Earthless Announce US and European 2018 Touring

Posted in Whathaveyou on December 6th, 2017 by JJ Koczan

earthless ed dominick

Pretty rad to find out that Earthlessrecently announced position as artists-in-residence for Roadburn 2018 will come at the end of a full round of European touring alongside Comet Control — fingers crossed they get added to the bill of the Tilburg, Netherlands-based fest as well — and that indeed that run itself will follow a cross-country US tour in the company of Kikagaku Moyo and JJUUJUU as the San Diego trio begin to support their impending Nuclear Blast label debut, which they recently finished tracking with Dave Catching at the helm and is due out March 16. And yes, I mean all of that is pretty rad. That whole frickin’ run-on sentence. If you’re not into longform righteousness, then this probably isn’t the band for you anyway.

Up there with 2018’s most anticipated among the most anticipated? Yeah. From where I stand, 2018 is Earthless‘ for the taking.

From the PR wire:

EARTHLESS announce North American and European tour dates

Seminal psychedelic rock trio, EARTHLESS, have announced world-wide tour dates in support of their upcoming Nuclear Blast Entertainment debut.

Commented drummer Mario Rubalcaba:

“We are beyond chuffed to finally have a new album to go out and support and we can’t wait to play the new tunes for everyone- they are blastin’! We are also excited to have some killer support bands going out with us when we tour the US and Canada and when we head out to Europe/UK in April. On our North American run, KIKAGAKU MOYO from Japan and JJUUJUU will swirl minds, add diversity and still keep things “heady” for all. In April, we’ll be hitting Europe and the UK with our buds in COMET CONTROL. They will keep you all warm and fuzzy on the inside while shakin yr brains from the outside. That tour also ends up at the mighty Roadburn Festival, where we are honored to be the official Artist In Residence over all 3 nights- each different and special. We look forward to seeing you all out there. Cheers!”

EARTHLESS–Isaiah Mitchell (vocals/guitar), Mike Eginton (bass) and Mario Rubalcaba (drums)–recently finished recording their new album with Dave Catching (EAGLES OF DEATH METAL) at Rancho de la Luna in Joshua Tree, CA, The band will release the 4th full-length record on March 16th. More details to be announced shortly. Confirmed tour dates are as follows:

EARTHLESS, KIKAGAKU MOYO, JJUUJUU
Feb 28 – San Rafael @ Terrapin Crossroads
Mar 1 – San Francisco @ Great American Music Hall
Mar 2 – San Diego @ Casbah
Mar 3 – San Diego @ Casbah
Mar 4 – Los Angeles @ Teragram Ballroom
Mar 5 – Santa Cruz @ The Atrium
Mar 7 – Las Vegas @ Beauty Bar
Mar 8 – Pioneertown CA @ Pappy & Harriet’s
Mar 13 – Cleveland @ Grog Shop
Mar 14 – Toronto @ Lee’s Palace
Mar 15 – Montreal @ L’Astral
Mar 16 – Brooklyn @ Market Hotel
Mar 17 – Boston @ The Sinclair
Mar 18 – Philadelphia @ Underground Arts
Mar 20 – Washington DC @ Rock N Roll Hotel
Mar 21 – Richmond @ The Broadberry
Mar 22 – Nashville @ Mercy Lounge
Mar 23 – St. Louis @ Blueberry Hill
Mar 24 – Chicago @ Empty Bottle
Mar 25 – Chicago @ Empty Bottle

EARTHLESS, COMET CONTROL
Apr 3 – Kortrijk, BE @ De Kreun
Apr 4 – Bristol, UK @ The Fleece
Apr 5 – Manchester, UK @ The Deaf Institute
Apr 6 – London, UK @ Islington Assembly Hall
Apr 7 – Paris, FR @ Petit Bain
Apr 8 – Frankfurt, DE @ Zoom
Apr 10 – Munich, DE @ Feierwerk
Apr 11 – Berlin, DE @ Bi Nuu
Apr 12 – Copenhagen, DK @ Pumpehuset
Apr 13 – Oslo, NO @ BLA
Apr 14 – Gothenberg, SE @ Truckstop Alaska
Apr 16 – Hamburg, DE @ Molotow
Apr 19 – Tilburg, NE @ ROADBURN 2018
Apr 20 – Tilburg, NE @ ROADBURN 2018
Apr 21 – Tilburg, NE @ ROADBURN 2018

https://www.facebook.com/earthlessrips
www.twitter.com/earthlessrips
www.instagram.com/earthlessrips
https://www.facebook.com/nuclearblastusa
https://twitter.com/nuclearblastusa
http://shop.nuclearblast.com/en/shop/index.html

Earthless, From the Ages (2013)

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Six Dumb Questions with Great Electric Quest

Posted in Six Dumb Questions on November 15th, 2017 by JJ Koczan

great electric quest

With their 2016 debut full-length, Chapter I, San Diego-based four-piece Great Electric Quest set out to immediately distinguish themselves from their surroundings. While much of San Diego’s heavy underground shares an affinity for classic heavy rock, instead of boogie and swirl, songs like “1901” and “Beers in Hell” found a driving combination of classic metal, frontman Tyler “T-Sweat” Dingvell leading a charge with a throaty interpretation of what James Hetfield might’ve sounded like had Metallica released their first record circa ’73. Buddy Donner‘s guitar, Jared Bliss‘ bass and Daniel “Mucho” Velasco‘s drumming honed a sonic niche that could be either brash, as on the initial shred of “Madam Elbib” or “Egypt,” or patient and tinged with doomly atmospherics, like the rolling blues of eight-minute centerpiece “Cry of the Wolf,” or the dramatic side B highlight “7 Years.”

Especially for a first salvo, Chapter I‘s self-assured songcraft came across as genuine, and Great Electric Quest hit the road fervently to support. Already veterans of Psycho Las Vegas in 2016, this past Spring, they took off on their first coast-to-coast US tour, and in June, they made a stop in Denver to play the Electric Funeral fest alongside Acid King, Corky Laing’s Mountain and a slew of others. They’re currently wrapping another run, dubbed the ‘Beer Vikings Tour’ that has seen them partying their way across the West Coast in the company of Lords of Beacon House, with whom they’ve also newly issued a split single (review here) via Glory or Death Records.

