Mother Iron Horse Sign to Electric Valley Records; Begin Work on First Album

Posted in Whathaveyou on January 23rd, 2019 by JJ Koczan

Massachusetts newcomers Mother Iron Horse have been a band for about seven months, give or take, but they’ve already got an initial two-songer out in the form of Fall 2018’s The Curse, and they’ve already announced work has begun on their debut full-length, which will be released through Electric Valley Records. One might call that a productive start and perhaps leave the understatement to speak for itself, but either way, the four-piece don’t have a set arrival date for the record or anything — “work has begun” could mean six months of writing followed by another six of recording, however contrary that would be to their initial intensity — but it’s in progress. In the meantime, the two tracks of The Curse are at the bottom of this post if you’d care to dig in, and we’ll file the rest neatly away under “more to come.”

The announcement from Electric Valley follows, courtesy of the PR wire:

mother iron horse

Electric Valley Records – Mother Iron Horse

Electric Valley Records is proud to announce the signing of the american Stoner/Doom Band *** MOTHER IRON HORSE ***

Formed in 2018 in Salem, Ma, Mother Iron Horse is Adam Luca, Marco Medina, Chris Kobialka and Devin Fields.

Blending esoteric lyrics with roaring guitar riffs in a way that packs Doom Metal and Rock n Roll into one red eyed, beer soaked suitcase and kicks it down the stairs.

The band came to fruition over a case of Pabst Blue Ribbon and the shared background of Boston’s heavy music scene. The band officially started in July 2018, but, due to set backs, didn’t get going until October 2018. The Salem band released a two-track EP on Halloween 2018 which garnered them some national exposure. In January of 2019 Mother Iron Horse signed to Electric Valley Records and began recording their debut full length album.

https://www.facebook.com/MotherIronHorse/
www.instagram.com/mother_iron_horse
motherironhorse.bandcamp.com
www.electricvalleyrecords.com
www.facebook.com/electricvalleyrecords
www.instagram.com/electricvalleyrecords
evrecords.bandcamp.com

Mother Iron Horse, The Curse EP

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Quarterly Review: A Storm of Light, Z/28, Forrest, 1476, Owl, Brass Hearse, Craneium & Black Willows, Magmakammer, Falun Gong, Max Tovstyi

Posted in Reviews on December 4th, 2018 by JJ Koczan

quarterly-review

Day Two of the Quarterly-Review-Mega-Super-Ultra-Year-End-Wrap-Up-Spectacular-Gnarly-Edition — name in progress — begins now. First day? Smooth. Wrote it over the weekend to get a jump on the week, cruised through a morning and into baby-naps, finished with time left over to still go and read the Star Trek novel I’m currently making my way through. Easy. Also peasy.

Today? Well, apparently I turned off my alarm in my sleep because I rolled over 40 minutes later and certainly didn’t remember it going off. Whoops. Not a great start, but there is a lot of cool stuff in this batch, so we’ll get through it, even if it’s awfully early in the week to be sleeping in. Ha.

Have a great day everybody. Here are 10 more records for the QRMSUYEWUSGE. Rolls right off the tongue.

Quarterly Review #11-20:

A Storm of Light, Anthroscene

A Storm of Light Anthroscene

“America the sick and crumbling/Liberty she’s weeping/The tired and poor are huddled and dying/As the wretched ones are touched aside.” The lines, from A Storm of Light‘s “Blackout” — the second cut from their fifth LP, Anthroscene (on Translation Loss) — lead to the inevitable question: “What the fuck is wrong with us?,” and thereby summarize the central sociopolitical framework of the record. A dystopian thematic suits the band’s aesthetic, and there’s certainly no shortage of material to work from between current events and future outlook. Guitarist/vocalist/keyboardist/graphic artist Josh Graham, bassist Domenic Seita and guitarist/keyboardist Dan Hawkins are five years removed from the band’s last outing, however, so their post-apocalyptic post-metal is welcome either way, and Anthroscene taps a Killing Joke influence and turns it to its dark and churning purposes over the course of its eight tracks/51 minutes, delving into harsh shouts on “Short Term Feedback” and capping with the resistance-filled “Rosebud,” which surges forth from ambience like the anti-facist/anti-capitalist critique that it is, ending with the lyric, “When you die, we will spit on your grave,” which could hardly be more appropriate.

