Churchburn Post Video for “The Misery Hymns”; Album Release Show Set for Friday

Posted in Bootleg Theater on July 10th, 2018 by JJ Koczan

churchburn

Churchburn make an awful lot of sense in a world utterly rife with daily horrors and panic. The deathly Providence, Rhode Island, sludge extremists are rearing back to unleash their second LP, None Shall Live… The Hymns of Misery (review here), via Armageddon Shop this weekend at a show at their hometown venue Dusk alongside DropdeadConclave and High Command, and to further herald the record’s arrival, they’ve teamed with Chariot of Black Moth to release a new video for the semi-titled-track “The Misery Hymns.” Appropriately enough, its imagery is dark, full of stark and dense grays and sudden flashing lights, and it seems to begin by dragging the viewer through a black hole. If it sounds severe, it is.

The album, which follows 2014’s The Awaiting Coffins (review here), toys throughout with the balance between death metal and sludge riffing, delighting in the wretchedness it conjures while it obliterates that genre line. In songs like “Lines of Red” and “The Misery Hymns,” it is unbridled in its heft, but there’s a pervasive sense of atmosphere as well, and Churchburn never seem to lose sight of that underlying purpose, as brutal as they might and do get. The result is a record the weight of which stems from more than just its tones. The sound of it is menacing in the moment and haunting after, and its sense of punishment is likewise multi-tiered.

It goes without saying the release show will be completely ridiculous. An absolute onslaught and one that, should you be in the area, you’ll want to hit up even if you don’t know you want to hit it up.

The video follows here. Please enjoy:

Churchburn, “The Misery Hymns” official video

Huge Thanks to Jakub of Chariot Of Black Moth for making this video for us… for the song, “Misery Hymns”. New album out July, Friday the 13th, on Armageddon Shop Label…”None Shall Live…The Hymns of Misery”

Churchburn live:
07.14 Dusk Providence RI – Record Release Show w/ Dropdead, High Command & Conclave
10.05 Geno’s Portland ME – Into the Aether II Festival

Churchburn on Thee Facebooks

Churchburn on Bandcamp

Armageddon Shop website

Armageddon Shop label webstore

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Churchburn, None Shall Live… The Hymns of Misery: Vita ex Mortis

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

churchburn none shall live the hymns of misery

It’s a different Churchburn on the second album than it was on the first. The core duo of guitarist/vocalist Dave Suzuki (formerly of Vital Remains) and drummer Ray McCaffrey (formerly of Sin of Angels and Grief) are joined by guitarist Timmy St. Amour (ex-Howl) and bassist/vocalist Derek Moniz (ex-HeadRot), as well as guests Andy Grant adding noise/ambience and ex-member Mike Cordoso contributing backing vocals, for None Shall Live… The Hymns of Misery, and as the follow-up to 2014’s The Awaiting Coffins (review here), the new outing immediately has a high standard to live up to in brutality and atmosphere alike. That challenge is met with a gleefully extreme seven-track/45-minute run that takes the basic model of the first album, which bridged together the often disparate styles of death metal and sludge, and makes the sound even more cohesive and individualized as the band’s own.

From the opening minute-long feedback introduction in “Vexare” through the chugs, shouts, nods and viciousness that follows until the acoustic notes that precede the ultra-slowdown roll of closer “Kaustos,” Churchburn conjure a vision of lumbering madness that, despite its bite and general abrasiveness, succeeds in its mission to cull together the multiple styles by which it’s influenced into a single impression. That is, where The Awaiting Coffins set death metal and sludge against each other on a collection drawn from the band’s original demo and two more recent recordings, None Shall Live… The Hymns of Misery feels more like a complete album, but one that unquestionably benefits from the experience of its predecessor. It brings its tectonic deathsludge together with a smashing weight worthy of inclusion in conversations alongside acts like Primitive Man, but also uses that as a foundation to branch out in different directions, showing some YOB influence on centerpiece “Authorized to Cleanse” — sonically if not in philosophy — and still finding room stomach-turning tension in the rhythm of the penultimate “Relieved by Burning Lead.”

