Blackwater Holylight Post New Single “Death Realms”

Posted in Whathaveyou on September 10th, 2019 by JJ Koczan

I have all kinds of crap that I should be listening to on any given day, but I just keep going back to this Blackwater Holylight record and its genre/anti-genre approach, the radness of which would be hard for me to overstate. Veils of Winter is out a month from tomorrow through RidingEasy, and the five-piece have just unveiled the second advance cut from the album in the form of “Death Realms,” so yes, I’m posting about it again, if only to have a legit excuse to put the album on again and listen to it front to back. I’ve already got their upcoming Brooklyn show with Monolord in the calendar, and it’s been a while since I looked forward so much to seeing a band for the first time.

As of right now, I have an album review slated for about two weeks from today, so I’ll reserve any further gushing for that, I guess, and just turn things over to the PR wire, which brings much background and of course the stream of the track itself, which is down there at the bottom. You gotta hear it.

Here goes:

blackwater holylight veils of winter

Portland, OR quintet Blackwater Holylight share the second single from their forthcoming sophomore album Veils of Winter (RidingEasy Records) today. Hear and share the pop-hook laced “Death Realms” via YouTube and Bandcamp.

The band previously dropped the immediately classic lead track “Motorcycle” via YouTube and all streaming platforms last month.

Blackwater Holylight hit the road later this month, supporting Thou for a handful of Southern dates, followed by the full US with former RidingEasy label mates Monolord in November. Please see complete dates below.

Blackwater Holylight, as the name suggests, is all about contrasts. It’s a fluid convergence of sound that’s heavy, psychedelic, melodic, terrifying and beautiful all at once.

As a heavy band, their songs aren’t anchored to riffs, but rather riffs come and go in waves that surface throughout the band’s meditative, entrancing songs. It’s a hypnotic sound, with orchestral structures that often build tension and intrigue before turning the song on its head — not by simply getting louder or heavier, nor by just layering elements. They expertly subvert the implied heaviness of a part, dissecting it and splaying the song’s guts out to seep across the sonic spectrum.

Now, having toured extensively following the band’s wildly-successful breakout self-titled debut in 2018, Blackwater Holylight has honed their sound and identity to a powerfully captivating beast. Their live set is all about the slow build, seeming to combine the melodic tension of early Sonic Youth crossed with the laconic fever-dream blues of the first Black Sabbath album and wiry experimentation of post-punk and krautrock.

The lineup on this album is Allison (Sunny) Faris (bass/vocals), Laura Hopkins (guitar/vocals) and Sarah McKenna (synths), with new guitarist Mikayla Mayhew and drummer Eliese Dorsay fleshing out their sound in exciting ways.

“The process of this album was vastly different from our first record,” says Faris. “One, because we recorded it over the course of a few weeks, whereas the first record was over the course of about a year. And two, this album was a true collaboration between the five of us. Each of us had extremely equal parts in writing and producing, we all bounced ideas off each together, and we all had a say in what was going on during every part of the process.”

“One of our favorite things about this album is that because it was so collaborative, we didn’t compartmentalize ourselves into one vibe.” She continues. “It’s heavy, psychedelic, pop, shoegaze, doom, grunge, melodic and more. The whole process was extremely organic and natural for us, we were just being ourselves.”

Veils of Winter opens with fuzzed-drenched, drop-tuned bass and baritone guitar leading a dirge riff on “Seeping Secrets.” Faris’ lilting and funereal vocals drop in, adding to the mournful atmosphere until a short turnaround progression hints at changes to come, as Faris and Hopkins harmonize eerily and the tune suddenly turns into a krautrock charge. “Motorcycle” kicks off deceptively with a heavy grunge riff building up for about 40-seconds before the song abruptly shifts gears into a synth-led post-punk harmony, sounding something like Lush meets Syd Barrett era Pink Floyd. “Death Realms” is perhaps the poppiest track, based around soaring shoegaze guitars and interwoven light vocal harmonies. Soft piano notes, occasional woozy whammy bar dives and a driving tom-tom beat solidify its hooks. “Spiders” is a creepy-crawly guitar riff and counterpoint keys, while “Moonlit” explores prog-structures with a shredding guitar solo crescendo. The penultimate track, “Lullaby” is exactly that, a lulling, expansive tune exemplifying Blackwater Holylight’s genre smashing sound as it subtly moves across a vast sonic landscape atop a hypnotic 6/8 beat and repetitive 3-note motif. Throughout the album, their songs shirk traditional verse-chorus-verse structure in favor of fluid, serpentine compositions that move with commanding grace.

Veils of Winter will be available on LP, CD and download on October 11th, 2019 via RidingEasy Records. Pre-orders are available at www.ridingeasyrecs.com.

BLACKWATER HOLYLIGHT LIVE 2019:
09/22 New Orleans, LA @ One Eyed Jack’s #
09/23 Tallahassee, FL @ The Bark #
09/24 Tampa, FL @ The Blue Note #
09/26 Miami, FL @ Las Rosa’s #
09/27 Orlando, FL @ Will’s Pub #
09/28 Gainesville, FL @ The Atlantic #
09/29 Pensacola, FL @ Chizuco #
10/10-13 Lake Perris, CA @ Desert Daze Festival
10/24 Portland, OR @ Star Theater – Album release show
11/05 San Diego, CA @ Brick By Brick *
11/06 Tucson, AZ @ Club Congress *
11/07 Albuquerque, NM @ Sister *
11/09 Austin, TX @ Barracuda – Levitation Fest – RidingEasy Stage
11/10 Lafayette, LA @ Freetown Boom Boom Room *
11/11 New Orleans, LA @ One Eyed Jacks *
11/12 Atlanta, GA @ 529 *
11/13 Asheville, NC @ Mothlight *
11/14 Richmond, VA @ Camel *
11/15 Baltimore, MD @ Metro Gallery *
11/16 Philadelphia, PA @ First Unitarian Church *
11/17 New York, NY @ Saint Vitus *
11/20 Chicago, IL @ Reggie’s *
11/21 Indianapolis, IN @ Black Circle Brewing *
11/22 St. Louis, MO @ Fubar *
11/23 Lawrence, KS @ The Bottleneck *
11/25 Denver, CO @ Marquis Theater *
11/27 Los Angeles, CA @ Teragram Ballroom *
12/05 Seattle, WA @ Neumos ^
12/06 Eugene, OR @ WOW Hall ^
12/07 Portland, OR @ Bossanova Ballroom ^
# w/ Thou
* w/ Monolord
^ w/ Yob

https://www.facebook.com/blackwaterholylight/
instagram.com/blackwaterholylight
blackwaterholylight.bandcamp.com
ridingeasyrecs.com

