Posted in Whathaveyou on December 15th, 2014 by H.P. Taskmaster
The list of bands, quite frankly, is astonishing, but even more astonishing is the fact that Thief Presents‘ Psycho California 2015 (formerly Psycho de Mayo) hasn’t announced its headliners yet, because these sure as shit look like headliners to me.
A three-day festival set to take place at The Observatory in Santa Ana, CA, Psycho California will feature the following acts:
Here’s that list again: Kylesa, Om, Earth, Russian Circles, Orange Goblin, Bedemon, Conan, Indian, Pallbearer, Cave In, Old Man Gloom, Tombs, Earthless, Truckfighters, Bang, Eyehategod, Crowbar, SubRosa, Lord Dying, Acid Witch, Electric Citizen, Coffinworm, Eagle Twin, Stoned Jesus, Mammatus, True Widow, Bell Witch, Death by Stereo, Radio Moscow, Samsara Blues Experiment, Anciients, Elder, Mothership, Ancient Altar, The Well, Deathkings, Wo Fat, Rozamov, Destroyer of Light, Highlands, Bloodmoon, Slow Season, Crypt Trip, Lords of Beacon House, Tumbleweed Dealer, Sinister Haze, Blackout, Red Wizard, Banquet, Loom.
Plus interludes by Author and Punisher.
Not only does it cover both coasts, huge bands, legends and up and comers, but the reach is international. Take special note of Conan, since their appearance means that Maryland Deathfest won’t be their only US date, and also Samsara Blues Experiment and Stoned Jesus – two killer European bands that you don’t even go after unless you know what the fuck you’re doing. That also hugely extends the possibilities for headlining acts. It’s an assemblage that’s beyond impressive, and if you haven’t already looked up flights to Southern California, I don’t know what to tell you. As I write this it’s after one in the morning on Sunday night, and you know I wouldn’t be doing that if my mind wasn’t leaking out of my ears at the thought of experiencing this thing.
Stay tuned for more to come, since as the poster says, headliners will be announced on Jan. 15. I’ll be looking forward to finding out who else is in store.
At best, this stuff is a crapshoot. Until something’s just about in your hand, you never really know when or if it’s going to come out. But they’re fun, and it’s exciting to think of good music being released, so you do it anyway. On the whole, I don’t think I did that badly between the two lists. Of course there was stuff that wasn’t anticipated — Colour Haze‘s new album, To the Highest Gods We Know, walks by and waves en route to its Dec. 15 release date — but for what we got, it worked out well.
That’s the general overview, but because I hold myself to a standard of accountability more rigorous than, say, my nation’s torture-happy secret police, here’s a full rundown of the list as it was, now (as then), presented alphabetically and with the titles listed as they were at the time:
42 of 2014’s Most Anticipated Albums — REVISITED!
1. Acid King, TBA: Word is Acid King‘s first in 10 years was mastered last month and will be out in Feb. 2015 on Svart.
2. Alcest, Shelter: Was way less post-black metal than their prior stuff, and I think it threw a lot of people off. Not a bad record (review here), but worked against lofty expectations.
3. All Them Witches, TBA: I remember including this because they said they were going back into the studio. Turned out they were recording the Effervescent EP/jam (review here). No regrets.
4. Alunah, TBA: Their new one was their Napalm Records debut, Awakening the Forest (review here). It was awesome. Score one for the list.
5. Blackwolfgoat, Drone Maintenance: Yeah, it was cheating to include this since I was there when it was recorded. Still a killer record though.
7. Conan, Blood Eagle: What does complete dominance sound like? Sounds like Conan to me.
8. Eggnogg, You’re all Invited: Was dying to hear what the Brooklyn trio came up with. No word on it yet.
9. Elder, Live at Roadburn 2013: Still don’t have a copy of this. Maybe I can pick one up when I get their forthcoming third studio album, Lore, out early next year.
10. 40 Watt Sun, TBA: More like “MIA” than TBA. Anyone heard from these guys?
11. The Golden Grass, TBA: Their self-titled debut (review here) was one of the finest first-albums I heard all year.
12. Greenleaf, Trails and Passes: Any Greenleaf is a treat. Trails and Passes (review here) was no exception.
13. Grifter, The Return of the Bearded Brethren: Solid follow-up (review here). Grifter‘s humor and lack of pretense serves them well.
14. Hull, TBA: Well, they had the Legend of the Swamp Goat single (review here) to coincide with their Euro tour. Waiting on the album.
15. Lowrider, TBA: I wouldn’t mind if this materialized right now. Or now. Or now. Or 2015. Or 2016.
16. The Machine, TBA: Might’ve jumped the gun on this. Hopefully in 2015.
17. Mars Red Sky, TBA: Easily one of the year’s best records. Stranded in Arcadia (review here) continues to get regular spins.
18. Mos Generator, Electric Mountain Majesty: A highlight of early 2014. Darker record (review here), but inarguable songwriting.
19. Mr. Peter Hayden, Archdimension Now: Fitting end to their trilogy and hopefully not their last outing.
20. Pallbearer, TBA: Their Foundations of Burden has topped year-end lists already. It’s still on my desktop. I’ve barely listened to it.
21. Papir, IIII: Very, very good. They seem to be developing, but IIII (review here) was a satisfying chronicle.
22. Pilgrim, TBA: Can’t say II: Void Worship (review here) wasn’t a win for the band since they did a month on the road with Spirit Caravan. Maybe overshadowed by more recent stuff, but a quality record.
23. Radio Moscow, Magical Dirt: Their incendiary heavy blues was in top form on Magical Dirt (review here). Glad I got to see them live once or twice (or 18 times) as well this year.
24. Sigiriya, Darkness Died Today: Also residing on my desktop. A vocalist switch caught me off guard and I feel like I still haven’t given it a fair shot.
25. Sixty Watt Shaman, TBA: Really? I had Sixty Watt on the list? That seems ambitious. No doubt they’ll have something new eventually, but that was a pretty high expectation it would be out this year.
26. Skraeckoedlan, Gigantos: If this came out, no one told me. Seems like not yet.
27. The Skull, TBA: A stunner. As much as I looked forward to it, For Those Which are Asleep (review here) exceeded the excitement.
28. Sleep, TBA: Included as wishful thinking. Their The Clarity single (review here) was something to celebrate.
29. Slough Feg, Digital Resistance: I was really looking forward to this one. Kind of fell off with Digital Resistance (review here) after a while. Hard to argue with Slough Feg though.
30. Snail, Feral: Waiting on it for 2015.
31. Steak, TBA: The London four-piece followed two strong EPs with Slab City(review here), as heartfelt a showing of desert rock loyalty as I’ve heard.
Damn, this was a long list.
32. Stubb, TBA: I had my doubts it would arrive, but Stubb‘s Ripple Music debut, Cry of the Ocean (review here), found welcome when it did.
33. SunnO))) & Ulver, Terrestrials: One of two collaborations SunnO))) would have out in 2014. Heard a lot about it at the beginning of the year. Less now.
34. Tombs, Savage Gold: Good band, doing interesting stuff. I have a hard time transitioning from appreciating it to actually being a fan.
35. Triptykon, Melana Chasmata: Sorry, but when Tom G. Warrior puts out a record, you hop to. I didn’t review it to save myself having to buy a copy, but dug it anyway.
36. Truckfighters, Universe: I feel like this one picked up steam as the year went on. I didn’t go back to it as much as its predecessor, but Universe (review here) was a logical next step for them.
37. Valley of the Sun, Electric Talons of the Thunderhawk: Nothing to complain about with the Ohio three-piece’s debut (review here) or the effort they put into supporting it throughout the year.
38. Weedeater, TBA: Nope. At least I knew it at the time.
39. Wolves in the Throne Room, TBA: Surprised a lot of people when Celestite (review here) was a companion piece for their last record instead of a new album proper, myself included.