What’s important to understand — and one can hear it in the eight-plus-minute second cut “Lines of Red,” on which Suzuki‘s blown-out vocals call to mind the heyday of Maryland’s Swarm of the Lotus, as well as the brazen lead guitar melodies and deft rhythmic turns of “Before the Inferno” — is that none of this has happened by mistake. There’s consciousness at work behind these songs, and while I’m not sure I’d call the material progressive, it has progressed from where Churchburn were four and five years ago. A solidified full lineup is likely to have something to do with that, but even in the sense of menace that marks the sample at the start of “Relieved by Burning Lead” or the build into the churning highlight and semi-title-track, “The Misery Hymns,” it is a willful execution of creative intent at work, not happenstance of throwing together riffs and seeing what happens. And with Suzuki and McCaffrey both still present as the driving force behind the group, Churchburn seem just to have begun a new stage of their overarching growth. The interplay of rhythm and lead layers on “Authorized to Cleanse,” which gives way to a blastbeat-laden attack that’s both one of the most poised and most outwardly searing on the record, speaks to the capacities of the new lineup, but at the same time, it’s clear that the moves Churchburn are making are the result of lessons learned from the debut.

churchburn

While almost a first offering unto itself for being the premiere with this lineup, None Shall Live… The Hymns of Misery is very much a second full-length, and one that only pushes further along the encouraging lines of its predecessor. To wit, the shifting pace of “Before the Inferno,” which moves fluidly from sharp-edged twists through sections of faster chugging into more drawn out and doomed atmospheric roll, marks the kind of execution that, however much experience the players might have in previous bands, would be incredibly rare on a debut. McCaffrey‘s double-kick, Suzuki‘s distorted screams at the apex and the thud that finishes all delve deeper into the consuming aspects of the album as a whole listening experience, and while there are no shortage of headbang-worthy — let’s say, in your kitchen, 5AM, through laptop speakers headbanging, or, you know, at a show — moments of raw punishment, Churchburn have as much to say in ambience as they do in onslaught.

But here too the story is one of cohesion, and like the haunting grin of the horned figure on the Nestor Avalos cover art, None Shall Live… The Hymns of Misery casts much of its violence in subtlety. Even beneath the lurch of “Vexare” at the outset, one can hear in the low end of bass and guitar a push that seems to move downward and downward, not just following the march of the drums into the rest of the album that follows, but gradually leading the listener out of the light and into the manifestations of darkness to come. And at the end, the nylon-string guitar introducing “Kaustus” would seem to offer a moment of hope or respite, but the lumber that ensues and the panicking screams at the end provide one last look at the terrors already witnessed; a final reminder of the power Churchburn seem to find in the murk of their own creation.

Though it sounds insane, it’s methodical, so maybe psychopathic is a better term for what’s happening throughout these tracks, but in any case, by realizing this merciless intent, the band leaves no question as to the success of the album. It has been made with the intention to damn the spirit as well as the eardrums, and while there are stretches for which there will never seem to be enough volume — again, “Lines of Red” — None Shall Live… The Hymns of Misery is more than just aural sadism. It is crafted dark art and a work of precise concept that leaves more in its wake than simple bruises. If it is foreshadow, it portends utter devastation should Churchburn be able to continue along its line of progress, and if it is an ultimate expression, its triumph is writ large in every destructive second of its passing.

Churchburn on Thee Facebooks

Churchburn on Bandcamp

Armageddon Shop website

Armageddon Shop label webstore

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Churchburn Announce None Shall Live… The Hymns of Misery out July 13

Posted in Whathaveyou on May 9th, 2018 by JJ Koczan

churchburn

It’s been a minute, but if you recall Churchburn‘s 2014 debut album, The Awaiting Coffins (review here), then chances are you remember it devouring the line between death metal and doom, the shredding leads and vicious chug of Dave Suzuki, also of a friendly little outfit called Vital Remains. And by friendly I mean visceral. In any case, though it wasn’t without its atmospheric/ambient stretches, it was a record worthy of opening with a song called “Embers of Human Ash.” Put it that way.

Four years later, there’s a new Churchburn coming from a new, expanded lineup of the band, Suzuki and fellow founder Ray McCaffrey joined by former Howl guitarist Timmy St. Amour and bassist Derek Moniz, who’s been in many, many bands. Due out July 18 via the much-respected Armageddon Shop, the record is called None Shall Live… The Hymns of Misery, and I have little doubt that once again the band will live up to their slaughter-filled expectations.