Blackwater Holylight, “Death Realms”

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Alltar Stream Hallowed LP in Full; Album out This Week

Posted in audiObelisk on September 4th, 2019 by JJ Koczan

alltar

Portland, Oregon, post-metallers Alltar — also stylized as A//TAR, as on their logo/cover art — will release their debut album, Hallowed, through Monochord Records this Friday, Sept. 6. The initial offering from the band that also comprises three-fifths of recently-discussed noisemakers Hound the Wolves — those being vocalist, Moog-ist Juan Carlos Caceres, guitarist/sampler Tim Burke and drummer Nate WrightColin Hill plays guitar and Sean Frederick plays bass on the recording and has since been replaced by Casey Braunger — is made up of four songs that run a very vinyl-friendly 35 minutes and brings forth Isis-style hypnotic march and atmospheric spread, dug into with volume trades that remind of Rwake‘s later work with a sense of volatility that seems to revel in never quite letting the listener know when the tension is going to pay off. With everything but vocals recorded and mixed by Fester at Caravan Studios, Haywire Studios, and the Hypercube and vocals helmed by Jeanot Lewis-Rolland at JLR Audio Productions and mastering by Ryan Foster at Foster Mastering, it is straightforward in its arrangements to be positioning itself as a root form of post-metal, bringing the aesthetic full circle and back to its cerebral roots in churning rhythms and shifts between deeply-weighted contemplation and voluminous sway and crash.

The album breaks cleanly into two vinyl sides with two songs apiece, the second longer than the first by about five minutes, but all the more immersive for that. The relative brevity of what Alltar do here — as a style that essentially began with Neurosis in the late ’90s and early ’00s, a pattern of CD-era album lengths for post-metal has been set as a tenet of the subgenre — makes Hallowed effective at creating the impression of playing to essential elements. That’s not to say the record is simple in arrangement or execution, with Moog and samples here and there, spoken word on the 11-minute side A closer “War Altar” and side B opener “Induction” and loud/quiet trades across the span, but that neither is it an effects wash, and the guitars of Hill and Burke are plainly more interested in crunch than sprawl. There’s no post-rock float, and even in the windy intro to opener “Horology,” the quiet stretch is more about creating tension ahead of the punch to come, and the same goes for the Moog-laced beginning of closer “Spoils,” though alltar hallowedthe latter might be as close as they come, even if it’s offset by the slowest and hardest-bashing crash to be found on the record.

It’s interesting to note the idea of worship in what Alltar are doing. Their moniker, for example. “All,” and “altar,” together. And calling their first record Hallowed would seem to be underscoring the point. Their music itself, while of a lineage with the aforementioned Isis and of course that band’s forebears in Neurosis and their many acolytes, is made all the more distinct through this notion, but the prevailing vibe of the tracks themselves is more mournful than celebratory. That’s true as Caceres shifts between clean singing and shouts throughout and even as “Spoils” churn-chugs to its ultimate conclusion, following up on the charged design of “War Altar” in a way that feels conceptual. Alltar, then, seem to be calling more into question in terms of who we are and what we choose to worship. This is a decidedly American ideal: the crafting of identity through reconciliation with history either personal or cultural, and if Alltar‘s scope is set to encompass, well, everything, then it seems only fair to call that ambitious as an understatement and remain impressed at the sense of focus they nonetheless conjure throughout their well-plotted material, delivered with what sounds like a burgeoning sense of patience.

And normally, this is the part where I’d say I expect that sense of patience to come more to the fore their next time out, but frankly, I don’t. Alltar‘s Hallowed has been sitting on the proverbial shelf for nearly two years since it was recorded as the band dealt with label issues — Monochord Records is their own and also put out Hound the Wolves, so technically this is a self-release — and I would think that the pent up frustration, one way or another, would manifest in their next batch of songs, or at least in parts should they keep up the loud/quiet trades one finds throughout these four tracks. All the same, it will be interesting to hear as they move forward just in what fashion they do, how their arrangements grow and flourish and in what manner they build on the solid foundation they’ve given themselves to work from here in theme and style. I’ll reserve any further speculation so as to prevent feeling like a jackass later when I’m so very wrong, but take the intrigue as a sign that whatever Alltar do as a sequel will be worth chasing down to find out where they end up.

They’re on tour later in September out west, and you’ll find those dates under the full stream of Hallowed below, as well as some more background from the PR wire.

I hope you enjoy:

alltar tour

Founded by guitarist Tim Burke (also of Hound The Wolves) in 2016, the band has developed through a careful, deliberate evolution to reach its perfect lineup with Juan Carlos Caceres (vocals, Moog), Nate Wright (drums), Colin Hill (guitar, samples) and Casey Braunger (bass.) With the same deliberation, the band spent the latter half of 2017 recording their 4-song debut album at 3 different studios in Portland, then mixing and mastering in Spring 2018. A record label came into the picture soon thereafter, though the album release was held up as the label’s funds were scarce. Eventually, the label folded and the band wrestled back their masters, choosing to self-release, now well into 2019.

“Upon the A//TAR we place our past,” the band declares. “Through the triumphs and tribulations of human-kind. From the technical and artistic birth of society’s achievements in art and technology, as well as the rise of power, war, destruction, and the control of humanity. Through the inevitable dark decay and cold loss, our music is inspired.”

Tracked by Jeanot Lewis-Rolland at the Magic Closet and JLR Audio Productions. Mixed by Fester. Mastered by Ryan Foster at Foster Mastering. Hallowed will be available on CD and download on September 6th, 2019. Pre-orders are available HERE.

A//TAR LIVE 2019:
09/04 Portland, OR @ Dante’s
09/20 Eugene, OR @ Sessions’ Lounge
09/21 Boise, ID @ The Shredder
09/22 Reno, NV @ TBA
09/23 Sacramento, CA @ On The Y
09/24 San Jose, CA @ The Ritz
09/25 Santa Cruz, CA @ The Blue Lagoon
09/26 Oakland, CA @ The Golden Bull
09/28 Seattle, WA @ The Highline
10/05 Portland, OR @ Twilight Bar

A//TAR is:
Tim Burke – Guitar, Samples
Juan Carlos Caceres – Vocals, Moog, Spoken Word
Casey Braunger – Bass
Nate Wright – Drums
Colin Hill – Guitar

Alltar on Thee Facebooks

Alltar on Instagram

Alltar on Bandcamp

Monochord Records on Thee Facebooks

Monochord Records on Bandcamp

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Holy Grove Present Road Songs Playlist; Tour Starts Aug. 28; Benefit Live Album out Now

