Friday Full-Length: Acid King, III

Posted in Bootleg Theater on November 17th, 2017 by JJ Koczan

Acid King, III (2005)

And you’re welcome.

There are few joys in heavy rock as unfettered as a Lori S. riff. Some guitarists gallop. Some careen. Some cut steep angles. Some nod. And sometimes a Lori riff can sound like it’s being thrown down a flight of stairs in how it seems to tumble out of the speakers, but her perfect blend of tempo, timing, groove, construction, spaciousness, tone and the cyclical nature of her style gives her work in San Francisco’s Acid King an unparalleled molten feel. I won’t take anything away from her echoing vocals, Joey Osbourne‘s roll-ready drumming or what a succession of bassists from Peter Lucas to Dan Southwick to Brian Hill to Guy Pinhas to Rafa Martinez to Mark Lamb have brought to the group in terms of low end, but it is now and has always been the riffs that define Acid King, even dating back to their raw 1994 self-titled EP and 1995 debut album, Zoroaster.

That record would serve as the foundation on which in 1999 the band built a temple and named it Busse Woods (discussed here and here), which — as I seem to say every time I mention it at all — is one of the very best stoner rock albums of all time. It would be six years before the trio, which was then comprised of Lori, Pinhas (also known for his work in Goatsnake and The Obsessed) and Osbourne, issued a proper follow-up. No doubt the dissolution of Frank Kozik‘s by-now legendary imprint Man’s Ruin Records, which released Busse Woods and the subsequent 2001 split EP with Mystick Krewe of Clearlight, played into the delay, but in 2004, Small Stone Records reissued Busse Woods and in 2005, stepped in to offer III — Acid King‘s much-awaited and aptly-titled third full-length.

III was a Spring release, and I remember it seemed pretty close behind the Busse Woods reissue, which may have contributed to the impression that despite the stretch between the two (which seemed long at the time; ha) that the newer album was still operating in the shadow of its predecessor. Nonetheless, with years of hindsight to provide a looking-back lens now, III is an absolute masterwork of riffly meditation. From the fading-in fuzz that begins “2 Wheel Nation” and the unmitigated nod that follows through the patient execution of the singularly righteous “Heavy Load,” “Bad Vision” — which is precisely what I had in mind with the “down a flight of stairs” comment in the first paragraph above — the 12-minute centerpiece “War of the Mind,” the quicker “Into the Ground,” the hook reset of “On to Everafter” and the highlight drum wizardry in finale “Sunshine and Sorrow,” one would be hard-pressed to find a better way to spend 46 minutes of listening time when it comes to groove immersion. Across the entire span, Acid King demonstrate plainly the sheer unfuckwithability of their craft and the utter injustice that their name isn’t mentioned in the same breath as Sleep and Black Sabbath for their pivotal contributions to the form.

Yes, I mean that.

One would be remiss not to note the collaboration between the three-piece and producer Billy Anderson as essential to their overall sound. Anderson, who worked with the band on Zoroaster and Busse Woods as well before helming III, captures the depth of tone and character in Lori‘s guitar and seems to put it in just the right balance with the corresponding bass and drums. The effectiveness on “2 Wheel Nation” is immediate once the song starts — it’s a groove that leaves no one behind as it takes to the road on some souped-up space chopper — and with “Heavy Load” following, the launch salvo for III is unmistakable in its preached message of tonal supremacy, but neither is it void of atmosphere. The repetitions are hypnotic, and shortly, “Bad Vision” snaps the listener back to at least a semi-consciousness state, but while one generally thinks of Acid King as being straightforward in their intentions and sonic impression-making, it’s worth pointing out just how much room is being created by Lori‘s riffs, by the crash of Osbourne‘s cymbals and the thud of his toms, and by the plummeting bass tone with which Pinhas anchors the marching procession. This is reinforced as “War of the Mind” gives III its most gorgeous sprawl, setting itself in an open landscape that seems to stretch like some Western highway populated at dawn by mission-bound hippies in some lysergic American daydream. Even as the lyrics call outright for freedom, the instrumental fluidity behind them seems to find it and bring it wonderfully, glaringly to life.

