The Obelisk Presents: Lo-Pan, Steak & Elephant Tree UK/European Tour Dates

Posted in The Obelisk Presents on May 22nd, 2019 by JJ Koczan

There are still a couple dates TBA, but it feels like a win nonetheless announcing the two weeks-plus that Lo-Pan will spend on the road in the UK and parts of Europe this Fall. It’s October, which coincides with their previously-announced festival appearance at Up in Smoke and will also see them at Keep it Low 2019 and the Setalight and Into the Void festivals. There’s another fest on that Oct. 19 date that’s still unannounced, and while I don’t know what’s planned for it — I’ll emphasize that while there’s an Obelisk logo on the poster, I have zero inside information — I wouldn’t be surprised to find the run stopping through there either.

Either way, Lo-Pan of course head abroad in support of their 2019 album, Subtle (review here), which is yet another powerhouse offering from the four-piece despite lineup changes since their last offering, and Elephant Tree, who’ll open the run, are set to release their second album hopefully in time to coincide with the tour (that’d be just dandy as far as I’m concerned, though if they wanted to send it to me earlier, I’d take that too, hint hint). I’m not sure if Steak have a record in the works — their last one came out in 2017, so it’s certainly possible — but as I’ve noted a couple times already since, they killed at Desertfest New York recently.

Here are the thus-far confirmed dates for the tour. Gonna be a good one, and I’m insanely proud to have this site involved in presenting it:

lo-pan steak elephant tree tour

30.09.19 TBA
01.10.19 Bristol | The Old England (UK)**

02.10.19 Swansea | The Bunkhouse (UK)**
04.10.19 Paris | Gibus (FR)
05.10.19 Pratteln | Up In Smoke Festival (CH)
06.10.19 Salzburg | Rockhouse (AT)
08.10.19 Linz | Stadtwerkstatt (AT)
09.10.19 Freiburg | Slow Club (DE)
10.10.19 Leipzig | Werk2 (DE)
11.10.19 Berlin | Setalight Festival (DE)
12.10.19 Munich | Keep it Low Festival (DE)
14.10.19 Wiesbaden | Schlachthof (DE)
15.10.19 Cologne | Helios 37 (DE)
16.10.19 Hamburg | Hafenklang (DE)
17.10.19 Bremen | Zollkantine (DE)
18.10.19 Leuwaarden | Into the Void Festival (NL)**
19.10.19 TBA | TBA
** Lo-Pan only

LO-PAN is:
Jeff Martin – vocals
Skot Thompson – bass
Jesse Bartz – drums
Chris Thompson – guitar

http://www.lopandemic.com
http://www.facebook.com/lopandemic
http://www.aqualamb.org
http://www.aqualamb.bandcamp.com
http://www.facebook.com/aqualambrecords
https://www.facebook.com/Soundofliberation/

Lo-Pan, “Ten Days” official video

Steak, No God to Save (2017)

Elephant Tree, Elephant Tree (2016)

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Roadsaw Announce June 7 Release for New Album Tinnitus the Night

Posted in Whathaveyou on May 20th, 2019 by JJ Koczan

roadsaw

I’m gonna try real hard not to take it personally that I’m leaving the Boston area and Roadsaw FINALLY decide to release a new album. And, actually, after eight years since their self-titled (review here) on Small Stone, they’re kind of doing it on the quick. June 7 is like three weeks from now. “Oh, by the way, we haven’t done a record in the better part of a decade, but so here’s one.” Whatever, I’ll take it as it comes.

To that end, they’re streaming “Shake” now and it’s a fitting reminder of why you’ve been missing Roadsaw all this time even as members have embarked on developing other projects like White DynomiteMurcielago or Kind — oh yeah, then there’s that whole thing about Riggs joining Sasquatch — all of which are most certainly welcome ways for them to spend their time. Still, there’s only one Roadsaw, and the reaffirmation is welcome.

Preorders are up now from Ripple, so have at it:

roadsaw tinnitus the night

ROADSAW: Boston’s Hard Rock Bruisers Are Back, Louder and Heavier Than Ever! | New Album Out Next Month, Share New Song ‘Shake’

Tinnitus the Night by Roadsaw is officially released on 7th June 2019

It’s been a long time coming but the wait is finally over. Boston legends Roadsaw return this June with their eighth full-length album, Tinnitus the Night, a record that’s sure to please their faithful followers, while pulling in plenty of new ones along the way.

