Thunderbird Divine, Magnasonic: Proof of Qualification

Posted in Reviews on January 3rd, 2019 by JJ Koczan

Thunderbird Divine Magnasonic

Anything goes so long as it grooves. Such would seem to be the prevailing ethos on Thunderbird Divine‘s debut album, Magnasonic. The four-song/30-minute full-length arrives via Salt of the Earth Records only about a year and a half after the band’s formation, which speaks to both the experience of the players involved and the urgency of their creation. A four-piece culled from members of Philly stalwarts-until-they-weren’t Wizard Eye, who made a strong self-titled debut (review here) in 2015 before calling it quits, and Skeleton Hands, whose debut, Deadlines was issued in 2014. The story goes that Skeleton Hands bassist Adam Scott, guitarist Flynn Lawrence and drummer Mike Stuart lost their frontman, just as Wizard Eye‘s guitarist/vocalist Erik Caplan suddenly had a bunch of free time on his hands with that band’s dissolution, and the new group was formed, named for a track on Wizard Eye‘s record.

Given that, one might therefore expect some measure of continuity between the outfits — and there is, if you strain hard enough to hear it — but Thunderbird Divine surpasses both of its progenitor acts in scope and execution alike. Magnasonic‘s tracks are treated to a depth of arrangement and a fluidity of rhythm that are entirely their own, and while there’s some root in the sludge that infused the sound of both Wizard Eye and Skeleton Hands, the prevailing vibe is more rock-based, languid and cosmic, drawing a line in “Qualified” (premiered here), “‘Til Shiloh,” “Bummer Bridge” and “The Devil’s Hatband” to the ’90s era of post-grunge stoner-psych, as bands like Monster Magnet came into their own on the East Coast while Nebula smoked acid fire way out West. Thunderbird Divine have plenty of crunch to go with their roll, but an instinct toward adventurous arrangements of keys, theremin, vocals and who-the-hell-knows-what-else serves them well throughout and adds a level of unpredictability to their sound that fits remarkably well alongside their more straightforward aspects, and with a loose swing in Stuart‘s drums as the foundation, Magnasonic builds itself outward as a showcase not only of how far Thunderbird Divine have come in such a short time, but how much potential there is for them to continue to move forward.

It is no simple feat to blend the familiar with material so decidedly given to reach, but Thunderbird Divine find a niche for themselves and make their sound as organic as it is spacious. Whether it’s the drop to open weirdness in “Qualified,” or the move from the hard-hitting start of “‘Til Shiloh,” with its dual vocals both working in shouts, to a tripped-out build and scorching solo and weirdo echoes and more fist-raising cosmic triumph at the finish, or the ultra-swing of “Bummer Bridge” as the shortest cut at just over five minutes before “The Devil’s Hatband” nearly goes to 11 (minutes) in its linear stretch and massive finish, Magnasonic finds itself in these pockets of a universe of its own making, and though a human presence is maintained in straightforward songwriting elements — hooks, verses, those leads — the band slips with ease into otherworldly sounds that one imagines will only becomes more prevalent as they move forward. Or maybe one hopes that, at least, while listening to the drift at the outset of “The Devil’s Hatband” that leads to the woozy key-topped blues en route to a hypnotic roll that’s so smoothly done as to be emblematic of the hey-everybody-we’re-all-gonna-get-laid-back spirit throughout.

Thunderbird Divine (Photo by Dante Torrieri)

Even in that last burst, though, there are elements grounding Magnasonic, and that’s not to say the band are boring or overly straightforward — because they’re neither — just that they’re clearheaded about where they want their experimentation to take them. The course is set early in “Qualified” for far-funked-out and they go willingly toward that heavy spatial anomaly with gang vocals in tow, floating like a ribbon of star-stuff undulating through dimensions like, “hey, no big deal y’all.” And groove. It’s the kind of cool that always seemed so untouchable, out there of a level of its own, some secret happening in some secret place, except this time everyone’s invited and if you bring a figurative or literal kitchen sink along to bang on, they’ll probably let you jam. The start-stop organ on “Bummer Bridge,” giving it a Southern rock feel if we’re talking the southern end of the galaxy, helps capture that welcoming vibe, and then things take off with the theremin spitting freaky poison, and yeah, it’s a party. Quit your job and make it happen. Paint places you’ve never heard of. Invent shit. Transcend physical reality and become waves of distortion. Whatever you want to do, it’s all there.

