Feral is the upcoming fourth album and Small Stone debut from West Coast (CA/WA) outfit Snail. Their first record as the three-piece of guitarist/vocalist Mark Johnson, bassist/engineer Matt Lynch and drummer Marty Dodson since their 1993 self-titled debut (reissue review here), Feral is set to issue this summer and features cover art by Brooklyn-based artist Seldon Hunt, known for his work with Neurosis, Isis, Pelican, Made out of Babies, Kings Destroy and on and on. Always varied in his approach, from photography to line-drawings to exquisite fractals to whatever the hell you might call the cover of the recent Blind Idiot God album, Hunt has consistently been able to adjust his own style to suit the project at hand, and Snail‘s Feral is no exception.
There is a snail on it, somehow subtly despite it being right up front on the left side of the picture. Gorgeously colorful with natural reds, browns and greens, two knotted trees frame what in other hands might’ve been a simple nature scene. Two snakes wrap around a deer’s antlers, and there’s some kind of scared-looking 10-legged creature hiding partially behind one of the four large mushrooms in the foreground. But the real story is in the deer’s eyes, dead and yellow. They have a threatening look to them which seems to find its answer in the partially-buried human skulls at the bottom and the new-growth grass coming up around them. All of a sudden, it’s more revolution than nature scene, as though human civilization has given way to a new natural order.
In its colorful psychedelic vibe and quiet foreboding, Hunt‘s piece fits the Snail record well, and I’m happy to be able to premiere the cover art. Click the image below to enlarge it if you’d like a closer look. Some comment from the band follows:
Says Matt Lynch:
It was actually [The Obelisk’s] doing that we hooked up with him. I saw the art he did for Blind Idiot God because of your feature and we were still kinda exploring our options after many failed attempts by me to get something we could all agree on.
And I saw that art and thought “this guy gets it” you know, he had the feel of the record in him. The first idea he sent us was spot on. It was just a scribble sketch but we knew by the description that this was our guy.
Posted in Whathaveyou on March 19th, 2015 by H.P. Taskmaster
Shipping at the end of this month, a Black Mess Records repress of oft-topless Seattle trio Wounded Giant‘s 2013 debut, Lightning Medicine, is now available to preorder. The record is an easy fit for aficionados of riff, and the label is giving it due attention with a total 300 copies whipped up, 50 in limited-edition form that come with an etched copper patch and a jar for your weed. Yes. A jar. For weed. We live in a new era of band branding, my friends.
A mere 28 of those packages are left, and Wounded Giant are headed out on tour this weekend after two hometown shows, playing up and down the West Coast with the formidable likes of Mos Generator and Demon Lung. They’ll also make their way to the East Coast this summer to take part in the Eye of the Stoned Goat 5 fest alongside — by no coincidence, I’m sure — Mos Generator, Gozu, Doctor Smoke and many more (info here). Their latest release is a split with Goya on STB Records (review here).
Vinyl details and tour dates follow, courtesy of the PR wire:
Wounded Giant Repress and Ltd Ed. Vinyl Package
We are reissuing the sold out Wounded Giant “lightning medicine” 180g LP. It will be available for sale on our website around the 30th of march. We also have a preorder up on the webstore a version limited to 50 copies on 180g white vinyl that comes with a printed jar and a etched metal patch only 28 copies remain!!!
Wounded Giant “Lightning Medicine” LP (2nd press) -200 copies 180g black vinyl on sale starting march 30th -50 copies on 180g white vinyl available only from the band -50 copies on 180g white vinyl available for pre-order now comes with limited edition printed herb jar and etched copper patch (ONLY 28 limited edition pre-orders remain!!)