The PR wire sent info. Preorders start June 1:

churchburn none shall live the hymns of misery

CHURCHBURN – None Shall Live… The Hymns Of Misery LP/CD/CASSETTE/Digital
Armageddon Shop AS-013
Release date: July 13, 2018
Preorders up: June 1, 2018

It’s been 4 years since “The Awaiting Coffins” was released. Churchburn is proud to finally unveil the new album: “None Shall Live…The Hymns of Misery”. To be released once again via the Armageddon Shop store label.

Recorded, engineered and mixed at Machines With Magnets by Seth Manchester: machineswithmagnets.com

Mastered at Audiosiege by Brad Boatright for maximum hearing damage: audiosiege.com

We’re proud to feature the artwork by the dark mind of Nestor Avalos. He went above and beyond our highest expectations to create this sick piece of art for us: nestoravalosofficial.com

For added discomfort within the music, we had two special guests: Andy Grant of The Vomit Arsonist for his black ambience. Our metal brother, former member Mike Cardoso on backing vocals. Churchburn have also brought on two new members, both of whom have already made their own marks in previous R.I. bands: Timmy St. Amour (Howl) on guitar and Derek Moniz (Headrot, Wreak, Black Acid Prophecy…too many to mention) on bass. Their input and musicianship really show on the new songs and recording.

All photos for the new album shot by Mike St Onge.

Thank you to those who helped in funding some of the studio cost by buying merch and your continued support of Churchburn. We hope you dig this album as much as we do.

Churchburn 2018

BAND: Churchburn
ALBUM TITLE: None Shall Live… The Hymns Of Misery

TRACKLIST FOR CD/DIGITAL:
1. Vexare
2. Lines Of Red
3. Misery Hymns
4. Authorized to Cleanse
5. Before The Inferno
6. Relieved By Burning Lead
7. Kaustos

TRACKLIST FOR VINYL/CASSETTE:
Side A 21:24
1. Vexare 4:45
2. Lines Of Red 8:41
3. Misery Hymns 7:58

Side B 25:45
4. Authorized to Cleanse 6:02
5. Before The Inferno 7:00
6. Relieved By Burning Lead 5:49
7. Kaustos 4:54

Churchburn live:
May 28 Geno’s Rock Club Portland, ME
Jun 07 Northside Festival Brooklyn, NY
Jun 08 Brighton Music Hall Allston, MA
Jun 09 Upstate Music Hall Clifton Park, NY

Churchburn is the musical collaboration between two of the undergrounds masters of misery. Dave Suzuki, best known for his mesmerizing guitar work and brutal drumming in Vital Remains and Ray McCaffrey, who carved out sonic drum patterns for Sin Of Angels and Grief. The two have set out to share with the world their love of the riff. Not only the heaviest but also the most haunting. Each song is crafted with the most sinister of intent. Churchburn want the listener to feel a true sense of dread as each song progresses. Revamped 2017 Line up includes Timmy St. Amour (guitar) ex-Howl, and Derek Moniz (bass) ex-Headrot and many others.

https://www.facebook.com/CHURCHBURNDOOM/
https://churchburn.bandcamp.com/
https://open.spotify.com/artist/4XVE0BFa4oxWDyYdEdUFOH
http://armageddonshop.com/
https://armageddonlabel.bigcartel.com/

Churchburn, The Awaiting Coffins (2014)

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The Obelisk Presents: The Top 20 Short Releases of 2017

Posted in Features on December 22nd, 2017 by JJ Koczan

the obelisk top 20 short releases

Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2017 to that, please do.

This is the hardest list to put together, no question. Don’t get me wrong, I put way too much thought into all of them, but this one is damn near impossible to keep up with. Every digital single, every demo, every EP, every 7″, 10″ one-sided 12″, whatever it is. There’s just too much. I’m not going to claim to have heard everything. Hell, that’s what the comments are for. Let me know what I missed. Invariably, something.

So while the headers might look similar, assuming I can ever remember which fonts I use from one to the next, this list has a much different personality than, say, the one that went up earlier this week with the top 20 debuts of 2017. Not that I heard everyone’s first record either, but we’re talking relative ratios here. The bottom line is please just understand I’ve done my best to hear as much as possible. I’m only one person, and there are only so many hours in the day. Eventually your brain turns into riffy mush.

With that caveat out of the way, I’m happy to present the following roundup of some of what I thought were 2017’s best short releases. That’s EPs, singles, demos, splits — pretty much anything that wasn’t a full-length album, and maybe one or two things that were right on the border of being one. As between genres, the lines are blurry these days. That’s part of what makes it fun.

