Posted in Whathaveyou on July 23rd, 2014 by H.P. Taskmaster
Following a deluxe-style 10″ release through Caffe Vita Records, Seattle bombast rockers He Whose Ox is Gored have issued their 2014 Nightshade two-song EP on tape via Breathe Plastic Records. There are, as they put it, 20 copies available in the US out of a total 100 pressed, so if you want one, it’s probably a good idea to place the order soon.
With however many they’ve got left by the time Aug. 5 rolls around, He Whose Ox is Gored will hit the road to support both the vinyl and the tape, playing with an assortment of badasses along the way, including Black Mare, who also had a tape out on Breathe Plastic last year.
The PR wire offers background and dates:
HE WHOSE OX IS GORED: Northwestern Doomgazers Plot West Coast Tour
Tuned down and turnt up, He Whose Ox is Gored has been blasting through the underground of Seattle since 2009. Combining technical guitar work and atmospheric synth over a pummeling rhythm section and doomed aggression, they create a uniquely cinematic soundscape that paints a world ready to thrash and burn. Bleeding Light Records will release the band’s upcoming Rumours EP digitally and on 7″ vinyl in a few months’ time. With an upcoming full-length brewing and a busy tour schedule this year, the OX’s dynamic doom is poised to take over. The Seattle quartet is comprised of Brian McClelland on guitar & vocals, Lisa Mungo on synths & vocals, Mike Sparks on bass & vocals, and drummer John O’Connell.
He Whose Ox is Gored is preparing to embark upon a series of West Coast live actions that will begin on August 5th in Portland and wrap up in Spokane. They’ll be sharing stages with the formidable likes of Chasma, Black Mare, Glaciers, and more, and will unveil new material from their myriad upcoming releases.
HE WHOSE OX IS GORED WEST COAST TOUR 8/5 Portland, OR @ East End w/ Muscle & Marrow and Chasma 8/6 San Francisco, CA @ SUBMission w/ Glaciers and Roland 8/7 Oakland, CA @ Eli’s w/ Hellbeard, Glaciers, and Druid 8/8 Los Angeles, CA @ Complex w/ Lightsystem, Glaare, and Black Mare 8/9 San Diego, CA @ Tower Bar w/ Deep Sea Thunder Beast and Bhorelord 8/10 Tuscon, AZ @ The District w/ Ocean Void 8/12 Albuquerque, NM @ Sister Bar w/ Bath House and Icelous 8/13 Denver, CO @ Bar Bar w/ Abrams 8/14 Salt Lake City, UT @ The Shred Shed w/ Stoic 8/15 Boise, ID @ The Shredder w/ Obstructed by the Sun and Swamp Shrine 8/16 Missoula, MT @ TBA 8/17 Spokane, WA @ Mootsie’s w/ Losing Skin and Rot Monger
Posted in Whathaveyou on July 15th, 2014 by H.P. Taskmaster
Ever ones for hand-delivering their groundbreaking drone, Earth have announced that they’ll follow their extensive upcoming European tour in support of their 10th album, Primitive and Deadly, with a corresponding jaunt across the US beginning Sept. 4, just two days after the record is set to release on Southern Lord. I’ll be interested to see who winds up on tour with the band, considering some of the varied personnel said to show up in the material, but if they come even moderately close to capturing the sound of “From the Zodiacal Light,” which you can hear below, it’ll be a win. Actually, it’ll probably be a win anyway. It’s fucking Earth. Some bands you just have to trust know what they’re doing.
The PR wire has dates for your calendar-marking enjoyment:
EARTH Confirms US Tour Dates In Conjunction With Release Of Primitive And Deadly LP
With the next phase of EARTH’s ongoing evolution coming closer to actuality, as their tenth studio LP, Primitive And Deadly, is set to see North American release on September 2nd, the group announces the next phase of international touring in support of the album, in the form of a month-long US tour.
With the band’s treks through Japan, Australia and New Zealand behind them, and their trek into Europe set to begin late this month, EARTH will bring their new material to American fans. From September 4th, commencing in their hometown of Seattle, the new venture will see the band winding counter-clockwise around the entire perimeter of the country through October 3rd, the last show taking place in Boise, Idaho. With twenty-five performances confirmed, additional shows are expected to be added in the coming days. Direct support for EARTH on the entire trek will be provided by dark folk act, King Dude.
With Primitive And Deadly, for the first time in their diverse career, EARTH’s founding guitarist Dylan Carlson and long term cohort, drummer Adrienne Davies allow themselves to be a full-on rock band. Here the dialog between Carlson and Davies drumming remains pivotal, underpinned by the sympathetic bass of Bill Herzog (Sunn O))), Joel RL Phelps, Jesse Sykes and the Sweet Hereafter) and thickened by additional layers of guitar from Brett Netson (Built To Spill, Caustic Resin) and Jodie Cox (Narrows). Primitive And Deadly also brings forth the band’s first vocal contributions since 1996′s Pentastar LP, and first in the band’s second incarnation, with guest vocalists Mark Lanegan and Rabia Shaheen Qazi (Rose Windows), who transform these thundering, organic songs into something approaching traditional pop structures. The foundation of the record was laid in the mystic desert high lands of Joshua Tree, California at Rancho de la Luna where EARTH recorded after hours of meditation on each track’s central theme. Upon returning to Seattle these were edited, arranged and expanded upon at Avast with the help of long-term collaborator Randall Dunn (Sunn O))), Wolves In The Throne Room, Eagle Twin). Thick, dense and overdriven, melodically rich and enveloping, Primitive And Deadly is EARTH reaffirming their position as a singular point in the history of rock.
Preorders for Primitive And Deadly will be available in the next few days. Stand by for further live and album news transmissions from the EARTH family.
