As they’re prone to do, Portland, Oregon’s Ape Machine are gearing up to head out on a run of Spring tour dates, and as previously announced, they’ll be hooking up with Boston heavy rockers Gozu along the way. Well, before that happens, the four-piece will head out from the Pacific Northwest into Montana starting on March 31 to sneak in a quick six dates ahead of time. Part of the motivation for doing so might be to get as much stage experience with drummer Steve Hanford (also Poison Idea) before they and he together record the new and awaited Ape Machine long-player, which has been given the foreboding title Skull Under Boot, following the longer West Coast stretch.
Kind of curious to hear how that album plays out, given the title and Hanford‘s pedigree, though now that I look at the PR wire info below, I’m not 100 percent he’ll be playing on the record or if he’s in permanently as their drummer in addition to producing the record. One assumes we’ll hear more as they hit the studio next month, but take a look for yourself and see what you think:
The northwest riffmeisters, Ape Machine, will put the rubber to the asphalt in a can of sweat (aka the tour van) this April, embarking on a western US tour that includes dates with Boston’s Metal Blade affiliated rockers, Gozu. Changing up the lineup on this tour, Ape Machine will include Steve Hanford – AKA Thee Slayer Hippy (Poison Idea) – on drums. Steve will also be producing the band’s upcoming LP, Skull Under Boot, scheduled for recording immediately following the tour.
The name APE MACHINE is a nod to the days of reel-to-reel magnetic tape audio recording; a fitting moniker for the Portland heavy-hitting quartet as the band plays through vintage tube amplifiers and lays down its songs using exclusively throwback quality studio equipment. A true four-piece, the group has been called “a rock and roll band with a finger on the pulse of the 70’s and their asses firmly in the present” and “real heavy-psych for the iPhone generation” that delivers “true guts and glory rock and roll”.
Be sure to catch the exciting new lineups, sweat and vibrations of Ape Machine and Gozu as the bands shred the western territories.
Ape Machine: Friday March 31st – Kalispell, MT – Old School Records Saturday April 1st – Billings, MT – Railyard Sunday April 2nd – Denver, CO – Hi-Dive Monday April 3rd – Oklahoma City, OK – Blue Note Lounge Wednesday April 5th – Austin, TX – Lost Well Thursday April 6th – Dallas, TX – Three Links
Ape Machine & Gozu: Friday April 7th – Houston, TX – Rudyard’s Saturday April 8th – San Antonio, TX – Faust Tavern Sunday April 9th – Corpus Christi, TX – Black Monk Tavern Monday April 10th – El Paso, TX – Lowbrow Palace Tuesday April 11th – Las Vegas, NV – Backstage Bar and Billiards Wednesday April 12th – Los Angeles, CA – Viper Room Thursday April 13th – San Diego, CA – Soda Bar Friday April 14th – Santa Cruz, CA – Blue Lagoon Saturday April 15th – Sacramento, CA – Starlite Lounge Sunday April 16th – San Francisco, CA – Elbo Room Monday April 17th – Fresno, CA – TBA Tuesday April 18th – Bend, OR – Volcanic Theater Wednesday April 19th – Eugene, OR – Old Nick’s Pub Thursday April 20th – Portland, OR – Kenton Club Friday April 21st – Seattle, WA – Funhouse Saturday April 22nd – Bremerton, WA – Manette Saloon
Though they haven’t been known over the course of their three albums for being a touring band, Connecticut’s Curse the Son are getting out a bit more over the next few months as we head into Spring and Summer, and they’re sharing the stage with some awesome acts along the way. Not to take anything away from playing with The Obsessed, Karma to Burn and Lo-Pan in Hamden or Sea of Bones and Come to Grief in Wallingford — both CT shows and awesome bills — but it’s awesome to see the three-piece heading down to Brooklyn to meet up with Eternal Black, or out to Ohio for a gig with Pale Grey Lore, to Philly with Wasted Theory or to Maryland for the Sludgement Day Festival. It’s not a five-week stretch across Europe, but I have absolutely no doubt they’ll turn heads their way at each and every one of those shows, and of course that’s what it’s all about.
