Wildlights Premiere “Lights Out” from Self-Titled Debut

Posted in audiObelisk on July 15th, 2015 by H.P. Taskmaster

wildlights

North Carolina two-piece Wildlights will no doubt earn a comparison or two to their Season of Mist labelmates in Floor with tracks like “Hellfire Forever” and “Onward Upward” from their impending self-titled debut full-length, out Aug. 21 via the aforementioned, but neither is that the beginning and end of their sonic sphere. Comprised of guitarist/vocalist Jason Shi of ASG and ThunderlipsJohnny Collins on drums, the duo hit on a blend of upbeat vibes, resonant melodies and weighted groove that find a middle-ground between accessibility and weight. Shi‘s vocals are immediately identifiable for anyone who’s listened to ASG — and perhaps they’re an underappreciated distinguishing factor in that group as well — but the dynamic in Wildlights is on its own trip, shorter cuts like “Lights Out” and the airier-into-a-big-finish closer “Big Frontier” shooting for unabashed catchiness in their hooks, while “New Year Repeat” and the earlier “Snow Song” add arrangement flourishes via a quiet guitar line at the start and an organ (or organ-sounding) finish, respectively.

Worth mentioning plainly is the production of Matt Hyde (Monster Magnet, Slayer, etc.), whose crispness in the guitar and drums suits Wildlights‘ presentation remarkably well. wildlights wildlightsCuts throughout the 12-track/41-minute release are relatively short — “Hellfire Forever” is the longest at 4:33 — but for the kind of efficiency they’re looking to convey, it wouldn’t work if they weren’t, and while still vinyl-ready in its runtime, it’s not as though the album is lacking substance. As it is, small shifts like the tempo change of “Climb in the Throne” and the departure from the early rush of “Anchors” and “Rebel Smiles” that “Part of the Sea” brings with its winding riff feed into each other over the course of the front-to-back listen, and Wildlights proves to be more of a full-album experience than it at first seems, as memorable as individual tracks and parts can be over its span. At their root, Shi and Collins benefit from the songwriting experience both have and execute a record that seems barebones because its structures are so apparent and so much of the appeal but also has a considerable amount of atmosphere to go with, immersing the listener almost before they know what’s happened.

By way of evidence, I have the pleasure of hosting the premiere today for “Lights Out.” One of four cuts on WildlightsWildlights under three minutes long, it nonetheless engages with its heft, the tonal presence of Shi‘s guitar and the push of Collins‘ drums. Please find it on the player below, followed by more info from the PR wire, and enjoy:

WILDLIGHTS’ brand of hard rock is truly timeless. Featuring ASG’s Jason Shi and THUNDERLIP!s’ Johnny Collins, their direct, honest sound draws equally from the driving, melodic, SoCal-spawned skate/desert rock and the heavy, blues-based sound of the South. Their self-titled, Matt Hyde (PORNO FOR PYROS, MONSTER MAGNET, FU MANCHU, SLAYER) produced album shines with stunning tracks like “Rebel Smiles”, “Anchors”, “Lights Out”, “Lions”, “Part of the Sea” and more. More than just a mere collection of tracks, WILDLIGHTS is a soundtrack to life that resonates hope.

Track List:
1. Anchors
2. Rebel Smiles
3. Part of the Sea
4. Snow Song
5. Hellfire Forever
6. Pictures
7. Onward Upward
8. Lights Out
9. New Year Repeat
10. Climb in the Throne
11. Lions
12. Big Frontier

Line-up:
Jason Shi (ASG)- Vocals, Guitars
Johnny Collins (Thunderlip) – Drums

Release Date: August 21st

Wildlights on Thee Facebooks

Preorder at Season of Mist

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Video Surfaces of Saint Vitus with Scott Reagers — “Born too Late” Live in Austin

