DVNE Sign to RidingEasy Records; New Album Due Later This Year

Posted in Whathaveyou on June 19th, 2019 by JJ Koczan

RidingEasy Records would likely have been on hand last August when Edinburgh’s DVNE made their debut US appearance on the main stage at Psycho Las Vegas (review here), and having seen that performance, it leaves little to wonder why the label might have snagged them for the release of the follow-up to 2017’s widely-lauded Asheran. I seem to recall hearing at some point that Psycho was managing the band as well, so the West Coast connection there and the fact that they’re playing the festival again this year kind of brings it all together. They’ll hit the studio sometime in the next couple months to record an album, and whether it makes it out before the end of 2019 or not, I have little doubt its arrival will be hotly anticipated.

They’re something of a standout in terms of style for RidingEasy as well, which I imagine will only help them as they go forward with the backing from the label. US tour next year? Doesn’t seem like an unreasonable ask following the album’s release.

The PR wire makes the signing official:

dvne

DVNE sign to RidingEasy Records, play Psycho Las Vegas

Edinburgh, Scotland band to release new album in 2019

Edinburgh, Scotland quintet DVNE have signed to L.A. purveyors of heavy, RidingEasy Records for worldwide release of future recordings.

The band also returns to the US this summer to perform at the hugely popular Psycho Las Vegas festival on August 17th.

DVNE (pronounced dune) is a 5 piece progressive rock/metal band from Edinburgh Scotland. Founded in 2013, the band was then called Dune in reference to Frank Herbert sci-fi masterpiece of the same name.

The band consists of Victor Vicart (guitar, vocals, keys), Dudley Tait (drums), Daniel Barter (guitar, vocals), Jack Kavanagh (bass) and Richard Matheson (keys).

To date, the band has released one studio album and two EPs. They emerged within the UK scene with their first EP Progenitor (2013), shortly followed by a second EP, Aurora Majesty (2014). At their releases, both EPs received very favourable receptions. Dvne quickly began to make a name for themselves in the UK and around Europe, with various tours over these territories and support shows of households names such as Eyehategod, Crowbar, Dragged Into Sunlight to name a few. The band’s sound at the time was already crossing over various music style including post-metal, progressive rock and sludge metal, but it is with their first full-length album Asheran that the band established further their unique blend of heavy music.

Released in August 2017, on double-disc vinyl, CD and digital, Asheran was overwhelmingly praised by the press. Since Asheran’s release, Dvne has toured all over the UK, Europe and North America and appeared at prestigious festivals such as Psycho Las Vegas, Desertfest London and Inferno Festival Norway to name a few.

Not content to repeat their previous releases and always looking to push their sound forward DVNE are about to enter Chamber Studio in Edinburgh this summer to record their 2nd full-length concept album, planned for release on RidingEasy in late 2019.

DVNE LIVE:
08/17 Las Vegas, NV @ Psycho Las Vegas

https://www.facebook.com/DvneUK
https://www.instagram.com/dvne_uk/
https://songs-of-arrakis.bandcamp.com/
ridingeasyrecs.com

DVNE, Asheran (2017)

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Here Lies Man to Release No Ground to Walk Upon Aug. 16

Posted in Whathaveyou on June 17th, 2019 by JJ Koczan

Here Lies Man are officially — I’m sure there was a ceremony somewhere, someplace — a better band than people know. The thing about that? People know they’re pretty good. But go ahead and dig into “Clad in Silver,” which is the lead track from their new mini-LP No Ground to Walk Upon, and tell me that’s not some of the coolest shit going. I mean, I know they’re not the only ones out there taking cues from Afrobeat, but after two full-lengths and a couple other odds and ends, some touring, etc., they’ve got it down. Listen to that fuzz. Those keys. That percussion. That drone head-trip freakout. It’s all right there. It’s so specific a sonic niche, and so much their own, that I have to wonder if part of why they’re underrated isn’t because of the complexity involved, but either way, you’ve got four minutes — if you’re reading this, face it, you do — so yeah, just listen to the track. It’s down there at the bottom.

No Ground to Walk Upon is out Aug. 16 through RidingEasy Records.