Okay, enough dawdling. Here we go:

lo-pan-in-tensions

The Obelisk Presents: The Top 20 Short Releases of 2017

1. Lo-Pan, In Tensions
2. Godhunter, Codex Narco
3. Year of the Cobra, Burn Your Dead
4. Shroud Eater, Three Curses
5. Stubb, Burning Moon
6. Canyon, Canyon
7. Solace, Bird of Ill Omen
8. Kings Destroy, None More
9. Tarpit Boogie, Couldn’t Handle… The Heavy Jam
10. Supersonic Blues, Supersonic Blues Theme
11. Come to Grief, The Worst of Times EP
12. Rope Trick, Red Tape
13. Eternal Black, Live at WFMU
14. IAH, IAH
15. Bong Wish, Bong Wish EP
16. Rattlesnake, Outlaw Boogie Demo
17. Hollow Leg, Murder
18. Mars Red Sky, Myramyd
19. Avon, Six Wheeled Action Man Tank 7″
20. Wretch, Bastards Born

Honorable Mention

Across Tundras, Blood for the Sun / Hearts for the Rain
The Discussion, Tour EP
Fungus Hill, Creatures
Switchblade Jesus & Fuzz Evil, The Second Coming of Heavy – Chapter Seven
The Grand Astoria, The Fuzz of Destiny
Test Meat, Demo
Blood Mist, Blood Mist
Sweat Lodge, Tokens for Hell
Dautha, Den Foerste
Scuzzy Yeti, Scuzzy Yeti
Howling Giant, Black Hole Space Wizard Part 2
Decasia, The Lord is Gone
Bible of the Devil/Leeches of Lore, Split 7″

I can’t imagine I won’t add a name or two or five to this section over the next few days as I think of other things and people remind me of stuff and so on, so keep an eye out, but the point is there’s way more than just what made the top 20. That Across Tundras single would probably be on the list proper just on principle, but I heard it like a week ago and it doesn’t seem fair. Speaking of unfair, The Discussion, Howling Giant, The Grand Astoria and the Bible of the Devil/Leeches of Lore split all deserve numbered placement easily. I might have to make this a top 30 in 2018, just to assuage my own guilt at not being able to include everything I want to include. For now though, yeah, this is just the tip of the doomberg.

Notes

To be totally honest with you, that Lo-Pan EP came out Jan. 13 and pretty much had the year wrapped up in my head from that point on. It was going to be hard for anything to top In Tensions, and the Godhunter swansong EP came close for the sense of stylistic adventurousness it wrought alone, and ditto that for Year of the Cobra’s bold aesthetic expansions on Burn Your Dead and Shroud Eater’s droning Three Cvrses, but every time I heard Jeff Martin singing “Pathfinder,” I knew it was Lo-Pan’s year and all doubt left my mind. Of course, for the Ohio four-piece, In Tensions is something of a one-off with the departure already of guitarist Adrian Zambrano, but I still have high hopes for their next record. It would be hard not to.

The top five is rounded out by Stubb’s extended jam/single “Burning Moon,” which was a spacey delight and new ground for them to cover. The self-titled debut EP from Philly psych rockers Canyon, which they’ve already followed up, is next. I haven’t had the chance to hear the new one yet, but Canyon hit a sweet spot of psychedelia and heavy garage that made me look forward to how they might develop, so I’ll get there sooner or later. Solace’s return was nothing to balk at with their cassingle “Bird of Ill Omen” and the Sabbath cover with which they paired it, and though Kings Destroy weirded out suitably on the 14-minute single-song EP None More, I hear even greater departures are in store with their impending fourth LP, currently in progress.

A couple former bandmates of mine feature in Tarpit Boogie in guitarist George Pierro and bassist John Eager, and both are top dudes to be sure, but even if we didn’t have that history, it would be hard to ignore the tonal statement they made on their Couldn’t Handle… The Heavy Jam EP. If you didn’t hear it, go chase it down on Bandcamp. Speaking of statements, Supersonic Blues’ Supersonic Blues Theme 7″ was a hell of an opening salvo of classic boogie that I considered to be one of the most potential-laden offerings of the year. Really. Such warmth to their sound, but still brimming with energy in the most encouraging of ways. Another one that has to be heard to be believed.

