Quarterly Review: Russian Circles, War Cloud, Here Lies Man, Book of Wyrms, Möyhy-Veikot, Darsombra, Set Fire, Jesus the Snake, Föllakzoid, Dresden Wolves

Posted in Reviews on October 2nd, 2019 by JJ Koczan

quarterly review

Had to take a second this morning to get my email back under 100 unread. It currently stands at 95. There’s just something about being in triple digits that I can’t stand. Press releases and stuff I can usually file right away since not everything’s relevant to the site, etc., but that’s all stuff that either wants follow-up or could be a factor here if there was time. I do my best to try to keep up. And I fail, consistently.

The tradeoff, of course, is I spend that time writing reviews and other stuff for the site. Today’s hump day when we pass the halfway mark of the Fall 2019 Quarterly Review, and we’re doing it in absolutely all-over-the-place style, so all the better. Some pretty familiar names today, but some that might not be as well, so whatever your poison, I hope you enjoy the picking.

Quarterly Review #21-30:

Russian Circles, Blood Year

russian circles blood year

There’s simply no denying the force behind the depths and swell of a song like “Kohokia” on Russian Circles‘ latest offering, Blood Year (Sargent House), and though one knows what to expect to some degree from the Chicago heavy post-rockers at this point in their career, they seem to be doing all they can to deliver their instrumental progressions with energy to match the breadth of the spaces and the heft they conjure. Like 2016’s Guidance (review here), the seven-track/39-minute Blood Year — was recorded with Kurt Ballou, whom the trio imported to their hometown to work at Electrical Audio (aka Steve Albini‘s stomping ground) instead of traveling to Massachusetts to track at Ballou‘s Godcity. If it was the long-famed drum sound of Electrical Audio that they wanted and the live feel that so many of the recordings done there have, they got both, so mark it a success and another notch in the belt of one of the heavy underground’s most immersive and evocative outfits. Their building and releasing of tension is second to none and moves into the spiritual by the time they even get to side B, let alone through it.

Russian Circles on Thee Facebooks

Sargent House website

 

War Cloud, State of Shock

war cloud state of shock

Oh, the riffs you’ll gallop. Oakland, California’s War Cloud skirt the line between classic thrash and heavy rock and roll on their second album for Ripple Music, State of Shock, and from the sound of things, they have a good time doing it. The record’s not much over a half-hour long, which is as it should be for this kind of party, and they toy a bit with the balance between their two sides on a rocker like “Do Anything” or the subsequent “Means of Your Defeat” on side B, but the main crux of State of Shock and certainly the impression it makes off the bat with “Striker” and “White Lightning” up front ahead of the six-minute that-moment-when-ThinLizzy-turned-into-IronMaiden “Dangerous Game” is one of homage to the metal of yore, and in following-up the band’s 2017 self-titled debut (review here), it’s a showcase of energy and craft alike as two guitars shred, chug, groove and charge through the material. If they were from the Eastern Seaboard, I’d say something about getting caught in a mosh. As it stands, I’ll go with urging you to jump in the fire instead. Horns up, either way.

War Cloud on Thee Facebooks

Ripple Music website

 

Here Lies Man, No Ground to Walk Upon

here lies man no ground to walk upon

They should’ve just called it an album. Yeah, it would be short at 26 or so minutes, but it’s got everything you’d want from a full-length, and if they’d put a four-minute jam or something on it, they’d have been there anyhow. In any case, Los Angeles’ Afrobeat-infused heavy psych rockers Here Lies Man present seven tracks of dug-in glory with No Ground to Walk Upon (on RidingEasy), continuing to build on the potential shown across their first two LPs, 2017’s self-titled debut (review here) and last year’s You Will Know Nothing (review here), even as they swagger their way through a groove like “Long Legs (Look Away)” and show their continued forward potential. They continue to be a special band — the kind of band who doesn’t just come along every day and who shouldn’t be overlooked during their time, because maybe they’ll be around 30 years and maybe they won’t, but what they’re doing now is bringing something wholly individual to a heavy context. They’ve already proven influential to some degree, but listening to No Ground to Walk Upon cuts like the dream-keyed “Iron Rattles” and the opening strut-into-drone of “Clad in Silver,” one wonders if they wouldn’t be more so if people weren’t too afraid to try to pull this thing off. Hard to argue with that, since more likely than not most couldn’t.

Here Lies Man on Thee Facebooks

RidingEasy Records website

 

Book of Wyrms, Remythologizer

Book of Wyrms Remythologizer

I won’t take anything away from the eight-minute “Blacklight Warpriest” earlier in the offering, but the highlight of Book of Wyrms‘ second album, Remythologizer (on Twin Earth & Stoner Witch Records) has to be the closing “Dust Toad,” which at 9:25 is the longest track and the slowest crawl included. Led into by the synth-infused “Curse of the Werecop,” it takes the crunch that showed itself through opener “Autumnal Snow” and, later, the melody and swing of “Undead Pegasus” — as seen on the cover art — and brings them together in order to perfectly summarize the doom rocking ethic the Richmond, Virginia, four-piece are working from. Tonally righteous and more solvent in their songwriting than they were on their 2017 debut, Sci-Fi/Fantasy (review here), the band sound assured as they move in “Spirit Drifter” from a standout keyboard line to a likewise standout guitar solo, giving a feeling of progressive nuance that’s continuing to take hold in their sound, balanced by the underlying naturalism of their approach. That dynamic continues to duke it out on Remythologizer, much to the benefit of anyone who takes the record on.

Book of Wyrms on Thee Facebooks

Twin Earth Records on Bandcamp

Stoner Witch Records BigCartel store

 

Möyhy-Veikot, Huume Jet Set Life

moyhy-veikot huume jet set life

Too weird for planet earth and, well, probably too weird for anywhere else too, Helsinki psych-space-kraut-whathaveyou experimentalists issue their third tape in the form of Huume Jet Set Life and whether it’s the cosmo-jamming on “MITÄ ON TULLUT VEDETTYÄ?” or the who-the-hell-knows-what-ism of “MEDIA-AJOJAHTI 2000,” the band at no point fail to make an impression of being out there in the far gone far out there reaches of the far out there. Talkin’ freaked out next level total, like the cassette just fell into the atmosphere to represent some other planet’s culture where things are both dangerous and interesting and you never really know if you’re going to get laid or eaten or both. Still, they may be doing math of the likes not yet conceived by humanity, but Möyhy-Veikot go about it in suitably friendly if totally over-the-top fashion, and it’s fun to play along while also being completely overwhelmed at the various pushes and pulls happening all at once, the media samples and the Windows 95 compatibility of it all. It’s one small step for man, one giant leap for disco.

