Posted in Whathaveyou on May 19th, 2015 by H.P. Taskmaster
Suffolk, UK, trio Old Man Lizard have signed to Heavy Psych Sounds and will release their sophomore, self-titled full-length through the Italian label this fall. Their debut, Lone Wolf vs. Brown Bear, arrived in Sept. 2014 after a demo, a debut EP, a single and a split with Earthmass and found the band merging sludge, hardcore punk, twanging guitar and bruiser Southern heavy to raise blisters across a nine-track span. In addition to the new album, they’ll be touring with Black Rainbows for five shows in the UK next month.
The PR wire tells it like it is:
HEAVY PSYCH SOUNDS Records is stoked to announce the signing of a new awesome band ***OLD MAN LIZARD*** (UK)
Formed in 2011, Suffolk sludge/stoner outfit Old Man Lizard are Jack Newnham, Gav Senior and Dan Beales.
They sounds like Kyuss, Baroness, Earth, Mastodon and Sleep all in one band!
Shared the stage with bands as Dead Meadow, Dopethrone, Conan plus a mini UK tour with Black Rainbows begin of June 2015, they already toured their country several times, and invited at Desert Fest Belgium and Hard Rock Hell.
Heavy Psych Sounds Records is going to release their second, selftitled album. Six brand new songs slow doomy melodic stoner tunes.
Out mid september 2015 in vinyl, ltd vinyl, cd and digital
Black Rainbows & Old Man Lizard UK tour: Thursday 4th June – Bristol, Stag & Hounds Friday 5th June – Northampton, Labour Club Saturday 6th June – Oxford, The Wheatsheaf Sunday 7th June – Basingstoke, The Sanctuary Monday 8th June – London, The Macbeth
Bio: Formed in Autumn 2011, Old Man Lizard wasted no time in recording and self-releasing a five track EP showcasing their uniquely heavy and majestic sound. Complete with beautiful artwork from Michael Dicken, the EP quickly gathered attention and critical praise leading to a slew of invitations to play venues all over the country – from converted churches to the legendary Underworld, London.
In their short time as a band, Old Man Lizard have shared stages with seminal bands Dead Meadow, Arabrot, and Honky to name just a few, and have already been booked to play alongside heavyweights Conan and Dopethrone this year. Made up of Jack Newnham (also of Meadows – Superfi Records, Head of Crom Records), Gav Senior, and Dan Beales; Old Man Lizard are a power trio in the same vein as Cream or Blue Cheer, but the influences of contemporary bands from Taint to Yawning Man set Old Man Lizard apart from the often crowded and unvaried sludge and stoner scenes. Not content to retread the same old tired ground, Old Man Lizard make exciting and original heavy music without compromising the art of the riff.
Posted in Whathaveyou on May 11th, 2015 by H.P. Taskmaster
Dead Feathers must keep a stock of vacuum tubes on hand, because if the sound of their debut EP is anything to judge by, they must blow through them about as soon as their amps are switched on. The Chicago four-piece initially released their self-titled EP in 2014 and have just announced their allegiance to HeviSike Records for a reissue of the fuzzed-out four-tracker, complete with all the classy/-ic blues swagger and ’70s vibing one could feasibly ask.
It’s early yet for any kind of word of a follow-up to the EP and whether or not that will also be delivered through HeviSike, but the EP reissue will be out on vinyl this August and that’s a good start as more ears get introduced to the band. Dead Feathers will also join up with Electric Citizen, Mondo Drag and Slow Season July 10 in Chicago at Reggies for what will no doubt be a good time.
Word came down the PR wire of the signing. It goes a little something like this:
Chicago, IL psychedelic rock group DEAD FEATHERS announce signing to UK label HEVISIKE RECORDS.
Five-piece psychedelic rock group Dead Feathers have partnered with English stoner rock label HeviSike Records. The label will release the band’s self-titled debut EP.
The band’s 4 song demo has gained widespread attention throughout the underground music community due to the hypnotic vocals of frontwoman Marissa Allen complemented by guitarists Tony Wold and Shaggy Shadric plus the rhythm section of Rob Rodak (bass) and Jose Bernal (drums).