The PR wire makes it true:

here lies man no ground to walk upon

Here Lies Man announce new mini-album No Ground to Walk Upon, share first single

Los Angeles quartet Here Lies Man share the lead single from their forthcoming 7-song mini-album No Ground To Walk Upon today. Hear and share “Clad in Silver” via YouTube and Bandcamp.

Here Lies Man took the music world by storm in 2017 with their self-titled debut positing the intriguing hypothesis: What if Black Sabbath played Afrobeat?

Since that time, Here Lies Man has expanded and expounded upon their sound and ideas of heavy riff rock and psych within the ancient rhythmic formula of the clave. The L.A. based band comprised of Antibalas members have toured relentlessly over the past 2 years, while also releasing a second album, You Will Know Nothing and an EP, Animal Noises, both in 2018.

No Ground to Walk Upon is due worldwide in August 2019. It continues with an ongoing concept of HLM playing the soundtrack to an imaginary movie, with each song being a scene. The lead single “Clad in Silver” is the soundtrack snippet of a journey to the imaginary place called home, which can never be arrived at. With every step, the character imagines getting closer, but it is a hallucination that fades in and out of perception.

“We’re very conscious of how the rhythms service the riffs,” explains founder and vocalist/guitarist/multi-instrumentalist Marcos Garcia (who also plays guitar in Antibalas) of the band’s sound. “Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.”

No Ground To Walk Upon also includes an interesting conceptual mathematics to the entire proceedings, a theme begun on the prior album. “There are interludes between each song that are 2/3 to 3/4 of the tempo of the previous song,” Garcia says. “The reason it breaks down to 2 over 3 or 3 over 4 is that everything in the music rhythmically corresponds to a set of mathematical algorithms known as the clave. The clave is an ancient organizing rhythmic principle developed in Africa.”

Garcia and cofounder/drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) recorded the mini-album much like they did their previous releases, at their own L.A. studio on a Tascam 388 8-track tape machine. Additional layers were recorded with former Antibalas keyboardist Victor Axelrod and other contributors in various other locations, all while the band continued its rigorous touring schedule.

Here Lies Man has already spent much of the past three years on tour, with dates supporting Antibalas, Earthless and Fu Manchu, as well as headlining treks through the EU & UK. The remaining months of 2019 and 2020 will see the band once again performing at numerous International festivals (including Austin’s Levitation Fest in November.)

No Ground to Walk Upon will be available on LP, CD and download on August 16th, 2019 via RidingEasy Records.

Tracklisting:
01. Clad in Silver
02. Swinging From Trees
03. Long Legs (Look Away)
04. Washing Bones
05. Get Ahold of Yourself
06. Iron Rattles
07. Man Falls Down

HERE LIES MAN LIVE 2019:
11/09 Austin, TX @ Levitation Fest 2019

hereliesman.com
facebook.com/hereliesman
hereliesman.bandcamp.com
ridingeasyrecs.com

Here Lies Man, “Clad in Silver”

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Acid King Announce Busse Woods 20th Anniversary Tour and Reissue

Posted in Whathaveyou on May 21st, 2019 by JJ Koczan

acid king

Fuck yes. Acid King. Playing Busse Woods. 20th anniversary. Reissue on RidingEasy Records. Fuzz. “Electric Machine.” The whole bit. What the hell is going to be better than that? Whatever else you had planned, can it. Get yourself to where you really need to be and nod yourself into oblivion. Seriously. This is going to be fucking incredible. Desert island record.

The reissue is out Aug. 30 with modified art and a new master, which is fine because it’s probably going to make it louder and that’ll be just great thank you kindly.

Is the show in your calendar yet? It should be. I just added it. Might have to trek down to Philly for two in a row… Hmm…

Looky looky:

Acid King busse woods tour poster

Acid King announce Busse Woods reissue on RidingEasy Records and 20th anniversary tour

San Francisco stoner-rock trio touring with support from Wizard Rifle and Warish

San Francisco trio Acid King announce the 20th Anniversary reissue of their 1999 sophomore album Busse Woods to be released on RidingEasy Records. The reissue is in conjunction with an extensive North American tour commemorating the landmark album. Please see dates below.

The tour features support from Wizard Rifle and RidingEasy label mates Warish.

Originally released via Frank Kozik’s groundbreaking Man’s Ruin Records in 1999, Busse Woods will be remastered, with updated artwork for release via RidingEasy Records.