Möyhy-Veikot on Thee Facebooks

Möyhy-Veikot on Bandcamp

 

Darsombra, Transmission

Darsombra Transmission

It’s just lovely. Really. In some ways it feels like the 41:20 single-track full-length Transmission — self-released, no less — is what Baltimore ambient exploratory two-piece Darsombra have been building toward all along, but I think the truth is they probably could’ve done this at any time if they’d chosen to do so. Still, the fluidity of “Transmission” itself is something special, with its cascades of manipulated voice, riffs that swell and recede, loops, synth and somehow-manifested light that are as much immersion for the spirit as the eardrum. One doesn’t want to dive too deep into hyperbole and oversell it to the point of dulling the listener’s own impression, but Transmission is the kind of record that even those who profess to never “get” drone or noise offerings can engage with. Part of that is owed to Brian Daniloski‘s guitar, which provides landmarks along the path of swirl conjured by his own effects and the synth from Ann Everton (both add vocals where applicable; don’t look for lyrics or verses) that allow those who’d take it on to do so more easily. But the real joy in Transmission is letting go and allowing the piece to carry you along its progressive course, genuine in its reaching for the unknown. Plus there’s a gong, and that’s always fun too. Go with it.

Darsombra on Thee Facebooks

Darsombra on Bandcamp

 

Set Fire, Traya

set fire traya

Traya is the third three-song full-length from Boston’s Set Fire, and it would seem that, and in addition to marking the last recording to feature drummer Rob Davol, who’s since been replaced by Josh Cronin, it would seem to show the three-piece nailing their sound of classic-tinged duet-fronted heavy rock and roll. With two powerhouse vocalists on board in guitarist Jim Healey (We’re all Gonna Die, Black Thai, etc.) and keyboardist Jess Collins (ex-Mellow Bravo), they work in varying arrangements across a meager 12-minute run that feels short mostly because it is short. Too short. “Any Place Left” puts Collins in the foreground, while “Sacred Song” is more Healey‘s, and unsurprisingly to anyone who’s experienced their past work either together or separate, they’re more than able to carry the material — only more so with the other party backing. “Waves” brings them together around theatrical layers of piano and keyboard and guitar, and that they manage to hold it steady at all, let alone take flight as it does, speaks to how ready they are to embark on a longer offering. Put out an album, already, would ya?

Set Fire on Thee Facebooks

Set Fire on Bandcamp

 

Jesus the Snake, Black Acid, Pink Rain

Jesus the Snake Black Acid Pink Rain

For those feeling adventurous, Portugal’s Jesus the Snake follow-up their 2017 self-titled EP (review here) with the unmitigated warmth of Black Acid, Pink Rain, their live-recorded full-length debut. And for the sort of heavy psych-jazz-prog meandering, one would almost expect the organ-laced instrumentalist four-piece to track the record as they perform it, if not front-to-back then certainly one song at a time across multiple takes. Not one piece of the five total on the 49-minute offering is under eight minutes long, and sandwiched between opener “Karma” (10:28) and the closing title-track (10:55) are three cuts circa nine that prove no less hypnotic. The beginning of “Floyds I” is so fluid with the interplay of organ and guitar that one almost expects a gentle Portuguese spoken word verse to start, but of course one never does. Instead, Jesus the Snake complement mindful drift with flashes of more weighted or active fare, all the while holding to a central vibe that is peaceful even as “Duna” finds its chill before the halfway point, with no loss of spirit in the process.

Jesus the Snake on Thee Facebooks

Jesus the Snake on Bandcamp

 

Föllakzoid, I

follakzoid i

As with any kind of sonic minimalism or release based around trance induction — see Darsombra above — there’s a certain amount of buy-in that needs to happen on the listener’s side. Accordingly, those going into the fourth LP from Chilean duo Föllakzoid, titled I and issued through Sacred Bones Records as a double-vinyl, should be aware that it’s requires that kind of interaction from one side to the other. It’s not especially loud or abrasive, or even demanding in terms of the basic sonics of the thing, but as “I” becomes “II” becomes “III” becomes “IIII” and the songs such as they are alternate between 17- and 13-minute runtimes and the blend of effects and electro beats tips to one side or the other — “II” with a fervent ‘ump-tis’ in its early going while “III” brings a more Vangelis-style cinematic wash — of course there’s an ask in terms of indulgence happening on the part of the two-piece to their audience. Whether an individual is willing to make that jump is obviously going to be up to their headspace and where they’re at, but Föllakzoid‘s work here is more than worth the investment, even for those less familiar with their methods.

Föllakzoid on Thee Facebooks

Sacred Bones Records website

 

Dresden Wolves, Hiedra – Sencillo

dresden wolves Hiedra Sencillo

The sub-three-minute “Hiedra – Sencillo” is the latest in an ongoing series of digital offerings from Mexico City’s Dresden Wolves, and though the two-piece band bill themselves as post-punk and they may actually have a history in playing punk rock — stranger things have happened, certainly — the song finds them working in a taut heavy rock context, brash in delivery but not overly so as to lose the overarching swagger they seem intent on conveying. Particularly as it follows behind two EPs and a swath of other single tracks, and is offered name-your-price through their Bandcamp, “Hiedra – Sencillo” feels like its most nefarious aim is to hook anyone who’d click play on first listen and try and keep them intrigued for next time out. Fair enough. I won’t profess to know what Dresden Wolves‘ plans are, but they’ve got songwriting in their pocket and the production on “Hiedra – Sencillo” is crisp and clear enough to convey the heft of the guitar but not so much so as to dull its rawer aspects. They’ve got the balance ready to go, whatever they might choose to do with it from here.

Dresden Wolves on Thee Facebooks

Dresden Wolves on Bandcamp

 

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Roadburn 2020 Adds Red Sparowes Reunion, Warhorse, Torche, Russian Circles and Many More

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

roadburn 2020 new banner

God damn, Roadburn 2020. Warhorse AND a Red Sparowes reunion? And yeah, there’s a ton of off-the-wall stuff here and Emma Ruth Rundle‘s picks are every bit as adventurous as no doubt the festival hoped and intended they would be, but I can’t help but be hung up on the fact that Torche have never played at Roadburn before. How is that possible? Frickin’ Floor have played Roadburn! It seems crazy to me that Torche wouldn’t have been there before. Russian Circles have, and they’ll be there again. Dead Neanderthals have, and they’ll be there again. Rorcal haven’t played before to my knowledge, but they’ll be there with a new record too, and Alber Jupiter and Die Wilde Jagd, and that’s all pretty sweet. And oh, hey, tickets are on sale as of just a couple hours from now, so let’s say if you want one, today’s probably the day to make that happen before they’re gone.