Posted in audiObelisk on August 7th, 2019 by JJ Koczan

holy grove

So, in basically the last week-plus, Portland, Oregon’s Holy Grove have announced their latest string of West Coast tour dates and released a live album captured at this year’s Ceremony of Sludge to benefit a three-year-old with leukemia. Get that here at name-your-price and pay handsomely for it. Here are the tour dates:

Holy Grove on tour:
8/28 – Tacoma, WA @ Spanish Ballroom
8/29 – Bellingham, WA @ The Shakedown
8/30 – Vancouver, BC @ SBC
8/31 – Seattle, WA @ Substation
9/1 – Boise, ID @ The Shredder
9/2 – Salt Lake City, UT @ Kilby Court
9/3 – Denver, CO @ Tooey’s Off Colfax
9/4 – Albuquerque, NM @ The Launchpad
9/5 – Tempe, AZ @ Yucca Taproom
9/6 – Los Angeles, CA – 5 Star Bar
9/7 – Oakland, CA – Elbo Room Jack London
9/8 – Cupertino, CA – X Bar
9/9 – Sacramento, CA – Blue Lamp

I’ve still never had the good fortune to see Holy Grove live, and especially after the release of Holy Grove II (review here) last November — the four-piece’s debut on Ripple Music that followed their 2016 self-titled debut (review here) on Heavy Psych Sounds — I feel like I’m genuinely missing out. Sadly, I won’t be anywhere they’re going on this tour — always wanted to hit Vancouver, and Albuquerque seemed like a cool town when I was there — but a bit of insight into what the touring experience is like for Holy Grove is most certainly welcome.

So, here are some road songs. You know, what they play when they’re in the van going from one show to another on those long drives where inside-jokes are made and the bonds between bandmates are formed. Also, you should know that when I was typing that last sentence just now, I first wrote “bongs” instead of “bonds,” so take whatever you will from that. Either way, those times can be drags or they can be great, but they’re an essential part of the touring experience.

As Holy Grove prepare to head out again, they were kind enough to put together a selection of some of their favorite tunes to take with them, and bassist Gregg Emley — joined in the band by vocalist Andrea Vidal, guitarist Trent Jacobs and drummer Eben Travis — also gives some background on their choices.

Please enjoy:

holy grove tour dates

One of the best things about playing in a band is going on tour. Seeing new places and playing your music for new people is always exciting. One of the best things about going on tour for me is spending time with your band mates in the van. This is where all sorts of band bonding occurs. Inside jokes are formed, laughs are had, stories are told. It’s truly the best. Something else I love about touring is getting to spend time on those long drives listening to tunes and turning your band mates on to something they may not have heard before.

Here’s a playlist of some songs we like, and we encourage you to crank ’em on your next road trip.

Popul Vuh – Kleiner Krieger: Sublime little instrumental from my favorite PV record to start things off. Sounds like the beginning of a journey to me.

Led Zeppelin – Achilles Last Stand: Why screw around? Perhaps the most epic band’s most epic song.

BÖC – Joan Crawford: Apparently, she’s risen from the grave. The hook in this one is huge and fun to sing along with in a van full of buds late at night.

ZZ Top – Nasty Dogs and Funky Kings: My favorite song from one of the best road trip bands ever. That riff, that feel. No one does it better.

Roky Erikson – Two-Headed Dog: This is a recent discovery for me, courtesy of Trent (our guitar player). He played the whole record on our last tour and I was hooked. I remember having headphones on listening to a podcast or something, hearing this and immediately taking my headphones off, asking who it was and listening to the record. It’s been in my rotation since.

Diagonal – Semi-Permeble Menbrain: Diagonal is (maybe was?) a great neo-prog band from the UK with shades of Camel, King Crimson, and UK. They never really did much in the US, but both records rule all the way through.

Opeth – Hjartat Vet Vad Handen Gor: As a prog guy, I wasn’t THAT upset when Opeth ditched the death growls and went full on prog. There has definitely been a bit of stumbling as they perfect their new thing, but if this song is any indication, they may have done it with this upcoming new record.

Cult of Luna – Finland: This band rules. They seem to get overlooked when people talk about the Neurosis/ISIS school of heavy rock, but I think they’re among the best. All of their records evoke a feel and place for me, and as this one comes from Somewhere Along the Highway, it makes sense to me that it would evoke staring out a van window watching the miles roll by. Oh, and those riffs.

Melvins – A History of Bad Men: the Big Biz version of the Melvins lineup is/was unstoppable. One of the greatest live shows I’ve ever witnessed. This is my favorite song from that era of the band. We opened for them two nights in a row in May, and they crushed which was to be expected, but still great to see from a band entering its 4th decade still destroying.

Iron Maiden – The Wicker Man: I remember when this record came out, and really steeling myself to be disappointed. It just didn’t seem possible that they would be able to release something as good as any of the “classic”-era records after Bruce being gone for a few years and the super bummer “Hey…that’s not Bruce!” years. I was wrong. This song was all I needed to hear to know I had nothing to worry about. If your fist isn’t in the air by the time the chorus hits, check yer pulse.

Metallica – Escape: If there is such a thing as an “underrated” Metallica song from the first four, this would have to be it.

Judas Priest – Hell Patrol: Just another great fist pumper about some sort of evil force ripping down the highway (I think?).

High on Fire – Death is This Communion: This band means a whole lot to all of us. Growing up in San Jose, I was lucky enough to be turned on to Sleep around the time Holy Mountain came out. They played the sound I heard in my head. Black Sabbath was my favorite band, and they were doing it. It was a revelation. When Sleep broke up, I was extremely bummed, especially because I had heard about this one epic song they were working on at the time, that I figured would never see the light of day. When I heard that Matt from Sleep had a new band with George from San Jose legends Dear Deceased on bass, my friends and I scoured the Bay Area weekly papers waiting for their name to show up. I must have seen them five or six times before the 12th Records demo came out. All of this to say, this band is in my blood. Getting to open for them in May was a dream come true for all of us.

Crowbar – The Lasting Dose: Riffs. Big giant crushing riffs. ‘Nuff said.

Tomb Mold – Planetary Clairvoyance: Modern Death Metal sounding like old Death Metal is pretty hip right now, and I’m 100% OK with that. These dudes do it right, caveman riffs and a VHS horror atmosphere. Last year’s Manor of Infinite Forms was my favorite DM release of the year, but I think I’m digging this new one even more. This is the title track.

Woe – Carried By Waves To Remorseless Shores Of The Truth: I love how this band combines elements of classic heavy metal, like guitar harmony parts, slower chugging riffs and anthemic choruses into this big swirling aggressive black metal stew.

