Review & Full Album Stream: Greenbeard, Lödarödböl

Posted in audiObelisk, Reviews on June 23rd, 2017 by JJ Koczan

greenbeard lodarodbol

[Click play above to stream Greenbeard’s Lödarödböl in its entirety. Album is out July 1 via Sailor Records.]

One might have to stare a couple extra seconds at the title Lödarödböl before putting the proper long ‘o’ sounds where they should be, but once that’s deciphered, a good portion of Greenbeard‘s intent is revealed. The Austin, Texas-based three-piece of guitarist/vocalist Chance Parker, bassist Dan Alvarez and drummer Buddy Hachar follow-up their 2015 debut, Stoned at the Throne (discussed here), with six tracks of correspondingly weedian craftsmanship that balances straightforward hooks with jammier impulses in clear but fluid divide. That is, in listening, one looks at a song like the eight-minute “Lanesplitter” and can probably guess that Greenbeard are about to stretch out a bit, but the trio do well to tie their pieces together, whether it’s that song leading out of aptly-named opener “Swing” or into the driving “Young Concussion.”

All told, Lödarödböl comprises six tracks pulled off over a pretense-free 35 vinyl-ready minutes, and there isn’t a weak one in the batch. With subtle shifts in tone brought to bear through a production/mix job by Matt Bayles (Isis, Mastodon, so many others) — who also adds synth to “Swing,” “Lanesplitter” and 10-minute closer “Wyrm” — a few guest vocal appearances and variety of structure, Greenbeard keep a consistent groove from song to song while playing a kind of back and forth between shorter and longer-winded stretches. Momentum is built and well maintained, and ultimately, Lödarödböl succeeds in casting an amiable interpretation of modern stoner heavy: informed but not solely indebted to the likes of Kyuss and Queens of the Stone Age, and jammed out in all the right places.

With their road bowl loaded, Greenbeard set themselves in immediate motion with the introductory riff of “Swing,” calling to mind a fuzzier take on earlier Red Fang in their chug and straightforward, uptempo push. Even the verse is catchy, and the chorus itself is the first of several deceptively ear-worming melodies that Lödarödböl offers, but it’s also telling and somewhat foreshadowing that “Swing” moves into its second half with the aforementioned keys from Bayles and a more laid back, languid, semi-psychedelic spaciousness added on top of that initial core chug. That tension is essential to what makes Lödarödböl function, and to have it play out directly prior to the fadeout of the album opener shows consciousness on the part of the band in terms of informing their audience of their intent throughout. Was that what they had in mind when they wrote the song? Probably not, but it’s a crucial function “Swing” plays anyway, and likewise the transition into the nodding “Lanesplitter” is smooth enough that there’s no jarring moment where one track ends and the next one starts.

greenbeard

Parker‘s vocals about a minute in remind of Chris Goss in Masters of Reality in how they top the bounce, but “Lanesplitter” is headed outward, and after a little more than three minutes, the track crashes out to a just-guitar progression as the founding element of the likely-plotted jam that will carry through the rest of its eight-minute runtime, some righteous half-time drumming from Hachar and Bayles‘ organ work setting up a guitar solo while Alvarez holds the proceedings together on bass so that as they move into the more-improv-sounding next stage of the jam and build toward the crashing apex, the sense of motion remains prevalent. That turns out to be pivotal as Greenbeard shift method again into the shorter and more structured “Young Concussion,” rounding out the album’s first half with a strong hook that speaks to the Songs for the Deaf influence, stops to make room for a bit of rock-gasm, and ably returns to its chorus to finish.

Lest they be accused of not being stoned enough, ParkerAlvarez and Hachar start side B with “Battleweed.” Like “Swing” at the outset, there’s a certain amount of blending impulses in the five-minute-plus second-half leadoff, but “Battleweed” functions doubly in reinforcing not only the two different sides of Lödarödböl, but how readily Greenbeard are able to unite them into a functioning singular presentation. There may be a certain tongue-in-cheek aspect to the lyrics, but with its turn into and subsequently out of midsection boogie and casual rhythm, it’s a highlight all the same, and it comes backed by the “Love has Passed by Me,” the penultimate cut and shortest at 3:33. A sans-frills swing-and-hook masher, it thick-shuffles through its verse en route to the maybe-Kyuss referential chorus (though that was “…Passed Me By,” not “…Passed by Me” as it is here) and holds its pace for the duration, playing effectively into the bass-thickened start of “Wyrm.”