Debut album? Hell’s bells. Yeah, it is. And a short one at that, though I wouldn’t ask more of Magnasonic than it gives. It should be of particular note out there among all that ether just how much it’s evident Thunderbird Divine are pushing themselves toward these broad ends. Caplan‘s vocals are cleaner and more soulful than they’ve ever been, and he, and ScottLawrence and Stuart step into these songs with an immediate command of their direction and intent that speaks to their prior experience and works somewhat in contrast to Thunderbird Divine as a “new” band, even if it is a new collaboration between the trio and Caplan. But thinking of it as their debut, yes, there is more to do. More to explore. More reaches to discover, more groove, more hooks, more shred, more nuance to be had, and the fine-edged sonic details of Magnasonic seem as much a herald of future manifestations of the let’s-try-this impulse as they are righteous in the now. One listens to Magnasonic and looks forward to what Thunderbird Divine might become even as they establish themselves in a present moment.

I’d be remiss if I didn’t mention the off-album tracks. To introduce Magnasonic and the band as a whole, three pieces — “Quaalude Thunder” (posted here), “Madras Blue” (posted here) and “Djinn au Jus” (posted here) — were issued in videos as a precursor to the album, to introduce its general mood and vibe. There’s a fair amount of sonic variety between them, and between them and Magnasonic itself, which is more cohesive, but one has to wonder if Thunderbird Divine will work to bring those different sides together over time, and if their next outing might have more of those one-off experiments included on it, maybe as interludes between the tracks, or pieces of more structured songs themselves. Maybe Thunderbird Divine will go that way and maybe they won’t, but what’s important is that their work on Magnasonic sets them up to become essentially anything they want to be. If they want to solidify around more of a heavy rock mindset, those roots are here, and if they want to float off into lysergic oblivion, that’s here too. What one hopes though is that they commit to neither end of their spectrum and continue to grow on all fronts while maintaining the strengths of craft they demonstrate in these songs. Because those are significant and not to be ignored.

Thunderbird Divine on Thee Facebooks

Thunderbird Divine on Instagram

Salt of the Earth Records on Thee Facebooks

Salt of the Earth Records website

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Rifflord Release 7 Cremation Ground / Meditation on CD Through Salt of the Earth Records

Posted in Whathaveyou on December 19th, 2018 by JJ Koczan

rifflord

Just a quick plug here for a cool band doing good stuff. Rifflord from South Dakota released their second album, 7 Cremation Ground / Meditation (review here), on vinyl this month through STB Records, and they’ve also signed to Salt of the Earth Records for the CD issue, which, as it happens, is also out now. Nothing like efficiency. If you’re really the pick-your-media or the gotta-catch-’em-all type, there are also tapes available from Tescio Dischi in ultra-limited fashion, the deluxe edition long since gone. But for those of us who enjoy a straightforward piece of plastic, there’s still nothing quite like a compact disc to get the job done, and as I know I’m not the only loyalist to the format — nothing against vinyl — I figured it was worth sharing the news.

You’ll note Salt of the Earth says below that it’s signed the band. I’m not sure if that means for future releases as well, but I guess we’ll find out. Either way, good record, good fit, so all the better. From the PR wire:

rifflord salt of the earth

SALT OF THE EARTH RECORDS is proud as all hell to announce the signing of the mighty RIFFLORD.

In an unholy alliance between STB Records and Salt Of The Earth Records,

RIFFLORD “7 Cremation Ground / Meditation” is now available in all glorious formats. So twist a fatty… and burn, burn, burn!

And do you know what makes this announcement all the sweeter?!

The RIFFLORD “7 Cremation Ground / Meditation” cds are in stock NOW!!

No wait.

We are psyched to be offering up RIFFLORDs brand new collection of heavy ass tunes on Compact Disc… thus making it very easy to blast RIFFLORD “7 Cremation Ground / Meditation“ very loudly in Vans, Camaros, El Caminos and in most underground lairs.

Seriously though, you HAVE to check this RIFFLORD album out, it’s a collection of songs that are very easy to lose yourself in…This is one hell of an infectious album.