All of this, of course, is prelude to the next album, and indeed, Chapter II is on its way, drum solo in “Of Earth I” and all. On that song and short, tight pieces like “Wicked Hands,” the scorching “Anubis” and the righteously post-Thin Lizzy groove-minded “The Madness,” Great Electric Quest work to draw together the different sides they displayed throughout Chapter I into a cohesive, singular approach of their own, as likely to shred out on “Of Earth II” as to underscore that same shred with acousti-Sabbath flourish and Dingvell‘s throaty echoes. As the range between opener “Seekers of the Flame” and closer “Heart of the Son” makes plain, Great Electric Quest are becoming an even more dynamic outfit than they were when they started, and they leave little doubt across Chapter II‘s span about their capacity to turn heads before they make them bang, roll, or nod. They are, simply, a band who demand attention.

Moving out from the first record into the next, I wanted to get a sense of Great Electric Quest‘s processes, their time on the road and their time in the studio. You’ll find the last two Beer Vikings tour dates below, and then under that, the cover art for Chapter II by Adam Burke and a conversation with the whole band about their origins and more.

Beer Vikings Tour Remaining Dates:
11/16/17 ABQ, NM Burt’s Tiki Lounge W/ Undying Evil & Prey for Kali
11/17/17 Tempe, AZ Yucca Tap Room W Red Wizard, Greenbeard, Stone Witch, Old Fashioned Assassin, Dead Canyon, HVY

Please enjoy the following Six Dumb Questions:

Great Electric Quest Chapter II

Six Dumb Questions with Great Electric Quest

What’s the status of Chapter II? When can we expect it to show up? Was there anything you guys were looking to do differently or to specifically build off of coming from the first album?

Buddy Donner: Your asses is grasses, and Quest is the lawnmower!

Tyler Dingvell: Haha, the “status” is like an ice cold 12er that’s been on chill for about 20 min… It’s ready to be guzzled and enjoyed, we just gotta pop the top, or in this case finalize the label and release date…

BD: Yeah, we’ve got the final tracks! It took a ton of work and time from not only the band, but a whole Krew of our “Quest Family.” We are very lucky to have the friends we do with their talents in their respectful areas. The tracks are finally 100 percent the way we want them to sound, we couldn’t be happier. At this point we wanted to take some time to “shop for labels” and mastermind the release, but the tracks are done and ready to send to production once we’ve made our decisions on the business side of things. I wouldn’t expect the album to be released any later than Spring 2018. We’re fortunate to have such a dedicated Road Krew; we’ve been able to get a ton of work done since the release of Chapter I and we are only ramping up to push for bigger things to follow Chapter II.

TD: For me, Chapter II really feels like a first album. “It feels like the first time, like it’s never felt before” [singing]. Maybe it’s just nostalgic, but the way we have crafted these tunes and jammed them live before the release really feels like a first album… Chapter I was years and years of material finally recorded and this one was written all together in Glory or Death Studios with the same doods, around the same time, over many beers, bowls, and pulled pork sangwitches… haha. You can expect much more cohesion, production value, and of course, our legendary friend, Guns ‘n’ Roses alumni Teddy “Zig Zag” throwing down some keyboard tracks on choice tunes like “Of Earth” and “Heart of the Son.”

We’ve reached out to labels with whose artists we have become close friends, like Ripple, Heavy Psych Sounds, RidingEasy, Tee Pee, Rise Above, HeviSike, and Metal Blade, just to name a few. We just gotta figure out who is going to align with us the best for our vision going forward. We want to become a featured artist of the label and not just another blade of grass in a field of releases. We have a great thing going with our own label, Glory or Death Records, but we want to team up and take some things to the next level in 2018 and through this support system that has developed we should be seeing the shores of Europe with our next release. We are going to put a hell of a lot of effort towards performing, writing, touring, representing ourselves and label and we want to receive the same.

Tell me about your time in the studio for Chapter II. What was the vibe like while you were recording? How long were you there? What was the process like and how did it compare to working on Chapter I or the split with Lords of Beacon House?

TD: Well, simply put, recording Chapter I was like pulling teeth from the shark in Jaws and recording Chapter II was like the Cool Runnings record breaking bobsled run at the Olympics; minus the horrific crash, haha. The candle was burning at both ends for Chapter I and we would drive up to L.A., record until 4AM and then drive back to San Diego just to get caught in the horrific traffic caused by road repair through Camp Pendleton; it was a CF, as Ted, our 72-year-old Lyft driver in Austin two days ago would refer to it. He didn’t want to say “fuck,” haha. This album was great to write and record. It was fluid, we took our time, all the moving pieces worked together from tracking with Dan Frick, production and mixing with Jeff Henson and mastering with Tony Reed. It was fucking awesome to see the progress in overall sound as the tunes went through each process. Dan is one of my favorite people on the planet to work with and Jeff brought so much warmth and color to the tracks and Tony just set everything into place perfectly. Honestly, I’m fucking psyched on it and I am happy to say that it came out as something we feel proud of… Through my experience, that’s all you can really ask for as an artist. Being satisfied with the finished product.

BD: We recorded Chapter II with Dan Frick in Vista, CA, only minutes from home, which was a real pleasure compared to the two-hour commute for each session on Chapter I, which was tracked in Tujunga, CA. Working with Dan Frick is a fucking piece of cake. There isn’t a more laid-back dude out there and he is incredibly knowledgeable about all the instruments and the way things need to be done, how they are supposed to sound and what we need to change to correct things that didn’t quite sound right.

Following Dan, we sent the finalized tracks to Jeff Henson of Duel to do the mixing, which instantly brought the tracks to life. After making sure everything was played the way it needed to be, Jeff put his mojo on it and right away we were shocked with the vibe the tracks had on the first mixdown. We actually tracked the Lords of Beacon House [split] songs right after the Chapter II tracks with Dan as well. Why mess with a good thing?

Daniel Velasco: This is the first full-length album that I will be on, so I was very excited when I first set up my kit at the studio. I’ve played a ton of live shows with different bands over 10 plus years, but to finally have my drums recorded as part of this album really pumped me up. Especially after I knew they had already put out one full-length and I knew the level of commitment these guys had. The engineer Dan, was great and really set a calm vibe during the drum recordings. I recorded the drum tracks in about a day and a half with only Buddy playing scratch guitar and a metronome on most of the songs. Couldn’t say how it compared to Chapter I since I was not with the Quest on that album.

TD: I’m glad we could spare you the gauntlet, Mucho! Haha.

You’ve spent some pretty significant time on the road since Chapter I came out. What do you feel like you’ve learned about yourselves as a band through touring, and do you think all that road time has affected the sound on the new album at all?