Curse the Son will release their 2016 album, Isolator (review here), via Ripple Music and The Company Records on April 7. To mark its (re-)arrival, they’ve got a video for the title-track playing now. I had occasion recently to pick up a copy of their 2009 demo, Globus Hystericus, and listening to that and then revisiting the latest offering, the growth the band has undertaken in the years between them — across 2011’s Klonopain (review here), 2012’s Psychache (review here), and most pointedly on Isolator — is palpable.
Really, take the five minutes to dig into the “Isolator” video and then think about how clear-headed the song is in its purpose. It knows exactly what it wants to accomplish in vibe and structure and it goes about the business of that free of drama, needless indulgences and bullshit. It offers hook, tone, groove and melody and in that, it perfectly represents the album from whence it comes.
These guys are and have been a well-kept secret of the New England underground for years now. Maybe as they start to show up in some new places in 2017, they’ll finally get some of the wider attention they’ve long since been due.
Enjoy the video below, followed by the live dates off the PR wire:
Curse the Son, “Isolator” official video
Filmed and Directed by Billy Freeman for Surge Unlimited. From the album “Isolator” available through Ripple Music.
Released in 2016 and easily Curse the Son’s best album to date, Isolator showcases a band ready to push the limits of the stoner/doom genre, yet still revel in all of its gloomy goodness. Taking their song writing talents up a gear while simultaneously connecting on a spiritual level with their audience, Isolator was met with an overwhelming response by both critics and fans alike and on 7th April will get an official, worldwide release via Ripple Music (CD/Digital)/The Company (Vinyl).
Tour Dates: 4th May – Buzzbin Shop, Canton OH (w. Pale Grey Lore & Goosed) 5th May – Howlers, Pittsburgh, PA (w. Brimstone Coven) 6th May – TBA 19th May – The Outerspace Ballroom, Hamden, CT (w. The Obsessed, Karma to Burn and Lo Pan) 1st June – Ralph’s Rock Diner, Worcester, MA 2nd June – Shakeen, Manchester, NH (w. Thunderhawk and more TBA) 3rd June – TBA 20th June – Lucky 13, Brooklyn, NY (w. Eternal Black, Clouds Taste Satanic and Mantis Mass) 21st July – Kung Fu Necktie, Philadelphia, PA (w. Wasted Theory, The Age of Truth and Goat Wizard) 22nd July – Guido’s Speakeasy, Frederick, MD (Sludgement Day Festival) 25th August – Cherry St. Station, Wallingford, CT (w. Sea Of Bones and Come to Grief)
Curse The Son: Ron Vanacore – Guitars, Vocals Michael Petrucci – Drums Brendan Keefe – Bass
Just off the PR wire comes word that London, UK, heavy rockers Steak have inked a deal with Ripple Music and will release their second album, No God to Save, this June through the label. The four-piece have, over the course of the last several years, become one of the most formidable presences in London’s crowded heavy rock sphere, establishing a firm hometown presence while embarking on wider European touring and appearing at fests like Keep it Low, Desertfest Athens, Reverence Valada, and so on.
They’re already booked at Desertfest London 2017 next month and Stoned from the Underground in Germany this July, and as they get set to follow-up 2014’s Napalm Records-delivered debut, Slab City (review here), I’d only expect more announcements to follow. I’ll do my best to keep pace.
In the meantime, here’s the official word:
Steak – No God to Save – Ripple Music
Ripple Music is thrilled to welcome U.K. Stoner Rock Legends, Steak,to its roster of the best of the modern heavy bands.
Emerging from the depths of the murky London bars, this 4 piece have a love for underground rock n roll. Helping to shape a movement in underground music in the UK and Europe STEAK have forged themselves a new path. A riff laden, neck breaking force to be reckoned with on a mission to make rooms shake and heads roll.
Now, after releasing a series of EP’s and a debut Full length on Napalm Records, Steak joins forces with Ripple Music, one of the world’s leading purveyors of heavy psych, stoner and doom, to release “No God to Save” to a world-wide audience of heavy rockers. Expect “No God to Save” to be available around the world on limited vinyl, CD and digital come June 2017.