Is is possible for a band to be so widely hailed and still be underrated? III, which in addition to being concurrent to the reissue of the album before it also arrived at a just-pre-social-media moment of generational shift, would argue yes. Though they toured steadily between, brought together their first two outings in 2006 as their The Early Years compilation, and oversaw reissues of both III and Busse Woods in the interim, a decade passed before Acid King released their fourth long-player in 2015. Aligned to Svart Records and comprised of Lori, Osbourne and Lamb, the triumphantly chanting Middle of Nowhere, Center of Everywhere (review here) brimmed with classic Acid King method and personality. With production by Anderson as well as Toshi Kasai, it found the band at their most world-conjuring to-date and marked a surge of international touring and general activity that continues to this day as Lori has revamped Acid King‘s lineup to bring back Martinez (who’s spent years on the road at this point as the drummer for the raging Black Cobra) on bass and new drummer Bil Bowman, replacing Osbourne in the band for the first time and leaving herself as the sole remaining founding member.

The inevitable shift in dynamic there could potentially mean a significant change in Acid King‘s overall chemistry, but with the band having taken six years between Busse Woods and III and 10 between III and Middle of Nowhere, Center of Everywhere, I’m not inclined to predict when their next LP will show up, what shape it will ultimately take, or who will be involved in its making. What matters is that as Acid King approach their 25th anniversary since getting together in 1993, they’ve perhaps never been so ripe for appreciation, and while their catalog over those years isn’t about to challenge Hawkwind in terms of its sheer numbers, each of their albums remains a landmark accomplishment at a level few bands could ever hope to reach.

As always, I hope you enjoy, and thanks for reading.

Yeah, closing out with Acid King is pretty much me doing myself a favor. After a week of being literally shit on, I kind of feel like I earned it as much as I ever consider myself as having “earned” anything. Either way, I decided pretty early on this week that III would do the job and it’s been a pleasure to dig into it over the last few days, go a little deeper in listening than I sometimes do with this stuff. I woke up early this morning to come downstairs and get started. Alarm went off at 4AM. My idea of a good time.

The Pecan continues to grow. Predictably, he’s become a baby of many names, among them “Rocketass” for his propensity to wait until I’ve got his diaper off to unleash fecal torrents. The Patient Mrs. and I gave him a bath last weekend in the kitchen sink and he also pissed on my Vitamix that I use to make the protein shakes that are now what I eat for dinner roughly six nights a week, so yeah. Took me a couple days to forgive that in theory, but the reality of the situation is I don’t even care anymore. He’s yet to produce anything that can’t be wiped off or put through the wash, etc.

I’m sure we’ll get there. I’m just saying we’re not there yet. In the meantime, lack of sleep? Diaper changing? Trying to get him to take a bottle? Whatever. These are good days. Fatigue is a small price to pay for that.

He’s three weeks old now, and The Patient Mrs. continues to be wonderful as a mother. Never a doubt she would be, but to actually see it manifest as reality is humbling and only further underscores how fortunate I am to exist in her presence, pretty much ever, let alone on the ongoing basis of our relationship, marriage and so on. Stupid lucky. The Pecan has been a little fussy the last couple days — Wonder Weeks says he’s on the verge of a sensory breakthrough, which should be fascinating — and she’s been running point all the way. I’ve cooked and cleaned and done that stuff, but to see her momming it up is fantastic. I love her so much I want to bash my brains in.

Next week is Thanksgiving here in the US — a holiday with a troubled historical foundation but probably my favorite in terms of how it brings loved ones together in a spirit of shared appreciation for each other. We’re getting together with my family and The Patient Mrs.’ family in Connecticut for dinner. I’m already anxious about being around that much food — hi, I have an eating disorder — but even if I end up bringing the blender and the protein powder south for the day, I think it’ll be a good time. I’m looking forward to it.