With a sound as searing and sleazy today as it was eighteen years ago, the heart and soul of the classic Roadsaw line-up has remained intact with Ian Ross on guitar, Tim Catz on bass and Craig Riggs doubling up on vocal and drum duties. Once again the band holed up in familiar digs at Mad Oak Studios in Allston with Benny Grotto on production. Packed front to back with rippers, trippers, killers and thrillers, from opener ‘Along for The Ride’ through to the stoner opus ‘Peel’, and weighty epic of ‘Midazolam’, Roadsaw dig deep to deliver the goods.

With every tour and new record released, their fans and friends come back for more. On the road, they’ve shared stages big and small on both sides of the Atlantic with the likes of Orange Goblin, Fu Manchu, Queens of The Stone Age, Nebula, Karma To Burn, Black Label Society and many others. They’ve also been regular guests at CMJ and SXSW events and played every metal and stoner festival that would have them.

Tinnitus the Night by Roadsaw is officially released on 7th June 2019 via Ripple Music, www.ripple-music.com

TRACK LISTING:
1. Along For The Ride
2. Shake
3. Fat Rats
4. Final Phase
5. Peel
6. Knock Em All Down
7. Find What You Need
8. Under The Devil’s Thumb
9. Midazolam
10. Silence

Roadsaw:
Ian Ross – Guitar
Craig Riggs – Vocals
Tim Catz – Bass

https://www.facebook.com/ROADSAW-106440249390336/
https://www.facebook.com/theripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

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Bright Curse Stream New Album Time of the Healer in its Entirety; Out Tomorrow on Ripple Music

Posted in audiObelisk on May 9th, 2019 by JJ Koczan

bright curse

Bright Curse make their return with Time of the Healer tomorrow, May 10, through Ripple Music — almost three years to the day after their 2016 debut, Before the Shore (review here) was released. The time between has been eventful for the band to say the least. The label that put out the first outing, which was preceded by their 2013 self-titled EP (review here), was HeviSike Records, which unceremoniously folded thereafter amidst all kinds of shadiness accusations on the part of multiple parties. Also certainly relevant, Bright Curse are essentially a different band now than they were three years ago, with founding guitarist/vocalist Romain Daut revamping the lineup and moving from a trio to a four-piece now comprised of himself along with guitarist Tommy Foster, bassist Sammy Deveille and drummer Mark Buckwell. Unsurprisingly, there’s been an according shift in sound that’s evident throughout Time of the Healer as relates to Before the Shore, taking on a more weighted tonality — two guitars’ll do that — while exploring progressive textures of funk and jazz early on opener “Smoke of the Past” with start-stops and Peruvian flute.

Across that 11-minute leadoff and two other extended pieces in “Shadows” and the title-track paired as the closing duo with the shorter “Laura” (5:36) and “Une Virée” (3:03) between, Bright Curse find a method of delivery that is at once heavy and spacious without relying too much on effects or echo to make it happen. The mix is natural even as lead guitar emerges at the fore, and they’re able to shift tempo and volume naturally as “Smoke of the Past” progresses, leading to a closing funk jam that moves directly into the blues guitar intro to “Laura,” which works on a linear build toward a trumpet-topped rolling payoff — life is full of surprises; sometimes that surprise is a trumpet — and gives way to its own transitional stretch at the end, letting the French-language (Daut is a France-to-London-to-France transplant) spoken word and quiet guitar and percussion add a jazzy feel that builds off that of “Smoke of the Past” without echoing it directly. A hazy groove ensues until what might be abright curse time of the healer manipulated sample of dogs barking leads the way into “Shadows” and the accordingly bluesy pulse that thrives at its outset.

That transition, which is also presumably where side A ends and side B begins, is particularly interesting since it speaks to Time of the Healer working on more of a linear pattern, intended to be taken as an unbroken entirety. The extended runtimes of some of its tracks speak to a change in mindset as well — Bright Curse have written their share of longer songs, but never before hit the 10-minute mark — and if the intention is that Time of the Healer‘s tracks should be read as pieces of a whole work, movements within something larger, then that sensibility is duly accomplished in the finished product of the album itself. The flow of “Shadows” with its bluesy and grungy nod and brighter lead coming forward like that of “Smoke of the Past” before it doesn’t hurt either in that regard, as Daut‘s vocals lead a transition into more bottom-heavy nod at about seven minutes in. They finish “Shadows” with a slow march and an obscured sludgy clip that’s not really identifiable. When the closer ensues a few seconds later, it’s with a funky rhythm and a full sense of summary for what the album that shares its name has had on offer. There are two departure jams — one with trumpet (hello again) and one more spacious of quiet guitar ambience and percussion and between and after them, Bright Curse get as heavy as they’ve ever gotten, winding up at the finish for one last hit answered by string sounds also of unknown origin.