Ludicra – Truth Won’t Set You Free: My favorite song from Ludicra’s final record, The Tenant. I love how this band incorporates so many different elements to create something distinctly Ludicra. My favorite USBM band ever and they’re sorely missed.

Krallice – Monolith of Possession: Have we been driving for two hours or has it been 19 minutes? Who knows, pretty sure we opened a portal to another dimension. Enjoy.

Torche – Tarpit Carnivore: Monumentally heavy.

John Carpenter – Escape from New York (main title): We’re all huge JC fans. This sounds like the end of a journey to me. Roll credits.

Clarence Carter – Patches: Not sure how this ended up as our band inside joke, but it did. If you’re not smiling by the time the chorus hits, well then I feel bad for you, son.

Holy Grove on Thee Facebooks

Holy Grove on Instagram

Holy Grove on Twitter

Holy Grove on Bandcamp

Ripple Music website

Ripple Music on Bandcamp

Ripple Music on Thee Facebooks

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Blackwater Holylight Announce New Album Veils of Winter; Stream “Motorcycle”

Posted in Whathaveyou on August 1st, 2019 by JJ Koczan

blackwater holylight

Oh, I was very much hoping that earlier this year when it was announced that Portland, Oregon’s Blackwater Holylight were in the process of recording a follow-up to their 2018 self-titled debut (review here) and then announced their big Fall tour with Monolord, that meant the album would be released concurrently. As it happens, that’s exactly what’s up for what’s been dubbed Veils of Winter and will be released Oct. 11 through RidingEasy Records. If you’re not looking forward to it yet, I’m just going to assume the first record got by you — hey, shit happens; still time to catch up — but seriously, if you don’t take the couple minutes to dig into “Motorcycle” below, you’re missing out.

The organ line, the vocal melodies, the kind of eerie guitar — it’s such a dead-on psychedelic vibe that’s classic in its root but has its identity on lockdown. I can’t wait to hear the rest of the record, and I can’t wait to see them live. Seriously. Sometimes I feel bogged down by the sheer amount of stuff coming out, and then I get word about something like this and I’m a dorky fanboy all over again.

Nerd along with me and the PR wire:

blackwater holylight veils of winter

Blackwater Holylight – Veils of Winter

Portland, OR quintet Blackwater Holylight announce their forthcoming sophomore album Veils of Winter (RidingEasy Records) today, sharing the lead single. Hear and share the immediately classic hooks of “Motorcycle” via Bandcamp and YouTube.

Blackwater Holylight hit the road hard this Fall, supporting former RidingEasy label mates Monolord throughout the US in November, as well as Thou in September, plus a handful of hometown shows. Please see complete dates below.

Blackwater Holylight, as the name suggests, is all about contrasts. It’s a fluid convergence of sound that’s heavy, psychedelic, melodic, terrifying and beautiful all at once.

As a heavy band, their songs aren’t anchored to riffs, but rather riffs come and go in waves that surface throughout the band’s meditative, entrancing songs. It’s a hypnotic sound, with orchestral structures that often build tension and intrigue before turning the song on its head — not by simply getting louder or heavier, nor by just layering elements. They expertly subvert the implied heaviness of a part, dissecting it and splaying the song’s guts out to seep across the sonic spectrum.

Now, having toured extensively following the band’s wildly-successful breakout self-titled debut in 2018, Blackwater Holylight has honed their sound and identity to a powerfully captivating beast. Their live set is all about the slow build, seeming to combine the melodic tension of early Sonic Youthcrossed with the laconic fever-dream blues of the first Black Sabbath album and wiry experimentation of post-punk and krautrock.

The lineup on this album is Allison (Sunny) Faris (bass/vocals), Laura Hopkins (guitar/vocals) and Sarah McKenna (synths), with new guitarist Mikayla Mayhew and drummer Eliese Dorsay fleshing out their sound in exciting ways.

“The process of this album was vastly different from our first record,” says Faris. “One, because we recorded it over the course of a few weeks, whereas the first record was over the course of about a year. And two, this album was a true collaboration between the five of us. Each of us had extremely equal parts in writing and producing, we all bounced ideas off each together, and we all had a say in what was going on during every part of the process.”

“One of our favorite things about this album is that because it was so collaborative, we didn’t compartmentalize ourselves into one vibe.” She continues. “It’s heavy, psychedelic, pop, shoegaze, doom, grunge, melodic and more. The whole process was extremely organic and natural for us, we were just being ourselves.”

Veils of Winter opens with fuzzed-drenched, drop-tuned bass and baritone guitar leading a dirge riff on “Seeping Secrets.” Faris’ lilting and funereal vocals drop in, adding to the mournful atmosphere until a short turnaround progression hints at changes to come, as Faris and Hopkins harmonize eerily and the tune suddenly turns into a krautrock charge. “Motorcycle” kicks off deceptively with a heavy grunge riff building up for about 40-seconds before the song abruptly shifts gears into a synth-led post-punk harmony, sounding something like Lush meets Syd Barrett era Pink Floyd. “Death Realms” is perhaps the poppiest track, based around soaring shoegaze guitars and interwoven light vocal harmonies. Soft piano notes, occasional woozy whammy bar dives and a driving tom-tom beat solidify its hooks. “Spiders” is a creepy-crawly guitar riff and counterpoint keys, while “Moonlit” explores prog-structures with a shredding guitar solo crescendo. The penultimate track, “Lullaby” is exactly that, a lulling, expansive tune exemplifying Blackwater Holylight’s genre smashing sound as it subtly moves across a vast sonic landscape atop a hypnotic 6/8 beat and repetitive 3-note motif. Throughout the album, their songs shirk traditional verse-chorus-verse structure in favor of fluid, serpentine compositions that move with commanding grace.

Veils of Winter will be available on LP, CD and download on October 11th, 2019 via RidingEasy Records. Pre-orders are available at www.ridingeasyrecs.com.