Not sure how it will affect the timing of posts, but here’s what’s in the notes for next week anyway, subject of course to change without notice:

Mon.: Snowy Dunes album review; Borracho announcement/track premiere.
Tue.: Low Orbit track premiere/review; Pillars video premiere.
Wed.: SubRosa Subdued track premiere. Fuck yes.
Thu.: Maybe a podcast? Don’t expect much, if anything.
Fri.: Maybe Frank Sabbath review. Depends where I’m at post-holiday.

There you have it, and there you have it.

I’ve started to put together the next Quarterly Review already for the end of next month/the beginning of January, as well as the best-of lists, so keep an eye out for all that stuff as we move into December, and we’ll have the best albums poll up as well come Dec. 1. Be ready. I want to make it the best one yet, and last year’s is going to be tough to top.

If you’re still reading, you’re great. Thank you.

Have an excellent, safe weekend, and please check out the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

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Review & Full Album Premiere: Turn Me on Dead Man, Heavymetal Mothership

Posted in audiObelisk, Reviews on October 9th, 2017 by JJ Koczan

Turn-Me-on-Dead-Man-Heavymetal-Mothership

[Click play above to stream Turn Me on Dead Man’s Heavymetal Mothership in its entirety. Album is out Oct. 13 via Heavy Psych Sounds.]

Long associates of Jello Biafra‘s Alternative Tentacles imprint, space rocking outfit Turn Me on Dead Man make their debut on Heavy Psych Sounds with Heavymetal Mothership, their fifth overall full-length. Their moniker of course is a reference to the backmasked Beatles message said to be in “Revolution No. 9” as a hidden clue to the alleged death of Paul McCartney, and sure enough there’s plenty of classically psychedelic elements to their sound, but for anyone who’s never encountered them before — one recalls their colorful debut, God Bless the Electric Freak, and is surprised to see it came out 12 years ago in 2005 — the title of the album actually does much more work in conveying the identity of its own sound, because while the San Francisco-based troupe have plenty of slippery trippery happening from launchpoint “Vimana” down through the 11-track/37-minute cosmic offering, there’s an underlying crunch to their fuzz and to their rhythms as well, and they never truly seem to let go of the notion of structure.

That’s hardly a drawback. Rather, “Vimana” sets a catchy tone on which cuts like the subsequent “Asteroid 9,” “Maharishi,” “Master Planet + Mother Star + Secret Moon” and the languid-drawling-into-thrash-galloping “White Slave/Black Master” only build, and elsewhere, it’s pieces like “Diamond Endless,” the effects-coated thrust of “Mind of Oz,” the watery and synth-laden centerpiece “Monolith 1971” and the purely space-driven closer “Room 237” that provide the corresponding freakout sensibility; a willingness to get weird, get weirder, and finally, get weirdest, that pits Turn Me on Dead Man in line for stellar alignment that finds their Heavymetal Mothership running at full warp speed, bearing four mark 20.

And while we’re keeping to vaguely Star Trek-derived starship references (frankly, one is amazed no one has captained a U.S.S. Lennon, registration #NCC-1967, but that’s besides the point), it’s worth noting that Turn Me on Dead Man are fully crewed and then some. Around the core tableau of guitarist, vocalist, bassist, synthesist and noisemaker Mykill Ziggy Minucci, guitarist Nick Doom, drummer/percussionist/vocalist Christopher Melville Lyman and bassist Attis Ngo — the latter also credited with keys on ninth cut “Hologram Universe”; and who seems to be out of the band since Heavymetal Mothership was recorded in 2015, perhaps replaced by Jeff Vengeance — a range of guests are employed on vocals, percussion, keys, bouzouki, and so on. Perhaps it’s best just to cut and paste the full list, as it is extensive:

Chris “Dr.” Fantasy: synthesizers on “Room 237” and “White Slave Black Master”
Scott Reategui Richards: bass on “Master Planet”
Kati Williams: violin on “Forest Damask”
Aaron John Gregory: bouzouki on “Cosmo Nymph”
Steve “Robot Speak” Taormina: chaos and noise on “Room 237”
Jonsey Daysleeper: keys on “Floating In Zen,” “Diamond Endless,” and “Maharishi”
Lith Amenti: vocals on “Floating in Zen”
Mike Thompson: percussion on “Hologram Universe”
Kiyoko Stella: vocals on “Cosmo Nymph” and “Maharishi”