EARTH Tour Dates: European Tour: 7/31/2014 Off Festival – Katowicw, Poland 8/01/2014 UT Connewitz – Leipzig, Germany 8/02/2014 Lido – Berlin, Germany 8/04/2014 Super Uho Festival – Sibenik, Croatia 8/05/2014 Arena – Vienna, Austria 8/07/2014 Schlacthof – Wiesbaden, Germany 8/08/2014 Bogen F – Zurich, Switzerland 8/09/2014 Point Ephemere – Paris, France 8/10/2014 Zuiderpershuis – Antwerp, Belgium 8/11/2014 Tivoli – Utrecht, Netherlands 8/13/2014 Whelans – Dublin, Ireland 8/14/2014 CCA – Glasgow, UK 8/15/2014 Gorilla – Manchester, UK 8/16/2014 Jabberwocky Festival – London, UK
US Tour w/ King Dude: 9/04/2014 Crocodile – Seattle, WA 9/06/2014 Shakedown – Bellingham, WA 9/07/2014 Doug Fir – Portland, OR 9/08/2014 Midtown Barfly – Sacramento, CA 9/09/2014 Catalyst Atrium – Santa Cruz, CA 9/10/2014 Bottom Of The Hill – San Fransisco, CA 9/11/2014 Hollywood Forever Cemetary – Los Angeles, CA 9/12/2014 SD Music Thing Fest – San Diego, CA 9/13/2014 Yucca Tap Room – Tempe, AZ 9/14/2014 Sister – Albequerque, NM 9/16/2014 Red 7 – Austin, TX 9/17/2014 Club Dada – Dallas, TX 9/18/2014 One Eyed Jacks – New Orleans, LA 9/19/2014 Drunken Unicorn – Atlanta, GA 9/20/2014 Kings Barcade – Raleigh, NC 9/21/2014 Rock N Roll Hotel – Washington, DC 9/23/2014 Great Scott – Allston, MA 9/24/2014 Saint Vitus – Brooklyn, NY 9/26/2014 Boot And Saddle – Philadelphia, PA 9/27/2014 Midpoint Music Fest – Cincinnati, OH 9/28/2014 Pygmalion, Music Fest – Urbana, IL 9/29/2014 Empty Bottle – Chicago, IL 9/30/2014 Record Bar – Kansas City, MO 10/01/2014 Larimer Lounge – Denver, CO 10/03/2014 Neurolux – Boise, ID
Posted in Whathaveyou on June 24th, 2014 by H.P. Taskmaster
I think we’re still a ways off from getting a release date for the long-awaited debut from Brothers of the Sonic Cloth, but that the mix has been finalized and the album has entered the mastering stage is news of progress, and I’ll take what I can get. The Tad Doyle-fronted outfit released their demo (review here) and a split with Mico de Noche (review here) in 2009, which just to save you the math, was five years ago.
So yeah, this one’s been a while in the making, though Brothers of the Sonic Cloth (who are also my most comfortable t-shirt) have been playing shows most of that time and Doyle has also recorded other bands at his Studio Witch Ape, including the Lumbar project, in which he also took part with Aaron Edge and YOB‘s Mike Scheidt. Better delayed than never, and I have the feeling once the record — which was recorded by Billy Anderson – arrives, I won’t give a shit how long it’s been since the demo came out.
Still, the sooner the better. Their update:
Recording update: We have the final mixes for the record and we are extremely satisfied with the Billy Anderson mix treatments that we did at Everything Hz. Nine songs have been mixed.
Billy has been a excellent to work with and has added dimensions and sonic depths that only he could have brought to these songs. When a band talks about having a fourth member, (a mix engineer/recording engineer/soundman) that have contributed to the music in such a way that it brings out things in the mix and out of the songs that is greater than the sum of it’s parts, we know what that means.
We will be working with Billy in the future for our next recording. In the meantime, we can’t wait to find a home for these songs with a record label that understands us and is willing to back us to get this music to the people. Next up is analog mastering with Justin Weis at Trakworx!
Posted in Reviews on June 19th, 2014 by H.P. Taskmaster
It should stand to reason that any Dylan Carlson solo outing released under the banner of Drcarlsionalbion (also stylized in all-caps or all-lowercase) should have a certain amount of continuity with Earth, since as much as that band has become a rotating-member collaboration, Carlson‘s guitar remains the driving force of it. He’s done a few solo releases at this point, a Latitudes session in 2012 brought particularly resonant results (review here), but the latest, Gold, has the distinction of being Carlson‘s first soundtrack work. That in itself is a little surprising. One wonders if it’s something he’s particularly avoided doing over the years or just never got around to with Earth. As focused on atmosphere as Earth has been since returning from a multi-year hiatus with 2005′s Hex: Or Printing in the Infernal Method– a landmark the influence of which continues to be felt nearly a decade later — to tap them for soundtrack work seems like a natural fit. Even working on his own, that proves to be the case with Carlson and Gold. The 24-piece offering serves as the score to a German western of the same name set and filmed in Canada, and Carlson sounds well in his element on these tracks, which vary from noodly snippets like the 18-second “Gold VIII” to full-song breadth like the closing “Gold XXIV,” which has enough of an end-credit feel at just under five minutes (it’s also the longest inclusion) to evoke a sense of finality even without the silence that follows. Through it all, Carlson‘s tone is very much his own, and clearly intent on portraying open spaces and an undercurrent of foreboding that never comes to outright terror, but lingers vague in the distance.
Watching the film and hearing Carlson‘s guitar complement footage of horses walking slowly through desolate woods, one can’t help but think of Jim Jarmusch‘s 1995 western, Dead Man, and Neil Young‘s guitar score for that, which had a similar echoing feel in places and which was a noted point of inspiration for Carlson with Earth‘s Hexalbum. Part of the appeal of Carlson‘s work over the years has been interpreting the feelings and emotions contained in what are usually very minimalist atmospheres, figuring out where the music wants to take you and then going to that place, and on that level, Goldtaps into some of the similar big sky, wide-angle Americana that Hexdid, though the spirit of this release is different because very often it jumps from one piece to the next before an ambience is fully set. That keeps Goldfrom really being able to be evaluated as a full-length album, but if you catch it in the right headspace, the vibe is open enough and consuming enough that you can get lost in Goldwithout really even realizing, the 44-minute span not a slog to wade through, but a well-honed dronescape comprised of individual glimpses. It is minimal – Carlson and his guitar. As Earth have expanded their sound in multiple directions over the last nine-plus (really almost 25) years around Carlson and drummer Adrienne Davies who joined in 2001, Drcarlsonalbion seems to be the place the guitarist retreats to in order to be alone with the frequencies he crafts. There are some other noises far back in the mix on “Gold V” and elsewhere, an obscure sense of someone hitting something with something else, an actual tom hit on “Gold XI,” but Goldhas a lonesome sound and that’s clearly the intent from the beginning.
Posted in Whathaveyou on May 29th, 2014 by H.P. Taskmaster
So you’ve got an Earth record with Mark Lanegan singing on it? Well fucking a. Yes, please. Sign me up.
Details of Earth‘s forthcoming long-player, Primitive and Deadly, come via the PR wire below. Southern Lord will have it out in September, and it seems like yet another fascinating turn in Earth‘s ongoing progression is in store.
More to come I’m sure:
EARTH Reveals Details Of Their Tenth Studio Recording, Primitive And Deadly
International Tour Dates Begin Next Week
EARTH’s career, like its music, has always been a slow, deliberate progression. Each record slightly removed from the last, a constant refinement of a singular vision. Dylan Carlson has remained focused throughout on coaxing moments of strange beauty and reflection from “the riff”. This elemental foundation of rock is refracted, in their earliest recordings, through the prism of sheer volume and feedbacking drone or, in the twin Angels Of Darkness, Demons Of Light set from 2011 and 2012, via a sparse unraveling take on folk.