Artist: Blackwater Holylight
Album: Veils of Winter
Label: RidingEasy Records
Release Date: October 11th, 2019
01. Seeping Secrets
02. Motorcycle
03. Spiders
04. The Protector
05. Daylight
06. Death Realms
07. Lullaby
08. Moonlit

BLACKWATER HOLYLIGHT LIVE 2019:
08/09 Portland, OR @ Tonic Lounge – Planned Parenthood benefit
08/24 Portland, OR @ Star Theater w/ Kadavar, Danava
09/23 Tallahassee, FL @ The Bark #
09/24 Tampa, FL @ The Blue Note #
09/26 Miami, FL @ Las Rosa’s #
09/27 Orlando, FL @ Will’s Pub #
09/28 Gainesville, FL @ The Atlantic #
09/29 Pensacola, FL @ Chizuco #
10/24 Portland, OR @ Star Theater – Album release show
11/05 San Diego, CA @ Brick By Brick *
11/06 Tucson, AZ @ Club Congress *
11/07 Albuquerque, NM @ Sister *
11/09 Austin, TX @ Barracuda – Levitation Fest – RidingEasy Stage
11/10 Lafayette, LA @ Freetown Boom Boom Room *
11/11 New Orleans, LA @ One Eyed Jacks *
11/12 Atlanta, GA @ 529 *
11/13 Asheville, NC @ Mothlight *
11/14 Richmond, VA @ Camel *
11/15 Baltimore, MD @ Metro Gallery *
11/16 Philadelphia, PA @ First Unitarian Church *
11/17 New York, NY @ Saint Vitus *
11/20 Chicago, IL @ Reggie’s *
11/21 Indianapolis, IN @ Black Circle Brewing *
11/22 St. Louis, MO @ Fubar *
11/23 Lawrence, KS @ The Bottleneck *
11/25 Denver, CO @ Marquis Theater *
11/27 Los Angeles, CA @ Teragram Ballroom *
# w/ Thou
* w/ Monolord

https://www.facebook.com/blackwaterholylight/
instagram.com/blackwaterholylight
blackwaterholylight.bandcamp.com
ridingeasyrecs.com

Blackwater Holylight, “Motorcycle”

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Hound the Wolves & Glasghote Stream Split LP in its Entirety

Posted in audiObelisk on July 31st, 2019 by JJ Koczan

hound the wolves

glasghote (Photo by William Corwin)

Portland, Oregon, five-piece Hound the Wolves and trio Glasghote will release their new split LP on Monochord Records this Friday, Aug. 2. As one might expect, the two bands share more in common than a hometown, as each group takes its own angle toward post-metallic vibes. Over the course of two songs apiece resulting in a total 31-minute run, the split veers through broad-running atmospherics and an at-times surprising melodic awareness en route to a feedback-soaked crush that would make Conan blush, which of course is a kind of atmosphere unto itself. Either way you go — and each band has clearly made its own choice in that regard; Glasghote‘s work is so deep in low-end it actually demands you turn it up just to hear it properly — the sense of aesthetic runs no less thick than the tones, as Hound the Wolves pull away from some of the more direct Americana of their 2018 debut, Camera Obscura (discussed here), in favor of a still vast but less earthly space.

This process begins with 12-minute opener “Godhead” unfolding the longest and broadest of the inclusions on the split, holding a tension in its bassline even as the guitar stretches out over parts unknown and echoing vocal proclamations recalling earlier Rwake‘s semi-spoken approach in its quieter moments that soon gives over to a more outwardly heavy sway. There are layers at work in clean vocals and screams and louder guitar, bass, drums, synth, etc., but by its eighth minute, “Godhead” has receded and it chooses never to get quite so active again, its initial linear build proving more parabolic as the track goes on. At 7:45, which is also longer than either of Glasghote‘s songs, “Live Through the Day, Run Through the Night” is more even-tempered and given to a post-rock drift rather than the two extremes of the prior track. They are a patient enough band to pull it off, ultimately, and the soulfully fuzzed solo in the second half alone is worth the price of admission, capturing perhaps the wistfulness inherent in Americana without giving over to the actual tropes of the style.

Hound the Wolves Glasghote SplitGlasghote announce their arrival with a riff. As well they should. The let’s-go-CROSH trio skirt the line of abrasion on “Croatoan,” which along with the subsequent “Eye of Ra” was recorded by none other than Billy Anderson, but their plays toward extremity across what turns out to be a relatively short 11 minutes divided over the two songs is fun-brutal rather than no-fun-brutal, and their revelry in psychotic tone and riffage is as immersive as it sounds like a good time to wield. One supposes they’re stylistically less complex than Hound the Wolves — again, Conan are a big influence, right down to the higher- and lower-register shouts that cut through the morass of guitar and bass on “Eye of Ra” — but as they follow-up their 2018 Doom Stew Records debut, Rite of the Siren, the three-piece go full-on into the aural grime and cull righteousness from it, their screamier edge signifying some root in West Coast noise or perhaps more metallic fare, but still put to welcome use amidst all the surrounding punishment. And there is plenty of that to be had in that 11 minutes. They pack it in pretty tight.

And just in case the point hasn’t gotten across, the split brings out two different takes on post-modern heavy, with Hound the Wolves bringing a more contemplative approach to exploring desolation and Glasghote gleefully crafting that desolation through the violence of their material — come to think of it, perhaps the order of appearance should’ve been switched; something about “Godhead” has an “aftermath”-type feel to it — but neither is out of place alongside the other, and someone who snags one of the limited CDs pressed by Monochord likely won’t have any trouble making the leap between them, such as it is. At the same time, the fact that their approaches are different enough means that they avoid the sense of competition that splits can sometimes bring out between acts who are more similar, so that Hound the Wolves only complement Glasghote and Glasghote only do the same for Hound the Wolves. That, to me, seems like a much better system.

Again, release date is Aug. 2, which is Friday. They’ve got a release show in Portland and everything. The full offering is streaming below, and you’ll find all the recording background and whatnot beneath that, courtesy of the PR wire.

Please enjoy:

What started as an art project among friends has transformed into the full-blown heavy rock experience of Portland’s Hound the Wolves. Formed in 2015, Hound the Wolves pulls euphonic inspiration from the mysterious and clandestine maneuvers that occur behind the shroud of darkness. Principal songwriter Juan Carlos Caceres incorporates occultism, numerology, and sacred geometry as leitmotifs in the band’s songs, while the perseverance of man, acceptance of societal ills, and the discovery of light in darkness are written as recurring lyrical themes. These elements find themselves translated sonically through droned patterns; earthy and worldly rhythmic density; and meditative, cyclical repetition that make for a haunted psych-metal experience.

Glasghote is a sludge/doom metal band hailing from Portland, OR. Glasghote formed in 2017 in the basement of founding members Jake Shaffer (guitar and vocals) and Jordan Huston (drums) with the addition of Chad Johnson (bass) coming just a few months later. Glasghote emerged on the Portland local scene with bone shattering tones and a wall of sound in tow. In one short year Glasghote signed with Doom Stew Records and released their debut full length Rite of the Siren. The band pulls influences from Thou, Primitive Man, High on Fire.

Track Listing:
1. Hound The Wolves — “Godhead”
2. Hound The Wolves — “Live Through The Day, Run Through The Night”
3. Glasghote — “Croatoan”
4. Glasghote — “Eye of Ra”

Produced by Hound the Wolves and TRIANGLES. Graphic design by Matt Howl, based on a photograph by Kristin Lee.