Rifflord is:
Lead Guitar and Vocals: Wyatt Bronc Bartlett
Guitar: Paul Pinos
Bass: Matthew Mcfarland
Keys: Tory Jean Stoddard
Drums: Tommy Middlen

https://www.facebook.com/rifflordusa/
https://www.instagram.com/rifflord/
https://rifflord.com/
www.facebook.com/SaltOfTheEarthRec
www.saltoftheearthrecords.com
http://stbrecords.bigcartel.com/
https://www.facebook.com/STB-Records-471228012921184/
https://teschiodischi.bandcamp.com/

Rifflord, “The Other Side” official video

Rifflord, 7 Cremation Ground / Meditation (2018)

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Thunderbird Divine Premiere “Qualified”; Magnasonic Preorders Available

Posted in audiObelisk on December 13th, 2018 by JJ Koczan

Thunderbird Divine (Photo by Dante Torrieri)

Philadelphia’s Thunderbird Divine make a much-anticipated debut on Jan. 11 with Magnasonic through Salt of the Earth Records. All along the way since the band came into being in 2017, they’ve released material in drips and drabs, a rehearsal clip here, a video there. Songs like “Quaalude Thunder” (posted here), “Madras Blue” (posted here) and “Djinn au Jus” (posted here) have made their way to public ears and eyes, but every cut that’s come out so far has one thing in common: it’s not on the record. Less than a month to go before the release date and Thunderbird Divine haven’t put so much as a riff out there for mass consumption that features on Magnasonic.

You know where this is going.

Enter “Qualified.” The seven-point-five-minute opener of Magnasonic in all its funk-riffed, swaggering, oh-wait-did-we-just-get-to-outer-space-and-was-that-Thunderbird Divine Magnasonica-piano-oh-okay-I-guess-the-riff-is-back-wow-that-was-awesome glory. A song that sets its rhythm early and holds its welcome late, “Qualified” boasts a hook begging for a barroom singalong as guitarist/vocalist/etc.-ist Erik Caplan (ex-Wizard Eye) leads the nod with Skeleton Hands veterans Adam Scott (bass), Flynn Lawrence (guitar, more etc.) and Mike Stuart (drums) further the take-your-favorite-muscle-car-and-stick-it-in-orbit vibe. Think new-classic stoner riffage — Monster Magnet shortly before the commercial boom — and you might have the right timeframe, but Thunderbird Divine are for sure telling the squares to get their hats regardless of the decade to which you want to draw parallels. And “Qualified” is one of four slabs on the half-hour stack, so, you know, more to come, chief.

I’ll get a proper, way-too-wordy-but-probably-less-hyphenated review up sometime after the New Year, but I’m honor’d to host the first Thunderbird Divine track to actually come from Magnasonic, which you’ll find on the player below, followed by a few words from Caplan and the preorder link to get your copy of the album.

Please enjoy:

Thunderbird Divine, “Qualified” official premiere

Erik Caplan on “Qualified”:

“Qualified” is the first song we wrote together. The repeated riff in the beginning and at the chorus is based on something I found compelling during my home practice sessions before I joined the band. When I showed it to the other guys, we agreed it could be the basis of something cool. That riff set the stage for the rest of the song.

As an early collaboration, we were still feeling each other out as a band during the writing process, and, in particular, it was the first opportunity for Flynn (Lawrence, guitar) and I to figure out how our guitar sounds would mesh. Since neither of us had worked with another guitarist in a long time, it fortuitously happened that our styles were complementary. Flynn is an extremely accurate, concise player with a passion for riffs and a somewhat metallic tone, whereas I’m basically a fuzzy, guitar-soloing mess, so we don’t step on each other’s toes. You can hear him nailing down some massive chord sounds while I play a wonky fuzz melody in various parts of the song. Mike (Stuart, drums) and Adam (Scott, bass) have a very natural interplay after having played together for several years.

The basic structure came together fairly quickly, but, as with most collaborations, the devil was in the details, especially when it came to recording. We were ambitious. For example, the psychedelic section in the middle is usually a theremin and bass-feedback freakout in the live arena, but we wanted to do something with more class and refinement on the studio recording. We layered electric sitar, piano, theremin, water drum and other oddities on top of the usual band arrangement. We wanted it loose and trippy, but not random and sloppy, with interesting layers of sound to bear repeated plays and reveal more of itself to the listener each time.