So in terms of personnel, it’s more than twice as many guest spots as actual full-time band members appearing throughout the album. Can only hope the Mothership has a nice lounge area with a vending machine. Perhaps even more crucially, what results from all this flux across the still-manageable span of the record’s two sides is a rife-with-spaciousness feeling of variety that makes almost each track have its own underlying persona. Songs like “Asteroid 9,” “White Slave Black Master” and “Forest Damask” tie into the central notion of sonic dualism hinted at in the title — more often than not, heavy metal and space rock or funk (with which a mothership might also be associated) are thought of as separate aesthetic entities — but even within these, there’s a diversity of approach that becomes utterly crucial to the overarching impression of the material. And whether it’s the taut, lead-topped thrust of bliss in the middle of “Maharishi” or the toms beneath the outward, semi-post-rocking reach of “Diamond Endless,” Turn Me on Dead Man successfully execute this sonic breadth while balancing experimentalism and accessibility such that they never seem to be lost in the wash they’re creating. At times — looking at you, “Hologram Universe” — this is a genuine accomplishment.

Something that Turn Me on Dead Man seem to turn to their advantage in this, however, is the fact that individual songs are short. “Hologram Universe?” Yeah, it’s got keys, effects-soaked guitar strum, slow-freakout vibes and all that. It’s also about 75 seconds long. “Mind of Oz” cuts itself open and bleeds catchy acid, but it’s done in 2:22, and though “Forest Damask” has a somewhat farther-gone spirit to it, and is a little darker in its atmosphere as the longest inclusion, its listener immersion is enacted and gone in 4:42. The early work of Nebula comes to mind as a touchstone when thinking of a group so skillfully balancing songwriting and lysergics, and Turn Me on Dead Man are willful in their intention to push deeper into uncharted sectors. Needless to say, stellar cartographers will be thrilled, but moreover — and this is the real point at which Heavymetal Mothership finds its ultimate triumph — there’s a flow between the songs such that, as they bounce from one idea and fade it into the next, bring in different players to build out the songs and find themselves in these unknown positions in the galaxy, they come across as no more disjointed than they mean to be.

Diversity of approach, rather, is one of Heavymetal Mothership‘s great strengths, and the songs the album contains become like psychedelic snippets showing the places one can travel at the speed of thought. Like their underrated labelmates in Farflung, or like some of what White Hills and younger-days Monster Magnet were able to conjure in their own halls of space-worship, Turn Me on Dead Man provide sure guidance the whole way through Heavymetal Mothership, and if one thinks of recently-floated post-Roddenberryan notions of astrophysics and biology as one, travel by spores, etc., then it’s all the more fitting that Heavymetal Mothership sounds shroomy as fuck. If you can get on board, you’re in for a hell of a ride.

Turn Me on Dead Man, “Forest Damask” official video

Turn Me on Dead Man on Thee Facebooks

Turn Me on Dead Man on Instagram

Turn Me on Dead Man on Bandcamp

Heavy Psych Sounds on Thee Facebooks

Heavy Psych Sounds on Twitter

Heavy Psych Sounds webstore

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Wrapping up #VinylDay2017

Posted in Features on July 26th, 2017 by JJ Koczan

Grooves and platters galore. My motivation behind doing Vinyl Day 2017 was simple: I felt like listening to records and sharing that process. It was kind of an off-the-cuff thing. Just an idea I had and ran with it. I figure it doesn’t need to be anything more than that, right? Isn’t putting on an album its own excuse for putting on an album? I tend to think so.

And yeah, I made it a hashtag. Because it’s the future, and hashtags. Instagrammaphone and whatnot. I’m a novice at best when it comes to the social medias, but it seems to me that if you’re going to share a full day’s worth of what you’re listening to, that’s the way to do it. So that’s what I did. If I clogged up your feed or whatever and it pissed you off, sorry.