The young troupe are set to embark on a series of shows including performances with Slow Season, Electric Citizen, The Well, Joy, Bonehawk and Ancient River.
Available as a digital download and limited edition 10” vinyl, August 2015.
Posted in audiObelisk on May 11th, 2015 by H.P. Taskmaster
The key is movement, except of course when it isn’t. It’s kind of hard to explain, but that seems to be the idea behind the upcoming self-titled debut LP from Closet Disco Queen, the newly arrived duo of guitarist Jona Nido and drummer Luc Hess, the latter also of Red Kunz and formerly the Ocean Collective. From Fatso Jetson-style jazzy spaciousness in “Hey Sunshine!” to the grand post-rock heft of “Black Saber,” they seem bent on sharp turns, on-a-dime twists and in songs like “Catch You on the Flip Side,” go, go, go. Even a droner like “What’s Your 20?” seems to want you to hurry up and wait, a tension underlying that finds its release in the nod-ready angular riffing of “Caposhi,” which follows and leads the way into the aforementioned “Catch You on the Flip Side,” the first of two extended cuts positioned to close their respective vinyl halves.
And one can tell from the moniker under which Nido and Hess operate, their song titles and the ain’t-nuthin’-but-a-party vibe they put out that it’s all supposed to be taken very lightly, like the two just got together and tossed this stuff in a pot to see how it boiled down. It’s a classic misdirect. Closet Disco Queen are waving party rock in your face and meanwhile, up their other sleeve is a textured progressive rollout, so that “What’s Your 20?” or side B’s more contemplative “IYD (In Your Dreams)” and 12-minute closer “Black Saber” push into ambience rare for a duo but engaging through layers of keys, drone wash and of course a feverish bout of distortion. Granted, that turn comes after “The Shag Wag,” which seems to be the name of the central riff as much as the song itself and is missing only a Chubby Checker-type hook to turn it into the dance craze of some alternate dimension, but that’s just the misdirection at work. Nido and Hess are offering a richer experience than they let on, and while it’s got plenty of boogie to match the stated intent, there’s a hidden door behind which one finds a whole other kind of party.
In the end, that only makes the album a more fascinating listen, because since the whole idea of the band is Closet Disco Queen, which as they put it is telling the story of a good girl who’s secretly bad, they’re essentially masking their own purposes in the same way. Granted, Closet Progressive Heavy Rock Duo would be nowhere near as catchy a name, but with the flow they enact between their self-titled’s seven tracks and the range they show in the process, it would fit all the same. Yeah, it’s a good time, but if you just take it as fluff, you’re missing out on the solid foundation beneath.
Closet Disco Queen will release Closet Disco Queen on June 12 through Hummus Records, Division Records and This Charming Man Records, with the promise of a European tour to come. Today I have the pleasure of hosting “Hey Sunshine!” for streaming, and you’ll find it on the player below, followed by more info on the album, and a special drum cam video of Hess during the recording. Please enjoy:
CLOSET DISCO QUEEN announces the release of their self-titled debut album due to be released on June 12th
via Hummus Records, Division Records, and This Charming Man Records
Jona Nido and Luc Hess (Coilguns, KUNZ, The Ocean, The Fawn, Schwarz, etc.) have a new hot friend. She came out of her auntie’s closet and will ruin your teenage disco. The loudest cheerleader you’ve ever seen – barely dressed and roughly combed, queue jumping everyone at the entrance of the club. Here she comes, out of nowhere and without warning, carried around by two of the sexiest bodyguards – like she always belonged. Fact is that girl can dance. She dares. She rocks. Odd and weird, charming enough to turn any of her nights into a freak show. We all knew these two guys were party animals, but this band will bring them to a whole new level of frenzy. That CLOSET DISCO QUEEN delivers 70’s instrumental psycheledic kraut rock’n’roll progressive beats for your ass to shake and your shoes to burn. Huuuh, you nasty girl.