“Steak are back and we are honoured to be joining the Ripple family for what is our most badass record to date. This is heavy shit and we couldn’t imagine a better label to work with on it. See you on the road soon….”
Steak is: Reece Tee Chris Haley James Cameron Sammy Forway
The beat rolls on, the bands play on, and Ripple Music‘s The Second Coming of Heavy – Chapter Five lands on March 24, bringing new tracks with it from Desert Suns and Chiefs. This latest installment of the ongoing and deeply admirable series of split LPs marks the first of 2017, arriving just a few months after Chapter Four (review here) brought together the colorful pairing of Red Mesa and Blue Snaggletooth. One has to wonder at this point what will happen when Ripple gets to Chapter 10 — we’re halfway there — and whether the label will issue a box set of all of these together in celebration of the scope of the project. Even if they made 20 or something and charged $150-$200 for them, it seems like a worthy endeavor, particularly as all the art ties together and whatnot.
My two cents, anyhow.
The PR wire has background and audio for The Second Coming of Heavy – Chapter Five. I’ve got a pretty good track record at this point of reviewing these, and I’ll hope to maintain that with this one as well, so please keep an eye out. Till then:
The return of Ripple Music’s The Second Coming Of Heavy; Chapter V | Split album from Desert Suns and Chiefs
The Second Coming Of Heavy; Chapter V is released on vinyl on 24th March 2017
Already recognised as one of the world’s leading purveyors of Rock ‘n’ Roll, Stoner, Doom and Heavy Psych, Ripple Music upped the ante in 2015 with the arrival of one of the year’s most ambitious projects, The Second Coming Of Heavy Series.
Serving as an ongoing showcase for some of the best and heaviest bands emerging from the underground, each installment shines a light on those worthy of your attention. Consisting of one, 12” slab of multicoloured vinyl with full colour sleeves and inserts, the series is designed to be saved and treasured, like a fine anthology of books. So much so when the albums are filed next to each other, the complete collection of aligned spines form a mind-blowing image direct from the underground.
DESERT SUNS – In that space where psychedelia, blues-rock and doom coalesce, it’s there you’ll likely find Desert Suns. Formed in late 2013, from the outset the Californian quartet demonstrated a versatility rarely seen amongst their contemporaries. In no time at all they wrote, recorded and released their debut single ‘Burning Temples’ and by that same summer had already started to unload an arsenal of new sounds. Released in 2014, their self-titled debut reassured fans that they were far from one hit wonders. Containing haunting lyrics of alienation with compelling hooks, Desert Suns peddle an addictive and atmospheric energy of heavy rock familiar to fans of early ’70s proto-metal acts such as Black Sabbath, Deep Purple and Blue Cheer.
CHIEFS – Having originally begun life as a two-piece back in January of 2012 in Phoenix, AZ, after years of releasing demos, touring and playing around Phoenix Valley the duo made the decision to relocate to San Diego, CA. Shortly after, they released a four-song demo entitled Buffalo Roam, and did numerous short West Coast tours to support it. Eventually the group became a three-piece with the permanent addition of bassist Jeff Podeszwik, who filled out the low-end of the band and transformed their sound. Hot off the heels of releasing a split 7″ with Fuzz Evil through Battleground Records, Chiefs released their debut full-length album Tomorrow’s Over and are now the latest addition to Ripple Music’s much coveted SCoH’s “Hall of Fame”.
The Second Coming Of Heavy; Chapter V will get an official vinyl release on 24th March 2017 and is limited to 300 copies in three alternative versions (100 of each) – The Resurrection Edition, The Risen OBI and The Ascension Edition.
[Click play above to stream ‘Helter Skelter’ by Mothership. High Strangeness is out March 17 on Ripple Music and Heavy Psych Sounds.]