For anyone who might’ve missed it, it turned out to be nine records of various sorts. Here they are, complete with accompanying audio when I could get it, because it’s the age of instant gratification:

There you have it. Had to be Sleep to end it. Pretty awesome day of music on the whole, and whatever was on your playlist yesterday, if it was this stuff or anything else, I hope you enjoyed. I’m gonna call Vinyl Day 2017 a definite win. Thanks for reading.

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Slough Feg Announce The New Organon Recording; Re-Sign to Cruz del Sur

Posted in Whathaveyou on July 20th, 2017 by JJ Koczan

Maybe that’s just how long a Slough Feg record takes to absorb, but it’s kind of surprising to think it’s been three years since the perennial San Fran-based NWOBHM-via-Celtic-folk-via-classic-rock-via-you-don’t-know-what-the-hell-to-call-it-so-just-call-it-progressive outfit released Digital Resistance (review here). That album was their ninth as well as their debut release for Metal Blade Records, and along with the news that the Mike Scalzi-led troupe either will begin or have begun this month to record their 10th long-player, to be titled The New Organon, comes word that said offering will be issued via Cruz del Sur, with whom the band was previously signed for three highlight LPs between 2005 and 2009.

Too strange for the bigger imprint to know what to do with? Possible. Or possible it was just a one record deal. In any case, it was four years from 2010’s The Animal Spirits (review here), which was released by Profound Lore, to Digital Resistance, so even if The New Organon doesn’t show up until 2018, that would at least be on pace. Good food takes time, even if you don’t realize time has passed.

From the PR wire:

slough feg

SLOUGH FEG Rejoins CRUZ DEL SUR MUSIC

San Francisco true metal troubadours SLOUGH FEG have rejoined Italy’s Cruz Del Sur Music, the label behind the band’s heralded “Atavism” (2005), “Hardworlder” (2007) and “Ape Uprising!” (2009) albums.

Comments vocalist/guitarist Mike Scalzi: “We are happy to announce that we are back with Cruz Del Sur Music and will begin recording a new album in July! We believe that a smaller ’boutique’ label such as Cruz Del Sur is appropriate for our sound, fanbase and work ethic, and look forward to working with Enrico [Leccese] and company again.”

“I am extremely excited to have SLOUGH FEG back on Cruz Del Sur!” says Leccese. “It is always nice when bands you like track you down. It’s even more special when it’s someone you’ve worked with for about ten years and established a friendly relationship. It’s a recognition that we were doing something right in the past. I can’t wait to hear the new album and share it with the metal world.”

Continues Scalzi: “The new album will be called ‘The New Organon’, and the songs are somewhat of a return to the heavier side of our sound: more rustic, heavy, churning, medieval/Celtic and proggy sounding riffs, as opposed to the more ’70s rock sounds of more recent albums. But don’t worry: there will be a couple of rockers as well! We will also have some newer, experimental songwriting styles, mixing heavy rock and metal with the melodic sounds of ’50s and ’60s pop. Imagine DEL SHANNON singing for BLUE CHEER! After all, it wouldn’t be a SLOUGH FEG album without some bizarre surprises!

So, journey we more into the vaults of the Voi-vaudevillian…the Epic-cure for all Epicurean Angst and Ennui. The Celtic cacophony continues!”

www.facebook.com/sloughfegofficial
twitter.com/slough_feg
www.cruzdelsurmusic.com
cruzdelsurmusic.bandcamp.com
www.facebook.com/cruzdelsurmusic
twitter.com/CruzDelSurMusic

Slough Feg, Live at Muskelrock 2016

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Carlton Melton to Release Hidden Lights EP Aug. 25; New Video Posted

Posted in Whathaveyou on June 26th, 2017 by JJ Koczan

carlton melton

Don’t sweat it if you see something waving in the distance — that’s just the collective freak-flag representing the right-on psychedelia proffered by San Francisco trio Carlton Melton. The improv-specialist instrumental three-piece have a new three-song EP titled Hidden Lights due Aug. 25 from Agitated Records that’ll be released on limited vinyl and “unlimited download” — I like that — as the follow-up to their 2015 outing, Out to Sea. They have a new video for the title-track streaming now.