BD: Playing on the road is fucking incredible. You finally dive into your life’s passion 100 percent. Every, single, thing, is about what you want to do with your life and every single night you’re meeting new people and making new friends and fans and ever-pressing towards your ultimate goal. We also drink a ton of beer, which of course is fun as hell.

Jerry Bliss: I love being on the road. It’s a lot work but we have the time of our lives doing it. The great thing about being on the road is us growing together as musicians but most importantly our friendships. The music is affected by our relationships with each other and friends and influences we meet out on the road. We show each other new music along every bus ride to the next destination.

DV: During live shows, I can hear all the members try new things during our set. Different bends on chords or the vocal melodies changing, new basslines during the solos etc. Once we all lock into it and we play it show after show, it feels like the songs will never be 100 percent complete, which I think is great! It keeps us on our toes and things fresh, while also providing something new for the crowd. Some of my favorite songs are live performances. Like on “Dazed and Confused” when they play it live, the rhythm section just takes off and it’s just having little differences from the studio albums that can create that unique experience. Once Chapter II is out and you compare it to Chapter I, you will hear the difference of the sound and groove I bring compared to the first album and if you compare that to the live performance you can be sure there is a couple tasty differences while still holding onto its core.

TD: The time on the road with this crew has shown us that we are strong enough and close enough to deal with any adversity. Blown air conditioning fans during the dead of Summer heat and blown out butt holes from too many gas station burritos. You learn to accept one another in a way that can only be family. Jerry’s butthole stinks the most though… it’s that familiar smell in the bus that only could have come from one sphincter.

To be serious for a second, the road has inspired us far more than anything else… The overwhelming support from all around the country really solidifies the idea that we can do this thing!! We can be a traveling rock band that can tour the FUCKING WORLD!!… It’s a really fucking humbling experience to get those people after every show that go out of their way to tell you how rad they thought the performance was and how much they enjoyed it. They buy the wax and t-shirts and are just so down to support us it blows our minds. We get put up in towns all across the country and these great people offer up their homes and lives to help us on our rock and roll journey. I’m sitting in Mike Calhoun’s kitchen right now outside of Dallas, Texas. One of the most real and coolest doods whom we have had the pleasure to meet. Our times here at Mike’s will always be cherished and held close as great memories. We even recently got hooked up with XYZ Clothing which is a dream come true for a little skate rat from Oceanside. The support that we receive in each town is truly unbelievable and it really makes you think that this dream of playing music all across the planet earth is going to come true…

I honestly love the growth though. This is present in Chapter II especially, in the songwriting and overall combination of different styles we all bring to the table. I’m really psyched on the direction and journey Chapter II takes us on and I think our listeners will be too.

Take me through Great Electric Quest’s songwriting process. Are there multiple contributors or does one person handle everything? What have you found works best for you guys, and do you have a song or songs that you feel really represents who you want to be as a band? How do you see yourselves growing as you continue to move forward?

BD: We have an incredible amount of styles between the four of us, which is perfect for what we want out of The Quest. It is a very even collaboration for our writing process. As one killer idea runs into another it pushes us to find ways to match each other’s ideas and raise the bar. We all have that undying urge for everything to be the best for the song at hand. It’s awesome, the motivation that comes when you are the last dude to write a part to a song that already kicks total ass… You’re sitting there thinking, “like, well shit… Whatever I do, it’s gotta fucking rip!”

Grabbing the listeners by the throat and pulling them through a tornado of sounds is what the Quest is all about. We never want to be stuck in a rut of one style, because we all enjoy playing all kinds of stuff. We write the songs different every time. I don’t think there is a single song on Chapter II that doesn’t have influences from all us, but there are definitely some strong sections that are written when we jam from one person and then we’ll grow off of them together from there. Sometimes we will camp out at Glory or Death Studios for days, cook up a crock pot meal or BBQ between jams and we will just all jam out some ideas together. (With lots of weed and beer of course.)

We drive to grab the viewer’s attention instantly and keep them thoroughly entertained throughout the entire set, and if any piece is lacking whatsoever we find a way to make it more interesting. Every tour we prep for, we strive to find ways to take things to the next level of entertainment for the audience (and our own amusement). From backdrops, to lights/fog, to flags and Anubis masks, we’re really delving into our original intent for the Quest that is for it to be a full-on show, not just a band standing there playing the notes the best they can. Climb shit, hang upside-down, shotgun beers, whatever the fuck we have to do to make someone have a good night and tell their buds about it.

JB: As far as songwriting goes, and what I love most about this band, is that everyone has a loud voice in how a song is going to go. Yes, someone can come up with a first riff, and once everyone is diggin’ that riff, we jam it, and almost immediately someone else is saying, “Oh man I have a lick that will go perfect for the chorus or bridge” and so forth. I remember one song in particular, “The Madness,” our drummer Mucho said to me, “Hey let’s try walking that riff back up on the chorus.” We tried it and it became one of my favorite parts of the song. So, you can see everyone is helping each other out and everyone’s ideas are being heard. Sometimes we try something and if it doesn’t work, no one’s feelings get hurt. We just try something else. It’s a great environment to work in and I think everyone’s songwriting has grown tremendously on Chapter II.

DV: We all contribute to each song on the album. We have these “Campouts” at our studio where we sleep, cook, and rehearse for days at a time. If someone comes out with a riff or melody, we can all hear different directions that the song can go to. Some directions are good and some not as much, haha, but as a team we always end up finding the right path that complements our music taste… Rock ‘n’ roll and heavy metal!!

TD: Yeah, basically what these guys said. We have so much songwriting collaboration in this band, it really is ideal. Anyone one of us could have our own band, or already have, where that one person was the main songwriter or leader. At this point, we have four people who have what it takes to have successful bands on their own and the combination of all of us together does kind of feel like a modern-day supergroup.

To someone on the other side of the country from it, what’s happening right now with all the bands coming out of San Diego looks absolutely unreal. How much of a “scene” is there really, in your experience? How tight are bands? What are the shows like and how much of a sense of community is there? What have been some of your best hometown experiences?

BD: From the start it’s been a big family that only continues to grow, man. There is some seriously unreal talent in San Diego and I have no doubt that many of these bands will go far. The bar is set very high in our area and there is some relentless dedication from many different musicians to keep people searching for their brain matter from endless mind-blowing shows. From the bone crushing power of the five barbarian headbanging longhairs of Red Wizard to the Kings of Heavy Metal CAGE to the groovy-as-fuck riffs of Loom, Roast and Desert Suns to the endless intergalactic caravan party of Space Wax to fucking Nihilist, Monolith, Warchief, Ritual Potion, Nebula Drag, Bedlams Edge, Monarch and at the opposite end of the Spectrum, hilarious acoustic gigs from Fellow Travelers of the Illusion Machine… What were the rest..? I’ve lost my share of brain matter as well…

To choose a single experience is like asking what your favorite Pink Floyd song is… (errr, Zeppelin for Mucho). Any local gig on any given night is always kickass, man. There is just so much support and love out there for music, art and just the pure love of good times (beer) in general.