Guitar players are sissies and Jona Nido is a dancing queen. A fairly secret one though, who hides his riffs like we all do with W’s in our granny scrabble bag. “Nah, this can’t be a serious tune. Nah, I have a hyperactive record label to run almost by myself. Nah, I already have three awesome bands to tour with. Nah, I would really need to be too drunk to play it live. Nah. Pink leggings would shrink my lovely booty ass.” Any reason was good to keep all of this six strings epicness in its closet. But then came Luc Hess, the undestructible rock beats and vodka shots machine, and he said : dude, we need a trick to party more. This trick, don’t call it a band, became CLOSET DISCO QUEEN and by the way all of their sounds are excellent, truely experimental and one-of-a-kind classics. Also, if proof was needed, Jona Nido is the freakiest guitar player in town
The band will also embark on a European tour from June 19th to July 6th. Full list of shows to be announced soon.
Tracklist: 01 Hey Sunshine! 02 What’s Your 20? 03 Caposhi 04 Catch You On The Flip Side 05 The Shag Wag 06 IYD (In Your Dreams) 07 Black Saber
Credits: Engineered by Boris Gerber and Raphaël Bovey Recorded live at Bikini Test, La Chaux-de-Fonds, CH by Jona Nido and Luc Hess Mixed by Raphale Bovey at MyRoom Studio, Lausanne, CH Mastered by Magnus Lindberg at Magnus Lindberg Productions, Stockholm, SWE Artwork by David Haldimann (https://www.facebook.com/davidhaldimannart) Photographs by Stan Of Persia (https://www.flickr.com/photos/stanofpersia/) Videos by Camille de Pietro
Posted in Reviews on May 4th, 2015 by H.P. Taskmaster
It is a humble start in just about everything but its sound. Cigale‘s self-released, self-titled debut full-length is flush with gorgeous melodies, resonant soulfulness and an airy psychedelic sensibility that’s prone to taking off in one direction or another but never loses itself completely or drifts farther from the song than it wants to. The Dutch four-piece craft an engaging sweetness throughout, the intertwining vocals of guitarist/keyboardist Romy Endeman, bassist Roel Imfeld and guitarist Rutger Smeets working fluidly to provide not only variety, but moments of engrossing richness no less lush than the guitar or bass tones. One might recognize Smeets or drummer Hans Mulders from taken-too-soon next-gen fuzz hopefuls Sungrazer, and Smeets‘ guitar retains its Gary Arce-worthy sound, but Cigale is a much different band with a much different dynamic, and what they’re doing across the seven songs/37 minutes of their first album is immediately their own. You can draw a line from one otherworldly sensibility to another, but it’s an easier and more satisfying listen to take songs like “Grey Owl,” “Random Day” and “Eyes Wide Shut” as they are rather than trying to fit them somewhere they don’t want to be. Endeman‘s strength as a vocalist makes her a major presence throughout — the Celtic flair she brings to “Eyes Wide Shut” over Mulders‘ far-back percussion and the subtle but building wash of cymbals, toms and guitars stands that song out as a highlight — and if a challenge before Cigale was establishing a personality of their own apart from what those who heard Smeets and Mulders‘ might expect coming into a new band featuring the both of them, then it’s a challenge Cigale meet well across their self-titled’s flowing, hypnotic span.
They open quietly, with the fitting melodic hum that eases the listener into “Grey Owl,” warm bassline from Imfeld and what sounds like brushed if it’s not drumbeat from Mulders arriving as a precursor to the dreamy guitar tone and Endeman‘s vocals for the first verse. Her command is palpable immediately amid the echoing lines, but backed by Imfeld and Smeets, she is hardly carrying the song by herself. “Grey Owl” has an exploratory feel, lyrics repeating in the second half to lead the way into an open section of atmospheric guitar interplay and tom runs from Mulders, who flourishes in Cigale‘s quiet spaces as well as its louder moments, the track moving toward a still-understated apex that drops out to make way for one of the record’s defining hooks in “Steeplechase,” a somewhat moodier atmosphere emerging, but the tones remain bright as the vocals run through a processor at first then step out for a more forward, upbeat verse and chorus. Ultimately, the structures of the first two cuts are similar, but the impression they give is much different between vocal arrangements, general lushness and ambience, Cigale using their spaciousness and songwriting well to bring the listener into the album and not so much try to hold attention with cloying hooks as to slow everything down so that attention doesn’t wander in the first place. The subsequent “Feel the Heat” might be the strongest piece included — it’s also the longest at 5:54 — offering a particularly soulful progression with Smeets‘ guitar rumbling in a vast, open movement behind, the bass and drums tying the whole thing together so subtly that one almost forgets there is a build underway. Some improvised-sounding guitar weaving stretches out over an instrumental finish that’s less crescendo than thematic exploration, and a few seconds’ silence stands between “Feel the Heat” and “Random Day,” the centerpiece of Cigale and its quietest, most contemplative-feeling moment.
