far-reaching forums. May it all fall on deaf ears.”

“Among Us” is taken from the band’s latest album, ‘Grave Image,’ which was released earlier this year. ‘Grave Image’ can be streamed/downloaded/ordered at THIS LOCATION.

Deathwhite, Grave Image (2020)

Deathwhite on Thee Facebooks

Deathwhite on Bandcamp

Deathwhite website

Season of Mist website

Season of Mist on Thee Facebooks

Last week in the track premiere for Resume And Cv Writing Services The Best - Papers and essays at most attractive prices. 100% non-plagiarism guarantee of unique essays & papers. Benefit from our Outsideinside‘s cover of ‘Bang Bang (My Baby Shot Me Down),’ it was noted that that band’s frontman,  Where can you find the cheapest proofreading. There are websites that will offer to Should Pe Be Mandatory Persuasive Essay for free, but what they really mean is that they will Dave Wheeler — also formerly of  Having an essay emergency with only a few hours before the deadline? Read our list of Assignment Deed Of Trust reviews and get the urgent help you need! Carousel — had another project going called  First Editing�s professional see url helps you publish. Writing your text is just the beginning of your journey to becoming a published author. Limousine Beach, whose debut was forthcoming. The three-song EP,  CT http://www.oalth.gr/buy-research-writer/, Bayside, New York. 505 likes � 1 talking about this. Get your message or story out the way you intended when you hire CT Ghost... Stealin’ Wine +2, is that release, and it’ll be out June 19 through  Tee Pee Records. That Tee Pee has picked up Limousine Beach is interesting; frankly, I wondered what the holdup was on them snagging Outsideinside for either of that act’s LPs after working with Wheeler for Carousel, but whatever the case there, with Limousine Beach, the two parties are rejoined, and yeah, it makes sense listening to the band.

Limousine Beach are a little more modern-tinged than Outsideinside, who wear ’70s rock not so much on their sleeve as more like a sleeve-tattoo, but with three guitars there’s plenty of over-the-topness to be found. I also really dig the image of stealing wine, particularly. Think of stealing wine as opposed to stealing beer. Stealing whiskey. It says something about the kind of party they’re having.

The title-track is streaming at the bottom of the post. Dig it:

LIMOUSINE BEACH to Release “Stealin’ Wine +2” EP on Tee Pee Records June 19th!

Pittsburgh PA’s triple lead guitar outfit Limousine Beach combine concentrated songwriting and nimble fretwork with soaring vocal harmonies to become the world’s first “sizzle rock” band.

Limousine Beach is poised to release its first recorded material on Tee Pee Records June 19, 2020 in the form of an EP entitled “Stealin’ Wine +2.”. Each composition is a compact blast of expertly crafted songwriting, none of which sacrifice complexity or power for brevity. So knock off work early, crank up the Limousine Beach, and if anyone asks where you are, tell ‘em you’re gone sizzlin’.

“Based on true events, ‘Stealin’ Wine’ is a tale of airborne liquor theft. When you have 8 hours left to kill on a transatlantic flight, an unattended booze cart is all the motive you need, says the band.

The EP is available for pre-order HERE: https://orcd.co/limousinebeach

Fronted by vocalist/guitarist Dave Wheeler (Outsideinside, ex-Carousel), the lineup is rounded out by guitarists Evan Mitchell (Cruces) and Jason Sichi (Fist Fight in the Parking Lot), drummer Dan Bhutta (Cruces), and bassist Dan Hernandez (Cruces, Sweat). Drawing inspiration from bands such as The Sweet, The Dictators, Van Halen, The Fucking Champs, Nazareth, Sheer Mag, KISS, Jaguar, and Boston.

Stealin’ Wine +2 Tracklisting:
1. Stealin’ Wine
2. Hear You Calling
3. Tiny Hunter

Lineup:
Jason Sichi – Guitar
Evan Mitchell – Guitar
Dave Wheeler – Guitar/Vocals
Dan Hernandez – Bass
Dan Bhutta – Drums

https://www.facebook.com/limousinebeach/
https://orcd.co/limousinebeach
http://teepeerecords.com/
https://www.facebook.com/teepeerecords/

Limousine Beach, “Stealin’ Wine”

Pittsburgh classic-style heavy rockers Outsideinside issued their second full-length, Outsideinside II (review here), on March 6 through Rock Freaks Records, and this cover was recorded at the same time. If you know the song “Bang Bang (My Baby Shot Me Down)” there’s a decent chance it’s because the track was featured on the soundtrack to Quentin Tarantino’s 2003 two-parter Kill Bill. That version was by Nancy Sinatra, and it appeared on her 1966 album, How Does That Grab You?, and has been covered numerous times over the years by a variety of popsters and other types. The song was originally written by Sonny Bono and appeared on Cher‘s 1966 record, The Sonny Side of Cher, so Sinatra wasn’t first either, even if it’s her take on it that’s probably most recognized at this point. So it goes. Even Cher can’t win ’em all. Stevie Wonder also gave the song a try in ’66, so she’s in good company.