Kaboom goes the brain:

roadburn 2020 tickets

– Roadburn 2020: new announcements ahead of ticket on sale date
– Tickets on sale September 24
– New additions to Emma Ruth Rundle’s curation inc. Red Sparowes and Torche
– Plus Russian Circles, Brutus, Warhorse and more…

With tickets due on sale in a little over 24 hours, Roadburn’s artistic director, Walter Hoeijmakers comments:

“I’m thrilled with the direction that Roadburn is taking this year – more than ever I feel like it is a real celebration of creativity and an opportunity to give a platform for bands to explore their artistry – hence inviting several bands to perform more than once. The response has been overwhelming so far, and we still have so much more to announce.”

EMMA RUTH RUNDLE’S THE GILDED CAGE
As one of our two curators for 2020 (the other being James Kent AKA Perturbator), Emma has added new names to her curated event, The Gilded Cage.

RED SPAROWES
Red Sparowes have been on hiatus for several years. Their component parts scattered in the wind, occasionally bumping into each other, collaboratively, musically or otherwise. Each piece of the Red Sparowes puzzle has their own tale to tell of where the intervening years have taken them, but we can give you a spoiler right now: all roads lead to Roadburn.

Emma comments:

“It is with great joy that I am able to announce that after a ten year hiatus, Red Sparowes will be reuniting for Roadburn 2020 for an exclusive performance. It’s a huge honor to resurrect the band that really brought me into the fold of the Roadburn family.”

TORCHE
The stars have aligned, under the watchful eye of Emma Ruth Rundle, we’re thrilled to announce that Torche will finally make their Roadburn debut in 2020. Long-time fan, Emma Ruth Rundle explains her pick:

“Torche have long topped my favorite current bands list, with Meanderthal still being a record I reach for while driving on tour. The energy and weight of the riffs are always exciting and I can’t wait to see them perform cuts from their awesome new album, Admission.”

MISERABLE
Within her Miserable project, Kristina Esfandiari combines the finest hooks of grunge with the lo-fi haze of shoegaze, creating an alluringly dark vista to lose oneself in. Invited back to Roadburn – having already played 2017 with King Woman – as part of Emma Ruth Rundle’s ‘The Gilded Cage’ curated event – Kristina is set to drench us all in her misery next April.

NGHTCRWLR
NGHTCRWLR is yet another vehicle for the creative impulses of Kristina Esfandiari – only this one is yet to be fully unleashed on the world. As NGHTCRWLR, Kristina has already notched up plenty of live shows including a US stint with Boy Harsher and soon she will bringing the project to Roadburn. Combining elements of noise, ambience, trap and techno, the dizzying results are a pulsating mass of slithering audio missives.

CLOUD RAT
Cloud Rat’s vast discography is a testament to their prolific nature and excess of talent, ripping and spilling at the seams – an unending stream of audio abrasion busting to get out there in the world. If they’ve remained under your radar until now, then their most recent release, Pollinator, should – or rather will – be the album to change that. Unsurprisingly, Cloud Rat have caught the eye of Emma Ruth Rundle and in her position as one of our curators, she has invited the extraordinary trio to perform at Roadburn 2020.

ALSO ANNOUNCED…

RUSSIAN CIRCLES
It seems we have inadvertently set a five year pattern, and we’re thrilled to announce that bang on time, Russian Circles will return to Roadburn for the third time in 2020. If you, too, think you already know what to expect then we respectfully urge you to reconsider. The band comment:

“We’re happy to be invited back for a third performance at Roadburn. Not only is it an honor to be a part of such a meticulously curated festival, it’s a personal affirmation of the power of art and music, as seen in the bonding of artists and fans from all across the globe in the immersive experience of this special annual event.”

BRUTUS
Continuing a strong tradition of power trios, Brutus serve up equal parts intensity, emotion, melody and sheer musical chops. Residing just over the border in Belgium, we’re delighted that they’ll be making the short trip to join us in April to deliver all of those parts on a Roadburn stage.

“It’s an honour to be part of what we always thought was a true pioneering event. Year after year, Walter succeeds in bringing the most inspiring bands of the moment together. We’re not only going to try to play a great show, but we’re also looking forward to be inspired by the other artists, as individuals and as a band.”

WARHORSE
In 2018, tragedy struck as Warhorse guitarist Todd Laskowski sadly passed away, aged 46. The rest of the band reunited for a one-off performance to honour their fallen comrade, and also marking the 20th anniversary of the band. Drummer Mike Hubbard explained:

“What started as a one-off tribute to Todd’s passing has become so much more. After all these years, we never expected to get this sort of response to us playing live again. It’s really quite amazing. Breathing new life into these songs has reinvigorated us. Walter was an early supporter of the band, so playing his Roadburn Festival is like coming full circle, and it’s pretty emotional. We are extremely honoured to be invited to play, and we plan to make this performance something that we, and our fans, will never forget.”

HANTE.
A one-woman powerhouse of electronic might and pulsating energy, Hante. AKA Hélène de Thoury will be bringing her Parisian darkwave to Roadburn 2020. Nestling in well with the other electronic-based artists we have at Roadburn 2020, Hante. is still a distinctly enigmatic prospect; glacial, assured and compelling. De Thoury possesses an imperturbable composure as she delivers with what appears to be effortless cool.

RORCAL
Rorcal will bring their pitch black brand of sludgy, high impact post doom/metal/everything to our stage. Better yet, they will come bearing gifts, in the form of their brand new album, Muladona, which will be presented at Roadburn.

ALBER JUPITER
Heavily inspired by Chilean Krautrock-afficinados Föllakzoid, the beautifully acceding trajectory of their hallucinatory grooves, drenched in pulsating washes of delay and reverb, makes their debut full-length, We’re Just Floating In Space, such an intoxicating affair. No wonder that Alber Jupiter’s throbbing soundscapes will appeal to fans of Neu!, Can, Godspeed You! Black Emperor, as well as those of Dutch trance-rock legends 35007. Read more about Alber Jupiter.

DIE WILDE JAGD
Channeling the playful, experimental slant and electrical throb of retrofuturism with Krautrock intensity and genre-bending, ritualistic, dark textures, Germany’s Die Wilde Jagd is definitely a breath of fresh air within the currently somewhat stagnating and over-saturated psych scene.

DEAD NEANDERTHALS
Dead Neanderthals will celebrate their tenth anniversary in an extremely on-brand fashion during Roadburn 2020. They plan to mark the occasion with a collection of four celebratory performances including collaborations with Sly & The Family Drone, Scott Hedrick of Skeletonwitch and more.

ROADBURN 2020 TICKETS

Tickets to Roadburn 2020 will go on sale on Tuesday, September 24 – 8pm CEST, 7pm BST, 2pm EDT via Ticketmaster.nl or from 6pm at Sounds Tilburg. More information about tickets and accommodation options can be found HERE.