The message there could hardly be clearer in that Bright Curse, as they’ve done all along here, provide the next song’s intro, only there’s no next song to follow. Bright Curse are saying they’re not done, and frankly, I believe it. If having their label pulled out from under them and completely remaking the band didn’t kill them, I’m not sure anything other than a self-imposed “okay that’s it” can do so. All the better they never got to that point, though, as Time of the Healer shows the ongoing will toward creative growth in its arrangements and general reach that has been a defining factor in the band’s expressive searching, and one hopes that, with such turbulence behind them and this record as the result, they’re able to move forward from here and continue that sonic expansion into parts yet unknown. Time of the Healer does this boldly.

I’m thrilled today to host the premiere of the full album ahead of its proper release tomorrow on Ripple. Please find it below and enjoy:

Romain Daut on Time of the Healer:

It has been an adventure to record and release Time of The Healer. A lot has changed since our last album Before The Shore.

With the departure of Zach and Max, former drummer and bass player, and the whole mess with HeviSike, I wasn’t sure if I wanted to carry on, then I realised that not playing music was not working for me, so I started writing new material, not really knowing if it would get released or not…

Then Sammy offered to come back in the band (He is one of the first 3) and Mark from Chubby Thunderous Bad Kush Masters was up for it too. So we started working, and then recorded the whole thing. I had a daughter, moved back to France.

Everything Bright Curse related takes more time and money, but when you are motivated, it doesn’t matter…

Ripple offered to release the album and I am really happy to work with them now.

Bright Curse is:
Romain Daut: Guitar, Flute, Vocals 
Sammy Deveille: Bass, Double Bass 
Mark Buckwell: Drums, Percussions 
Tommy Foster: Additional guitarsDylan Jones: Trumpet on “Laura” and “Time of The Healer”
Produced By Romain Daut and JB Pilon 
Recorded and Mixed at Buffalo Studio (London UK) 
Mastered at Audiosiege Portland. 

Bright Curse on Thee Facebooks

Bright Curse website

Bright Curse on Bandcamp

Ripple Music on Thee Facebooks

Ripple Music on Bandcamp

Ripple Music website

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Mr. Bison Sign to Ripple Music; New LP & Split with Spacetrucker Coming Soon

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

Look, I’m a gentleman of a certain age, so I remember the first time I encountered the character who in the US version was called M. Bison in Street Fighter II. He whipped my ass. I got mine in the end, and so on through the TurboHyper and sundry other editions of the game, but the threat from M. Bison never dissipated. As such, even now when I see Mr. Bison — the name given to the character everywhere else — coming to the US to play Planet Desert Rock Weekend this month and announcing they’ve been signed to Ripple Music, there’s a decent sense of threat in my mind. Watch out for Mr. Bison because if you’re not ready they’ll whip your ass.

Maybe that’s true and maybe not. Their 2018 outing, Holy Oak (review here), had a more complex agenda, much to its credit, and a broader sonic reach suited the band. Apparently well enough to catch the ear of Ripple, which is saying something. Planet Desert Rock Weekend won’t be their first time in the States, but it feels celebratory nonetheless as they move forward toward their next LP and it’s revealed they’ll take part in Ripple‘s new Turn to Stone split series, following up on the wildly successful The Second Coming of Heavy 10-part excursion.

Good stuff all around. I like a feelgood story, so here’s one:

mr bison

Mr Bison Sign To Ripple Music, Record New Album and Prepare to Storm the Stage at Planet Desert Rock Weekend in Las Vegas

Preparing to deliver on the promise of their 2018 album Holy Oak, heavy psychedelic trio Mr Bison has signed with US purveyors of riff-heaviness, Ripple Music, to bring the band’s latest mesmerizing slab of acid jamming to the world.