Texas heavy rock trio hit a crucial moment with their third album. Their first two records, 2012’s self-titled debut (review here) and the aptly-named 2014 follow-up, Mothership II (review here), brought them to the fore of the then-emergent/now-dominant Ripple Music as one of the label’s best acts and the seeming inheritors of a Lone Star heavy rock legacy spanning decades from Bloodrock and ZZ Top to Dixie Witch and Blood of the Sun. Persistent touring at home and abroad has brought them to the forefront of the US underground and they’re hitting a point where their reputation for an on-stage energy blast is preceding them. Accordingly, it’s time for the trio of guitarist/vocalist Kelley Juett, bassist/vocalist Kyle Juett and drummer Judge Smith to step up and claim that place as their own.
Easier said than done, but this is the place where High Strangeness — the third Mothership full-length and second for Ripple, with a release in Europe via Heavy Psych Sounds — sees them. They have moved beyond the brash upstart position where they started, having collectively played a disruptor role as only a badass guitar-led outfit can, and while no doubt each subsequent tour introduces them to new ears and eyes, among a core audience of the converted, they’ve become more of a known, established quantity. They demonstrated last time out that their songwriting could take a multifaceted approach to classic-style heavy rock, working in elements of psychedelia at a whim and more measured execution, and much to its and the band’s benefit, High Strangeness follows suit in not only expanding their palette, but doing so with a more stripped-down, from-the-stage sound.
While the Adam Burke cover art might lead one to think High Strangeness is gearing toward maximum lushness with its depth of color and detail, its eight-track/33-minute run goes the other way almost entirely. True, the intro title-track and the later subdued instrumental interlude “Eternal Trip” dip into patient psych and offer listeners a stretch to chill out, but Mothership are much more about the raw charge in tracks like “Ride the Sun” — the second cut and a nigh-on-flawless nod to ’90s-style stoner rock à la Fu Manchu — the subsequent chugger “Midnight Express” or the six-plus-minute finale “Speed Dealer,” and the sound and vibe of the album bolsters that intention. Hooks remain a consistent factor in their work — “Midnight Express” is infectious, as is side A closer “Crown of Lies,” as is side B opener and not-at-all-a-Beatles-cover “Helter Skelter” and so on — but a noteworthy change in production method, working at Fire Station Studios in San Marcos, Texas, with Crypt Trip‘s Ryan Lee to record and mix (Tony Reed of Mos Generator mastered), as opposed to the first two LPs, which were produced by Kent Stump of Wo Fat, seems to be the conscious choice driving the change in the overarching feel.
With distinct separation between the guitar, bass and drums, as well as some well-placed trades between the Juett brothers on vocals — perhaps best represented in the shift between the brief, penultimate “Wise Man” and “Speed Dealer” as High Strangeness rounds out — Mothership come across as professionally crisp but road-hardened, caked perhaps by the grit of the highways they’ve traveled. Kelley‘s solos on the galloping “Crown of Lies,” the motor-riffed “Ride the Sun” (in layers), snuck in toward the end of “Midnight Express,” etc., will likewise leave scorch marks as ever, but these too carry a rawer, more live impression. If Mothership are looking to represent what they do on tour in these tracks — and listening to the groove locked into at the end of “Helter Skelter,” it’s an easy argument to make that they are — then they’re doing it well. It sounds like a show one would want to catch.
And while there’s still an ‘album’ sensibility, as emphasized by “High Strangeness” itself at the outset — a hypnotic three-minute first impression the band righteously counteracts with the punch in the face of “Ride the Sun” — and the guitar-only spaciousness of “Eternal Trip” prior to the closing duo, it’s worth noting that the naturalistic feel of High Strangeness gives the Juetts and Smith an opportunity to highlight the efficiency in their songwriting in a way that their material simply hasn’t done before. Its 33-minute runtime is over 20 minutes shorter than was Mothership II, and so each track here does more work in crafting the spirit of the record, including those instrumental pieces, and while Mothership come across with fewer tonal frills than they have in the past, playing toward the organic roots of their approach suits them. They may not be upstarts anymore, but they’re still plenty brash.