Already announced for Roadburn 2020 is: Emma Ruth Rundle and James Kent as curators, commissioned projects from James Kent & Johannes Persson, Jo Quail, and Vile Creature & Bismuth, the return of Julie Christmas, Boy Harsher, Acid Rooster, Bada, Dool, Health, Hide, She Past Away, and two Artists In Residence: Full of Hell and Lingua Ignota. Check the full line up HERE.

https://www.facebook.com/events/1081424195382564/
https://www.facebook.com/roadburnfestival/
http://www.instagram.com/roadburnfest
http://www.roadburn.com

Die Wilde Jagd, Uhrwald Orange (2018)

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Russian Circles Announce Blood Year Due Aug. 2; North American Tour Dates

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

russian circles

Holy crapola, you mean to tell me Russian Circles have seven albums? Way to make me feel old, PR wire. The latest of the bunch is called Blood Year, and it will be issued Aug. 2 through Sargent House, which makes the Chicagoan three-piece label-kin to Earth and Boris, and though one tends to think of those bands as icons of the heavy form, don’t Russian Circles kind of fit in that echelon at this point as well. All kidding and feeling-old (about which I was very much not kidding) aside, these guys are long-since-proven veterans and their influence has been widespread for at least the last decade, if not longer, so yeah, a release on Sargent House feels right. Shit is important to a lot of people.

The new song, called “Arluck,” has been making the rounds this week and you can hear it at the bottom of this post if you haven’t yet or if you’d like to again, and in addition to the album announcement, there’s the requisite slew of tour dates included in the PR wire info as well.

Have at it:

russian circles blood year

RUSSIAN CIRCLES ANNOUNCE THEIR NEW ALBUM, ‘BLOOD YEAR,’ & NORTH AMERICAN TOUR

The formidable trio’s seventh studio album will be released on August 2 via Sargent House. Check out the first single “Arluck” now.

There are few things one can be sure of these days, though one truism that remains is that Russian Circles will continue to reign as one of instrumental music’s supreme champions. These masters of sonic tension and release plan to deliver their seventh studio album August 2nd on Sargent House. Dubbed Blood Year, the LP is less a musical exploration and more a statement of authority, lest there be any doubt that Russian Circles remain a force to be reckoned with on the stage and in the studio.

The Chicago trio have always explored the dynamics of volume and timbre, with their albums often vacillating between caustic attacks and blissful respites. Russian Circles returned to the studio with Kurt Ballou to record Blood Year, but this time they tracked it in Chicago at Steve Albini’s world-famous Electrical Audio. From guitarist Mike Sullivan’s riff-fueled assaults, to Dave Turncrantz’s war machine rack and floor toms and Brian Cook’s meat grinding bass lines, the sound of Blood Year is that of a band unafraid to flaunt their hard-earned prowess.

Sullivan, Turncrantz, and Cook made a conscious effort to approach the songs on Blood Year with the same organic feel of a live show. In an age where rock records are often built on a computerized grid, Russian Circles chose to track the foundations of the songs together in one room as complete takes without click tracks. The human pulse and unmetered energy is woven throughout Blood Year, a presence that can be felt with each bone-rattling minute.

Blood Year will be released via Sargent House on August 2 and Russian Circles will be on tour in North America this September, October and November in support of it. FACS and Windhand will appear on select dates — check out all tour dates listed below.

Blood Year is available for pre-order here. Stay tuned for more news.

RUSSIAN CIRCLES LIVE:
May 31 Chicago, IL @ Do Division Fest

RUSSIAN CIRCLES IRELAND/UK DATES
AUG 08 Dublin, IRE @ Button Factory *
AUG 09 Galway IRE @ Roisin Dubh *
AUG 10 Belfast UK @ Limelight 2 *
AUG 12 Glasgow, UK @ G2 +
AUG 13 Manchester, UK @ Gorilla +
AUG 14 London, UK @ Earth +
AUG 16 Bristol, UK @ ArcTanGent Festival +

Support from
* No Spill Blood
+ A.A. Williams
With further European tour dates to be announced soon.

RUSSIAN CIRCLES NORTH AMERICAN DATES:
September 11 Madison, WI @ High Noon Saloon *
September 12 Minneapolis, MN @ Cedar Culture Center *
September 14 Bozeman, MT @ Rialto Bozeman *
September 16 Seattle, WA @ Neumos *
September 17 Portland, OR @ Wonder Ballroom *
September 19 San Francisco, CA @ August Hall *
September 20 Ventura, CA @ Discovery Ventura *
September 21 Los Angeles, CA @ The Teragram Ballroom *
September 23 Mesa, AZ @ The Nile *
September 24 Santa Fe, NM @ Meow Wolf *
September 25 Denver, CO @ Bluebird Theater *
September 28 Chicago, IL @ Thalia Hall *
October 18 Grand Rapids, MI @ The Pyramid Scheme
October 19 Detroit, MI @ El Club
October 20 Toronto, ON @ Lee’s Palace
October 21 Montreal, QC @ Theatre Fairmount
October 23 Portsmouth, NH @ 3S ArtSpace
October 24 Cambridge, MA @ The Sinclair
October 26 Brooklyn, NY @ Warsaw
October 27 Philadelphia, PA @ Union Transfer
October 29 Washington, DC @ Union Stage
October 30 Richmond, VA @ The Broadberry
November 1 Durham, NC @ Motorco Music Hall +
November 2 Charlotte, NC @ Neighborhood Theatre +
November 3 Atlanta, GA @ The Masquerade +
November 4 New Orleans, LA @ One Eyed Jack’s +
November 6 Houston, TX @ The Secret Group +
November 8 Austin, TX @ Levitation
November 9 Dallas, TX @ Deep Ellum Art Company +
November 11 St. Louis, MO @ Delmar Hall +
w/ FACS *
w/ Windhand +

Blood Year — Track Listing:
1. Hunter Moon
2. Arluck
3. Milano
4. Kohokia
5. Ghost on High
6. Sinaia
7. Quartered

https://www.facebook.com/russiancirclesmusic/
https://www.instagram.com/russiancircles/
https://www.russiancirclesband.com/
https://www.facebook.com/sargenthouse/
http://www.sargenthouse.com/

Russian Circles, “Arluck”

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Russian Circles and King Woman Touring in March

Posted in Whathaveyou on February 2nd, 2018 by JJ Koczan

russian circles paul blau

king woman matt kadi

We already know from prior announcements that Chicago-based heavy post-rock forerunner instrumentalists Russian Circles (there are like six or seven other titles one might bestow on them with various degrees of superlative praise inherent) will be in Europe in time for this year’s Freak Valley Festival. This North American run alongside Relapse Records four-piece King Woman will precede that trip, obviously, but the chief question would seem to be if there’s a European tour announcement coming from them and if so, when they might actually head over, whether it’s summer fests or a run in the later end of Spring. With Freak Valley as a launch or landing point, it could kind of go either way.

