Posted in Whathaveyou on December 5th, 2017 by JJ Koczan
If there was any doubt that Sacramento megadoomers CHRCH made an impression with their 2015 Battleground Records debut album, Unanswered Hymns (review here), that might’ve been leftover after they hit the road last year in Europe and played Roadburn 2016 (review here) before returning to the US for Crucialfest and just about everywhere else with enough structural integrity to handle their voluminous and atmospheric smothering, let it be dispelled by the fact that they’ve been picked up by Neurot. Got that endorsement from Neurosis. By my estimation there are few that carry even a tenth of that much weight.
CHRCH will release their second album, Light Will Consume us All, this coming Spring via Neurot Recordings. I know I’ve said this before, but this band is the real fucking deal. Onto the most-anticipated-of-2018 list they go. Seems fair to expect that no matter what else comes out, this will be one of the heaviest releases next year has to offer.
From the PR wire:
CHRCH: Sacramento Doom Quintet Joins Neurot Recordings; Band To Release Second Full-Length This Spring
Sacramento, California based doom quintet CHRCH has joined the Neurot Recordings family for the release of their forthcoming full-length, Light Will Consume Us All, slated to drop this spring.
Comments the band: “We are very excited to be working with Neurot for our next record. To be able to share the continuation of our narrative with the world through them is thrilling. Neurosis is the apex of integrity in music to us and it’s an honor to work with like-minded individuals for this release.”
Standing at a crossroads of light and dark, CHRCH wields epic, lengthy songs, massive low end, and an occult vocal presence in a perfect blend of height and depth. CHRCH has been hard at work crafting their particular sound since late 2013. There is no image or campy gimmick to uphold, only the humble glorification of their fundamental musical elements.
This purity and honesty comes across in a striking manner on the band’s debut Unanswered Hymns (Battleground Records, 2015), a sprawling roller coaster of an album. Long form songs build and heedlessly dismantle as the band reaches sonic heights and beautiful plateaus. Severe, sometimes unrelenting, vocals contrast melodic singing; massive fuzz gives way to clean guitar parts. Recorded, mixed, and mastered by Patrick Hills at Earthtone Studios in Rocklin, California, it exudes a warm, organic tone that draws the listener in with a sound influenced by traditional doom, psych rock, drone, and ambience.
CHRCH teamed up with Fister to release a split 12″ via Battleground Records/Crown And Thorne LTD, earlier this year. Their track, “Temples,” displays the increasing subtlety and intensity of CHRCH’s songwriting. Intricate melodies and composition build on the band’s thunderous drums, strong vocals, and gargantuan riffs.
The band’s second full length, the impending Light Will Consume Us All,carries with it the same quality of songwriting that caught the attention of fans worldwide on their debut. Building upon this unyielding foundation, Light Will Consume Us All continues CHRCH’s narrative, traversing life’s epic journey of loss, reclamation and, ultimately, finding hope within the darkness.
Minimalist, indulgent, or straightforward; the music of CHRCH calls the listener to inhabit it, allowing enough room for its transmutation into anything one desires of it.
Stand by for further info on Light Will Consume Us All to be announced in the weeks to come.
CHRCH is: Eva Rose – vocals Chris Lemos – guitar, vocals Ben Cathcart – bass Adam Jennings – drums Karl Cordtz – guitar, vocals
Posted in Whathaveyou on March 8th, 2016 by JJ Koczan
Both Behold! the Monolith and CHRCH were announced for Roadburn 2016 back in November, but they’ve solidified a full round of European dates leading up to and through that fest that begins March 20 in Italy and includes stops at other fests like Tube Cult, Impetus and Doom over Leipzig as well. Each band is out supporting a 2015 release — in the case of Behold! the Monolith, it’s last fall’s Architects of the Void (review here), and for CHRCH, it’s their wildly well received debut, Unanswered Hymns (review here), initially self-released and then pressed to vinyl by Battleground Records.
The shows? They’ll be very, very heavy, and they’re part of a round of fests that the bands will play in the months to come. Behold! the Monolith and CHRCH will also feature together at Psycho Las Vegas in August, and CHRCH will also be at Crucial Fest 6 and Southwest Terror Fest later this year. Not too bad.
