It’s a rather formidable group of bands playing Stoner Hands of Doom XIII, and I won’t lie, part of the reason I wanted to do this “10 Days of SHoD XIII” series was because of the drama that surrounds this year’s fest. Early last month, founder and promoter Rob Levey bowed out of Stoner Hands of Doom XIII, saying simply that his heart wasn’t in it anymore. Understandable. Levey‘s work at the head of SHoD has gone unnoticed and underappreciated for more than a decade; some measure of burnout is not only expected but damn near mandatory. It was the timing of it, with bands and venue booked, tours in place and all systems go about a month before the event itself, that created such a stir. If Levey had said in May he didn’t want to do it anymore, I don’t think anyone would have been able to argue he should keep going in what for years has been a passion-driven endeavor.
Neither is this the first time Stoner Hands of Doom has called it quits. Between 2010 and 2012, it looked like the festival — which over the years has taken place in Ohio, Arizona, Germany, Oregon, Maryland, and so on — was done for. Last year’s fest in New London, Connecticut, was killer but poorly attended. Richmond, Virginia, where SHoD XIII will take place at Strange Matter from Nov. 7-10, is home to a slew of creative heavy acts, from Valkyrie to Lord and many more on the bill, and I assume it was Levey‘s hope that by delving into the local scene, the festival would be able to capitalize on a grassroots, word-of-mouth kind of promotion from the bands. Whether or not that happened, I don’t know. I don’t have numbers on ticket sales, but the fact of the matter is I think SHoD, both with its history and its impending lineup for this coming weekend, is a cause worth supporting in any way I can. Obviously Brendan Burns of The Eye of the StonedGoat,who stepped in to take Levey‘s place as the promoter, felt similarly. However things turn out, his efforts are to be commended.
I won’t be traveling to Virginia this weekend, contrary to my initial plans, and we close out the series tomorrow with an interview with Beelzefuzz guitarist/vocalist Dana Ortt, but I just wanted to get one more plug in for what I feel is a perfect example of some of the best in doom’s motivations. If this is or isn’t the final installment of Stoner Hands of Doom, it will have lived and died as a festival put on out of love for music and the community of people making it. Long live SHoD.
Posted in Features on November 4th, 2013 by H.P. Taskmaster
Richmond natives Gritter have been banging around abrasive sludge metal since they started out as Rube with the Angry at the Missus EP in 2009 (review here). That record worked within some engaging-if-familiar sludge methods, but it was clear Gritter had outgrown even a year later when they switched monikers and put out the Vince Burke-recorded Sour Mash and Spanish MossLP (review here). Likewise, it seems their 2013 six-song EP, Welcome to the Sinkhole, put to tape by Kevin Willoughby, is another jump in approach, if not in the band’s actual name, taking cues less from underground sludge and more in the modern Southern metal of Lamb of God on songs like “Black Teeth” and “Welcome to the Sinkhole” itself. If it seems like a fine line, there are times where it is, but because most of Welcome to the Sinkholekeeps an upbeat push to its chugging riffs and because vocalist Ryan Kent has dialed back some of his Phil Anselmo-isms, Gritter emerge from their latest outing sounding their most individualized yet. Also metal. Very, very metal.
I have yet to post something about this band — Kent on vocals, Adam Kravitz on guitar, Justin Wolz on bass and Kevin White on drums — and not have someone they’ve rubbed the wrong way chime in about it (you can check the comments on past reviews for proof if you’d like), but I think there’s something to be said for an act who elicit a strong response one way or another, and it’s hard not to have an opinion listening to Welcome to the Sinkhole. Superficially, the elements at work are familiar, but to dig below the surface of a song like “Sayonara” is to reveal something not only ably structured in terms of its verse and chorus progression, but a thick, professionally-presented groove. Kent‘s balance of screams and cleaner singing adds drive to the arrangements throughout, whether it’s propelling the adrenaline of “Bowie” or adding just a touch of melody to the early verses in “Sayonara,” and the music behind him is no less thoughtfully constructed. I’m not sure where the animosity comes from, but there are a whole lot of bands out there working from a similar base of influence as Gritter on Welcome to the Sinkholewho don’t put as much of themselves into their songs as these guys seem to do.
The penultimate instrumental “Sea of Trees” makes a well-placed change of pace after four pummelers in a row, and a linear build not only showcases the foursome’s ability to work in more than verse/chorus songwriting, but provides a lead-in to the resurgent aggression of closer “Drunk Tank,” also the longest song on Welcome to the Sinkhole at 5:51, the extra time dedicated to a stretch of this-is-the-mosh-part riffing and a final slowdown that only makes the chugging more vicious and which Kent can’t seem to help himself from topping with like-minded screams and venomous spitting. Can’t say I blame him. Gritter‘s sound is less burly than some, but lacks nothing for chestbeating, and with the crisp production and clear intent toward Southern metal brutality, they’re just about asking for every scream they get. After three years since their last release, they’re almost frighteningly mature on Welcome to the Sinkhole, and whatever attention they’re able to glean from it is attention earned more or less by a punch in the face. Something tells me these guys are alright with pissing people off.