Posted in Bootleg Theater on June 3rd, 2015 by H.P. Taskmaster

saint vitus with scott reagers

I’m going to be honest: I can’t even pretend to know what’s going to happen with Saint Vitus at this point. The legendary doomers are currently two nights deep into a European tour that will carry them to and through Hellfest in Clisson, France, later this month, and following the arrest in Norway last fall of vocalist Scott “Wino” Weinrich (he of Wino Wednesday fame), they’re touring as the four-piece of guitarist Dave Chandler, vocalist Scott Reagers, bassist Mark Adams and drummer Henry Vasquez, which actually puts them as close to their original lineup as they can get after the 2010 passing of founding drummer Armando Acosta. Nonetheless, how permanent any of this is, with Reagers stepping in for Wino in the frontman role, what the band’s plans are and whether or not they’ll follow-up studio comeback, Lillie: F-65 (review here), which was released in 2012 on Season of Mist, I simply have no idea.

As a fan of the band, it’s exciting to have Reagers back singing for them much as it was exciting to have Wino singing for them when they first got back together in 2009. Their 1984 self-titled debut is a watershed moment in American doom — as pivotal, essential a release as anything the genre produced before or since — and to think of Reagers singing “Saint Vitus” and “White Magic/Black Magic” again makes it easy enough to get on board. Minus “The Psychopath,” that entire album was aired at Vitus‘ tour-kickoff on May 23 at Red 7 in Austin, Texas, as well as cuts from 1985’s sophomore outing, Hallow’s Victim and their 1995 post-Wino/post-Chritus Linderson/pre-Wino reunion with ReagersDie Healing. 1995, incidentally, was the last time the band performed with Reagers up front. Two decades ago. Here’s the setlist as reported to the interwebs:

Dark World
One Mind
Zombie Hunger
War is Our Destiny
White Magic/Black Magic
Trail of Pestilence
White Stallions
Burial at Sea
Look Behind You
Mystic Lady
Saint Vitus
Born too Late

Of those, only “Look Behind You” and “Born too Late” were originally vocalized in the studio by Wino, so Chandler and company have definitely shifted their focus, but as the clip below shows, Reagers is readily able to take on the anthem as well that has become so much a signature of Vitus and what they represent. If you’re one for bootlegs, there’s a killer version of Reagers singing “Born too Late” on Let the End Begin — one of the band’s several not-quite-official live albums — and here’s how he handles it nowadays:

Saint Vitus, “Born too Late” live in Austin, TX, May 23, 2015

SAINT VITUS European Tour 2015:
June 1 Livorno, IT @ The Cage
June 2 Bologna, IT @ Alchemia
June 3 Giavera del Montello, IT @ Benicio Live
June 4 Innsbruck, AT @ Weekender Club
June 5 Wien, AT @ Rock in Vienna
June 6 Zagreb, HR @ Vintage Industrial Bar
June 7 Beograd Stari Grad, RS @ Dom omladine Beograda
June 8 Budapest, HU @ A38
June 9 Prague, CZ @ Modra Vopice
June 10 Warsaw. PL @ Hydrozagadka
June 12 Talinn, EE @ Rockclub Tapper
June 13 Helsinki, FL @ Nosturi
June 14 Tampere, FL @ Klubi
June 16 Oslo, NO @ Blå
June 17 Götebor, SE @ Truckstop Alaska
June 18 København, DK @ Copenhell
June 19 Deventer, NL @ BWH
June 21 Clisson, FR @ Hellfest Open Air – The Valley

Saint Vitus on Thee Facebooks

Saint Vitus website

Season of Mist

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Weedeater, Goliathan: Battered and Fried

