Live Review: Magnetic Eye Records Day of Doom in Brooklyn, 11.02.19

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

magnetic eye records day of doom poster

Before the Show

Well, don’t tell anybody, but the dude sitting at the end of the bar DJ’ing is me. Actually, come to think of it, I’m pretty sure I don’t care if you tell anybody. At this point, I know most of the seven or eight people in this room right now. But I made a playlist, edited it together so it all plays as one track, and it’s three hours long — like the old podcasts, including a really long song or two along the way — but that’s going, so as far as I’m concerned, sitting here on my laptop is why they asked me to come early. The rest is kind of just waiting around, so at least this way I can look like I’m doing something.

I’ve been kicking around the idea of writing the review while the show is happening — I’m not committing to posting any of it live, since I’ve never done photos on this machine before when I’m actually in a hurry — but it’s 15-minute breaks between bands, DAY OF DOOM SCHEDULEso it’s going to depend on how I can time it either way. The important thing? That I stress out about it. Obviously.

And oh yeah, I included Earthride on my playlist specifically with the Saint Vitus Bar in mind, because they often play them between bands. My nod to the room. No one cares, but I wouldn’t expect otherwise, so there it is.

This is the Magnetic Eye Records Day of Doom, a nine-band label showcase that will go from at least now — coming on 1:30 — to 10:30 tonight, so yes, a full day of doom, as it were. At very least, if today had a quota of heavy, I suspect it’ll be filled by the end of it and then some.

But we enter now the sit-tight portion of the afternoon, so that’s my plan. Will check in with more either during or after it’s all over.

During the Show

These Beasts

these beasts (photo by jj koczan)

One would not accuse Magnetic Eye Records of easing into the day with These Beasts. Rather, the Chicago three-piece are at this very moment bludgeoning a Vitus Bar live room with an ultra-aggro, thickened noise rock that’s only sense of letting up is in letting up on the letup. By which I mean there is none. It’s somewhat awkward to be sitting here while they’re playing and admit I don’t know their self-titled LP, released earlier this year, but they’re showing me the error of my ways in pummeling fashion. Can hear punk roots coming through amid the intertwining screams and shouts, but there’s a definite heft to the tone and some vocal echo adds atmosphere to go with all that heads-down force. But there’s plenty of that too and it’s the sheer physicality of what they’re playing that’s letting them pull in such an early crowd. To wit, I’m one of like three people in the back bar right now and I’m about to head back in. Clearly they’re doing something right in there.

Leather Lung

Leather Lung (Photo by JJ Koczan)

It’s been weeks, not months, not years — more than days, though — since I last saw Boston’s Leather Lung. Last time? Dudes brought stoner-sludge chicanery to Ode to Doom in Manhattan (review here). This time? The location has changed, but the mission not so much. Vocalist Mike Vickers has had the cast taken off his arm and judging by his onstage mosh-shuffle, all seems to be in good working order, so that’s my official medical checkup, but beyond that, they’re bringing a groove that’s plenty fresh in my memory; sludge played from the heart via the crotch that makes no bones about where it’s coming from — Boston — and no bones about its affection for all manner of inebriating. Their groove has this toughguy edge to it that I can’t quite put my finger on and couldn’t last time either, but I don’t think these dudes want to fight so much as they want to get fucked up and play riffs. Like I said, the mission hasn’t changed much since I last saw them. I’ll check back on them in a bit and hope for no more busted limbs from them or anyone else in attendance, for that matter. “It’s all fun and games, until,” and so on.

High Priest

High Priest (Photo by JJ Koczan)

Chicago’s High Priest issued their Sanctum EP (review here) earlier this year and it was kind of a sleeper, but they were high (pun like 25 percent intended) among my list of anticipated acts for the day. Nothing too complex, but they roll out big-time riffs and dig into some hazy vibes and especially after the nasty nasty nastiness that was These Beasts and Leather Lung back to back, they’re a chance to show off some of the stylistic breadth on Magnetic Eye‘s roster. The kind of label as likely to redux Pink Floyd as Helmet, you know. They’d be a fitting complement to a tour with Elephant Tree, if we’re doing label pairings, but I guess probably there needs to be an album out before one starts nailing down dates. We’re in November now, so kind of fair to look back on some of the year’s highlights, and seeing High Priest live for the first time is a reminder of just how much I dug those tunes this past Spring. I’m apparently learning stuff all over the place today. Fun and educational! They also finished by dissolving into a total wash of noise that was affecting and psychedelic in kind. A pleasure to watch. Can’t say it plainer than that.

Caustic Casanova

Caustic Casanova (Photo by JJ Koczan)

Of the nine bands on this bill, I’m pretty sure Caustic Casanova win the prize for having the most recent release. Their new record, God How I Envy the Deaf, came out on Oct. 18 as their first through Magnetic Eye and they’re playing Vitus Bar as a precursor to hitting the road on the next of their seemingly endless string of tours. This is also the first time I’m seeing them as the four-piece of drummer/vocalist Stefanie Zaenker, bassist/vocalist Francis Beringer, and guitarists Andrew Yonki and Jake Kimberley, the last of whom is a new recruit. For a band on the road as much as they are, I have to imagine finding someone to mesh with wasn’t easy — Caustic Casanova‘s particular take on melodic heavy rock is a big-time beneficiary of the chemistry they’ve built through touring — but they did it, and the match extends to onstage energy, to be sure. How many bands could cover “Wicked World” and make it sound believable? Caustic Casanova played it like they wrote it, and their original material was no less vital. I’ll make it easy: this is a band you should see. They make it even easier by touring their collective ass off, but even if they didn’t, they’d be worth the effort of showing up when possible. Magnetic Eye made a good-ass pickup when they signed them.

Ghastly Sound

Ghastly Sound (Photo by JJ Koczan)

Rivaling Caustic Casanova in the running for most-recent-outing is Vermont trio Ghastly Sound, whose debut full-length, Have a Nice Day, dropped like a sarcastic anvil in September. This was my first time seeing the three-piece, but it’s worth noting they primo position on the bill they’ve received, and I’ll admit that because of that alone, my expectations were high before they went on. Is this the part where I say the band slaughtered those expectations outright, blah blah blah dominance, blah blah blah heavy band destroys minds reaps souls and all the rest? Well, my mind feels pretty destroyed and if I ever had a soul — nope — it’s long gone, but yeah, they delivered in a big spot, taking crossover-style hardcore and leaving the guitar at home, adding melody through vocal effects and reviving a bit of the aggression from earlier in the day. The way they were set up on the Saint Vitus Bar stage made me think there was a guitarist somewhere missing in the building, but nope, and it turned out they didn’t need one, though one hesitates to say such things on a day that has featured thus far and will continue to feature so much choice riffing. A little — or a lot, as in this case — of rumble goes a long way. Also with the shouting and the being really loud. No question the pressure was on, and I know their record was a while in coming, but if I didn’t know they’d just released their debut, I’d say they’d been around much longer.