The PR wire has it like this:

carlton-melton-hidden-lights

CARLTON MELTON announce new EP ‘Hidden Lights’ on Agitated Records & share title track video

Artist: Carlton Melton
Title: Hidden Lights
Label: Agitated Records
Format: 12″ / DL

Release date: 18th August ’17

San Francisco tripmakers-supreme Carlton Melton return with a new 25 minute-plus three track 12″ EP for Agitated Records, their first release since their widely received 2LP “Out To Sea” in 2015 and, indeed the accompanying 2016 RSD “Aground” 12″ release.

Hidden Lights is the first missive from recent recordings undertaken once again at El Studio with the watchful engineering and collaboratory help of Phil Manley (Trans AM / Lifecoach / Fucking Champs). Phil throws in some slinky guitar moves that help make the Carlton Melton Magick Karpet soar… John McBain (Evil Acidhead /Monster Magnet /Wellwater Conspiracy ) also guests on keyboards, and has once again mastered the ’Melton’s sike-adelic-drone to perfection.

The band CARLTON MELTON formed along the Mendocino County coastline in Northern California on the weekend of July 17th, 2008. The idea to play live, loud, improvised, experimental, instrumental, psychedelic music in a geodesic dome had been discussed for many years prior to this date. The opportunity came to fruition after the dome was completely rebuilt and the acoustic sounds inside were fully realized.

It is understood this music is not for everyone. If you prefer top-notch, modern day production and crafty songwriting you may want to stop here. If you prefer old SST label cassette tapes or an early Spaceman 3 cassette you recently found wedged in the back seat of your car you may dig some of this… or perhaps you like to listen and gaze at an old David Crosby LP now and then. 

Released on 500 12″’s or unlimited DL!!!

Take a trip to the hidden lights… immerse…

Tracklist
01. Rememory
02. The Warbler
03. Hidden Lights

Carlton Melton:
Andy Duvall
Rich Millman
Clint Golden

www.carltonmeltonmusic.com/
https://www.facebook.com/Carlton-Melton-band-page-142609689122268/
http://agitatedrecords.com/
http://en-gb.facebook.com/pages/AGITATED-RECORDS/100542643334300
https://twitter.com/AgitatedRecords

Carlton Melton, “Hidden Lights” official video

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Acid King Announce European Tour Starting July 15

Posted in Whathaveyou on June 19th, 2017 by JJ Koczan

acid king

I’m not usually the type to call bands legends, but I’ll make an exception in the case of Acid King, because that’s how fucking awesome I think they are. The San Francisco three-piece have been very casually added to summer fests like SonicBlast Moledo 2017, Stoned from the Underground 2017, Red Smoke and Lake on Fire 2017 over the last couple months, and they’ve now announced the string of tour dates that will tie all of those appearances and others together. Running from July 15 through Aug. 12, and appropriately enough starting at one fest and ending at another, the stint features some significant back and forth — Germany to Poland to Germany? Germany to Italy to Belgium to Austria to Germany to Israel to Portugal? — but looks like it will be a killer time all the way around as the riff legends continue to support their 2015 album Middle of Nowhere, Center of Everywhere (review here), which remains a cause well worth heralding.

Note that Acid King have a new lineup, with bassist Rafa Martinez (also Black Cobra) and drummer Bil Bowman (also Hornss) stepping in for the longtime rhythm section of Mark Lamb and Joey Osbourne. Note also the appearance at The Black Heart in London. What I wouldn’t give to see Acid King in that venue. Hell, looking at this entire run has my newly-unemployed, baby-on-the-way ass daydreaming about following the band on the road for the duration and writing a book about the experience. That would be fun.