Posted in Reviews on June 2nd, 2015 by H.P. Taskmaster

weedeater-goliathan

For those who would be inclined to do so, there are really two ways to take on listening to Weedeater at this stage in their career. One can take a record like the 10-track/34-minute Goliathan, the fifth full-length of their 17-year tenure, first for Season of Mist and first with drummer Travis “T-Boogie” Owen, as a primer for the live experience. No doubt that’s where the hard-touring Wilmington, North Carolina, outfit has always made their primary impact both sonically and as a spectacle, guitarist Dave “Shep” Shepherd calmly oozing tone on one side of the and bassist/vocalist “Dixie” Dave Collins bugs out his eyes and lets loose both a wave of consuming low-end and a visceral rasp, stomping his foot, banging his head, pounding whiskey, and just maybe vomiting, all the while. One can listen to tracks like “Cain Enabler,” “Goliathan” and “Claw of the Sloth” and imagine the riots incited by the band, who’ve been on the road since long before anyone showed up to see them and have the presence to show for it, up to and including Owen‘s turned-sideways kit as part of the show. One can take Goliathan on that level and be stoked to see Weedeater the next time they roll through. I won’t argue against approaching the album that way. It works, it’s valid, and Steve Albini‘s production, as it did on 2011’s Jason… the Dragon (review here), rightly plays to the rawness of the band’s approach, obviously going for a “live” or at very least organic sound.

The other way to listen to Goliathan, however, is as the most forward-thinking album Weedeater have ever done. Yes, there’s a lot about it that remains intact from their past work. Collins still loves his puns, as “Battered and Fried,” “Cain Enabler” and the epilogue “Benaddiction” remind — the latter an answer to the introduction “Processional,” playing off the band’s Southern and/or Baptist roots — but there’s more going on than that and the expectation-meeting quota of swing (even with Owen in place of Keith Kirkum, this element remains) and vicious extremity of sludge. The opener and closer, for example. “Procession” leads the way into Goliathan with quiet keyboards and duly evangelical flourish of lap steel guitar, Collins adding a semi-spoken grunt of a verse to the mix, and while the progression itself, if it was transposed to full-blast guitar, bass and drums, would be right in Weedeater‘s familiar domain, the opener’s turn of arrangement sets up Goliathan‘s more adventurous approach. Jason… the Dragon had these turns as well, and much to its benefit, but Goliathan uses them more efficiently, and that goes for “Procession,” the spacey guitar minimalism of “Benaddiction,” “Battered and Fried”‘s swampy banjo twang. Even the penultimate “Reprise,” in revisiting the title-track’s steady roll, shows Weedeater with more of a clear head for songwriting and a full-album presentation than they’re often given credit for having, and add to that the speedy punkish weirdness of a song like “Bully,” of which the verses seem to be little more than taunts, and Goliathan becomes an even more nuanced experience.

weedeater (Photo by Scott Kinkade)

That’s not to say there isn’t plenty of bludgeoning as well, nor that said bludgeoning isn’t as righteous as any Weedeater have presented before. The vocals on “Cain Enabler” are near-painful to the ear for the permanent damage one imagines they might’ve caused Collins‘ vocal cords, and as the longest track at 5:25, “Claw of the Sloth” seethes and writhes with a brutality all the more prevalent for how readily the band seems to wield it, and whether it’s a more upbeat progression like that one, a mid-paced stomper like “Joseph (All Talk)” or the densely toned lurch of “Goliathan” itself, the central vibe of rural strangeness and otherworldly threat remain — monsters covered in mud, no help for miles. CollinsShepherd and Owen capture many of the aspects of Weedeater‘s sound that has made them the pivotal act within underground heavy they’ve become, but it also goes further than that and pushes not only beyond their earlier albums like their 2001 …And Justice for Y’All debut, 2002’s Sixteen Tons or their 2007 breakthrough, God Luck and Good Speed, but beyond what they accomplished on Jason… the Dragon as well. Perhaps most impressively of all, Goliathan reminds that when it comes to it, Weedeater are going to do whatever they want to do, as they did before their reputation came to precede them and as they no doubt would even if it didn’t. The record’s uncompromising nature just happens to find multiple modes of expression, and in that, the band deliver a work that, on whatever level one might want to take it on, proves worth the effort to do so.