HTW’s songs were written and arranged by Hound The Wolves with lyrics by Juan Carlos Caceres. The songs were tracked by Jeanot Lewis-Rolland at the Magic Closet and JLR Audio Productions, mixed by Jeanot Lewis-Rolland, and mastered by Ryan Foster at Foster Mastering.

Glasghote’s songs were tracked, mixed, and mastered by Billy Anderson (Sleep, Melvins, Weedeater) at Hallowed Halls Recording Studio.

Upcoming Live Performances
8/2 @ Tonic Lounge in Portland, OR — Hound The Wolves, Glasghote, WILL
8/8 @ Substation in Seattle, WA — DANGG, Hound The Wolves, Glasghote, Darkmysticwoods

Hound The Wolves are:
Tim Burke – lap steel, drones, soundscapes
Juan Carlos Caceres – Guitar, vocals, words
Cory DeCaire – Bass
Ryan McPhaill – Drums
Nate Wright – Moog, aux percussion

Glasghote are:
Jake Shaffer – Guitar and Vocals
Chad Johnson – Bass
Jordan Huston – Drums

Hound the Wolves on Thee Facebooks

Hound the Wolves on Bandcamp

Glasghote on Thee Facebooks

Glasghote on Bandcamp

Monochord Records on Thee Facebooks

Monochord Records on Bandcamp

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Quarterly Review: Salem’s Bend, Motorpsycho, Sigils, Lord Dying, Sunn O))), Crimson Heat, Molior Superum, Moros, Glitter Wizard, Gourd

Posted in Reviews on July 2nd, 2019 by JJ Koczan

quarterly-review

Today is Tuesday, I’m pretty sure, and hey, that’s nifty. I thought yesterday kicked off the Summer 2019 Quarterly Review really well, and any time I get through one of these without my head caving in on itself, I feel like that’s a victory, so yeah. Now we wade even deeper into what will ultimately be a 60-review plunge, with another 10 offerings of various stripes and takes on heavy. Some higher profile stuff in here, which is fine, I guess, but most of it is pretty recent, so if there’s something you haven’t heard yet, I hope you find something you dig, as always.

Quarterly Review #11-20:

Salem’s Bend, Supercluster

salems bend supercluster

This is the sound of a band who’ve figured it out. Salem’s Bend have taken retroist boogie and modern tonalism, production and melody and turned it into something of their own. Supercluster (on Ripple) follows the Los Angeles trio of guitarist/vocalist Bobby Parker, bassist/vocalist Kevin Schofield and drummer Zach Huling‘s 2016 self-titled debut (review here), and with an uptick in the complexity of songwriting overall and particularly in the arrangements of dual-vocals, it is a marked step forward palpable as much in the hook of “Ride the Night” — and if you’re gonna call a song that, you better bring it — as the heavy crash ending “Heavenly Manna” and the languid, lucidly dreaming groove in “Infinite Horizon,” which appears ahead of the acoustic hidden track “Beltaine Chant.” That won’t be the last time these guys unplug, but whether it’s the raw Zeppelin vibe of “Show Me the Witch” or the crunching low-end nod of “Thinking Evil” or the leadoff thrust in “Spaceduster,” the message is clear that Salem’s Bend have arrived.

Salem’s Bend on Thee Facebooks

Ripple Music webstore

 

Motorpsycho, The Crucible

motorpsycho the crucible

The latest in Motorpsycho‘s nigh-on-impossible-to-chart and ever-growing discography is The Crucible, issued through Stickman Records, and taking some of the heavy rock push of 2017’s The Tower (review here) and stretching out to more willfully progressive execution across three increasingly extended tracks. Running from shortest to longest, the album begins with “Psychotzar” (8:44) which resolves itself in maddening turns after fleshing through an energetic beginning, and rounds out side A with the 11-minute “Lux Aeterna,” with vocal harmonies and mellotron building into a graceful swell of volume before a headspinner solo and jam take hold, break to near-silence and finish in a burst of directly earliest-King Crimson majesty. This all before the 20:51, side B-consuming title-track crashes in with immediate tension and plays back and forth at releasing that through a course that is rife with melody and an emphasis on the mastery of Motorpsycho over their sound and direction. Onto the list of the year’s best records it goes.

Motorpsycho on Thee Facebooks

Stickman Records website

 

Sigils, You Built the Altar, You Lit the Leaves

Sigils You Built the Altar You Lit the Leaves

Hypnotic and immersive heavy post-rock and metal becomes the genre tag well enough, but what New York’s Sigils do on their markedly impressive self-recorded, self-released debut album, You Built the Altar, You Lit the Leaves, is more soulful and emotive than “post-” anything generally conveys. With four tracks/38 minutes best taken as a whole, single listening experience, the band offer resonant depths of tone and vocal echoes centered around airy but still weighted guitar and consuming rhythms brought to bear with the patience of an organic Jesu. The ultimate triumph is in the melody and payoff of 13-plus-minute closer “The Wicked, the Cloaked,” which seems to manifest the haunting sensibility that “Samhain” and “Ritual” advocate on side A, but neither will I discount the chug of the prior “Faceless” or the underlying churn in those two leadoff tracks. Especially as a first album, You Built the Altar, You Lit the Leaves casts a sonic identity for itself that is striking and sees the band already beginning to push themselves forward. One hopes they continue to do so.

Sigils on Thee Facebooks

Sigils on Bandcamp

 

Lord Dying, Mysterium Tremendum

Lord Dying Mysterium Tremendum

Following 2015’s Poisoned Altars (review here), subsequent years of touring and a jump from Relapse to eOne Metal, Lord Dying‘s Mysterium Tremendum is enough of a stylistic melting pot that the best thing to do is call it progressive and just let it roll. Comprised of 11 tracks themed around death and the afterlife, the record takes the Portland, Oregon, outfit’s prior death-doom ways and expands them to incorporate an array of styles and melodies, like a vocoder-less Cynic or even Atheist, but more focused on the songs themselves. It’s being widely hailed as one of 2019’s best metal releases, and honestly I can’t speak to that because who the hell knows what “metal” even means, but it sees Lord Dying pull off a major sonic leap and if this is the direction they’re headed from now on, then I guess “metal” is going to be whatever the hell they want. So there. Expect to see a lot of Lord Dying t-shirts around in the years to come.