Outsideinside‘s “Bang Bang (My Baby Shot Me Down)” was recorded at the same time as the album, and as that record marked the first appearance in the band of James Hart on organ and keys, so too does Hart make an impression here, adding to the ’60s pop melancholia of the melody even as vocalist/guitarist David Wheeler, bassist Jim Wilson and drummer Panfilo Dicenzo, give the track a weightier edge of kick in its later payoff. To say Outsideinside are in their element is putting it lightly. Among the many versions out there is that featured on Vanilla Fudge‘s 1967 self-titled debut, so there’s certainly precedent to work from, and I’d be surprised if Outsideinside didn’t have that take in mind, as they’re nothing if not schooled in the ways of formative heavy. That’s been true since they debuted with 2017’s Sniff a Hot Rock (review here) and since Wheeler and Wilson were in Carousel before that.

You can still get Outsideinside II, of course, and you can hear the premiere of “Bang Bang (My Baby Shot Me Down)” on the player below here, followed by some comment from Wheeler. Another Wheeler-fronted project, Limousine Beach, has newly announced an EP out this month through Tee Pee Records, so keep an eye out for more there, but in the meantime, enjoy this one:

David Wheeler on “Bang Bang (My Baby Shot Me Down)”:

“Bang Bang has been in our live set since about 2014 (back when we were still a trio), but James’ organ adds some really nice texture to the arrangement we had back then. Although originally written by Sonny Bono and performed by Cher, there are tons of other versions (Nancy Sinatra, Stevie Wonder, Vanilla Fudge, etc). Jim turned me onto Terry Reid/s version years ago and that’s become my favorite.  We recorded it during the sessions for our last LP and would have loved to have put it on the album but you can only fit so many tunes on two sides of vinyl so we decided to save it to release on its own.” 

Outsideinside on Thee Facebooks

Outsideinside on Spotify

Rock Freaks Records on Thee Facebooks

Rock Freaks website

The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.

Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

Days of Rona: David Wheeler of OutsideInside (Pittsburgh, Pennsylvania)

—

How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?

Mostly we’re just trying to stay in touch via text and support each other. I actually tested positive for covid-19 and was laid up for a few weeks dealing with that. The symptoms of the first week were pretty mild with fever, coughing and chills kicking in for the second week. Even after the symptoms ended I spent another solid week battling fatigue, but thankfully am now completely recovered. Needless to say I’m just now beginning to think about anything music related. So far all I’ve managed to do is learn “Adam’s Apple” by Aerosmith on guitar.

Luckily, the release show for Outsideinside’s new LP took place on March 6, about a week before all of the shit hit the fan so we managed to sneak it in. My other band Limousine Beach had to delay a mixing session for an LP we’re working on and had to cancel a handful of local and out of town shows we were really looking forward to, but we’ll take it all in stride. The most important thing is to flatten this curve. Luckily none of the other people I make music with have gotten [sick].

What are the quarantine/isolation rules where you are?

All non-life sustaining businesses are closed here in Pittsburgh and social distancing is in full effect.

How have you seen the virus affecting the community around you and in music?

Obviously it’s been financially devastating to anyone who makes a living as a performer, working in a venue or as a sound engineer etc. As is the case in disasters, people are working toward creative solutions. For example, my wife Susan Pedrazzi and her friend Elizabeth Sanchez have started a creative collective called Together___Apart that highlights individual artists and features stickers, tote bags, and t-shirts for sale with proceeds benefiting local performers and gig workers (https://instagram.com/together______apart).

Musicians have also found alternative ways to continue performing via livestream and are blasting out home recordings. Aside from music, I was blown away by the support I received from my friends, (as well as strangers in some cases) while I was sick. It just goes to show you that you see the best of people in times like these. There is real work to do to keep everyone’s head above water, and people are finding ways to accomplish that.

What is the one thing you want people to know about your situation as a band, personally, or anything?