Gritter play Stoner Hands of Doom XIII on Thursday, Nov. 7, at Strange Matter in Richmond, Virginia, sharing the bill that night with Clamfight, Druglord, Compel, Pillbuster and more. Welcome to the Sinkholewas released in July in a variety of vinyl editions — black and red swirl, white with black swirl, lavender with black swirl — as well as on CD and download, all of which (except for some of the vinyl, which is sold out) are available from the band via Bandcamp, from whence I also nabbed the player with the album below:
Posted in Features on November 1st, 2013 by H.P. Taskmaster
After making their Relapse debut earlier this year with the Reflection of the Negative split with fellow Richmond, Virginia, natives Cough, ultra-doomed five-piece Windhand unleashed Soma (review here), their sophomore full-length behind a 2012 self-titled (streamed here). At 75 minutes long, it’s a formidable undertaking before you even get to the dark sensibilities the band proffers throughout in songs like “Woodbine,” the sprawling “Cassock” or half-hour-long closer “Boleskine,” varying in intensity and tension while toying with a grueling pace throughout, expanding beyond the relatively straightforward riff-led approach of the first album and into atmospherics that make Somaall the more individualized.
Windhand toured heavily for the first LP, which was released on ForcefieldRecords,and seem already to be keeping the ethic intact in support of Soma. Already they spent September into early October going coast-to-coast on a full US tour. Tonight, Nov. 1, they begin a run of dates in Europe alongside Pilgrim that will go for more than three weeks, and upon their return to the States, they’ll pick up five days later and do the West Coast and Canada along with Kvelertak and High on Fire. Both runs are a continuation of the momentum Windhand has established through consistent road-time, and the new album seems certain to receive its due as well. Here are the tour dates:
01/11 BE Ghent Charlatan
02/11 NL Venlo Mudfest
03/11 FR Paris t.b.a.
04/11 UK Birmingham Asylum
05/11 UK Manchester Star & Garter
06/11 UK London Our Black Heart
08/11 ES Barcelona Rocksound
09/11 ES Madrid Rock & Pop
10/11 ES Bilbao Sentinel Rock Bar
11/11 FR Bordeaux Heretic Club
12/11 FR Paris Le Club
14/11 NL Tilburg Little Devil
15/11 DK Aalborg 1000 Fryd
16/11 SE Gothenburg Truckstop Alaska
17/11 DK Copenhagen KB18
18/11 DE Hamburg Rote Flora
19/11 DE Berlin Cassiopeia
20/11 DE Leipzig Zoro
21/11 AT Wien Vrena
22/11 DE Günzburg Donaustüble
23/11 DE Köln MTC
24/11 NL Amsterdam Occii
with High on Fire and Kvelertak
11/29 Lawrence, KS Granada Theatre
11/30 Minneapolis, MN First Avenue
12/02 Winnipeg, MB West End Cultural Center
12/04 Edmonton, AB Starlite Room
12/05 Calgary, AB Republik
12/07 Vancouver, BC Venue Vancouver
12/08 Seattle, WA El Corazon
12/09 Portland, OR Hawthorne Theater
12/11 San Francisco, CA Regency Center Grand Ballroom
12/12 Los Angeles, CA El Rey Theatre
As they’ve already been confirmed for Roadburn 2014 and the next installment of Heavy Days in Doomtown, you can expect much more to come on Windhand. The band is comprised of vocalist Dorthia Cottrell, guitarist/recording engineer Garrett Morris, guitarist Asechaiah Bogdan, bassist Parker Chandler (also of Cough) and drummer Ryan Wolfe. Cottrell recently took some time out to talk about the making of Soma and how their road ethic came into play in terms of putting the album together, plus the European dates — it’s their first time out of the country — prospects for 2014 and much more.
You can turn on the “noise reduction” if you want when you’re listening to Richmond trio Druglord‘s new Enter Venus tape, but be warned that if you do, there might not be anything left. The cave-echo sludge three-piece will play Stoner Hands of Doom XIII at Strange Matter in their hometown on Thursday, Nov. 7, with fellow Richmonders Gritter, as well as Compel, Clamfight and others, and they bring a presence to the festival like few others. Released in limited edition by STB Records, Enter Venusfollows behind 2011′s Motherfucker Rising(review here) and their 2010 self-titled debut demo (review here), and if I call it their most solidified outing yet, please take that in the appropriate context of viciously misanthropic and lurchingly cavernous sludge. The three-piece band of guitarist/vocalist Tommy Hamilton, bassist Greta Brinkman and drummer Hufknell may be cohesive across the four songs recorded by Windhand‘s Garrett Morris at The Darkroom in Richmond, but their pummel continues molten and unhinged.
Starting with a snare fill from Hufknell, the title-track — third of the four cuts included on Enter Venus and the first on side 2 — is Southern sludge as filtered through a nightmare, but a guitar solo emerges on an almost hopeful note from the morass of distortion and plod. Like everything else in the song’s path, it’s ultimately consumed, but it’s flashes like this that mark out the development in Druglord‘s approach, and the complementing nod is the most hypnotic they’ve concocted to date. Hamilton‘s vocals echo from the depths of the mix, consistent in their approach but not entirely amelodic, and he seems to be setting himself up for more sonic adventurousness their next time out. In his and Brinkman‘s tone, there’s bound to be some similarity to Windhand‘s Soma, the two releases having both been helmed by Morris, but Druglord maintain a more misanthropic resonance from their earlier works, though the lyrics of the songs and the image of Aleister Crowley screenprinted onto the hand-numbered bag in which the cassette arrives do give some impression of vague cultish leanings.