Horsehunter

Horsehunter (Photo by JJ Koczan)

Okay. Putting together a nine-band bill? Pretty impressive. Doing so and bringing in bands from the UK and Europe? Even more impressive. Doing so and bringing a band from Australia? And that band is Horsehunter? Who I don’t think are really even together at this point? Yeah, that’s some next level shit. The Aus megasludge four-piece put out their self-titled second album (discussed here) and swansong earlier this year — like, earlier than September — and had already been busted up for two years. Should they be broken up? No, they should not. Even if one could manage to put aside the context of seeing them play even just for 45 minutes as being a total once-in-a-lifetime experience, a group of the Melbourne four-piece’s destructive potential should continue to exist. If they were the only band playing today, it would still be a Day of Doom, and in volume and viscosity alike, they’re on a plane of their own amid this lineup. I don’t know what the future might hold for them, as members have already moved onto different projects, but I have to think that if a band is willing to get together and travel to the other side of the planet to play essentially a one-off gig, they’d have to feel motivated to maybe follow that up with something? Or maybe this would be a pinnacle anyway? I don’t know. Either way, it’s clearly a special moment for all involved parties — those in attendance, those playing, and the Magnetic Eye crew, who believed in them enough to release the record even though they were done — and I’m lucky to have been here for it. Biggest big rock finish of the day as well, so bonus points there, as if they needed them.

Domkraft

Domkraft (Photo by JJ Koczan)

This is my second time seeing Sweden’s Domkraft after being fortunate enough to catch them about 13 months ago in Oslo, Norway, at Høstsabbat (review here). They were at that point heralding the release of their second album, Flood (review here), and as they got ready to go on just now I thought back fondly to the positive impression they made that day, blending noise rock, sludge and an almost post-metallic kind of ambience. That’s a fun little narrative, right? Sure it is. Lost in that, however, is the rhythmic undulation of that nod, but man, when they decide to lock that in — and they don’t always, because they’re not a do-one-thing kind of band — they are hypnotic. They had their work cut out for them in following Horsehunter, as anyone would, but guitarist Martin Widholm, bassist/vocalist Martin Wegeland and drummer Anders Dahlgren captured a feeling of spaciousness that seemed to take all the crush of the mighty performance before them and taffy-pull it into a headier, spacier reach, still deeply weighted, still giving that feeling of surrounding you while you’re standing there in front of it, but at the same time extending outward beyond you, beyond the room — maybe just beyond, period. They’ve been to the States before, having played Psycho Las Vegas, and I guess you could count the show they did last night in Jersey with Solace too, but they feel like a band who are really stepping into themselves, and the identity they’re finding as a part of that process suits them. I’m already looking forward to their next record, and far be it from me to tell you how to live your life, but you probably should be too.

Summoner

Summoner (Photo by JJ Koczan)

If you know anything about Magnetic Eye Records, or label founder Mike Vitali (also Black Electric, Ironweed, ex-Greatdayforup, etc.), it’s probably that the label frickin’ loves Boston’s Summoner. I’ve seen them live a handful of times over the years, certainly dug the crap out of 2017’s Beyond the Realms of Light (review here) as I have their material since their days a decade ago operating as Riff Cannon — a name they quickly outgrew and were smart enough to realize it, even though it was a cool moniker to have — and it’s hard to argue. I knew accordingly what to expect going into their set, at least to a degree, but with the recent change that brought Worshipper‘s Dave Jarvis to the lineup on drums — I’m not sure if it’s a permanent or temporary thing; dude was sitting next to me like 15 minutes ago, I should’ve asked — there was an added sense of intrigue to seeing them for what was the first time in a while anyway. However, part of knowing what Summoner do is knowing they do it pro-shop, and as their slot found them positioned right before Elephant Tree at the end of the show, they had an occasion to rise to and they rose to it accordingly, Jarvis sliding right in alongside bassist/vocalist Chris Johnson and guitarists A.J. Peters and Joe Richner, on familiar material while still bringing some of his own swing to it. You won’t hear me disparage the work of Summoner as they were, but if they’re indeed pressing on in this configuration, they’ll be just fine. When Johnson stops smiling on stage, I’ll worry. Didn’t happen at Day of Doom, even after the strap of his bass broke and he had to finish the song with it resting on his knee. That was like two songs in, maybe? No loss of momentum. Pro-shop, front to back.

Elephant Tree

Elephant Tree (Photo by JJ Koczan)

Elephant Tree‘s second full-length, which will actually be released by Holy Roar Records at least in the UK — I admit there might be some regional deal worked out with Magnetic Eye that I don’t know about — is reportedly in the mastering stage. At least, that’s what they told me and I’m not sure what would be their motive for lying about it. Last I heard were a couple rough mixes, but that was a while ago, and I’m all-the-way-serious when I tell you that I can’t think of another record that’s been announced for 2020 that I’m anticipating more. The Londoners’ 2016 self-titled debut (review here) has lost none of its appeal for the subsequent three years — just ask Sister Rainbow, who flew from the UK for this show basically just to see them for what I understand is at least the 48th time — and with the progression I heard evident in their performance (again) at Høstsabbat 2018 (review here) and those rough versions, yeah, I feel justified in my high hopes. It wouldn’t have made sense for them to come to Brooklyn and play only new stuff, but as noted, even the cuts from their self-titled were welcome. The fact that even after such a full show they were given a complete hour for their set should tell you something, and basically it should tell you they’re a band just waiting for your loyalty. See them 49 times? Well, I’m up to at least three now and I feel like that’s barely worth calling a start. Also of note, they’re a four-piece now, with John Slattery on guitar and keys and vocals joining the trio of guitarist/vocalist Jack Townley, bassist/vocalist Peter Holland (of the green strings) and drummer Sam Hart, so that’s all the more of an occasion for their primo stage banter. They’ve just hit into “Aphotic Blues,” if you’ll excuse me… Yeah, that’s an earplugs-out moment not to be missed. And to have them then follow it by bringing album-engineer/multi-instrumentalist/vocalist/he’s-kinda-in-the-band-but-not-really-anymore-except-I-guess-sometimes-like-tonight Riley “The Wizard” MacIntyre on stage first to scream like mad, then to take over Townley‘s guitar for “Wither” only highlighted how incredible this day has been. What a trip. It’s not over. I mean, it’s mostly over, but they’ve got about 10 minutes left, so I’m going to stow the computer and get back to what’s important and get up front for the end, which is where it feels like I should be.