With Primitive And Deadly, EARTH’s tenth studio collection, Carlson and long term cohort, drummer Adrienne Davies, manage to pull off the trick of completing an Ouroborean creative cycle, twenty-five years in the making, whilst exploring new directions in their music. For the first time in their diverse second act, they allow themselves to be a rock band, freed of adornment and embellishment. As much as Carlson’s guitar has always been the focal point of EARTH’s music, it’s been surrounded by consistently diverse instrumentation. Here the dialog between Carlson and Davies drumming remains pivotal, underpinned by the sympathetic bass of Bill Herzog (Sunn O))), Joel RL Phelps, Jesse Sykes and the Sweet Hereafter) and thickened by additional layers of guitar from Brett Netson (Built To Spill, Caustic Resin) and Jodie Cox (Narrows). Perhaps the largest left turn on Primitive And Deadly, though, is prominence of guest vocalists Mark Lanegan and Rabia Shaheen Qazi (Rose Windows) who transform the traditionally free ranging meditations of EARTH into something approaching traditional pop structures.
On “Rooks Across the Gates,” a song stylistically the closest to the folk inspired modality of Angels Of Darkness, Carlson stretches out into some of his most lyrical playing to date, creating an almost symbiotic relationship between his performance and the vocals of old friend Mark Lanegan. “From the Zodiacal Light,” meanwhile, takes the late 60s San Franciscan/freaked-out jazz-rock transcendence of The Bees Made Honey In The Lion’s Skull and quickly re-appropriates that sound into a musky torch song for the witching hour.
This contradictive tension between a band pushing itself ever-forward whilst surveying their history is reflected in the albums twin recording locales. The foundation of the record was laid in the mystic desert high lands of Joshua Tree, California where EARTH recorded hour after hour of meditations on each tracks central theme at Rancho de la Luna. Upon returning to Seattle these were edited, arranged and expanded upon at Avast with the help of long-term collaborator Randall Dunn (who was previously at the helm for the Hex, The Bees Made Honey In The Lions Skull and Hibernaculum sessions).
Thick, dense and overdriven, melodically rich and enveloping, Primitive And Deadly is EARTH reaffirming their position as a singular point in the history of rock. The album will see worldwide release this September, with a final street date to be announced shortly.
Prior to the album’s release, Southern Lord shall be reissuing Hex; Or Printing In The Infernal Method and The Bees Made Honey In The Lion’s Skull on LP on June 24th in North America.
EARTH shall embark on a run of international tours beginning next week, including June and July dates across Japan, New Zealand, Australia and Europe, followed by another European tour in support of Primitive And Deadly, with much more in store.
EARTH Tour Dates: 6/04/2014 Conpass – Osaka, Japan 6/05/2014 Earthdom – Tokyo, Japan 6/06/2014 Fever – Tokyo, Japan 6/12/2014 Chicks Hotel – Dunedin, New Zealand 6/13/2014 Bodega – Wellington, New Zealand 6/14/2014 Kings Arms – Auckland, New Zealand 6/17/2014 Crowbar – Brisbane, Australia 6/18/2014 Rosemount Hotel – Perth, Australia 6/19/2014 Manning Bar – Sydney, Australia 6/20/2014 Dark Mofo Festival – Hobart, Australia 6/21/2014 Hi-Fi – Melbourne, Australia 7/31/2014 Off Festival – Katowicw, Poland 8/01/2014 UT Connewitz – Leipzig, Germany 8/02/2014 Lido – Berlin, Germany 8/04/2014 Super Uho Festival – Sibenik, Hungary 8/05/2014 Arena – Vienna, Austria 8/07/2014 Schlacthof – Wiesbaden, Germany 8/08/2014 Bogen F – Zurich, Switzerland 8/09/2014 Point Ephemere – Paris, France 8/10/2014 Zuiderpershuis – Antwerp, Belgium 8/11/2014 Tivoli – Utrecht, Netherlands 8/13/2014 Whelans – Dublin, Ireland 8/14/2014 CCA – Glasgow, UK 8/15/2014 Gorilla – Manchester, UK 8/16/2014 Jabberwocky Festival – London, UK
SELECTED EARTH DISCOGRAPHY: Extra Capsular Extraction (Sub Pop) 1991* Earth 2: Special Low Frequency Version (Sub Pop) 1993 Phase 3: Thrones and Dominions (Sub Pop) 1995 Pentastar: In the Style of Demons (Sub Pop) 1996 Hex; Or Printing in the Infernal Method (Southern Lord) 2005 Hibernaculum (Southern Lord) 2007 Bees Made Honey in the Lions Skull (Southern Lord) 2008 Angels of Darkness, Demons of Light I (Southern Lord) 2011 Angels of Darkness, Demons of Light II (Southern Lord) 2012 Primitive and Deadly (Southern Lord) 2014 *re-issued as A Bureaucratic Desire for Extra Capsular Extraction (Southern Lord) 2010
Posted in On Wax on May 16th, 2014 by H.P. Taskmaster
If stoner rock was as uptight about authenticity as black metal, Ancient Warlocks might prove standard bearers for the “truest” form of the genre. The double-guitar Seattle foursome’s self-titled debut sold out its original pressing on Lay Bare Recordings, and my beloved Garden State’s own STB Records has stepped in to release another 300 copies. Of those, 75 are the “Die Hard Edition” with clear vinyl, gold inside and a “bone chip” splatter, another 100 come with the same kind of vinyl an an Obi strip with the Adam Burke warlock artwork that also appears vertically in the gatefold — fucking gorgeous — and the remaining 125 are the “Standard” edition has bone-colored vinyl with gold and black splatter. All come with a download. It’s a thing of beauty any way you want to go, and if you didn’t get the chance to check out Ancient Warlocks‘ Ancient Warlockswhen it initially arrived, what makes for the first official US release is a perfect way to get caught up, the front and back cover art and the platter itself reversed in black and white from the European version.
The distinction is no less than the album deserves. Guitarists Darren Chase and Aaron Krause (the latter also vocals) don’t let you get one riff into opener “Into the Night” without laying out a fat, rolling, fuzzed-out groove, and that sets the course for the bulk of Ancient Warlocks‘ concise, well-constructed 34 minute runtime. Its eight songs divide evenly into side A and side B and sound like they were made to do so. “Into the Night” and the side B leadoff “Super Wizard” also served as the A and B sides for Ancient Warlocks‘ debut single (review here), so they’re leading with their most established jams and then expanding from there. Likewise, both “Lion Storm” on the first half and “White Dwarf” on the second make imperatives out of riffy nod, the latter pushed ahead at the album’s speediest clip by drummer Steve Jones, who also produced, and maintaining its thickness via Anthony “Oni” Timm‘s bass. Here and there they fluctuate in tempo or approach — third cut “Sweet’s too Slow” is almost singularly indebted to the 1998 Queens of the Stone Age self-titled debut — but the core of what Ancient Warlocks do is in unabashed construction of stoner rock. Its thick feel, weighted vibe and lyrics to songs like “Super Wizard” and the closer “Sorcerer’s Magician” hit every mark one might ask in an interpretation of the genre’s tenets.