40. The Wounded Kings, Consolamentum: 2014 was quite a year for doom, and The Wounded Kings were right there at the start. This lineup may be gone, but Consolamentum (review here) holds up.
41. Yawning Man, Gravity is Good for You: Rumor is guitarist Gary Arce has a few projects in the works for next year. Not sure if this is one of them or not.
42. YOB, TBA: We certainly know how this worked out, don’t we? If the votes in the Readers Poll are anything to go by, yes. Clearing the Path to Ascend (review here) was a landmark, and this won’t be the last year-end list around here on which YOB make a showing.
The list from July had a few winners on it as well — Apostle of Solitude, Blues Pills, Bongripper, Brant Bjork, Earth, Lo-Pan, The Well, Witch Mountain, etc. — but I think we’ve probably got enough as it is.
With the year starting to wind down, I’ll be putting together my Top 30 Albums of 2014 in the next week or so. Please keep an eye out for that, and thanks for reading.
Posted in Reviews on October 31st, 2014 by H.P. Taskmaster
Even before I get to liking these bands, I’m biased on this show because both of the city and the venue. If you want to save some time reading, the short version is good times were had. I’ve seen some cool shows at Johnny Brenda’s, was more than a little bummed when Om recently rolled through and I couldn’t be there for it. That show was sold out and so was this one, with Pentagram returning to Philadelphia for what will be their last show in town before they go and record their next album. Traveling with Kings Destroy, we had to head out early, so I didn’t get to see them headlining, but caught Bang and a decent portion of Radio Moscow, and by the time Bang went on, second after Kings Destroy, the place was already packed out. One does not image it became less so as the evening wore on.
I had a weird, vegged out moment at the start of Kings Destroy‘s set. They kicked off this time with “Smokey Robinson,” and I was taking pictures from the balcony at Johnny Brenda’s, and I guess I just went on autopilot. My version of tour mode, maybe. It was a couple minutes before I sort of snapped back to consciousness, and I made my way downstairs from the balcony for “Turul,” which was also jumbled in the set, pushed much earlier than where it might usually appear. That song came to embody a lot of the character of last year’s A Time of Hunting LP for me, its unabashed strangeness and creepy feel standing in for how that material shifted outside the more straightforward riffy doom of the first record. Live, Kings Destroy always seem to revel in it, holding out the hits that slam down for the verse.
“Old Yeller” closed again, which I think works well, and “Mr. O” continues to reside comfortably toward the middle of the set, blindsiding people who think by then that they have the band figured out. With the added off-color element of the dude up front wearing one of those creepy horse masks and Steve Murphy‘s Clamfight shirt with “CENSORED” taped over the vagina-esque tentacle monster there featured, the vibe was pretty loose and where some of the bigger spots on the tour have seemed to kind of become events, this was just a show. It was kind of a relief, to be honest with you. I don’t know how many people showed up to Johnny Brenda’s in relation to how many were at the Soundstage the night before, but it seems like the tallies were probably close, and in the smaller room, it made for a much better mood all around. Sold out show. Hard to beat that in any size space.
Even if it means you’ve got just about nowhere to go. Bang went on second and ran through their set. It’s not their first time playing Philly since their reunion started, and they were treating it as a hometown show. So was the crowd. The room was plastered and dancing by the time Bang were rolling, and that seemed to suit the band just fine. Same set they’ve been doing, but no complaints. More so than in Baltimore, they looked again like they were really enjoying themselves, and it was fun to watch. As far as victory laps go, this tour would be a hard one for a band that hasn’t been on the road in 40 years, but “Keep On” was a stone groove as ever and the sound was heavier than it’s been all along with all the volume trapped in that confined room, nowhere to go but through the earplugs.
That served Radio Moscow well too, Parker Griggs‘ guitar screaming back on itself while young and old offstage got caught in the full-tilt conversation. A three-piece, Radio Moscow fit well on the stage where with five Kings Destroy had been somewhat more crowded — as had the four-piece Pentagram when they backlined their gear — and they took quick command of Johnny Brenda’s, which was happy to go along with them for “Just Don’t Know,” “Death of a Queen,” “Broke Down,” “Before it Burns” and “250 Miles,” which is what would remain stuck in my head for the rest of the night, its stripped down bluesy roll by now nestled well into the fractured, exhausted, tour-ebola-added remains of my consciousness. Paul Marrone‘s drum fills came in torrents and Anthony Meier‘s bass tone coated the room, and people just flipped out for them. That’s been the case all along — their audience skews young as compared to, say, Pentagram (though Pentagram have a fair number of younger heads out now as well thanks in part to Last Days Here, the documentary on frontman Bobby Liebling), and the kids go fairly apeshit with each arriving guitar solo — but their response seemed especially fervent in Philadelphia. What had been a chilly space quickly warmed up.
Load out started during Radio Moscow‘s set, all of Kings Destroy‘s gear had been brought down into the back hallway of the venue after they played and was basically just waiting for everyone to relax a bit and have a couple drinks, chat with Clamfight‘s Sean McKee, who was kind enough to come to the show, etc. I could still hear “These Days” while guitars and heads were being loaded in the back of the van, and we weren’t quite moving to a place 250 miles away, but I know it was about 130, so we took off before Pentagram, apologizing to drummer Sean Saley on the way out. See you tomorrows, all around.
Posted in Reviews on October 30th, 2014 by H.P. Taskmaster
Baltimore’s Soundstage is right down by the bay, so after Pentagram‘s soundcheck, I went down and looked at the water for a bit, listened to a street musician play drums on buckets of various sizes. He was alright, but the main attraction was the water. After being in the Midwest for a couple days, it’s good to be back near the coast. Even all the lakes in Michigan, rivers and whatnot on the way, there’s something different about salty water, even if it’s the kind you’d never want to get in and go for a swim. Makes the brain feel less claustrophobic, which is kind of ironic given all the open spaces in states like Ohio, Wisconsin, etc.
A five-band Wednesday night got started around 7:45PM. The sound was solid and it was the best lighting of the tour so far. I like Baltimore, have spent some significant time in the city over the years and was happy to run into Chuck Dukehart from Foghound (new stuff on the way) and Vang from Foehammer and chat for a bit. The Pilgrim opened:
Not to be confused with Rhode Island’s Pilgrim, Baltimorean five-piece The Pilgrim released their self-titled debut back in 2012 (review here), and as vocalist Mis Zill announced from the stage, this was their last show for an indeterminate amount of time. They played well and obviously had the crowd in their corner, and I recognized some of what they played from the record, which was satisfying two years after the fact. Stylistically, they’re somewhere between ’70s boogie and classic metal, the two guitars working smoothly together while the bass and drums made up a definitive rhythm section. It’s a pretty classic dynamic, but The Pilgrim wore it ably and seemed to fit as they spread out on the wide stage, Mis Zill having room for leg-up Shiva poses and/or yoga moves while pushing out high notes.
A little bit of changeup from Kings Destroy in opening with “The Mountie” from the first record into “Smokey Robinson” and “The Whittler.” The difference was notable immediately, and where “Old Yeller” often feels like the band is lurching to life, the crash-in with “The Mountie” was more immediate. At this point in the tour, it’s gonna work either way, frankly, and it did. I knew it was going to be a joy to watch these guys play every night. I don’t know if I’ve hit 20 times yet seeing them this year, but it has to be at least 15, and I’ve yet to walk away disappointed. Vocalist Steve Murphy called an audible at the end of the set, going around to guitarist Carl Porcaro, drummer Rob Sefcik, bassist Aaron Bumpus and guitarist Chris Skowronski to switch the closer from “Embers” to “Old Yeller,” and it looked pretty touch and go as to what song was about to start, but it worked out and “Old Yeller” made an excellent finale after “Casse-Tête” and the always raucous “Mr. O,” the value of which in the set isn’t to be understated in how the hook and uptick in tempo draws in a crowd on any given night, including at Soundstage.