After the Show

Just past 12:30AM. I left the Saint Vitus Bar at I guess around 10:45PM and got back here a little bit ago, cursing the name of the tech giant whose mappery failed yet again to take into account Lincoln Tunnel traffic in its calculations. Next time, I take the FDR unless it’s visibly on fire.

Elephant Tree finished with their slowed-down take on Black Sabbath’s “Paranoid,” which given the Brooklyn setting found Holland’s gruffer vocal reminding all the more of Peter Steele from Type O Negative (green strings may have been a factor there as well), and followed that with a new song called “Bird,” the harmonies of which are particularly gorgeous and lush seeming. Mike Vitali Magnetic Eye Records (Photo by JJ Koczan)I can’t wait to hear that album.

Basically I’m keying down from the show, and there was a lot of show to key up. Kind of striking how even the bands whose sounds had common elements were able to stand themselves apart. That was true the whole time. And I stayed the whole time. And I wound up running the playlist the whole time as well, at least until Elephant Tree were done. So I guess that’s a thing. I DJed the show. Wasn’t planned, but I was plugged in and using my laptop anyway, so there you have it. I dug the tunes, anyway. Hopefully I wasn’t the only one.

Thanks to Mike Vitali and to Jadd Shickler for having me on board for that and for putting the thing together generally. This was a pretty astounding feat when it comes to coordination, and those efforts on their behalf were deeply appreciated. Vitali got on stage before Horsehunter went on to thank everybody and it was plain to see it was an emotional night for him as well. It would have to be, frankly.

Thanks to the bands, to everyone who said hi and/or nice things, and thanks to you for reading. Most of all, thanks to The Patient Mrs., who made my being there possible, and who makes pretty much everything that’s possible possible.

Now off to bed.

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The Obelisk Presents: Godmaker, Hyborian & Migrator at Saint Vitus Bar (Matinee) Nov. 17

Posted in The Obelisk Presents on October 23rd, 2019 by JJ Koczan

godmaker hyborian migrator ghouls

Alright, let’s face facts. Nov. 17, you weren’t going to be anywhere other than the Saint Vitus Bar. That’s the night Monolord and Blackwater Holylight are playing. Obviously you’re going. Obviously I’m going. Obviously we’re all going and we’re all looking very much forward to that.

What I’m saying to you is, get there early. Super-early. 2PM early. Because there’s an opportunity here to turn a pretty heavy night into an all-day extravaganza, and there’s even a convenient break in between for you to, I don’t know, get some food or coffee-up or do whatever you need to do.

In conjunction with Ode to Doom, The Obelisk (you are here) is presenting Godmaker with (Kenny Appell of Cleanteeth, Goes Cube, etc., filling in on drums), Hyborian and Migrator on Sunday afternoon, Nov. 17, ahead of the evening’s festivities. Is it going to be absolutely insane? Yes. Should you take Monday off from school, work, or whatever of life’s duties might otherwise occupy your time? Totally. Why? Because chances like this don’t come along every day, and years from now, you’re still going to remember that time you told the rest of the universe to buzz off and did it up proper in Brooklyn, whereas otherwise, it’s just gonna be another Monday of the same old crap that, barring disaster, will be another in a series of forgettable such Mondays. Even if you have a good day doing whatever it is you do, I submit it won’t compete with plowing your brains into oblivion with riffs by hitting these two shows back-to-back.

And hey, if you need to, need to, need to go to work or whatever on Monday, a Sunday matinee still gives you plenty of time to get home and get yourself ready for the morning. Either way, you don’t lose.

Godmaker‘s got the show info as follows:

godmaker hyborian migrator new poster

MATINEE SHOW- Godmaker, Hyborian, Migrator.

Sunday, November 17, 2019 at 2 PM – 5:30 PM

Buy tickets: https://www.eventbrite.com/e/matinee-godmaker-hyborian-migrator-tickets-77034092043

Brought to you by our friends at Ode to Doom and The Obelisk.

Godmaker (Brooklyn, Aqualamb / The Company / godmaker.bandcamp.com) returns to bringing the loud, for one last 2019 show, with their midwestern brothers in:

Hyborian (Kansas City, MO / Season of Mist / Company Crüe alumni / hyborianrock.bandcamp.com), and your soon to be favorite Heavy / Sad / Crushing thing from Lawrence, KS —

Migrator / (mem. of Young Bull, Amenaza, The Cast Pattern / migrator.bandcamp.com),

for a special Sunday Matinee at Saint Vitus Bar, ahead of the Monolord / Blackwater Holylight show.

Godmaker, “An Excerpt”

Nov. 17 Matinee Show Event Page on Thee Facebooks

Tickets at Eventbrite

Saint Vitus Bar website

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Conan Announce Secret Show at Saint Vitus Bar This Friday with Yatra and False Gods

Posted in Whathaveyou on May 8th, 2019 by JJ Koczan

conan (Photo by JJ Koczan)

I don’t at all think you need me to tell you to go see Conan whenever the opportunity should happen to present itself. With the brand-newly-announced secret show with Yatra and False Gods at the Saint Vitus Bar as an offshoot from their tour with Black Label Society and The Atomic Bitchwax, that’s one more chance to do so. The UK three-piece have made a couple stops at the venerable Brooklyn institution at this point — I saw them there in 2015 (review here) — but it’s a sight to behold and sound to… well, have your ears blown out by. Their volume, in that room. Safe to say you’ll be hitting the water cooler in back by the bar once or twice during the set. Or, you know, just drinking more generally.

Conan continue to support their 2018 album, Existential Void Guardian (review here), and are working toward the release of yet another new record this year, all the while coming back to the States in June around an appearance at Maryland Doom Fest 2019 where, as one would expect, they’ll be headlining. Hard to argue with the logic there, and whenever I hear something about the next Conan LP showing up, I’ll let you know. Unless it’s a secret. I can keep secrets.