Rest assured, I don’t know nothin’ about nothin’. The PR wire, on the other hand:

poster

RUSSIAN CIRCLES ANNOUNCE NORTH AMERICAN TOUR WITH KING WOMAN

See them on the road in March & April throughout the U.S. and Canada.

Russian Circles have never been ones to stay quiet, and their first announcement of 2018 only serves to prove that predilection. This March and April, Russian Circles will be joined by Sargent House management roster-mates King Woman for a North American tour. Spanning just over three weeks, the bands will play shows in select markets from coast to coast; check out the full tour routing below.

Russian Circles are hot off an extensive 2017 world tour with Mastodon and Eagles Of Death metal and to say they are primed for this headlining run would be an understatement. Clocking in over a decade together, the Chicago power trio have grown into one of most prolific groups in both the instrumental and rock realms. With a steamrolling catalog redefining the boundaries of both genre and instrumentation—from cinematic arias to metalloid-fueled bludgeoning—Russian Circles continue to find new sonic expanses to conquer. Whereas many bands in the instrumental world are content to cruise with the lush crescendos and washed-out timbres of their predecessors, Russian Circles persevere in their quest to conjure multidimensional, textural narratives.

Acting as the the sonic foil to Russian Circles’ electrifying instrumentals is the rumble and roar of King Woman. Formed in 2009 by vocalist Kristina Esfandiari, the Bay Area outfit have crafted a sound thoroughly their own—one that fuses the cobweb texture of drone and shoegaze with the melancholic heft of doom. Their debut LP, 2017’s Created In The Image Of Suffering (Relapse), paired weighty subject matter with brooding songwriting, earning the band widespread acclaim. Complete with deeply personal, introspective lyrics that serve as a catharsis for years of religious and mental torment, King Woman truly suffer to create their art.

See Russian Circles and King Woman on one stage this spring:

Russian Circles — On Tour w/ King Woman:
03/22 Omaha, NE @ The Waiting Room *
03/23 Denver, CO @ Bluebird Theater *
03/27 Los Angeles, CA @ The Echoplex
03/29 San Francisco, CA @ Great American Music Hall
03/31 Portland, Oregon @ Wonder Ballroom
04/01 Seattle, WA @ The Crocodile
04/02 Vancouver, BC @ Baltimore Cabaret
04/04 Calgary, AB @ Dickens
04/05 Edmonton, AB @ The Starlite Room
04/07 Saskatoon, SK @ Louis Pub
04/08 Winnipeg, MB @ The Garrick
04/11 Toronto, ON @ The Legendary Horseshoe Tavern
04/12 Montreal, QC @ La Sala Rossa
04/14 Jersey City, NJ @ White Eagle Hall
04/16 Cambridge, MA @ The Sinclair
04/17 Brooklyn, NY @ Elsewhere
04/18 Washington, DC @ Rock & Roll Hotel
04/20 Pittsburgh, PA @ Spirit
04/21 Ferndale, MI @ The Loving Touch
04/22 Chicago, IL @ The Empty Bottle
*No King Woman

http://russiancirclesband.com/
https://www.facebook.com/russiancirclesmusic
http://russiancircles.bandcamp.com/
http://instagram.com/russiancircband
http://twitter.com/russiancircles
http://sargenthouse.com/
https://www.facebook.com/KNGWMN/
https://kingwoman.band/
relapse.com

Russian Circles, Live at Dunk! Fest (2017)

King Woman, “I Wanna be Adored”

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Freak Valley 2018: Russian Circles, Year of the Cobra, Black Bombaim, Ruff Majik & My Baby Added to Lineup

Posted in Whathaveyou on January 15th, 2018 by JJ Koczan

freak-valley-2018-banner

Not taking anything away from anyone in this latest announcement from Freak Valley 2018, but for me, the find of the bunch is South African heavy-grooving three-piece Ruff Majik, who, what they lack in spelling they more than compensate for with riff-led immersive roll as well as a prolific rate of releases.

Again, that’s not to detract at all from the radness of the fact that Year of the Cobra are making the trip, or that Russian Circles will no doubt feature somewhere near the top of the bill, but I wasn’t familiar with Ruff Majik prior to this announcement and was happy to have the chance to check them out.

If you’d like to do the same, their latest EP is streaming at the bottom of this post. Go ahead and give it a shot. Maybe name your price on one of those downloads they have set up on such terms.

Here’s the full announcement from the fest, which, as it happens, I wrote:

freak-valley-2018-russian-circles

Happy New Year, Freaks!

We’re creeping ever closer to the start of FREAK VALLEY FESTIVAL 2018, and you know what that means: More announcements, more reasons to come, and less time to plan your trip. If you missed out on tickets before they sold out, sorry, but you can’t say you weren’t warned. For everyone else, we’ve got FIVE awesome new confirmations to reveal for the lineup!

Please welcome Russian Circles, Black Bombaim, Year of the Cobra, Ruff Majik and MY BABY to the bill for Freak Valley 2018!

RUSSIAN CIRCLES

No way these guys need any introduction. For over a decade, Chicago instrumental trio Russian Circles have made themselves forerunners of heavy and psychedelic post-rock, and with their records Enter, Station, Geneva, Empros, Memorial and Guidance, they’ve become one of the most essential acts of their generation. Expect immersion like nothing else when they take the stage for all the Freaks! They might even leave the lights on! On second thought, nah, probably not.

BLACK BOMBAIM

If you’ve never experienced Portuguese jammers Black Bombaim live, you don’t even know what you’ve been missing. The raw chemistry, the dynamic turns – everything they do recalls the best of improvisational psychedelic rock. Their flow is molten and unlike anyone else’s in the style, and they come to Freak Valley as ready to explore new ground as ever in the far-out cosmic reaches.

YEAR OF THE COBRA

While the bass/drum two-piece recalled riffy greats like Sleep and Acid King on their debut album, In the Shadows Below, it was the 2017 EP, Burn Your Dead, that really showed off the diversity of sound Year of the Cobra could bring to bear. The Seattle duo hit Europe for the first time supporting the album and as they come back ahead of a new full-length in 2018, we’re thrilled to welcome them for their first visit to Freak Valley!