JB: We have a great music community is San Diego. We have all been a part of it for over a decade playing in numerous bands all over San Diego. We know and have played with almost every rock ‘n’ roll band based out of San Diego. If a band plays rock ‘n’ roll in San Diego, we are most likely good friends with them and we’ve played with ‘em.

TD: The San Diego music scene is fucking great! We have so many incredible musicians and artists. If the radio played rock and roll, we would all own houses… haha. There is a great sense of community among the bands all the way from psych rock like Earthless, Radio Moscow, Loom, and Joy to the heavy music of Red Wizard and Quest. We all party together at shows and celebrate the music and love our community has! It’s a great place to live and as we all travel more and more we all become more familiar with how special of a place it is… and we celebrate it regularly with adult beverages, spliffs, and tunes!

Any other plans or closing words you want to mention?

DV: Fuck yeah, get some!

JB: Tyler has the smallest shmeckle of them all but a really big heart!

TD: Hahahaha. Open invitation for anyone reading this: let’s shotgun some beers and party across the Earth! We need to get some international shotguns going!! Drop us a line if you are interested in helping us book our European tours and Festivals or if you’re in a band and let’s get some shows going. We are heading across the pond in 2018!

BD: Thank you to everyone that has supported us over the years to make all of this possible!!! We are having the time of our lives and the future for the Quest is looking bright… Can’t wait for the next Chapter!!

Lords of Beacon House & Great Electric Quest, Wicked Ladies split (2017)

Great Electric Quest, Chapter I (2016)

Great Electric Quest on Thee Facebooks

Great Electric Quest on Bandcamp

Glory or Death Records on Bandcamp

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Great Electric Quest Stream New Split with Lords of Beacon House; Announce Midwestern Tour Dates

Posted in Whathaveyou on October 13th, 2017 by JJ Koczan

great electric quest

On Halloween, San Diego’s Great Electric Quest will release a new split via Glory or Death Records with L.A. compatriots Lords of Beacon House. It’s been in the works for a while — you might recall Lords of Beacon House had their track “Cadillac Daddy” premiered here back in May — but it’s actually coming out, and the very next day, Great Electric Quest will head out on a run they’ve dubbed the ‘Beer Vikings Tour,’ because well, you gotta call it something. As we get closer to the release date, it’s their turn to premiere a track, and you’ll find that below along with a stream of their righteous 2016 Chapter I full-length, which is due for a follow-up presumably sometime in the New Year.

Veterans of this year’s Psycho Las Vegas festival, it’s hard to decide which of Great Electric Quest‘s inclusions on the split is more classic metal in style: their cover of Iron Maiden‘s “Murders in the Rue Morgue” or the original “Ruling this World.” Pick one and run with it — turns out there isn’t a wrong answer — and either way you go, expect to be handed a vicious helping of grit to go with your riffage. As they showed all throughout Chapter I, their take on heavy rock is well informed by attitude and craftsmanship alike, but as right on and ready for tape-trading as cuts from that record like “Egypt” and “Cry of the Wolf” were, the new stuff has it beat. I don’t know if “Ruling this World” might show up on Chapter II when that surfaces, but it certainly bodes well for what’s invariably to come.

Tour dates and more info on the split follow, as well as the track premiere and exclusive download.

Enjoy:

great-electric-quest-tour-poster

Great Electric Quest – Split with Lords of Beacon House & “Beer Vikings Tour 2017”

Rock & Roll, Heavy Metal, Doom & Shredders GREAT ELECTRIC QUEST and Super Trippy, Kings of Cool, Groove Masters, LORDS OF BEACON HOUSE bring you a split to inhale…two WICKED LADIES jamming in the Caddy toking Spliffs and enjoying the tunes… sounds like a good time.

GEQ’s “Madam Elbib” the Gypsy Fortune Teller from their album CH.I and LOBH’s Black Majik Voodoo Woman from their to be released 2nd LP “Recreational Sorcery”, inspire this split brought to you by GLORY OR DEATH RECORDS and the ripping art work of AUSTIN BARRETT.

Pump the V’s, Puff a Spliff, and Cruise out to this 4 song split that’s just long enough to pick up another 12er from the Corner Liquor.

CHEERS! and Thank you to Midnite Collective and XYZ clothing for their support!

Album release date: 31 October 2017

Tracklisting:
1. Lords of Beacon House – Cadillac Daddy
2. Lords of Beacon House – Spliff Ripper
3. Great Electric Quest – Murders in the Rue Morgue (Iron Maiden cover)
4. Great Electric Quest – Ruling this World

GREAT ELECTRIC QUEST Beer Vikings Tour 2017:
11/01 Tucson AZ The Flycatcher
11/02 El Paso TX CJ’s W
11/03 San Angelo TX The Deadhorse
11/04 Austin TX Swan Dive
11/05 Dallas TX Gas Monkey
11/09 Oklahoma City OK Blue Note
11/10 Lawrence KS Replay Lounge
11/11 Savage MN Sword Metal Fest VI
11/13 Omaha NB Lookout Lounge
11/14 Wichita KS The Elbow Room
11/16 Albuquerque NM Launchpad
11/17 Tempe AZ Yucca Tap Room

Great Electric Quest is:
Tyler “T-Sweat” Dingvell – Vocals
Buddy Donner – Guitar
Daniel “MuchoDrums” Velasco – Drums
Jared Bliss – Bass

https://www.facebook.com/electricquest/
https://electricquest.bandcamp.com/
https://gloryordeathrecords.bandcamp.com

Lords of Beacon House & Great Electric Quest, Wicked Ladies split (2017)

Great Electric Quest, Chapter I (2016)

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Friday Full-Length: Harsh Toke, Light up and Live

Posted in Bootleg Theater on October 6th, 2017 by JJ Koczan

Harsh Toke, Light up and Live (2013)