Wounded Giant on Tour March 17- Seattle @ Neumos (Jameson Punk Cover Night) March 18 – Seattle @ Rendezvous Shirts Off Kickoff! w/ Deathbed Confessions March 20 – Eureka/Arcatia (tba) March 21 – SF @ Bender’s Bar March 22 – Oakland @ The Golden Bull w/ Demon Lung, Church of Disgust and Hallucinator March 23 – Fullerton @ The Slidebar w/ Nagual Sun, Demon Lung and Mondo Generator March 24 – San Diego @ the Merrow w/ Mos Generator & Desert Suns March 25 – LA @ Complex w/ Castle, Demon Lung & Philthy Heathens March 26 – Ventura @ the Garage w/ Demon Lung & Philthy Heathens March 27 – Eugene @ the Wandering Goat March 28 – Salem @ the Wisp House w/ R.I.P & Entrail March 29 – Tacoma, @ the Valley w/ Deathbed Confessions April 2 – Seattle, @ El Corazon w/ Saviors
Posted in Whathaveyou on March 19th, 2015 by H.P. Taskmaster
People sure do like the Melvins. Like, enough to make a documentary about them, which is a lot when you think about what actually goes into producing a film like Bob Hannam and Ryan Sutherby‘s The Colossus of Destiny, which is due out early next year. The pair have launched a Kickstarter to help cover the costs of putting the movie together, and in about 10 days they’ve managed to raise $53,000 of their total $75,000 ask, which is significant. If you haven’t seen it yet, the donation rewards are pretty sweet as well, from t-shirts and posters to — since it’s the Melvins, there would have to be — a deluxe edition, 3-DVD set of the movie that comes housed in a wood box. Pretty badass.
If you’re feeling generous, the PR wire offers a worthy cause:
MELVINS’ DOCUMENTARY, “THE COLOSSUS OF DESTINY – A MELVINS TALE,” LAUNCHES KICKSTARTER CAMPAIGN
The film, which is currently under production with an anticipated early 2016 release, is the creation of Bob Hannam and Ryan Sutherby. The pair, who met through a mutual affection for the Melvins, began work on the officially authorized documentary in late 2014.
“We kept asking ourselves why no one had ever made a film about the Melvins,” explained Hannam. “What an incredible story and twisted tale both Buzz Osborne and Dale Crover have taken. There aren’t many bands who can say they’ve influenced some of the most popular artists of our generation and done it in every instance according to their own rules, still as important, if not more so, some 32 years after forming.”
“The Colossus of Destiny – A Melvins Tale” follows the band’s journey, from the backwards waters of the Chehalis River in Washington, through the Golden Gate of Northern California and finally, into Los Angeles where Osborne and Crover both reside. The film features lengthy interviews with Osborne and Crover as well as present and ex band members, collaborators and many other musicians from bands such as Mudhoney, The Jesus Lizard, Soundgarden, Butthole Surfers, Sleep, Babes In Toyland, Neurosis and Redd Kross to name but a few.
Posted in Reviews on March 3rd, 2015 by H.P. Taskmaster
There’s little room left for argument after all the air’s been pushed from your lungs. Six years after issuing their initial demo (review here) and subsequent split 10″ with Mico de Noche (review here), Brothers of the Sonic Cloth at long last make their full-length debut with a self-titled release on Neurot Recordings, and whatever weight is brought to Brothers of the Sonic Cloth via guitarist/vocalist Tad Doyle‘s pedigree for having fronted underrated Seattle heavy rockers TAD or work engineering at his own Witch Ape Studio, where this album was also recorded (Billy Anderson mixed), rest assured that’s still less heft than the tones on crushers like “Empires of Dust” and the churning, 11-minute “La Mano Poderosa.” Together with bassist Peggy “Pegadeth” Tully (also his wife) and drummer Dave French (also of The Annunaki), Tad leads the charge through seven rounds of atmospheric post-sludge, the record’s 44 minutes no less concerned with ambience and mood than with gritting their teeth and bashing the listener over the head with waves of tectonic nod. It is a massive, unforgiving impression that the album leaves behind, rife with churning tension, a volume-as-ritual sense of purpose and an impact that becomes undeniable by the time “I Am” shifts into the drum-led, Neurosis-style tribalism of “The Immutable Path,” but there’s also breadth to it, and even its repetitions have a reason behind them. French‘s drums alternate between doomed marching and driving propulsion, but the hitting is consistently hard, and that seems to be true just about across the board. Even in quiet stretches, like the beginnings of “Unnamed” or “I Am” or the piano-led “Outro,” which closes, there is a tense, clenched feel that never quite lets the listener be fully at ease.