Even so, the crash and drown of opener “Grievous Heaving” — a more than fairly apt description of the song itself — mark out this material as Druglord‘s most encompassing. A sample launches the opener, but the first verse of “Grievous Heaving” is quick to arrive and fittingly malevolent, slow, punishing, and “Feast on the Eye,” which follows as the second half of side 1, is perhaps more atmospheric, but ultimately similarly minded in its dreary course. If one encounters it or any of this material through a player with substantive low end, then a warning is in order. One hardly thinks of tapes as busting woofers or sounding big, but whether it’s Brinkman‘s low end or Hufknell‘s kick, Enter Venusmakes a considerable sonic presence for itself and is all the more threatening at loud volumes, the organ that shows up layered into “Feast on the Eye” giving creepy classicism to what’s already a cinematic-feeling horror show.
As I understand it, the Enter Venustapes are almost gone if they’re not gone already, but even of Druglord don’t have any on hand for SHoD, there will be a vinyl version of Enter Venuscoming early in 2014. Think of the cassette as an early warning alert system ahead of that, and hopefully a harbinger of where Druglord‘s continued progression might be leading them for their next outing.
Druglord, “Feast on the Eye” from Enter Venus (2013)
Posted in Features on October 24th, 2013 by H.P. Taskmaster
For the next 10 days I’m going to take a look at just a sampling of the killer acts playing this year’s Stoner Hands of Doom festival in Virginia from Nov. 7-10 at Strange Matter, and I couldn’t think of a better place to start than with the unhinged Southern sludge aggression of Lord. A band whose history is filled with underappreciation, makeups, breakups, lineup changes and whatever else you can think of, Lord has nonetheless served over the years as a proving ground for those who’s also make a stamp in Fredericksburg and Richmond bands from Ol’ Scratch and Ancient Astronaught to Akris and The Might Could. What’s been consistent for them over all this time is the intensity of their sludge, which they most recently demonstrated on the 2011 full-length, Chief(review here), which was alternately violent and brooding, a torrent of chaos that mirrors the band itself.
Of course, that being the case, there’s a kind of permanent X-factor around the band. Since the days of their 2006 long-play debut, Built Lord Tough, you’ve never known quite what you’re going to get with Lord, who’s going to be there and what kind of madness is going to be unleashed. They played Stoner Hands of Doom two years ago at Krug’s Place in Maryland (review here) along with Cough, Earthling, Fire Faithful and others, and what seemed to be becoming an annual gig at the festival was cut short in 2012 when vocalist Steven “Kerch” Kerchner announced they had called it quits:
Lord will unfortunately not be playing SHOD this year. Lord has officially disbanded. We had a blast rocking while we did and appreciate the love and support everyone has given us over the years!! Everyone is still jamming in other projects – definitely check them out: Bourne of Ash, Lacy, House Size Giant, Akris, Palkoski. There are still a limited number copies of Chief available from the members of Lord and it can still be downloaded from iTunes and so on. Love you guys – Kerch
As someone who’s been a fan of the band since the long, long ago, in the beforetimes, naturally it was a bummer to hear they were done, but though the members were busy in the projects listed by Kerch above — Akris have a new record out now (stream it here), and Palkoski never seem too far removed from another challenging slab of noise — apparently the split didn’t take, and they’ve once again joined the SHoD and are set to bring their melee to Richmond this year. Not only that, but the band’s lineup of Kerchner, guitarist Willy Rivera, bassist Helena Goldberg and drummer Stephen Sullivan are also reportedly at work writing a new full-length, which they’ll record sometime after the appearance at Stoner Hands of DoomXIII.
How that will come together remains to be seen, but if Lord are working on something at all, you won’t hear me complain. They play SHoD on Sunday, Nov. 10, and share the bill with Devil to Pay, Black Thai, Wizard Eye and others. Check out “Zoh K Zo Kay” from Chiefbelow and find more details at the that follow:
Posted in Radio on October 17th, 2013 by H.P. Taskmaster
They may or may not have pared down to a trio since, but it appears that for the bulk of their short tenure, Richmond, Virginia’s Sinister Haze were fronted by Brandon Malone, also of Fire Faithful. He’s not listed as being in the band now — the current lineup given is guitarist/vocalist Brandon Marcey (Cough), bassist Sam Marsh (Dry Spell) and drummer Joe Dillon (Balaclava) — but Malone‘s low, Southern metal soul delivery definitely has left a mark on Sinister Haze‘s aptly-titled 2013 Demo, whether it’s the bluesy Church of Misery-style swagger of “Changin’ Ways” or the loose Electric Wizard affiliation shown through the nine-minute “Black Shapeless Demon.” Marcey‘s own vocals are mostly screams that come forward more on the shorter “Betrayed by Time,” which closes out the three-song affair, but there are times especially on the first two tracks when it’s pretty clear there are two voices working in tandem, and presumably that’s a result of Malone and Marcey both contributing, not just different layers on the Griffin IV-recorded CD and tape, which is set for release through Unholy Anarchy Records in time for the band’s headlining gig at the first night of this year’s Autumn Screams Doom at The Ottobar in Baltimore, Oct. 25.