Not this one though:

conan new poster

CONAN – Semi-Secret Show at Saint Vitus Bar

CONAN Live:
May 09 Hampton Beach, NH – Hampton Beach Casino #
May 10 Brooklyn NY – Saint Vitus Bar
May 12 Richmond, VA – The National #
May 13 Baltimore, MD – Ram’s Head Live #
May 14 Toronto, ON – Opera House #
May 15 Toronto, ON – Opera House #
May 22 Los Angeles, CA – El Rey Theater #
May 23 Los Angeles, CA – El Rey Theater #
# = w/Black Label Society
* = w/Atomic Bitchwax

June 23 Frederick, MD – Maryland Doom Fest ^
June 26 Boston, MA – Great Scott ^
June 27 Portland, ME – Geno’s ^
June 28 Montreal, QC – Turbo Haus ^
June 30 Cleveland, OH – Now That’s Class ^
July 01 Columbus, OH – Ace of Cups ^
July 02 Indianapolis, IN – Black Circle ^
July 03 Chicago, IL – Reggies ^
July 04 Rock Island, IL – RIBCO
July 05 Omaha, NE – Slowdown
July 06 Rapid City, SD – Haycamp Brewery
July 07 Denver, CO – Hi-Dive
^ = w/Witchkiss

Lineup:
Jon Davis – vocals, guitar (2006-present)
Chris Fielding – bass (2013-present)
Johnny King – drums (2017-present)

http://www.hailconan.com/
https://www.facebook.com/hailconan/
https://www.instagram.com/hailconan/
https://conan-conan.bandcamp.com/
https://twitter.com/hailconan
http://label.napalmrecords.com/

Conan, Live at Saint Vitus Bar, March 4, 2018

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Live Review: Desertfest NYC Night One, 04.26.19

Posted in Reviews on April 27th, 2019 by JJ Koczan

Black Cobra (Photo by JJ Koczan)

An unfamiliar context in familiar environs. Desertscene and Sound of Liberation, who together are behind Desertfest in London and Berlin as well as numerous other events, are playing it smart. New York is a hard town to do a festival, and if they’re thinking of making this an annual event, they’re building from the ground up. It’s not about rolling into Brooklyn and trying to nudge arguably the most entitled audience in the US — because fucking everything comes through New York, and is expected to — into embracing your brand, but about introducing what you do in a way that allows that audience to feel like it’s getting in on something on the ground floor.

To that end, the first night of the first Desertfest NYC was held at the Saint Vitus Bar with a welcoming spirit and a due course of volume. To those who’d point out there are no deserts in New York, congratulations on your cleverness. Please send a self-addressed, stamped envelope for your sticker. For those of more discerning cognition, the point was the music, always, and Desertfest NYC 2019 both embraced the space it was in and the audience it drew in delivering an inaugural night that felt like a kickoff as much for the parties behind it as those in attendance.

Four bands would lead in to two days of nine apiece, and the venue for Saturday and Sunday is The Well, but the Saint Vitus Bar is not only pro-shop from top to bottom, but an intimate enough space to still feel like something special might happen. Whatever the future holds for Desertfest in New York City, I’ll gladly argue that something special already did.

Here’s how the night went:

Heavy Temple

Heavy Temple (Photo by JJ Koczan)

Have you told two friends yet about Heavy Temple? I sincerely hope so, and I hope they do likewise. It was my first time seeing the latest incarnation of the Philly purveyors of hard fuzz, who seem to have sacrificed little of their forward momentum for once again swapping out two-thirds of the lineup around founding bassist/vocalist High Priestess Nighthawk. Now in the company of guitarist Lord Paisley — and congratulations to him on the stage name, because that is marvelous — and drummer Baron Lycan (not bad either), Nighthawk remains the commanding presence at the heart of the band. They’re new in this form, but at least some of what they played was readily familiar from 2016’s shorty-long-player Chassit (review here), and with Nighthawk righteously softshoeing her basslines in true “taking them for a walk” fashion” and Paisley and Lyan certainly more than just along for the ride, they showed that the band’s potential has not at all dimmed for the tumult in personnel. They’re recording — guitars next, apparently — and have tour dates lined up with Ecstatic Vision (info here). I’d say by the end of that run they’ll be on fire, but they already were.

High Tone Son of a Bitch

High Tone Son of a Bitch (Photo by JJ Koczan)

I seem to have a preternatural aversion to bands with two frontmen, which is a terrible generalization to make across the board, but true nonetheless. Some people don’t like two guitars. I tend to feel like if you’re going to have more than one person whose primary function is as a singer, you need to earn that aesthetically, either with some harmonies or arrangement depth, etc. Oakland, CA’s High Tone Son of a Bitch brought some aggro noise spirit to both traditionalist heavy rock and Southern-tinged riffing, and indeed there was some interplay between their two vocalists, which helped. They’re a band requiring context, with members of Noothgrush and Kalas aboard and the fact that they were together in the early part of the century before losing guitarist Andrew Kott to drug addiction, and taking more than a decade off only to recently begin a comeback. Even for those without the background though, they seemed to hold their own. They’ve been touring with Weedeater — always helps — and were still getting their feet (back) under them amid some competing vibes onstage, but they acquitted themselves well and their new material seemed to pick up where they left off 15 years ago, so all the better.

Here Lies Man

Here Lies Man (Photo by JJ Koczan)

There was talk afterward of Black Cobra stealing the show — and fair enough — but I’d never seen Here Lies Man before, and among the entire weekend’s lineup, they were high among my most anticipated sets. Their two full-lengths for RidingEasy Records, 2017’s Here Lies Man (review here) and last year’s You Will Know Nothing (review here), have both garnered significant critical praise, but they have yet to capture the kind of word-of-mouth-holy-crap-you-gotta-see-this-band backing they deserve. With shared vocals among guitarist Marcos Garcia, drummer Geoff Mann and bouncing bassist JP Maramba and keyboardist Will Rast prominent in the front-of-house mix, they showed just how far they’ve taken the central conceit of the group they started with — “what if Black Sabbath played afrobeat” is how it’s been phrased in the press releases — and made something new from it that’s neither entirely one or the other but all the more a defined Here Lies Man sound. They jammed with character and held down air-tight rhythm and melody with a sense of artistry and professionalism, and as they move toward their third full-length, they only seemed to be poised for people to catch on to what they’re doing. They were, in short, really, really good. You like bands? Okay cool. Here’s a band. Fucking dig in.