Busse Woods will be available on LP, CD and download on August 30th, 2019 via RidingEasy Records.

ACID KING ‘BUSSE WOODS’ 20TH ANNIVERSARY TOUR 2019:
09/20 Portland, OR @ Star Theater – Hesh Fest *
09/21 Seattle, WA @ Highline *
09/23 Denver, CO @ Marquis Theater *
09/24 Omaha, NE @ Slowdown *
09/25 Chicago, IL @ Reggies *
09/26 Indianapolis, IN @ Black Circle *
09/27 Cleveland, OH @ Grog Shop *
09/28 Buffalo, NY @ Mohawk Place *
09/29 Boston, MA @ Sonia *
09/30 New York, NY @ Knitting Factory *
10/01 Philadelphia, PA @ Johnny Brenda’s *
10/02 Richmond, VA @ Richmond Music Hall *
10/03 Raleigh, NC @ Kings *
10/04 Asheville, NC @ Mothlight *
10/05 Atlanta, GA @ The 529 *
10/06 New Orleans, LA @ One Eye Jack’s *
10/07 Dallas, TX @ Gas Monkey *
10/09 Albuquerque, NM @ Sister *
10/10 Mesa, AZ @ Club Red *
10/11 Los Angeles, CA @ Satellite *
10/12 San Francisco, CA @ Chapel *

* w/ Wizard Rifle, Warish

Acid King is:
Lori S. – Guitar & Vocals
Rafa Martinez – Bass
Bil Bowman – Drums

www.facebook.com/AcidkingSF
https://www.instagram.com/acidkingrocks/
www.acidking.com
ridingeasyrecs.com
http://www.nanotear.com/
https://www.facebook.com/Nanotear/

Acid King, Busse Woods 20th anniversary tour video

Acid King, Busse Woods 2004 reissue

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Review & Video Premiere: The Well, Death and Consolation

Posted in Bootleg Theater, Reviews on April 26th, 2019 by JJ Koczan

the well death and consolation

The Well, “This is How the World Ends” official video premiere

[Click play above to stream the premiere of The Well’s video for “This is How the World Ends.” Their new album, Death and Consolation, is out today on RidingEasy Records and streaming in full below.]

Austin trio The Well have always worked with largely familiar elements — riffs, dual vocals, heavy rolling groove, garage-doom burnout and so on — but their third album, Death and Consolation, further demonstrates how they take what’s expected and twist it to suit darker purposes. It’s not just the title of the RidingEasy Records release that seems to be coping and consoling, and as the Austin, Texas, band — who spent a decent portion of the second half of 2018 touring Europe — nod through the nine-track/42-minute offering, their sound retains the raw grit they’ve had since before their debut album, Samsara (review here), came out in 2014. Death and Consolation is very much of a mind with Samsara and Pagan Science (review here), which followed it in 2016, thanks in no small part to guitarist/vocalist Ian Graham, bassist/vocalist Lisa Alley and drummer Jason Sullivan returning to work with producer/engineer Chico Jones, who has been involved in all three of their full-lengths — Jason Morales helmed their 2012 debut single, Seven (review here) — and whose relationship with the band would seem to be deep enough at this point to give them space both to revel in the bleary-eyed riffs and echoes of songs like “Act II” and the unrepentantly uptempo Dio-era Sabbathian bounce of centerpiece “Eyes of a God” just before it.

As with opener “Sabbah,” which seems to take its cues from Kyuss/Vista Chino (thinking “Thumb” or “Dargona Dragona”) in terms of its riffy foundation, “Eyes of a God” acknowledges its influence and sees The Well internalize it to the point of making it theirs. It’s a cliché narrative to say a band’s third album is their moment of arrival, having set out ideas on the first record and corrected initial mistakes on the second — and honestly, in the case of The Well, their work has never needed much in terms of correction. Still, across its span, Death and Consolation shows the steady growth they’ve undertaken and the broader reach they’ve made their own as a result, right from the keyboard chorus in the apex of “Sabbah” to the tolling-for-thee bells that help cap the noisefest ending of closer “Endless Night.”