The final portion of Lödarödböl earns its extended stretch-out with a patient opening and loosely hypnotic flow, a particularly impressive vocal from Parker when the vocals arrive and a break at the halfway mark into an abbreviated crescendo. This makes for an especially welcome ending, because rather than build and jam their way out, Greenbeard actually turn back to the chorus and the central progression of “Wyrm” and ride that to the album’s end, working in defiance of expectation and easing the listener back to reality with a return from Bayles on keys and a last churning hum. In some ways, Lödarödböl is a quintessential second full-length. It clearly has learned from its predecessor, and it demonstrates mindful growth on the part of Greenbeard without giving the sense that they’ve finished the process of becoming who they’ll be as a band. That’s a convenient narrative, but they play well to it, and their preaching should have no trouble finding welcome among the ears of the already converted or those looking to be.

Greenbeard on Thee Facebooks

Greenbeard on Bandcamp

Greenbeard on Instagram

Greenbeard website

Sailor Records on Bandcamp

Sailor Records on Thee Facebooks

Sailor Records webstore

Tags: , , , , ,

Six Dumb Questions with Abrams

Posted in Six Dumb Questions on June 16th, 2017 by JJ Koczan

abrams (photo chanelle leslie)

Denver progressive heavy rockers Abrams released their second album, Morning, exactly one week ago via Sailor Records, and immediately set about hitting the road to support it on a three-week West Coast tour. The remaining dates are below, and like what the trio have done with the videos for “Worlds Away” (posted here) and “Burned” (posted here), and even more than their 2015 debut, Lust. Love. Loss. (review here), the new collection seeks to capture the energy that Abrams bring to the stage. Recorded by Andy Patterson (SubRosa, Iota, etc.) and Dave Otero (Cephalic Carnage, Khemmis, etc.), Morning brims with sonic clarity, and balanced with a blistering performance from the three-piece, it not only emphasizes the development they’ve undertaken since getting together, but the varied approach to songwriting that’s been honed as a part of that.

One can readily hear progression in the vocals and the arrangements between bassist Taylor Iversen and guitarist Zachary Amster, who over the propulsive drumming of Geoffrey Cotton bring even more momentum as they trade back and forth in the lead role between tracks like “Rivers” and “Can’t Sleep,” shifting back and forth amid cleaner choruses and echoing shouts. Abrams credit this largely to working with Otero on vocal recording, and it’s an element they share with early-ish Mastodon that comes through more at some points than others, side B’s “Die in Love” taking this core influence and adding an edge of noise rock amid the winding riffery. Along with the clearheaded, crisp punch of the Patterson-tracked instrumentation, this is one more example of the underlying sense of purpose that drives every move Abrams make on Morning.

There isn’t a part that doesn’t serve the greater whole, or a change that doesn’t feed into making a given song better, and while I wouldn’t say they completely avoid indulgences — no one does in this style — Morning works fluidly to justify every turn it presents, and Abrams emerge from the atmospheric closing title-track having reached a new level in craft and delivery.

They’ve been on the road since June 9. Here are the remaining tour dates:

Abrams on tour:
Jun 16 – San Jose, CA @ The Caravan
Jun 17 – Santa Cruz, CA @ Caffe Pergolesi
Jun 18 – Sacramento, CA @ Starlite Lounge
Jun 19 – Reno, NV @ Shea’s Tavern
Jun 20 – Medford, OR @ Johnny B’s Tavern
Jun 21 – Eugene, OR @ Old Nick’s Pub
Jun 22 – Portland, OR @ The Kenton Club
Jun 23 – Seattle, WA @ Lo-Fi Performance Gallery
Jun 24 – Boise, ID @ The Shredder
Jun 25 – Salt Lake City, UT @ Club X
Jun 26 – Cheyenne, WY @ Ernie November
Jun 27 – Rapid City, SD @ West Dakota Improv
Jun 28 – Minneapolis, MN @ Triple Rock Social Club
Jun 29 – Chicago, IL @ Reggies
Jun 30 – Des Moines, IA @ The Fremont
Jul 1 – Denver, CO @ The Hi Dive

Iversen took time out to explain the band’s motives and writing methods. Please enjoy the following Six Dumb Questions:

abrams morning

Six Dumb Questions with Abrams

What lessons were you able to take from the first album? Tell me about incorporating them into these songs. What did you want to build on from the debut and what did you want to do differently?

Well, we wrote about 50 percent of Lust. Love. Loss. in three weeks’ time after a substantial but amicable personnel change, essentially on the eve of our 2014 West Coast tour. So with Morning, we really wanted to take our time with it. In a way, we’ve been writing Morning, since July of 2015, when the first songs began to take shape. We all entered into the writing process with the desire to create a more dynamic album.

We wanted to be less furious and driving from start to finish, and kind of take people on an emotional journey, though that sounds cliché as fuck. Still, you will notice many more “quieter” passages on Morning, and there is a much wider range to our vocal approach. Vocals were one of the things we wanted to improve upon most. We’re actually, you know, singing.