If it seems strange that a band just putting out their first demo of whom there seems to be no record going back any further than the start of 2013 would be playing last for the night at a fest that also features Negative Reaction, Weed is Weed, Iron Man, Wizard Eye and Serpent Throne — all of whom have been around considerably longer and are not without pedigree of their own in varying degrees — one might chalk it up to the immediately recognizable and acknowledged Saint Vitus influence in Marcey‘s guitar, delivered in kind with Dillon‘s bombastic crash. Or hell, maybe they know someone. Point is it’s a fucking quality demo, full of Southern grit without the post-Down dudely posturing, and raw and fucked-up sounding without making a lo-fi caricature of garage doom. “Black Shapeless Demon” is probably my pick of the three cuts here, but “Betrayed by Time” has a creeper catchiness to it that begs for repeat listens and even “Changin’ Ways” makes a hook out of its chorus, as oddly dismantled as it might seem. If nothing else, they make it apparent that their interest in fucking around is slim to none.
And with the prospect of what could be a different configuration that’ll either position Marcey as the frontman or bring someone else into the band to replace Malone, there’s even more intrigue for Sinister Haze as they move past their Demo, but most importantly for their first time out, these songs are heavy as hell and show Sinister Haze as being more than able to take the reins on a drunken sludge lurch. Always a welcome find, and bonus if it leads to further distorted misanthropy down the road.
You can hear Sinister Haze‘s Demonow streaming as part of the 24/seven The Obelisk Radio playlist, or check it out on the Bandcamp player below:
Posted in Whathaveyou on October 3rd, 2013 by H.P. Taskmaster
Word has come down this morning that the venerable Stoner Hands of Doom fest has been canceled for 2013. Set for Nov. 7-10 at Strange Matter in Richmond, Virginia, the lineup was to feature bands from across the country, concentrating on Northern and Southern acts from along the East Coast like Gozu, Weed is Weed, Valkyrie and Black Thai, but also bringing in groups from the Midwest such as Devil to Pay, Grel, Lo-Pan and many others. A note was reportedly sent to the bands from fest organizers Rob and Cheryl Levey that read as follows:
We regret to inform you that after careful consideration Cheryl and I have decided we cannot go through with SHoD Festival this year or in the future. We appreciate all that have helped and support our efforts and regret and problems this will create but we are done with our festival thank you for all you do and hope to see you in the future.
Peace, Rob and Cheryl
As of this post, SHoD has yet to make an official announcement of the reason behind the cancellation and what could bring them — after the work of booking and finding slots for 40 bands and with just over a month to go before the first night — to call it quits on the long-running and underappreciated festival. With tours booked surrounding and the dates reportedly in place, steps are being taken to save the fest. When I get updates, I’ll give them.
Obviously the cancellation of Stoner Hands of Doom would be a massive bummer, even when you take away the tours set up with it as their centerpiece. One can only hope that, should the Leveys really be done — and again, there’s been no official word from SHoD as of now — someone can possibly step in and at least get through 2013, if not continue the fest in the future.
More to come, I’m sure.
Brendan Burns of The Eye of the Stoned Goat has sent the announcement around that he’s hoping to take over the fest under his banner. This message went out a bit ago:
To all bands playing SHoD this year-
I am working on trying to take over this event as a ‘Eye of the Stoned Goat’ event. I would really love your support and if we can get Robert Levey to give us his blessing I would still like to see the event go as planned….
Brendan Burns of The Eye of the Stoned Goat has stepped in, spoken with SHoD‘s Rob Levey and Strange Matter in Richmond, and the fest will take place, at least for this year. He says:
Just talked to Mark at strange matter we are still good to go! Spoke to Rob, I have his full support… SHoD XIII will go on as planned
Their tenure was not long at all. Videos of Wino jamming in an instrumental two-guitar four-piece called Premonition began to surface around 2010. Early in 2011, a debut 7″ from Premonition 13 was released (review here) and that was followed soon enough by their first full-length, 13(review here), on Volcom. They toured that fall with The Gates of Slumber and by the time they got around to releasing a song on a three-way split with Earthless and Radio Moscow (streamed here) last year, they weren’t a band anymore. Quick. A year together, maybe a little more, and then gone.
It’s still something of a mystery what happened on their last European tour in 2011 that led to them finishing that run as a trio, but that was the end of it. Guitarist/vocalist Jim Karow, who shared those duties with Wino, was out and I guess at that point, with Saint Vitus‘ reunion running concurrent, there was no reason to find someone else to fill that slot, since the Wino/Karow collaboration was the core of the group. They had some cool songs though, and it was interesting to hear another guitar alongside Wino‘s after his standing alone for so long in The Obsessed, Spirit Caravan and The Hidden Hand. The only other times I can think of when he was joined by another guitarist (in a non-guesting situation) was on the Heavy Kingdomalbum with Conny Ochs and on the similarly brief Shrinebuilder run, which paired Wino with his soon-to-be unplugged tourmate Scott Kelly of Neurosis. Both pretty recent examples.
But Premonition 13 was more a “Wino band” than either the supergroup Shrinebuilder or the acoustic Ochs collaboration, with his tone, songwriting and vocals as a major factor in the draw, so though it was brief, Premonition 13 remains something unique within Wino‘s canon. And with The Gates of Slumber having announced their breakup this week as well, that tour was on my mind, so it seemed even more appropriate to find this live Premonition 13 full set from Richmond, Virginia, from that stint.