Two vinyl sides. 38 minutes. That’s it. Then you’re done. It seems so simple, and yet, in that time, San Diego’s Harsh Toke stand tall in representing damn near every appeal of the Californian heavy boom that’s taken place over the course of the last eight or nine years, particularly the last half-decade, which has seen San Diego and San Francisco emerge as major epicenters of psychedelic and heavy rock. Separate and distinct in sound and ethic from the Pacific Northwest’s party spirit, no doubt Cali likes to get down as it always has, but as Harsh Toke demonstrate on their ultra-fluid 2013 debut, Light up and Live, it’s as much about how far out you can go as it is what kind of mushrooms you find sprouting up from the ground when you get there. Comprised of guitarist Justin “Figgy” Figueroa, keyboardist/vocalist Gabe Messer, drummer Austin Ayub and bassist Richie Belton, Harsh Toke released Light up and Live via Tee Pee Records, and with its four songs yo-dude-check-out-this-vibe vibe, seemed to signal that a new breed and a new generation was on the rise. Like several of their West Coast peers including Earthless, from whom they take a marked influence on the extended cuts “Weight of the Sun” (14:30) and “Plug into the Moon” (10:09), they have connections to the world of professional skateboarding, but their lysergic wash is unmistakable once conjured and though they seem to purposefully lose themselves in what one might be tempted to put in all-caps as ‘THE JAM,’ their flights from solid ground are never more indulgent than they are invigorating.

Markedly cosmic at the outset, Light up and Live starts out with the deceptively straightforward four-minute thrust-boogie of “Rest in Prince.” Of course, its organ-fueled groove was put to tape three years before the artist himself actually passed away, but what’s most interesting about the track is its verse/chorus structure. There’s still some feeling of the unhinged as it moves into okay-now-it’s-time-to-shred after about the first minute, but with the immediacy of Messer‘s early verses, the song nonetheless works to set up expectations on the part of the listener that Harsh Toke brazenly throw out the window of their shuttle en route out of the atmosphere. “Rest in Prince,” which might be the highlight performance from Ayub as regards the shuffle in the snare, effectively leads the audience into the band’s heavy psych tumult, but it does so while making Light up and Live more accessible than it might otherwise be if it simply started out with the rain sticks, percussion and rising theremin siren and flutes at the launch of “Weight of the Sun.” By the time Harsh Toke really decide to get weird — and once they go, man are they gone — they’ve already welcomed the listener into this molten universe of jamming. Vocals are left behind in favor of effects wash, and the engines kick in after the three-minute mark to launch “Weight of the Sun” toward its reaches, which the band will continue to explore through ebbs and flows for the hypnotic duration, drawing back late as the piece seems to disintegrate around its fade, leaving just the organ line to hold sway for its final minute around some rumbling noise.

Thus side A is capped, and with the 9:47 title-track led off by a flowing bassline, the reimmersion happens quickly on the second half of the record. Languid groove sets the tone early, with more rain stick to fill out the arrangement, but it’s that low end that most holds sway even as the guitar, drums and keys join back in, and that becomes the foundation of “Light up and Live”‘s central riff. Figueroa takes a massive, liquefied solo in the midsection, layers weaving in and out of each other in drawn out Iommic and/or Mitchellian modus with the firm rhythmic backing, and Harsh Toke surprise by bringing vocals back in deep-mixed echoing fashion somewhere after five minutes in. It’s a fast, there-and-gone moment, and not exactly an attempt to reorient the listener so much as another element brought in to add to the atmosphere, but it happens. It’s not an illusion. Still, once more the band execute a full sweep of brainstem-clearing hypnotantrics, slowing toward the end where they might otherwise just keep going but seeming to get out of their own way to allow the push of “Plug into the Moon” to take hold as grand finale. The swirl is immediate and given added Hawkwinded mentality via saxophone and a decided alignment toward interstellar reaches, and though a bit of the boogie spirit of “Rest in Prince” is revived, the closer is obviously working on a different wavelength entirely, driving toward its shred-topped ending that seems so right in nodding quickly at King Crimson‘s “21st Century Schizoid Man” in its last measures before suddenly cutting to a driftless silence, the effect of which after the trance-inducing churn of “Plug into the Moon” is jarring, like the four-piece did a countdown, snapped their fingers and said, “awake.”

Because it’s still a relatively recent release — and because Harsh Toke have yet to deliver a proper full-length follow-up — it’s hard to gauge what the longer-term impact of Light up and Live has been and can be, but no question its release marked a turning point in West Coast heavy psych, heralding the arrival of what has become arguably the most vibrant underground in the US. In terms of what they’ve done since, Harsh Toke have represented San Diego well. In my mind, I’ll forever associate them with the simply amazing set they played in collaboration with psych legend Lenny Kaye in the Netherlands at Roadburn 2014 (review here), and they returned to Europe in the next year to tour with French labelmates Sunder, playing Desertfest Belgium and more besides. 2016 found them releasing a the Acid Crusher / Mount Swan split with Earthless (review here), which they followed with a return to Roadburn earlier this year (review here) for two sets, one of which was comprised entirely of Roky Erickson covers. Upon returning to the States, in June they released an elaborately arranged split with compatriots Joy and Sacri Monti titled Burnout (review here), on which they once more took on Erickson material. Plenty busy, but no second long-player just yet. One holds out hope for 2018, though there’s yet to be any solid word of anything in the works that I’ve seen and members of Harsh Toke reportedly feature in the new group Age, so the future remains uncertain.

Whatever next year and beyond might hold, Light up and Live seems poised to stand the test of time by enacting an acidic spirit outside of it. As always, I hope you enjoy and thank you for reading.

No doubt I had West Coast stuff on my mind after reviewing the new Radio Moscow record earlier today, but whatever gets Harsh Toke posted is cool by me. Coming off the Quarterly Review last week which continued on Monday, you might note this week featured nothing but records that I thought were hyperbole-level awesome. To wit:

Young Hunter, Dayhiker (review here)
Enslaved, E (review here)
Black Mare, Death Magick Mother (review here)
Radio Moscow, New Beginnings (review here)

This is not at all coincidence, and don’t be surprised when all four of those releases feature on my year-end list in December. This week and next I’m trying to get stuff done ahead of the baby’s Oct. 15 due date, which, hey, we might completely blow a few days past or he might decide to come early — and either way is totally cool by me; whatever you wanna do, Pecan — but as I may be occupied for a while mentally in the immediate once he’s born, it made sense to me to get this stuff in ahead of time. Call it the manifestation of my nesting instinct.