Talk about the writing process for Morning. How do songs like “18 Weeks” and “Can’t Sleep” come about?

When we wrote the songs, the actual instrumentation, I don’t think we consciously had any idea what we would be singing about. Everything kind of developed naturally in that way. Zach brings in most of the riffs, but we all then work together to make these ideas adhere into an Abrams song. Vocally, Zach and I just shouted nothings for a while. Slowly these nothings coalesced into words and passages that we found dealt with a lot of the same things.

For instance: I went through something like two breakups during the writing of this record, Zach had just gone through a difficult and prolonged breakup of his own, and to top it all off, Geoff‘s mother had just died. We were in a really odd place mentally. Songs like “Can’t Sleep” and “At the End” highlight a lot of that. All of these interpersonal relationships and the pain they caused are lyrically peppered throughout the album. “18 Weeks” is about an experience I had being dragged along by somebody I thought I loved, only to find out 18 weeks later they did not share these feelings. That’s also why, “I can’t sleep in this silence.” What’s beautiful though is I think each of us have our own interpretation of what each song represents. We really needed each other when we wrote this record. We needed these songs. So we made them.

You’ve mentioned duality as a theme for the album, and that “Morning” and “Mourning” are meant to complement each other because of the titles. Expand on that. What are you saying about duality, and what drove you to explore the idea in the first place?

I guess I’m lucky in that I still wake up every morning with a lot of hope for how things are going to go. “I’m going to kick today’s ass.” More often than not though, I lay my head down at the end of the day only to find that it very rightly kicked MY ass. What could have been if I’d just tried harder? Done better? Both songs, “Morning” and “Mourning,” feature that back and forth within them. I forget who mentioned the idea to whom first, but we were very pleased to find that we had all come to the same thematic idea on our own.

So there’s all that emotional turmoil of losing somebody you once shared love with, it’s all over the album. But there’s also these snippets of joy. Life can only be beautiful because it’s so often very painful. So you’ll find in “Rivers” or “Morning” there’s this serenity, this peace, this bright, hopeful liveliness. Yeah there’s a lot of shit about breakups and going insane too, but then for instance, I met somebody right before hopping into the studio and we’re still together. She’s all over the album lyrically too. That’s what it’s all about, you know: Hope vs. Despair. A little bit of good. A little bit of bad.

How does Samantha Muljat’s cover art play into the theme for you?

We presented the idea to Samantha and she just ran with it in a big way. She went searching the woods one morning and found this lonely cabin, not abandoned, but far, far away from anything else. The lonely road leading up past the cabin evokes the thought of a journey. But to where? How far until we get there? The morning light playing through the mist sets such a beautiful scene, but there’s darkness there too. It’s a cold, lonely image, but there’s also warmth and peace throughout.

To me, on the back, the bread represents life, while the fallen leaves scattered around represents death. There is darkness surrounding everything, but at the center of it all there’s the candles casting light throughout.

Tell me about your time recording with Andy Patterson. How long were you in the studio, what was the atmosphere like, and since this was your second time working with him, did you feel more comfortable being more familiar with the process? You also worked with Dave Otero. Who recorded what and how did it all come together?

Recording with Andy for us was like fuckin’ summer camp! We were in the studio with Andy for about a week, and just like last time Andy and his wife Cindi opened their home to us. We’re such good buddies with them, it’s hard not to enjoy every single moment. It’s a full day of rigorous and focused recording in his studio, but we’re so in tune with each other it went slick as butter. As soon as we’re out, we go back to their place and just crush beers, take rips from the bong, make homemade pizzas and watch garbage television. Grey’s Anatomy was last time, and this time it was just dirty-ass reality shows. We all kind of teared up when we were getting ready to leave. It really felt like the last day of summer camp.

Andy recorded all of the instruments, and we laid down some scratch vocal ideas with him as well. We sent that to Dave, and we all ruminated on that from September to October when we entered the studio with him to track the finalized vocals. If Andy was summer camp, Dave was boot camp. The first day he gave us a lowdown just like,”no booze, no smoke, drink lots of water and tea, above all else get a good night sleep.” From there it was a literal nine-to-five job for seven days where our only responsibility was to sing, and sing, and sing. At the end of the day, we’d go home and go right to sleep; absolutely drained and exhausted. But, if anybody can get a good vocal performance out of you, it’s Dave Otero.

He’ll push you harder than you’ve ever been pushed, and he’ll throw in plenty of his own ideas, which are always amazing. That’s precisely why we went to him. We also had Dave do the final mixes and mastering, which he knocked out of the park. That guy is a monster of his craft.