Filmed Nov. 7, 2011, by TubeVisionDotCom, here’s Premonition 13‘s gig at Strange Matter in its entirety. Enjoy and have a great Wino Wednesday:
Posted in Reviews on September 10th, 2013 by H.P. Taskmaster
I imagine that somewhere on the outskirts of Richmond, Virginia, a lone technician sits in a room with an impossible array of gauges, measuring tectonic pressure, general atmospheric conditions, etc., only to have the emergency lights kick on an unspeakable siren of chaos every time Windhand plugs in to rehearse. Call it “tone overload.” Our poor technician — who went to college for this, mind you, and is a skilled professional — gradually loses his or her mind, quits the job, and spends all remaining days wandering RVA, trying to find the source of that maddening rumble. Thus another existence destroyed by the ascendant dual-guitar five-piece, who made their debut on Relapse Records earlier this year with the Reflection of the Negativesplit with Richmond countrymen Cough, whose bass player, Parker Chandler, they also share. Windhand‘s full-length Relapse debut — their second album overall following a 2011 self-titled on Forcefield Records (streamed here) and a not-inconsiderable amount of touring — has been dubbed Soma, the drink of the gods. It’s a title Windhand share the most recent My Sleeping Karma LP, though the two bands have really nothing in common, as Windhand push forth low-end mud at a horrifying, lung-filling rate from Chandler‘s bass and the steady riff and lead interplay of guitarists Asechiah Bogdan and Garrett Morris, march to a wash of crash and stomp from drummer Ryan Wolfe (The Might Could, ex-Facedowninshit) and top with the ethereal vocals of Dorthia Cottrell, giving Somaa bleak, otherworldly sensibility to go along with its unbridled heft. If it’s the drink of the gods, the beverage is opaque. Clocking in at a full 75 minutes with six tracks and closing with the monster “Boleskine” that comprises just over half an hour on its own, Windhand‘s sophomore outing is dense even beyond the levels shows on the self-titled and fuller-sounding, bigger and more crushing. Early cuts “Orchard” and “Woodbine” establish the nod that the fivesome will carry through the next hour-plus, the opener in particular — also the shortest cut at 6:38 — harkening to some of the Electric Wizard influence that showed up last time out in the guitar work, but giving clear indication that Windhand‘s road time has helped them figure out who they are and who they want to be as a band.
To say Somacrushes doesn’t really do it full justice. It is impeccably mixed to maximize murk — a dense fog begins with “Orchard” and is consistent throughout. Cottrell‘s vocals and Wolfe‘s drums reside deep within the overbearing thrust of guitar and bass, lending the songs an even larger sound, and especially considering it was self-recorded and self-mixed (Morris also helmed the self-titled), the atmospheric bludgeon that Somacarries portrays Windhand as all the more cohesive in its styilstic take. They know what they’re doing, in other words. The riffs of “Orchard” proffer malevolent swirl and Cottrell sings through the churning progression, but there’s a structure to the song as well, a verse and a chorus trading off, as hard as they might be to discern initially, and the ringing feedback that caps the opener crashes directly into the similarly drugged-out “Woodbine.” Both the drums and the vocals seem more forward here, as though they’ve stepped up to meet the more insistent riff, and though by most standards it’s hardly a thrasher, in comparison to “Orchard” and the penultimate “Cassock” still to come, “Woodbine” moves at as quick a pace as Windhand show on Soma. Of course, the guitars and bass are so thick that even as it moves forward quickly, it still sounds slow. A memorable melody line through the vocals and guitars make “Woodbine” something of a landmark in terms of the album overall, but with a record that makes so plain its intent to swallow the listener whole and keep them for the duration, any landmark is only going to be so helpful. The idea is you lose yourself in it and are more subject to the overall impression than any particular standout, and that makes the album an even more satisfying front-to-back listen, though a “hook” for lack of a better word is certainly appreciated as well. Following a big slowdown as “Woodbine” hits the seven-minute mark and collapses to its finish, one gets no such mercies from the subsequent “Feral Bones,” which lets up some on the tempo and finds the vocals receding to deep under the tonequake, ghostly in echo but still definitely a presence. Peppered by regular crashes, “Feral Bones” is Windhand sounding the most their own as they have yet on the album. It doesn’t have the immediate familiarity of “Orchard,” but that’s also what makes it exciting. A striding lead takes hold near the halfway point, but the riff is maintained and soon returns to its prominent place, a last verse and chorus returning to round out the eight-minute track with more deceptive structuring.
Posted in Whathaveyou on August 22nd, 2013 by H.P. Taskmaster
As they make ready to enter the studio to record the follow-up to their 2012 Misery Wizardfull-length debut, Rhode Island doom upstarts Pilgrim have announced that they’ll join Windhand on a Fall 2013 European run. The two bands are no strangers, having done US dates together last year, and of course, Pilgrim played at Roadburn in 2013 as well, so this will be their second time on the continent this year. Still, good news all around for the band and for anyone who might find themselves in their destructive path.
Sayeth the PR wire:
PILGRIM coming back to Europe in November to support WINDHAND for a full tour!
Ready to enter studio next month!
Rhode Island Doom disciples PILGRIM have made an astonishing impact with the release of their debut album Misery Wizard and their European shows including a slot at this years Roadburn festival.