A Storm of Light on Thee Facebooks

Translation Loss Records on Bandcamp

 

Z28, Nobody Rides for Free

Z28 Nobody Rides for Free

Massachusetts’ Z28 — also stylized as Z/28 and Z-28; I don’t think they care so long as you get the point they’re named after the Camaro — make their full-length debut with Nobody Rides for Free on Fuzzdoom Records, and with the occasional bit of organ on songs like “Touch of Evil” and “Angst III (I Don’t Want to Die),” they nonetheless give a raw take on heavy rock laced with that particularly Northeastern aggression. Guitarist Jeff Hayward (also organ), bassist/acoustic guitarist/engineer Jason Negro and drummer Breaux Silcio all contribute vocals to the outing, and yet the minute-long instrumental intro tells much of the story of what it’s about in terms of the chemistry between them. Impressive guitar solos are rampant throughout, and the rhythm section carries over a weighted groove through cuts like “Wandering” that’s fluid in tempo but still able to create an overarching flow between the tracks. I’ll give bonus points for the Black Sabbath nods in the multi-layered lead work toward the end of “Spirit Elk (Lord of the Hunt)” as well as the title “Keep on Rockin’ (In the Invisible World),” and Z28 have something to build on here in terms of songwriting and that chemistry. It’s raw-sounding, but that doesn’t necessarily hurt it.

Z28 on Thee Facebooks

Fuzzdoom Records on Bandcamp

 

Forrest, Kickball with Russians

forrest kickball with russians

Granted, Forrest telegraph some measure of quirk by naming their debut EP Kickball with Russians, but the four-piece from Lexington, Kentucky, still seem to be rolling along in a straightforward-enough manner on six-minute instrumental opener and longest track (immediate points) “(I Dream of) Kickball with Russians,” until the keyboards start in. That turn gives their EP an edge of the unexpected that continues to inform “DAN,” “Deew” and the closing “My Son Looks Just Like Me,” and “DAN” continues the thread with gang shouts popping up over its chugging progression and receding again after about two words to let the track get quiet and build back up. And is that a velociraptor at the start of “Deew?” Either way, that song’s Mr. Bungle-style angularity, a return of the keys and intermittent heavy nod work to underscore the willful weirdness that’s very much at play in the four-piece’s work, and the closer adds Ween-style effects work into the mix while still keeping a heavy presence in tone and lumber. They’ll get weirder with time, but this is a good start toward that goal.

Forrest on Thee Facebooks

Forrest on Bandcamp

 

1476, Our Season Draws Near

1476 our season draws near

Coastal melancholy and a pervasive sense of atmosphere seem to unite the varied tracks on 1476‘s 2017 Prophecy release, Our Season Draws Near, which otherwise draw across their span from goth rock, punk, doom and extreme metal, able to blur the line especially between punk and black metal on songs like “Ettins” while acoustics pervade “Solitude (Exterior)” en route to the Anathema-gone-char rasps of “Solitude (Interior)” a short time later. I know I’m late to the party on the Salem, MA, duo, and likewise late on this record, but from opener “Our Silver Age” to closer “Our Ice Age” to the “Solitude” pairing to “Winter of Winds” — finally: David Bowie fronts Joy Division — and “Winter of Wolves,” there’s so much of Our Season Draws Near that has a bigger-picture thought process behind its construction that its impact is multi-tiered. And it’s not just that they pit genres against each other in their sound, it’s that their sound brings them together toward something new and malleable to the purposes of their songwriting. Not to be missed, so this is me, not missing it. Even though I kind of missed it.

1476 on Thee Facebooks

Prophecy Productions on Bandcamp

 

Owl, Nights in Distortion

owl nights in distortion

Joined on Nights in Distortion by bassist René Marquis as well as longtime drummer Patrick Schroeder, guitarist/vocalist/synthesist Christian Kolf (also Valborg) greatly expands his former solo-ish-project Owl with their second release of 2018 behind March’s Orion Fenix EP (review here), bringing together elements of post-metal churn with deeply atmospheric sensibilities, cuts like “Transparent Moment” churning as much as they are surprising with their underlying melody. A Type O Negative influence continues to be worked into their sometimes grueling context, but it’s hard to listen to the keyboard-laced “Inanna in Isolation” and hear Owl being anything other than who they’ve become, and their third album is the most distinct statement of that yet, airy lead guitars floating over a still-fervent, industrial-style chug amid vocals veering from barking shouts to quiet, low-register semi-spoken fare and cleaner singing. Nights in Distortion is the evolving work of a mastermind, captured in progress.