Mostly, as someone who is recovering from a “mild” case of covid-19, I just want to say you do not want it and you do not want your friends and/or family to get it. It’s pretty brutal even if you’re a relatively healthy individual. Let’s do right by each other and stay away.

https://www.facebook.com/outsideinside1/
https://open.spotify.com/artist/1Nb2f7ORXPcKchOjqFqauG
https://www.facebook.com/rockfreaksrecords/
http://www.rockfreaks.de/

The debut EP release from Pittsburgh’s Fuzznaut, Form is Emptiness, is comprised of four tracks written for and performed by solo guitar. The project is the work of Emilio Rizzo, who brings a strong current of Earth-style meditative riffing to the 21-minute offering, which begins with “Form is Emptiness” and moves into “Emptiness is Form,” sounding less indebted specifically to HEX: Or Printing in the Infernal Method than many of the more Americana-minded entities who might take on a Dylan Carlson influence, but still capturing an emotional ambience even if, by its very nature, it’s something of a stark one.

Of course, that is to say, Rizzo‘s on his own throughout “Form is Emptiness,” “Emptiness is Form,” “Conjuction and Ellipsis” and the two-minute finale “Midnight and Shadow,” and in solo-drone fashion, the results are duly lonely. Without the anchor of drums, it’s tempting to float off on Rizzo‘s thickened tonal undulations, and I won’t necessarily recommend against it — Form is Emptiness is a short-enough journey at 21 minutes even if you sign up for the whole thing — but there are distinct riffs that emerge through the surrounding patterns of effects and atmospherics, and one finds that as the tracks play through, the more grounded rhythms, even without percussion, give the listener something to grasp onto where otherwise the music might simply drift.

He’s not the first to strike this balance, obviously, but Form is Emptiness is a first release, so it’s worth remembering that this is the point from which future work will spread outward, and in that capacity there are multiple encouraging factors here, whether it’s Rizzo‘s not giving in to all-out indulgence in the material or the fact that the blend of spaciousness and tonal weight he conjures here leaves himself an open context for which that future work might grow. That is, should he wish to add effects, instrumentation, whatever it might be, there’s room in the sound for all of it without it seeming out of place, and frankly, the emptiness sends a message unto itself as well.

You can see the video for “Conjunction and Ellipsis” — most of which was recorded live and is accompanied by scenes from around Pittsburgh — premiering on the player below.

Please enjoy:

Fuzznaut, “Conjunction and Ellipsis” official video premiere

Pittsburgh Doomgaze Fuzznaut Premier New Video “Conjunction and Ellipsis” Off The Debut EP “Form Is Emptiness”.

FUZZNAUT “Conjunction and Ellipsis” shot and directed by Fuzznaut entirely on the iPhone is in exploration in sound vision, and experimental video documentation. Taking scenes from Fuzznaut’s hometown, experimental video, and the first year of life performance. This video encapsulates the origins and development of the solo artist. That reflects the tones and textures of the soundscapes.

FUZZNAUT is the solo electric guitar project of Pittsburgh based composer Emilio Rizzo. Using the guitar as means to summon sequences that are a complex clamor of timbre and power ambiance. That engages the listener to discover ominous sounds from minimalist architecture.

Fuzznaut live:
May 22 Cattivo Pittsburgh, PA

Fuzznaut, Form is Emptiness (2019)

Fuzznaut on Thee Facebooks

Fuzznaut on Instagram

Fuzznaut on Bandcamp

[Outsideinside’s II is out March 6 on Rock Freaks Records. Click play above to stream the album in full.]

Since they made their debut in 2017 with the somewhat undervalued Sniff a Hot Rock (review here), Pittsburgh, Pennsylvania, classic-style heavy rockers Outsideinside — who take their name from Blue Cheer‘s 1968 sophomore album — have toured Europe and signed to the Freak Valley-affiliated Rock Freaks Records as well as added a fourth member to the band in James Hart, who brings organ/keys and guitar to the proto-heavy style proffered by the returning trio of drummer Panfilo Dicenzo, bassist Jim Wilson and vocalist/guitarist Dave Wheeler. Accordingly, their own sophomore album, Outsideinside II, is a somewhat richer affair than its predecessor, but its root mission is nonetheless consistent with its predecessor in not only paying homage to the heroes of two generations prior — the names are myriad, but the band cites Free, Hendrix, Spooky Tooth and Funkadelic, among others — but in giving new life to the sound and style those bands proffered. Thus, songs like side B’s “Ancient Faces” and the earlier swaggering “Fine Line” are more vintage in construction and tone than actual production, which remains clear modern, if organic and live sounding, finding a balance throughout its unassuming 40 minutes that is neither pretentious nor overblown in either direction.