Another tight set from Bang. “Redman,” “Our Home,” “Last Will and Testament” and others from their 1971 self-titled debut have become pretty familiar by this point in the tour, and it’s been satisfying to watch them come together over the course of these shows. Baltimore was a workman set. Bang — guitarist Frankie Gilcken, bassist/vocalist Frank Ferrara and drummer Jake Leger — got on stage and were all business from there on out, and as usual, they had a few fervent supporters in the crowd who had obviously picked up one or another of the various reissues they’ve had over the years. There was less Ferrara/Gilcken in the middle of the stage, but they were as tight as they’ve been all along anyway, and Leger‘s swinging style continues to be a perfect fit for their classic material. “Questions” closed out as it has, its resounding groove a reminder of the influence that era continues to have even now. Bang play off that well, with their vintage gear and swagger, but the prevailing vibe continues to be how glad they are to be back on stage.
Slayed. Almost to a terrifying degree. Radio Moscow have demolished stages more or less since the tour began, but I guess the difference this time around was nothing went wrong, their set wasn’t cut short, there was no hiccup and Parker Griggs, Anthony Meier and Paul Marrone could just wail on their songs. They had the best sound of the night coming out of the Soundstage P.A., and there were a couple moments — “Broke Down” is still stuck in my head, along with “250 Miles” and “Rancho Tehama Airport,” not to mention Marrone‘s drum solo in “No Good Woman,” which closed out — where you just had to step back and let out a “holy shit” at how hard they were hitting it. They’ve been a big part of the draw for this tour, and while Soundstage wasn’t as crowded as some of the other shows have been, even at its most packed, t was clear that a lot of the people who showed up were there in no small part because Radio Moscow were rolling through. They did so at top speed, impossibly tight and with zero pretense. I feel like people who don’t see this band have no idea what they’re missing.
I feel like I’m repeating myself every day, but the truth is that at this point, the tour is locked in. All four bands are delivering their show. It doesn’t really matter where they are, who’s there to see it, whatever. They get on stage and just go for it. Pentagram is no different. They came on after their foreboding intro with guitarist Victor Griffin, bassist Greg Turley and drummer Sean Saley starting “Death Row” ahead of the quick arrival of frontman Bobby Liebling, who’s never failed to carry the stage of any size on this tour, whether it was the huge church in Pittsburgh or Soundstage with the back bar blocked off. This was as close as Pentagram will come to a hometown show on this run, and Baltimore is arguably the center of their influence — or at least in the central region of it — and they put the work in to show why they’ve earned the legendary status that they have. I continue to look forward to a follow-up to Last Rites and hearing this lineup take on more lost ’70s cuts and maybe a new composition or two.
Even at the end of the night, I felt better for this show than in Pittsburgh, took a couple minutes to just sort of enjoy it and let the night soak in before load-out had to start and I drove to the Comfort Inn in North East — which is both the name of the town and its geographic location — Maryland, about 45 minutes outside Baltimore. The plan was to hang around the motel for most of the next day, since it’s a relatively short drive to Philadelphia for the show at Johnny Brenda’s, which is sold out, but you know how it goes with plans.
Posted in Reviews on October 29th, 2014 by H.P. Taskmaster
…Or at least near Pittsburgh, if not actually “in” it. Mr. Smalls Theatre, a righteously converted church with cavernous ceilings, incense smell baked into the walls and, thankfully, a spacious balcony, seems to be across the river from downtown, so I’m not sure what the exact designation is. Millvale, maybe? Anyway, it’s damn close to Pittsburgh, and that’ll have to do.
When I first got inside, I went and talked to the sound guy for a minute, just to say hi, cool room, etc. He asked which band I was with, and I said I was touring with Kings Destroy but I didn’t play, and he goes, “Just a hanger on?” That felt good. Deeply good. I think I said something like, “Yeah, basically,” and asked him for the wifi password. For what it’s worth, the sound all night was excellent. As I said last post, I was feeling pretty under the weather for this one, so I stayed on that balcony for the duration. The show was the four touring bands — Kings Destroy, Bang, Radio Moscow and Pentagram, in that order — and the place got fairly packed out by the time Radio Moscow went on, but even for Kings Destroy with an early 7:30PM start, there were people there. They were thanked for showing up early.
Granted, I was in a haze anyway — I kept nodding off before the bands went on, sitting in my chair on the balcony — but it was a very different experience watching the show from such a distance. More like a clip on YouTube or something. The energy was still there, but the physical sense of being away from it made it another kind of appeal. Add to that the pressure in my sinuses, which with the earplugs in made the whole thing kind of otherworldly as Kings Destroy started up with “Old Yeller” and got the show rolling in their lurching kind of way. “The Toe” followed, and while people were still coming in, I could see up front they were getting into it. A bird’s eye view of what I’ve been able to sense happening all along. I felt a little bit like I was doing an anthropological study.
The tour is in go-mode, so it wasn’t a surprise that Kings Destroy or anyone who played after them owned the stage as well as they did. It didn’t really matter how many people were there at any point, they were doing their show and did it well with nearly a week of every-night plowing through behind them. “Smokey Robinson” from the new album was one of three newer songs to be aired, with “Mr. O” given a much appreciated shout to yours truly and “Embers” following. Three really killer songs that represent the new record well in being some of their best work to date. “Blood of Recompense” closed and Bang came out after a long changeover and gave their set a workout. They’ve played the same songs every night, but they’re more locked in now than they were when the tour started in Chicago, Frank Ferrara, Frankie Gilcken and Jake Leger continuously smoothing out their classic sound, Leger blending seamlessly with the two original members in giving a fresh swing to the warm grooves, paced well and easy-rolling.
Radio Moscow absolutely scorched. Opening with “So Alone,” they tore into “Broke Down” and the dangerously catchy “Death of a Queen” from this year’s Magical Dirt LP, the always-welcome “Just Don’t Know” and “Open Your Eyes” — I think — before having their set cut short. That was a bummer and the crowd expressed their discontent in a round of boos that turned to cheers in support for the band. Nothing was broken, nothing out of order — guitarist/vocalist Parker Griggs, bassist Anthony Meier and drummer Paul Marrone had been tearing ass through their frenetic heavy psych jams of which, even from as far away as I was, I could feel the vibrancy. Apparently the show was just running late and they were the ones who took the hit. Still, even the chance to see them play any songs at all was a win for Mr. Smalls, which showed appreciation in a fervent round of applause.
I was fading fast. I’d been nodding off during Bang – that’s not a slight on their performance, just noting that I was having a hard time keeping my head up. I knew I wanted to stick around for at least the start of Pentagram, and I did do that, watching “Death Row” and “All Your Sins” and the The Animals cover, “Don’t Let Me be Misunderstood” that has become a nightly inclusion before I had to tap out. The good news was that Mr. Smalls was loud enough that even laying down in the back of the van, I could still clearly hear the band playing, but yeah, my evening was done a little early.
Load-out happened at its usual leisurely pace and I drove to where we were staying, about 25 minutes out of Pittsburgh in a place called New Stanton. Got in around one and I know I was out before two, though much of the night was spent coughing and trying to keep my head in a position to allow the mucus to drain. Would I be out of line if I said “ugh?” Not my best night, but at least the show was good.
No extra pics this time, but I’ll hope to pick back up in Baltimore as the tour moves on for the next gig.
Posted in Reviews on October 28th, 2014 by H.P. Taskmaster
Scholars maintain that if you’re driving through Ohio for two hours, it’ll feel like at least four. I’ve yet to make my way through the Buckeye State that its flat expanse, constant construction and ever-visible police presence haven’t gotten inside my head. When we got to Cleveland and the band had their gear unloaded — because it was House of Blues and apparently that’s how it goes — I made my way down the block to a coffee shop and had a red eye, coffee with espresso shots, and sat for a bit. Made it back in time for Kings Destroy‘s soundcheck (I’m pretty sure that’s the order it happened in, to be honest there’s a bit of fog on the whole night; sober, sober fog) and got to watch that before doors opened.