All along the way, The Well ask few indulgences and deliver a quality of craft indicative of the time they’ve spent hammering out their approach onstage. Their material is efficient while sounding languid, as early cuts like “Raven,” which makes its greater impression in full-push while still varying tempo en route to its Alley/Graham vocal congregation around an effective secondary hook, and the subsequent “Death Song” make plain. The latter rounds out an opening salvo on a record that, while obviously splitting into two sides for the vinyl release, nonetheless seems to work in sets of three. Its riff is more patiently delivered than anything in “Raven” was intended to be, and it builds on the buzz of “Sabbah” at the outset with an intermittent wash of crash from Sullivan that bolsters the Pentagram-style rhythm in the lyrics and righteously adds to the tension in the last verse.

the well

“Cup of Peace,” which follows, feels like the beginning of another movement, and as much as a lumbering intro sets the stage for a guitar dropout during the first part of its verse, Graham‘s voice encased in echo and baring cultish fangs amid the surrounding fuzz. Alley joins in later with a harmony line as the track shifts toward its crescendo solo, a highlight of Death and Consolation as a whole for its blend of technique and raw noise. Obscure, manipulated samples begin “Eyes of a God,” with the central riff kicking in at about the 40-second mark. That introduction makes what’s already the shortest cut at 3:41 seem even shorter, but doesn’t at all detract from its engaging spirit. Instead, it benefits from the sense of contrast, and its sampling helps set up the pulsations of “Act II,” which starts side B while also drawing the middle third of the album to its close — starting the second act in one interpretation of the tracklisting while ending it in another — with a resonant hook and a march that holds sway until the arrival of organ signals the start of the freakout in the second half; solo, thick boogie, crash, noise, threat, stop. The last line, “Forever you will be mine,” echoes out with a due feeling of conclusion.

Likewise, the quiet and slow drums that offer a bed to the bluesy vocals at the beginning of “Freedom Above” seem to be a reset or at least a return to ground. They leave it soon enough, with ambient noise behind Alley and Graham‘s vocals, the rumble of the former keeping one foot on earth even as the sensation of floating becomes ever more prevalent. There’s a subtle build at work, but even as heavy as it gets, it seems to hold back, much to its credit. It might be the best vocal performance The Well have ever had on a record, with Graham giving way to Alley at the end and the latter self-harmonizing to finish, serving as a transition into the penultimate “This is How the World Ends,” with jarring samples of chimpanzees and less-jarring speech leading directly into the verse, drenched in post-Electric Wizard sneer but, again, thoroughly its own. I won’t say it looks good for the world, but The Well at least give planet Earth a characteristic sendoff, the prevailing vibe of “we earned this apocalypse” coming through with due prejudice in its judgment.

The recognizable voice of Rod Serling caps, and “Endless Night” commences with an assault of low distortion from which the winding riff emerges. Together, the three members of The Well seem to be walking into the summation that “This is How the World Ends” laid forth. Sullivan provides the path and Graham and Alley‘s vocal melodies bring order to the chaos of their guitar and bass tones. The aforementioned ringing bells arrive early in the second half and are accompanied soon enough by the noiseiest of the guitar solos on Death and Consolation, which feels well earned and is the last piece to fade out at the end, drawing emphasis on The Well‘s ability to creep even as they entrance the listener. It would be a cliché to say they’ve arrived — they arrived half a decade ago — but Death and Consolation finds them completely in control of their sound when they want to be, and still able to harness an underlying chaos enough to be genuinely dangerous. The growth of arrangement and vocal interaction between Alley and Graham is easy evidence of their progression, but that’s only one of the many ways The Well have carved out their own place in the pantheon of heavy. Their identity is all over these songs like melted candle wax.

The Well, Death and Consolation (2019)

The Well on Thee Facebooks

The Well on Instagram

The Well on Bandcamp

The Well website

RidingEasy Records website

RidingEasy Records on Instagram

RidingEasy Records on Bandcamp

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Electric Citizen Announce European & UK Touring; Playing Desertfest, Esbjerg Fuzztival, Muskelrock and More

Posted in Whathaveyou on March 21st, 2019 by JJ Koczan

electric citizen

Ohio heavy rockers Electric Citizen have been on the Desertfest bills for a while now, London, Berlin and New York, and it was known as well they’d be in Denmark for the Esbjerg Fuzztival, so it’s not really much of a surprise they’re stringing those appearances together with a tour, but, you know, it’s nice to have the wheres and whens on that actually happening. They’ll head abroad in time for a May 1 show in Bristol, UK, after hitting Psycho Smokeout in L.A. and the aforementioned Desertfest in NYC, and then continue to make their way onto mainland Europe after Desertfest London and go for the next month, finishing out in Copenhagen on June 1. There are some days off, as will happen, but it’s still a pretty significant tour, and course the band go supporting their third album, last year’s Helltown (review here), which came out as ever through RidingEasy Records.