Weedeater, “Cain Enabler”

Weedeater on Thee Facebooks

Season of Mist

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audiObelisk Transmission 047

Posted in Podcasts on April 22nd, 2015 by H.P. Taskmaster

Click Here to Download

 

Here is the Music Player. You need to installl flash player to show this cool thing!

If you listen to these podcasts on the regular, you might notice this one is a little different than other recent editions have been. I was all set to start it off at a raging clip as per usual and then that Bison Machine track stood out to me with that warm bassline and I just decided that was the way to go, start off languid with that and My Sleeping Karma and ease into the rawer and meaner stuff from there. There are a couple jarring moments here and there, but that’s kind of the idea too, and I think overall across the board it flows well across the two hours, the second of which builds across All Them Witches’ jams and Ichabod’s sludge rock right into the atmospheric doom extremity of Bell Witch. Three songs in about 55 minutes. Awesome.

You might also notice the tracklist below has time stamps. Listed is the start time for each song, so if you get lost along the way, that should hopefully provide some point of reference. In case there was any doubt I pay attention to the stuff people say in comments to these podcast posts.

As always, hope you enjoy:

First Hour:
0:00:00 Bison Machine, “Gamekeeper’s Thumb” from Hoarfrost
0:07:12 My Sleeping Karma, “Prithvi” from Moksha
0:13:39 Weedeater, “Claw of the South” from Goliathan
0:19:00 Sinister Haze, “Betrayed by Time” from Betrayed by Time EP
0:24:15 Sun and Sail Club, “Dresden Fireball Freakout Flight” from The Great White Dope
0:26:11 Lasers from Atlantis, “Protectress” from Lasers from Atlantis
0:33:29 Arenna, “Drums for Sitting Bull” from Given to Emptiness
0:39:40 Mirror Queen, “Scaffolds of the Sky” from Scaffolds of the Sky
0:45:47 Les Discrets, “La Nuit Muette” from Live at Roadburn
0:51:02 Cigale, “Harvest Begun” from Cigale
0:54:49 Black Mare, “A Low Crimes” from Black Mare/Lycia Split

Second Hour:
1:00:03 All Them Witches, “It Moved We Moved/Almost There/A Spider’s Gift” from A Sweet Release
1:24:09 Ichabod, “Squall” from Merrimack
1:33:39 Bell Witch, “Suffocation, a Burial I – Awoken (Breathing Teeth)” from Four Phantoms

Total running time: 1:55:50

 

Thank you for listening.

Download audiObelisk Transmission 047

 

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Sólstafir Add Dates to North American Tour

Posted in Whathaveyou on April 6th, 2015 by H.P. Taskmaster

solstafir (Photo by Bowen Staines)

A few more dates added to Icelandic genre-spanners Sólstafir‘s previously-announced North American tour with Ancient VVisdom. The Reykjavik four-piece, who also play two sets at Roadburn this week and who will appear at Wave Gotik Treffen and a host of other European fests over the course of the next several months, head out once more in support of 2014’s stunner full-length, Ótta (review here), which is a cause as worthy of support as any I can think of. And yeah, the place I live gets the shaft this time around, but it’s hardly the first time and hardly anything to hold against the band. So dig the tour dates off the PR wire and catch these dudes where and when you can.

The time is now:

solstafir ancient wisdom tour

SOLSTAFIR announce new North American tour dates

Enigmatic Icelandic rock band SOLSTAFIR have added new dates to their previously announced North American tour. The band are touring across the US and Canada, adding shows to Elko NV, Portland OR, and Mesa, AZ. A full list of confirmed tour dates can be found below.