Look at these dates and see if you don’t agree:acid king tour poster

Acid King 2017 European Tour Dates Announced

Acid King live:
15.07 Erfurt DE Stoned from the Underground
16.07 Pleszew PL Red Smoke Festival
17.07 Hamburg DE Hafenklang
18.07 Helsinki FI Linja
19.07 St. Petersburg RU MOD
22.07 Oslo NO John Dee
24.07 Utrecht NL DB’s
25.07 Bristol UK Louisiana
26.07 Glasgow UK Audio
27.07 London UK The Black Heart
28.07 Tilburg NL Little Devil
29.07 Liege BE Le Hangar
30.07 Paris FR Glazart
31.07 Munich DE Backstage
01.08 Milan IT Magnolia
03.08 Siegen DE Vortex
04.08 Waarshoot BE Roadkill Festival
05.08 Waldhausen AT Lake on Fire Festival
07.08 Vienna AT Arena
08.08 Berlin DE Lide w/ Boris
09.08 Osnabrück DE Bastard Club
10.09 Tel Aviv IS Barby Club
12.08 Moledo PT SonicBlast Moledo

Acid King is:
Lori S. – Guitar & Vocals
Rafa Martinez – Bass
Bil Bowman – Drums

www.facebook.com/AcidkingSF
www.acidking.com

Acid King, Middle of Nowhere, Center of Everywhere (2015)

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Turn Me on Dead Man Sign to Heavy Psych Sounds

Posted in Whathaveyou on June 16th, 2017 by JJ Koczan

Italian imprint Heavy Psych Sounds sends word of an allegiance with San Francisco psych weirdos Turn Me on Dead Man. This comes only days after the label picked up The Lords of Altamont and continues a focus on signing West Coast US bands that has also seen them snagging the likes of Banquet, Farflung, The Freeks, Fatso Jetson, Glitter Wizard, and Cosmic Wheels, among others. No word yet on when Turn Me on Dead Man might make their debut through the label, but the band released their latest album, Heavymetal Mothership, in Dec. 2016, so it seems entirely possible they might start with a reissue of that before moving forward. Just speculation on my part, but plausible enough.

More on that as I hear it. The announcement of the signing came through the PR wire:

turn me on dead man

Heavy Psych Sounds Records & Booking presents: TURN ME ON DEAD MAN new signing

HEAVY PSYCH SOUNDS Records & Booking is really proud to welcome in the HPS family the Heavy Psychedelic-Space-Metalz masters

TMODM are an heavydelic space rock band from San Francisco. Turn Me On Dead Man combines Heavy Metal and Psychedelia to forge a music that is both transcending and unforgettable. The songwriting plunges listeners into the heavydelic landscapes of 60’s experimentalism and 70’s bombast, creating a disc that is enthralling, imaginative, hugely entertaining, and incredibly hard rocking!

The group have been creating their unique brand of lysergic-soaked rock since their inception in 2000, gigging extensively throughout the San Francisco bay area and garnering praise from all over their home turf and the country, spurred on by heavy rotation at the influential WFMU station in New Jersey. Alternative Tentacles founder Jello Biafra was suitably impressed by the band’s spaced-out, glammed-up, turned-up brand of audio mayhem enough to re-release their first epic record, “God Bless the Electric Freak” on A.T.!

Live, Turn Me On Dead Man is a spectacle of epic proportions; a visceral sonic boom that spans the spectrum from the meanest, most gorgeous anthems of rock to the exotic ragas of modern psych, creating an explosive and diverse stage performance as energetic as it is uncommon. Simply put, Turn Me On Dead Man plays Heavy Crush Bliss Rock breaking the sound barrier on their own private Lear Jet headed straight to HELL!