Where Ancient Warlocks find their greatest success is in distinguishing themselves within that sphere. Their sound on their first full-length is the equivalent of showing up at Fort Knox, finding all the guards have gotten bored of the idea of gold and taking it all for themselves. In an age of specialization and per-band-subgenre intricacy, Ancient Warlocks do right by their material in keeping it simple, allowing the personality in Krause‘s vocals to flow through naturally without forcing something individualized to the sacrifice of memorable songs. “Cactus Wine” slows down classic Fu Manchu starts and stops in the verse and bridges a gap in its sway between that band and self-titled-era Clutch‘s storytelling, and by the time side A is done,Ancient Warlocks have well established themselves as expert practitioners of what, in an age of boozy, caricature masculinity, indie hype, pseudo-cult worship, etc., has become a lost art. Full fuzz alchemy. Yes, it absolutely has its moments of silliness — of course the “Super Wizard” is from outer space, duh — but the four-pieceown those moments so completely and with such an utter lack of irony and pretense that the self-titled is all the more of a good time for their being there. Why wouldn’t “Killer’s Moon” boogie so hard? How could it not?
I had the fortune of seeing Ancient Warlocks in their hometown earlier this year (review here) and found them to be no less engaging on stage than on the record. No doubt they’ll grow and progress as a band with whatever they might take on next in following-up this album, but like the first Sasquatch record, or the first The Atomic Bitchwax, Ancient Warlocks‘ Ancient Warlocks hits all the right spots in just the right way to let you know these guys know what they’re doing and where they want to be sonically. With the added appeal of the STB version’s physical presentation — so far as I know there isn’t a CD version pressed to date — it’s a heavy rock record made to be enjoyed by those who share the band’s obvious love for riffs, heavy grooves, and fuzz you could get lost in for days. If you’d count yourself among that number, it’s one you won’t want to miss, and given how quickly the European pressing went without the band even setting foot on that continent, I wouldn’t expect these to last long either.
Posted in On Wax on May 2nd, 2014 by H.P. Taskmaster
Though it comes with a download ticket to be redeemed at Knick Knack Records‘ webstore, Mystery Ship guitarist Michael Wohl‘s new single, Moonfeeder b/w Song of Impermanence, makes yet another compelling argument in the long settled debate of physical versus non-physical media. Once you’ve soaked in the early-20th-Century-looking fonts on the front and back covers, the prevailing impression the 7″ 45RPM two-songer makes is not of being a relic, but of being homemade. On the cover, you can feel the raised places where the ink of Adam Burke‘s art was screenprinted on, and while the recording itself is somewhat cleaner and less bedroom-folk than Wohl‘s Eight Pieces for Solo Guitar digital and tape release — having been recorded by Wohl and Gordon Raphael (Regina Spektor, The Strokes, Sky Cries Mary, etc.) — with a genuine sense of the room in which it was made or at very least the fancy-seeming microphone that picked up the resonance of Wohl‘s guitar, it also credits Jeff Powell of Memphis’ Ardent Studios for cutting the vinyl plate, so a human element is never far off.
Of course, with an approach so intimate, that most likely wouldn’t have been a concern anyway. Wohl sings in Mystery Ship as well, and listening to the original “Moonfeeder,” I can’t help but wonder when he might try his hand at troubadour-ing with his solo work as well, but thus far he’s resisted the temptation. Still, where Eight Pieceswas a collection of experiments, these are well-conceived and plucked folk songs, the B-side derived on the fly with stated inspiration from Charley Patton, Blind Lemon Jefferson and Doc Watson. As he did last time out and as I hope he continues to do going forward, Wohl includes his own liner notes with the single, a brief notation on key — “Moonfeeder” is in D minor, “Song of Impermanence” in open D — and a little bit about each song. “Moonfeeder” is the shorter and more melancholic of the two, but even so, it retains some movement and an underlying sweetness of melody and rhythm, though while it starts out minimal and somewhat ominous, the bulk of the bounce arrives somewhere around the middle of “Song of Impermanence,” which begs for a soft blues delivery, sans feigned twang but given to storytelling.
Moonfeeder b/w Song of Impermanence is a quick, picturesque release that does little to convey the stereotyped grit or rain-soaked depressiveness of Wohl‘s Seattle base of operation, but maybe escapism is part of the appeal in creating a work like this. If I have one regret as regards the single, it’s that there isn’t more to get lost in.
Michael Wohl, Moonfeeder b/w Song of Impermanence (2014)
Posted in Whathaveyou on April 2nd, 2014 by H.P. Taskmaster
True to form of his main outfit, the Melvins, guitarist/vocalist Buzz Osborne has announced that he’ll be supporting his forthcoming solo debut, This Machine Kills Artists — out June 3 on Ipecac — with an extensive, 38-show coast-to-coast, north-south-and-in-between tour. It’s an intimidating list of gigs, and it starts out May 17 at the Scion Rock Fest before launching in full on June 10. If he’s not a singer-songwriter yet, chances are he will be by the time this run is finished.
I defer to the PR wire:
THE MELVINS’ BUZZ OSBORNE ANNOUNCES EXTENSIVE THIS MACHINE KILLS ARTISTS SUMMER TOUR
THIS MACHINE KILLS ARTISTS SET FOR JUNE 3 RELEASE
Melvins’ front man Buzz Osborne has confirmed a seven-week U.S. tour, which kicks off June 10 at The Casbah in San Diego.
Osborne previously announced the release of his first solo, acoustic release, This Machine Kills Artists, which is set for a June 3 release via Ipecac Recordings. Rolling Stone recently premiered the song “Dark Brown Teeth”, describing the track as “doomy, ill-angled” and with the “Beefheartian edge his band is renown for.”
Osborne will document the solo outing through an ongoing travelogue on Noisey.com.