It goes without saying, but that’s obviously the point. The intensity of Brothers of the Sonic Cloth‘s Brothers of the Sonic Cloth is not happenstance. It’s pervasive, and it begins with the very start of the album, on opener “Lava,” where what might otherwise have been an intro riff expands into a three-minute song topped with growled verses and crashing at full turn-this-up-now righteousness. A turn to a jagged riff sits well on some half-time drums and vocal call and response make the track an outlier compared to what follows — the next four cuts comprise the meat of the album and they’re all nearly or more than twice as long — but it’s as honest an introduction as one could ask. The only thing missing from it is the grueling and slow, and “Empires of Dust” quickly (also slowly) remedies the issue. Its first three minutes are devoted to far-back gutturalism and dirge riffing, and even after things open from there, setting up a back and forth that plays out again over “Empires of Dust”‘s 7:51 resulting in a morose but creative and semi-melodic doom, the vibe remains pummeling. Tad gurgles out lyrics obscured by the distortion surrounding and echoes of noise end out, leading to the spacious guitar line that starts “Unnamed” on a more subdued, peaceful note, as if all that swirling malevolence was just a dream. It wasn’t. In tone and vocal delivery, the quicker thrust of “Unnamed” reminds somewhat of the last Amebix as each syllable of each line seems spit out, but the churn behind is more in league with Through Silver in Blood‘s brand of chaotic atmospherics, and after five and a half minutes, the song moves into a different cycle entirely, chugging its way toward an apex met by vocals that prove the most melodic on the album. They jump back to the churn with less than a minute to go — an effective bookend — and the 11-minute “La Mano Poderosa,” a version of which also appeared on the demo, introduces its roll with the guitar, its central progression a theme from which it deviates only twice along its march, once for an angular break in the middle, and again for a bigger finish on which French once again pulls back on the drums to let the guitar and bass sound as huge as possible.
In its length and position, “La Mano Poderosa” is the centerpiece, but the following “I Am,” which was also a demo cut, is a more dynamic listen, following a build structure that starts quiet and brooding, makes its way toward its peak in the middle and, with a stop and scream just past 5:10 to signal arrival, rides out its groove for the remaining three minutes. To look at the waveform, there are clear indicators of increasing density, and the sound is no less marked out, but the flow crafted over the course of “I Am” makes it a highlight, and in some respects its the apex of Brothers of the Sonic Cloth, since neither “The Immutable Path,” on which Doyle joins John O’Connell on drums and layers a quiet vocal on top with droning ambience behind, nor the piano-led “Outro” approach the same kind of heft, though certainly each of the last two tracks has an atmospheric resonance of its own. That might be true even more of the two-minute “Outro,” which with just piano echoing has a disjointed feel that holds firm to its melody even as it begins to fade out to end the record. My understanding is “The Immutable Path” and “Outro” are both bonus tracks for the CD/DL editions of the album, but they have a function in the overarching mood of what comes before them anyway. No doubt part of the reason Brothers of the Sonic Cloth have garnered such a response is Tad Doyle‘s legacy and this self-titled being his first studio release since Hog Molly‘s lone outing in 2000, but this trio does nothing if they don’t set themselves apart from that legacy, and the spirit that pervades this material isn’t backward-looking in any way. That said, with six years between the demo and the album, I wouldn’t try to hazard a guess at when a follow-up might be in the beginning stages, let alone completed, but Brothers of the Sonic Cloth is an outing that does well standing on its own and its scope and sheer ferocity speak to a vibrant creativity at work.