SÓLSTAFIR are different. Their unique blend of metal with beautiful melodies, psychedelic moments and a strong undercurrent of classic / hard rock comes as varied and at times appealingly bizarre as the landscapes of their native Iceland. Their fifth full-length “Ótta” is the logical continuation of the musical course this four-piece adopted on the highly acclaimed forerunner “Svartir Sandar” (2011). Expect the unexpected, such as seduction by subtle strings or a hypnotic banjo. None of this was apparent when SÓLSTAFIR released their album debut “Í Blóði og Anda”, which translates as ‘In Blood and Spirit’ in 2002. Instead of today’s Icelandic gravel throated siren chants, frontman Aðalbjörn Tryggvason spit forth vitriolic crust-like vocals and the ripping guitars were clearly black metal inspired.

Yet the band was as clearly identifiable back then as now and along their way with the next albums “Masterpiece of Bitterness” (2005) and “Köld” (2009) introducing new elements in a continuous evolution. SÓLSTAFIR’s music is as much the product of Arctic blizzards as of red hot volcanic magma, erupting geysers, lush green pastures, and salty waves. With “Ótta” the Icelanders touch something ancient and timeless, while defying easy categorisation. This album needs to be heard again and again to peel back layers of details, each different and yet always revealing the same: great songs – all of them.

The song titles of “Ótta” form a concept based on an old Icelandic system of time keeping similar to the monastic hours called “Eykt” (“eight”). The 24 hour day was divided into 8 parts of 3 hours each. The album starts at midnight, the beginning of “Lágnætti” (“low night”), continues through each Eyktir of the day and ends with “Náttmál” (“nighttime”) from 21:00 to 0:00. This form of time keeping is more open than the relentless ticking of modern times, where each second is made to count, which turns humanity into cocks of the corporate clockwork. Now SÓLSTAFIR give you the antidote. Just lean back, close your eyes, take your time and lose yourself in this masterpiece called “Ótta”!

SOLSTAFIR North American tour dates:
04/22 Brooklyn, NY @ The Shop
04/23 Montreal, QC @ L’ail’ze
04/24 Ottawa, ON @ Mavericks
04/25 Toronto, ON @ Garrison
04/26 Rochester, NY @ Bug Jar
04/27 Pittsburgh, PA @ 31st St Pub
04/28 Columbus, OH @ Ace Of Cups
04/29 Grand Rapids, MI @ Pyramid Scheme
05/01 Minneapolis, MN @ Nether Bar
05/03 Chicago, IL @ Reggies
05/04 Kansas City, MO @ Riot Room
05/05 Denver, CO @ Lost Lake Lounge
05/06 Salt Lake City, UT @ Bar Deluxe
5/07 Elko, NV @ Club Silver Dollar
05/08 Spokane, WA @ The Pin
05/09 Vancouver, BC @ The Astoria
05/10 Seattle, WA @ El Corazon
05/11 Portland OR @ Star Theater
05/12 San Francisco, CA @ Oakland Opera
05/13 Los Angeles, CA @ Los Globos
05/14 Mesa, AZ @ Club Red
05/15 Albuquerque, NM @ Sister Bar
05/15 Fort Worth, TX @ Sons Of Hermann Hall
05/17 Austin, TX @ Red 7
05/18 New Orleans, LA @ One Eyed Jacks
05/19 Atlanta, GA @ The Earl
05/20 Richmond, VA @ Strange Matter

http://solstafir.bandcamp.com/album/tta
https://twitter.com/solstafir
http://www.facebook.com/solstafirice
http://season-of-mist.com

Sólstafir, “Lágnætti” official video

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Sólstafir Announce North American Tour in Support of Ótta

Posted in Whathaveyou on March 9th, 2015 by H.P. Taskmaster

solstafir

Great news that Iceland’s Sólstafir are returning to North America this Spring for a coast-to-coast tour. I mean, it’s not great news if you live in the often-shafted vicinity of Boston, which I do, but so it goes. I’d even have been stoked to have them come as far north as Providence, but alas, no dice. If you didn’t hear it, last year’s Ótta album (review here) was a gem, and probably worth traveling for, or, if you’re lucky enough, catching them at Roadburn. They’ll be joined on this run by Ancient Wisdom.