Black Cobra

Black Cobra (Photo by JJ Koczan)

Hey, guess what. Black Cobra were completely dominant. Well of course they were — that’s what they do, and they do it remarkably well. There was some trouble early on with Rafa Martinez‘s bass drum trying to run away from him — only reasonable, since he was kicking the shit out of it at the time — but he and guitarist/vocalist Jason Landrian took the Saint Vitus Bar stage and pummeled, pummeled, pummeled their way into a massive oblivion of thrash-infused heft, delivered with the efficiency of a band 15 years removed from their first EP who have long since attained plug-in-and-destroy status via touring that, for years during that stretch at least, was well into what most humans would consider “excessive.” They’re three years out from 2016’s Imperium Simulacra (review here), and I certainly wouldn’t mind if they did a follow-up to that offering, which was their most dynamic to-date, but let’s face it, if Desertfest NYC wanted to be sure everyone stumbled out of the bar feeling like their asses had just been handed to them, they called the right band. I thought maybe I’d try an experiment and try to review their set without once referencing an act of violence — really, I thought of it while they were playing and people were moshing, chuckled out loud to myself at the notion and was interested to try — but obviously such a cause would be hopeless. With the venue duly laid waste, Black Cobra wrapped their set and gave the addled room over to the after-party, every bit in the fashion of the headliners they truly are.

One thing I wanted to mention that didn’t fit in the review: I got pushed at this show. I was taking pictures of High Tone Son of a Bitch and was up front for it, and I stepped to the other side of the stage, saw the guy I was getting in front of was wearing a SonicBlast Moledo shirt, said “nice shirt,” turned to take a picture of the stage-right guitarist, and the dude pushed me as if to move me out of his way. I don’t imagine this was someone from the area. I spent a decent few minutes afterwards thinking about the ownership of space, personal agency of one’s body, how one responds to being bullied, my own history in this regard, and so on, and landed pretty much on my initial reaction, which was a hearty go fuck yourself. It’s a show, and shit happens, but if you want to be up in front of the stage so bad, get there first. Otherwise, feel free to kiss my ass.

I saw the same guy after the set as he was walking to the back, and as he passed me, I gave him a little shove. Equal and opposite reaction. No words were exchanged — I didn’t think it required verbal follow-up — and that was it. I didn’t see him again and if I did, I don’t think there would’ve been any residual acrimony. But these moments affect one’s evening, if temporarily, and I was glad to be in a place I enjoy so much and surrounded by so many good people — the New York Faithful Family Reunion 2019 in full effect — who helped put me back in the proper mindset without even knowing they were doing it. It was a great night.

Today the show moves to The Well and it starts in a couple hours, so I’ll leave it there and just say I’m looking forward to it. More pics after the jump if you’re interested.

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Live Review: Kings Destroy, Gozu, Forming the Void and Clamfight in Brooklyn, 03.02.19

Posted in Reviews on March 5th, 2019 by JJ Koczan

Kings Destroy (Photo by JJ Koczan)

Half a decade ago, I tagged along with Kings Destroy on a West Coast tour that took us, among other places, through a snowstorm in Wyoming. It was late at night, and cars were sliding off the road and pulled over with their flashers on, plows nowhere to be seen. A general wreck. I took over driving that night — hi, I’m sober — and we just went to where we were staying very, very slowly. One does not want to flip the Sprinter van with all the gear in it when one is not even in the band.

I thought about that snowstorm at seven in the morning on Saturday to go south from Massachusetts to see Kings Destroy‘s record release show at the Saint Vitus Bar in the Lost City of Brooklyn after seeing them the night before in Boston, with Gozu and Forming the Void, who’d also be playing again, while Philly’s Clamfight stepped into the opening spot. It’s not every band on the planet I’d leave the house for, let alone take six hours to make a four-hour trip. It all worked out, though, and nobody flipped any vehicles. A win, even before the night started.

It was an early show, which is fine by me forever. There was an NYC Beer Week event with metal breweries at the Vitus Bar before the show kicked off, and Alewife Brewing had a special beer for Gozu — a Gozu Gose — and so it was a double release gig, with Kings Destroy marking the arrival this week of their fourth album, Fantasma Nera, and Gozu having a few cans of their own special brew on hand. There was no way it wasn’t going to be a party.

The beer thing was basically irrelevant to me other than the Gozu cans were cool looking, but it made sure the crowd had gotten plenty of “tasting” done by the time Clamfight went on. Here’s how it all went from there:

Clamfight

Clamfight (Photo by JJ Koczan)

Hugs all around. I’ve known Clamfight for well over a decade at this point, and they played three songs at the Saint Vitus Bar, but honestly, apart from being happy to see them and the fact that in the time since I last did — in the same place, no less — they released last year’s III (review here), which was by any measure a huge leap forward in sound and approach, I spent the bulk of their set feeling cripplingly nervous. I had put out on social media a post with their track “Echoes in Stone” that said how I daydreamed about singing the song on stage with them, and they invited me to do it. When I was in a band a decade ago, we used to do shows together a lot and it was how we got to be friends. They invited me to do the song, and, after much hemming and hawing, I actually did it. I sang backups to drummer Andy Martin and was up on the Vitus Bar stage with him, bassist Louis Koble and guitarists Joel “Papa” Harris and guitarist Sean McKee and I did the song. The last time I was on a stage was eight years before, and I thought I’d never do it again, but in the end, the situation felt right and when it was done, I was glad I did it. Sore, and glad. And sore. But also glad. And sweaty. Before I got up, they also killed and the metal-breweries crowd left over from the beer event earlier were right on board with their more aggressive side. It had been too long since I saw them, and I’m glad to know I’ll catch them again at New England Stoner & Doom Fest this Spring.

Forming the Void

Forming the Void (Photo by JJ Koczan)

It was really, really easy to watch Forming the Void play two nights in a row. They seemed comfortable on a bigger stage, and were able to spread out a bit more in their setup, but the huge tones and progressive melodies came through no less effectively for the larger space they occupied in Brooklyn than they had in Boston. And it’s interesting to see that people are clearly onto them. They brought out a good, growing-band crowd both nights, and what they brought to the bill was to be the one on the lineup that people hadn’t seen yet on the tour. The seeing-them-for-the-first-time band, because of course neither Gozu nor Kings Destroy — nor Clamfight, for that matter — were strangers to the venue, but you could see in the crowd people being engaged by the Louisiana natives, and that initial curiosity turning into fandom in real-time. Touring suits them. They’re building a stage presence and as they become more confident in their approach, that will become all the more a factor, but they’re already able to take a room and bring the people in it onto their side, and that is a massive step. Good band. Good band. Go see Forming the Void. Their next album or two — they work quickly — will tell the tale, but already, good band. They’ll be at Maryland Doom Fest in June, I’m hoping with new material in tow.