It was great to get two really professional, really talented audio juggernauts like Andy and Dave to lend their ears to what we were trying to do.

I’ve heard Summer tour dates are in the works. Any other plans or closing words you want to mention?

Yeah! We’ll be doing two tours this summer. Three weeks on the West Coast, and two-ish weeks on the East. June and August respectively. In July we have hopes to get demos for our third album, for which we already have a lot of songs. We’re hoping to tour on Morning as much as possible, so there’s been tentative plans to hit the southern half of the country this winter. We’ll see what happens. Maybe we’ll finally find a booking agent, and they’ll put us the fuck to work.

Abrams, Morning (2017)

Abrams on Thee Facebooks

Abrams on Bandcamp

Sailor Records website

Sailor Records on Bandcamp

Sailor Records on Thee Facebooks

Tags: , , , , ,

Abrams Post “Worlds Away” Video; Album out this Week

Posted in Bootleg Theater on June 5th, 2017 by JJ Koczan

abrams

Leading up to the release this Friday of their second album, Morning — also their debut on Sailor Records — Colorado progressive heavy trio Abrams have thus far issued two videos. The first was for “Burned” (posted here), and then there’s the one you’ll find below for “Worlds Away.” Two. One never knows, but I doubt they’ll sneak in a third before the end of this week, and the reason I bring it up is because both video releases have arrived with impeccable timing.

In the case of “Burned,” it was the announcement that the band will hit the road on an extensive West Coast tour starting on — wouldn’t you know it? — the album’s release date. With “Worlds Away,” the occasion is of course the record itself coming out. This matters because it’s emblematic of the way Abrams work overall throughout the 10 included tracks. They are deeply purposeful. Their songwriting functions the same way in how it is measured, thought-out, and crisply executed. Captured on the recording so as to maximize its overall impact, yes, but geared in its intent toward building a momentum that, by no coincidence I’m sure, begins with “Worlds Away” itself.

That’s right. What’s effectively the last step Abrams take before unveiling the album as a whole is posting a video that introduces listeners to how it starts off. Even this would seem to be the result of the precise manner in which they operate, which one can hear too in the balance of turns and drive in “Worlds Away.” Aside from looking like it was filmed on a really nice sunny day — maybe in the morning? — the clip finds the band outside in the open air performing the track in a spacious environment. You might recall that for “Burned,” they were indoors. Once more, one doubts that’s happenstance.

Enjoy “Worlds Away” below. Morning is out on Friday, and the tour starts the same night. Dates and more info follow:

Abrams, “Worlds Away” video

With new album Morning set to be released June 9th, and with a US tour kicking off that same night, Denver trio Abrams drop the brand new music video for its song “Worlds Away,” off Morning.

Look for Abrams on tour all summer. Zach Amster says, “As always, we are excited to head back to the West Coast! Come out and show us a good time. East Coast, see you in August.”

Jun. 9 — Santa Fe, NM @ The Underground
Jun. 10 — Bisbee, AZ @ The Quarry
Jun. 11 — San Diego, CA @ Tower Bar
Jun. 12 — Long Beach, CA @ Blacklight District Lounge
Jun. 13 — Los Angeles, CA @ Five Star Bar
Jun. 14 — Ventura, CA @ The Garage
Jun. 15 — San Francisco, CA @ Hemlock Tavern
Jun. 16 — San Jose, CA @ The Caravan
Jun. 17 — Santa Cruz, CA @ Caffe Pergolesi
Jun. 18 — Sacramento, CA @ Starlite Lounge
Jun. 19 — Reno, NV @ Shea’s Tavern
Jun. 20 — Medford, OR @ Johnny B’s Tavern
Jun. 21 — Eugene, OR @ Old Nick’s Pub
Jun. 22 — Portland, OR @ The Kenton Club
Jun. 23 — Missoula, MT @ Monk’s Bar
Jun. 24 — Billings, MT @ The Railyard
Jun. 25 — Salt Lake City, UT @ Club X
Jun. 26 — Cheyenne, WY @ Ernie November
Jun. 27 — Rapid City, SD @ West Dakota Improv
Jun. 28 — Minneapolis, MN @ Triple Rock Social Club
Jun. 29 — Chicago, IL @ Reggies
Jun. 30 — Des Moines, IA @ The Fremont
Jul. 1 — Denver, CO @ The Hi Dive

Lineup:
Taylor Iversen – bass, vocals
Zachary Amster – guitar, vocals
Geoffrey Cotton – drums