It was the smaller room at House of Blues, or one of them anyway, but the sound was big and full and the P.A. blared bands that all sounded one way or another like Soundgarden and later Saint Vitus, and with just the four acts on the bill, the show got off to a reasonable start around 8:30 or so. By then people had shown up, but it wasn’t a sell out so there was room even at the most crowded point, probably halfway through Pentagram or thereabouts. Bands were pretty relaxed after the off-day from the tour, so it was a cool vibe both back and on stage.
I think the chance to let loose in Lansing did Kings Destroy some good. They were back to the tour setlist, a shorter time on stage, but they got right into it and had solid energy the whole way through. I’ve been fortunate enough to see them be this locked in before, so it’s not necessarily a surprise, but it’s been enjoyable to watch either way, and with the House of Blues being all ages or at least 18-and-up, whatever it was, there were some actual kids there up front who seemed to get into it. By the time they were through “The Whittler,” which was second after the standard opener “Old Yeller,” the room was on their side, and though it was early, there was a healthy amount of noise after each song. “Smokey Robinson,” from the new album, was again a highlight, and I find that much like “Embers” on the last run, that’s the song I tend to gravitate toward every night. I pulled my earplugs part-way out to let a little more volume in, and no regrets. The House of Blues P.A. seemed to be keyed in for maximum low end the whole night, but that suited Kings Destroy well, their leads cutting through the rumble smoothly in the verses of “Blood of Recompense,” a winning finish even with its quiet ending.
“Our Home,” “Idealist, Realist,” “Questions” — Bang have no shortage of liquified grooves. Of the four acts on the tour, they seem most to be enjoying the time on stage, bassist/vocalist Frank Ferrara joking with the crowd about screwing up recordings and so on. Drummer Jake Leger was in his element behind the kit as Ferrara and guitarist Frank Gilcken came to the middle of the stage as they have at all these shows to revel in the fluidity of the material. Once again, the audience knew them. I stood next to the dude from Outlaw Recordings, who had done a vinyl issue of Bang‘s self-titled debut — also put out Victor Griffin‘s Late for an Early Grave 2004 solo offering — and he wasn’t even close to being the only one singing along, up to the point of some dude behind me filling in the line “Yet she never locked her bedroom door” after the stop in “Last Will and Testament.” If Bang have proven to be anything over the course of these shows, it’s been a good time, and House of Blues was no less fun than they’ve been all along, their smooth style and positive vibes winning favor among both those new to them and the already converted.
It cost them another kick-drum pedal, or it re-cost them the same one, but Radio Moscow utterly slayed the House of Blues. I don’t know if the sound was just right to pick up the richness of Anthony Meier‘s bass tone or what, the balance of the band is so much geared toward Parker Griggs‘ guitar work and ever-ready shred, but they were full and heavy and as they sprinted through the hairpin turns of “Mistreated Queen,” it was all I could do to keep from getting dizzy. Drummer Paul Marrone put on his usual clinic, and even when the pedal broke, there was no snapping the momentum they had working in their favor. “250 Miles” from 2009’s Brain Cycles has become a personal favorite, the trio lulling the audience into a false sense of security with the soft bluesy beginning only to bust out the rager jam of “Brain Cycles” itself immediately thereafter. They just kill it, every night. It’s what they do. And even in by-now-familiar go-tos like “Death of a Queen,” “Just Don’t Know” and “Broke Down,” they maintain a sense of volatility, of being just about to fly off the rails, without ever actually losing control. They’re easily one of the best live acts I’ve seen this year, and I’ve seen them more than 10 times now thus year, and have yet to come out of one of their sets not feeling like I just had my ass handed to me.
Every venue, every show, there’s the same voice yelling “Bobby!” in the exact same way. And I’ve looked around, it’s not someone traveling with the bands. Pentagram‘s Bobby Liebling is simply just that charismatic, that attention-drawing, that everywhere they play, people go off at the mere thought of seeing him on stage.Cleveland was no different, and Liebling was in good spirits, smiling at the crowd and cracking with bassist Greg Turley, doing his usual stage moves with/on Victor Griffin and nailing the vocals in “Frustration,” “Forever My Queen” and all the rest. The Animals cover has become a standard inclusion, and if they played “Lay down and Die,” I missed it, but the set was right on anyway, and even with a smaller crowd than some of these shows have had, Liebling, Griffin, Turley and drummer Sean Saley were clearly fired up as they made their way to and through the encore of “Be Forewarned” and “When the Screams Come,” the “Bobby!” shouts and “Pen-ta-gram” chants continuing even long after the singer had left the stage. Their resurgence along with that of Saint Vitus over the last half-decade only continues to prove the timelessness of doom and of their contributions to it. Even after all the lineup changes they’ve been through and the years of turbulence, there’s only one Pentagram.
Was accosted by three homeless people outside the House of Blues. One said he had to catch a bus. One just asked for change. One cut to the chase and straight up asked for beer and/or weed. Despite these downtrodden apparitions, who indeed got all my change, load-out was done by the time I got around to asking if load-out was done, and we headed out to the motel with me at the wheel, as seems to have become the standard procedure. Got turned around owing to some highway construction, but sorted it eventually and got to the Red Roof Inn somewhere around 2AM, already looking forward to waking up this morning and being able to shower before heading to Pittsburgh.
Posted in Reviews on October 26th, 2014 by H.P. Taskmaster
Oh, Grand Rapids. You got wasted. The Pyramid Scheme is an excellent space, and they know it. An orange and blue squiggle design on the floor, cool ’50s-style retro lights, a sweet bar, great stage, great sound, great lights. And that’s just in back. Out front there’s another full bar with tables, booths and a collection of pinball machines that was enviable to say the least. Apparently they host a Grand Rapids Pinball League, or at least they sell a shirt that advertises such. I immediately gravitated toward the Star Trek: The Next Generation machine and sapped the supply of quarters I’ve built up over the last couple days in change from buying the gas station coffee that has more or less been what’s kept me alive thus far into the trip.
I’ve never been much good at pinball — or fun at all, really — but I dug it anyway and then ran over to the hipster coffee joint across the way and had a real cup of coffee and some kind of weirdo pistachio/hazelnut roll that tasted like neither. Soon enough Kings Destroy had their soundcheck and the show was ready to start. I got up front shortly after doors and was fortunate enough to run into some excellent people I know from out this way, Postman Dan who’ll be playing with Cruthu tonight in Lansing, Steve Rarick from Emetic Records, Travis Witherell from Hydro-Phonic Records, also met Jeremy who runs the Pyramid Scheme and was super cool, and later on, one of the dudes from Blue Snaggletooth, who are another killer Michigan-based act with a new album on the way.
For the first time on the tour so far, the entire bill was just the touring acts, no locals opening or otherwise. Kings Destroy got things rolling a little after 8PM:
Best show of the tour so far, hands down. I suppose that’s the way it’s supposed to go, so maybe that’s not saying much, but it’s true either way. They’ve been pretty purposeful about changing up the set at least just a little each night, and for the Pyramid Scheme, they broke out “Embers” for the first time and it occurred to me how much I’ve missed hearing that song. It fit well between “Mr. O,” and “Smokey Robinson,” the new cuts once again coming out of a pair from the 2010 debut, And the Rest Will Surely Perish, this time “Old Yeller” into “The Whittler,” which was a groove that led easily into the start of “Mr. O,” drummer Rob Sefcik rolling out a quick fill picked up by the rest of the band — guitarists Carl Porcaro and Christopher Skowronski, bassist Aaron Bumpus, vocalist Steve Murphy (I’ll be honest: it doesn’t really seem necessary to introduce these guys at this point, but I’ll do it anyway just in case) — and then launched immediately into the first verse with the line, “I am the straw that stirs the drink,” a Reggie Jackson quote that’s been running around my head since this tour started. Murphy once again came off stage for the end of closer “Blood of Recompense,” this time walking deep into the room and, at one point, almost clotheslining a group of people wrapped in his mic cable. They got out of the way and I’m glad to report no injuries sustained, save perhaps for tinnitus.