The dudes are hardly newcomers, but Grief offshoot Come to Grief sounded pretty fresh — and raw — on their The Worst of Times EP, and the Massachusetts extremists check in right ahead of fellow New Englangers Rope Trick, who are an offshoot themselves of drone experimentalists Queen Elephantine. Red Tape was a demo in the demo tradition, and pretty formative sounding, but seemed to give them plenty of ground on which to develop their aesthetic going forward, and I wouldn’t ask more of it than that.

Eternal Black gave a much-appreciated preview of their Bleed the Days debut long-player with Live at WFMU and earned bonus points for recording it at my favorite radio station, while Argentine trio IAH probably went under a lot of people’s radar with their self-titled EP but sent a fervent reminder that that country’s heavy scene is as vibrant as ever. Boston-based psych/indie folk outfit Bong Wish were just the right combination of strange, melodic and acid-washed to keep me coming back to their self-titled EP on Beyond Beyond is Beyond, and as Adam Kriney of The Golden Grass debuted his new project Rattlesnake with the Outlaw Boogie demo, the consistency of his songcraft continued to deliver a classic feel. Another one to watch out for going into the New Year.

I wasn’t sure if it was fair to include Hollow Leg’s Murder or not since it wound up getting paired with a special release of their latest album, but figured screw it, dudes do good work and no one’s likely to yell about their inclusion here. If you want to quibble, shoot me a comment and quibble away. Mars Red Sky only released Myramyd on vinyl — no CD, no digital — and I never got one, but heard a private stream at one point and dug that enough to include them here anyway. They remain perennial favorites.

Avon, who have a new record out early in 2018 on Heavy Psych Sounds, delivered one of the year’s catchiest tracks with the “Six Wheeled Action Man Tank” single. I feel like I’ve had that song stuck in my head for the last two months, mostly because I have. And Wretch may or may not be defunct at this point — I saw word that drummer Chris Gordon was leaving the band but post that seems to have disappeared now, so the situation may be in flux — but their three-songer Bastards Born EP was a welcome arrival either way. They round out the top 20 because, well, doom. Would be awesome to get another LP out of them, but we’ll see I guess.

One hopes that nothing too egregious was left off, but one again, if there’s something you feel like should be here that isn’t, please consider the invitation to leave a comment open and let me know about it. Hell, you know what? Give me your favorites either way, whether you agree with this list or not. It’s list season, do it up. I know there’s the Year-End Poll going, and you should definitely contribute to that if you haven’t, but what was your favorite EP of the year? The top five? Top 10? I’m genuinely curious. Let’s talk about it.

Whether you have a pick or not (and I hope you do), thanks as always for reading. May the assault of short releases continue unabated in 2018 and beyond.

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BREAKING: R.I.P. Jon Rossi of Pilgrim

Posted in Whathaveyou on October 27th, 2017 by JJ Koczan

pilgrim-at-roadburn-2013-Photo-by-JJ-Koczan

Confirmation has yet to surface at this time from either the band or their label, Metal Blade Records, but reports have begun to surface and tributes have begun pouring in marking the passing of guitarist/vocalist Jon Rossi of Providence, Rhode Island-based doom metallers Pilgrim. If true, Rossi’s death on Oct. 26 would follow just a day after his band joined The Obsessed and Cobalt Dusk in their hometown. He was 26 years old.

I’ll repeat that: 26 years old.

Pilgrim’s second and latest full-length, II: Void Worship (review here), was released in 2014 as the follow-up to their massively successful 2012 debut, Misery Wizard (discussed here),pilgrim-at-shod-xii-Photo-by-JJ-Koczan and pushed them to a new level of notoriety. A long tour with the reunited Spirit Caravan followed and reportedly nearly undid the trio on a financial level, but there was still hope that Rossi, who went by the stage name “The Wizard,” bassist Eric Dittrich and drummer Brad Richardson, would reconvene for a third album at some point, if one wasn’t already in the works. As there hasn’t been word from the band on Rossi’s passing, obviously any plans on their part are up in the air.

It goes without saying that the death of someone whose work had such an impact on doom, especially of one so young, is a significant loss, and on behalf of myself and this site, I’d like to send personal condolences to Rossi’s family, friends, bandmates and fans. I still remember seeing Pilgrim take the stage in New London, Connecticut, at Stoner Hands of Doom XII (review here), and though they were about half the age of everyone else playing, they absolutely owned the room.

Clearly a special band, and all the more exciting for the potential they continued to exude and the doomed spirit that was embodied in their songcraft. Rossi was a huge part of that presence, on stage and in the studio. He will be missed.