Owl on Thee Facebooks

Temple of Torturous website

 

Brass Hearse, Hollow on the Surface

Brass Hearse Hollow on the Surface

Synth-laden heavy horror garage dance rock could probably use a more succinct genre name, but while those in charge of such things sit and scratch their butts, Boston’s Brass Hearse carve out a niche unto themselves with their second EP, Hollow on the Surface. The five-track offering is in and out in 14 minutes but wants nothing for either a show of craft or arrangement, tapping into psych-folk in the strummy interlude “Dwellers in the Static Valley” after the hook-led “Death by Candlelight” and before the John Carpenter-style pulsations that underscore “The Thing from Another World.” Opener “Fading” is the only song to top four minutes and has a distinctly progressive take, but while it and the organ-ic closer “Headaches & Heartbreaks” has a theatricality to it, Brass Hearse are too cohesive to charge with being weird for weirdness’ sake, and their experimentation is presented in complete, engaging songs, rather than self-indulgent collections of parts mashed together. Would love to hear what they do over the course of a full-length.

Brass Hearse on Thee Facebooks

Playing Records on Bandcamp

 

Craneium & Black Willows, Split

Different missions from Finland’s Craneium and Switzerland’s Black Willows on their BloodRock Records split. Craneium nod through “Your Law” and mark their second inclusion, “Try, Fail, Repeat,” with a Sabbathian swing that only kicks up in tempo as it moves through its five minutes. Black Willows, on the other hand, present a single track in the 19-minute, noise-soaked post-everything “Bliss,” which trades back and forth between minimalism and crushing riffs en route to a consuming wash and long, long, long fadeout. Released in March, the outing showcases both bands well, but one is left wondering where the connection is between the two of them that they’d come together for a joint vinyl release. Either way, I won’t detract from what they do individually, whether it’s the catchiness of “Your Law” and the jam in its second half or “Bliss” with its frost-covered expanse of tonality, it’s just a marked leap from side A to side B. Maybe that was the idea all along, and if that’s the case, then one can only say they succeeded.

Craneium on Thee Facebooks

Black Willows on Thee Facebooks

BloodRock Records on Bandcamp

 

Magmakammer, Mind Tripper

magmakammer mindtripper

Following a 2015 self-titled debut EP, Oslo trio Magmakammer align with Kozmik Artifactz for their first long-player, Mindtripper, and so effect a garage doom sound that’s quickly relatable to Uncle Acid on songs like “Fat Saturn” and the chug-shuffling “Along the Crooked Roads.” Where they distinguish themselves from this core influence, though, is in the density of their tones, as opener “Druggernaut” and the rolling “Acid Times” prove thicker in their charge. Still, there’s no mistaking that swing and the blown-out sound of the vocals. Closer “Cosmic Dancers,” which is one of two tracks over seven minutes long, shows more dynamic in its loud/quiet tradeoffs, and resolves itself in a righteous nodder of a riff. It’s essentially in the same vein, but still displaying some emerging personality of Magmakammer‘s own that one hopes they continue to develop. And in the meantime, the foundation of craft and stylistic awareness they hone is still welcome, familiar or not.

Magmakammer on Thee Facebooks

Kozmik Artifactz webstore

 

Falun Gong, Figure 2

Falun Gong Figure 2

Mystique isn’t easy to come by in this Age of Access, but the anonymous London-dwelling duo Falun Gong have succeeded in piquing interest with their two-to-date singles, “Figure 1” (review here), and the eight-minute “Figure 2,” which like its predecessor is raw in the recording, sounds like it was performed live, and follows a trance-inducing course of riffing. The central groove is a slow march that makes its way through obscure voices delivered in buried fashion — the whole thing may or may not be mastered; somehow I’m thinking not, but I’ve been wrong before — through a self-aware drift that rounds out following a soulful culmination fitting the song’s lyrical theme, which would seem to be tied to the cover art about baptism in a river’s waters. There’s just something off-kilter about Falun Gong to this point, and while it’s still early going for them, they bring an eerie persona to their work that feels less performative than it so often does.