Dates for the European tour follow here, as well as both bands’ album streams:
Behold! The Monolith and CHRCH European Tour 2016
In case we haven’t mentioned it, Behold! The Monolith will be touring Europe very soon with CHRCH! Hope to see as many of you as possible out there! Here are the dates:
30-3 – Horizon Club – Bolzano – Italy 31-3 – Shai Hulud – Carpi Modena 01-4 – Tube Cult Fest – Pescara – Italy 02-4 – Circolo La Mesa – Montecchio Maggiore – Italy 03-4 – Les Pavillons Sauvages – Toulouse – France 04-4 – Glazart – Paris – France 05-4 – La Scène Michelet – Nantes – France 06-4 – Hipster Café – Rouen – France 07-4 – The Pit’s – Kortrijk – Belgium 08-4 – AZ Wuppertal – Wuppertal – Germany 09-4 – Impetus Festival – Lausanna – Switzerland 10-4 – AVAILABLE 11-4 – venue TBA – Berlin – Germany 12-4 – Magasin4 – Brussels – Belgium 13-4 – Antwerp Music City – Antwerp – Belgium 14-4 – Roadburn – Tilburg – The Netherlands 15-4 – Innocent – Hengelo – The Netherlands 16-4 – Doom Over Leipzig – Leipzig – Germany 17-4 – Hafenklang – Hamburg – Germany
Posted in Whathaveyou on August 24th, 2015 by JJ Koczan
Sacramento five-piece CHRCH — who were Church when they first digitally released their debut album, Unanswered Hymns (review here), back in April — are getting ready to oversee the vinyl issue of that same full-length via Battleground Records. The headline from the PR wire below cuts to the chase with its direct urging toward a preorder, and while I’m usually somewhat shy about engaging directly in telling someone to spend their money, if you take a listen to the stream of the record at the bottom of this post, you might agree a preorder makes some measure of sense. First-pressing appeal aside, the album stomps souls. A band like CHRCH doesn’t come along every day, is all I’m saying. In the end, you have to make up your own mind.
To help in that process, the PR wire:
CHRCH: Preorder Unanswered Hymns On Vinyl Now
Sacramento, California’s fresh-faced psychedelic outfit CHRCH crushed their way onto the scene with their stunning debut cassette Unanswered Hymns to overwhelmingly positive response back in April, enchanting even metal’s toughest critics and bringing crowds to their knees all over the west coast.
The group signed to Battleground Records to release the vinyl version of the debut on September 18. We are proud to announce that for the first time, the LP is available for preorder. Better grab it quick–this one’s not going to last long.
The old and oft quoted adage about “the music speaking for itself” is not a callous or casual statement when applied to the Sacramento, California based doom quintet CHRCH, who have been hard at work crafting their particular brew of sound since late 2013. There is no image or campy gimmick to uphold, only the humble continuation and glorification of those fundamental musical elements that first built and then sustained the genre and it’s offshoots over the course of decades.
This purity and honesty comes across in a striking manner on the band’s debut Unanswered Hymns, a sprawling roller coaster of an album that plumbs the heights and depths of emotion, whether be it sorrow, loss, or redemption. Recorded, mixed, and mastered by Patrick Hills at Earthtone Studios in Rocklin, CA, the recording exudes a warm, organic tone that draws the listener in to music heavily influenced by traditional doom, psych rock, drone, and ambience. CHRCH cannily wields dynamic songwriting, musicianship, and raw power to spin a spellbinding tale of occult darkness that clashes with illuminating melodies and riffs drenched in grimy reverb. Minimalistic, indulgent, or straightforward, the music of CHRCH is simply whatever the listener wants it to be.
CHRCH tour dates: August 29th – Santa Cruz, CA @ Catalyst Atrium w/ Pentagram October 3rd – Record Release show: Sacramento, CA @ Starlite Lounge w/ Special guests November 13th – Long Beach, CA @ The Breakers (Midnite Communion III)
CHRCH is: Eva – Vocals Matt – Drums Shann – Guitar Ben – Bass Chris – Guitar, backing vocals
Posted in Whathaveyou on July 28th, 2015 by JJ Koczan
Church or CHRCH, this band fucking destroys. They could call themselves Donnie and Marie Osmond — though one doubts it would cut back on legal troubles — and they’d still be one of the most potential-filled acts in doom. Their Unanswered Hymns full-length (review here) is set to release on vinyl from Battleground Records Sept. 28 and it’s easily one of the year’s best debuts. Not even a question. They’ve also got tour dates coming up with Primitive Man, which sounds even more devastating. In all seriousness, however you hear them, do it. Don’t miss out. The situation that brought about the change sounds like it was a bummer, but at least the vinyl is still coming.