May 17 Pomona, CA Scion Rock Fest
June 10 San Diego, CA The Casbah June 11 Echo Park, CA The Echo June 12 Santa Ana, CA The Observatory June 13 Fresno, CA Strummer’s June 14 Sacramento, CA Assembly June 15 San Francisco, CA Great American Music Hall June 17 Eugene, OR Wow Hall June 18 Portland, OR Hawthorne Theatre June 20 Seattle, WA Neumo’s June 21 Bellingham, WA The Shakedown June 22 Spokane, WA The Hop June 23 Missoula, MT The Palace June 24 Billings, MT The Railyard June 26 Fargo, ND The Aquarium June 27 Minneapolis, MN Grumpy’s June 28 Milwaukee, WI Shank Hall June 30 Grand Rapids, MI The Pyramid Scheme
July 1 Columbus, OH A&R Music Bar July 2 Detroit, MI Small’s July 3 Cleveland, OH The Grog Shop July 6 South Burlington, VT Higher Ground July 7 Portland, ME Portland City Music Hall July 10 Allston, MA Brighton Music Hall July 12 Hamden, CT The Ballroom at The Outerspace July 13 New York, NY Santos Party House July 14 Brooklyn, NY The Wick July 15 Philadelphia, PA Underground Arts July 17 Baltimore, MD Ottobar July 18 Charlottesville, VA The Southern July 20 Carrboro, NC Cat’s Cradle July 22 Atlanta, GA The Basement July 23 Birmingham, AL The Bottle Tree July 25 New Orleans, LA One Eyed Jack’s July 26 Houston, TX Warehouse Live July 27 Austin, TX Red 7 July 28 Sam Antonio, TX Limelight July 30 Tucson, AZ Club Congress July 31 Pioneertown, CA Pappy and Harriet’s
Posted in On Wax on March 19th, 2014 by H.P. Taskmaster
If you’ve got a mind to dig it, Mystery Ship don’t skimp on the vibe. Their straightforwardly-titled EP II(review here) was an attention-getter last year, and though it comes accompanied by Adam Burke artwork of a much different style (that sleeve is white, despite any shadow in the picture), the new, subsequent Knick Knack Records 7″ single, Bridgeburner b/w Chinatown, follows suit in continuing the development of Mystery Ship‘s retro grooving. There’s an awful lot of heavy ’70s loyalist rock and roll out there, but an awful lot less of it comes from the States, and on “Bridgeburner” and “Chinatown” — both of which are denoted on back of the record sleeve as being the A side — the Seattle four-piece make a solid argument for American contribution to the form of classic heavy rock.
Unpretentious and unaggressive, but still weighted in tone and forceful in their push, their take isn’t wholly unlike that of like-minded East Coasters The Golden Grass, though Mystery Ship have an inherently bluesier style and get down with some post-Graveyard shuffle, particularly here on “Bridgeburner,” which sets out on a warm bassline from Alex Hagenah (also vocals) that sets an organic tone for the entrance of guitarist Josh Kupferschmid, lead guitarist/vocalist Michael Wohl and drummer Travis Curry, none of whom disrupt it. Like both songs are listed as the A side, both also start with some in-studio mention of whether or not the tape is rolling, so that live feel is no accident as “Bridgeburner” moves from its strong hook into a Wohl led break that’s somewhat airy despite the tension held in Curry‘s toms. A boogie good for the soul, and not the last they have to offer.
Hagenah and Wohl trade who takes the lead vocal on “Bridgeburner” and the more swing-heavy blues of “Chinatown,” but neither song is wholly one or the other up front, and that works to the benefit of both and the distinction of one from its flipside. “Chinatown” only feels like it’s missing snaps to be complete in an alternate-universe lounge kind of way, but it makes due with its classy-in-spite-of-itself feel and offers a chorus somewhat more in the pocket than that of “Bridgeburner,” but making sly use of clean tones in the verse only to feed to dirtier leads later on, of course bookending with a last refrain, delivered more fervently.
They’re in and out in under eight minutes — unless it takes you 10 to get up and flip the record — and since both “Bridgeburner” and “Chinatown” were recorded in Jan. 2013, they more or may not show where Mystery Ship are now, more than a year later, but the quality of the songwriting makes Bridgeburner b/w Chinatowna significant-enough stopgap that it’s worth digging into. I’ll be interested to hear how Mystery Ship‘s penchant for variety plays out over the course of a debut full-length, and just how bluesy they’ll go when given the opportunity to really meander. Could a 10-minute psych/blues freakout be in the works? Got my fingers crossed.
Posted in Reviews on March 6th, 2014 by H.P. Taskmaster
It’s a big world and there’s a lot to review in it, so I won’t do much to delay. This time around covers both coasts of the US as well as Europe and even Australia, proving once again that heavy knows no borders and seems to be at home wherever it goes. It’s a pretty varied batch this time as well, but should provide some fun along the way.
Billing themselves as “Seattle’s only rock duo” — which is charming if unlikely — guitarist/vocalist Ben Harwood and drummer Jeff Silva self-release their second album as Hobosexual (I see what you did there…) in the aptly-titled 12-tracker, II. It’s a record that brims with attitude from the chugging, semi-Melvinsian opening of “Switchblade Suburbia,” but there’s a depth of tone and swagger to back up the smacktalk in their songwriting. The 38-second “Ghettoblaster” is Hendrix-style feedback and soloing, playing directly into “Hostile Denim”‘s lead-obsessed Rolling Stones hook ‘n’ push. Topped off with striking artwork from Adam Burke of Fellwoods, IIproves very much of its Pacific Northwest origins — a magical land where everybody has a beard and they all listen to stoner rock — and while the tongue-in-cheek snark of “Sex Destroyer” might be over-the-top to some, Hobosexual avoid the minimalist aesthetic some duos use as a crutch for lazy songwriting, make old riffs new again and showcase some melodic depth in Harwood‘s vocal layering, positioning songs like “The Black Camaro Death” and the penultimate “BMX” highlights arguing against style over substance amid party-ready riffing and don’t-have-a-fuck-to-give panache. Their 2010 self-titled debut worked in similar stylistic parameters, but IIstrikes as more confident overall, and it’s a record that you’re either going to fall prey to its sleaze or shoot down early and go about your night. If the album’s a party, I feel at times like my invite must have gotten lost in the mail, but Hobosexual provide a decent reminder nonetheless that there are those capable of turning heavy rock into a good time and put it on the listener to ask why they should take it so seriously in the first place. FOAD: Fuck off and dance.
Strange things are afoot throughout Italian four-piece Midryasi‘s third album, Black, Blue and Violet. The multifaceted heavy outfit run a gamut from Pentagram-esque riff doom to Pink Floyd-infused progressive texturing, all the while keeping a clarity of sound that can likely be traced to the metallic roots of bassist/vocalist Convulsion, who aside from having played in DoomSword can be traced to a number of more extreme outfits. His brother, DoomSword vocalist Deathmaster, shows up on opener “The Counterflow,” but Black, Blue and Violet never goes quite so far into one subgenre or another, the keyboard work of Umberto Desanti always adding an edge of prog to whatever else might be happening, whether it’s the otherwise doomed “Diagonal” or the dramatic verses of the title-track. Released through My Graveyard Productions, Midryasi‘s third ultimately finds its atmospheric crux in an intelligent construction, but perhaps feels somewhat distant in its performance, coldly executed. That’s an inherent tradeoff for the complexity of its arrangements, maybe, and there’s something to be said in argument for the skillful calculation at work across these seven tracks that run smoothly with the underlying drum work of Sappah and fluid guitars of Paolo Paganhate and hit their high-point with the rumbling “The Nuclear Dog,” which provides the most memorable hook of the long-player and seems to revel most in the psychedelic and progressive weirdness that the whole album moves within. The six-and-a-half-minute “Hole of the Saturday Night” closes out with a heavy rock riff and vocal delivery from Convulsion that moves in some of the same (stone) circles as Venomous Maximus, though that’s likely a coincidence of common influence between the two, and with a smooth, consistent production, Midryasi wind up sounding most of all like a band working on its own level. And successfully.