The PR wire something something blah blah blah god damn Massachusetts bites:

solstafir tour

SOLSTAFIR announce North American tour

Enigmatic Icelandic rock band SOLSTAFIR have announced a headlining North American tour. The month-long tour kicks on April 22, and a full list of confirmed tour dates can be found below. SOLSTAFIR are touring in support of their critically-acclaimed new album, ‘Otta’.

SOLSTAFIR are also streaming their recent KEXP radio in-studio session here. The session sees the band performing material from their new album ‘Otta’, and was recorded during their previous US tour. SOLSTAFIR recently appeared on Icelandic national television’s Studio A program, performing two songs off ‘Otta’. Footage of the band playing Dagmál (at the 12:23 mark) and Rismál (at 32:40) can be found at the official Icelandic National Television’s Studio A website.

SOLSTAFIR 2015 North American tour
4/22 BROOKLYN, NY @ THE SHOP
4/23 MONTREAL, QC @ L’AIL’ZE
4/24 OTTAWA, ON @ MAVERICKS
4/25 TORONTO, ON @ GARRISON
4/26 ROCHESTER. NY @ BUG JAR
4/27 PITTSBURGH, PA @ 31st ST PUB
4/28 COLUMBUS, OH @ ACE OF CUPS
4/29 GRAND RAPIDS, MI @ PYRAMID SCHEME
4/30 MILWAUKEE, WI @ TBD
5/1 MINNEAPOLIS, MN @ NETHER BAR
5/3 CHICAGO, IL @ REGGIES
5/4/ KANSAS CITY, MO @ RIOT ROOM
5/5 DENVER, CO @ LARIMER
5/6 SALT LAKE CITY, UT @ BAR DELUXE
5/8 SPOKANE, WA @ THE PIN
5/9 VANCOUVER BC @ RICKSHAW
5/10 SEATTLE, WA @ EL CORAZON
5/12 SAN FRANCISCO, CA @ OAKLAND OPERA
5/13 LOS ANGELES, CA @ LOS GLOBOS
5/14 SCOTTSDALE, AZ @ PUB ROCK LIVE
5/15 ALBUQUERQUE, NM @ SISTER
5/16 FORT WORTH, TX @ SONS OF HERMANN
5/17 AUSTIN, TX @ RED 7
5/18 NEW ORLEANS, LA @ ONE EYED JACKS
5/20 RICHMOND, VA @ STRANGE MATTER

https://www.facebook.com/solstafirice
http://solstafir.bandcamp.com/album/tta
https://twitter.com/solstafir
https://www.facebook.com/seasonofmistofficial

Sólstafir, Live on KEXP

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Scott Reagers to Rejoin Saint Vitus on Summer 2015 European Tour

Posted in Whathaveyou on February 23rd, 2015 by H.P. Taskmaster

saint vitus

Some pretty surprising word from Season of Mist concerning an upcoming summer European tour for Saint Vitus brings the news that the hugely influential doom outfit will be joined by original vocalist Scott Reagers on the run, including their stop at Hellfest in France this June. I haven’t seen other dates for the tour, will post when I do, but the news of Reagers joining his fellow original members Dave Chandler (guitar) and Mark Adams (bass), as well as drummer Henry Vasquez, is striking in itself. His last recording with the band was 1995’s Die Healing, and even that was a reunion, Reagers having left the band after the release of their 1985 sophomore outing, Hallow’s Victim.

Of course, Reagers‘ taking part in the tour — and it is, at least as of now, just listed as being for this one tour — comes after the arrest of current Vitus frontman Scott “Wino” Weinrich in Norway near the end of their fall 2014 35th anniversary tour, co-headlining with Orange Goblin. What Weinrich‘s legal status might be in Europe and whether or not he’s banned from performing there, I don’t know, but it would explain why Reagers is being brought in for the tour after about 20 years absent from the band.