Percussion, which might be keyboard-programmed initially, is intermittent, guitars quietly noodling, bass minimal, cymbals washing every now and again, but Endeman‘s vocals croon over a quiet key line and that turns out to be more than enough to carry the soft flow of “Random Day,” which picks up in the guitar, adds some background singing, but never comes close to the rhythmic push even of “Feel the Heat,” which seems a world away about three minutes later. No matter how far out or spacious Cigale get, there seems to be one element responsible for providing the foundation — much to their debut’s benefit, that element changes — and on “Random Day,” it’s the keyboard built upon, but “Harvest Begun,” which follows, offers another shift. The shortest song on Cigale at 3:54 and arguably as close as the four-piece come to heavy psychedelia, it offers another album-defining hook and a satisfying lockstep of organ sounds and bass initially before opening its fluid motion and shifting into a wash, first of vocals, then lead guitar, coming to as much of a head as anything does across the record, but still ending quietly and giving way to the peaceful plucked notes, slide ambience, cymbal wash and percussion of “Eyes Wide Shut,” a linear build playing out in probably the most direct a-to-b included, the earlier structural similarity cast off in favor of a more stark turn, Endeman and the backing vocals topping the ending with suitable, tasteful energy, leaving closer “Pieces” to develop that momentum and finish out the album with all the rhythmic swing of “Harvest Begun,” but a more patient progression overall, unfolding through keys and guitar as the rhythm section sets the bed for the jam that winds “Pieces” to its last fadeout, the final statement of Cigale‘s Cigale finding a balance between catchy songcraft and (purposeful) instrumental meandering. The soothing atmosphere of that ending is as much easing out as “Grey Owl” was easing in, and it demonstrates the prowess either conscious or not of Cigale for creating an undercurrent of structure for their sonic expanse. As they continue to develop sound-wise, that’s likely to act as the keys, guitar, bass and drums do throughout the tracks of Cigale — as a foundation from which absorbing, varied and colorful explorations are launched. For now, it serves as one of 2015’s most promising debuts, and that seems like plenty to ask.
There are plenty of people around more qualified than I am to comment on Budgie‘s enduring legacy or their effect on heavy rock and metal, but one doesn’t exactly need a masterful knowledge of the form to hear the roll of “Nude Disintegrating Parachutist Woman” and have a lot of things subsequently make more sense. The Welsh trio’s self-titled 1971 debut is one of those albums you hear and recognize pieces of from the work of other bands who’ve snagged a riff here, a melody there, and really you can take your pick from among their first three full-lengths — this, 1972’s Squawk and 1973’s Never Turn Your Back on a Friend — for supremacy. What ultimately does it for me is Burke Shelley‘s bass tone. With guitarist/vocalist Tony Bourge and drummer Ray Phillips along with Shelley on bass/vocals, Budgie was nothing if not a power trio, but to hear the weight in the production by Rodger Bain (who also helmed early outings for Black Sabbath and Judas Priest) as “Guts” gets the album going, yeah, it’s a pretty easy sell.
And in classic ’70s heavy form, they open with this killer heavy track and then move immediately into ballads, in this case the quick “Everything in My Heart” and subsequent “The Author,” which picks up as it makes its way to toward the aforementioned “Nude Disintegrating Parachutist Woman,” which rounds out side A. From there, “Rape of the Locks” picks up with an immediate slam and proto-shredding solo, and all the swing and swagger you could hope for, leading to the fuzzed out “All Night Petrol,” an acoustic resurgence on “You and I,” and the unfuckwithable closer “Homicidal Suicidal.” In the spirit of many of the best records of its era, it gets in, kicks ass and gets out — probably because by the time it was finished Budgie were due either out on tour or back in to start tracking Squawk.