Falun Gong on Bandcamp

 

Max Tovstyi, Mesmerize

Max Tovstyi Mesmerize

Though he’s had a slew of live outings out with the Max Tovstyi Blues Band and the Max Tovstyi Blues Association, Mesmerize (LP on Nasoni) is the Ukrainian heavy blues rocker’s first solo studio outing since 2014. He’s credited with all the instruments on the 10- or 12-track offering save for a couple arrangement-flourish guest appearances, and he pulls in a classic spirit and full-band sound without any trouble on a moody piece like “World of Sin” or the bonus track “Show Me the Way,” which isn’t a Peter Frampton cover so far as I can tell but still has plenty of guitar scorch to go around. “From the Blues to the Funk” jams its way along its stated trajectory, and “Feel Like Dying Now” brings together organ and keys in a fashion far less dramatized than one might initially think. With a clean production, Tovstyi — also known for his work in The Heavy Crawls, Lucifer Rising, and others — carries through his sentimentality for blues rock’s past and finds himself well at home leading the pack of guest vocalists on “Make Up Your Mind,” which closes the album proper with a semi-country twang and sweet melody.

Max Tovstyi on Thee Facebooks

Nasoni Records website

 

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1476 US Tour Starts Friday

Posted in Whathaveyou on August 29th, 2018 by JJ Koczan

1476

So, I’m late to the party on this band and I’m not about to pretend otherwise. 1476 released their third album, Our Season Draws Near, this past Spring on Prophecy Productions and they’ll hit the road to support it starting this Friday in Buffalo, New York. Based out of the suitably-witchy goth-tourist-trap known as Salem, Massachsetts — also there are good restaurants and a bitchin’ video game store — the two-piece bridge a gap between progressive melodic rock, post-punk, post-black metal and post-your face, which is not a minor gap indeed, and rather than simply assault listeners they play to multiple sides in memorable songcraft and a varied atmosphere, still keeping in their pocket an all-out burst that surfaces every now and then. You can stream the record at the bottom of this post, and I’m sure you’re already all over this one, because you, like the rest of the planet, are way ahead of me on everything, but even so, it’s there if you want to put it on.

I dig it, I guess is the point.

Tour dates follow:

1476 tour

SALEM’S 1476 EMBARK ON U.S. TOUR THIS MONTH

** OUR SEASON DRAWS NEAR, OUT NOW ON PROPHECY PRODUCTIONS**

Salem’s “hermetic death rock” duo 1476 will hit the road this month for fall tour of the United States in support of their 3rd album, Our Season Draws Near, which is available now from Prophecy Productions. The month-long tour will kick off in Buffalo, NY on August 31st and make its way across the country before wrapping up in their hometown of Salem for a bewitching show on September 28th.

Following the tour the band are confirmed to perform at the inaugural Prophecy Fest USA on November 2nd at Knitting Factory in Brooklyn, NY. The festival will take place on November 2nd and 3rd and will also feature performances by Alcest, Eye of Nix, Volur, Xasthur, Kayo Dot, Novembers Doom, Crowhurst, Year of the Cobra and So Hideous. Tickets are on sale now at http://us.prophecy.de/prophecy-fest/prophecy-fest-us-ticket.html.

The revered atmospheric metal band, consisting of Robb Kavjian and Neil DeRosa, has created a worldwide cult following since their debut in 2010. Following several EP and LP releases, 1476 partnered with Prophecy Productions, who are based in Germany and United States, in 2016 and released their critically heralded album, Our Season Draws Near, mixed by Markus Siegenhort (of post-black metal band Lantlôs,) the subsequent year. The duo’s latest chapter in their dark journey is an amalgam of punk-charged metal and ambient folk that provide a haunting soundtrack for a dreary New England winter.