What a pleasure it’s been to watch these guys on stage. Even for just the three nights of the tour so far, and even playing the same set for each of them, the Philly trio’s raw enjoyment of their comeback tour has been projected clearly from the stage. Before they started, bassist vocalist Frank Ferrara introduced the band, naming himself as “some guido from Philadelphia” or something close to that, a smile on his face the whole time. He and guitarist Frank Gilcken (whose name I’ve apparently been spelling wrong for the last three days; apologies) and drummer Jake Leger have only gotten tighter over the course of these shows, and in Grand Rapids, they seemed relaxed as they went about their business, enjoying themselves and the crowd, which was readily familiar with their work, enough for a couple sing-alongs. “Our Home,” “Last Will and Testament,” “The Queen,” “Redman” and “Questions” from their 1971 self-titled debut were greeted particularly well, but people were no less into the opening title-track from 2004’s The Maze, the grooves smooth, the tones rich, the drums swinging and the vocals spot on the whole way. They thanked the crowd copiously and the other bands, and ended the set locked in and in full command of their stage presence, sound and presentation. It’s been genuinely enjoyable to watch them click as they have thus far.
Rough night for Radio Moscow. When they had everything working, they killed it. Opening with “Death of a Queen,” they changed up the set a little bit, including “Rancho Tehama Airport” from this year’s Magical Dirt LP (review here) and “Don’t Need Nobody” from 2011’s The Great Escape of Leslie Magnafuzz, and I don’t want to say it happened just as they were hitting their stride — because, truth be told, they hit their stride the second they start playing — but a little while into the proceedings, drummer Paul Marrone broke what was apparently a brand new head on his kick drum and had to leave stage to get a replacement. He and bassist Anthony Meier and guitarist/vocalist Parker Griggs set about fixing it, and then relaunched and were off and running when Griggs broke a string on his guitar and had to replace that on the quick. Done. Then Marrone‘s drum broke again and he wound up using Rob Sefcik from Kings Destroy‘s instead — I guess because you can really only travel with so many drum-heads before all of a sudden you’re carrying a music store and how many backups will you really need on a given night? They were fine going into “Rancho Tehama Airport,” which was announced as their last song but wound up being followed by “Gypsy Fast Woman” and “Open Your Eyes,” during which Marrone‘s snare gave way and Griggs busted yet another string. They were close to the finish line anyway, so they just sort of stopped playing, thanked the crowd and cut their losses. I still can’t really say they didn’t deliver, and the audience — by then mightily sloshed — was plenty into it despite whatever interruptions to their boogie-freight-train momentum arose on their way.
I’ve yet to see any footage from this tour of Pentagram‘s new song, “Lay Down and Die,” but when some shows up, I’ll be interested to give it a deeper listen. Like some of the stuff on 2011’s Last Rites (review here), it seems like vocalist Bobby Liebling is really pushing himself vocally, and as much of the image of the band is wrapped up in his persona, I far prefer the idea of him as an artist who, even as he plays out a catalog of some of doom’s most classic material — “Sign of the Wolf (Pentagram),” “Forever My Queen,” “Review Your Choices,” “Be Forewarned,” “When the Screams Come,” etc. — still has an interest in moving forward creatively and in terms of his technique. Maybe that’s reading more into it than I should, but with Victor Griffin on guitar and sharing the vocal duties, drummer Sean Saley and bassist Greg Turley, Pentagram are an absolute force on stage. With Liebling up front, they were going to want nothing for stage presence one way or another, but in terms of tone and volume, they came into this tour ready to give a professional-level show and that’s what they’ve done each night. Bobby had a cache of young ladies toward the front of the room hanging on his every word and/or obscene gesture, and Pentagram rocked their way through their time smoothly, taking a couple minutes to warm up through the Animals cover “Don’t Let Me be Misunderstood” and “Frustration” from 1994’s Be Forewarned, but living up to the title “Relentless” by the time they got there and giving the Grand Rapids crowd something to (vaguely) remember the next morning.
Was pretty beat by the time Pentagram went on, but I still had energy enough to sink the last of my quarters into some more pinball as the night wound down after loadout. I don’t know what my high score was, but it was not impressive. The KD guys and I loaded into the van and split out to crash in a town called Gowen at a sort of Airbnb house on the shore of Lake Michigan, chilly and beautiful in kind. More to come on that.
In the meantime, some more pics after the jump. Thanks for reading.
Posted in Reviews on October 24th, 2014 by H.P. Taskmaster
Stickers on the wall, a dim, red-hued bar next door, record store upstairs and rooftop deck that I didn’t venture out to see, Reggie’s wasn’t short on vibe. It’s one of those places I’ve seen listed on tour dates for years, but to be there and see the place, turn it from an abstraction on a list of mostly unfamiliar rooms to someplace with actual sights, sounds and beat-up couches on the balcony was an opportunity I genuinely appreciated. And the place lived up to expectations, as much as I had them, with a bare concrete floor, high ceiling, graffiti art all on the walls and a t-shirt shop out toward the front door. Very cool space, and good for them making it work.
Doors were at 7PM, and Richmond, Virginia’s Iron Reagan were opening. Here’s how it went from there:
They showed up not too long before the slated start of their set, which was 7:30 – a perfectly reasonable time to start a five-band bill on a weeknight; the venue had a 1:15 curfew in place – and set up their gear and thrashed in likewise manic fashion, tossing off period Slayer riffs amid an ‘80s-worship onslaught that was further conceptually than sonically from vocalist Tony Foresta and guitarist Phil “Landphil” Hall’s other band, Municipal Waste. They played under a huge banner featuring the visage of the former president from whom they derive their name – because the ‘80s – and were more than solid in their delivery if something of the odd men out on the bill. Didn’t stop a circle pit from forming as they quickly ran through a recent EP they put together for Decibel, five songs in about three minutes, which was a solid way to keep momentum going into the highlight “Miserable Failure,” a Cannibal Corpse cover and the finale, “Eat Shit and Live,” which had fists pumping up front. Not really my thing, but I couldn’t argue with the presentation.
First night of the tour. I’ve seen Kings Destroy enough times by now to know when it’s a rough night, but that wasn’t the feeling I got at Reggie’s. They opened with two older songs, “Old Yeller” and “The Mountie,” which seemed a fitting way of easing into a short half-hour set, and then broke out “Smokey Robinson” and “Mr. O” from the new album, one right into the next. That worked well, and by the time they got to “Smokey Robinson,” they were visibly into it. As much as I dig the speedier “Mr. O,” and I’m glad to hear “The Mountie” whenever able, “Smokey Robinson” was the high point of the set, though I won’t discount the sheer bizarro-doom thrust of rounding out with “Blood of Recompense” into “Turul,” both songs slow, lurching and vicious from the second album, last year’s A Time of Hunting, bringing the record’s closing pair right into people’s faces, loud and stomping and mean. As ever, people at the start didn’t know what was happening and by the end were into it enough that they stopped trying to figure it out and just went with it.
Guitarist Frank Gilcken announced this as Bang’s first tour in 40 years, which got a laugh out of drummer Jake Leger, who most certainly wasn’t there when Gilcken and bassist/vocalist Frank Ferrara last hit the road. Disparity of years notwithstanding, Bang were a tight classic-styled power trio breaking out cuts from their ‘70s era, injecting something a little newer with “The Maze,” and even finding room for a ballad in “Last Will and Testament.” Vintage amps pushed out warm tones, Leger added a swinging sensibility that fit really well, and Ferrara’s vocals had that smooth ‘70s vibe. It was funny to think of both Iron Reagan two bands before, whose idolatry was directed at a different decade entirely, and Radio Moscow still to come, who find the core of their influence in heavy ‘70s blues-inspired acts like Bang. Add to that Pentagram’s ‘70s lineage, and Bang made a lot of sense for the bill, since whether their material was newer or older, they played through with a classic feel and sense of poise, the two Franks coming together on stage regularly to share laughs and grooves alike.