Lord Dying on Thee Facebooks

eOne Heavy on Thee Facebooks

 

Sunn O))), Life Metal

sunn life metal

The core of Sunn O)))‘s sound — that is, the drone-riffed tonality of Greg Anderson and Stephen O’Malley, has proven amorphous enough over the last two decades to either be orchestral, minimalist, impossibly bleak, or now, something brighter. The Steve Albini-recorded Life Metal is one of two purported Sunn O))) releases slated for this year, and it follows behind 2015’s Kannon (review here) in manifesting their project in a new way. It is 68 minutes long, comprised of four tracks — the first, “Between Sleipnir’s Breaths,” is notable for the inclusion of vocals from Hildur Guðnadóttir; the rest is instrumental — and while one wonders how much is the power of suggestion amid their colorful artwork and titular presentation, “life” as opposed to death metal, etc., their resonance throughout “Aurora” (19:07) and “Novae” (25:24) strips away much of the flourish that has engulfed Sunn O))) in their post-maturity years and reminds of the power at their center. They chose the right producer.

Sunn O))) on Bandcamp

Southern Lord Recordings website

 

Crimson Heat, Crimson Heat

Crimson Heat Crimson Heat

With a handful of tracks of dirt-coated Sabbathian doom rock, Crimson Heat make their debut with a self-titled demo/EP in no small part defined by its lack of pretense. I’d buy the tape at the show. You’d buy the tape at the show. The download is free. Clearly this is a band figuring out what they want to do and trying to catch a few ears, but the sound is right on. Notable as well for the participation of Sam Marsh of Sinister Haze, tracks like “At My Door” blend Tee Pee Records-style skate vibes with darker traditionalist crunch, and the subsequent acoustic interlude “Firewood” indeed adds a bit of burning-stove smell to the procession ahead of doomed shuffler finale “Deep Red.” They might be new, but from the nod of “Premonition” and the double-layered guitar of “Fortune Teller,” they very clearly know where they’re coming from. What they do with that from here will tell the tale, but for now, selling the tape at the show isn’t nothing. Guess they better get on pressing some up.

Sinister Haze on Thee Facebooks

Crimson Heat on Bandcamp

 

Molior Superum, As Time Slowly Passes By…

Molior Superum As Time Slowly Passes By

The boogie runs strong in Molior Superum‘s first album in seven years, As Time Slowly Passes By… (on H42 Records), the title of which might just hint at the distance between their two full-lengths. Their debut was Into the Sun (discussed here) in 2012, and they answered that with 2014’s Electric Escapism (review here), but for a band who sound so energized on cuts like “Att Födas Rostig” and “Through Valleys of Wonder,” the time differential from one record to the next is curious. Still, no question the Swedish four-piece make the most of the 36 minutes they present on their sophomore offering, realizing classic vibes and fuzz tones through modern production that recalls the likes of GraveyardJeremy Irons and the Ratgang Malibus and even, on “Into the Grey,” Demon Head‘s doomier fare, with an overarching bluesy sensibility that remains exciting even in moments like the hypnotic midsection build of centerpiece “Divinity Blues.” Even the closing soft-guitar title-track has movement. They sound hungry in a way that suggests maybe it won’t be another seven years before a third LP arrives.

Molior Superum on Thee Facebooks

H42 Records

 

Moros, Weapon

moros weapon

Just because Philly is leading the Eastern Seaboard in terms of psychedelic charge, that doesn’t mean there isn’t room for the guttersludge extremity of a unit like Moros. The destructive three-piece’s first full-length, Weapon (on Hidden Deity Records), is vicious in its bite and downright nasty in its groove, abrasive from the static intro “(Vortexwound)” onward through “We Don’t Deserve Death” and “Devil Worshipper,” which recalls slower Napalm Death in its riff but is met with a harsh scream as well as shouts. The brutality continues through “Wizard of Loneliness” and into the outright pummel of “Death Nebula,” such that the locked-in nodder groove in the second half of “Every Day is Worse Than the Last” feels almost like a lifeboat, though there’s little salvation on offer in the closing title-track, which fades out on a noisy note in much the same way it faded in. Filthy, mean and heavy. The crust is real and it is thick.

Moros on Thee Facebooks

Hidden Deity Records website

 

Glitter Wizard, Opera Villains

glitter wizard opera villains

I was enticed to dig further into Glitter Wizard‘s Opera Villains (on Heavy Psych Sounds) by the recent video for opener “A Spell So Evil” (posted here), and it’s not a choice I regret. The San Fran-based weirdo collective are putting on a show, no doubt, but the quality of their songwriting on “The Toxic Lady” and the punkish underpinning of “Dead Man’s Wax,” etc., puts them in a classic rocking no man’s land in which they absolutely revel. The laser-strewn drama of “March of the Red Cloaks” and the organ- and flute-laced swing of “Hall of the Oyster King” embrace the grandiose in brazen fashion, and thereby make it that much easier for the listener to join them on this wavelength that is so thoroughly their own. Closer “Warm Blood” taps prog-of-old pomposity in its largesse while the earlier “Fear of the Dark” seems to do the same thing with just an acoustic guitar and some vocal harmonies. A record that knew exactly what it wanted to be and then became that thing. Awesome.

Glitter Wizard on Thee Facebooks

Heavy Psych Sounds website

 

Gourd, Moldering Aberrations

gourd moldering aberrations

Ambient darkness is inflicted with only the cruelest of spirit throughout Gourd‘s Moldering Aberrations EP, the Irish two-piece alternating minimalist spaciousness with gurgling drone intensity, the extremity of which doesn’t so much come through in pummel or drive, but in the swell of volume and its contrast with the emptiness surrounding. Also the growls. Three tracks are offered up like monuments to pain, and through “Befoulment,” “Mycelium” and the title-track, they conjure a heft of atmosphere as much as one of low end, the claustrophobic feeling of their craft coming through even in the relatively peaceful opening of the last song. That peace, of course, isn’t so much moment of respite as it is precursor to the next plunge, and either way, Gourd work in grueling fashion over 23 minutes to dismantle consciousness and expectation with a grim, distortion-fueled chaos from which there seems to be no escape, until the rumble and noise leave “Moldering Aberrations” and there’s just residual hum and a cymbal crash left. Madness.

Gourd on Thee Facebooks

Cursed Monk Records on Bandcamp

 

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Ogre Sign to Cruz Del Sur Music; New Album Thrice as Strong out This October

Posted in Whathaveyou on June 26th, 2019 by JJ Koczan

Long-running doomers Ogre, whose cult following remains loyal, will issue their first album in five years, Thrice as Strong, through Cruz Del Sur Music this October. That’s a fair fit, the band and the label, and as Ogre‘s last album came out, 2014’s The Last Neanderthal (review here) through Minotauro Records, the new home aligns them to a host of classic metal and doom and can only go further into getting them a foothold listenership in Europe. That puts Ogre on the same label as Apostle of Solitude and Slough Feg and King Heavy, so, you know, good company and all that. I hear there are more to come in joining those ranks as well.