The entire song was given that level of attention, with synth drones and percussion throughout. It’s truly a testament to the skills of Ted (Richardson, engineer, TedAudio) and Charles (Newman, mixing engineer, Cottage Sounds Unlimited) for cleanly tracking and mixing so many layers of sound together in such a cohesive way.

Vocally, this is a departure from my past efforts in that I used a clearer sound with less grime. It was different and a little daunting, but I was ready to try something new, so I just went for it. It’s a pretty clean take – the main vocal is single-tracked to keep it sounding natural. You’ll hear some lovely backing vocals from Brittany Marie (Mike’s partner) and Avy (my ex-wife) in the pre-chorus, with equally lovely gang vocals from our Mike, Andy Martin (Clamfight) and Kermit Lyman III (Sheena and Thee Nosebleeds) on the choruses.

The lyrical concept comes from Jamaican street slang. This kind of slang is ever-changing, and there was a recent time where folks referred to anything bad-ass or really excellent as “qualified.” It could apply to anything from mangoes to movies to beautiful women, and I thought it was an evocative way to write our own version of something like ZZ Top’s “Nationwide.” I would never claim to be as cool as the little band from Texas, but we did our thing with it. I’m proud of the result.

Philly’s psychedelic space hippy enclave, Thunderbird Divine, has set an official domestic release date of January 11, 2019 for its debut album, Magnasonic, with Salt of the Earth Records (https://www.saltoftheearthrecords.com/). The offering, a 30-plus-minute exploration of riffs and psychedelia, features custom art design by the band’s bassist, Adam Scott.

Produced by the band and recorded at both Ted Richardson at TedAudio in Philadelphia (www.facebook.com/TedAudio) and Charles Newman (who also mixed the album) at Cottage Sounds Unlimited in Brooklyn (https://www.facebook.com/cottagesounds/), Magnasonic shows the quartet, which coalesced in March of 2017, is not willing to be pigeonholed as a strictly stoner/doom rock band. Featuring Scott on bass and guitars, Flynn Lawrence on guitars and additional instrumentation, Mike Stuart on drums and percussion and Erik Caplan on guitars and various instruments,Thunderbird Divine went for an unexpectedly broad tonal variety with Magnasonic.

Preorder at: https://saltoftheearthrecords.com/product/295609

Thunderbird Divine on Thee Facebooks

Thunderbird Divine on Instagram

Salt of the Earth Records on Thee Facebooks

Salt of the Earth Records website

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Via Vengeance Signs to Salt of the Earth Records

Posted in Whathaveyou on December 12th, 2018 by JJ Koczan

Easy to imagine that Shane Ocell makes a striking impression live with his one-man outfit Via Vengeance. Also the drummer/backing vocalist for Sorxe, Ocell positions himself behind a drum kit with a guitar and a microphone and is essentially a whole band. The slogan is: “All live. No loops.” So be it.

It is striking to watch. There’s a video at the bottom of this post you can check out. It’s not exactly recent, but I think it gets the point across. Ocell as Via Vengeance has signed to Salt of the Earth Records and will have a new album out reportedly next summer. At least he doesn’t have to wait for anyone else to show up at the studio.

There’s a secondary announcement being made here in that at least for this signing, Kyle Stratton, also of Atala, has joined onto the Salt of the Earth label team with head honcho Scott Harrington. Atala being based in Twentynine Palms, CA, it seems reasonable to assume Stratton is the connection to Ocell, who is in Phoenix, so maybe Stratton is working some West Coast A&R with Harrington, who is based in Connecticut where he also hosts the New England Stoner & Doom Fest. Interesting development either way and something to keep an eye on.

From the PR wire:

via vengeance

Via Vengeance – Salt of the Earth Records

SALT OF THE EARTH RECORDS is proud as all hell to welcome VIA VENGEANCE to the family.

The unrelenting Phoenix AZ based Sludge band known as VIA VENGEANCE was formed in 2006 by Shane Ocell with exploring the concept of being a one-man Sludge band being the ultimate mission… And he has been crushing solo ever since.

VIA VENGEANCE use no loops and Shane records all his tracks while playing both guitar and drums simultaneously. Combining both a finesse and a reckless audio abandon that must be heard, and felt to truly appreciate.