It’s a wholly unpretentious front-to-back flow, asking next to nothing as far as indulgences and delivering on its early promises. As “Speed Dealer” rounds out — one would not say “winds down” for such a song — with its balance between speed and push and shouted vocals on top, rolling into its bigger-riffed second half, Mothership have found a way to continue their forward growth while driving toward this leaner modus. They could have gone either way and, to be perfectly honest, with the strength of their choruses they’d probably still come out successful in the end had they chosen a more grandiose path, but High Strangeness especially on repeat listens shows its maturity in making the exact moves it needs to make at exactly the times it needs to make them, and it would seem that Mothership — whose momentum carries right through each of these tracks and on to their next tour, recording, whatever it might be — have done exactly the same.
Posted in Whathaveyou on February 27th, 2017 by JJ Koczan
Moments ago, and probably it went on longer than it should have, I started this post talking about how the impending horrors of global climate change would eventually make Canadians of us all, and how particularly Americans would swarm to the north to escape the just-went-outside radiation burns and dried-up landscapes and turn the newly-thawed tundra into strip malls because we’d learned nothing. Shit was grim, I don’t mind saying.
Ultimately, I opted to scrap the screed, because there’s little one might talk about that’s further away from the good-times-had-by-all party vibing of Calgary’s Chron Goblin. The four-piece, who released their third album, Backwater (review here), late in 2015 on Ripple Music, are headed over to the UK and Europe for a quick run that centers around an appearance at Desertfest London 2017. You might recall Total Volume, which is involved in this run as well along with Snuff Lane, Ripple and Buried in Smoke, brought the band over early last summer. As I understand it, the only thing better than going is making a return trip, so safe travels and rock and roll all around.
Chron Goblin have also been demoing new material, so you know, if you’re not feeling particularly hopeful about the future, there’s a bit of reason to.
Dance, dance, dance:
Chron Goblin – UK & Euro Tour 2017
Chrome up your pipes and break out the botanicals. Chron Goblin is poised to descend upon fortress UK/Europe. Hailing from the backwaters of The Great White North, this potent four-piece invokes the smell of diesel and pot-distilled gin with their rugged, yet refined, approach. The hangover cure you have been praying for, Chron Goblin’s airtight performance will screw your head on right and prime you for yet another night — of rock ‘n’ roll revelry!
We’re stoked to return to UK/Europe this spring! Big thanks to everyone who helped to make this tour happen!
Chron Goblin UK & Europe Tour 2017: 04.28 Birmingham UK 04.29 London UK 04.30 Oxford UK 05.01 Bristol UK 05.02 Bournemouth UK 05.04 Coventry UK 05.05 Westmalle BE 05.06 Siegen DE
[Click play above to stream Kingnomad’s Mapping the Inner Void in full. Album is out this Friday, Feb. 24, on Ripple Music.]
When it comes to new bands, there are some who just kind of get together in a room and see what comes out. Not a bad approach by any means. In many instances, for a lot of acts with the right combination of players, it works. Others seem to approach even their very beginnings with a specific idea of what they want to accomplish and then set to building on that. Notwithstanding Kingnomad‘s purported history — that guitarists Jay and Marcus got together in 2014 to jam Sabbath and then riffs came out and they called up bassist Maximilian and drummer Andreas to join in — the sound of their Ripple Music debut full-length, Mapping the Inner Void, would seem to place them squarely in the latter camp.
It is a record whose seven tracks/38 minutes brim with aesthetic purpose, and granted they’ve had a couple years to put it together, but even so, their sound does not come across as one onto which one might just stumble blindly, melding as it does modern cultishness with classic progressive melodies and semi-vintage tonality, marked out by the sporadic use of spellcasting samples to play up further ghoulish sentiments amid the fuzzed-out roll of a short Lovecraftian nod like “Whispers from R’lyeh,” which follows the one-two opening salvo of the catchy, almost post-Ghost pop spirit of “Lucifer’s Dream” and “Nameless Cult,” and sets up transitions into blues rock, expansive psych and garage doom that follow throughout “The Witches Garden,” “The Green Meadow Part 1 & 2,” “She Wizard” and closer “The Waiting Game.” With the flow the four-piece enact between these cuts and the standout moments of songcraft in them, yes, it seems utterly reasonable to me to attribute their making to more than happenstance. This is a band with a stylistic message.