Ogre don’t really tour — every now and again you can them to leave New England, but don’t count on it — but they went to Russia in 2018 and they’ve made periodic voyages hither and yon. One only hopes that continues as they gear up for Thrice as Strong.

Info came down the PR wire:

ogre

Portland, Maine Doomsters OGRE Join Cruz Del Sur Music; ‘Thrice As Strong’ Studio Album Due This Fall

Long-running Portland, Maine doom trio OGRE has signed with Cruz Del Sur Music for the October release of their forthcoming fifth studio album, “Thrice As Strong”. The album was tracked with Rowan Bishop at Garage Mahal Recording in Westbrook, Maine.

Practitioners of traditional doom with a mix of ’70s rock and proto metal, OGRE was formed in 1999 by Ed Cunningham (bass/vocals), Ross Markonish (guitar) and Will Broadbent (drums). To date, the band has released four studio albums, with 2014’s “The Last Neanderthal” their most recent. OGRE came to the attention of Cruz Del Sur through classic word of mouth — a handful of Cruz Del Sur bands put in the good word for OGRE to label owner Enrico Leccese.

“Once we started working on this album, we posted a few messages on social media, reaching out to any potential labels that might be interested in working with us this time around,” says Markonish. “Will started up a correspondence with Butch Balich from Argus who then put us in touch with Tom Phillips of While Heaven Wept, who works closely with Enrico. We played with WHILE HEAVEN WEPT years ago at a doom festival in Rochester, New York and we’ve also shared the stage with other Cruz artists, including ARGUS and Apostle of Solitude, so we couldn’t be happier to share a label with all those great bands, not to mention SLOUGH FEG, another favorite!”

Since the release of “The Last Neanderthal”, OGRE has kept themselves busy with shows in Portland, while working on the material that would eventually become “Thrice As Strong”. The band even found time to make their impact abroad: “One particularly cool thing that we did recently was travel to Arkhangelsk, Russia in October of last year to play the Belomor-Boogie Festival, a Russian rock festival that currently is in its 25th year of existence,” notes Markonish. “Arkhangelsk is the sister city of our hometown of Portland, Maine, so it was an amazing experience to travel across the globe and represent the Portland scene for the people of Russia. We made a ton of new friends and fans out there!”

According to Markonish, the “Thrice As Strong” album title plays off OGRE’s power-trio formation and is taken from their namesake song, “Ogre”, which is the first track on their first album, “Dawn Of The Proto-Man”, which is also where “The Last Neanderthal” title came from. “As our fans know, we really like all of these self-referential details, as it sort of builds up the concept of an ‘OGRE Universe’. Not surprisingly, we are all fans of comic books, sci-fi and horror novels/movies, and bands like RUSH, who specialize in those sorts of geeky things.”

OGRE is recording with Bishop because of his “good set of ears” and the stripped-down feel of Garage Mahal Studios. Markonish says the new songs are not a departure from the band’s vintage sound, but fans can expect a few different influences this time around.

“When we first started working on this album, our original plan was to try to keep song lengths down a bit,” he says. “Reason being, our prior albums all featured at least one song in the 10-15-minute range, never mind our concept album, ‘Plague Of The Planet’, which consists of a single, 37-minute song! While that proved difficult (a couple songs on this album stretch into the 8-minute range), it still did inform our general approach to songwriting this time around.

“I would also say that there is a bit more of an ‘80s metal influence on these tracks — some MAIDEN, a little DIO perhaps, and also some of the more underground bands of the time, like CIRITH UNGOL and MANILLA ROAD. Rowan even said he heard a little MERCYFUL FATE on some of the songs! The way I put it to someone, while our prior albums were majorly influenced by ’70s-era PENTAGRAM, this one shares some of its sound and ethos with the Victor Griffin ’80s line-up that produced the ‘Relentless’ and ‘Day Of Reckoning’ albums.”

Tracklisting:
1. The Future
2. Hive Mind
3. Big Man
4. Judgment Day
5. Blood of Winter
6. King of the Wood
7. Cyber-Czar

Ogre is:
Vocals/Bass: Ed Cunningham
Guitars: Ross Markonish
Drums: Will Broadbent

https://www.facebook.com/Rockogre/
https://ogrereal.bandcamp.com/
cruzdelsurmusic.com
facebook.com/cruzdelsurmusic
cruzdelsurmusic.bandcamp.com

Ogre, The Last Neanderthal (2014)

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Holy Grove Announce West Coast Tour Dates

Posted in Whathaveyou on May 24th, 2019 by JJ Koczan

holy grove

Portland, Oregon, four-piece Holy Grove will head out this summer on a West Coast run supporting their second album and first for Ripple Music, II (review here), a record that for its landmark rocking ways has earned the nickname “The Big Dos.” Actually, I just made that up, but even so, the album was fantastic when it was released last year and it remains very much that way now. And hey, it’s super-duper that Holy Grove are getting out again to bring the rock to the people like some kind of collective of riffy tentpreachers. Really, my only gripe here is the word “West” when describing the coastal location of the tour. Surely we could change that to “East” and be fine, right? Come on, guys. It’s just the other side of the continent. You can make that happen at the drop of a hat, for sure. That seems like a totally reasonable expectation to me.

But, uh, are you holy groved? Have you ever been Holy Groved? Well… I haven’t, but I hear good things.

Speaking of good things, stream the album below and just make your day a little bit better, because that’s what it’s all about here. Love and volume.

Dates via social media:

holy grove tour

We’re hitting the road this summer. Hope to see you there.

More details soon.

Art by Alex Matus.

Holy Grove live:
08/28 Tacoma WA Spanish Ballroom
08/29 Bellingham WA The Shakedown
08/30 Vancouver BC SBC
08/31 Seattle WA Substation
09/01 Boise ID The Shredder
09/02 Salt Lake City UT Kilby Court
09/03 Denver CO Tooey’s Off Colfax
09/04 Albuquerque NM Launchpad
09/05 Tempe AZ Yucca Tap Room
09/06 Los Angeles CA 5 Star Bar
09/07 Oakland CA Elbo Room Jack London
09/08 Cupertino CA X Bar
09/09 Sacramento CA Blue Lamp
09/21 Portland OR Dante’s

Holy Grove is:
Andrea Vidal – Vocals
Trent Jacobs – Guitar
Gregg Emley – Bass
Eben Travis – Drums

https://www.facebook.com/holygroveband/
https://twitter.com/holygroveband
http://holygrove.bandcamp.com/
http://www.ripple-music.com
https://ripplemusic.bandcamp.com
https://www.facebook.com/theripplemusic/

Holy Grove, II (2018)

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