If you know heavy rock or doom, you don’t need me to tell about this one I’m sure. Frankly, I was surprised to find that I’d never closed out a week with Budgie before, so consider this my way of making up for lost time. Of course, I hope you dig it.
Nothing to say, really. If you’re wondering about that job, I heard today [after this post first went up] that they want to do another interview. Between phoners and in-person, this will be number four. It’s in two weeks.
I also put in for a bartending gig yesterday, just out of a need to try for something. No word back.
Next week, audio from Insect Ark and Mos Generator and reviews of Cigale and Ichabod. Akris interview too at some point. Unless I get a call in the next two hours telling me to start work Monday, I was supposed to head to Brooklyn on the 5th for Kings Destroy‘s record release with Elder, Apostle of Solitude and Clamfight, but it occurs to me that in addition to having no job and no money, my car is also dead in the parking lot outside and needs a new battery before it can go anywhere. Which of course I can’t afford. So we’ll mark those plans as “tentative” for the time being.
Got some cool vinyl this week though and was referred to twice as a “legend.” Feels great. Feels legendary.
Posted in audiObelisk on May 1st, 2015 by H.P. Taskmaster
Though the album from which it stems is rife with organically captured progressive wash, “Plumajilla” is a singularly resonant stretch on Mondo Drag‘s self-titled sophomore full-length. Based at the time it was recorded in Iowa and currently in Oakland, California, the trio recorded Mondo Drag (review here) in 2012 as the one-time-only lineup of vocalist/keyboardist John Gamino, guitarists Nolan Girard and Jake Sheley, bassist Zack Anderson and drummer Cory Berry, shortly after the latter two moved home to the Midwest following their departure from Radio Moscow. They’d leave soon for Europe to launch Blues Pills and Gamino, Girard and Sheley would make for the coast, where they’d hook up with bassist Andrew O’Neil and drummer Ventura Garcia in the current incarnation of the band, but the recordings for the self-titled remained, and RidingEasy Records has stepped in to release the album on CD and vinyl on May 12.
Which brings us to “Plumajilla.” The centerpiece of the seven-song outing, it gets underway with a straightforward enough organ-laced swing, but soon shifts into psychedelic guitar layering and begins to build to a head as it moves toward the midsection. Now pay attention, because the three-minute mark is where it all turns. Keys take centerstage and set the foundation for a gorgeously melodic progression that, almost in a mirror of the beginning of the song, start a build of their own, gradually incorporating guitar, bass and drums along a subtle but immersive course. Again, Mondo Drag‘s Mondo Drag isn’t short on krautrock-minded exploration, but “Plumajilla” is one of those songs that lets you know just how special a record actually is. And I won’t take anything away from the swagger of the opening section either just because the second half is so glorious. Later cuts like “Pillars of the Sky” and attitude-heavy closer “Snakeskin” have their own sense of classic heavy proggery, but the marriage of both sides in “Plumajilla” is one that simply begs to be experienced.
And like the record itself, it’s a there-and-gone moment. For Mondo Drag, the album represents a fleeting time in the band’s existence after their 2010 debut, New Rituals (review here), and before whatever they do next, but it’s given a landmark feel for the lineup it boasts and for the material itself. It will reportedly be the first of three Mondo Drag releases through RidingEasy — worth noting Kozmik Artifactz also had a European issue in January — and I’d be hard pressed to think of a better way for the band to kick off a series than with this as their first installment.
Dig into “Plumajilla” below with volume aplenty and an open mind. PR wire info follows:
Mondo Drag recently signed to L.A. label RidingEasy Records to release the band’s sophomore album, a culmination of many journeys: sonic, physical and temporal.
The creatures known as Mondo Drag originally hailed from deep along the banks of the wild Mississippi River where they created ominous, spiritual, savage psychedelic revival sounds. Under the spiritual guidance of the forefathers of heavy psych, prog, and proto-metal, Mondo Drag has created an amalgamation of sounds the likes of which have not been heard for decades. The band’s unique sound, and rare cohesion probably stems from the fact that core members John Gamino (keyboards, vocals), Nolan Girard, (guitar, synth) and Jake Sheley (guitar) grew up together and have been playing music with each other for 15 years.