Gozu

Gozu (Photo by JJ Koczan)

Appropriately enough, Gozu and Kings Destroy switched up the order from the night before in Boston, giving the New York band the play-last spot in their hometown, but Gozu still tore through Saint Vitus Bar like headliners. This was their last night of the three on the road with Kings Destroy and Forming the Void — Portland, Boston, Brooklyn — and they railed into their set in absolute blowout fashion. If I didn’t know they were playing with a new drummer in Alex Fewell, I wouldn’t have thought twice about it, and it was clear they were getting it together as they were going. No flubs that I heard, and frankly, I was paying pretty close attention. If he’s permanent, Fewell (also of thrashers Black Mass) would be the third drummer in Gozu, and though he’s playing established material with parts originally written by someone else — either Mike Hubbard or Barry Spillberg — he brings his own sensibility to it. I was glad to see him a second night with the band, because that came through all the more. He’s not a pure tech drummer, but he’s able to carry the sharp-edged “Nature Boy” without trouble and still swing when called upon to do so. By the time guitarist/vocalist Marc Gaffney was shaking his hips later into the set in the middle of the stage with guitarist Doug Sherman and bassist Joe Grotto headbanging on either side, Gozu seemed fully locked in and sustainable as they are now. I don’t know how fluid their situation is, but their intent to keep moving forward was plain to see, and it’s worth being thankful for that.

Kings Destroy

Kings Destroy (Photo by JJ Koczan)

I was at the record release show at Saint Vitus Bar in 2015 for Kings Destroy‘s self-titled third LP (review here). I got to do a track premiere for that one. This time, I wasn’t cool enough, but as they move toward the release of their fourth album, Fantasma Nera, this week as their offering under the banner of Svart Records, I couldn’t help but think back to that show and the massive difference in sound between that material and the newer stuff. They liken it to grunge, which is fair in a sense, but New York — and really, East Coast — grunge was always a bit meaner, and that holds true for Kings Destroy as well. What they’ve ended up with is a kind of heavy rock that in some ways communes with their hardcore past, but is much more melodically present and more than ever sure of its songwriting approach. I said of the Boston show they were still feeling out how to present the new songs live — once again, they played all Fantasma Nera material except for “Mr. O” from the last album — but being on their home turf definitely helped. This was their 25th show at the Saint Vitus Bar. I haven’t been at every one of those shows, but I’m happy to have seen as many as I have, and I know full well this won’t be the last one I catch. They are the masters of that domain, new songs or old, and owned the show the way you own your living room. I stood in the middle of the crowd — something I rarely do — and however many times I’ve seen them later, still felt lucky to be there.

Sometimes it’s easy to lose sight of yourself and your place. Some people come to underground music with an endgame in mind. They have a goal and are working toward that goal. That’s not always the wrong call, but if you’re looking for the pot of gold at the end of the rainbow of underground heavy, you’re doing it wrong. It’s not about the gold, it’s about the rainbow. It’s not what you get from the work, it’s the work itself. The work is the reward. People can support each other and help out and whatever else, but at the end of the night when you’re driving home from the show, if you’re not happy with the work, there’s no point to any of it. Because that gold? It’s bullshit. You’re never going to get it. But rainbows really do exist and they’re fucking awesome. Live for the work or live wrong. Nights like this, they help you align your perspective and inspire you to keep it right.

Thanks for reading. More pics after the jump.

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Live Review: Yawning Man and Freedom Hawk in Brooklyn, NY, 01.17.19

Posted in Reviews on January 21st, 2019 by JJ Koczan

yawning man (Photo by JJ Koczan)

It’s not the most intuitive pairing, but it worked. By the time they hit Saint Vitus Bar in Brooklyn on Jan. 17, Yawning Man had already been on the road for more than two weeks. They’d started on Jan. 2 in Arizona and made their way gradually east and north, playing Philadelphia and Boston the two nights prior and accordingly probably well familiar by then with the stretches of I-95. That’s not a fun ride. Freedom Hawk had joined the party a few nights before that, in Asheville, North Carolina, taking over the support slot from Nick Oliveri‘s Mondo Generator, and the bi-coastal complement suited both bands well — Yawning Man with their deeply atmospheric approach and Freedom Hawk more given to a straightforward classic heavy rock songwriting modus. Perhaps an odd fit on paper, but it made way more sense on stage. Kudos to Tone Deaf Touring for the vision.

Both groups released albums last year. Yawning Man had The Revolt Against Tired Noises (review here) on Heavy Psych Sounds over the summer and Freedom Hawk plowed through their fifth LP, Beast Remains (review here), before that. It had been years and years since the last time I saw the Virginia Beach outfit, as bassist Mark Cave politely reminded me — he said the last time was Small Stone‘s 2011 showcase in Philly (review here), but actually it was Small Stone‘s 2012 showcase in Boston (review here), though to be honest, that night was fuzzy in more ways than one — and it’s been a tumultuous few years for them, losing guitarist Matt Cave and deciding to continue as a three-piece, only to see Mark, guitarist/vocalist T.R. Morton and drummer Lenny Hines bring in guitarist Brendan O’Neill in 2016, moving as well from Small Stone to Ripple following 2015’s Into Your Mind (review here).

Nonetheless, what’s remained true is the following: Freedom Hawk believe in the power of heavy rock and roll, and if you’re fortunate enough to spend a little time in their company, they might make you a believer too. As one would expect and hope, much of what they played came off of Beast Remains and Into Your Mind — songs like “Blood Red Sky,” “Darkness and the Light,” “Solid Gold,” “Waterfall,” “Radar,” “Lost in Space,” and “Danger,” which Morton introduced with the choice line, “I don’t know if you guys can handle this next song. It’s a little dangerous. It’s called ‘Danger.'” Charm always goes a long way in my book, but the band wanted nothing for delivery either. That shouldn’t be surprising, as they’ve toured consistently over the course of this decade, here and there in the US as well as abroad in Europe, where just last year they played Desertfest London and Berlin and more besides. They’re veterans as well of Roadburn, Morton wore a shirt he likely picked up when they played Freak Valley in Germany, and on the most basic level, they’ve been together for 14 years, so yeah, Freedom Hawk coming across like they know what they’re doing is well enough earned.