RUFF MAJIK

Traveling all the way from Pretoria, South Africa, the heavy-grooving trio Ruff Majik have been belting out releases at a prolific clip since their 2015 debut, The Bear. By the time they make it to Siegen this May, they’ll be riding high on the blues-psych vibes of their latest work, A Stag in the Leaves, and we can’t wait to introduce them to the Freaks and give everyone a taste of their laid back riffs and classic style.

MY BABY

Based in Amsterdam (because where else?), My Baby come to Freak Valley 2018 offering a spirit and a musical energy like nothing else on the bill. Their 2017 album, Prehistoric Rhythm, ran contrary to its name with a blend of soul, blues, funk, dance and classic rock that could only be from the future. Still, it spoke to something primitive in all of us – a basic need to move, to get up, to shake ass, and we know they’ll have the Freaks doing exactly that.

Freak Valley Festival 2018 // No Fillers – Just Killers

Line-up 2018:
OM, Russian Circles, My Sleeping Karma, My Baby, Yuri Gagarin, Dÿse, Black Bombaim, Year of the Cobra, Ruff Majik, Rage of Samedi, Nap
More tba soon

Have a freaky time – your Rock Freaks

www.freakvalley.de
https://www.facebook.com/freakvalley
https://www.facebook.com/events/738782742996668/
https://twitter.com/FreakValley

Ruff Majik, A Dragon and His Hoard (2017)

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Quarterly Review: Russian Circles, Salem’s Pot, Bridesmaid, Admiral Sir Cloudesley Shovell, Landing, Reign of Zaius, Transcendent Sea, Red Teeth, Sea of Bones & Ramlord, Holy Smoke

Posted in Reviews on October 6th, 2016 by JJ Koczan

the-obelisk-fall-2016-quarterly-review

I’ll admit I’m a little surprised at the shape this Quarterly Review has taken. As I begin to look back on the year in terms of what records have been talked about over the span, I find it’s been particularly geared toward debut albums, both in and out of wrap-ups like this one. There’s less of that this time around, but what’s happened is some stuff that doesn’t fall into that category — releases like the first two here, for example — are getting covered here to allow space for the others. Let’s face it, nobody gives a shit what I have to say about Russian Circles anyhow, so whatever, but I’m happy to have this as a vehicle for discussing records I still think are worth discussing — the first two releases here, again for example — rather than letting them fall through the cracks with the glut of new bands coming along. Of course things evolve as you go on, but I wish I’d figured it out sooner. Let’s dive in.

Quarterly Review #31-40:

Russian Circles, Guidance

russian-circles-guidance-700

From the warm wash of guitar that begins “Asa” onward, and no matter how weighted, percussive and/or chug-fueled Russian Circles get from there, the Chicago trio seem to be offering solace on their latest outing, Guidance. Recorded by Kurt Ballou and released through Sargent House, the seven-track offering crosses heavy post-rock soundscapes given marked thickness and distinct intensity on “Vorel,” but the record as a whole never quite loses the serenity in “Asa” or the later “Overboard,” crushing as the subsequent “Calla” gets, and though the spaces they cast in closer “Lisboa” are wide and intimidating, their control of them is utterly complete. Six albums in, Russian Circles are simply masters of what they do. There’s really no other way to put it. They remain forward thinking in terms of investigating new ideas in their sound, but their core approach is set in the fluidity of these songs and they revise their aesthetic with a similar, natural patience to that with which they execute their material.

Russian Circles on Thee Facebooks

Sargent House website

 

Salem’s Pot, Pronounce This!

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Following their 2014 RidingEasy Records debut, …Lurar ut dig på prärien (discussed here) – which, presumably met with some pronunciation trouble outside the band’s native Sweden – Salem’s Pot return with Pronounce This!, further refining their blend of psychedelic swirl, odd vibes and garage doom riffing. They remain heavily indoctrinated into the post-Uncle Acid school of buzz and groove, and aren’t afraid to scum it up on “Tranny Takes a Trip” or the slower-shifting first half of “Coal Mind,” but the second portion of that song and “So Gone, so Dead” take a more classically progressive bent that is both refreshing and a significant expansion on what Salem’s Pot have accomplished thus far into their tenure. Still weird, and one doubts that’ll change anytime soon – nor does it need to – but as Pronounce This! plays out, Salem’s Pot demonstrate an open-mindedness that seems to have been underlying their work all along and bring it forward in engaging fashion.

Salem’s Pot BigCartel store

RidingEasy Records website

 

Bridesmaid, International House of Mancakes

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International House of Mancakes – yup – is the follow-up to Bridesmaid’s 2013 long-player, Breakfast at Riffany’s, and like that album, it finds the Columbus, Ohio, instrumentalists with a penchant for inserting dudes’ names into well-known titles – see “Hungry Like Nick Wolf” and “Ronnin’ with the Devil” – but it also expands the lineup to the two-bass/two-drum four-piece of Scott Hyatt and Bob Brinkman (both bass) and Cory Barnt and Boehm (both drums). Topped off with KISS-meets-Village People art from W. Ralph Walters, there are shortages neither of snark nor low end, but buried underneath is a progressive songwriting sensibility that doesn’t come across as overly metal on cuts like “Ricky Thump” and doesn’t sacrifice impact or heft for the sake of self-indulgence. Opening with its longest track (immediate points) in “It’s Alectric (Boogie Woogie Woogie),” International House of Mancakes unfolds a heavy rock push that, while obviously driven in part by its sense of humor, earns serious consideration in these tracks for those willing to actually listen.

Bridesmaid on Thee Facebooks

Bridesmaid on Bandcamp

 

Admiral Sir Cloudesley Shovell, Keep it Greasy!

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Too thick in its tones to be a completely vintage-style work, the sleazy vibes of Admiral Sir Cloudesley Shovell’s Keep it Greasy! (on Rise Above) are otherwise loyal to circa-1971 boogie and attitude, and whether it’s the rewind moment on opener “U Got Wot I Need” or proto-metallic bass thrust of the “Hawkline Monster” or the brash post-Lemmy push of “Tired ‘n’ Wired,” the album is a celebration of a moment when rock isn’t about being any of those things or anything else, but about having a good time, letting off some steam from a shit job or whatever it is, and trying your damnedest to get laid. Radio samples throughout tie the songs together, but even that carries an analog feel – because radio – and the good Admiral are clearly well versed in the fine art of kicking ass. Familiar in all the right ways with more than enough personality to make that just another part of the charm.