MR. BISON, formed by Matteo Barsacchi (Guitar/Vocal), Matteo Sciocchetto (Guitar/Vocal), and Matteo D’Ignazi (Drum/Sound Effect/Vocal) established themselves as one of the most exciting combos in the heavy psych underground. After We’ll Be Brief and the critically acclaimed Asteroid , their singular assault on heavy, distorted blues couldn’t help but be noticed. A U.S.A tour soon followed then dozens of gigs in the Italian peninsula, opening for the likes of DANKO JONES, RED FANG, MONDO GENERATOR, KARMA TO BURN, MY SLEEPING KARMA, and many more. Following a sold out European tour, the trio raged back with the critically-hailed HOLY OAK.

Now it’s time for the next step. Signing to Ripple Music, the band keeps its unusual lineup, two guitars, drums and . . . no bass! In other hands this set up could be a disaster, but in the capable hands of these maestros, the two guitars together create a massive wall of sound where you won’t even notice the absence of bass. First coming out with a 12″ side of vinyl for the new Ripple Music Split LP Series, “Turn to Stone” where they share vinyl with US space rockers Spacetrucker, a new full-length will follow in 2020.

Imagine being in an overloaded black van on the roads of the Big South, playing nothing but early 70’s legendary acts like the almighty Capt Beyond, Orang-Utan mixed with one of the most powerful band of our days, Motorpsycho. And that’s Mr Bison. A refreshingly uplifting blast of gutsy, 70s-inspired stoner rock, played with passion and high energy that puts the power back into the classic power-trio formula.

About the new songs, Matteo D’Ignazi says, “The new songs are a concentration of stoner rock and psychedelic moments, dilated atmospheres that alternate with monolithic riffs. We are proud to be part of the Ripple family, one of the labels that has produced dozens of albums that we have always treasured! Being part of it now is a dream come true.”

Look for “Turn to Stone” the new split series to hit the streets early late 2019/early 2020. And be sure to catch Mr Bison live as they hit the stage at Planet Desert Rock Weekend in Las Vegas.

For more information on Planet Desert Rock Weekend: https://www.facebook.com/VRRProductions/

For Tickets:

https://www.eventbrite.com/e/planet-desert-rock-weekend-v2-weekender-pass-tickets-56264327117

www.facebook.com/mrbisonband
http://mrbison.bandcamp.com/
https://www.facebook.com/theripplemusic/
https://twitter.com/RippleMusic
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

Mr. Bison, Holy Oak (2018)

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Switchblade Jesus Premiere Butthole Surfers Cover “Who Was in My Room Last Night?”

Posted in audiObelisk on May 6th, 2019 by JJ Koczan

switchblade jesus (Photo by Troy Alan Garza)

If your eyes are on these words, then I’ll assume I don’t need to recount for you the legacy of pill-popping bizarro fuckall that surrounds Butthole Surfers. Though they flirted with commercial viability at one point in the ’90s — hey, didn’t we all — it was more like a rare aligning of planets than anything purposeful on the band’s part; like they and rock radio happened to be in the same dimension for five minutes. Their mission was more toward the avant noise of outsider punk and space rock, and they demonstrated to an entire generation of Lone Star denizens that it was okay to be strange, stranger and strangest. Switchblade Jesus, on the whole, aren’t so geared to weird, but they do justice to the drive of “Who Was in My Room Last Night?” which originally opened Butthole Surfers‘ 1993 major label debut, Independent Worm Saloon.

It’s an interesting and purposeful pick on the part of Switchblade Jesus, who grit up the original version of the song while keeping the central rhythm, playing up the forward push that added such a careening sense in the first place. The trio of guitarist/vocalist Eric Calvert, bassist Chris Black and drummer Jon Elizondo have shown, pretty much since Black came aboard — though I’ll allow that’s a narrative convenience; not like I was at Switchblade Jesus rehearsal to watch the shift take place — an affinity for noise rock that their prior self-titled debut (review here) didn’t have. When they featured on Ripple Music‘s The Second Coming of Heavy: Chapter 7 (review here) in 2017, it was there, and “Who Was in My Room Last Night?” seems to bring it all the more forward. Wow, almost like the band is progressing or something. Go figure.

In the enduring spirit of chaos, I’m happy to host the premiere of Switchblade Jesus‘ take on “Who Was in My Room Last Night?,” and if you’re wondering when the hell the Corpus Christi three-piece might get down to business and put out another record, they talk about it a little bit here.