Tour Dates:
Aug. 31st – Buffalo, NY – Sugar City
Sept. 1st – Detroit, MI – Fireside Inn
Sept. 2nd – Canton, OH @ Buzzbin Art and Music Shop
Sept. 3rd – Indianapolis, IN @ Black Circle Brewing
Sept. 4th – Chicago, IL – Livewire
Sept. 5th – Madison, WI – The Wisco
Sept. 6th – St. Paul, MN – Caydence Records
Sept. 7th – Sioux Falls, SD @ Big’s Bar
Sept. 8th- Denver, CO @ Seventh Circle Music Collective
Sept. 9th – Kalispell, MT @ Old School Records
Sept. 11th – Seattle, WA @ The Funhouse
Sept. 12th – Portland, OR @ High Water Mark
Sept. 13th – Sacramento, CA @ Blue Lamp
Sept. 14th – Lakewood, CA @ Regal Inn
Sept. 15th – Tempe, AZ @ TimeOut Lounge
Sept. 16th – Albuquerque, NM – TBA
Sept. 18th – Denton, TX @ Dan’s Silver Leaf
Sept. 19th – Austin, TX @ The Lost Well
Sept. 21st – San Antonio, TX – The Guru
Sept. 22nd – Houston, TX @ Rudyard’s Pub
Sept. 23rd – New Orleans, LA – TBA
Sept. 25th – Raleigh, NC @ Slim’s
Sept. 26th – Richmond, VA @ Strange Matter
Sept. 27th – Philadelphia, PA @ Creep Records
Sept. 28th – Salem, MA @ Koto

http://www.1476cult.com/
https://www.facebook.com/1476cult/
https://1476.bandcamp.com/
http://en.prophecy.de/

1476, Our Season Draws Near (2018)

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Live Review: Godhunter and Destroyer of Light in Massachusetts, 08.14.15

Posted in Reviews on August 17th, 2015 by JJ Koczan

Godhunter (Photo by JJ Koczan)

My first time in Salem, or “Witch City,” as the sign said, which seems to have done reasonably well on the niche-tourism market based on its people-got-burned-at-the-stake-here heritage. Well enough to have a joint like Koto, anyway. The venue where this show happened is a sushi bar. A sushi bar. Because although the passion for heavy music in the area of Eastern Massachusetts is strong enough to host gigs at, say, a sushi bar, that’s also how deep the corresponding lack of decent venues in the region runs. Godhunter and Destroyer of Light, from Arizona and Austin, Texas, respectively, came an awfully long way. It’s kind of hard not to be embarrassed for the state in which I live. Often.

Led to the Grave. (Photo by JJ Koczan)But the good news was Godhunter and Destroyer of Light, and if it’s a sushi bar, well, that’s better than nowhere at all. A section of the otherwise carpeted floor was hardwood, and tables were cleared out to make a “stage,” which is to say an empty space. The kitchen stayed open — sadly, I did not have any sushi, though I’d been craving it for weeks — and locals Led to the Grave opened the show billed to start at 9PM well after 10 with their death-thrashing blend of sonic extremity very much in a New England-y vein. Dual-guitar squibblies called to mind the first time I heard Cannae‘s Troubleshooting Death and thought about the colors of autumn leaves. They were heavy, growls, screams, shouts, Slayer parts, etc. Not offensive to watch, and at times pretty right on, but not really where my head was at.

I was there to see Destroyer of Light and Godhunter, whose split 12″, Endsville, is out now on Battleground Records. Both are dual-guitar/dual-vocal four-pieces, and both have plenty of aggressive edge, so how they wound up touring and working together isn’t really much of a mystery, but they made a fitting complement at what I’d seen billed as “Salem’s first stoner rock show,” which was interesting since I didn’t think it was a stonerDestroyer of Light (Photo by JJ Koczan) rock show at all. Led to the Grave, even when they grooved beyond their melodeath and thrash influence, did so with a death metal charge, and both Godhunter and Destroyer of Light are meaner than what I usually think of as stoner rock. It’s not like it was “An Evening with Sons of Otis” (though I’d probably go to that as well). Maybe it’s splitting hairs, but Godhunter are sludge metal all the way and Destroyer of Light have some pretty clear Sleep influence, but are up to something entirely rawer.

If you don’t know the band, I’m not trying to slight them when I say they’re not as metal as their name and they’re not as punk as their cover artwork, but they have elements of both metal and punk to go along with their big, big, big riffing. On stage — such as it was — guitarist/vocalist Steve Colca, bassist Jeff Klein and guitarist/backing vocalist Keegan Kjeldsen headbanged in unison to their own grooving largesse while drummerDestroyer of Light (Photo by JJ Koczan) Penny Turner slammed away on his ride cymbal behind, setting the nod. It was righteous from the start, and they offered little breathing room from one pummel to the next, guitar leads cutting through the density of the direct-from-the-cabs wash of sound — P.A. for vocals only, house-show style — as Turner was bathed in green light and the rest of the band more or less played in the dark.