Raucous Berlin six-piece Operators made an impression in 2012 with the unabashed new school stoner rock of their self-titled debut (review here) now a little older, a little wiser, a little more drunk, the band returns with Contact High, a record that wears its influences on its sleeve in much the same manner as the Satellite Beaver, Neume and Stonehenge patches grace the varsity jacket of the figure on the album’s cover. “Kiss of De Ath” resides at the end of side A of the eight-track/39-minute offering and offers some of Operators‘ most satisfying boogie as Konni‘s organ and the guitars of Jacky and Dirk align for an intricate but still-rolling groove of a midsection build while Stonehenge‘s Enni steps in as a guest singer, but it’s vocalist Eggat who makes the first impression on opener “Terra Ohm,” setting up a strong hook for the rest of Contact High to live up to. The album plays out unpretentious and riotous in kind, and while they haven’t necessarily settled down since their first outing, it’s easy enough to hear Operators as having solidified their approach somewhat. Konni‘s keys work just as well alongside the rhythm section of bassist Dän and drummer Säsh as with the guitars, and Eggat proves a formidable enough presence on cuts like “If I Burn,” “Bring on the Spice” (I don’t know whose guitar solo that is, but kudos) and the driving “Contact High” to reign the rest into cohesion. The six-and-a-half-minute “Arrows” shows a more subdued side that, somewhat surprisingly, never quite explodes into the noisy chicanery found elsewhere. Could it be that Operators are growing up right before our ears? I don’t know, but the results are fascinating and display more even potential from these Desertfest veterans.
Grand soundscaping, an underlying sense of ritual, and a pervasive experimental bent — it shouldn’t really be a surprise that Spain’s Pylar boasts some manner of allegiance to forward or at least side-to-side thinking doomers Orthodox and the avant extremists Blooming Látigo, but the unit’s Knockturne Records debut, Poderoso Se Alza en My, strikes as a decidedly more conceptual work, with one song spilling into the next, religious themes crossing through minimalist atmospheres and a periodic lurch emerging that’s as much a trip aurally as mentally. Two longer cuts, “El Pylar Se Ha Alzado” (13:49) and “Al Fin Te Contemplo Entre las Ruinas del Tiempo (Pentagrammaton)” (12:11) sandwich five not-quite-as-extended segments as the opener (the longest on the record; immediate points) and closer of the 68-minute behemoth, which one would be thoroughly mistaken to dub a “compact” disc. It is, instead, expansive and challenging, rife with droning tension, vague shouts in Spanish seeming to describe some torment either physical or spiritual amid art-jazz percussion in another dimension’s time signatures. Will not, will not, will not be for everyone, but Pylar‘s first is a fascinating and dense work that one could easily spend any number of months dissecting, only to still come up with an incomplete picture of its scope, and for those with a high tolerance for the experimental and indulgences of noise, the intense swell of “La Gran Luminaria” could easily prove essential as the culmination point for what seems to be an album-long drive toward enlightenment and the sundry terrors it might carry with it. If you think you’re bored of the mundane, Poderoso Se Alza en Myis ready to pull back the veil and toy for a while with what you used to think of as “your” consciousness.
I remain a sucker for Aussie heavy. System of Venus guitarist/vocalist/graphic designer Fatima Baši? gets into a doomly melodic range that reminds at times — as on “Dancing in Hell’s Garden” — of Alunah‘s Soph Day, but the rough edges in her guitar and Amanda‘s bass add a more distinct ’90s feel to the seven-track/36-minute proceedings on their full-length debut and first release, as the crunch in “Monster Ego” will further attest. Drummer Matt Lieber shows himself comfortable with the quick tempo changes in that song and elsewhere on the self-titled, self-released offering, and though the centerpiece “Dr. Dumb” works quickly to earn its position in the CD’s tracklist, ultimately the opener “Blackrock” and the closing duo of “Nothing” and “Beast” are the strongest statements the album has to make in showcasing the diversity nascent in System of Venus‘ approach, “Beast” rising to an apex that though satisfying feels somewhat shortlived in providing the payoff for the record as whole while “Nothing” holds to a quieter, brooding sentiment that plays off the foundational bassline of “Gannets Drive,” giving what might’ve otherwise easily turned out to be a demo an LP’s overarching flow and speaking to an early awareness of quality construction from the Melbourne trio, though “Gannets Drive” seems to cut out early, building to a hit that’s snapped mid-crash, so perhaps there remain some kinks to work out one way or another. All the same, taken as a whole, System of Venus‘ System of Venussatisfies as the debut of a band feeling out where they want to be sonically, and bodes well for where they might grow their sound somewhere between grunge, doom and heavy rock.
02.23.14 — 12:47AM Pacific — Sat. Night — El Corazon, Seattle, WA
“High drama…” — Steve Murphy
I’m going to try to make this quick, because my laptop clock says 3:47AM and I can’t help but feel like that’s accurate. Tonight at El Corazon in Seattle. First night of the tour. Weather as advertised. Volume as advertised. Doom of many shapes. Place filled up as the night went on. A special cheers to the giant who decided it was fun to dig in elbows up front during Pentagram.
Tonight was a five-band bill. One of several that I know of on this run. Front to back and jetlagged, it was a hell of a way to start the tour. Good crowd though, unless you count the aforementioned giant. Which I do. In bruises.
Here’s how it went down:
I know the deal is the tour and the touring bands, and I’m way down with that or I wouldn’t be here in the first place, but I was really glad I got to see Ancient Warlocks play. I also got to meet guitarist/vocalist Aaron Krause and guitarist Darren Chase and it was good for the soul. Their easy-rolling fuzz and trad-stoner grooving must have been a good match tonally for Mars Red Sky a few years back when they teamed up, but they were locked in and not at all out of place on the stage. When I asked Chase if they had any copies of their album to buy, he said they were sold out. It was easy to see why when they played.
They were a late add to the lineup, but a welcome one. Lesbian crossed genre lines fluidly and touched on black metal, doom and even some thrash with natural ease. They’re the kind of band that, if I lived in this town, I’d probably go see a lot, but as it is, this was the first time. Even after Ancient Warlocks loaded their gear off the stage, there was a considerable wall of amps, and I think an entire layer in that wall belonged to Lesbian. Hard to argue with the density of sound they were able to elicit from them, two guitars and bass running in gleeful aural excess. Bassist/vocalist Dorando Hodous said their last song — unless I’m mistaken about this — was about a “really horny dinosaur.” I didn’t catch the title, but it fucking ruled.