The PR wire speaks of preferred nomenclature:
CHRCH (Formerly CHURCH): Sacramento, California Doom-Slingers Formally Announce Name Change, Tour Dates
Sacramento, California’s fresh-faced psychedelic doom crew formerly known as CHURCH just crushed their way onto the scene with their stunning debut album Unanswered Hymns to overwhelmingly positive response, enchanting metal’s toughest critics and bringing crowds to their knees all over the west coast. The group signed to Battleground Records to release the vinyl version of the debut on September 28. However, due to a cease and desist sent to the band by a lawyer hired by Australian alternative rock group The Church, the band has opted to avoid further confrontation and drop the vowel, simply continuing on as CHRCH. Aside from the name change, the vinyl release and tour dates will proceed as planned.
Official statement from the band:
“Due to the fact that defending the claim of ‘willful infringement’ and ‘unfair competition’ is lengthy and expensive, we are now CHRCH. The bourgeoise system of ownership demands that knowledge and culture be rationed by the ability to pay. We thank everyone for their overwhelming support thus far. We are approaching our dates with Primitive Man and Northless August 13th-17th and we open for Pentagram in Santa Cruz on August 29th. In darkness, CHRCH.”
Official statement from Battleground Records:
“The band having to change their name due to a legal technicality is just that, a technicality. Underground artists like CHRCH and small labels like ours just don’t have the resources to get into legal squabbles over such matters. Regardless of the name, what truly matters is that we’re helping to release a great record from a great band that people out there want to get a hold of. We’ve simply got to keep moving forward. Many thanks to everyone who supports the label and the bands we work with. -BR”
See CHRCH live:
Aug 13th – San Francisco, CA @ Hemlock w/ Primitive Man, Northless, Church Abstracter August 14th – Oakland, CA @ The Metro (Deadfest) August 16th – Sacramento, CA @ Starlite Lounge w/ Primitive Man and Northless August 17th – Chico, CA @ 1078 Gallery w/ Primitive Man, Northless, Amarok, Vexed August 29th – Santa Cruz, CA @ Catalyst Atrium w/ Pentagram October 3rd – Record Release show: Sacramento, CA @ Starlite Lounge w/ Special guests November 13th – Long Beach, CA @ The Breakers (Midnite Communion III)
CHRCH is: Eva – Vocals Matt – Drums Shann – Guitar Ben – Bass Chris – Guitar, backing vocals
Day one down and feeling good so far. Day two continues the thread of mixing more known quantities with bands either self-releasing or putting out demos, etc., and I like that. More than last time around — last quarter, if you want to use the business-y sounding language for it — I tried to really get a balance across this batch of reviews, posted yesterday and coming up over the next couple days. We’ll see how it works out when it’s over. It remains a ton of stuff, and I hope you dig it. Day two starts right now.
Quarterly review #11-20:
Horsehunter, Caged in Flesh
Pushing their way to the fore of Melbourne’s heavy surge, double-guitar four-piece Horsehunter proffer oppressive tonal crush on the four tracks of their 2LP Magnetic Eye Records debut, Caged in Flesh. The story goes that, unsatisfied the initial recordings weren’t heavy enough, the band – guitarists Michael Harutyanyan (also vocals) and Dan McDonald, bassist/vocalist Himi Stringer and drummer Nick Cron – went back into the studio and redid the entire thing. Mission accomplished. By the time 16-minute opener and longest track (immediate points) “Stoned to Death” is done, lungs are suitably deflated, spines are cracked, skulls cleaved, and so on. They’re hardly the only ones in the world to conjure formidable tonal heft, but it’s the deft changes in vocals – clean here, shouts there, more abrasive at the start of the title-track – and the sense of atmosphere in the three-minute penultimate interlude that really distinguish Horsehunter, as well as how smoothly that atmosphere integrates with the pummel in the second half of closer “Witchery,” attention to detail and awareness of the need for more than just sonic weight boding well for future progression.