The PR wire brought the awesome poster and dates accordingly:

electric citizen tour

Electric Citizen announce EU & UK tour dates, plus Psycho Smokeout 4/20 in L.A. and DesertFest NYC 4/27

Also includes DesertFest London, DesertFest Berlin

Electric Citizen announce UK & EU festival and headlining tour dates for Spring 2019 in support of their recently released third album Helltown (RidingEasy Records.) They kick off the overseas trek with performances at the inaugural Psycho Smokeout Festival in Los Angeles on April 20th and DesertFest in Brooklyn, NY on April 27th. Please see all dates below.

ELECTRIC CITIZEN TOUR 2019:
04/20 Los Angeles, CA @ Psycho Smokeout Festival
04/27 New York, NY @ DesertFest NYC
05/01 Bristol, UK @ The Lanes
05/02 Newcastle, UK @ Trillans
05/03 London, UK @ DesertFest London
05/04 Liege, BE @ La Zone
05/05 Berlin, DE @ DesertFest Berlin
05/08 Malmo, SE @ Plan B
05/09 Stockholm, SE @ Undergangen
05/10 Esbjerg, DK @ Esbjerg Fuzzfestival
05/11 Gothenburg, SE @ Truckstop Alaska
05/13 Oldenburg, DE @ MTS LP Store
05/16 Olten, CH @ Coq’D’Or
05/17 Munster, DE @ Rare Guitar
05/18 Cottbus, DE @ Zum Faulen August
05/22 Koln, DE @ MTC Club
05/23 Karlsruhe, DE @ Alte Hackerei
05/24 Innsbruck, AT @ PMK
05/25 Bolzano, IT @ Pippo Stage
05/26 Monastier di Treviso, IT @ Krach
05/27 Munich, DE @ Backstage
05/28 Vienna, AT @ Arena
05/29 Linz, AT @ Kapu
05/31 Alvesta, SE @ Muskelrock Festival
06/01 Copenhagen, DK @ Lygtens Kro

www.electriccitizenband.com
www.facebook.com/electriccitizen
www.twitter.com/electriccitizen
www.instagram.com/electriccitizenband
ridingeasyrecs.com

Electric Citizen, “Hide it in the Night” official video

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BlackWater HolyLight Recording Second Album; European Tour Starts April 26

Posted in Whathaveyou on March 13th, 2019 by JJ Koczan

That’s a big yes to new BlackWater HolyLight. The Portland, Oregonian outfit issued their self-titled debut (review here) last year through RidingEasy Records, and it’s the kind of record where all you have to do is see the song titles to get the tracks stuck in your head. What might a second album hold? I honestly have no idea, but I’m sure I’ll be glad to find out.

The band have announced touring in Europe that will include stops at Desertfest London and Berlin as well as Esbjerg Fuzztival and in rooms like Gothenburg’s famed Truckstop Alaska and others. Before they go, they’ll be at Psycho Smokeout on — you guessed it — April 20 in Los Angeles. One would assume that by the time they head abroad the album would be done, but yeah, that’s an assumption, so make of it what you will.

In any case, it’s slated to be out this October, so I’ll hope to have more on it as we get closer.

Dates from the PR wire:

blackwater holylight

Blackwater Holylight in the studio recording new album, announce US & EU tour dates

Portland, OR quintet BlackWater HolyLight are in the studio all this month recording the followup to their breakout self-titled debut album. The album is scheduled for release in October via RidingEasy Records.

BlackWater HolyLight also announce Spring 2019 tour dates starting with a hometown tour kickoff show in Portland, OR on April 16th and a performance at the highly anticipated inaugural Psycho Smokeout Festival in Los Angeles on 4/20. Please see all dates below.