It’s a line Wheeler and Wilson were able to tread in their previous outfit, Carousel, as well, but as Hart finds his place in the mix by Nate Campisi, who also recorded at Mr. Smalls Studio, here alongside the other three players, be it in the brash and speedy “In Your Mind” or the near-10-minute “Maggot Brain”-plus-vocals-esque finale “Eventide,” Outsideinside also seem to come into their own, building on the accomplishments in songcraft and overarching flow of their first LP — learning those lessons well and integrating them into what they do — while exploring new challenges and methods with a rightly won confidence. Thus it is a song like the presumed side A capper “I Ain’t Waitin'” is able to place a multifaceted hook in a verse position and shift fluidly into a thrilling pair of organ and guitar solos ahead of its last fadeout — what might be called a “duel” if the two elements weren’t so clearly working as part of the same team and toward the same ends.

While Hart makes key contributions throughout Outsideinside II as much figuratively as literally, one would be remiss not to point out the presence Wheeler brings to his performance throughout this material. As he leads the way through the Humble Pie-style mid-tempo boogie opener “My Mother’s Son” — those waiting to spot the record’s first use of cowbell will not have to wait long — he taps into a particular kind of soulfulness that few modern singers can effectively portray. Dru Brinkerhoff of Stone Axe could do it, but one is hard pressed to come up with other names besides Wheeler. It’s a style that is able to conjure booze-addled sway and follow-the-riff party vibes and emotional sincerity in kind, and amid all the swing and shove of the penultimate “Top 10” or “In Your Mind,” it shouldn’t be forgotten that after “My Mother’s Son” at the album’s outset comes “Sisterman,” wherein the lyrics position the idea of a sister as one who helps shoulder burdens and provides support apart even from what a brother or a parent might.

The first two tracks, then — the most immediate impressions Outsideinside II makes — are about notions of family. The hook of “My Mother’s Son” is likewise heartfelt: “Born and raised my mother’s son/Mama prays/Thy kingdom come, thy will be done.” It’s not only a welcoming groove to start the LP and warm in tone and general feel in a way that represents well what follows, but a sweet sentiment that “Sisterman” complements even as it brings on more of a strut and stomp in terms of its rhythm. That too represents a defining aspect of the album as an entirety — not just how one track shifts into the next, but how the songs play off each other as a result of that. The sleek motion of “Fine Line” picks up from the opening duo and smoothly leads the listener into the next section of the LP, with “In Your Mind” and “I Ain’t Waitin'” right behind to bolster and further flesh out side A.

And after that organ/guitar fade at the end of “I Ain’t Waitin’,” it’s also worth noting that “Ancient Faces” answers right back at the (again, presumed) outset of side B with a likeminded procession in its introduction, and though the personality of the song is more mellow and built around its changes in volume between the verse and chorus and a kind of noodling lead in its second half as it builds to a more patient but still effective payoff, ahead of the last shakedown in “Top 10,” that momentum brings them into the increased breadth of “Eventide,” wherein Hart arguably makes his presence most felt in filling out what would otherwise be empty spaces in the ensuing jam. It is a moodier vibe that persists in the closer, and purposefully so, but Wheeler‘s vocals are able to fit the shifts that ensue, and the subtle wash of Dicenzo‘s cymbals behind and the foundation of Wilson‘s low end prove no less crucial in the quiet places than in any of the album’s prior boogie.

Thus it is that Outsideinside become a genuine four-piece on their second offering, and the change in dynamic from a classic power trio is evident despite the fact that the natural feel remains paramount. “Eventide” breaks at its halfway point and goes to ground to begin the final instrumental build that will close, and it is an especially engaging moment of the band functioning at all levels to bring together old and new strengths. In more than just the actual makeup of the group, Outsideinside II is an important forward step in aesthetic as well as songwriting, and while it never veers — somewhat refreshingly — into territory one might call progressive, the evolution on display from Outsideinside could hardly be called anything else. As yet, they are a better band than people know.

Outsideinside on Thee Facebooks

Outsideinside on Spotify

Rock Freaks Records on Thee Facebooks

Rock Freaks website

The annual Descendants of Crom in Pittsburgh has become a reliable assemblage of heavy, with a lineup diverse in sound woven together by a consistent quality of taste that unites across styles. For evidence of the ongoing nature of this phenomenon, look no further than the first two names on the poster of Descendants of Crom IV — Bongzilla and Ruby the Hatchet. The former, a recongealed stoner-sludge exercise in Midwestern working-class bomber crust, and the latter, a more urbane newschool-via-oldschool heavy rock outfit laced with keys and nigh-on-glam melodicism.