PILGRIM will return to Europe in November for a full tour with Windhand. Comments vocalist/guitarist The Wizard: “THIS IS GOING TO BE A TOUR WORTHY OF SONG AND LEGEND. Not only is it our first lengthy European venture, but we get to share it with our incredibly talented friends WINDHAND (whose music we worship). This is honestly a dream come true for us. We are will be featuring a new bass player for the excursion, whose identity shall remain a mystery for the moment. Unfortunately, we had planned to be supporting the release of our new record this tour, but due to various complications with our studio we were not able to meet our deadline. However, we just confirmed today that the recording of our second record will begin next month at Moonlight Mile Studios! And with that, so begins the next chapter of our pilgrimage. We have worked UNFATHOMABLY hard to make this tour come together. Blood, sweat, and tears. DO NOT MISS THIS TOUR!”
+ PILGRIM 01/11/13 BE – Ghent – Charlatan 02/11/13 NL – Venlo – Mudfest 03/11/13 FR – Paris – t.b.a. 04/11/13 UK – Birmingham – Asylum 05/11/13 UK – Manchester – Star & Garter 06/11/13 UK – London – Our Black Heart 08/11/13 ES – Barcelona – Rocksound 09/11/13 ES – Madrid – Rock & Pop 10/11/13 ES – Bilbao – Sentinel Rock Bar 11/11/13 FR – Clermont Ferrand – t.b.a. 12/11/13 FR – Strasbourg – t.b.a. 14/11/13 NL – Groningen – t.b.a. 15/11/13 DK – Aalborg – 1000 Fryd 16/11/13 SE – Gothenburg – Truckstop Alaska 17/11/13 DK – Copenhagen – KB18 18/11/13 DE – Hamburg – Rote Flora 19/11/13 DE – Berlin – Cassiopeia 20/11/13 DE – Leipzig – Zoro 21/11/13 AT – Wien – Vrena 22/11/13 DE – Günzburg – Donaustüble 23/11/13 DE – Köln – MTC 24/11/13 NL – Amsterdam – Occii
Posted in Whathaveyou on July 18th, 2013 by H.P. Taskmaster
From reuniting formative psychedelic wanderers to supporting up and coming genre-crossers. Last week, Loop was revealed as the headliner for Roadburn 2014, and today it’s been announced that Relapse Records upstarts Inter Arma and Windhand will both take part. Both bands make their home in the fertile dirt of Richmond, Virginia, so I’m left wondering if maybe a Euro tour with the two acts is in the offing?
Time will tell on that. Until then, and in related news, it was also announced today that Windhand‘s full-length Relapse debut, Soma, will be released Sept. 17. More on that here, and you can find the album trailer below:
INTER ARMA And WINDHAND Confirmed For Roadburn Festival 2014
Following last week’s announcement of Loop as the main headliner for Roadburn 2014, the festival is excited to report that Relapse Records artists WINDHAND and INTER ARMA have also been confirmed for next years event, set for April10 ? 13, 2014 at the 013 venue in Tilburg, the Netherlands.
Walter Hoeijmakers from Roadburn: “Windhand’s S/T was definitely THEE psych/doom album of 2012, while anticipation of the band’s upcoming album on Relapse is reaching a crescendo that will continue to build throughout the year and culminate in their main stage set on Saturday, April 12 at Roadburn 2014. Inter Arma’s “Sky Burial” is a serious contender for this year’s Roadburn Festival-related album of the year. Both Windhand and Inter Arma seem poised to rank among the regal line of iconic Relapse bands, and Roadburn is proud to welcome both bands on Saturday, April 12 at the 013 venue in Tilburg, The Netherlands.”
Richmond, Virginia’s WINDHAND cut their teeth worshipping at Iommi’s school of a thousand riffs, fusing classic churning doom as smooth as melted chocolate with Electric Wizard-ish bong-cloud obscured psychedelia. Sparking your natural highness, the band locks into a mesmerizing sprawl of epic, doomic heaviness, a trancelike reverence that inspires lethargic, hypnotic head banging and is embellished with enough hazy psych to be a tripped-out soundtrack for some obscure war on drugs propaganda film. Meanwhile, vocalist Dorthia Cottrell’s hellish howl beckons from the distance, swathed in distortion, transcending any earthly ideas of gender, and positioning the band firmly at the top of the pile of the current crop of female fronted metal outfits.
Windhand will release “Soma”, their 2nd album on Relapse Records on September 13 in the Benelux, GAS and Finland and on September 16 in the UK and Europe. The album was recorded & mixed by the band’s own Garrett Morris at The Darkroom & mastered by James Plotkin, in their hometown of Richmond, VA.
Also emerging (like Windhand) from the seemingly ever-fertile metal breeding grounds of Richmond, Virginia, INTER ARMA sports a sound that’s difficult to pin down, as it continually changes and surprises with each passing album track. “Sky Burial” starts with a strong dose of the industrial infused black metal of “Volcano”-era Satyricon, then takes a decidedly Pink Floydian left turn for the next two tracks (the first is acoustic and the second of which culminates in an unexpectedly raucous blast of Cascadian black metal). They then introduce truly hellish sounding occult doom followed by caustic, repetitive noise rock in the vein of Unsane. They continue with epic, abrasive, majestic doom with vintage Gibby Haynes-style menacing vocals into another foreboding acoustic track and cap the album off with the title track, a noisy, doomy, mathy, blackened rock and roll experience that is rippling with evil and menace. Their live set will be a constantly evolving, emotionally devastating experience that is sure to leave us all uncomfortably numb.