The bands twin guitar harmonization, melodic rhythmic switchbacks and trippy apocalypto- mystical lyricism keep California’s psychedelic rock tradition alive

“Mind melt music for the sick and twisted, heavydelic super rock for the ultimate freak out”

HEAVY PSYCH SOUNDS Records quote:
It’s almost two years we are dealing with the band, and finally we reached the point.
TMODM is finally part of the HPS Records family!!
Their sound and attitude reflect a lot which is the label target in terms or Space Rock, Psychedelic Rock and Heavy Rockness

Turn Me on Dead Man:
Mykill ZIggy: Guitars, Vocals, Synthesizers, Bass, Phasers and Lasers
Nick Doom: Guitars and Music Theory
Christopher Melville Lyman: Drums, Percussion, and Vocals
Attis Ngo: Bass, Keyboards

https://www.facebook.com/TurnMeOnDeadManSF/
https://www.instagram.com/turn_me_on_dead_man/
https://tmodm.bandcamp.com/
https://www.facebook.com/HEAVYPSYCHSOUNDS/
www.heavypsychsounds.com

Turn Me on Dead Man, Haters, Space Invaders, and Clones (2015)

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War Cloud Announce June West Coast Weekender

Posted in Whathaveyou on May 9th, 2017 by JJ Koczan

It would seem that Oakland four-piece War Cloud have spent the last year or so since the release of their most recent single getting various ducks in a row. The band has newly announced that they’re going to be working with Hi-Wattage Booking for touring — the implication being, you know, that touring will happen — and though more studio material has yet to surface following 2016’s “Vulture City” (posted here), they’ve been playing local shows in the Bay Area, sharing the stage earlier this year with Swedish fuzz mavens Truckfighters and pairing up this month with the esteemed Slough Feg for what’s sure to be a riotous good time for any fortunate rockers, boozers and headbangers who happen to be in the vicinity. My understanding is there are plenty, so all the better.

Next month, the band — which also now includes Carson Binx of Wild Eyes SF on bass — will head north for a couple shows in Oregon and one in Seattle, keeping good company along the way. Check it out:

war cloud

We are stoked to announce that Hi-Wattage Booking has taken us under their wing! The upcoming north west run will be the first of many so keep your eyes open for more dates!

MAY 19 TNL Slough Feg/ War Cloud/ War Child SF Eagle San Francisco, CA
JUN 2 Oort Cloud, War Cloud, Ice Kream Social Old Nick’s Pub Eugene OR
JUN 3 Pushy/ Moodrake/ War Cloud/ Disastroid Twilight Cafe and Bar Portland, OR
JUN 4 Infinite FLUX with War Cloud & The Grindylow Substation Seattle, WA

Erupting in 2014, out of Oakland, California, War Cloud has been on a steady path of shredding Northern Californian ear drums. Founded by Alex Wein (vocals, guitars), who hails from Baltimore MD, he wasted zero time in recruiting area musicians after firmly planting his amps in the Bay Area. Looking to create an aural ash cloud of volcanic rock, Alex solidified this four- man crew with two Bay Area natives Joaquin Ridgell (drums) and Tony Campos (guitar), and secured the low end with Toronto transplant Carson Binx on bass.

War Cloud is a young band but far from wide-eyed innocents. Their musical history drenched in molten riffs across the timeline of heavy metal, the name alone originates from a Wicked Lady song of the same title. With roots encompassing Tony’s tenure in San Francisco’s heavy thrash tinged Hell Fire, Carson’s melding of hard rock rhythm and old-school groove on bass, and Joaquin pounding his drums as if possessed by the ghost of John Bonham himself. War Cloud has created a new flavor of heavy rock music for those enjoying past meals served up by the likes of Pentagram, UFO, Deep Purple, and Black Sabbath.

This is modern metal sophistication dipped deep in ‘70’s heavy fuzz rock.

War Cloud is:
Alex Wein – Vocals/Guitar
Tony Campos – Guitar/Vocals
Carson Binx – Bass
Joaquin Ridgell – Drums/Vocals

https://www.facebook.com/warcloudiscoming/
https://www.instagram.com/WarCloudRock/
http://warcloud.bigcartel.com/
http://warcloudiscoming.bandcamp.com/track/vulture-city

War Cloud, “Divide and Conquer” live at The Chapel, San Francisco, July 16, 2016

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