Please enjoy:

Switchblade Jesus, “Who Was in My Room Last Night?” official track premiere

Switchblade Jesus on “Who Was in My Room Last Night”:

“Deciding to pull away from the norm as many of our music colleagues go the Sabbath/Zep covers we wanted to honor one of the best bands out of Texas and a song we all grew up with. This was recorded and mastered by us in our studio and honestly was a big learning experience in what goes into ‘gluing’ it all together, so we hope you guys dig this as much as we do.”

Switchblade Jesus on Thee Facebooks

Switchblade Jesus on Bandcamp

Switchblade Jesus on Instagram

Switchblade Jesus on Twitter

Ripple Music on Thee Facebooks

Ripple Music website

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Doomstress Premiere “Burning Lotus” from Sleep Among the Dead out May 10

Posted in audiObelisk, Reviews on May 1st, 2019 by JJ Koczan

doomstress (Photo by thepassionoftherice)

Texas four-piece Doomstress make their full-length debut with Sleep Among the Dead on May 10 through DHU Records (LP) and Ripple Music (CD), and if it feels like it’s been an extra-long wait for the album’s arrival, that’s probably a result of all the touring the band has done since getting together in 2016. To the best of my recollection they haven’t gone out for two months at a time or anything like that, but there’s been a steady chipping away at various Stateside regions that’s kept momentum well on their side as they’ve issued engaging-if-frustratingly-not-an-LP releases like 2017’s The Second Rite (discussed here) and 2016’s Supernatural Kvlt Sounds (discussed here) EPs, and along with slots at fests like Descendants of Crom and Maryland Doom FestSXSW and others, they’ve done a lot of the kind of preliminary work that would go into supporting a record before even having the record to support. Sleep Among the Dead, obviously, flips that scenario, and arrives not late but right on time with seven tracks and 41 minutes of right on Lone Star doom rock that shows the band’s foundations in acts like Well of Souls and Project Armageddon in its early riffing on “Bitter Plea” or “Burning Lotus” and uses that uptempo initial thrust to launch a more varied exploration of mood and impact. As their lineup has solidified with bassist/vocalist Doomstress Alexis, guitarists Brandon Johnson and Matt Taylor, and drummer Tomasz Scull (Sparrowmilk, ex-Venomin James), the band has clearly grown more confident in their approach, as can be heard in the tempo drawback of “Dreaming Spider,” which follows the opening one-two punch and begins to introduce the breadth of the album’s full scope.

So be it. Band has worked. Band has album. Great. When it comes to what distinguishes Doomstress from the multitudes who also might fit that generalized description, one doesn’t have to look far. The guitar work on “Bitter Plea” and even more on “Burning Lotus” might take a listen or two to sink in, but ultimately serves as the heart of Sleep Among the Dead, and in kind with Alexis‘ voice — itself more assured and melodic than it’s yet been on a recording and a vital instrument doomstress sleep among the deadput to welcome use here — the guitars drive the songs forward. That’s not to take away from Scull‘s drumming or Alexis‘ bass work, obviously, but there’s a willingness to engage with heavy metal in the melodic sensibility that is purely Texan throughout, and it’s introduced early, but manifests even in the later leads of centerpiece “Your God is Blind” and the righteously grandiose hook of “Bones and Rust,” even as the title line is delivered at the end in harmonized layers that should be taken by the band as a blueprint for future intent — I don’t usually say shit like that, but it works really well and is not an idea to be left alone. This amalgam of doom, heavy rock and metal isn’t necessarily revolutionary, but it’s more than enough to give Sleep Among the Dead an identity of its own and leave the lasting impression of being what the EPs and steady touring were building toward — the album itself something of a payoff, never mind the chugging apex in the 7:53 penultimate cut “Apathetic Existence,” with a Sabbath-via-C.O.C. swing brought to bear after a doomly opening worthy of reminder that Doomstress‘ home state once produced Solitude Aeturnus.