Once again, no word officially on his passing or the cause of death. As news comes in, this post will be updated with the latest.

Pilgrim, “The Paladin” official video

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Emerald Haze 2017 Trip Pt. 1: Mystery

Posted in Features on August 30th, 2017 by JJ Koczan

laptop charger

08.30.17 – 7:46PM Eastern US – Wednesday evening – T.F. Green Airport, Warwick, Rhode Island

Before I even start, I’d like to dedicate the next several days’ worth of posts in this series to the memory of my material grandmother, Florence Peterson, who passed away yesterday morning at the age of 102. She was among the strongest, fiercest individuals I’ve ever had the pleasure to know, and someone who absolutely refused to compromise, even when doing so probably would’ve made her own existence easier to stomach. I could go on, but the bottom line is I wouldn’t be here without her.

I owe thanks to my family up-front as well for sending me off across an ocean to rock and roll when where I should be is in New Jersey, being solemn. I do not deserve to have the wonderful people in my life that I do.

Also, I don’t deserve to be making this trip. I said that the other day, yes, but I stand by it. In about an hour and 20 minutes, I’ll be on a plane waiting to head to Dublin for Emerald Haze 2017, the inaugural edition of a festival for which I somehow wound up presenting the main stage, headlined on its first night by Church of the Cosmic Skull and on its second night by Sólstafir. This is utterly absurd to me. I shouldn’t be allowed anywhere near this thing, let alone have The Obelisk’s logo stamped on the poster up around the city of Dublin. It may honestly be years before I wrap my brain around it, but I am incredibly grateful for this once-in-a-lifetime chance to be in the position I’m in.

Perhaps then it’s a bit of unconscious penance that my voyage has started out so utterly amateur-hour. I’ve never flown out of Providence before, so there was an added bit of anxiety there, and apparently that manifested itself in my starting to pack more than 36 hours in advance and still — yes, still — leaving my laptop charger at home. They had a universal one at one of the airport stores for $60. Those things cost like $20 on Amazon, but it’s the by-the-balls premium, and that’s precisely how they had me. So it goes.

Couple that with the fact that I’ve already cut the trip short — I leave Dublin on Sunday instead of Wednesday, as was originally intended to give me some time to actually see the place outside of the festival — and the way-above-my-pay-grade notion of somehow coordinating reconvening with The Patient Mrs., who is in San Francisco for a work conference and also returning on Sunday, only without a car, before we head south to be with my family in New Jersey, and yeah, it’s all kind of a wreck in my brain. Dinner was a protein bar. Lunch was a shake. I must be traveling.

Unless I have the time zones wrong, which I’ve precious little doubt that I do, the flight will be about seven hours. It takes off at 9:10PM Eastern — allegedly — and thus puts me into Dublin at 08.25 GMT, which will be about 4:30AM to my brain. Should be interesting. I hope Ireland has a lot of coffee, because I’m afraid I’m going to need all of it.

The full schedule for Emerald Haze 2017 is posted here, and here are the posters for the two stages across the two days:

Once again, I can’t believe how lucky I am to be on my way to this thing. I’ve got plenty of writing to keep me busy as well for the next couple days, so keep an eye out into Friday for news, streams and the regular bit of whatnot, but fest coverage will probably start Saturday and continue through the weekend, so please stay tuned. I hope to see as much as I can see and write as much as I can write. If you get to follow along with any of it, please know you have my deepest appreciation.

Almost time to go.

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Rope Trick Release Red Tape EP; Touring East and West Coasts

Posted in Whathaveyou on March 24th, 2017 by JJ Koczan

After premiering the 11-minute opening track here late last year, psych-ritualizing two-piece Rope Trick have made their debut EP, Red Tape, officially available for public consumption. They’ll have CDs before the end of the month, and that timing makes sense since the Queen Elephantine-affiliated duo are set to tour between the Northeast and the West Coast over the course April and May. Wasting no time, they play tonight in New Hampshire and on March 30 are in their half-native Providence, Rhode Island (they also claim roots in Philly, where they’ll be April 1), in the significant company of Baltimore drone-wash joyspreaders Darsombra.