More as I hear it, but for now, here’s the announcement from Season of Mist with some comment from Vitus themselves:

saint vitus with reagers

Saint Vitus have announced that vocalist Scott Reagers will be joining them on their 2015 summer dates in Europe. The band comments: “We will play a special set for the fans; one comprised mostly of Reagers’ pre and post era as SAINT VITUS’ singer. We hope that the Vitus family, fans and friends, are eager to revisit the Reagers sound for this brief tour and we especially thank you for your continued support!” The doom legend has already been confirmed for Hellfest Open Air Festival and more dates will follow in due time.

https://www.facebook.com/saintvitusofficial
https://www.facebook.com/seasonofmistofficial/

Saint Vitus, Saint Vitus (1984)

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Soundcrawler Premiere “The Plastic Truth” from The Dead-End Host

Posted in audiObelisk on February 9th, 2015 by H.P. Taskmaster

Soundcrawler_web2

French heavy rockers Soundcrawler will release their debut full-length, The Dead-End Host, on Feb. 20. Out through Klonosphere Records, it is an album underscored by a current of brooding progressive metal, not necessarily aggressive — unless one counts the ending of the penultimate “Infinite Genocide” — but tense and purposeful in its arrangements, both instrumental and vocal, and cohesive despite markedly varied influences. The Périgueux-based five-piece of vocalist Rémy Pocquet, guitarists Paul Parsat and Clément Reviriego, bassist Firouze Pirolley and drummer Robin Cauchois seem just as likely to draw on Soundgarden as Kyuss in setting a ’90s vibe, but there’s an awareness of modern heavy as well, as the Mars Red Sky-style wah of “A God to Feed” and generally fuzzy overtones of cuts like the opener “Raiders” and the plus-sized riffing of “Souls from the Trash” demonstrate.

What stands The Dead-End Host out is its primarily moody spirit and the atmospherics through which Soundcrawler attain it. The fivesome may be a relatively recent advent in terms of putting out records — this debut was preceded by a 2012 EP called The Sandcrawler that came together before the lineup was finalized — and their sound is soundcrawler the dead-end hostthoroughly modern, but there’s something “old soul” about The Dead-End Host as well. It’s not upbeat songs about drinking and monsters, but it’s got moments where it could be. I’ll point to Pirolley‘s bass as a key factor in setting the ambience of “The Plastic Truth,” which I have the pleasure of hosting today for streaming. Starting the track with Cauchois‘ drums in what almost sounds like a noise rock rollout, it is a dense slab of tone, and even after the guitars and vocals join in, it remains a defining presence, its push of air never really abating throughout “The Plastic Truth”‘s five-minute course.

That course is complex, but ultimately accessible, and with its persistent melody, ebbs and flows, nod, break in the midsection and rebuild to a double-kick apex, it serves well to give an impression of what The Dead-End Host has to say and from where Soundcrawler are coming stylistically. I won’t say it’s a complete summary, but you’ll likely get the idea, and as a sample, it functions with efficiency coinciding to that of the band’s songwriting.

Some bio background follows “The Plastic Truth,” which you’ll find on the player below. Please enjoy:

Soundcrawler initially formed in 2011 as a two-piece project by vocalist Rémi Pocquet and guitarist Clément Revieriego. Influenced by the likes of Kyuss, Mastodon and Karma To Burn, the duo soon started working on their first studio effort, “The Sandcrawler” EP, which was released one year later, in July 2012.

In 2013, Soundcrawler expanded into a quintet with the addition of Robin Cauchois on drums, Firouze Pirolley on bass and Paul Parsat on guitar and were able to test their riff-centric heavy-rock before a live audience for the first time.

2015 will finally see the release of their first full-length album “The Dead-End Host”, a powerful collection of nine new songs filled with infectious riffs, groovy rhythms and dark, bluesy melodies that will surely impress fans of Queens Of The Stone Age, Soundgarden, Alice In Chains and Truckfighters.

Soundcrawler on Thee Facebooks

Soundcrawler on Bandcamp

Soundcrawler’s website

Klonosphere Records

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