“We are excited to have him on the roster. Via Vengeance is completely honest. An original. A living breathing piece of art,” says Kyle Stratton (SALT OF THE EARTH RECORDS) “He is a one-man band, creating an amazing industrial sludge sound, something I have never heard before. I am beyond excited to welcome Shane.”

VIA VENGEANCE has toured the U.S. multiple times and is heading overseas to to tour in Holland and France this December. VIA VENGEANCE have destroyed stages with heavy hitters like Mastodon,Jesu, Big Business, The Bad Brains, Atala and countless others.

2019 will see VIA VENGEANCE back in the studio recording their SALT OF THE EARTH RECORDS debut with an eye towards Spring/Summer release.

Asked about VIA VENGEANCE, Scott Harrington (Salt Of The Earth Records) yelled this at me from a roof top…

“We are constantly looking for new artists that push their boundaries musically and creatively. Knowing how Via Vengeance pummel live crowds with Shane’s uniquely powerful sound and delivery…I can’t wait till sludge fans far and wide get to experience what this is all about. THIS is HEAVY.”

Bottom line, VIA VENGEANCE is coming for you. You have been warned. But you still won’t be ready.

https://www.facebook.com/viavengeance/
http://instagram.com/viavengeance
http://viavengeance.com/
www.facebook.com/SaltOfTheEarthRec
www.saltoftheearthrecords.com

Via Vengeance, “Lust Blood” live in Brooklyn, 2010

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Shadow Witch Welcome New Drummer Scott Wadowski

Posted in Whathaveyou on December 3rd, 2018 by JJ Koczan

Hey, I like trivia as much as the next guy — assuming, that is, that the next guy isn’t really all that into trivia either — so here’s one for you. Shadow Witch‘s new drummer, Scott Wadowski, is listed below as having a 25-year history of recording and playing out. Cool. But enigmatic as they reliably are, Shadow Witch doesn’t go on to say what bands Wadowski‘s actually been in. Well, some cursory interwebular research produced the name Rumblehead as being a Connecticut-based act in the mid-’90s in which Wadowski was involved. I immediately of course looked for music but found none — that’s not to say it’s not out there somewhere, just that I didn’t find it — but I did stumble on an article from the Metro section of the New York Times from 1994 that talks about the band rehearsing in a self-storage facility. It’s got quotes from a bandmate of Wadowski‘s as well as Thurston Moore and Ian MacKaye. Check it out here.

Apropos of anything? Surely not, but Shadow Witch are nothing if not eclectic, and I know that if my band got a mention in the Times 24 years ago, I’d still have the article framed on a wall, so hey. I’ve heard, and had, way lamer claims to fame. Wadowski and his new cohorts in Shadow Witch will record a new album in 2019 to follow-up 2017’s Disciples of the Crow (review here). More on that, but probably not more trivia, as we get there.

The band’s announcement is short and sweet:

shadow witch

Scott Wadowski, a Central CT based power playing drummer, with over 25 years experience performing and recording in studio, playing in a wide range of styles including hard rock, metal, symphonic and progressive, and thrash.

Scott , known lovingly as Wad, is a Leo who likes long barefoot walks on beach…;)

SHADOW WITCH is:
David Pannullo (bass)
Scott Wadowski (drums)
Earl Walker Lundy (vocals, mellotron, samples)
Jeremy H. Hall (guitars)

https://www.facebook.com/shadowwitch.band/
https://shadowwitch.bandcamp.com/
https://www.facebook.com/SaltOfTheEarthRec/
www.saltoftheearthrecords.com

Shadow Witch, Disciples of the Crow (2017)

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Rifflord Premiere “The Other Side” Video

Posted in Bootleg Theater on November 27th, 2018 by JJ Koczan

rifflord

Playing before a monolithic wall of citrus-hued amps and cabinets, Sioux Falls, South Dakota, five-piece Rifflord give a taste of their tonal-worship vibes and catchy songcraft in their new video for “The Other Side,” an early cut from their forthcoming second album, 7 Cremation Chant / Meditation, which is no less at home tapping into David Eugene Edwards-style Americana than it is digging into High on Fire gallop or Electric Wizard riffing with Fu Manchu-esque vocals. By the time “Seven” has made its way into “Dead Flower Child” — note the veer into Sabbath‘s “Hand of Doom” in the latter — and “The Other Side” itself, there’s no question why STB Records would pick them up for the vinyl. Shit, somebody was bound to do it.