Their debut, New Rituals was released by Alive Records in 2010 and for the next fourteen months the band hit the road hard, headlining a half a dozen tours in the US and appearing at numerous psych fests along the way. In the Winter of 2011-2012, the band returned to the studio with new rhythm section, Zack Anderson and Cory Berry, also intermittently involved with popular Swedish band Blues Pills. Shortly after the album’s completion, the pair left to pursue Blues Pills, which was taking off in Europe. Mondo Drag soon replaced them with current drummer Ventura Garcia and bassist Andrew O’Neil upon relocating to Oakland.
Now settled in Oakland, CA the ensemble continues to create cosmically proportioned, churning jams evocative of a rainbow of inspirations such as Blue Cheer, Black Sabbath, Can, Atomic Rooster, Hawkwind, Budgie, Uriah Heep, Deep Purple, Italian prog, Krautrock in general, and heavy space-outs.
Mondo Drag will be available on LP, CD and download via RidingEasy Records on May 12th, 2015.
MONDO DRAG LIVE: 05/21 San Francisco, CA @ Great American Music Hall w/ Mammatus
Posted in audiObelisk on April 29th, 2015 by H.P. Taskmaster
Is there such a thing as psychedelic extremity? Finnish four-piece Domovoyd aren’t through the opener of their self-titled sophomore LP before they make a case for it. Granted, “Domovoyage” is 17 minutes long in leading off Domovoyd‘s Domovoyd, which is out May 8 on respected purveyor Svart Records, but I think the point holds despite the substantial runtime. And “Domovoyage” is hardly a completely summary of what the double-vinyl has to offer, the subsequent “Ambrosian Perfume” reinventing pre-New Wave proclamations atop repetitive wah and far-back strumming before shifting into grunge riffing and echoing shouts, a solo taking hold at 6:15 that carries through the remainder of the track’s 9:41. The rules of songwriting are flung open across Domovoyd‘s freaked-out 59-minute span, and whether it’s a perversely weird turn, as in “Ambrosian Perfume,” or a sprawling exploration like the bookending 17-minute closer “Vivid Insanity” — otherwise known as “side D” — the returning lineup of guitarist/vocalist Oskar Tunderberg, guitarist Niko Lehdontie, bassist Dmitry Melet and Axel Solimeis offer a resonant progression from the debut, their penchant for weirdness matched by their command of sound.
“Caustic Afterglow” mounts tense spoken word drama over pervasive, swirling drone, but at four minutes long and providing a severe end to side B, it’s more than an interlude. On the CD and digital versions of the album, “Caustic Afterglow” leads into “Mystagogue,” a buzzing and exploding jam that, like that riff that took over “Ambrosian Perfume,” has some basis in grunge to go with its weighted tonality. More than the earlier cut, however, “Mystagogue” builds to and hits an apex within its 4:38 pays off the prior trades between restraint and release, Tunderberg‘s vocals shifting between semi-spoken parts and rougher shouting, Domovoyd never quite allowing themselves to give completely over to space rock impulses, but always seeming to be way up in the atmosphere anyhow. “Mystagogue” makes a fitting summary of some of the noisy psych the opener also has on offer, but there isn’t really one single track that encapsulates the scope of the record, as “Amor Fati” proves almost immediately with a darker, thicker roll, choice snare work from Solimeis and a break into off-kilter strumming from Ledontie and Tunderberg, who’s backed in the verse by a high falsetto so deep in the mix as to make you wonder if it’s really there. I’d give you a definitive answer on that if I had one.