As “Bitter Plea” and “Burning Lotus” set Sleep Among the Dead forth with uptempo thrust and a fervent rocking vibe, “Apathetic Existence” and the subsequent closing title-track bring the record down, way down, to its darker finish. There’s still plenty of guitar theatrics, and the chug in both songs ties them together effectively, but Doomstress leave little question about their intent that the record should push further into the ground as it goes, perhaps living up to its title in its realization through the listening process. That atmosphere is a further example of the real takeaway from Sleep Among the Dead as a whole, which is that Doomstress are not screwing around. Their level of craft, in terms of construction of this material and its execution, is well beyond the “first record” expectation of a band getting their feet wet or figuring out their sound. Doomstress are past that, and they took the hard way around, honing their approach on tour. That’s admirable, but the record would still need to stand up on its own, and so it’s doubly fortunate that Sleep Among the Dead does precisely that, answering the anticipation of its landing with a collection that’s dramatic without pretense, showy without indulgence and that despite the simmering performances throughout, still puts the songs first. Will Doomstress go on to outclass it? Maybe. They’ll have their work cut out for them in that regard, but that hasn’t stopped them yet. What’s more important for the time being is that Doomstress set themselves up for a big moment of arrival with their full-length debut, and Sleep Among the Dead lives up to that and then some.

My pleasure today to host the premiere of “Burning Lotus.” Please dig in on the player below.

And enjoy:

Doomstress Alexis on “Burning Lotus”:

“This was a rad one to work out in the studio, Tomasz really crushed it with that drum pattern and how it builds into the verse when the vocals kick in! It’s just a ripper of a track and top it all off with killer solos by Matt and special guest solo by Kent Stump of Wo Fat.”

Order Link: https://ripplemusic.bandcamp.com/album/sleep-among-the-dead

Order Link: https://darkhedonisticunionrecords.bigcartel.com/product/doomstress-sleep-among-the-dead

Doomstress is:
Doomstress Alexis – Bass/Vocals
Brandon Johnson – Guitar
Matt Taylor – Guitar
Tomasz Scull – Drums

Doomstress website

Doomstress on Bandcamp

Doomstress webstore

Doomstress on Thee Facebooks

Doomstress on Instagram

DHU Records webstore

DHU Records on Thee Facebooks

Ripple Music on Thee Facebooks

Ripple Music on Bandcamp

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Wo Fat Announce Australia & New Zealand Touring

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

I’m holding out hope for a new Wo Fat record this year. Their last two, 2016’s Midnight Cometh (review here) and 2014’s The Conjuring (review here), were both Spring releases, out in June and May in their respective years, so that seems unlikely for 2019 unless there’s news coming, like, right now, about it. I just checked my email again, and nope. Maybe tomorrow. But Wo Fat have worked on an every-other-year schedule since 2012, and that alone was enough to make me speculate they’d have an album out last Fall in time for their European tour, which obviously didn’t happen.

As they head to Australia and New Zealand this June, I’m not necessarily thinking they’ll put one out in time for the trip because, again, we’d probably know about it by now if that were happening, but maybe later in the year? Maybe in the Fall? Maybe I just want to hear a new Wo Fat album so I’m trying to project a timeframe for it to be released? That seems possible to me. Indeed, likely.

Fine.

Their label, Ripple Music, posted the Aus/NZ dates as follows:

wo fat

Wo Fat announce Australian and New Zealand Tour!! This is gonna be killer!

Thursday 6/6
The Bendigo Hotel, Collingwood
W/ Jack Harlon & The Dead Crows
Tickets: http://rcl.ink/bO3

Friday 7/6
The Barwon Club Hotel, Geelong
W/ Turtle Skull & Peeling Sun
Tickets: http://rcl.ink/bO6

Saturday 8/6
WO FEST at The Gold Mines Hotel, Bendigo
W/ Pieces Of Molly (NZ), Turtle Skull, Motherslug, Pseudo Mind Hive, Burden Man, Thaw, Honeybone, Kitchen Witch, Full Tone Generator and @SubterraneanDisposition
Tickets: http://rcl.ink/bOu

Sunday 9/6
Crown and Anchorl, Adelaide
W/ Planet of the 8s & Howl n Bones
Tickets: http://rcl.ink/bOE

Tuesday 11/6
Whammy Bar, Auckland
W/ Bloodnut & The Deadbeat Dads
Tickets: http://rcl.ink/bO8

Wednesday 12/6
Valhalla, Wellington
W/ Dick Tracy & Hault
Tickets: http://rcl.ink/bOF

Thursday 13/6
Howlin’ Wolf Bar Wollongong
W/ Robot God
Tickets: http://rcl.ink/bON