I still have some stuff coming together, but next week is likewise slammed. Subject to change as always, but here’s how it looks:

Mon.: Full stream/review of the new Turn Me on Dead Man; might be another track premiere as well.
Tue.: Twingiant track premiere; Review of the new Øresund Space Collective.
Wed.: The Flying Eyes review; possible other track premiere.
Thu.: Nick Oliveri review/full album stream; The Road Miles video premiere.
Fri.: Long-overdue Egypt review, Opium Warlords track premiere.

Busy, busy. Scheduling-wise, I’m behind where I should be in sorting everything out, but I’ll get there over the next couple days and we’ll see what comes together. It’s kind of a crazy time on this end, as I’m sure you can imagine, while The Patient Mrs. and I wait for the arrival of The Pecan. Between doctor/midwife appointments and sundry other preparatory this-and-thats, there’s just a lot going on. Overwhelmed? Not nearly as much as I’m going to be, I expect. Still, I take my quiet moments where and when I can, and I’ve had some time each day to do a bit of reading, and that’s been helpful in sorting out my brain. Words, man. I frickin’ love words.

Speaking of, I have more to write, so I’m gong to leave this one here and just wish you a great and safe weekend. Please make sure to check out the forum and radio stream.

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Radio Moscow, New Beginnings: Burn the Ground, Torch the Cosmos

Posted in Reviews on October 6th, 2017 by JJ Koczan

radio-moscow-new-beginnings

If you don’t already know Radio Moscow are one of the best and most vital bands currently boogieing their way around the planet, you’ve probably never seen them live. It’s cool — sometimes it’s hard to get out and there will hopefully be many more opportunities for you to do so, but the truth of the matter is that when it comes to on-stage energy, presence and delivery of classic heavy rock, frenetically cast into a one-of-a-kind bluesy shuffle, there’s no one who does it better than the San Diego-based three-piece of founding guitarist/vocalist Parker Griggs, bassist Anthony Meier (also Sacri Monti) and drummer Paul Marrone (also PsicomagiaBirth). They’ve had a tumultuous history to bring them to where they are, casting a wide influence second perhaps only to Earthless over the West Coast heavy boom of recent years, but as Griggs debuted the lineup with Meier and Marrone on 2014’s Magical Dirt (review here), it was clearly the start of a new era for Radio Moscow as a whole.

Their fifth album overall and first following a label change from Alive Records to Century Media — significant as the former had issued everything they’d done up to this point, from their 2007 self-titled debut through 2016’s Live! in California 2LP — New Beginnings continues their forward push into max-impact rock and blues with 10 new tracks and just under 40 minutes of genuine, bona fide scorch the likes of which, again, most other bands simply would not be able to conjure. Griggs‘ history of helming Radio Moscow recordings goes back to the early demos that were released in 2012 as 3 & 3 Quarters, and he once more steps into the producer role on New Beginnings, seemingly with a mission to bring an added sense of color to cuts like the instrumental “Woodrose Morning” or the later harmonica-and-tom-thudding swirl-and-stomper “Last to Know,” which highlights the blend of Echoplex-laden heavy psych and earthy blues on display throughout, operating, as ever, in top form.

A fast hi-hat count-in from Marrone sets the pace for the charge of opening semi-title-track “New Beginning,” which at just over four minutes is actually one of the longer cuts on the album that mostly shares its name. The sense of setting a vibe is quick as Meier‘s always-classy basslines and Griggs‘ furious guitar work unleash their barrage atop Marrone‘s jazzy snare rolls and impossible-sounding tom hits, some tambourine backing the first verse lines as guttural lines are meted out with the band’s trademark blue-eyed soul. It’s constant motion, and that’s no less a hallmark of Radio Moscow‘s approach than the hook that follows, the madcap pacing, reverb-soaked vocals or the head-spinning result of all these elements combined. Radio Moscow being Radio Moscow, in other words. “New Beginning” jams into the swirling start-stop boogie of “Deceiver,” which once again finds Griggs‘ voice drenched in effects atop his Hendrix-style guitar, but pulls back on the tempo to give more of a cyclical feel to its verse lines, punctuated by Marrone‘s drumming.

In its last minute, “Deceiver” builds from its comfortable fluidity into an all-out surge of groove, cutting to silence ahead of the relatively serene, atmospheric start of “Woodrose Morning,” the lysergic feel of which is hinted at in the title, and the effect of which is hypnotic enough that almost before one realizes it, the wash has given way to the subsequent “Driftin’,” which with its flourish of harmonica and bluesy shove reorients the listener back on solid ground despite a guitar solo that seems to maintain some of the echo from “Woodrose Morning” between its verses, a quick turn efficiently done in under three minutes to give way to the key-inclusive presumed side A finale, “No One Knows Where They’ve Been,” which rounds out the formidable momentum built up across New Beginnings thus far with a fervent shuffle, peppered-in string-tearing leads and a swaggering hook that anchors the first half while the second pushes outward into a jam, sounding like it’s about to fly off the rails which of course it never actually does. As if to remind that they’re songwriters after all, they move back into the chorus and cap “No One Knows Where They’ve Been” with fading Echoplex noise.

radio moscow

If this first half of New Beginnings is about building up that momentum, that forward push, with the trippy excursion of “Woodrose Morning” tucked neatly in the middle as the centerpiece of the initial five cuts, then side B would seem to be where Radio Moscow take that momentum and move it into even more expansive terrain. “Last to Know” leads off the back end of the tracklisting with toms at the outset, as swirl of guitar effects and harmonica, and briskly moves into its verse progression, with Griggs holding out the ends of his lines with the reverb that has by now become familiar. Like “Pacing” still to come, “Last to Know” offers one of New Beginnings‘ primo hooks, but in the molten guitar effects, added percussion and holding-it-all-together bass of the jam in its second half, it seems to border up to Afrobeat before its fadeout and so signals the wider berth of some of what follows nonetheless.

One might think of the instrumental “New Skin” as a relatively straightforward answer to “Woodrose Morning,” but the song ultimately proves Radio Moscow don’t necessarily need to go full-wash to draw the listener into a trance — the rhythm section leads the way and one can only delight in following the route toward “Pacing,” which follows the verse/chorus pattern of “Last to Know,” but pulls back from the jammy sensibility of the side B launcher — at least a bit — its bridge shorter and moving back to the hook after giving Griggs proper space to unleash yet another blinding solo. This also sets up the penultimate “Pick up the Pieces,” which serves as one of the most distinct departures New Beginnings makes as it digs into more laid back, airy blues. Gradually, tension builds in bass and drums behind Griggs‘ guitar and vocals, and before its 3:21 are up, the song explodes in about its last 40 seconds, but by then the mood is set, and a few final quiet notes underscore the point before giving ground to closer “Dreams,” also the longest inclusion at 5:57.