Abrams on Thee Facebooks

Abrams on Bandcamp

Sailor Records website

Sailor Records on Bandcamp

Sailor Records on Thee Facebooks

Tags: , , , , ,

Abrams Post Video for “Burned”; West Coast Tour Announced

Posted in Bootleg Theater on May 5th, 2017 by JJ Koczan

abrams

We’re nearly a month out from the issue date for Abrams‘ second album and Sailor Records debut, Morning, and the Denver-based trio have newly unveiled a video to herald its arrival. I’m not entirely sure where the three-piece of guitarist/vocalist Zach Amster, bassist/vocalist Taylor Iversen and drummer Geoffrey Cotton are driving as they trade back and forth between what looks like a rehearsal space and in-the-van-type shenanigans — maybe to the rehearsal space itself, or the recording studio, or somewhere else in that gorgeous high-desert landscape with the Rocky Mountains behind them — but they look like they’re having a good time, and the song is catchy as all hell, so neither am I inclined to argue.

“Burned” is the name of the track, and it’s the second bit of audio to be released from Morning behind the not-quite-title-track “Mourning” that came with the album announcement. Both cuts acquit the band’s crisp take on progressive and modern heavy well, and if you’re looking to get some representation of the kind of flow Morning has on offer, check out this video first and then go right into the “Mourning,” because it just so happens the appear in that order in the tracklisting. That’s a 10-minute sample of a 43-minute record. Nothing to sneeze at. The video for “Burned” also has the advantage of a dreamy, kinda-sounds-like-SuperMarioWorld guitar-led midsection — at least I’m pretty sure that’s what I’m hearing there; it’s definitely something that was on SNES — and some direct vocal interplay from Iversen and Amster, so all the better to get a sense for where Abrams are coming from this time around.

You can check out the clip for “Burned” via the embed below, followed by more info on Morning from the PR wire and some newly announced tour dates that just came through. Because timing is everything.

Please enjoy:

Abrams, “Burned” official video

Denver, Colorado trio Abrams has revealed the music video for its song “Burned.”

The song appears on Abrams’ sophomore album Morning, to be released June 9th on Sailor Records.

Yearning, driving, and bursting with hooks, the ten songs on Morning summon a soulful version of heavy rock akin to Mastodon, Baroness, and Mark Lanegan. Tracks like “Burned” and the recently-premiered “Mourning” (featuring guest vocals by Phil Pendergast of hometown Denver pals Khemmis) are earth-shakers that veer from bittersweetness to defiance to rage.

Morning was recorded by Andy Patterson (SubRosa, Cult Leader) and Dave Otero (Cobalt, Cattle Decapitation), and was mixed and mastered by Otero.

The cover art and layout are by Samantha Muljat (Earth, Goatsnake).

Look for Abrams on tour all summer. Zach Amster says, “As always, we are excited to head back to the West Coast! Come out and show us a good time. East Coast, see you in August.”

Jun 9 – Santa Fe, NM @ The Underground
Jun 10 – Bisbee, AZ @ The Quarry
Jun 11 – San Diego, CA @ Tower Bar
Jun 12 – Long Beach, CA @ Blacklight District Lounge
Jun 13 – Los Angeles, CA @ Five Star Bar
Jun 14 – Joshua Tree, CA @ Beatnik Lounge
Jun 15 – San Francisco, CA @ Hemlock Tavern
Jun 16 – San Jose, CA @ The Caravan
Jun 17 – Santa Cruz, CA @ Caffe Pergolesi
Jun 18 – Sacramento, CA @ Starlite Lounge
Jun 19 – Reno, NV @ Shea’s Tavern
Jun 20 – Medford, OR @ Johnny B’s Tavern
Jun 21 – Eugene, OR @ Old Nick’s Pub
Jun 22 – Portland, OR @ The Kenton Club
Jun 23 – Seattle, WA @ Lo-Fi Performance Gallery
Jun 24 – Boise, ID @ The Shredder
Jun 25 – Salt Lake City, UT @ Club X
Jun 26 – Cheyenne, WY @ Ernie November
Jun 27 – Rapid City, SD @ West Dakota Improv
Jun 28 – Minneapolis, MN @ Triple Rock Social Club
Jun 29 – Chicago, IL @ Reggies
Jun 30 – Des Moines, IA @ The Fremont
Jul 1 – Denver, CO @ The Hi Dive

Lineup:
Taylor Iversen – bass, vocals
Zachary Amster – guitar, vocals
Geoffrey Cotton – drums

Abrams on Thee Facebooks

Abrams on Bandcamp

Sailor Records website

Sailor Records on Bandcamp

Sailor Records on Thee Facebooks

Tags: , , , , ,

Abrams Release Morning June 9

Posted in Whathaveyou on April 14th, 2017 by JJ Koczan

abrams (photo chanelle leslie)

I can’t really say it’s much of a surprise that Denver, Colorado, three-piece Abrams went back into the studio with Andy Patterson at the helm. Patterson, who also tracked their 2015 debut full-length, Lust. Love. Loss. (review here), and has worked with the likes of SubRosa, Iota, Gaza, Black Sleep of Kali, etc., in one or multiple capacities, produces the forthcoming Morning in league with Dave Otero (whom I’ll forever associate with the stellar presence he brought to Cephalic Carnage), and one can hear in the title-track streaming below that production isn’t a minor factor in the trio’s ultra-clear, crisp and progressive delivery.