BLACKWATER HOLYLIGHT LIVE:
04/16 Portland, OR @ Doug Fir Lounge w/ R.I.P.
04/20 Los Angeles, CA @ Psycho Smokeout Festival
04/26 Linz, AT @ Stadtwerkstatt
05/01 Bristol, UK @ The Lanes
05/02 Newcastle, UK @ Trillans
05/03 London, UK @ DesertFest
05/04 Liege, BE @ La Zone
05/05 Berlin, DE @ DesertFest
05/08 Malmo, SE @ Plan B
05/09 Stockholm, SE @ Undergangen
05/10 Gothenburg, SE W Truckstop Alaska
05/11 Esbjerg, DK @ Esbjerg Fuzzfestival
05/13 Oldenburg, DE @ MTS LP Store
05/14 Berlin, DE @ Zukunft
05/15 Vienna, AT @ Aerena Beisl
05/16 Olten, CH @ Coq’D’or
05/17 Innsbruck, AT @ PMK

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

BlackWater HolyLight, BlackWater HolyLight (2018)

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The Well to Release Death and Consolation April 26; Playing Monolith on the Mesa and More

Posted in Whathaveyou on February 7th, 2019 by JJ Koczan

the well

Busy Spring coming up for The Well. The Austin-based trio are slated to take part in Monolith on the Mesa alongside the likes of Om and Wovenhand. They’ll tour for a few dates with Monolord on a longer stint of their own that will take them into Canada. And because that’s clearly not enough, they’ll have a new album, Death and Consolation out on RidingEasy to follow-up on 2016’s Pagan Science (review here). If it’s a question of scale though, it’s probably worth noting that they went to Europe twice last year — in August and October — so at this point they’re used to a good amount of here and there. And speaking of, check out the routing that has them going from Winnipeg, Manitoba, to Taos, New Mexico, for the aforementioned Monolith on the Mesa. That’s a solid 21 hours by car. Or van, as it were.

They’ve got a few days to make that trip, but even so. Substantial.

By then, the April 26 release date for Death and Consolation will have come and gone, but we’re not there yet. The first-unveiled single, “Raven,” is streaming at the bottom of this post though, so have at it.

The PR wire brings details:

the well death and consolation

The Well – Death and Consolation

Austin trio The Well announce their forthcoming third album Death and Consolation today, sharing the first single.

Death and Consolation is without a doubt a weighty album title. And, The Well is among the heaviest heavy psych bands in existence. So when we say that there’s even more darkness and intensity to the band’s third album than previous efforts, take heed. It’s a deep sea diving bell of enveloping heaviness and longing.

“This one is a little more personal,” says guitarist/vocalist Ian Graham. “2018 was a strange, dark year. A lot of change going on in my life, there was a lot of depression and coming out of it over the last year. I wanted to call this Death and Consolation, because in life that’s a constant.”

While The Well continue to walk an intriguing line between authentic early 70s doom/heavy psych and frayed weirdness of dark folk – especially with their haunting unison male/female vocals – the new album also adds the stark vibe of post-punk acts like Joy Division and early The Cure. “I feel like this album is almost more gothic. We’re big fans of post-punk,” Graham says. There’s also much less jamming, the songs are tight and concise. And, did we mention, heavy? The band tuned down a full step to C-standard tuning for this album, which gives the proceedings its monstrous sound.

Sonically, Death and Consolation picks up where The Well — Graham, bassist/vocalist Lisa Alley and drummer Jason Sullivan — left off with their widely heralded 2016 RidingEasy album Pagan Science. The band once again recorded with longtime producer/engineer Chico Jones at Estuary Studio in 2018, who has turned the knobs for all three of their albums (Jones engineered the band’s debut album Samsara with producer Mark Deutrom [Melvins, Sunn0)))] in 2013.) Samsara, released late September 2014 was ranked the #1 debut album of 2014 by The Obelisk and Pagan Science among the Best of 2016 from the Doom Charts collective. Likewise, the band’s intense — some even say “possessed” — live performances have earned them featured slots at Austin’s Levitation Fest, as well as tours with Kadavar, All Them Witches, Black Tusk and more.

“This album might be a little less produced, because I didn’t want to push technical stuff as much,” Graham says. “I’m so scared of getting too complicated when getting better at guitar. This is still kind of punk rock.”

Death and Consolation will be available on LP, CD and download on April 26th, 2019 via RidingEasy Records. Pre-orders are available HERE.