Have I mentioned “scorch” yet? Yes? Well, “Dreams” has plenty, just in case Radio Moscow haven’t burnt their own music to enough of a crisp yet. The tempo starts out smooth enough, but before long, the power trio put emphasis on the power and charge through verses into a tense build from which the guitar takes flight propelled by the bass and drums moving past the halfway point, disintegrating into Echoplex effects and finding itself in a wash of swelling volume — might be e-bow? — but feeling off-the-cuff and organically jammed out all the same. This psychedelic triumph spins in circles as the band hits five minutes and resolves itself in a peeling-the-paint-off-the-walls-distortion apex that does not so much cross a finish line as obliterate it. Righteously.

Clearly, the set is over. Radio Moscow have gone as far out as they’re going to go and after turning back multiple times along the way throughout “Deceiver” or “No One Knows Where They’ve Been,” they’ve finally decided to stay all the way gone. As a fan of the band, I can’t say I blame them. I don’t ultimately know if New Beginnings will go down as the record that fully captures the vigor of what they bring to their live show, but its emphasis on the chemistry between GriggsMeier and Marrone is unmistakable, and the songs that comprise it make a compelling argument for Radio Moscow‘s work in the studio being no less essential to their impact than what they do onstage. In either context, they are not to be missed.

Radio Moscow, “Pacing” official video

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Radio Moscow Post Video for “Pacing”; New Beginnings out Sept. 29

Posted in Bootleg Theater on September 14th, 2017 by JJ Koczan

radio moscow

Frankly, if the aim is to promote a new Radio Moscow release — and it is; New Beginnings hits Sept. 29 as their first full-length for Century Media — I’d be hard pressed to think of a better way to do that than evoking the San Diego power trio’s live incarnation, which I very likely don’t need to tell you at this point is utterly unfuckwithable. Dudes just plug in and kill. So yeah, you got a new video for “Pacing” from the new album you need to make? Might as well film it live. That kind of tells the whole story right there. The footage is tripped out a bit for good measure, with the psychedelic wash and colors and whatnot, but they’re in there, doing what they do.

I’ve got a review slated for later this month of New Beginnings, so I’m not really going to dig into the album here, but suffice it to say that after 2014’s Magical Dirt (review here), they had their work cut out for them in my mind and with guitarist/vocalist Parker Griggs stepping (back) into the producer role and the new label behind them, it’s been all the more an intriguing prospect to see where Griggs, bassist Anthony Meier and drummer Paul Marrone go this time around. To put it simply, they go to Boogie Town. Where the people like to boogie down. They’ll be waiting for you by the merry-go-round.

And I suppose by that I mean — or do I? — that they’re about to hit the road on a massive European tour. I’ve already noted in posting these dates that the band will appear at Keep it Low 2017 (info here), Desertfest Athens 2017 (info here), Up in Smoke 2017 (info here) and Desertfest Belgium 2017 (info here) as they herald the arrival of New Beginnings in the company of Finland’s Kaleidobolt, and it looks like they’ve added even more to that routing since the last time I saw the list. The more the merrier. Go round.

Enjoy “Pacing” below, followed by more info from the PR wire:

Radio Moscow, “Pacing” official video

Southern Californian heavy psych power trio RADIO MOSCOW present the newest track off their forthcoming fifth studio album, “New Beginnings,” which is set for release via CENTURY MEDIA RECORDS on September 29, 2017.

Filmed in Dortmund, Germany at this year’s Junkyard Festival by Dirk Behlau, the video captures the band’s intense live performance.

“New Beginnings” was recorded at Lost Ark Studio in San Diego with Mike Butler, produced by the band’s own Parker Griggs and mastered by Mark Chalecki at Little Red Book Mastering.

“New Beginnings” will be released as regular black and special edition Mint Green colored LP+CD, limited to 500 copies, which also includes a poster designed by Robin Gnista, as well as on CD, and all digital/streaming platforms. Pre-orders are available now at http://smarturl.it/RMNewBeginnings.

Having just completed a mini tour alongside the West Coast, RADIO MOSCOW will make their way across the sea to Europe to kick off a headlining run starting September 26, just in time for the release date of “New Beginnings”. Dates can be found below.

RADIO MOSCOW “THE DRIFTING TOUR” 2017
9/26 Paris, FR – Backstage ^
9/27 Nantes, FR – Le Ferrailleur ^
9/28 Bilbao, ES – Kafe Antzokia ^
9/29 Gijon, ES – Casino Acapulco ^
9/30 Porto, PT – Hard Club ^
10/1 Lisbon, PT – RCA ^
10/2 Madrid, ES – Caracol ^
10/3 Barcelone, ES – Rocksound ^
10/4 Montpellier, FR – Secret Place ^
10/6 Pratteln, CH – Up in Smoke ^
10/7 Athens, GR – Desertfest ^
10/9 Roma, IT – Traffic ^
10/10 Altroquando, IT – Zero Branco ^
10/11 Torino, IT – Blah Blah ^
10/12 Stuttgart, DE – Goldmarks ^
10/13 Antwerpen, BE – Desertfest ^
10/14 Groningen, NL – Vera ^
10/15 Cologne, DE – Underground ^
10/16 Wiesbaden, DE – Schlachthof ^
10/17 Vienna, AT – Arena ^
10/18 Innsbruck, AT – PMK ^
10/19 Etagnieres, CH – Croc The Rock Festival ^
10/20 Munich, DE – Keep It Low ^
10/21 Dresden, DE – Beatpol ^
10/23 Hamburg, DE – Hafenklang ^
10/24 Copenhagen, DK – Stengade ^
10/25 Stockholm, SE – Undergangen ^
10/26 Gothenburg, SE – Sticky Fingers ^
10/27 Oslo, NO – Bla ^
10/28 Bergen, NO – Garage ^
10/30 Hannover, DE – Chez Heinz
10/31 Berlin, DE – Festsaal
^ with Kaleidobolt

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Earthless Sign to Nuclear Blast; October West Coast Tour Announced

Posted in Whathaveyou on August 21st, 2017 by JJ Koczan

This one comes right out of the day’s ‘Holy Shit!’ file. San Diego heavy psych forerunners Earthless have signed to Nuclear Blast for the early-2018 release of their fourth album, recorded by Dave Catching at Rancho de la Luna in Joshua Tree, California. The record doesn’t have a title yet, but it will follow the widely influential instrumentalist trio’s most excellent 2013 outing, From the Ages (review here), which was issued via Tee Pee Records and was their best-received work to-date, as well as their split with Harsh Toke (review here), which came out last year.