Posted in Whathaveyou on May 20th, 2013 by H.P. Taskmaster
Richmond doom cultists Windhand made their debut on Relapse Records earlier this year in the form of the Reflection of the Negative split with fellow Virginians Cough, with whom they now share bassist Parker Chandler. Their 2011 self-titled debut came out on Forcefield Records (was streamed here) and they’ve now announced that the follow-up sophomore outing, also their solo debut on Relapse, is finished and will be out this fall.
They previously announced a round of dates for June that I suspect is the first of many to come, and all that info, plus the tour poster, can be found right below this very line. No, seriously, it’s there. Just scroll down. Hell, you probably don’t even need to. Just look. I promise it’s there:
WINDHAND: Complete New Album
Map Out Summer Tour
In 2012, backwoods psychedelic doom band Windhand released their self-titled LP & it was met with critical acclaim.The band is putting the finishing touches on their second LP for Relapse, due out this fall, which was recorded & mixed by the band’s own Garrett Morris at The Darkroom & mastered by James Plotkin, in their hometown of Richmond, VA. The band will trek across North America this summer ushering their audiences into their menacing grooves & showcasing songs from their upcoming album.
About Windhand Formed in 2009, Richmond, VA’s Windhand (Asechiah Bogdan – Guitar, Parker Chandler – Bass, Dorthia Cottrell – Vocals, Garrett Morris – Guitar, and Ryan Wolfe – Drums) play what has been described as a tinnitus inducing mix of eerie psychedelia and haunting ambient doom. 2012 saw the release of their critically acclaimed, self-titled debut LP via Forcefield Records. A subsequent heavy dose of East Coast touring followed, culminating with a four week U.S. tour in August of that year.
Tour 06/05 – Baltimore, MD – Ottobar 06/06 – Philadelphia, PA – Golden Tea House 06/07 – Brooklyn, NY – St. Vitus Bar 06/08 – Providence, RI – AS220 ! 06/09 – Boston, MA – O’Brien’s 06/10 – Cherry Valley, NY – Steve’s Koi Pond 06/11 – Buffalo, NY – Vault Art Space 06/12 – Pittsburgh, PA – Gooski’s 06/13 – Columbus, OH – Ace of Cups 06/14 – Chicago, IL – Ultra Lounge 06/15 – St. Paul, MN – The Turf Club 06/16 – Milwaukee, WI – Quarter’s Rock n Roll 06/17 – Indianapolis, IN – The Sinking Ship # 06/18 – Newport, KY – South Gate Revival House 06/19 -Nashville, TN – The End % 06/20 – Knoxville, TN – The Pilot Light % 06/21 – Raleigh, NC – Slim’s $ 06/22 – Richmond, VA – Strange Matter $
! = w/ Elder and Morne # = w/ Skeletonwitch % = w/ Generation of Vipers $ = w/ Inter Arma
Windhand & Cough, Reflection of the Negative Split (2013)
Posted in Whathaveyou on March 14th, 2013 by H.P. Taskmaster
These are busy times for Richmond, VA, cult doomers Windhand. They’ve got a split coming out April 15 with like-minded sludgers Cough (more on that here), they’ve just signed toRelapse Records, and even as they put out this announcement of a run of shows to take place this June, the five-piece have issued an update concerning the recording process for their sophomore full-length, reportedly due out this fall. Oh, and they’ll be touring for that too.
Given the timing on the album, the June shows will likely make for a good opportunity to check out some new material before it comes out, and not that you really needed an excuse to check out Windhand live, but I guess it never hurts to have one handy.
We are in the process of recording a new album to be released this fall which will be followed up with a full US tour this fall. Details concerning this tour will be handled at a LATER date. Thanks.
Windhand June 2013 Tour June 5th-Baltimore @ Ottobar Upstair’s 6th-Philadelphia @ Golden Tea House 7th-Brooklyn @ St. Vitus Bar 8th-Providence @ AS220 9th-Boston @ O’Briens’s 10th-Private Coy Pond Jazz Sesh (day off) 11th-Buffalo @ The Funeral Home 12th-Pittsburgh @ Gooski’s 13th-Columbus @ Ace of Cups 14th-Chicago @ Ultra Lounge 15th-Minneapolis @ The Turf Club 16th-Milwaukee @ Riverwest Public House 17th-Indianapolis @ The Melody Inn 18th-Cincinnati @ South Gate Revival House 19th-Nashville TBA 20th-Knoxville @ The Pilot Light 21st-Raleigh @ Slim’s 22nd-Richmond @ Strange Matter
Posted in audiObelisk on March 6th, 2013 by H.P. Taskmaster
There are few ideals that strike me as being as American as blending metal genres. Here Europe works so hard in defining and distinguishing characteristics, creating and reinforcing traditions, and then those ideas make it across the Atlantic and Americans go, “What if we put these things together?” and Europe, like the mustachioed police chief in a buddy cop comedy, gets all flustered and is like, “You can’t do that!” but the scrappy Americans — let’s say, played by a young, mulletted, less-creepy Mel Gibson — are already out the door and on tour with their blackened crust doom grind or some such improbable brew.
Put Richmond, Virginia-based five-piece Inter Arma in the Mel Gibson role and you might have a beginning point for understanding the kind of gleeful line-crossing that takes place on their Relapse Records label debut (second album overall), Sky Burial, a dynamic 67-minute melting pot that seems to want nothing so much as to turn preconceived stylistic notions on their head. This ethic isn’t dissimilar to that which typified Inter Arma‘s 2010 Forcefield Records full-length debut, Sundown(review here), just more cohesively the band’s own and more realized in terms of the overarching ambience. The 67 minutes, played out over eight tracks — four of which top 10 minutes long — are a resonant journey to undertake, and the echoes they leave ring even more massive than the guitar tones of Steven Russell and Trey Dalton.