I’ve never seen Radio Moscow that they didn’t show up to play, and I’ve never seen Radio Moscow not show up. I don’t think the San Diego classic heavy rockers have come off the road since their Spring run with Kings Destroy and Pentagram, or at least not for any great stretch of time, having done Europe and South America since, in addition to releasing the album Magical Dirt (review here), from which the bounce-happy “Death of a Queen” was aired. There were some issues before they started with guitarist/vocalist Parker Griggs’ gear, but they were solved quickly enough, and he, bassist Anthony Meier and drummer Paul Marrone sprinted through regular suspects like “Just Don’t Know,” “Broke Down,” “Before it Burns,” “250 Miles” and “Gypsy Fast Woman,” the latter closing out after Marrone ran off stage quickly to replace a busted kick pedal. The boogie was as fervent as ever, and Radio Moscow delivered the kind of air-tight rager of a set that I’ve come to expect from them since the last tour, Marrone and Meier reminding that while it’s Griggs who gets the most solos – at some point on this tour, I’m going to count who’s got more, him or Frank Gilcken from Bang – it’s just as much the rhythm section that makes the songs move.
Pentagram played a much bolder set than I expected. I guess after watching them do basically the same batch of songs last time around, my head was just positioned to think this would be more of that, but it wasn’t. “Sign of the Wolf (Pentagram)” was early in the set, after “Death Row,” “All Your Sins” and a cover of The Animals’ “Don’t Let Me be Misunderstood,” which Pentagram guitarist Victor Griffin also did with In~Graved when I saw them last year at Days of the Doomed III in Wisconsin. Even more notably, a new song called “Lay Down and Die” was aired, and frontman Bobby Liebling announced from the stage that the plan was to hit the studio this winter to record a follow-up to 2011’s Last Rites. Hopefully they’ll record with the same lineup they have now – Liebling, Griffin, bassist Greg Turley and drummer Sean Saley – since they’ve developed some genuine chemistry on stage, which one could see and hear both in that song, which had some double-time hi-hat from Saley and a fast verse delivery, and in the encore as they jammed out an extended take on “When the Screams Come,” which followed “Be Forewarned” in a raucous finale of sleazed-out doom well met by the Reggie’s crowd, fired and liquored up in kind.
We poured out of the venue circa 1AM and I drove to some town in Wisconsin – after getting much advice on how to get the van out of its spot, most of it bunk. The next show is in Minneapolis, which is another town I’ve never been to and am greatly looking forward to seeing, the land starting show some more hills on the way where it’s been pretty flat since Pennsylvania up to this point. No complaints either way.
Posted in Whathaveyou on August 27th, 2014 by H.P. Taskmaster
Today I couldn’t be more pleased to announce that even though they already spent nine days in a van with me earlier this year, Kings Destroy have been kind and charitable enough to invite me back along with them as they rejoin Pentagram and Radio Moscow for a Midwest/East Coast tour to follow-up on the West Coast dates this past spring. Coming along this time will be reunited proto-metallers Bang, and I’m all the more thrilled and honored to have been invited back by the KD guys for this second round with their participation.
Once again I’ll get to see places I’ve never seen, meet people I’ve spoken to for years, and watch killer bands night after night as they refine what they do in the best way possible. I can’t wait to get back out and see cities like Chicago and Minneapolis for the first time. It’s going to be incredible. Of course, I’ll have my laptop and my camera along for the trip, and I will update and review as the trip plays out.
Radio Moscow gave the dates. They’ll do the whole tour save for the NYC show at the Gramercy Theater, for which Blood Ceremony will fill in. The full run is as follows:
USA DATES supporting PENTAGRAM this October! Also joining us are legendary 70’s proto-metal hard rockers BANG and Kings Destroy! So stoked to be part of this amazing tour. Dates below. See you soon!
10/23/14 Chicago IL @ Reggie’s 10/24/14 Minneapolis MN @ Mill City Nights 10/25/14 Grand Rapids MI @ Pyramid Scheme 10/27/14 Cleveland OH @ House of Blues 10/28/14 Pittsburgh PA @ Mr Smalls Theater 10/29/14 Baltimore MD @ Soundstage 10/30/14 Philadelphia PA @ Johnny Brendas 11/01/14 New York NY @ Gramercy Theater* 11/02/14 Providence RI @ The Met
Because I very, very rarely do this kind of thing involving someone else’s work, let me specifically point out I DID NOT TAKE THESE PICTURES. I was not fortunate enough to be at this fest, and even if I had been at Freak Valley in Netphen, Germany, May 29-31, I’m not this good. All the photos in this gallery were by Falk-Hagen Bernshausen, who serves as the festival’s in-house photographer. I don’t even know how many images he sent me, but I’ve gone through and picked out a few from what you can see above was a packed schedule, starting with the headliners and then working by day from there.
If you’re the type who usually does the clicky-makey-biggy thing with the pictures around here, you might notice it doesn’t work on this post. Truth be told, it took me a very long time to get all the photos here to load, and with so many pics, it crashed the site more than once in the making. Resizing the images was the only way I could get it all to fit. I apologize for any inconvenience making it work may have caused.
Still, it’s only through the generosity of Mr. Bernshausen that I’m able to do this, and I thank him profusely for sharing his work. Please note there were more bands he shot than appear, and please also visit his website here, and check out the Freak Valley page as well.
Posted in Whathaveyou on June 17th, 2014 by H.P. Taskmaster
Since I’ve spent the last two months-plus with these songs stuck in my head, it seems only fair to mark the release date of Radio Moscow‘s new album, Magical Dirt(review here), on Alive Naturalsound. The band just wrapped one European tour and are shortly to announce another, and with Magical Dirt, they’ve given themselves a worthy cause to support, tracks pushing their furthest yet into psychedelic blues topped off by the stellar-as-ever guitar work of frontman Parker Griggs, who’s joined by the dizzying rhythm section of bassist Anthony Meier and drummer Paul Marrone.
Getting to see these dudes seven nights in a row earlier this year was a treat. Here’s what they had to say about the end of their European run and some words from the label on the album:
RADIO MOSCOW ‘Magical Dirt’ out today on Vinyl, CD & DIGITAL
Our month long European tour has come to an end. We had an amazing time playing in the countries we visited and meeting a lot of new friends along the way. Stay tuned for another short European tour announcement which is taking place in the end of July. By the way our album comes out today officially! Cheers!
Says Alive Naturalsound:
Trends come and go, but the idea of a bunch of guys getting together in a garage and playing the kind of music that makes the neighbors call the cops — that’s forever. And it’s that idea that’s crystallized in the form of Radio Moscow. The power trio led by the Stratocaster genius Parker Griggs have found THE formula : powerful, crunching Sabbathstyle chords and fiery solos that earn the right to be called Hendrixian and plants its flag firmly in the territory where psychedelic rock and cranked-up blues meet. Parker’s demo caught the ear of The Black Keys’ Dan Auerbach, who produced the 2007 self-titled debut. With « Brain Cycles », their second album Radio Moscow proves that they’re not a cheap time machine but a direct descendant from the golden age of Rock’n’Roll. In 2011, Griggs continued his psychedelic trip with « The Great Escape of Leslie Magnafuzz ». Now in 2014 the band has released the 4th studio album “Magical Dirt” with high goals of sending you on another trip into heavy psychedelic headphone heaven.