Earthless just appeared at Psycho Las Vegas, also returned to Freak Valley earlier this Spring, and made an appearance at Brant Bjork‘s Desert Generator in April, and no doubt that whatever it ends up being called, their next long-player just put itself on the most-anticipated list for many heavy rock heads when it comes to next year’s impending releases. I’m definitely happy to count myself in that number. Can’t wait to hear what kind of immersive sprawl Earthless have in store this time around.

Just off the PR wire:

earthless at rancho de la luna.

EARTHLESS sign to Nuclear Blast Entertainment + October headline dates announced

Nuclear Blast Entertainment is pleased to announce the worldwide signing of seminal psychedelic rock trio, EARTHLESS! The band–Isaiah Mitchell (vocals/guitar), Mike Eginton (bass) and Mario Rubalcaba (drums)–recently finished recording their new album with Dave Catching (EAGLES OF DEATH METAL) at Rancho de la Luna in Joshua Tree, CA, and took a moment to offer a few words about their upcoming album and new partnership.

“EARTHLESS is beyond stoked to join a label that has kept its independence and vision so strong for 30 years,” commented drummer Mario Rubalcaba “It’s crazy to think that I’ve bought Nuclear Blast releases since I was still in my teens. We are psyched to put out yet another extension of ideas, sounds and the long-going chemistry that this band has forged over the years. There are some new inspired paths musically and vocally on this next album and we are very excited to see it released on Nuclear Blast.”

“The vibe out at Rancho is one that gels very naturally for EARTHLESS and lends itself to get creative very comfortably,” continues Rubalcaba. “You have nothing else out there to do except absorb the heat, stare at the stars and get in the zone! Dave and I first started talking about doing this project together a few years ago now and it was great to finally make it happen.”

Adds guitarist Isaiah Mitchell:
“Dave was a great person to be around while making this record. Very cool dude. And the studio itself is like a candy store: you want to try everything because there’s so much great gear.”

EARTHLESS will release their 4th full-length studio album in early 2018. More details to be announced shortly. Until then, don’t miss the band on their upcoming headlining run this fall. Tickets go on sale everywhere this Wednesday, August 23rd, at 10 am local time.

Oct-18 Los Angeles – The Echoplex
Oct-20 Portland – Tonic
Oct-21 Seattle – Sunset
Oct-22 Bellingham – The Shakedown
Oct-24 Boise – Neurolux
Oct-25 Reno, NV – Jub Jub’s
Oct-26 San Francisco, CA – The Chapel
Oct-27 Felton, CA – Don Quixote’s
Oct-28 Sacramento, CA – Holy Diver
Oct-29 Santa Ana, CA – Constellation Room

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Earthless, From the Ages (2013)

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Old Man Wizard Premiere “Innocent Hands” Video; New Single out Aug. 25

Posted in Bootleg Theater on August 10th, 2017 by JJ Koczan

old man wizard

To be sure, the progressive metal stylings of Old Man Wizard make them an outlier among San Diego’s crowded heavy underground, which is overflowing with sunny Californian heavy psychedelia and even at its proggiest seems to maintain some loyalty to ’70s-style boogie rock, but the truth of the matter is one would be hard-pressed to find somewhere the three-piece wouldn’t stand out from the crowd. And that is very much part of the appeal. After touring to support their 2013 debut LP, Unfavorable (review here), guitarist/vocalist Francis Roberts, bassist/vocalist Andre Beller and drummer/vocalist Kris Calabio receded somewhat, but their new single Innocent Hands arrives this month in time for another stretch of West Coast dates and finds their quirk-laden prog-doom at a welcome next stage of its development.

That sense comes through quickly in the driving rhythm and melodic resonance of the titular cut. While it starts out with a blastbeaten thrust that feels derived from extreme metal, “Innocent Hands” is just as fast to set its foundation in Roberts‘ gentle vocals, giving a sense of contrast that lends breadth to what’s still a 7″-ready sub-five-minute runtime. A couple cycles through the verse leads to denser riffing that seems to old man wizard innocent handsplay Opethian and Enslaved-style impulses off each other while filtering the result through a rocker’s urgency, and as Calabio and Beller join Roberts in the chorus line, “Rain falls on innocent hands,” the harmonies make the song a distinct highlight worthy of carrying its own release. That is, it stands up as a single, and with “The Blind Prince” as a complementary B-side, the vibe is reaffirmed in a post-Ghostly melodicism and tense instrumental progression. Shorter and in more of a rush, “The Blind Prince” nonetheless braces “Innocent Hands” with a like-minded rhythmic engagement and energized delivery. While they haven’t been putting out a slew of offerings in the four years since Unfavorable, clearly Old Man Wizard haven’t been wasting their time either.

They take to the hills in the clip for “Innocent Hands” that’s premiering below, or at very least to a hill, and with the sun behind them, and a hilariously unacknowledged druid walking past at about the two-minute mark and with at least Beller and Calabio in Witch Ripper t-shirts — Roberts might be as well, it’s kind of hard to see — they give a subtle sense of the tongue-in-cheek persona of the band, which does nothing to cut the progressive value of the songcraft at play. That is to say, just because they’re enjoying themselves doesn’t make Innocent Hands any less of an accomplishment.

Tomorrow they begin the alluded-to West Coast tour that will take them from Tijuana, Mexico, up to Washington State before coming to a close Aug. 23 with a hometown San Diego show. You’ll find the dates for that under the player that follows, which of course contains the video premiere.

To please enjoy:

Old Man Wizard, “Innocent Hands” official video

Progressive heavy rock band OLD MAN WIZARD return with their new single Innocent Hands. The track will be released on 7″ vinyl and will be sold on their upcoming tour in August. The “B” side will be “The Blind Prince”.

OLD MAN WIZARD TOUR DATES:
8/11 Tijuana, BC Mi Pueblito
8/13 San Francisco, CA The Hemlock
8/15 San Jose, CA The Caravan
8/17 Portland, OR The Highwater Mark
8/18 Seattle, WA The Victory Lounge
8/19 Anacortes, WA Kenelly Keys
8/20 Tacoma, WA The Valley
8/22 Los Angeles, CA The Lexington
8/23 San Diego, CA Soda Bar

Old Man Wizard is:
Francis Roberts – Guitar, Vocals
Kris Calabio – Drums, Backing Vocals
Andre Beller – Bass Guitar, Backing Vocals

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