They dipped back to 2011’s Holding On (review here) late in the set for the ultra-catchy “Indian Summer” and gave representation to their 2009 self-titled (review here) and 2008 debut, Sunlight, which Ripple reissued in 2017, but new or old, their material’s central purpose has remained true in conveying the strength of their songwriting. O’Neill, who also fronts thrashers The Pestilence Choir, is way more metal than MortonCave or Hines, at least in outward appearance, but that adds a bit of edge to the otherwise smooth corners of Freedom Hawk‘s stage presence, and they were a blast to watch. It had been too long, clearly.

A good general rule for life is any time you can see Yawning Man, do it. When I last caught them, headlining at Borderland Fuzz Fiesta (review here) in Arizona in early 2016, they were practically a family band, with keys and additional guitar and so on. For this tour, the traveling three-piece was what’s become the modern core of the group: guitarist Gary Arce, bassist Mario Lalli and drummer Bill Stinson. And they’re masters of what they do. One could go on and on about Yawning Man‘s legacy as one of the principal architects of Californian desert rock — and I have, on multiple occasions — but what gets discussed far less is just how much they stand out even from so many of the groups they helped inspire. With Arce‘s signature tone ever at the center of their instrumental, wide-open approach, their atmosphere is immediately identifiable, and the character with which they bring their material to life is as vibrant as that material is subtle. Over the course of more than three decades, they’ve carved a niche for themselves that is theirs alone.

And I’m not saying Mario Lalli was there when they invented cool or anything, but he’s definitely the guy they had in mind for it. Switching between picking and fingering his bass in such a way as to add nuance to Arce‘s echoing lines or emphasize a sonic weight with a strummed chord, Lalli — who also fronts Fatso Jetson — was locked in immediately and incredible to watch as he held down the low end. Looking kind of gaunt in a lined hoodie and with a cap pulled down over his face, he was all-business save for jumping on mic quickly to thank the crowd for showing up, etc., but just unreal to watch him play, and as Stinson held together the molten vibes encompassing the room, Lalli and Arce showed off the inimitable chemistry that’s served as the root cause for the spread of their influence. Yeah, it was cold out, and yeah, it was a weeknight, and yeah, real life loomed outside the door like some kind of invisible babadook, but as they peppered The Revolt Against Tired Noises material with “Perpetual Oyster,” it was hard to think of them as anything other than a classic band living up to their reputation.

It was an early show and they were done by 11PM, which I don’t know if that’s a capitulation to how the neighborhood around the Vitus has gentrified over the last three-to-four years or what — there didn’t seem to be a dance party starting, which sometimes happens after rock gigs elsewhere — but with more than an hour’s ride back to Jersey afterward, I took anyway. I don’t get out as often as I used to, and it’s mostly anxiety-based. I get worried about seeing people, meeting people, not remembering names of people I’ve met once or twice, taking pictures, on and on, but this was a good show and it felt good to be there. I didn’t seem to be the only one who thought so.

More pics after the jump. Thanks for reading.

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Live Review: Shroud Eater, Eternal Black and Begotten in Brooklyn, 09.05.17

Posted in Reviews on September 7th, 2017 by JJ Koczan

shroud eater photo jj koczan

You ever have one of those bands you just can’t seem to see? I’ll try not to bore you with the barrage of internal links, but I’ve been writing about Miami’s Shroud Eater for eight years since their demo (review here) arrived on my doorstep in 2009, and yet, at every opportunity when I’d otherwise see them, something has come up, the show has been canceled, I’ve moved out of the state, whatever it might be — point is it’s always been something. Well not this time, god damn it. This time I was going to finally see Shroud Eater.

The good news is it worked out. The Floridian three-piece hit Brooklyn’s venerated Saint Vitus Bar with support from reformed riffers Begotten and the doomly Eternal Black for a Tuesday night lineup that had no dip front to back. The bad news? Pretty much the only reason I was able to be there was because I was on my way to New Jersey for my grandmother’s funeral later in the week. Further bad news? Shroud Eater canceled the rest of their tour and were turning back south after this show in order to prepare for Hurricane Irma, which had already been called the strongest storm ever seen in the Atlantic Ocean, begotten-Photo-JJ-Koczanto make landfall in their peninsular homeland.

Even with these things hanging overhead, though, the most was made of the night and I can’t speak for anyone else, but from where I stood the show was killer. Begotten were onstage when I walked in, guitarist/vocalist Matthew Anselmo immediately placing himself in the running for the title of “most New York dude ever” as he led the band through a soundcheck and asked afterward if that wasn’t the start of the set. Bassist/vocalist Amanda Topaz and drummer Rob Sefcik (the latter also of Kings Destroy) confirmed that, indeed, the show wasn’t yet starting, the sound guy told everyone to hit the bar for a couple minutes, and all seemed more than happy to oblige.

When they did get started with the show proper, Begotten‘s post-Sleep lumbering came through with due thickness, Topaz‘s Sunn amp sitting precariously atop her bass cabinet while Anselmo‘s Marshall JCM 2000 stood like a totem at the head of a full stack. This was only the second show Begotten have played since reuniting, begotten-2-Photo-JJ-Koczanand they did four songs in the set, among them “Apache,” which was among the lost tracks that premiered here last October to mark their getting back together, and “Judges,” which was the opener of their 2002 self-titled debut, released by Man’s Ruin Records. They actually had that disc for sale, as well as an original Frank Kozik poster for the release in metallic ink that was nothing short of stunning to behold, but the highlight was that they also played a new song, giving a clear signal that they’ll move ahead toward the creation hopefully of a second long-player.

After 15 years since the debut, I don’t think anyone will be in a rush to put a timeline on that, but it was welcome news all the same. When they were done, Eternal Black took the stage quickly, sharing drum gear — guitarist/vocalist Ken Wohlrob noted the Kings Destroy kickdrum head on the kit through which drummer/best-guy-ever Joe Wood was playing, eliciting a chuckle from all, including bassist Hal Miller — and set about rolling forth their likewise dense-toned doomer grooves. Their self-released debut, Bleed the Days (review here), came out Aug. 8 and was still pretty fresh in mind, and their straightforward and roughed-upeternal-black-photo-jj-koczan take on classic, traditionalist riff-led doom was no less welcome from the stage than from that disc. If anything, more so for the voluminous onslaught through which the persistent roll seemed to emanate.