Getting a sound like that of Abrams to sound as clean as it does and still be heavy is no easy feat, but “Morning” — which also boasts a guest vocal spot from Khemmis‘ Phil Pendergast — bodes well for the rest of the record to come. One looks forward to digging in.

Cover art by Samantha Muljat, album info and audio follow, all courtesy of the PR wire:

abrams morning

ABRAMS: Khemmis frontman guests on track off Denver trio’s sophomore album “Morning”

Denver, Colorado trio Abrams announces new full-length album Morning, to be released June 9th on Sailor Records.

The sophomore album by Abrams, Morning perfects the sound put forth on the 2015 debut, Lust. Love. Loss. Yearning, driving, and hook-laden, the ten songs on Morning summon a soulful version of heavy rock that dwells in the same mountain range as later Mastodon, Baroness, and Mark Lanegan.

Tracks like “Worlds Away,” “18 Weeks,” “Rivers,” “Burned,” and “Morning” (featuring guest vocals by Phil Pendergast of hometown Denver pals Khemmis) are earth-shakers that veer from bittersweetness to defiance to rage. Guitarist Zachary Amster’s simple leads shine majestically over bassist Taylor Iversen’s fuzz and crunch, and drummer Geoffrey Cotton’s tom-heavy propulsion. Amster and Iversen both sing – world-weary yet full of fire. Iversen describes the lyrical themes:

“The concept we put forth with this album is one of duality. Morning and mourning. The songs represent to us a realization that all good things come with eventual bad things. There’s that morning where the sun is bright and the birds are chirping and everything seems possible. At the end of the day, it wasn’t what you hoped it would be. Every day you wake up and hope, and every night you go to sleep and mourn.”

Morning was recorded by Andy Patterson (SubRosa, Cult Leader) and Dave Otero (Cobalt, Cattle Decapitation), and was mixed and mastered by Otero.

The cover art and layout are by Samantha Muljat (Earth, Goatsnake).

Look for Abrams on tour all summer.

Tracklist:
1) Worlds Away
2) At the End
3) 18 Weeks
4) Rivers
5) Can’t Sleep
6) Burned
7) Mourning
8) Die in Love
9) In this Mask
10) Morning

Lineup:
Taylor Iversen – bass, vocals
Zachary Amster – guitar, vocals
Geoffrey Cotton – drums

https://www.facebook.com/abramsrock
https://abramsrock.bandcamp.com/releases
https://www.sailorrecords.com/
https://sailor-records.bandcamp.com/
https://www.facebook.com/pages/Sailor-Records/359148970778780

Tags: , , , , ,

Greenbeard Premiere “Sativa Wizardia” Video; New Album Due in June

Posted in Bootleg Theater on April 4th, 2017 by JJ Koczan

greenbeard-photo-by-jay-conlon

Hey, if you’re gonna be in Seattle, you might as well stop through the studio and record an album with Matt Bayles, right? That would seem to be the message put forth by Austin, Texas, heavy rockers Greenbeard as regards their new full-length due out this June on Sailor Records. They’ve yet to unveil any audio or the title of the follow-up to 2015’s Stoned at the Throne, but the plan is to do so next month, and before they get there, they’re saying goodbye to the debut with a new video for the track “Sativa Wizardia,” which opened the record. Heads up on this one, it’s a riffer.

It makes that plain from its first measure, and the five minutes that follow only underscore the point. With heavy rock shuffle, tonal density and cut-through vocals belting through a welcome hook, Greenbeard are part post-Uncle Acid strut and part classic stonerized blowout, and in that, it set up six tracks of dug-in riffing and heavy roll. It’s little surprise that the album received acclaim enough that the band can already count themselves veterans of SXSW, Psycho Las Vegas and Electric Funeral Fest, among others. Seems likely they could walk into just about any venue with electricity enough to handle their output and start turning at least a few heads in their direction on any given night.