Rifflord work quickly across the album, almost deceptively so. To wit, “The Other Side” is one of only three out of the total 13 tracks to top four minutes in runtime, and other pieces like the 2:16 “BB Gun” is a sharp boogie that takes the murderousness out of its Rifflord 7 Cremation Ground-Meditationunderlying prairie feel, while “Lucid Trip” brings together acoustic guitar and underlying keyboard/voice drones that lead into the charging second half of the album with the immediacy of “Poison Mother,” a vocal change bringing keyboardist Tory Jean Stoddard into the foreground with guitarist Wyatt Bronc Bartlett stepping back after the more aggro chug of album centerpiece “Transcendental Medication.” Momentum is swiftly built and rigorously maintained throughout, but the songs themselves don’t feel rushed in either their composition or delivery. The keys help flesh out the melodic presence of the vocals and Bartlett and Paul Pinos‘ guitars, while bassist Matthew Mcfarland and drummer Tommy Middlen carry through the molasses-thick tones with a sense of movement that continues even into the lumbering “Electric Grave” — as opposed to, yes, an “Electric Funeral” — or the aptly-named “The Riffman Cometh,” which is a cold-ending celebration of all things heavy rock, doom and otherwise Iommic.

The blend of Western and heavy principles on “Dead Flower Child” or “Coyote Fodder” and “Holy Roller” early on adds depth to the personality of 7 Cremation Chant / Meditation — the number in the title is still something of a mystery and I suspect that’s intentional — and as the closing pair of “Hou Dou Vou Dou” and “Thunder Rider” present the record’s most fervent boogie and a corresponding shove to respond to that of “Transcendental Medication” earlier, the variety in Rifflord‘s songwriting would seem to undercut their moniker. That is, they’re by no means simply a “riff band.” Certainly riffs are a factor, but the roles they play throughout the material run in different if still cohesive directions, and the organ and other key sounds throughout come off as no less of a focus. ‘Keylord’ or ‘Choruslord’ wouldn’t necessarily make for a great band name, but the point is don’t go into “The Other Side” thinking it’s just about the riffs, because there’s a lot more to Rifflord, and a lot more to 7 Cremation Chant / Meditation, than might at first be implied.

PR wire with vinyl info, preorder link, etc., follows the video below.

Please enjoy:

Rifflord, “The Other Side” official video premiere

Battle-scarred heavy rockers RIFFLORD are set to release their second album, 7 Cremation Ground / Meditation, via STB Records in the coming weeks. This follow-up to their self-released 2010 debut 26 Mean and Heavy is the product of mushroom-induced brawls, dashed expectations, and a band that’s coming back stronger than it ever was before.

RIFFLORD was founded in 2007 by vocalist/guitarist Wyatt Bronc Bartlett and guitarist Tom Davoux after discovering a love affair the two had with vintage tube amps, Hammond organs, and tinnitus-inducing volume. Today RIFFLORD is based in Sioux Falls, South Dakota, reanimated by Bronc and a wall of Orange amps. Bronc says of the band’s music and journey:

Some things are the result of calculated decision making. Other things drag you face down through the dirt by virtue of their own momenta. RIFFLORD, for me, has been a combination of both. The album […] is a visceral product of struggle, mottled with the fingerprints of both terrible and glorious human beings. It is the sound of countless trips across rural South Dakota and hours of refinement in one studio session after another. The album was mixed five separate times, and remastered three. It is the true and living testament of the Riff. Thank you for waiting.

7 Cremation Ground / Meditation will be released digitally on November 27th, 2018 with a variety of personalized vinyl options coming out on December 1st.

https://stbrecords.bandcamp.com/album/7-cremation-ground-meditation

Vinyl Pressing Information
-Test Press: Limited to 15. Comes with a Handmade leather LP jacket hand whip stitched and branded by Wyatt Bronc Bartlett of RIFFLORD
-Die Hard Edition: Limited to 100 units on black smoke and transparent brown vinyl comes with a special high-density high-quality LP jacket that is foil stamped with “die hard edition” as well as some other foil stamping and Spot UV upgrades on the jacket. Each die hard edition also comes with Special edition band specific tarot cards exclusive only to the die hard pressing. Exclusive booklet with “The Story Of Rifflord” and Picture outtakes.
-OBI Series: Limited to 100 units hand numbered alternate art work spine wrapped OBI strip. Vinyl is a clear base with silver center and brown and white splatter. Jacket comes with floor UV effects.
-Not So Standard Edition: Limited to 150 units on white and brown swirl. Jacket comes with floor UV effects.
-Band Edition / Distro: Limited to 150 Units on Cloudy White vinyl. Jacket comes with floor UV effects.