That message? Perhaps that there are still realms of dark magic to be explored in classic-minded heavy rock. I’m not talking necessarily about the tropes of cult lyrics — though there’s some of that to be had throughout Mapping the Inner Void, for sure — but more about the magic of a collaborative creative effort. Jay, who in addition to playing guitar also sings and handles keys (piano and organ), is a formidable presence throughout the record as he was when Kingnomad met with Michigan’s BoneHawk on Ripple‘s The Second Coming of Heavy: Chapter Three split (review here) in 2016, but a considerable difference is in the production, which feels hairier by the time the audio collage at the start of “Lucifer’s Dream” has given over to the song itself. Its arrival is marked by Dead Meadow-style fuzz riffing and a slow drum march for the verse that calls to the aforementioned Ghost with falsetto backing layers in the first chorus.
Immediately, structure seems to be something to toy with as the band launches at the halfway point into more uptempo swing before deftly returning to the fuzzy march, this time topping with a flourish of organ and piano to lull the listener into a false sense of security before the explosive open of “Nameless Cult” proffers old horror sampling en route to one of Mapping the Inner Void‘s strongest choruses. They lean on it a bit and rightly so, since while “Nameless Cult” will find something of a mirror in the penultimate “She Wizard” toward the album’s end, the journey there in the three songs between — not to mention the closer after — is varied enough to warrant a stretch on the most solid of ground. Or at least as close as one can come to it with a hook that seems to take flight as that of “Nameless Cult” does. In any case, though “Whispers from R’lyeh” is almost definitely still on side A, as an interlude it functions almost as a second intro to the album, with an already-noted brief but heavier roll and a few airy lines of guitar leading into centerpiece track “The Witches Garden,” which makes itself a highlight in subtler fashion than did “Nameless Cult” via boogie shuffle and a laid back vocal from Jay that adds atmosphere and melody in kind.
Ringing bells begin “The Green Meadow Part 1 & 2” in what’s almost certainly intended as a call to worship, and dense garage-doom fuzz takes hold on a slow-rolling plod for the next two-plus minutes, dropping out to let the vocals stand alone for the first line of the song before there emerges a blown-out nod that reintroduces the organ around its midpoint and consumes with tone and the lumbering of its rhythm. At seven-plus minutes, “The Green Meadow Part 1 & 2” has room for guitar and drum solos, but Kingnomad rightly bring it back around to the chorus again at the end and harmonize guitar lines over the last percussive roll in order to change the progression even as they’re tying the song together, making it whole and complete and that much broader at once.
As mentioned, “She Wolf” is the second to last cut on Mapping the Inner Void, which also makes it the centerpiece of side B — I think — and it functions well between the more extended “The Green Meadow Part 1 & 2” and “The Waiting Game,” with a simpler arrangement of neo-biker chug and forward rhythmic movement, once again using its keys well for depth of arrangement as it heads directly for the start of “The Waiting Game,” which with its intro of hi-hat and lazily strummed guitar and ensuing march seems to be speaking directly to Uncle Acid and the Deadbeats‘ “Death’s Door,” though much to their credit, Kingnomad make this influence their own.
Layered-in backing vocals add to the chorus as the band plays between fuller and sparser places on their stomp, and though it seems with the pre-midsection solo at about three minutes in that they’re headed out for good, they pull back for another verse before actually making their departure into concluding instrumental exploration, a controlled freakout that runs “The Waiting Game” to its full 8:38, bringing samples back in amid increasing noise before cutting everything out and letting the guitar finish Mapping the Inner Void on the central line of the song, held out at the end on a satisfying fade.
While not flawless in its performance in a manner that would speak to studio trickery, from the click-of-play that starts “Lucifer’s Dream” to that guitar line closing “The Waiting Game,” one finds no aesthetic missteps on the part of Kingnomad, who thereby further the notion of stylistic purpose behind their work. That’s not to say they haven’t left themselves room to grow — watch out next time for increased confidence in the vocals — but that their starting point has given them a clear path to travel. As a debut, the complexity of Mapping the Inner Void unfolds more on repeat listens, and the band earn those listens all the more through songwriting, making the album all the more a success in terms of balance, craft and execution.