At this point, I feel comfortable saying I’ve seen Kings Destroy more than any band in the last three years. If that’s not true — and it is, by a mile — then it certainly will be by the end of this trip. Tonight was the first night of the tour, and it took them a song or two to click, but somewhere right around a new song called “Embers” that has, among other things, the most complex vocal melody I’ve heard from the band, they locked it in and were full-throttle the rest of the five-song set. “The Mountie” into “Casse-Tete” worked well to open, but once they slammed into “The Toe,” I think they made a lot of new friends. Leaving the rest of the band on stage, vocalist Steve Murphy hopped down into the crowd for closer “Blood of Recompense,” walking away when the song was over and handing the mic to a random guy in the crowd who, as he told his friends after putting it back on the stage, was tempted to make a dick joke, but decided against it.
Radio Moscow had the leg up. On the universe, it seemed, but at least on the other two touring acts, since they’d already had a couple gigs under their belt over the last few nights. It’s a crazy change in vibe to have the San Diego-based trio playing between Kings Destroy and Pentagram, but they hit into “I Just Don’t Know” from 2011′s Brain Cycles and the room, which by then was packed out, was theirs. They also brought the Mad Alchemy light show with them, though the oils were going for all the bands and I guess will be for the duration of the tour. Not going to complain, and it works especially well for Radio Moscow, who tossed in a new song full of intricate starts and stops that served as a reminder of how ridiculously tight the band’s rhythm section, bassist Anthony Meier and drummer Paul Marrone are, though it’s guitarist/vocalist Parker Griggs who takes the bulk of the solos, each one earned and soaked in wah.
I don’t care who you are or what you’ve seen, watching Pentagram play “Forever My Queen” is one of the great joys of doom. When I came back from dinner before the show started, I got to watch some of their soundcheck, so I knew “Be Forewarned” was coming — you might say I was forewarned — but “8″ from Last Rites and “Dying World” from the self-titled were cool to hear alongside staples like “Sign of the Wolf (Pentagram),” “All Your Sins” and “When the Screams Come.” While they were setting up their gear, someone in the crowd looked up and said, “Holy shit, it’s Victor Griffin!” and that about sums it up. His tone and Bobby Liebling‘s frontman presence are a rightfully legendary combo, and even though it was the first night of their tour as well, they sent the Seattle crowd into the evening well aware of who and what they had just seen. The current Pentagram lineup, with Griffin, Liebling, bassist Greg Turley and drummer Sean Saley already sounded like pros, but I’ll be really interested to see where they’re at by the time we roll into San Francisco.
We loaded out the gear from El Corazon about as fast as we could and on the way back out to the Red Roof Inn, I asked Jim Pitts to stop the van so I could jump out and take a picture of the Space Needle. No regrets. Tomorrow morning, 11AM, we head to Portland. It’s after 3:30AM now. I think everyone was a little more relaxed with the first show down. Myself included.
Posted in Features on February 22nd, 2014 by H.P. Taskmaster
02.22.14 — 4:16PM Pacific — Saturday — El Corazon, Seattle, WA
“You could auction this moment…” — Chris Skowronski
Woke up at about seven this morning (on this time) and couldn’t get back to sleep, so I got up and went downstairs. Had some coffee and sat for a bit in the Red Roof Inn lounge, which was where the muffins probably would’ve been if there’d been any. Back upstairs to bed until after 11AM, shower, then waiting to come here, basically. Rewatched last week’s episode of True Detective and some of the long-since-jumped-the-shark second season of Twin Peaks while Carl and Chris warmed up their guitars by jamming first along to Carl’s iPad and then on some new riffs. I’m not coming into this trip with any great romantic ideal about life on tour. My impression is it’s a lot of waiting, a lot of driving, and then shows. Dudes are out getting drinks and I’m sitting at the venue listening to music and waiting. Rob and I miss our dogs. Load-in was 4PM. With seven people, it didn’t take long.
Jim Pitts is a fucking pro. He seems like a good-natured guy on first impression and he definitely came prepared: Hand sanitizer, Febreeze, baby oranges, work gloves. Dude has it together. I have no idea how the Kings Destroy dudes got in touch with him, but he’s stepped into a wrangler mode that he’s obviously comfortable with. The van’s pretty cushy, which is fortunate because there are some long drives coming up. The one from the hotel was not much to speak of in length, but a first look at Seattle was interesting. People knew what they were doing with building a town by the time they got out here. Cities in the Northeast, — Philly, Boston especially, New York too once you’re out of Manhattan’s grid — feel like they just kind of happened. I guess because they did. There’s a reason states out here have square borders and the East Coast is shaped like fuckall.
No sign yet of anyone from the Pentagram or Radio Moscow camps. It is early. There are a few other vans around outside, but I don’t know who’s who. Ancient Warlocks go on at eight. El Corazon looks like a cool room. Wider than it is long, which I like. Big stage. Spirit Caravan are coming through here and the flyer has a picture of Shrinebuilder on it. Had a laugh at that, but the space itself is right on. Blue floor in the bar, black in the stage area, and there’s a smaller side room. I think there’s a six-band bill in there tonight. Five in here, so that’s a total of 11 bands in two rooms. I was trying to buy a bar in Boston over the last several months but it fell through. I could run a place like this. No prospects for doing so (anymore) or funding to make it happen, but if I could end up with a space like this, I’d do it forever.
We’re staying again at the Red Roof Inn. Not sure if there will be room for luggage in the back of the van with the amps and such, but if we have to rent a trailer, tomorrow’s the day to find it out with a relatively short trip to Portland. I feel anxious for the first night of the tour, which is odd since I’m not actually playing.
Posted in Features on February 22nd, 2014 by H.P. Taskmaster
02.21.14 — 11:30PM Pacific — Friday — Red Roof Inn, Seattle, WA
“On official review…” – Rob Sefcik
They say you find interesting things when you travel. I’ve found the neatest headache! Hit me about an hour into the flight and I immediately flashed back to Last Night Me, who, when he was packing his bags, couldn’t imagine any reason he might need the ibuprofen in his carry-on. What a jerk. Add your stereotypical screaming kid, some cramped quarters and flight attendants of all stripes and preoccupations bumping my shoulder on way by, and that’s basically the story of the flight. I put on the Young Hunter EP while we were landing and I was pretty sure it was going to crash the plane. At that point, I was ready.
I sat in a row with Carl and Steve from Kings Destroy, having met the band at the gate at JFK. Rob and Chris were a couple rows up and back, respectively, and Aaron was on the other side of the aisle from me. We were late taking off, but the sunset was expansive out the gate window, so you take the good with the bad. They’ve all gone off to a bar somewhere down the way. 13-something-or-other it’s called. I’ve turned on the AC and will shortly get myself some ice water and I dug out the ibuprofen and had a protein bar and I think that’ll do it for me. On their way out, Chris reminded me that “this is where the stories happen.” He’s not wrong, but something tells me I won’t be light on stories.
Carl had left his bag on the plane. The picture above was him after going back to get it. Spirits are high, laughs were had. Jim Pitts, who’s reportedly driving the van, was stuck in traffic and is due to arrive here at the Red Roof Inn shortly. I’m looking forward to meeting him. Steve informed he’s an oldschool hardcore dude. When I asked, “Who isn’t?” he rightly said, “You.” Touche. We took a shuttle over from the airport. I’ve seen no needles from space, no Robbie Cano. Tomorrow, I figure. Need to hit a bookstore as well. Forgot a book. Fucking amateur hour.