Posted in Radio on February 16th, 2015 by H.P. Taskmaster
I know it’s not the usual custom to do Radio adds on Mondays, but what the hell, it’s not exactly like there are rules one way or another, and my desktop has hit eight rows deep of folders with albums in them, so whatever day it might be, it’s time to clear out as much of it as possible. A full 22 records join The Obelisk Radio playlist today. Some of it is very strange, some of it pretty straightforward, but one way or another, I think it all makes the stream better and more diverse, and that’s what it’s all about. For the full list of everything added, check out the Playlist and Updates page.
The Obelisk Radio adds for Feb. 16, 2015:
Primitive Man, Home is Where the Hatred Is
After their destructive 2013 Relapse Records debut, Scorn (review here), Primitive Man‘s reputation for brutality precedes them. The Denver trio’s new EP, Home is Where the Hatred Is, is only likely to further that reputation, its four tracks alternating between grueling, unrepentantly slow-lumbering, ungodly-toned extremity and fits of grinding megaviolence. The release is arranged longest to shortest so that opener “Loathe” (11:03) is sure to weed out the weaker constitutions en route to the ensuing crushers “Downfall” (8:43) and “Bag Man” (7:09). The closer, “A Marriage with Nothingness” (4:17) is a collage of noise and fedback threat topped with a sample of a woman either in ecstasy or agony — in context it’s kind of hard to tell — but the message is plain either way. One might think of that cut as an answer to Primitive Man‘s 2013 P//M Noise Tape, which also explored droning forms between covers of Portishead, Black Sabbath and Crowbar. Perhaps most foreboding of all is how smoothly Primitive Man shift between the facets of their increasingly diverse sound, since it speaks to a progression in progress in terms of bringing the various elements together. A beast is one thing, but a thinking beast seems all the more ominous. They may be in the process of outgrowing their name, but a savage force remains at the heart of their bludgeoning. Primitive Man on Thee Facebooks, Relapse Records.
Sandrider and Kinski, Sandrider + Kinski Split
With geography in common in their Seattle base of operation, Sandrider and Kinski present their Sandrider + Kinski split on Good to Die Records with three new songs from the former, including a cover of Jane’s Addiction‘s “Mountain Song,” and two from the latter, working in instrumental, textured heavy psychedelic forms that complement Sandrider‘s bombastic approach as heard on their two full-lengths to date, 2013’s Godhead (review here) and 2011’s self-titled debut (review here). Both “Beyond in Touch with My Feminine Side” (8:42) and “The Narcotic Comforts of the Status Quo” (5:17) flesh out open spaces, rich in tone and flowing movement, with the closer more of a riffy, space-rock feel while “Beyond in Touch with My Feminine Side” is more exploratory, fading out at its end is the jam sort of deconstructs below lead guitar. As for Sandrider‘s “Rain” (4:47) and “Glaive” (4:40), for anyone who’s heard the rolling punk heaviness of their albums, it should be enough to say they sound like Sandrider – upbeat and catchy and furious and kinetic — and while I’m not sure anyone ever needed to hear a Jane’s Addiction song ever again (ever.), they take what was probably the band’s best riff and re-suit it to their own purposes, which if you’re going to do it at least is the right way to go about it. Sandrider on Thee Facebooks, Kinski on Thee Facebooks, Good to Die Records.