Posted in Reviews on May 29th, 2014 by H.P. Taskmaster
Since the release of their self-titled debut in 2007, Radio Moscow have specialized in tight-knit heavy psychedelic blues rock, topped off with the barnburner fretwork of guitarist/vocalist Parker Griggs. In drummer Paul Marrone (also Astra and Psicomagia) and bassist Anthony Meier (also Sacri Monti), Griggs has a rhythm section not only able to stand up to his own playing, but to meet it head on, and their fifth album for Alive Records, Magical Dirt, is all the stronger for it. Radio Moscow‘s last proper studio outing was 2011’s The Great Escape of Leslie Magnafuzz, and it’s always tricky to figure which of the instruments Griggs is handling himself on a given release — he seemed to play everything on 2012’s previously-lost-tracks LP 3 &3 Quarters, originally recorded in 2003 — but the dynamic that Radio Moscow brings to their stage performance is present throughout Magical Dirt‘s 10 tracks and 42 minutes, and they not only live up to the form and intent of their past work in capturing a rush of heavy ’70s swagger and swing, but they push deeper into the command of the elements at work in their sound. Take the second-to-last track, “Before it Burns.” Right around two minutes in, the song shifts gears almost immediately from winding riffs and fleet shuffle into an airy psych jam that stands out maybe most of all for how much on an initial listen you might not even notice it until you’re already halfway through. The reason that’s the case is because Radio Moscow are completely in control of the material by that point in the album, and able to take and put the listener precisely where they want them to be. Eastern scales and percussion that come seemingly out of nowhere would be out of place on so many other records, but on Magical Dirt, pretty much whatever Radio Moscow decide to fit, they fit.
Chiefly, what they fit into these songs is a whole lot of volatility. At any moment, songs like opener “So Alone,” or “These Days,” “Got the Time” or “Rancho Tehama Airport” sound like they could completely come apart, like when you shake the bolts loose on a piece of machinery and the whole thing collapses into a pile of parts, but even at their fastest, Radio Moscow retain control, and while the whole of Magical Dirtretains an organic, live-feeling production, it’s also got clarity enough to showcase just how precise the band is in pulling it all off. Hooks are in steady supply, whether it’s the chorus of the mostly acoustic “Sweet L’il Thing” or the maddeningly catchy instrumental bounce of “Death of a Queen,” which ends playfully following channel-panning leads from Griggs without letting go of the reins. That’s to say nothing of the songwriting at play in side B’s “Gypsy Fast Woman,” which boasts a funkier groove and more blazing solos on top of subtle bass fills and enviable snare work en route to one of Magical Dirt‘s most infectious refrains. “Bridges” is the longest cut at 5:19 and starts the album’s second half with a pullback on tempo compared to the rush of “These Days” before it — a winding section of guitar, bass and drums also seems to recall “Death of a Queen” — but the wealth of wah provides continuity between sides A and B of Magical Dirtand by the time “Bridges” breaks to an acoustic-led blues jam topped with an electric lead in its own second half, you’re either on board for the ride or you’re not going to be. Fortunately, the earlier one-two blues of “So Alone” and boogie in “Rancho Tehama Airport,” which was also released as a pre-album single, also give a clear indication of some of Radio Moscow‘s lysergic tendencies, and by then, the flow is well established. They continue into the layered groove of “Gypsy Fast Woman” without so much as a hiccup for the sidestep in approach.
Here is the Music Player. You need to installl flash player to show this cool thing!
It was getting on two in the morning last night and I was yet again trying to figure out how to get the audio editing software I use to make podcasts to work on this laptop. Numerous failed downloads later, I decided screw it, I had nothing to lose, and I zipped up the directory containing the program on my old computer, WeTransfered it to myself, and unzipped it on the newer machine. Frickin’ worked. I couldn’t believe it. Proof that sometimes the stupidest solution of all is the way to go.
This is the first new podcast in a long time, I know. There’s been a lot of really cool stuff coming out in the last few months, but I wanted to still keep it as recent as possible. Some of this is out now and has been for a couple weeks, some of it isn’t out yet. I think it’s a good mix or I wouldn’t have uploaded it, and it gets pretty heavy for a while there, so watch yourself. Figured a good couple of rockers to open wouldn’t meet any complaints either, and hopefully that’s the case. Please enjoy.
Fu Manchu, “Radio Source Sagittarius” from Gigantoid (2014)
Radio Moscow, “Death of a Queen” from Magical Dirt (2014)
Abramis Brama, “Blåa Toner” from Enkel Biljett (2014)
The Ultra Electric Mega Galactic, “Spoonful” from Through the Dark Matter (2014)
Boris, “Heavy Rain” from Noise (2014)
Eyehategod, “Robitussin and Rejection” from Eyehategod (2014)
Serpentine Path, “House of Worship” from Emanations (2014)
Triptykon, “Boleskine House” from Melana Chasmata (2014)
Wovenhand, “Field of Hedon” from Refractory Obdurate (2014)
Been Obscene, “Memories of Salvation” from Unplugged (2014)
1000mods, “Reverb of the New World” from Vultures (2014)
Electric Citizen, “Light Years Beyond” from Ghost of Me b/w Light Years Beyond (2014)
Mars Red Sky, “The Light Beyond” from Stranded in Arcadia (2014)
Salem’s Pot, “Creep Purple” from Lurar Ut Dig På Prärien (2014)
Black Bombaim, “Arabia” from Far Out (2014)
Dopelord, “Pass the Bong” from Black Arts, Riff Worship and Weed Cult (2014)
Holly Hunt, “Prometheus” from Prometheus (2014)
Posted in Whathaveyou on March 27th, 2014 by H.P. Taskmaster
If you were to ask me what my biggest regret was about watching Radio Moscow play each night on a seven-show run, my immediate response would be, “What the fuck are you talking about?” The San Diego trio killed it every single night on that tour, and I’m glad to see they’ve posted the track “Death of a Queen” from the forthcoming Alive Naturalsound LP, Magical Dirt, because now I feel like I have a chance to exorcise its catchy bounce from out of my head. Yeah, good luck.
They’re heading to Europe next month and it looks like they’ll be staying a while. Magical Dirtis out in June.
NEW SINGLE “Death of A Queen” by Radio Moscow now available to listen below!
New album “Magical Dirt” out June 17. Presale link and date coming soon.
Come dig some MAGICAL DIRT!
Europe tour starts next month! New shows just announced in Italy and Sweden! Check the dates below to see if we are coming near you.
APRIL : 15/04/14 : Turkey / Ankara @ Hayal Kahvesi 16/04/14 : Turkey / Izmir @ Hayal Kahvesi Performance 17/04/14 : Turkey / Istanbul @ Hayal Kahvesi Beyoglu 19/04/14 : France / Lyon @ Stone Rising Festival 20/04/14 : Germany / Mannheim @ 7er Club 21/04/14 : Germany / Dresden @ Groovestation 23/04/14 : Austria / Vienna @ Arena 24/04/14 : Germany / Munich @ Feierwerk 25/04/14 : Switzerland / Pratteln @ Pratteln 26/04/14 : Germany / Berlin @ Desertfest 27/04/14 : UK / London @ Desertfest
MAY : 15/05/14 : France / Hossegor @ L’escargot 16/05/14 : France / Bordeaux @ Bootleg 17/05/14 : France / Angouleme @ La Nef 20/05/14 : France / Montpellier @ Secret Place 21/05/14 : Spain / Barcelona @ Sala Appolo 22/05/14 : Spain / Madrid @ Shoko Club 23/05/14 : Spain / Bilbao @ Cafe Antzokia 24/05/14 : Spain / San Sebastian @ Sala Bukowski 28/05/14 : Belgium / Brussels @ Vk 29/05/14 : Germany / Siegen @ Freak Valley Festival 30/05/14 : Netherlands / Vlissingen @ De Piek 31/05/14 : Netherlands / Amsterdamn @ Winston
JUNE: 04/06/14 : France / Paris @ Glazart 06/06/14 : Danmark / Copenhagen @ Loppen 07/06/14 : Sweden / Gottborg @ Truckstop Alaska 12/06/14 : Italy / Roma @ Init 13/06/14 : Italy / Siena @ L’ars Festival 14/06/14 : Italy / Mentova @ Rocka ‘n’ Roll Festival
03.02.14 — 6:54AM Eastern — Sunday morning — Detroit Metro Airport
“Aw, seriously? We blew it…” — Rob Sefcik
Though I think I already made it obvious in my last post, I’ll put it out there straight away that my head wasn’t in this one from the beginning. My thoughts were elsewhere — getting to the airport, though that plan materialized pretty well and before the show actually started — getting back to New York, driving north, finding a time when I might be able to sleep, seeing my wife, eating a meal, and so on. I guess if I was actually playing the show, that might’ve been an issue.