Dates and other info came in off the PR wire, and you can check out the full stream of Red Tape at the bottom of the post:

rope trick

ROPE TRICK: ‘Red Tape’ + East & West Coast US Tour Dates

ROPE TRICK, a new psych rock duo from Providence/Philadelphia, USA is supporting its new self-released album Red Tape with tours on both East and West Coasts of the US. They share the stage with, among others, Darsombra, Owl, Heavy Temple, Weird Owl, Aboleth, and Ultra Electric Mega Galactic, the psych project of Monster Magnet’s Ed Mundell.

You can listen here: https://ropetrickband.bandcamp.com. The album will also be available March 30th on CD, iTunes, and Spotify.

ROPE TRICK is the term given by physicist John Malik to “the curious lines and spikes which emanate from the fireball of certain nuclear explosions just after detonation.”

ROPE TRICK SPRING 2017 TOUR DATES
East Coast

3/24 – Rollinsford, NH, Sue’s
3/30 – Providence RI, AS220*
3/31 – Brooklyn NY* Don Pedro*
4/1 – Philadelphia PA, Shred Shed*
4/2 – Baltimore MD, The Crown*
5/17 – New York NY, Arlene’s Grocery
5/27 – Brooklyn NY, Cobra Club
*w/ darsombra

West Coast
4/14 – Seattle WA, Blue Moon Cafe
4/15 – Portland OR, High Water Mark
4/16 – Eugene OR, Black Forest
4/18 – Sacramento CA, Starlite Lounge
4/19 – San Francisco CA, El Rio
4/21 – Los Angeles CA, Cafe NELA
4/23 – Anaheim, CA, Doll Hut

Rope Trick is:
Indrayudh Shome: guitar + vocal
Nathanael Totushek: drums

ropetrickband.com
ropetrickband.bandcamp.com
facebook.com/ropetrickband
https://www.instagram.com/ropetrickband

Rope Trick, Red Tape (2017)

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Heavy Temple Touring with Pilgrim in March

Posted in Whathaveyou on February 9th, 2017 by JJ Koczan

Kind of an ICYMI here, in the parlance of our times, but good to note either way that next month, Philly’s Heavy Temple will hit the road alongside Rhode Island doomers Pilgrim. The latter seem poised to make something of a comeback this year after nearly grinding themselves into dust in support of their last full-length, 2014’s II: Void Worship (review here), and in joining them, Heavy Temple make their most significant leap into touring life yet. It’s an East Coast run, and they did hit the Midwest last fall, but 10 dates on the road is the longest I’ve seen from them to-date. Doubt it will be the last.

They of course go supporting the 2016/2017 release Chassit (review here), alternately billed as a debut full-length and a second EP (the latter below). I had thought I read of a parting of ways with guitarist Archbishop Barghest, but maybe I’m wrong about that or bassist/vocalist High Priestess Nighthawk and drummer Siren Tempestas are heading out as a duo? I’d be interested to know for sure either way.

To be perfectly honest, half my impulse in posting these dates a couple weeks after they were first announced is in making sure they’re here for future reference. Seems like the kind of thing I’ll want to have to look back on down the line.

From the PR wire:

pilgrim heavy temple tour

Heavy Temple to tour with Pilgrim

Heavy psych/doom band HEAVY TEMPLE released their new EP Chassit on January 27th 2017. The EP was initially available on cassette and digital formats via Tridroid Records and CD is now available via Van Records.

Heavy Temple formed at the end of 2012 with High Priestess Nighthawk on bass and vocals and presently features Siren Tempestas on drums and Archbishop Barghest on guitar.

The band will also be playing some shows with doom heavyweights PILGRIM in March:

TOUR DATES:
March 2nd The Fire, Philadelphia, PA
March 3rd The Broadberry (With Windhand), Richmond, VA
March 4th Pilgrim (With Subrosa) Saint Vitus, Brooklyn, NY
March 4th Heavy Temple (With Toke) TBA, Winston, Salem NC
March 5th Riffhouse Pub,, Chesapeake, VA
March 6th Sidebar, Baltimore, MD
March 7th Meatlocker, Montclair, NJ
March 8th O’Briens, Boston MA
March 9th Mohawk Place, Buffalo, NY
March 10th Bug Jar, Rochester, NY
March 11th Geno’s, Portland, ME
March 12th AS220, Providence, RI

https://www.facebook.com/HeavyTemple/
https://heavytemple.bandcamp.com
https://www.van-records.de/
https://tridroid.bandcamp.com/album/chassit

Heavy Temple, Chassit (2017)

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