Ultimately, Hiram-Maxim‘s self-titled Aqualamb debut reads more like an experiment in the deconstruction of sound than an album in the traditional sense, and perhaps I use the word “reads” because it’s a book. As has become Aqualamb‘s modus, the four-track release comes as a 100-page artbook and a download that contains its nonetheless-vinyl-ready darkened forms, whether it’s the brooding “One” (11:47) with backing drones and open guitars or the preceding “Can’t Stop” (11:55) with its rising current of abrasive, almost grating noise that gradually consumes whatever song was there to start with. It is a dark atmosphere, and the opener, “Visceral” (7:14), is well titled, but the pervading vibe is more exploratory than theatrical; like the listener, the Cleveland four-piece are feeling their way through these deep reaches, and when they come around to the apex of closer “Worship” (6:25), the resolution they seem to find is frantic and desolate in turn. In another universe, one might call it punk rock. Here, it is gleefully and thoroughly fucked. Hiram-Maxim on Thee Facebooks, Aqualamb.
Obrero, The Infinite Corridors of Time
The Infinite Corridors of Time, the second long-player from Stockholm old-schoolers Obrero should — contrary to their logo — appeal to fans of Hour of 13 and Argus and others who’ve made preservation of classic metal their mission, skirting the fine line between doomly Sabbath worship and proto-NWOBHM stylized forwardness of purpose. The double-guitar five-piece show some penchant for ’70s heavy rock on cuts like “Oneironaut” (6:20) and “The Axial Age” (5:40) but by and large their purposes are more metallic, meshing AC/DC and Judas Priest impulses into the keyboard-laden “Manchester Morgue” (5:01) or “Phobos and Deimos” (5:42), which stands out for its hook and successful blend alike. At eight tracks/52 minutes, The Infinite Corridors of Time is no minor undertaking — there is no song under five minutes long — but their use of keys allows Obrero to work in various moods, and for those seeking purity in their metal, the Swedish outfit offer glimpses without being wholly derivative of what’s come before. Obrero on Thee Facebooks, To the Death Records.
Elbrus, Far Away and into Space Pt. 2
If you feel like you missed out on Far Away and into Space Pt. 1, don’t worry about it. Melbourne, Australia, four-piece Elbrus are actually starting out with Pt. 2, and it’s their debut single, an 11-minute psychedelic push of heavy blues rock, stoner rollout and organ-blessed jamming. I’m not sure it’s safe yet to call what’s happening in Melbourne right now a “heavy blues revival” as acts like Elbrus and Child delve into such sonic territory — if only because with bands like Horsehunter and Hotel Wrecking City Traders out there, the city’s take on heavy isn’t so easily categorized — but one rarely recognizes such things until beaten over the head by them. Either way, “Far Away and into Space Pt. 2″ gracefully looses a molten flow over its 11:06 stretch, vocalist/organist Ollie Bradley-Smith unafraid to cut through the natural-sounding, weighted tones of guitarist Ringo Camilleri and bassist Mafi Watson while Tom Todorovic‘s drums smooth the way between volume and tempo changes and add cymbal-crash swing to both. It’s a smooth-grooved nod, and aside from making me curious to hear the first installment of “Far Away and into Space,” it makes me wonder what Elbrus might next encounter as that journey unfolds. Elbrus on Thee Facebooks, on Bandcamp.
One more time, this is not even a quarter of what’s been added today. There’s also stuff from Black Rainbows, Felipe Arcazas, Headless Kross, Warhorse, Twingiant and others, so please make sure you hit up the Obelisk Radio Playlist and Updates page to see the full list.
Posted in audiObelisk on February 16th, 2015 by H.P. Taskmaster
Named for its 17-minute closing track, Vol. 0: In the Shadow of the Mountain is the debut full-length from Seattle experimental heavy rockers Terminal Fuzz Terror, set to release limited-style on Robotic Empire March 3. It is an off-the-wall freakout beast that hearkens to multiple eras — ’60s psych meandering, ’70s riffing, ’90s purposeful weirdness, etc. — and in so doing is invariably of the modern moment: what navelgazing might be if you did it into other people’s bellybuttons; a broken mirror showing different angles of an already fractured reality. Plus it grooves!