To support their new one, they’ve got live dates booked before and after the June release, but it’s only fair to give Stoned at the Throne its due sendoff before they start gearing up to put their focus on moving forward with that record, for which, indeed, they traveled to Seattle to record with Matt Bayles, whose reputation of recording with Isis and Mastodon, etc., precedes him. Listening back to Stoned at the Throne, I’m intrigued to hear what Bayles brings to Greenbeard‘s sound. If you want a preliminary guess, mine is more volume and more depth, as both are specialties of the house in Bayles‘ work.

Please find the Tony Moser-directed clip for “Sativa Wizardia” below, followed by more info on the impending sophomore long-player and the band’s live dates.

And enjoy:

Greenbeard, “Sativa Wizardia” official video

“Sativa Wizardia” is the newest music video from Greenbeard’s current album, “Stoned at the Throne”. Directed by Tony Moser. Vinyl for “Stoned at the Throne” available at: https://www.sailorrecords.com/product-page/greenbeard-180g-blood-red-vinyl

Greenbeard has a new record completed and ready to go. The album name and artwork will be revealed on May 1. Additionally, the band will be announcing tour dates for the summer of 2017. On their 2016 tour, Greenbeard spent time in Seattle, recording their newest album with Matt Bayles (Minus the Bear, Isis, Botch, The Sword, Mastodon, A Storm of Light, Mono, etc.). This new album will be released on Sailor Records in June of 2017.

Greenbeard live:
May 12 Dirty Dog Bar Austin, TX w/ Zed & Wasted Theory
May 27 Smokestock All-Star Rock Bar Kansas City, MO
Jun 14 Leftwoods Amarillo, TX
Jun 15 Sister Bar Albuquerque, NM
Jun 16 Electric Funeral Fest 2017 Hi-Dive Denver, CO
Jun 21 Reggie’s Chicago, IL
Jun 23 Cafe Berlin Columbia, MO
Jun 26 Blue Note Oklahoma City, OK
Jun 27 Curtain Club Dallas, TX

Greenbeard is:
Chance Parker – guitar/vocals
Dan Alvarez – bass
Buddy Hachar – drums

Greenbeard on Thee Facebooks

Greenbeard on Bandcamp

Sailor Records website

Sailor Records on Thee Facebooks

Tags: , , , , ,

Greenbeard Announce New Album Recording, Shows and Video

Posted in Whathaveyou on August 9th, 2016 by JJ Koczan

Having already shown their riffly wares at Heavy Metal Parking Lot 3 at SXSW in their native Austin, Texas, and traveled north to Colorado for the Denver Electric Funeral fest, heavy rock trio Greenbeard have announced intentions to show up in further illustrious spaces — Psycho Las VegasNorthwest Hesh FestStoned Meadow of Doom — throughout the next month-plus. They’ll reportedly also be recording a new album with Matt Bayles to follow-up their well-received Stoned at the Throne for Sailor Records, which is an action preceded by the new single “Love Has Passed by Me,” for which they also happen to have a new video.

Bottom line? No shortage of news from these cats. By all means, dig in below:

greenbeard-700

Greenbeard announces video release, tour schedule, and recording of new album.

Sailor Records band, Greenbeard, agrees to upcoming studio session with Matt Bayles in Seattle, WA. Greenbeard is also releasing a music video for their upcoming single, “Love has Passed By Me” with Washington based video production company, The Dead Suits. In addition, the band will be playing a string of high profile shows in the upcoming months. Further action includes a live video/lighting theater tour featuring the visual artwork of Federico Moreno.

Matt Bayles is a Seattle based producer operating his studio, Red Room Recording. Bayles has recorded and produced bands including Isis, Soundgarden, Minus the Bear, Mastadon, Botch, and Fall of Troy. Bayles will be working with Greenbeard on recording their upcoming record (title TBD) which will be released in mid 2017 on Sailor Records.

The Dead Suits is a Washington based video production company helmed by Editor/Videographer, Tony Moser. Greenbeard collaborated with Austin videographers, Jay Conlon and Andrew Simonds, to shoot local footage with the band, which was sent over to Moser to combine with his footage shot in Kennewick, WA. Greenbeard met Tony while on tour, playing a show at Ray’s Golden Lion in Eugene, Oregon. Months later, Tony reached out to the band proposing his interest in producing a music video with them. Coincidentally, Greenbeard was in search of a videographer to produce a music video for their recently recorded single, “Love Has Passed By Me”.

“Love Has Passed By Me” is the new single released by Greenbeard recorded and mixed by Miles Randall in Austin, TX. Eric Wofford of Cacophany Recorders mastered the track. Wofford is an esteemed contributor to Austin’s recording scene. Notable works include The Black Angels, Ume, White Denim, Okkervil River, and Lord Buffalo.