Back east, it’s coming up on three in the morning. I don’t know what the plan is for tomorrow, but then, I didn’t know what the plan was for tonight. I’m here though. I’ve never been in this city and I’m looking forward to seeing it by daylight, and I’m hardly out living it up, but at least I’m here. Feels like an accomplishment.
Earth, The Bees Made Honey in the Lion’s Skull (2008)
If Earth had decided after their 2005 comeback studio album, Hex; or Printing in the Infernal Method, to put out another full-length of similarly-minded Dead Man-inspired Americana desolate soundscapes, I doubt there would’ve been many complaints. I think in some ways the heavy underground is still coming to grips with that album, now almost a decade later, and it has served as a point of influence for many in a wide variety of subgenres probably even more than something like Earth 2 – Special Low Frequency Versiondid for the band in the early ’90s. Maybe that’s overstating it. Still, you get the idea. No one would’ve argued with Hex Pt. 2.
That’s not the band’s nature, it seems. None of their albums or even their bevvy of live releases splits, etc., really makes any effort toward retreading past ground, and when they released The Bees Made Honey in the Lion’s Skull on Southern Lord in 2008, all you had to do to realize how different its character was from its predecessor was look at the artwork. It’s like the color wants to punch you in the face. And the elaborate font of the band’s logo — or the huge one, if you have the vinyl — left a much different, much fuller impression than the stark, grainy black and white of Hex. The music on The Bees Made Honey in the Lion’s Skullproved similarly colorful, richly thematic, patient as ever and no less evocative than was the record before it, if somewhat harder to place in time and atmosphere.
More open, in other words. The Bees Made Honey in the Lion’s Skullwas a powerful development of the ideas presented on Hex; or Printing in the Infernal Method, and while the album hasn’t had the same kind of sonic legacy in the half-decade since its release, it continues to resonate and radiate a rich, human beauty, and I continue to like very much the places it takes me when I put it on, as now.
Tonight The Patient Mrs. and I drove south to Connecticut to have dinner with her mother and grandmother ahead of her birthday, which is next week. Two hours each way and we just got back a little while ago, so yeah, the Earth record is about fitting with my energy level right now. It was a hell of a week, and I feel like I could really, really stand to get out to a show in the next couple days, so I’m going to look around and see if there’s anything I can make happen in that regard. It’s been a while at this point. Feels like too long.
I’ll review whatever it is, should I prove successful in finding something, and look out next week as Ben Smith from The Brought Low will answer The Obelisk Questionnaire, and I’ll have reviews up of Slough Feg and maybe that SunnO)))/Ulver collaboration, since this drone seems to be hitting so right. I’ve done two weeks in a row now of review roundups; one went over decently well and this week’s seems to have fallen utterly flat. Okay then. I’ll give it another go this week and see what happens.
Also look for a writeup on Blackwitch Pudding‘s new vinyl if I can find a way around showing the needlessly sexist album cover, and though I’ll be traveling south (yes again) next Friday and won’t have much by way of posts during the day, I might get a podcast ready to go up so at least there’s something. Hopefully things shake out that I have time.
It also looks like I’ll be going to Roadburn after all. More on that in the weeks to come.
I hope you have a great and safe weekend. Please check out the forum and the radio stream, because they kick ass.
I don’t think I really need to go out of my way to justify including Sap as a heavy work. Sometimes I wonder what I would’ve thought of Alice in Chains had I been 15 or 20 years older than I was when they broke big, if the whole thing would’ve seemed as ridiculous to me then as a lot of modern alternative and pop hard rock seems to me now. Like Primus, of whom I’ve expressed a similar enduring affection, Alice in Chains hit me at just the right time. Dirt came out in Sept. 1992, and that would be the first of their albums that I heard. I was 11 years old.
Their post-reunion stuff hasn’t really interested me — I bought a used copy of Black Gives Way to Blue not so terribly long after it came out, but hardly listened to it. I heard part of one song from the one they did last year on the radio and it had that computerized wall of sound guitar anti-tone thing going for it, like Nickelback with a pitch-corrected Jerry Cantrell harmony. A futuristic nightmare in which something that once seemed so pure, on Facelift, Sap, Dirt, Jar of Flies, and the self-titled (which gets written off a lot but was actually really, really dark), comes back as unaware self-parody. Robots impersonating flowers. Food: Now with more flavor. Somewhere in a nameless city, Rowdy Roddy Piper puts on a pair of sunglasses.
But this. Beautiful. At least for the four songs of Sap proper, and then they get into the silly bonus track lest they be taken too seriously. I had this on earlier this week, turned up loud, was singing along to notes I used to be able to hit I guess before I turned 30 and finally hit puberty. My intention was to close out this week with something else, something a little more “the norm” as much as there is one, or at least something that’s not such an unrepentant downer, but this was more honest to where my head’s been at the last few days so there wasn’t really a choice. If it’s not your thing, or maybe it didn’t get into you when you were the right age, I’d be happy to hear about it in the comments.
Sorry about that whole “no posts” thing yesterday. I try to avoid that whenever I can, at least get something up. Yesterday The Patient Mrs. and I were on the road all day coming back from a mid-week trip south to Jersey. There’s a good chance this will come up again. I’ll try to give some notice or post what I can. I do my best.
Lots of news this week. Lots of videos. Not a lot of reviews. Here are the next five album reviews I’m going to write for this site. Ready? Weedpecker, Colour Haze (the Ewige Blumenkraft reissue), Conan, Mammatus and Papir. I really fucking hope it’s not a month before I get those done, but if it is, fuck it. That’s what I want to write about so that’s what I’m going to write about. I spend an awful lot of time feeling obligated and like I’m behind on shit. Well, I am behind, a lot, but when it comes to it, I do this to have a good time and write about music I enjoy, so if you’re not one of those next five reviews, I’m sorry but you’re gonna have to wait a little longer. Please know that your patience is appreciated.
I did a killer interview the other day with Rev. Jim Forrester about the Sixty Watt Shaman reunion. I’m not sure when I’ll have the time to transcribe it — Conan is next, then Alcest — but I’ll get there. I wish I had more time. Also money. Also abdominal definition. Also the ability to express emotions beyond frustration. It’s a long list. I wish and wish.
But life is what happens while you sit around and wish on bullshit you either can or can’t make real, so fuck it. I hope your week was incredible like the first time you heard Sabbath and it clicked, and I hope your weekend follows suit. If you stick around, I’ll have a new podcast coming either Sunday night or Monday morning, and there’s a lot of other silly nonsense to come as well next week other than whatever reviews I can get done. I hope you’ll hang out.
Thanks all, enjoy Sap, and please check out the forum and radio stream.