Opener “Senseless Boogie” would seem to tell the whole tale, but in truth it’s only part of the story, and whether it’s the funtime freakout of “Zealousy” or the psych-punk thrust of centerpiece “Megalodon,” the four-piece of guitarist/vocalists D. Rodriguez and D. Nelson, bassist J. Kleine and drummer A. Crawshaw hone a chaotic swirl that feels like it could at any point fly off the handle entirely. Likewise the repeated echoing incantations of “Cycles,” which seems to call Satan not so much to spread misery and hellishness over the earth, but rather to crack a beer and mess around with effects pedals, and of course “In the Shadow of the Mountain,” the monolithic semi-title-track is a focal point — at just a little less than half the 36-minute runtime, there’s no way it wouldn’t be — but rather than get lost in their own grandiosity, Terminal Fuzz Terror turn plod into ritual before warping into one last high-speed wah-drenched jam, paying off what’s come before, sure, but also breathing life into a form of space rock that’s more than Hawkwind idolatry and flange overload.
If you feel like you can dig it, you’re probably right. “Megalodon” is available for streaming on the player below, and by way of a heads up, look out for near-immediate push, obscure garage-echo vocals and weirdo breaks, a biting tonal mania rife with unhinged churn that cleverly masks just how structured the song actually is. Terminal Fuzz Terror are hardly traditional in the verse/chorus sense, but there are themes to latch onto throughout Vol. 0: In the Shadow of the Mountain, and “Megalodon” works quickly to establish its own amid the cosmic reverb captured by Tad Doyle at his Studio Witch Ape and mastered by James Plotkin.
One more time, vinyl is out March 3 in finite quantities. Album info follows the player:
Terminal Fuzz Terror is a Seattle-based band comprised of D. Rodriguez (guitar, vocals), D. Nelson (guitar, vocals), A. Crawshaw (drums) and J. Kleine (bass). Drummer Crawshaw also runs the Seattle based screen printing monolith Broken Press, who printed the jacket for TFT’s hand assembled, limited release. Their vinyl debut, Vol 0: In The Shadow Of The Mountain, was recorded at Witch Ape Studio, engineered and mixed by Tad Doyle (TAD) and mastered by James Plotkin.
Limited to 300 copies and including a high-quality digital download, 50 special deluxe versions of the record will include an embroidered 4″ round patch and come packaged in a tote bag.
Vol 0: In The Shadow Of The Mountain is Terminal Fuzz Terror’s strongest work to date, and is available digitally to pre-order now, with vinyl available via Robotic Empire on March 3rd.
Would you believe I’ve never closed out a week with the Melvins? Granted, I’m not the hugest fan of the band in the world, but you’d think it would’ve happened one way or another at some point anyhow, two or three times over, just through the sheer process of elimination. After all, they’re the frickin’ Melvins. If heavy rock and roll has a given, a constant presence, a relentless influence under which it works, it’s theirs. Consider this post correcting an oversight on my part.
In picking one of their 250-or-thereabouts studio offerings to actually feature, I decided to not go the obvious route, which would’ve been 1993’s Stoner Witch, 1994’s Houdini or 1996’s Stag – the three landmark albums they released on Atlantic Records – but instead dig a little deeper. Not much deeper, admittedly. It’s not like I went for Colossus of Destiny or anything, but 1992’s Lysol, with its Flipper and Alice Cooper covers, its drawling riffing from a group who were just about to set the patterns they’d continue to follow for the next 20 years and counting, and its unmistakably off-the-rails songwriting, makes a good fit without necessarily being so totally obvious as to be a Melvins cliché. Or not as much of one anyway. Whatever. You know what I mean. Maybe I just felt like hearing them do “The Ballad of Dwight Fry” and Joe Preston‘s bass on “Sacrifice,” all the songs lumped together as one CD track, apparently for the hell of it because it was a relatively new format then and that was a thing people did as a reaction to track-by-track listening.