I dug that record — I dig that record. A lot. And granted, I’m biased as regards the band because of my overarching love of Joe Wood (who really is the best guy ever; it’s like his thing) and because I find the gritty edge they bring to Maryland-esque doomery speaks to a particularly Northeastern, particularly New York intensity that always seems to remind me of home. Music like Eternal Black‘s has to come from someplace crowded. Population density is a factor, and I don’t think you could produce a song like the downtrodden “Sea of Graves” without it. One way or another, Bleed the Days is easily among the best doom offerings I’ve heard in 2017, first album or not, and the three-piece made it clear at the Vitus Bar as they had when I saw them at Maryland Doom Fest last year (review here) that the process of their coming together as a band is still veryeternal-black-photo-jj-koczan much at its beginning stages. That is to say, they killed and they sound like they’re only going to keep getting better.

And then my brain finally got to process Shroud Eater live. I’ve had bands-I-should’ve-already-seen out the wazoo over the years, but few have had the kind of consistent stretch of Shroud Eater. Yet, as I stood in front of the Saint Vitus Bar stage and tried my best to snap photos of them in the drawn-down lighting, I couldn’t help but feel like it was somehow serendipitous to catch the three-piece of guitarist/vocalist Jean Saiz, bassist/vocalist Janette Valentine and drummer Davin Sosa in support of 2017’s Strike the Sun (review here). Released through STB Records — whose honcho, Steve, was also on-hand for the show and someone else I was long overdue to meet in-person — the second Shroud Eater full-length is hands down the band’s best work yet, and though it was shroud-eater-photo-jj-koczanobvious in talking to them that concerns of family back in Florida and the impending potential for storm destruction were weighing heavily on them, let alone the general bummer of having to cancel shows in the first place, they were nonetheless devastating onstage.

A performance that galloped and slammed and crashed and careened and lumbered and did all that stuff that means it basically kicked the living shit out of the room, Shroud Eater‘s set came through with density to match either of the acts that preceded them and a sense of motion that was all their own. Songs like “Awaken Assassin” from the new record and the furious 2015 single “Face the Master” (video premiere here) brought forth groove and pummel in kind, and with samples between various tracks, traded vocal parts from SaizValentine and Sosa, and an overarching intensity that came through even the most atmospheric of stretches, Shroud Eater made me so fucking happy I was finally getting to see them that I’m not sure I can shroud-eater-photo-jj-koczanhonestly say I’d trade having done so at any point in the last eight years for the experience of watching them play this set. That’s as sincere as I can be about it.

So — clearly not a night for critical impartiality. From feeling lucky to see Begotten on their second show back to having Eternal Black in the middle as the icing on an evening the cake of which just happened to be a long, long, long-awaited Shroud Eater set bludgeoning my consciousness, what the proceedings might’ve lacked in my emotional distance from them, they more than made up for in my raw enjoyment — which, if it’s going to be one or the other, I’ll take. When Shroud Eater were done, I’m fucking proud to say I was the first person to shout for one more song and even prouder to say they played it, and as I stood among friends in the crowd like Kings Destroy vocalist Steve Murphy and guitarist Carl PorcaroClamfight drummer/shroud-eater-photo-jj-koczanvocalist Andy MartinDave from Made in Brooklyn SilkscreenersSteve from STB Records and others, I was reminded of how special some nights can become when the planets finally align just so in order to make them happen.

The rest of the week? We’ll see how it goes for things like familial grief and category five storms — I wished Shroud Eater safe home and safe afterwards; spent the last eight dollars I had to my name on a copy of their Three Curses and Strike the Sun tapes (wanted the CD but didn’t have the requisite $10 and wasn’t about to be like, “Hey you need to buy bottled water for survival this week, can I get a free disc?”) — but this one was restorative on just about every level possible and a show I hope not to forget anytime soon.

More pics after the jump. Thanks for reading.

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Snail Post Live Video of “Blood” from The Obelisk All-Dayer

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

snail at the obelisk all-dayer

If you’ll allow me a sentimental moment: I remember quite clearly standing in front of the stage at Kimo’s in San Francisco in 2010 and singing along with Snail‘s Mark Johnson and Matt Lynch to the titular hook of their 2009 return album, Blood (review here). It was among the greatest joys of the day to do so again this past August at The Obelisk All-Dayer at the Saint Vitus Bar in Brooklyn. Some time passed between the two events, obviously, and Snail have put out two more records in the meantime in 2012’s Terminus (review here) and 2015’s Feral (review here) and shifted from a four-piece back to the original trio of Johnson on guitar, Lynch on bass and drummer Marty Dodson, but still, it was something special.

When I announced The Obelisk All-Dayer was a thing that was happening, Snail were among the first acts who got in touch with me, offering to make their way across the continent for what would be their first East Coast appearance ever in a history that stretched as far back as their 1993 self-titled debut (review here). The generosity of that gesture was unbelievable, but the truth of the matter is I’d already dreamed of having Snail involved in the show, as Feral was so decisively their best album to-date and those songs ones I very, very much wanted to see brought to life onstage. I’m hardly an impartial observer at this point, but they were even better in Brooklyn than they’d been six years earlier in California.

The video below for “Blood” was recorded at The Obelisk All-Dayer and takes footage captured by the esteemed Frank Huang and Jennifer Hendrix and manipulates it with some additional psychedelic weirdness suited to the overall vibe. But listen to the sound as well. Snail were so on-point that I was just blown away, and as I watch “Blood,” I can only keep my fingers crossed they follow this up with a companion clip for “Thou Art That,” or, you know, a tape release of the whole set. Either way. No pressure. Ha.

I’ve included the full-stream of Feral at the bottom of this post also. I know you’ve heard it, but hell, you should hear it again.

And please enjoy:

Snail, “Blood” at The Obelisk All-Dayer official live video

Happy New Year! The high point of 2016 (for us) was getting to play The Obelisk All-Dayer in Brooklyn. Matt combined footage from a variety of sources and the board tracks and created a really trippy video of our performance of ‘Blood.’ Check it out! See if you can find the footage of a person giving blood at a blood bank…

Video and Sound Production: Matt Lynch
Footage courtesy of Frank Huang and Jennifer Hendrix. Photos by Jennifer Hendrix.

Special Thanks to: Jennifer Hendrix, Frank Huang, JJ Koczan and The Obelisk and all the folks who came to rock.

Snail, Feral (2015)

Snail on Thee Facebooks

Snail website

Snail at Small Stone Records

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