THE WELL TOUR 2019:
03/01 – Austin, TX @ Hotel Vegas
04/12 – Lafayette, LA @ Freetown Boom Boom Room
04/13 – Cypress Creek, LA @ Fête du Void Festival
04/24 – Dallas, TX @ Club Dada*
04/25 – Austin, TX @ Barracuda*
05/01 – Omaha, NE @ Slowdown*
05/02 – Denver, CO @ Hi-Dive*
05/03 – Phoenix, AZ @ Yucca Tap Room
05/04 – Sacramento, CA @ Blue Lamp
05/09 – Portland, OR @ High Water Mark
05/10 – Seattle, WA @ Substation
05/12 – Calgary, AB @ Palomino
05/13 – Edmonton, AB @ Temple
05/14 – Winnipeg, MB @ The Windsor
05/18 – Taos, NM @ Monolith on the Mesa Fest
05/19 – El Paso, TX @ Monarch
* w/ Monolord

Artist: The Well
Album: Death and Consolation
Label: RidingEasy Records
Release date: April 26th, 2019
01. Sabbah
02. Raven
03. Death Song
04. Cup of Peace
05. Eyes of A God
06. Act II
07. Freedom Above
08. This Is How
09. Endless Night

http://www.facebook.com/thewellband
http://thewellaustin.bandcamp.com/
https://www.facebook.com/ridingeasyrecords/
http://www.ridingeasyrecs.com/
https://www.heavypsychsounds.com/

The Well, “Raven”

The Well, Pagan Science (2016)

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Firebreather Sign to RidingEasy Records; Touring UK with Conan

Posted in Whathaveyou on January 21st, 2019 by JJ Koczan

firebreather

This week, Swedish heavy thrashers Firebreather will take to the UK to tour on a run co-presented by The Obelisk — hey, that’s this site! — alongside the ever-crushing Conan. Fitting company for Firebreather, who released their self-titled debut (review here) in 2017 through Suicide Records, to keep, and as they go, they’ll be celebrating as well their newly-announced signing to RidingEasy for the follow-up to that first album. Of course, RidingEasy served as home to fellow Goteborgers Monolord as they made their breakthrough across three records, so one can’t help but wonder if that means a US incursion is imminent for Firebreather, who hit the road a year ago in Scandinavia alongside Monolord and toured Canada this past Fall with Zaum. Their ducks would seem to be finding a row, is what I’m saying, and if that’s indeed the direction they’re headed as the move toward and through the cycle of their second album, don’t be surprised if and when you start seeing their name more often.

The dates for the UK shows this week are below, along with the signing announcement from the PR wire. Congrats to the band:

conan firebreather tour

FIREBREATHER sign to RidingEasy Records, announce tour with Conan

Gothenburg, Sweden trio Firebreather have signed to L.A. purveyors of heavy, RidingEasy Records for worldwide release of future recordings. The band also launch a series of dates supporting Conan next week. Please see dates below.

There’s no escaping the fact that Sweden is an incomparable breeding ground for some of the heaviest and most crushing metal bands. One such band is Gothenburg trio Firebreather, who’ve released their self-titled debut album on Suicide Records, October 13th, 2017.

Relatively new to the fold having formed in the spring of 2016 from the ashes of underground doom heavyweights Galvano, Firebreather is a devastatingly weighty statement of intent. Tooth shattering riffs from guitarist/vocalist Mattias Nööjd and crunching rhythms via bassist Kyle Pitcher and drummer Axel Wittbeck, Firebreather are a jaw-breaking triptych of sludge and doom rock.

FIREBREATHER LIVE:
01/24 Hull, UK @ Gorilla
01/25 Brighton, UK @ Green Door
01/26 Nottingham, UK @ Stuck On a Name Studio – SOLD OUT
01/27 London, UK @ The Black Heart
01/28 Sheffield, UK @ Record Junkie

Line-up
Mattias Nööjd – Guitar & Vocals
Axel Wittbeck – Drums
Kyle Pitcher – Bass

https://www.facebook.com/firebreathergbg/
https://www.instagram.com/firebreathergbg/
https://firebreatherdoom.bandcamp.com/
ridingeasyrecs.com

Firebreather, Firebreather (2017)

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