Anyhoo, there are way worse manners in which to dispose of half an hour. Boner Records, which originally released Lysol, oversaw a vinyl reissue that came out Jan. 20 that couples the album with 1991’s Eggnog – they have one for Ozma and Bullhead as well — so I guess this wound up being a topical choice without my even realizing it. Whatever your preferred format, hope you dig it and have a good time listening. That’s the whole idea.
The power stayed on during the blizzard earlier this week, for which I’m thankful. You never really know when you’re in a new place until it either does or doesn’t happen, and I could probably buy 15 houses before I’d think to ask, “So hey, does every wind over five miles an hour knock out the electricity?” We had some good gusts to go with the circa-two-feet of snow that came down — a little more earlier today, and more to come on Monday just in case I missed my shot to put on sad-era Anathema or that brilliant Sólstafir record from last year; I didn’t — and still, the lights persisted. I’ll take that. If you have to be snowed in, having a working charger for the laptop helps.
My big news this week, in case you missed it: I’m going back to Roadburnin April, and this site is six years old. Thanks to you for reading, because that’s the only reason either happened.
I had wanted to review Black Moon Circle‘s Andromeda LP this afternoon, but after doing the Radio adds, I’m good and burnt out and the record deserves better than to have me search Dict.org for synonyms for the word “lysergic.” Should be able to pick up with that on Monday, and next week also look out for reviews of Killer Boogie and Abbot. Elder is next after that, but I’m not sure I’ll get there by next Friday. We’ll see how it goes. Also trying to set up a premiere of one sort or another for that Garden of Worm record that was reviewed today, because it hit me hard enough that I think it’s worth featuring again. I’ll keep you posted. A Lords of Beacon House video premiere is set for next Friday, too.
I also spoke to Mario Lalli of Fatso Jetson and Yawning Man yesterday and I’m going to try really, really hard to have that posted by the end of next week as those bands head over to Europe soon to tour and I don’t want to miss my chance. Currently seeking an intern to transcribe interviews if anyone’s in need of some college credit. Yes, I’m serious, and yes, you can work remotely.
The Patient Mrs. promised sushi takeout to celebrate the site’s anniversary, so I’ll be taking her up on that and clearing out my overtaxed sinuses with wasabi. Stoked.
Whatever you might be up to, I hope you have a great and safe weekend. Please check out the forum and radio stream.
Posted in Whathaveyou on January 28th, 2015 by H.P. Taskmaster
Two more adds to Eye of the Stoned Goat 5 this afternoon, and they expand the festival’s reach just about as far as it can go and still be in the continental US. The fest, which is set for June 12 and 13 in Amityville, Long Island, has just announced that Seattle’s Wounded Giant will make their first appearance and that Connecticut’s Curse the Son will return for their second time to the Eye of the Stoned Goat‘s migratory stage after taking part in Eye of the Stoned Goat 4 last May in Worcester, Massachusetts (review here).
What the bands have in common — besides riffs — is an allegiance with New Jersey-based STB Records. The label oversaw a long-awaited vinyl issue of Curse the Son‘s spectacularly stoned 2012 outing, Psychache (review here), last year, and a second pressing is already in the works for Wounded Giant‘s newly-released-and-gone split with Goya (review here) through STB, which as ever is giving the heavy due treatment in an assortment of limited pressings and special editions.
Wounded Giant will so far be traveling the farthest to attend Eye of the Stoned Goat 5, the lineup of which also features East Coast acts like Lord Fowl, White Dynomite, John Wilkes Booth, Weed is Weed, Gozu, Kingsnake and It’s Not Night: It’s Space, but I wouldn’t be surprised if fest organizer Brendan Burns has a couple tricks up his sleeve still to come for the two-day event. We’ll see what comes, I guess.
Announcements came through thusly:
You people ready for some more heavy hitters..?
Of course you are…
It’s a honor to have with us on this years fest, the blistering monstrous sounds of Seattle Washington’s very own Wounded Giant!!! Also on board for their second ‘Stoned Goat is Connecticut’s own, and STB Records stalwarts Curse the Son!!!