Sub-screaming and noise wash caps “Amor Fati,” but there’s a final spoken line from Tunderberg as well that I won’t spoil here, and “Vivid Insanity” takes hold following a few seconds’ silence with a quiet guitar figure that develops peacefully over the first seven minutes, drums coming in, effects lightly swirling around, but a stop at 8:40 brings the full-toned chaos of a verse, and the heft and madness continues to churn its way forward in leads and shouts and rumble and thud as Domovoyd push toward the 14th minute and a gradual comedown in intensity, finally ending with a stretch of brighter droning and other noise, not abrasive, but humming out a waveform on a long fade to close out. The title of the closer is perhaps a fitting descriptor for Domovoyd‘s overarching perspective throughout the album, but both words in it are worth emphasizing, and by that I mean that the foursome not only craft this strange, varied, at-times-bludgeoning, at-times-intricate brew, but do so with an underlying sense of purpose to their work and consciousness unrelenting, making the album both a fascinating listen and at times utterly terrifying. For what it’s worth, Domovoyd seem to be perfectly comfortable in that alternate-dimension morass, and the more one hears the record, the more it makes sense they’d put it out as a self-titled. Speaking sonically, that psychedelic extremity is their home.
Today I have the pleasure of hosting the premiere “Mystagogue” from Domovoyd‘s Domovoyd for streaming. Please find it below, followed by more info on the album, and enjoy:
The young psychonauts of Domovoyd are onto their sixth year of existence in this dimension, and, having taken many acid heads by surprise with their debut album Oh Sensibility (2013), are ready to deliver a second transmission from worlds beyond and within. Scheduled to appear on the planet on May 8th, the album is self titled and it will be available on CD, double vinyl and digital.
Domovoyd’s eponymous 60-minute behemoth pays tribute to progressive rock masterpieces of yesteryear in the sense that it is, for lack of a better word, a concept album. Storytelling and mythmaking in the works, if you will, but distilled through an overdriven stack of amplifiers.
The album’s six tracks deal with inner discovery of the psychedelic kind and ultimately with the loss and destruction of all conceptions of self and the world. Old ego is a too much thing, as Charlie Manson once said.
Posted in Whathaveyou on April 23rd, 2015 by H.P. Taskmaster
Corpus Christi, Texas, five-piece Switchblade Jesus have inked a deal to reissue their 2013 self-titled debut, which also saw a 2014 vinyl release on Bilocation (review here), on Ripple Music. The album landed with nothing short of a smash upon its initial arrival, and has continued to build an audience in the two years since — momentum that Ripple, who seem to be snapping up more bands each passing week, will no doubt help move forward. As it seems like the association between band and label will be ongoing, that is, not just for this reissue, it would be hard to find a more suitable home for Switchblade Jesus than where they’ve landed.
They’re on the road now with Fuzz Evil, having played El Paso last night on a quick four-date tour of Texas (one of few states one can legitimately “tour” within; see also California), and the date for the reissue is May 12, as told by the PR wire:
Ripple Music to reissue debut album from Switchblade Jesus | Share new video for ‘Oblivion’
Switchblade Jesus will be released on 12th May 2015
In the latest of a long line of formidable signings this year, LA-based record label Ripple Music is thrilled to announce the addition of Texan band Switchblade Jesus to their roster, and the official rerelease of their acclaimed 2014 self-titled debut this May.
Formed in 2010 in the land of oil and tar, the Corpus Christi outfit consisting of Peter Quarnstrom (vocals), Eric Calvert (lead guitar/vocals), Billy Guerra (guitar), Jason Beers (bass) and Jon Elizondo (drums) may be hard drinking operators of heavy rock and roll, but they are also well versed in the ways of the desert.
Switchblade Jesus, the band’s devastating right hook of a debut was originally released on Kozmik Artifactz and instantly found listeners hearing notable nods to Kyuss, Orange Goblin and Clutch deep amid from the record’s weighty grooves and vintage stoner vibes. A crushing, loose and alcohol-fuelled fistfight between heavy fuzz and wild peyote hallucinations, tracks like ‘Bastard Son’ and ‘Renegade Riders’ showcase the band’s raw and unruly power… and then some.
The band also take to the road this month to play a number of dates across their home state of Texas with Arizonan three-piece Fuzz Evil (See dates below).
22nd April – Low Brow Palace – El Paso, TX 23rd April – The Mix – San Antonio, TX 24th April – The Lost Well – Austin, TX 25th April – Club Dada – Dallas, TX
Switchblade Jesus by Switchblade Jesus will be rereleased on 12th May 2015 through Ripple Music.