Rifflord is:
Lead Guitar and Vocals: Wyatt Bronc Bartlett
Guitar: Paul Pinos
Bass: Matthew Mcfarland
Keys: Tory Jean Stoddard
Drums: Tommy Middlen

Rifflord on Thee Facebooks

Rifflord on Instagram

Rifflord website

STB Records BigCartel store

STB Records on Thee Facebooks

Salt of the Earth Records website

Salt of the Earth Records on Bandcamp

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Thunderbird Divine Post “Djinn au Jus” Video; Magnasonic Due Jan. 11

Posted in Whathaveyou on November 21st, 2018 by JJ Koczan

Thunderbird Divine (Photo by Dante Torrieri)

I don’t know what the hype is ultimately going to be like for Thunderbird Divine when it comes to their debut album, Magnasonic, but I do know that the record resides in its own niche of psych-informed classic stoner and sludge rock, and I do know that there’s more going on with it the more one listens. It’s been on my list of most anticipated albums pretty much since the band announced they’d gotten together last year as formed by members of Philly-based outfits Skeleton Hands and Wizard Eye. Now that we’re at the point of preorders going up Dec. 7 ahead of the Jan. 11 release, I find I’m all the more curious to know what the response will be.

As has been their method all along, Thunderbird Divine are giving a teaser for Magnasonic by unveiling a video clip for a song that’s not on the album. If you need an extra second to wrap your head around that — I do — feel free to take it. The latest one, “Djinn au Jus” taps into Snoop Dogg‘s similarly-titled single a from quarter-century ago while retaining its psychedelic flair worthy of the old sci-fi imagery that accompanies.

Album art and details came down the PR wire:

thunderbird divine magnasonic

THUNDERBIRD DIVINE release date!

Philly’s psychedelic space hippy enclave, Thunderbird Divine, has set an official domestic release date of January 11, 2019 for its debut album, Magnasonic, with Salt of the Earth Records (https://www.saltoftheearthrecords.com/). The offering, a 30-plus-minute exploration of riffs and psychedelia, features custom art design by the band’s bassist, Adam Scott.

“The inspiration for Magnasonic’s artwork stems from classic optical and psychedelic line art,” Scott explains. “It then evolved to the stargate space exploration of graphic symbolism, which we feel reflects the music’s loud vibrance.”

Connecticut-based Salt of the Earth Records, home to releases by Earthride, When the Deadbolt Breaks, Atala, Rifflord and more, is enthusiastic about this upcoming release.

“Everything about this album is beautiful, focused and original,” says Scott Harrington (Salt of the Earth Records). “From the instrumentation, songwriting, performances and recordings to the sacred geometry in the art direction, everything about Magnasonic speaks to the depth and talent of Thunderbird Divine. This will set the bar for bands to come.”

Produced by the band and recorded at both Ted Richardson at TedAudio in Philadelphia (www.facebook.com/TedAudio) and Charles Newman (who also mixed the album) at Cottage Sounds Unlimited in Brooklyn (https://www.facebook.com/cottagesounds/), Magnasonic shows the quartet, which coalesced in March of 2017, is not willing to be pigeonholed as a strictly stoner/doom rock band. Featuring Scott on bass and guitars, Flynn Lawrence on guitars and additional instrumentation, Mike Stuart on drums and percussion and Erik Caplan on guitars and various instruments,Thunderbird Divine went for an unexpectedly broad tonal variety with Magnasonic.

“A first record is often considered a band’s mission statement,” Caplan says. “We feel a lot of bands’ first releases set the tone for their careers as heavy, funky, trippy, fast or sludgey, and once they do that, any deviation from the initial sound can be perceived as false or a slacking in its rock responsibilities. We wanted come out of the gate with something diverse but representative. We wanted to leave ourselves with plenty of sonic options for the future.”