Friday 14/6
The Vanguard, Sydney
W/ Comacozer & Numidia
Tickets: http://rcl.ink/zHg

Saturday 15/6
Crowbar Brisbane
W/ Stoker – band & Fumarole
Tickets: http://rcl.ink/zHy

https://www.facebook.com/wofatriffage/
https://twitter.com/HouseOfWoFat
https://www.instagram.com/wofatriffage/
https://wofat.bandcamp.com/
ripple-music.com

Wo Fat, Midnight Cometh (2016)

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Salem’s Bend Release Supercluster Next Month; New Song Streaming

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

salems bend

Take five minutes out of your busy day and get introduced to Salem’s Bend‘s new record, Supercluster, by streaming the track “Spaceduster” at the bottom of this post. It’s right on classic-style heavy rock, with natural tones and melodies and a vibe that stretches way outside the confines of its runtime. It is — as the kids once said — way cool, and its May 24 arrival will be preceded by a run of dates around the Los Angeles trio’s appearance earlier in May at Desertfest London 2019, for which they’ll join a lineup that itself is way outside the confines of the fuckwithable. Breaking free of confines all around it seems, and the hypnotic jammy feel of “Spaceduster” suits that intention well. It’s not long, and it doesn’t get lost in itself, but yeah, if you’ve got five minutes, do yourself a favor. These guys might just really be onto something here.

Dig it:

salems bend supercluster

SALEM’S BEND: LA-based Psych Trio to Release New Album, Supercluster | European Tour Kicks Off Next Month

Supercluster by Salem’s Bend is officially released on 24th May 2019 on Ripple Music

Ripple Music is thrilled to announce the release of Supercluster, the brand-new album from LA-based rock trio Salem’s Bend.

Cutting their teeth in various outfits over the years, after idly deciding to crawl into a garage one day, three unassuming dudes emerged into sunlight as a mighty hard rock triumvirate skilled in the execution of maximum Sabbath, Priest and Zeppelin worship…

…for on this day, Salem’s Bend was born.

Running an aural gamut of ’70s-sounding classic rock with the influence of melodic heavy-hitters from the contemporary realms of desert, doom metal, psych and stoner rock, the band coalesced in the summer of 2014 with the intention of turning heavy riffs into the catchiest of tunes. With seven songs eventually making the cut on what would become their self-titled debut, the trio earnestly self-released their efforts via Bandcamp, and in doing so caught the ear of Ripple Music. Garnering some early praise one reviewer commented on just how well the band managed to, “Forge their own searing, raucous guitars; intense, deep bass; and athletic, punctuated stickwork around some of the most intelligently interesting melodies to float through the stonersphere in quite some time.”

Salem’s Bend subsequently signed with Ripple, who gave their debut a worldwide release on vinyl, CD and digital in 2016. Since then, they have been taking their hard-hitting live performance on the road, touring every few months around the Western US and Canada and playing festivals such as SXSW, More Beers in Hell, Vantopia, and many more.

This May, thanks to the good folk and fellow Californians at Ripple, Supercluster – Salem’s Bend eagerly awaited follow-up to Salem’s Bend – will receive an official worldwide release on 24th May. In the meantime, you can stream and share new song ‘Spaceduster’ via Ripple Music and catch the band across Europe (see dates below) as they tour in support of the new record.

SALEM’S BEND EUROPEAN TOUR:
02/05 – TBA – Leeds, UK
03/05 – TBA – Birmingham, UK
04/05 – Desertfest – London, UK
08/05 – Muziekcentrum Kinky Star – Ghent, Belgium
09/05 – Don’t Panic Essen – Essen, Germany
10/05 – MTS Records – Oldenburg, Germany
11/05 – Stereo Wonderland – Cologne, Germany
12/05 – Db’S Utrech – Utrecht, Netherlands
13/05 – Pallieter Cafe – Herselt, Belgium

TRACK LISTING:
1. Spaceduster
2. Ride the Night
3. Catamount
4. Heavenly Manna
5. Winds of Ganymede
6. Show Me the Witch
7. Thinking Evil
8. Infinite Horizon

SALEM’S BEND:
Bobby Parker – Guitar, Vocals
Kevin Schofield – Bass, Vocals
Zach Huling – Drums

http://www.facebook.com/salemsbend
https://salemsbend.com/
http://ripplemusic.bigcartel.com/products

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