Federico Moreno is a filmmaker, live video projectionist, and lighting artist residing in Austin, TX. Federico has worked with Bob Mustachio, Uncle Acid & The Deadbeats, Dead Meadow, and Austin’s Levitation festival helping to produce living and fluid lightscapes interlaced with video. Moreno and Greenbeard are working together on producing a theatrical video performance to be housed in theaters across the country for late 2017.

Greenbeard’s upcoming show schedule is filled with exciting festivals, and the band will be rubbing shoulders with a number of class acts.
– 08/24/16. Psycho Las Vegas (Hard Rock Hotel & Casino, Las Vegas, NV) — w/ Fatso Jetson, Mac Sabbath, Electric Citizen, Mothership, and Mudhoney…
– 09/02/16. Stoned Meadow of Doom (The Slowdown, Omaha, NE) — w/ Weedeater, Egypt, Wofat…
– 09/09/16. Video collaboration with Federico Moreno (Texas Theater – Dallas, TX)
– 09/24/16. Northwest Heshfest (Dante’s, Portland, OR) — w/ Red Fang, Deafheaven, Uncle Acid & The Deadbeats, American Sharks…

https://www.facebook.com/greenbeardtheband/
https://greenbeard.bandcamp.com/album/stoned-at-the-throne

Greenbeard, “Love Has Passed by Me” official video

Tags: , , , , ,

Greenbeard Sign to Sailor Records; Stoned at the Throne Vinyl Announced

Posted in Whathaveyou on November 2nd, 2015 by JJ Koczan

greenbeard

I’m not sure if Greenbeard‘s Stoned at the Throne vinyl is out now or impending. Below, Sailor Records — the Colorado-based label that just picked up the Texas-based band — says that Oct. 30 marked the preorder date. The band says they’ll play a release show in January, and if you order it on Bandcamp, it says it ships in two weeks, so your guess is as good as mine. Either way, cool for the band getting picked up for an LP pressing. Initially released over the summer, that record was catchy as hell and they seem to be willing to get out and support it, so all the better.

The PR wire had this to say on the subject:

greenbeard stoned at the throne

Austin desert rockers Greenbeard sign with Denver’s Sailor Records and release “Stoned at the Throne” on vinyl!

Denver based record label, Sailor Records has added Greenbeard to their quickly expanding roster.

Greenbeard is a desert rock trio from Austin, TX created in the spring of 2014. Greenbeard’s sound is a sonic conjuring of early British heavy metal, psychedelia, desert guitar riffs, & stoner rock. In one year, the band has seen major tours, supported big bands like Dead Meadow,Pentagram, Red Fang, The Shrine, and Spirit Caravan. Greenbeard has also been official artists at Austin’s 2015 SXSW, Denver’s 2015 UMS, and played in 2015 Denver Psychfest; Synesthesia.

Sailor Records is a fresh up and coming label operating out of Denver, Colorado. Label owner, Oscar Ross, has spent decades working in Denver’s premier studios, with top notch talent. With catalogs upon catalogs of excellent studio sessions helmed by Ross himself, the birth of Sailor Records only seemed like the next logical move. Sailor Records is also homebase for bands like Plastic Daggers, Chingaso, Lords of Fuzz, Dreadnought, Native Daughters, and many more!

“Stoned at the Throne” is Greenbeard’s debut full length release. This 8 track record is packed full of blistering drum grooves, blasting riffs, heavy bass lines, and sexy vocals. This record was recorded in Austin, TX at OHM Recording Facility and engineered by the talented Chico Jones. Chico Jones’ vanguard of records includes “Samsara’ by The Well, Tia Carrera, White Denim, and many more. Adam Hamilton (Brian Jonestown Massacre/Counting Crows) mixed the record, and Paul Tavenner(Cleopatra Records/Big City Recording Studios) laid the finishing touches down with his mastering. Artwork for SATT was conceptualized by Greenbeard, and illustrated by French rock & roll poster and album cover artist, Headbang Design. Headbang Design’s portfolio includes artwork for Orange Goblin, Freak Valley Festival, and much more. Stoned at the Throne is produced by Alfonso Gonzalez.

Sailor Records will be opening presale for “Stoned at the Throne” on Friday, October 30. This release will include 150 copies on black 180g vinyl, and 100 special edition 180g blood red colored vinyl. Copies will be available for sale on Greenbeard’s bandcamp site. Greenbeard plans on having a vinyl release party in Austin, TX in early January, followed by a spring tour.

http://www.greenbeard.bandcamp.com
http://www.sailorrecords.com
http://www.facebook.com/greenbeardtheband
http://www.ohmrecordingfacility.com
http://www.headbangdesign.com

Greenbeard, Stoned at the Throne (2015)

Tags: , , , , ,