A staggeringly heavy debut full-length from Sacramento, CA, five-piece Church, Unanswered Hymns was initially released digitally by the band and quickly picked up for a cassette issue by Transylvanian Tapes and forthcoming LP through Battleground Records. One gets the sense listening to the three extended tracks – 19-minute opener “Dawning” being the longest of the bunch (immediate points) – that those won’t be the last versions to come. Psychedelic doom blends seamlessly with vicious sludge extremity, creating a morass engulfing in its tones, spacious in its breadth and unrepentantly heavy, making it one of 2015’s best debut releases, hands down, and a glorious revelry in bleak tectonics that challenges the listener to match its level of melancholy without giving into an impulse for post-Pallbearer emotive theatrics. As thrilling as they are plodding, expect the echoes of “Dawning,” “Stargazer” and “Offering” to resonate for some time to come, and should Church show any predilection for touring in the next couple years, they have the potential to make a genuine impact on American doom. Yes, I mean it.
Recorded in a day and released by Grimoire Records, the four-track Without Form is slated as the debut from Baltimore atmospheric doomers Corpse Light, but the band have had tracks come out in drips and drabs since getting their start as Ophidian in mid-2012, even if this is their first proper release. Either way, “The Fool” sets up an immediate and grim ambience, the churning lurch from guitarists Keiran Holmes and Don Selner and bassist Aurora Raiten set to roll by Lawrence Grimes (The Osedax) and given earthy aggression by the vocals of Jim Webb. “Lying in State” fleshes out these morose aggro vibes, but it’s with the drop-everything-and-kill peak of the subsequent “R Complex” that Corpse Light hit their angriest mark. If Without Form was just about that, it would be the highlight, but the album’s 29 minutes have more to offer than pissed off tonally-weighted post-hardcore, as closer “Kenophobia”’s clever turns and deceptive forward momentum demonstrate, though a touch of that kind of thing never hurts either.
Heavy psych four-piece Sunder will make their debut this summer through Tee Pee and Crusher Records with a 7” for “Cursed Wolf,” so consider this notice of the tracks on their not-for-public-consumption demo a heads up on things to come. Their “Deadly Flower” was streamed here this past April, and the band’s previous incarnation, The Socks, released their self-titled debut (review here) on Small Stone in 2014, but with songs like the key-laced stomper “Bleeding Trees,” the ‘70s rusher “Against the Grain,” and the Uncle Acid-style swinging “Daughter of the Snows,” the Lyon, France, outfit continue to refine a style drawing together different vibes of the psychedelic era. “Deadly Flower” was also distinguished by its key work, and as for “Cursed Wolf” itself, the melody reminds of proto-psych Beatles singles (thinking “Rain” specifically), but the groove still holds firm to a sense of weight that’s thoroughly modern, and by that I mean it sounds like 1972. Keep an eye out.
Granted not everyone is going to make this immediate association, but when I first saw the moniker T-Tops, I couldn’t help think of like C-grade generic stonerisms, songs about beer and pretending to be from the South and all that. If you experienced something similar in seeing the name, rest easy. The Pittsburgh trio of guitarist/vocalist Pat Waters (ex-The Fitt, Wormrigg), bassist Jason Orr (Wormrigg) and drummer Jason Jouver (ex-Don Caballero) are down with far more sinister punk and noise on their self-titled, self-released debut full-length, riding, shooting straight and speaking truth on cuts like “Wipe Down” and the catchy “Pretty on a Girl” after the tense sampling of “A Certain Cordial Exhilaration” turns over the power-push to “Cruisin’ for a Bruisin’.” “Ralphie” is probably an inside-joke if not a Christmas Story reference, but point is these guys are way less about-to-sing-about-muscle-cars than the name implies and their tight, crisp rhythmic turns come accompanied by vicious tonal force and an utter lack of bullshit, which is a scenario far preferable to that which one might otherwise expect.