The Admiral Sir Cloudesley Shovell on Thee Facebooks

Rise Above Records website

 

Landing, Third Sight

landing-third-sight-700

The invitation to completely immerse comes quickly on the 13-minute “Delusion Sound,” which opens Landing’s Third Sight (on El Paraiso), and from there, the Connecticut four-piece sway along a beautiful and melodic drift, easing their way along a full-sounding progression filled out with airy guitar and backing drones, moved forward patiently by its drum march and topped with echoed half-whispers. It’s a flat-out gorgeous initial impression to make, and the instrumental “Third Site” and “Facing South” follow it with a tinge of the experimentalism for which Landing are more known, the former led by guitar and the latter led by cinematic keyboard. To bookend, the 14-minute “Morning Sun” builds as it progresses and draws the various sides together while creating a rising soundscape of its own, every bit earning its name as the vocals emerge in the second half, part of a created wash that is nothing short of beautiful. One could say the same of Third Sight as a whole.

Landing on Thee Facebooks

El Paraiso Records website

 

Reign of Zaius, Planet Of…

Disc_Templates

While they’ve spent the last few years kicking around the deeper recesses of Brooklyn’s heavy underground, Reign of Zaius mark their debut release with the 26-minute Planet Of… EP, bringing together seven tracks that show what their time and buildup of material has wrought. Opener “Hate Parade” reminds of earliest Kings Destroy, but on the whole, Reign of Zaius are rawer and more metal at their core, the five-piece delving into shuffle on “Out of Get Mine” and showing an affinity for classic horror in both “They Live” – which starts with a sample of Roddy Piper being all out of bubblegum – and “Farewell to Arms,” previously issued as a single in homage to Evil Dead. The charm of a “Dueling Banjos” reference at the start of “Deliver Me” leads to one of the catchier hooks on Planet Of…, and the shorter “Power Hitter” closes with a bass-heavy paean to smoking out that digs into punkish summation of where Reign of Zaius are coming from generally as they continue to be a band up for having a good time without taking themselves too seriously.

Reign of Zaius on Thee Facebooks

Reign of Zaius on Bandcamp

 

Transcendent Sea, Ballads of Drowning Men

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Kind of a mystery just where the time goes on Sydney rockers Transcendent Sea’s self-released 50-minute first album, Ballads of Drowning Men. Sure, straightforward cuts like “Over Easy” and “Mind Queen” are easily enough accounted for with their post-Orange Goblin burl and boozy, guttural delivery from vocalist Sean Bowden, but as the four-piece of Bowden, guitarist Mathew J. Allen, bassist Andrew Auglys and drummer Mark Mills get into the more extended “Throw Me a Line,” “Blood of a Lion” and closer “Way of the Wolf” – all over 10 minutes each – their moves become harder to track. They keep the hooks and the verses, but it’s not like they’re just tacking jams onto otherwise structured tracks, and even when “Way of the Wolf” goes wandering, Bowden keeps it grounded, and that effect is prevalent throughout in balancing Ballads of Drowning Men as a whole. It takes a few listens to get a handle on where Transcendent Sea are coming from in that regard, but their debut proves worth at least that minimal effort.

Transcendent Sea on Thee Facebooks

Transcendent Sea on Bandcamp

 

Red Teeth, Light Bender

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Brothers Rael and Ryan Andrews, both formerly of Lansing, Michigan, art rockers BerT, revive their heavy punk duo Red Teeth with the four-song Light Bender 7” on GTG Records. Both contribute vocals, and Ryan handles guitar and bass, while Rael is on drums and synth through the quick run of “Light Bender, Sound Bender,” “Tas Pappas,” “134mps” and “Elephant Graveyard,” the longest of which is the opener (immediate points) at 4:49. By the time they get down to “Elephant Graveyard,” one can hear some of the Melvinsian twist and crunch that often surfaced in BerT, but whether it’s the ‘90s-alt-vibes-meet-drum-madness of “134mps” or the almost rockabilly riffing of “Tas Pappas,” Red Teeth – whose last release was eight years ago – have no trouble establishing personality in these songs. Approach with an open mind and the weirdness that persists will be more satisfying, as each track seems to have a context entirely of its own.

Red Teeth on Bandcamp

GTG Records website

 

Sea of Bones & Ramlord, Split

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One can hear the kind of spacious darkness and through-the-skin cold of New England winters in this new split EP from Connecticut crushers Sea of Bones and grinding New Hampshire compatriots Ramlord from Broken Limbs Recordings. What the two share most of all is an atmosphere of existential destitution, but there’s an underlying sense of the extreme that also ties together Sea of Bones’ “Hopelessness and Decay” (10:36) and Ramlord’s “Incarceration of Clairvoyance (Part III)” (10:10), the latter of which continues a series Ramlord started back in 2012 on a split with Cara Neir. Both acts are very much in their element in their brutality. For Sea of Bones, this is the second release they’ve had out this year behind the improvised and digital-only “Silent Transmissions” 27-minute single, which of course was anything but, and for Ramlord, it’s their first split in two years, but finds their gritty, filthy sound well intact from where they last left it. Nothing to complain about here, unless peace of mind is your thing, because you certainly won’t find any of that.

Broken Limbs Recordings on Bandcamp

Sea of Bones on Thee Facebooks

Ramlord on Thee Facebooks

 

Holy Smoke, Holy Smoke! It’s a Demo!

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Philadelphia-based five-piece Holy Smoke formed in the early hours of 2015, and the exclamatory Holy Smoke! It’s a Demo! three-track EP is their debut release. Opening with its longest cut (immediate points) in “Rinse and Repeat,” it finds them blending psychedelic and heavy rock elements and conjuring marked fluidity between them. As the title indicates, it’s a demo, and what one hears throughout is the first material Holy Smoke thought enough of to put to tape, but on “Rinse and Repeat” and the subsequent “Blue Dreams” and “The Firm,” they bring the two sides together well in a way it’s easy to hope they continue to do as they move onto whatever comes next, pulling off “The Firm” particularly with marked swing and a sense of confidence that undercuts the notion of their being their first time out. They have growing to do, and by no means would I consider them established in style, but there’s a spark in the songs that could absolutely catch fire.

Holy Smoke on Thee Facebooks

Holy Smoke on Bandcamp

 

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Russian Circles to Release Guidance Aug. 5; US Tour Announced

Posted in Whathaveyou on May 17th, 2016 by JJ Koczan

russian circles

Chicago’s Russian Circles will release their new, Kurt Ballou-recorded LP, Guidance, Aug. 5 on Sargent House. US tour dates have been announced to coincide, and a trailer for Guidance has been posted that you can see/hear below. It’s an immediately tense impression, propulsive drums leading a heavier crunch than what the trio’s last outing, 2013’s Memorial, presented. That’s not surprising necessarily with Ballou at the board, but it will be interesting to hear how the whole record plays out, which I wouldn’t dare make a guess on based off of 46 seconds of one of its tracks, whichever one it happens to be.