Those differences are stark, but I’ll be damned if both don’t fit well at the top of the bill here, which includes plenty of shouldn’t-be-missed names in the likes of Orodruin, Valley of the Sun, Heavy Temple, Rebreather, Pale Divine, Horehound, Cavern, on and on. I guess I could probably just run down the whole list at that point. It’s a good fest, and more even than last year, you begin to see the sense of curation and the personality of the festival emerge in its blend of styles. It’s not just about more, more, more, in an overwhelming onslaught of bands, but about what each specifically brings to the lineup as a whole. Kudos, as ever, to Shy Kennedy and her crew on a job on its way to being well done.

Here’s the announcement:

DESCENDANTS OF CROM IV – A GATHERING OF THE HEAVY UNDERGROUND

FRIDAY, OCTOBER 2nd & SATURDAY, OCTOBER 3rd

CATTIVO NIGHTCLUB – ­­­PITTSBURGH, PA, USA

The fourth annual Descendants of Crom will be held this year again in Pittsburgh on both floors of Cattivo Nightclub. The events begin early Friday evening and are followed by a Saturday all-dayer.

The underground scene of heavy rock and metal here is healthy and thriving and we’re feeding great regional bands to a hungry crowd and utilizing legendary, international fan-favorites to entice music fans in the door with the support of our amazing local artists. Descendants of Crom was planted in 2017 as a little black seed and has been growing and strong contender among other established annual music festivals. We aspire to become the premier music event of the Northeast and invite you to become part of the 2020 event. After all, we are all Descendants of Crom!

This year’s DESCENDANTS are:

Bongzilla, Ruby the Hatchet, Black Tusk, Valley of the Sun, Evoken, Orodruin, Rebreather, Horseburner, Heavy Temple, Horehound, Cavern, Pale Divine, Howling Giant, Ironflame, Cruces, God Root, Zom, The Long Hunt, Makeshift Urn, and We, the Creature.

Schedule and tickets will be on sale Friday, March 6th for single-day as well as two-day passes.

We’re looking for sponsors, vendors, and any entity that supports the heavy underground and all things psych, stoner, doom, sludge, and occult to reach out and be a part of our event and community.

Additionally, in anticipation for this year’s Descendants of Crom, there will be a DOC showcase held at Cattivo on Saturday, March 21st featuring bands that have all been part of the Descendants of Crom history. Urns, The Long Hunt, Horehound, Horesburner (WV), and Ironflame. This showcase is a taster of what sort of musicianship and energy that DOC brings to the stages.

Rritual event page: https://www.facebook.com/events/509381869977026/

https://www.facebook.com/DescendantsOfCrom/
www.instagram.com/descendantsofcrom/
https://www.facebook.com/events/437759083832580/
www.descendantsofcrom.com/Tickets.php
http://descendantsofcrom.com

Ruby the Hatchet, Live in Atlanta, GA, Dec. 5, 2019

It’s only been two years since Pittsburgh’s ZOM debuted on Argonauta with their first full-length, Nebulos (discussed here), but in that time they’ve not only toured Iceland, but restructured their lineup as a four-piece as well, and when you consider that Nebulos shared much of its material with their prior 2013 self-titled EP (review here), it seems like it’s probably fair to expect something different from them this time around. What that might look or sound like, I don’t know, mostly because the album hasn’t been tracked yet. They’ll enter the studio… soon?… to record their sophomore LP with Steel City go-to Jason Jouver engineering and issue the album either later this year or in 2021. I know they’re working on other touring abroad as well, but I’m not sure what the actual timing is on any of it. I’d think getting the recording done is probably right up there on the priority list though. Just a guess.

They sent the following down the PR wire:

ZOM prepares to enter the studio to record follow up to 2018’s “Nebulos”

Pittsburgh, PA stoner-groove, heavy rockers, ZOM are heading into the studio to record their second album and first with the current lineup.

The band’s debut album, Nebulos was released via Argonauta Records in 2018 and featured founding member and songwriter, Gero von Dehn (Monolith Wielder, Von Dane) on guitars/vox alongside bassist and recording engineer Andrew D’Cagna (Brimstone Coven, Ironflame). Percussion duties were shared by D’Cagna and Ben Zerbe (Monolith Wielder, Mandrake Project).

The band was then retooled for live shows and touring and has performed domestically and abroad as a four piece ever since.

Von Dane and Zerbe remain but added to the band were guitarist Matthew Tuite (Blackfinger, Penance) and bassman Sam Pesce (Del Rios).

The new album will be recorded at Plus Minus Studios in Pittsburgh and at the helm will be engineer, Jason Jouver (Monolith Wielder, Lady Beast).

No release date has been set.

https://www.facebook.com/ZOMofficialpage/
https://zom-rock.bandcamp.com/music
http://www.argonautarecords.com
https://www.facebook.com/ArgonautaRecords/

ZOM, Nebulos (2018)