Issued by Aqulamb in the imprint’s standard 100-page art book/download format, the self-titled debut from fellow Brooklynites The Space Merchants seeks to draw a line between psychedelic rock and country. And not pretend country like people with a Johnny Cash fetish because he covered that Nine Inch Nails song one time – actual, bright, pastoral, classic country. Call the results psychtwang and applaud the effort, which works oddly well in a thoroughly vintage context to come across on “Mainline the Sun” like something from a lost ‘60s variety show. Parts of “One Cut Like the Moon” and the later fuzz of “One Thousand Years of Boredom” give away their modernity, but The Space Merchants’ push toward a stylistic niche suits them well, and the intertwined vocal arrangements from guitarist Michael Guggino, bassist Aileen Brophy and keyboardist Ani Monteleone – Carter Logan drums to round out the four-piece – add to the rich, welcoming feel that remains prevalent even as the eight-minute “Where’s the Rest of Life” slips into wah-soaked noise to finish out.
The undercurrent of black metal coursing beneath the surface of Etiolated’s debut full-length, Grey Limbs, Grey Skies, eventually comes to the surface in 10-minute opener “Internal Abyss” and 16-minute eponymous closer, which bookends, but in part it’s the tension of waiting for those rampaging surges that keeps one hooked to the Armus Productions release. Guttural death growls echo up from dense tonal reaches, and tempo shifts, whether in those longer tracks or three-minute lumbering slice “Futility” are fluid, the North Carolina five-piece executing a slow-grinding chug in centerpiece “Exsanguinate,” which seems like a murk without end until the 1:47 “For Your Hell” kicks into a speedier, more blackened rush, guest vocalist Ryan McCarthy joining guitarist/vocalists James Storelli and Walls, bassist Cody Rogers and drummer Elliot Thompson in furthering the already prevalent sense of extremism before “Etiolated,” after a surprisingly peaceful if brooding midsection, plods the album to a close. To say “not for the faint of heart” would be putting it lightly, but if I had a vest and if Etiolated had patches, the two parties would definitely meet up at some point in the near future.
It has not taken long for the discography of UK psych jammers Blown Out to become a populated murky cosmos of its own. Planetary Engineering is released on Oaken Palace Records and finds the three-piece of guitarist Mike Vest (also Bong, etc.), bassist John-Michael Hedley (also Pigs Pigs Pigs Pigs Pigs Pigs Pigs) and drummer Matt Baty (also the head of Box Records) exploring two mesmeric and sprawling instrumentals – one per side – that bend and flourish and hypnotize in organically-concocted swirl. Side A’s “Transcending Deep Infinity” tops 20 minutes and shifts from its spacey build to a low key groove at about 7:30 in, pulsing forward once more amid head-turning repetition, deep echoes and longform nod, culminating in a two-minute fadeout that brings forward “Thousand Years in the Sunshine,” an immediate bass groove and interstellar swirl no less trance-inducing than its predecessor. Cyclical drum fills morph over time behind the guitar and bass, and Planetary Engineering seems to push continually further out until, of course, it disintegrates, presumably as it crosses the galactic barrier.
I was fortunate enough to have been in attendance at Het Patronaat in Tilburg when French post-black metallers Les Discrets took the stage at Roadburn 2013. As such, it’s with some trepidation I approach their Live at Roadburn recording on Prophecy Productions – the impression they made live wasn’t something I’d want potentially spoiled or brought to earth by a document proving it was just another set. With Neige of Alcest on bass with guitarist/vocalist Fursy Teyssier, Les Discrets proved to be something really special to those who, like me, were there to catch them, and the eight-track Live at Roadburn – fortunately – captures both the majestic lushness they brought with them and the underlying weight that seemed to add impact to the material. What might sound like post-production mixing on “L’Echappée” or the wash of “Chanson D’Automne” isn’t – it really was that beautiful and that perfectly balanced coming from the stage. A vastly underrated act and a document that reminds of how stellar they were without sullying the memory in the slightest.