Posted in Whathaveyou on February 17th, 2017 by JJ Koczan
Turns out Gozu‘s upcoming Northeastern run is only half the story. There’s a whole other coast to cover! My understanding is the Boston four-piece are hard at work putting together riffs and structures for a quick-turnaround follow-up for 2016’s Revival (review here) and have plans to hit the studio this summer, but before they get there, they’ll head West in April to join Ape Machine for 11 dates heralding the worthy cause of the latest full-length.
Revival was, as you’ll recall, issued by Ripple Music, and after playing Psycho Las Vegas and touring Europe with Holy Grove in the months following its release Gozu signed a deal to release their next album through Metal Blade imprint Blacklight Media. Momentum is obviously on their side as they get ready to record again, and I’m intrigued to find out whether that push plays into the intensity of the new material itself — Revival wasn’t short on drive. I’ve already nagged them about letting me do an in-studio feature when they go in, so I’ll keep you posted on what I know when I know it.
Here’s the tour announcement for the West Coast run, courtesy of the PR wire:
Gozu announces northeast and west coast USA tour dates
Massachusetts-based rock/metal outfit Gozu has announced a short run of tour dates next week, which will see the band perform in Philadelphia (PA), Brooklyn (NY), Dover (NH), and Portland (ME). Following this northeast trek, Gozu will appear on the west coast in April alongside Ape Machine. See below for all dates!
Gozu tour dates Feb. 22 – Philadelphia, PA – Kung Fu Necktie w/ The Age of Truth, Kingsnake Feb. 23 – Brooklyn, NY – Lucky 13 Saloon w/ Pants Exploder, Eyes of the Sun, Eat Feb. 24 – Dover, NH – The Dover Brickhouse w/ KYOTY, Tar Feb. 25 – Portland, ME – Geno’s Rock Club w/ Sylvia, All Night, Lousy
Gozu tour dates w/ Ape Machine Apr. 12 – Los Angeles, CA – Viper Room Apr. 13 – San Diego, CA – Soda Bar Apr. 14 – Santa Cruz, CA – Blue Lagoon Apr. 15 – Sacramento, CA – Starlite Lounge Apr. 16 – San Francisco, CA – Elbo Room Apr. 17 – Fresno, CA – TBA Apr. 18 – Bend, OR – Volcanic Theater Apr. 19 – Eugene, OR – Old Nicks Apr. 20 – Portland, OR – Kenton Club Apr. 21 – Seattle, WA – Funhouse Apr. 22 – Bremerton, WA – Manette Saloon
Formed in 2010, Gozu have released one EP and three full-lengths to-date, and are currently writing their fourth studio album, set for a 2017 release via Blacklight Media / Metal Blade Records. Fronted by Marc Gaffney on vocals and guitar, Doug Sherman on guitar, Joe Grotto on bass, and Mike Hubbard on drums, the band’s sound is tailor-made for blasting out the car speakers via international radio airwaves. Having already been aired on national television (USA) via MTV (‘Road Rules’, ‘Dudesons’, ‘Real World’), NBC, and NASCAR, Gozu aims to take their critical and commercial success to new heights on their upcoming debut for Blacklight Media / Metal Blade Records, with worldwide touring to follow. Previously, the group shared the stage with the likes of St. Vitus, Pallbearer, Lo Pan, Storm of Light, Helmet, Elder, Mos Generator, and Fu Manchu in the States, as well as Yob, Church of Misery and Kvelertak in Europe at Roadburn (Netherlands) and DesertFest Berlin (Germany). 2017 will surely see Gozu back on the road again, and at the forefront of the heavy rock and metal world.
Gozu line-up: Marc Gaffney – guitar and vocals Joe Grotto – bass and low end Mike Hubbard – drums and percussion Doug Sherman – lead guitar and sounds