Another unfortunate staple of the Bay State show-going experience, that, but not unexpected, particularly at a place like Koto, which though it’s badass enough to put on a show like this one — their t-shirts were also killer-looking, but I did not dare ask about sizes lest I should incur the judgmental glare of the employees, several of whom I supplied with earplugs — isn’t really equipped to host it on a professional level. Again, nothing against it, but it’s a sushi bar, not Radio City Music HallGodhunter (Photo by JJ Koczan)It seemed likely to me that either Destroyer of Light or Godhunter, who closed out the night, would bust through that P.A., but neither did. On tour together and sharing amps, it wasn’t a long changeover between the two traveling acts, and I was very excited for Godhunter‘s set, which even Steve from Destroyer of Light had teased by touting the assault of volume that was to come.

They didn’t disappoint on that level or any other unless you perhaps count the shortness of their set. Four songs, maybe five? They incited a sort of mini-mosh, dudes who were clearly more metal than doom meeting their cathartic riffing head-on by blowing off steam, yelling, being plastered, and so on. I moved to the side of the stage and just sort of watched it happen, Godhunter‘s guitarists, David Rodgers and Jake Brazelton, trading vocal duties as bassist Dick Williamson and drummer Andy Kratzenberg held the groove together thick and rolling at centerstage. On record, they are vicious, and while the live set had more of an overwhelming density than a harsh bite, the Godhunter (Photo by JJ Koczan)beastliness they conjured was familiar anyway, and I was very glad to have been there to see it.

Standing where I was, I kind of felt like I was observing from outside the action, but being there, it would’ve been impossible not to be affected by it, and so their catharsis offered me a bit of my own, which on a Friday night after a long week, was much appreciated. They finished and I shouted for one more song, which they didn’t have. It was after midnight and I had a 90-minute ride home, so it didn’t seem like an issue to push, but if Godhunter had done an encore, no question I would have stayed.

A couple more pics after the jump. Thanks for reading.

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Video Premiere: Beard of Bees, “General Butt Naked” Live at Ceremony of Sludge 2014

Posted in Bootleg Theater on August 22nd, 2014 by JJ Koczan

beard of bees

Admittedly, it was a while ago, so if you don’t remember or had chalked it up to the ol’ sometimes-things-fall-through, no worries, but when this year’s Ceremony of Sludge was announced back in January, it was noted that I’d be premiering a series of videos captured there at Club 21 in Portland, Oregon, over the course of the two-day event. Well, the fest happened March 7 and 8, and sure enough, it was filmed, and last night, I was sent the first of what I hope will be many clips to come from that weekend.

The band in question is Beard of Bees, a Salem, OR, guitar/drum two-piece who kicked off the first night of the festival. They shared the stage with TsepeschSerial Hawk and Lamprey, and playing to an already crowded room, they evoked ’90s noise pummel and brandished thick, mostly instrumental grooves of considerable threat. It’s my first time hearing the band, which is comprised of guitarist/vocalist Russell Brown and drummer Nick Plaff — going by their Thee Facebooks address, they were at some point a trio and Bob left — but the tension in their buildups and the locked-in chugging of the ensuing payoffs makes for a satisfyingly heavy roll that has me empathizing with those in the crowd raising their beer cans in appreciation.

As for the song itself, it’s called “General Butt Naked,” and the clip was filmed by Cole Boggess, Justin Anderson, Justin Brown (Russell‘s brother and one of Lamprey‘s two bassists) and Eli Duke, and edited by Boggess. Beard of Bees don’t seem to have anything recorded or released as yet — they first got together in 2011 — so if you go looking and find some other band with the name, don’t be confused, but as an introduction, I think the live clip works well to make a favorable impression, and if nothing else, looks like the kickoff to a hell of an evening.

Enjoy:

Beard of Bees, “General Butt Naked” Live at Ceremony of Sludge, Portland, OR, March 7, 2014

Beard of Bees on Thee Facebooks

Ceremony of Sludge

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