The band — completed by drummer T.J. Childers (also The Might Could), bassist Joe Kerkes and vocalist Mike Paparo — would be hard-pressed to summarize the full breadth of Sky Burial in just one track, but the gradually unfolding intro to later cut “Westward” and the thudding, reverb laden post-metal oppression that ensues over the song’s 9:48 are as good a place to start as any. Elsewhere one might find black metal squibblies and blasts or doomed marching, but “Westward” accounts for a point on the record where Inter Arma seem most in their own element, Paparo‘s screams buried under a rising tide of vicious, insistently-rhythmic, somehow-psychedelic heft.
When the payoff hits, the effect is surprisingly cosmic, so check out “Westward” on the player here, and enjoy the commentary from Dalton and Paparo that follows. Inter Arma hit the road this weekend with Mutilation Rites, and those tour dates can also be found on the poster below:
Here is the Music Player. You need to installl flash player to show this cool thing!
Guitarist Trey Dalton on “Westward”
This is actually the last song we wrote before heading down to Nashville. If I remember correctly we finished the framework maybe a week before we left, if that. It all sort of came together while we were recording, though. With that being said, I’m the kind of dude who likes to write out a guitar solo well ahead of time. You know, craft it according to the needs of the song, but I wasn’t able to for this one. We had to rear back and shoot from the hip which put me out of my comfort zone. I’m pretty happy with how that part turned out, though. Surprised even. And because we wrote it so shortly before leaving Mike had no chance to do anything lyrically until we were there. TJ had this idea during the noisy bridge part that Mike should almost preach in a stream of consciousness kind of way. I love how that part came together. Given the songs relative infancy I think it turned out better than I initially thought it would.
Vocalist Mike Paparo on “Westward”
On our first U.S. tour in July of 2010 (with our brothers in blood Bastard Sapling) we were flying through the Mojave desert, 7 deep, in our dank van. The sun had gone down and it was still a solid 110+ degrees outside. All of the windows were down and it felt like a giant hair dryer was blowing in. The heat was getting to all of us. We passed through some particularly odd, desolate area blasting UFOmammut’s “Snailking” and the clouds started to come alive. Strange flashes of light started illuminating the night sky. Being that the Mojave is littered with military installations my mind started to wander. Was it heat lightning? Was it some sort of weapons testing? It was probably the former, but hey one can imagine. Too me, it was an almost psychedelic experience. When I first heard the opening of the song, it made me think back to this experience. I concocted a story around it. The imagery projected in the lyrics is a direct reference to this memory. As for the rest of the lyrical inspiration (i.e. most of the female narration)…well, that’s just going to have to remain a secret!
Inter Arma & Mutilation Rites on Tour
3/9 Cincy By The Slice – Cincinnati, OH 3/10 Cobra Lounge – Chicago, IL 3/11 Fubar – St Louis, MO 3/13-3/16 SXSW – Austin, TX 3/18 War Room – El Paso, TX 3/19 Chasers – Phoenix, AZ 3/20 Moustache Bar – Tijuana, Mexico 3/21 Slidebar – Fullerton, CA 3/22 Mayas – Corona, CA 3/23 Rock City – Camarillo, CA 3/24 DNA Lounge – San Francisco, CA 3/25 Colony – Sacramento, CA 3/26 Highline – Seattle, WA 3/27 The Shakedown – Bellingham, WA 3/28 Rotture – Portland, OR 3/29 The Shredder – Boise, ID 3/30 Burt’s Tiki Lounge – Salt Lake City, UT 3/31 Aqualungs – Denver, CO 4/01 Vaudeville Mews – Des Moines, IA 4/02 Medusa – Minneapolis, MN 4/03 High Noon – Madison, WI 4/04 Franks Power Plant – Milwaukee, WI
Posted in Whathaveyou on January 10th, 2013 by H.P. Taskmaster
Unparalleled in its support for underground heavy, the Stoner Hands of Doom fest has begun to unveil the lineup and other info for the 2013 edition, SHoD XIII. The traveling fest, which in 2012 took place at the El n Gee in New London, CT, heads south this year, to Richmond, Virginia, where it will take over Strange Matter on Nov. 7-10.
I’ve never been to Richmond that I can recall, and this seems like a pretty good occasion to go. Fest organizer Rob Levey has begun the preliminary announcements of things like the above dates and locale and a basic list of bands that should give some idea of where SHoD is headed musically. Dig it:
We are almost there we have secured a place for SHoD XIII it will be held Veterans Day weekend Nov 7th – 10th the location is a mid atlantic city in the south but not the deep south. There will be some limitations this year on time so won’t be able to have as many bands as usual.
Wow I tell you our supporters are awesome anyway the club we are doing this year’s SHoD is called Strange Matter in Richmond Virginia here are the list so far either definite or very close.
Admiral Browning Beelzefuzz Fire Faithful Pike Possum Wizard Eye Backwoods Payback Demonaut Stone Magnum Wasted Theory Planetoid Deadweight Second Grave
Be around 20 more when we are done talk to you soon.