Fresh-chopped off the PR wire:

russian circles guidance

RUSSIAN CIRCLES ANNOUNCE NEW ALBUM, GUIDANCE & NORTH AMERICAN TOUR

LP due out August 5th from Sargent House

Celebrated Chicago post-metal/rock trio Russian Circles are thrilled to announce their highly-anticipated sixth studio album, Guidance, due out August 5th from Sargent House. This 7-song, 40-minute LP was recorded by Kurt Ballou at GodCity Studio in Salem, MA and showcases Russian Circles at their best and most realized yet in their decade-long career. Check out the teaser video for Guidance now on YouTube.

In support of Guidance, Russian Circles have announced an extensive North American headlining tour that spans August through October and features Cloakroom and Helms Alee on select dates. This tour follows Russian Circles’ forthcoming appearances at Levitation Fest Vancouver and Crucial Fest in Salt Lake City in June. Most recently, Russian Circles toured the UK and Europe (where they headlined DesertFest in London, Dunkfest in Belgium among others) and their live show has been highly regarded since their inception; Seattle Times said, like their albums, Russian Circles’ “…live performance is a rhythmic experience. Their timbre and chord sequences are powerful, but their masterful control of tempo and shocking entry and exit points are perhaps their most prominent feature. Their breakdowns don’t only kill with brute force, but often catch you off guard when they fly in from the side.” While their recorded output is worthy in its own right, Russian Circles have long shined bright as a live act – check out all shows listed below with more to be announced soon

Guidance will be released on CD, LP and digital formats on August 5th from Sargent House. More news, and song premiere, coming soon.

Guidance, Track Listing:
1. Asa
2. Vorel
3. Mota
4. Afrika
5. Overboard
6. Calla
7. Lisboa

RUSSIAN CIRCLES – LIVE 2016
Jun 16 Vancouver, BC – Levitation Vancouver
Jun 18 Salt Lake City, UT – Crucial Fest

RUSSIAN CIRCLES – with Cloakroom
Aug 26 Madison, WI – High Noon Saloon
Aug 27 Minneapolis, MN – Cedar Cultural Center
Aug 29 Missoula, MT – Palace Lounge
Aug 30 Seattle, WA – Neumos
Aug 31 Portland, OR – Doug Fir Lounge
Sep 2 San Francisco, CA – Great American Music Hall
Sep 3 Los Angeles, CA – The Teragram Ballroom
Sep 5 Phoenix, AZ – Crescent Ballroom
Sep 6 Albuquerque, NM – Launchpad
Sep 7 Englewood, CO – The Gothic Theatre
Sep 8 Kansas City, MO – The Riot Room
Sep 9 Chicago, IL – Metro

RUSSIAN CIRCLES – with Helms Alee
Sep 25 Detroit, MI – El Club
Sep 26 Toronto, ON – Lee’s Palace
Sep 28 Cambridge, MA – The Sinclair
Sep 29 Philadelphia, PA – Union Transfer
Sep 30 Brooklyn, NY – Warsaw
Oct 1 Washington, DC – Rock & Roll Hotel
Oct 2 Durham, NC – Motorco Music Hall
Oct 4 Atlanta, GA – Aisle 5
Oct 5 Birmingham, AL – Saturn
Oct 6 Baton Rouge, LA – Spanish Moon
Oct 7 Houston, TX – Warehouse Live Studio
Oct 8 Austin, TX – Barracuda
Oct 9 Dallas, TX – RBC

http://russiancirclesband.com/
https://www.facebook.com/russiancirclesmusic
http://russiancircles.bandcamp.com/
http://instagram.com/russiancircband
http://twitter.com/russiancircles
http://sargenthouse.com/

Russian Circles, Guidance trailer

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Crucialfest 6 Announces Lineup; Russian Circles, SubRosa, Mos Generator, Fuzz Evil, CHRCH and More to Play

Posted in Whathaveyou on March 10th, 2016 by JJ Koczan

Fucking a, Crucialfest 6. You win this round.

The Salt Lake City-based festival has announced its 2016 lineup, and it’s both all over the place stylistically and awesome, so kudos all around. My understanding is early-bird tickets are on their way to being sold out, and with the likes of Russian Circles, SubRosa, Mos Generator, Form of Rocket, CHRCH, Mammoth Salmon and a slew of others I both have and haven’t heard of, I can’t say it’ll be a surprise when they’re gone. Hell, Ape Machine are gonna be there. You know it’s a party when they show up.

I’m not sure if this is the full roster of bands or if Crucialfest 6 will be adding more, but it’s a killer assemblage as it is, as the PR wire can confirm:

crucialfest 6 poster

Crucialfest 6 lineup announced

Salt Lake City, UT

Russian Circles, Helms Alee, SubRosa, Wizard Rifle, Mos Generator, Theories to headline Crucialfest 6 with historic reunion sets from SLC natives Form of Rocket, Ether, The New Transit Direction

When: June 15-18, 2016
Where: The Urban Lounge, Metro Bar, Kilby Court, The Art Garden
Web: Crucialfest.com
Tickets: bit.ly/1QLqLPN -Early bird discount wristbands still available

Crucialfest announces its most incredible lineup to date with Crucialfest 6! This June 15-18th CF6 brings the heavies to downtown Salt Lake City. Hosting 10 showcases and 50+ bands over 4 days (plus a warm up show June 11th), CF6 promises to deliver high-energy live performances from local and national bands alike, and a memorable experience for all. Crucialfest aims to heat up the local rock/metal scene & the touring environment for Utah bands by putting them on the stage with internationally recognized bands. It revitalizes the local scene with reunion sets from some of Salt Lake’s most influential bands. Info and tickets at: www.crucialfest.com

Confirmed Lineup:
Russian Circles, Form of Rocket, The New Transit Direction, Ether, Helms Alee, SubRosa, Wizard Rifle, Mos Generator, Theories, Gaytheist, INVDRS, The Drip, InAeona, Immortal Bird, Ape Machine, Greg Bennick, CHRCH, Colombian Necktie, Baby Gurl, Elephant Rifle, Heartless Breakers, Fuzz Evil, Mammoth Salmon, Throes, Oxcross, Worst Friends, Mercy Ties, Muscle Beach, Sol, Bereft, Die Off, Handicapitalist, Thunderfist, I Buried The Box with your Name, MKNG FK, Donner Party House, Discoid A, Exes, Moon of Delirium, Turbo Chugg, Cicadas, Wulf Blitzer, Yeti Warlord, Former Tides, The Future of the Ghost, Scary Uncle Steve, Turtle Neck Wedding Dress, Cactus Pharm

bit.ly/1QLqLPN
https://www.facebook.com/crucialfest/
https://www.facebook.com/events/1542572209373510/
Crucialfest.com

Russian Circles, Memorial (2013)

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