Brooklynite foursome Beast Modulus seem to care less about meshing with ideas of genre than sticking them in a meatgrinder and seeing what comes out. To wit the riotous chugging of “Cowboy Caligula,” and the blackened thrust of “WaSaBi!” on their self-released, self-titled outing, which leads to dueling growls and screams on the tonally weighted post-hardcore “Fabulous,” and the appropriately mathy turns of the thrashing “Tyranny of Numbers.” Inventive in their stylizations and in where the six songs included on the release actually go – hint: they go to “heavy” – the lineup of vocalist Kurt Applegate, guitarist Owen Burley, bassist Jesse Adelson and drummer Jody Smith have some post-Dillinger Escape Plan vibe in the calculated chaos of “Kalashnikov,” but closer “Killing Champion” is too impatient to even be held by that, the prevailing manic angularity of Beast Modulus ultimately crafting its own identity from the physical assault the music seems intent on perpetrating upon the listener.
The Texas Cannonball, bluesman Freddie King included “Going Down” on his Leon Russell-produced 1971 album, Getting Ready, and it’s a smokin’ number with of course King‘s stellar guitar work and a post-Howlin’ Wolf and Muddy Waters meld of blues and heavy rock and roll. The song was written by Don Nix and is identifiable early by its repeating “down, down, down, down” hook and accompanying instrumental descent, and King is somewhat malleable to its sliding groove — less than a decade earlier, he’d touched on surf and bossa nova on separate albums, so maybe malleability wasn’t a problem for him. The song’s been covered plenty of times over the years, and even Ritchie Blackmore’s Rainbow touched on that hook with “Self Portrait” from their first album, but King‘s version remains the definitive.
We don’t get to see the entirety of the jam Wino plays off it, but a glimpse is better than nothing. The show was April 18, 2015, at Ace of Spades in Sacramento, California, and Wino was there solo, supporting Black Label Society. He has a bassist onstage with him, and one who matches him for quick turns in the solo, which makes it all the more exciting, but I’m not sure who it actually is. Either way, we get to hear some of Wino‘s “unplugged” fuzz, which is a pretty delicate balance for a hollow instrument to strike without going all to hell in noise and a mess of feedback. Not exactly Wino‘s first time at the dance, so it’s not a surprise he’d nail it, but ultimately all this video does is make me hope that sooner or later he comes back to the eastern seaboard and that “Going Down” makes its way into the set, because I wouldn’t mind seeing the whole thing for myself if given the chance.
Hope you enjoy, ignore the whistling goon and have a great Wino Wednesday:
Wino, “Going Down” live in Sacramento, CA, April 18, 2015
Posted in Whathaveyou on June 9th, 2014 by JJ Koczan
West Coast blackened sludge metallers Bog Oak have inked a deal to release their debut 10″ and subsequent LP on Svart Records. The four-piece will have the EP out this fall and an album in winter if all goes to plan. The cold season seems appropriate for their frosty, cultish sludge, vocalist Julie Seymour switching on the demo track “A Shepard’s Teeth for a Winter’s Coat” between throaty black metal screaming and more groove-riding clean singing. That cut, which you can hear and download below, winds up catchier than you might think at first, and if the undulating central riff gets stuck in your head as you make your way through, at least know that you’re not the first.
More to come on Bog Oak I’m sure, but for your preliminaries, the PR wire:
BOG OAK sign with SVART RECORDS, prepare label debut
SVART RECORDS announces the signing of California’s BOG OAK. The band’s debut SVART release will be a limited 10″/mini-CD in the autumn, with a full-length album later in the winter of 2015.
BOG OAK formed in October 2013 around the core of Phillip Gallagher and Matthew Woods Wilhoit, who both lived in the Sacramento area. They met when Gallagher answered an ad placed by Wilhoit looking for someone to jam with. The pair bonded over their mutual love of heavy metal, tube amplifiers, and occult philosophy, writing the songs “A Shepard’s Teeth for a Winter’s Coat” and “Dragger” during their first jam session with Gallagher on drums and Wilhoit on guitar.
After recording these songs at Earth Tone Studios in Rocklin, California, with session bassist Robert Lander, the pair decided to shop their demo around and place an ad for a vocalist. Julie Seymour responded, and got the job after one audition: Gallagher and Wilhoit were impressed with her ability to switch back and forth between black metal screams and ethereal clean singing.
After a few rehearsals, Gallagher, Wilhoit, and Seymour entered Earth Tone Studios to add vocals to the first two songs and record two new songs, “Behold, The Valley Of Slaughter” and “Experiments In Extinction” with Gallagher and Wilhoit sharing bass duties. To achieve a fuller live sound and to expand the harmonic possibility within BOG OAK, Gallagher switched from drums to baritone guitar after recruiting drummer and longtime friend Steven Campbell. Wilhoit recruited longtime friend DBC to act as bassist for live performances.