Layered with unlikely elements like marxophone, electric sitar, piano and a variety of synths, Thunderbird Divine is unlikely to be stylistically shackled in upcoming releases.

“This album pulls out a lot of stops and frees us from genre limitations,” says Stuart. “After this debut, our next record could be total Motorhead worship, and anyone who hears this one first should be able to hear how we got there. Not that we’ll necessarily do that, but it’s certainly an option.”

As with the band’s previous press releases, Thunderbird Divine once again offers listeners a non-album track with a promotional video. The band’s newest video track, “Djinn Au Jus,” is an unconventional pairing of early ’90s R&B with ’70s arena rock instrumental explorations. The self-recorded song was set to video by drummer/percussionist Stuart.

“The story continues here,” Stuart explains. “We’re moving forward; onward and upward. We’re setting the tone for Magnasonic with these short songs and videos.”

Advance orders for Magnasonic start December 7, 2018 at www.saltoftheearthrecords.com

https://www.facebook.com/thunderbirddivine
https://www.instagram.com/thunderbird_divine/
https://www.facebook.com/SaltOfTheEarthRec/
www.SaltOfTheEarthRecords.com

Thunderbird Divine, “Djinn au Jus” official video

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Atala Announce November Southwestern Tour Dates

Posted in Whathaveyou on September 28th, 2018 by JJ Koczan

atala

With three shows in Arizona, one in New Mexico, one in L.A., and a last one in Mexico, I think it’s fair to call Atala‘s upcoming November tour one of the Southwest, but there are also dates in Salt Lake City, Denver and Wichita, Kansas, so there’s some geographical reach there as well. It’s a nine-date trek, all told, for the desert-dwelling atmosludge three-piece, who go supporting early 2018’s Labyrinth of Ashmedai (review here), released by Salt of the Earth Records, and the tour is presented by the label and Dropout Media. I haven’t heard much about Atala‘s plans for 2019 either way, whether they’ll do shows, write, or record, or lay low and/or continue to herald Labyrinth of Ashmedai, but if they’ve got new material, they’re not shy about showing it off, so there’s always the chance, and either way, I can tell you from experience at both Maryland Doom Fest and Roadburn that they deliver live. The first time Jeff Tedtaotao blows out your eardrums with his crash, you’ll be happy you showed up. I wouldn’t try to steer you wrong.

The PR wire brings the dates and the whathaveyous. Goes like this:

atala tour

CA Desert Doom masters, ATALA, announce West Coast tour

After a short hibernation, ATALA is ready to devastate the west coast when they embark on their upcoming “Destroy Yourself” tour. This string of dates in support of their recent release “Labyrinth Of Ashmedai”(Salt Of The Earth Records) will see the California Hi-Desert natives bringing their brand of dark and heavily emotional doom metal to new areas and regions in an effort to spread the gospel of heavy… in other words, they are firing up the van and bringing the music directly to the people.

No strangers to roadwork ATALA have been featured performers at festivals far and wide such as The Maryland Doomfest, The New England Stoner and Doom Fest, SX Stoner Jam, and the true Mecca of riff worship: ROADBURN (Tilburg, Netherlands)!

ATALA has shared the stage with acts such as The Obsessed, EARTHRIDE, Baroness, Pallbearer, Coven, Buzzard Canyon, Chelsea Wolfe, to name just a few… the time is coming, you have been warned… Do not miss ATALA when they hit a city near you!

November 1st – Los Angeles CA – The Blvd
November 2nd – Salt Lake City UT – TBA
November 3rd – Denver CO – The Bar Bar
November 4th – Wichita KS – TBA
November 5th – Santa Fe NM – Boxcar
November 6th – Flagstaff AZ – The Green Room
November 7th – Tuscon AZ – Hotel Congress
November 8th – Tempe AZ – Yucca Tap Room
November 9th – Nogales Mexico – Roots Bar

ATALA is:
Kyle Stratton (Guitar and Vocals)
Jeff Tedtaotao (Drums)
Dave Horn (Bass)

https://www.facebook.com/ataladesertrock/
https://atalarock.bandcamp.com/
https://www.atalarock.com/
https://www.facebook.com/SaltOfTheEarthRec/
https://www.saltoftheearthrecords.com/

Atala, “Wilted Leaf” fficial video

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