As it was, I decided to give myself something of a break for the closing night of Kings Destroy‘s tour with Pentagram and Radio Moscow, and when it came to the start of the show at In the Venue – a mid-sized space cleverly named — I was an odd combination of stressed about the impending travel and relaxed about the show itself. I already knew I wouldn’t be seeing all of Pentagram‘s set, and basically I said to myself that I’d already had six gigs’ worth of photos of these bands, and that it was okay to take it easy for the last night of the run.
Seems to have worked out, at least as regards my general well-being. Local support tonight — though by now it’s really “last night,” I just haven’t slept — was from Merlin‘s Beard:
I couldn’t tell you the last show I was at where there was a genuine circle pit. It’s been a while. But punk-stoner-thrashers Merlin’s Beard seemed to arrive ingratiated to the early-arriving local SLC contingent, and all of a sudden, there were kids in hightops and denim vests skipping in circles like something from a demented nursery rhyme. Can’t stop the children. I didn’t see their whole set, but Merlin’s Beard seemed to have it together in playing on the hesher-metal thing, which has been in full bloom all along on this trip, but they made their blend with earlier-hardcore punk work smartly and offered a raucous start to a night that, once it got going, had a party atmosphere as only the end of a tour can.
They were rushed from the very beginning. When Kings Destroy (plus Jim Pitts and I) arrived at In the Venue, Merlin’s Beard were already set up on stage. Since the band couldn’t very well tell them to get off so they could backline their gear, the switchover happened afterwards, and since Pentagram were also using said gear, basically two bands had to soundcheck before Kings Destroy could start their set. The sound guy told them, “You’ve got 22 minutes,” right before they started, but if they were rushed, the intensity suited both them and the occasion. I’m fairly certain they went past that 22-minute mark, but they still sprinted through their five song set, opening with “Dusty Mummy” before easing into “Embers,” which at this point sounds ready to record or at least close to it. Their adrenaline kicked in early, so when they shifted from “The Toe” to another new song, “Mr. O.,” the fact that it was the fastest thing I’ve ever heard from them seemed like a solid fit. A blazing riff, strong hook, and big ending, it’s probably the nearest thing to heavy rock I’ve seen them play, and that’s not at all a complaint. I wish I had gotten to see it more than once while on the road with them, but if it’s a Salt Lake City-only kind of memory, I’ll take it. They sounded like they could do another week or two touring easily.
If Radio Moscow were harried by nearly rolling their van in the bad weather between Denver and Salt Lake City — there was reportedly an accident on I-25 North outside of Denver that involved 104 cars, with which fortunately none of the three touring acts was involved — they didn’t show it on stage. They were dialed in and immediate, and it once again being an all-ages show, a younger crowd got way into it. That was the case all along, at all the shows, really, but in back, there was also a dude easily in his ’60s grooving on it, so maybe Radio Moscow have more of a cross-generational appeal than they get credit for. Or maybe they get credit for it and I just don’t pay attention. Either way, the point stands. I’m more than a little bummed I’ll have to wait until their new album Magical Dirt comes out in May to hear “Death of a Queen” again, but with “No Time,” “Open Your Eyes,” “Broke Down” and the rest in studio form to tide me over, chances are I’ll make it through. Still, what a track. It’s rightly gotten a great response at each show and In the Venue was no exception.
I said so after the Denver gig as well, but it’s worth repeating that in this incarnation of Pentagram, everybody was killing it. It wasn’t just Bobby Liebling and it wasn’t just Victor Griffin. They’re great, don’t get me wrong, and they handed the crowd its collective ass once again, but bassist Greg Turley and drummer Sean Saley offered stellar support in both sound and stage presence to their legendary counterparts, and once again Pentagram as a whole underscored both the timelessness of their classic material and the relevance of what they’re doing now. I might’ve liked to stay and see them finish out their set and thus the tour as a whole, but my head was going to explode if I didn’t get to the airport gate immediately, so when it was time to go after “When the Screams Come,” I offered no argument whatsoever. It was, indeed, time to go.
I’ve been falling asleep at the keyboard since I started typing, so I’ll try to be quick. The first of two flights to New York is over, from Salt Lake City to Detroit. This is a three-hour layover that started around 7AM and will go until 10:05AM when the next plane is allegedly going to take off. There’s enough snow on the tarmac outside that I’ve got my doubts. Still, until I hear otherwise, that’s what I’m going with.
We took off from SLC a little after one in the morning. The band had grabbed a bite to eat at one of the silly airport places but I abstained and sat with headphones on instead. Splashed some cold water on my face and felt like a new man. The airport wasn’t crowded, but the plane was. Full, in fact, and they kept the lights off just about the whole time. I wasn’t always awake, but I was never quite asleep. That’s about as good as I can usually do on an airplane. When we got in to Detroit, the KD guys almost immediately crashed out on the floor in various spots. There weren’t very many people around this little enclave of gates, though it’s gotten crowded since as Sunday has become its own entity rather than the weird extension of Saturday it is when you haven’t slept. I always had trouble deciding when the day actually switched until I learned broadcast days began at 6AM. That’s generally the measure I use these days, when I think of it or need to.
This will be the last of these posts, so I need to thank Kings Destroy — Steve Murphy, Rob Sefcik, Aaron Bumpus, Chris “C-Wolf” Skowronski and Carl Porcaro — for their incredible generosity in inviting me to embark on this tour with them. From Pacific Northwestern forests, to low Nevada desert, to the Rocky Mountains of Wyoming, I saw things I’d never seen, met many, many excellent people along the way, and was treated night after night to what I knew was the best possible show I could be seeing at that moment. It was a thrill and a delight, not just to do these things, but to be fortunate enough to be able to do them with these people, whom I consider myself lucky to know and whose work continues to stun with its honesty, accomplishment and forward-minded defiance of genre and expectation. Whether it was in the sprinter impersonating Paul Stanley stage raps with the ultra-competent Jim Pitts at the wheel or standing in front of a surprisingly wide variety of stages to watch them nail their set night after night, rest assured, my best times out west were with Kings Destroy.
There were times where I asked myself what I was doing. I never got to tour in bands other than a weekender here and there, but it’s something I’ve always wanted to do and I’m thankful to have had the chance while doing this, while writing. The fact about what I do is simple — no one outside a very small sphere cares — but as I look around me at the morning hustle at the airport in Detroit in a quality of light that has that Vaseline-lens haze due to lack of sleep, it’s that writing that got me here. I’ve spent some time recently wondering what the endgame is to all of this, this site, the music, where it’s going and what it leads to, but doesn’t it lead to things like this? Isn’t the opportunity to see new places with such wonderful, inspiring individuals the reward, even if it’s also the work? And isn’t the work, being able to do it, the reward too? I don’t always believe it is, but I do right now, and with that, I’m ready to get on the plane and go home. Soon.
Special thanks to The Patient Mrs. for supporting me through things that can sometimes seem completely nonsensical, and from the bottom of my heart, thank you for reading.