Conceptually, BOG OAK embrace all things occult, pulling inspiration from a wide range of esoteric ideas like those of Heinrich Cornelius Agrippa, Aleister Crowley, and Laveyan Satanism, to the ideas of more extremist occult groups like the O9A and the Temple Of Black Light, into the more mystical concepts of Pythagoras, the metaphysics of Mulla Sadra, Suhrawardi’s philosophy of illumination, and the alchemy of Al-Ghazali.
Posted in Bootleg Theater on October 26th, 2012 by JJ Koczan
Somebody’s gotta be with me on this one. I know it’s been a long time, and when they came back in the middle part of the last decade, they hit the jam-band circuit pretty hard, but especially when they first got going, and even up to 1999’s Antipop, uneven though it was, Primus could be pretty heavy when they wanted to be. They always jammed, and I guess Les Claypool decided he wanted to focus on that side of it, but even a song like “Frizzle Fry” in the video above — shot in Sacramento in 1989 — which was more of a psychedelic groover, has a real plod. They were never metal, and I think a lot of people wanted them to be, much to their chagrin, but they were heavy.
I’ve been on a day-long Primus kick since hearing Reign of Zaius play that “Wynona’s Big Brown Beaver” riff last night, and Yakuza reminded me of Primus earlier this week as well in that Beyulalbum review — Eggnogg‘s funky affinity has some of that to it too, and I’ve been grooving on their LouisEP a lot lately, and plus I put Primus on the cover of TheAquarian a couple weeks ago — so in any case, I was due a session with the bass-led trio. They were a band who hit at just the right time for me, and I can’t say that about a lot of bands. I was 10 when Sailing the Seas of Cheese landed, and I’ve always had an affection for them, channeling or at least wishing I could channel my awkwardness into the delight for being weird they seemed to advocate with everything they did. Pork Sodahasn’t held up as well, but it blew my mind at the time. I got a copy of last year’s Green Naugahyde but never really dug into it. Seems they’ve got Jay Lane from Sausage in the lineup now on drums with Claypool and guitarist Larry LaLonde. Fair enough.
Last time I saw them was when they came through doing all of Frizzle Fry— which they do a good portion of in the video above — and it was a little more on the jammy side than I was looking for. I get into that stuff sometimes, but you can cross a line and you end up losing the original dynamic of the song. If the song is a jam, that’s one thing, but to add a seven-minute solo in what used to be a 15-second bridge — well, you get the point. Anyway, I hope you dig the video even if you don’t watch the whole hour or you put it on and do something else. It won’t be everyone’s cup of tea, but Primus is like macaroni and cheese for me. Comfort food.
And apparently I could use it. I didn’t mean for that live review to be quite so glum. I was trying to play up the spiritually healing power of fuzz and got lost in some of the gallows humor, but I can see where you might read that and either wonder what the fuck is up with this guy or be turned off entirely. Whatever, it is what it is and the grammar’s right so far as I know, so I’m not changing it. No regrets, and so forth.
Much to come next week, so stick around. Monday I’ve got more Scion Rock Fest footage going up first thing — or maybe second thing, but early either way — and a track premiere from Norwegian prog classicists Tusmørke, and that’ll be fun. Reviews are forthcoming for Blue Aside, Drug Honkey and Seven Planets as well, among others. I was all set to see Hour of 13 tonight, but I got the heads up that the show’s canceled, so there goes that. Nonetheless, I’ve got interviews in the can (heh) from Curse the Son and Alunah, so I’ll have those up throughout the week, a brand new column from none other than Ben Hogg, and a bunch of other stuff that I either don’t know about yet or can’t remember. It’ll be good times.
Speaking of, I don’t know if you’ve been on the forum this week, but it’s a hoot. I’ve been kind of in and out (heh) as time has permitted, but if you get a minute and feel like lurking or posting a goofy picture of some hairy armpits, it’s all good fun.
Alright y’all. Have a great and safe weekend. Catch you on the aforementioned forum and back here Monday.
