While Philadelphia-based Randall Coon has a few prior digital releases under his belt for the solo-project Skunk Hawk, as I understand it, the six-song self-titled/self-released tape is the first to receive a physical pressing. The cassette is limited to 100 copies with a pro-printed tape and two-panel j-card, and finds the multi-instrumentalist/vocalist Coon — who appeared with King Buffalo on their 2013 demo (review here) and was in Velvet Elvis at the time of their 2012 release, In Deep Time (review here); both obviously based in Upstate NY — employing a variety of gleefully strange pop textures in a meld of psychedelic folk and bedroom stoner fuzz. Interestingly, the tracklist on the j-card lists the song “Frigidaire,” which closes side two, twice. The download version (not included with the tape, but available on Bandcamp) has it listed with side one comprised of “Water Born Devil,” “High School Ball” and “All My Heart,” and side two “There Will be Another Day, Love” (listed on the tape as “Another Day”), “Lovers of Pompeii” and “Frigidaire,” though in the download version, “Lovers of Pompeii” and “Frigidaire” are the same song. The tape also lists “Stone Embrace” on side two, so maybe there are still some kinks to work out.
My working theory is that “Stone Embrace” and “Lovers of Pompeii” are the same track with a changed title, and that that song is the middle one on side two of the tape, also the most intense of the collection, and that the actual closer of the tape is “Frigidaire,” which has a pulsing bassline and howled hook, which is accidentally listed twice on the tape but doesn’t come in the download. Nonetheless, it’s kind of hard to know what’s where, but however one chooses to listen, there’s plenty to dig into. A rawer form of “There Will be Another Day, Love” appeared on Skunk Hawk‘s 2011 EP, I Fell into the Sea and into the Earth, but other than that, the material here is new, and from the Angelo Badalamenti-style pop drama of “High School Ball” to the church organ-laced rhythmic drive of “Stone Embrace/Lovers of Pompeii,” Coon never relinquishes the experimental edge in the sound. “There Will be Another Day, Love” winds up a highlight for its insistent play of fuzz guitar and keys and Neil Young-via-Arbouretum vocal performance, but the jangly oddity and blown-out singing of “All My Heart” and the subtly-drummed vulnerability of “Water Born Devil” offer likewise satisfying results even if they take different routes to get there. If it’s confusing in a practical way, Skunk Hawk is as proportionally an engaging listen, toying with the balance between fuzzy rock and off-kilter less-frenetic Man Man-style indie songwriting in a manner that few would attempt, and pulling it off while crafting a personality of its own.
One can see easily why after several other releases, Coon might see fit to make Skunk Hawk‘s Skunk Hawk the first physical pressing from the project. I hope it’s not the last. It may be tough to figure out where one is at any given moment, but somehow that makes the listener more receptive to turns like the sneering apex of “Another Day,” “High School Ball”‘s abrasive midsection feedback or the low-mixed currents of effects noise, drones and other flourish sounds that crop up throughout. It’s not a release looking to be fully understood, and that’s one of the most exciting aspects of it.
Posted in Whathaveyou on February 10th, 2015 by H.P. Taskmaster
Melbourne trio Child released their self-titled debut last year to wide swaths of acclaim for its heavy blues rollout, and after an initial announcement back in Sept. of Bilocation Records‘ having picked it up, presales have been opened ahead of a Feb. 20 CD and LP release. Lest life be too fair, the 111 white/orange copies have already sold — not too shabby since as I understand it preorders have been going on for less than 24 hours — but there are still red and black versions to be had, at least for the time being.
On a related note, Child will take part May 10 in Cherry Rock 015 in their hometown alongside Red Fang, New Zealand’s Beastwars, Horsehunter and others. It looks like quite a way to spend a Sunday night, should you happen to be in town.
This from the PR wire:
CHILD debut album released on 180g vinyl & CD – available on pre-sale now.
Formed in the rock n roll underground of Melbourne, Australia in 2012, Child have captured the attention of blues-heavy rock enthusiast’s from all corners of the globe.
Their self titled debut release is a look through the pinhole at a bands honest and unhindered purge of expression. Drawing influence from an ever growing, ever evolving sonic palette; You will find Child’s roots tightly entwined in and around the Blues whilst taking a heavier and more visceral approach. The group take pride in upholding the strong tradition of Australian rock that preceded them which gave birth to likes of AC/DC, The Easybeats, Rose Tattoo, Billy Thorpe and the Aztecs and Masters Apprentices to name a few.
Child are honoured to fly the flag and will leave no crack unfilled as they spread their brand of heavy psych blues across the earth. All that can be said is great things are on the horizon for this trio.
Organ on “All Dried Up” by Neil Wilkinson Recorded & Mixed By Paul Maybury at A Secret Location Studios. Mastered by Dav Byrne at Iridium Audio. Oil Painting by Nick Keller, Photo by Gil at Superteam Studios
VINYL FACTZ – 111x white hazed orange (EXCLUSIVE MAILORDER version) – 200x solid red – 200x black – Plated & pressed on high performance vinyl in Germany – Matt laquered 300gsm gatefold cover – Handnumbered – Mastered for vinyl
TRACKS 1. Trees 8:13 2. Stone by Stone 6:15 3. All Dried Up 5:13 4. Mean Square 8:06 5. Blue Overtone Storm/Yellow Planetary Sun 10:03
Posted in Whathaveyou on February 9th, 2015 by H.P. Taskmaster
Well that didn’t take long. Brazilian trio Saturndust released their self-titled debut album on Jan. 26 — the song “Realm of Nothing” was included in the latest podcast — and today word came down that the São Paulo unit have signed a deal with Nashville newcomer Helmet Lady Records to release it on vinyl. Pretty indicative of a good reception when your record gets snagged for a physical pressing in about two weeks’ time. Cheers to Saturndust, who recorded at Estudio Superfuzz, which was where Mars Red Sky also did last year’s Stranded in Arcadia, and to Helmet Lady on the cool pickup.
If you haven’t heard the record yet, the full stream from Saturndust‘s Bandcamp is below:
HLR Announces Signing of Saturndust
We are extremely excited that Brazilian space/stoner/doom trio Saturndust has joined the HLR family!
This is an album we fell in love with right away and knew we wanted to get out on vinyl in a special, limited release. The album is full of nasty, crushing doom coupled expertly around a backdrop of space psych and cosmic tone. It’s a stunning embodiment of what Helmet Lady Records cherishes in the heavy music and art realm, and we know that you will love it, too!
Keep your eyes peeled for release particulars and pressing information, but until then, please head over to the Saturndust bandcamp and enjoy the heck out of these wonderful tracks.
This year, Saturndust enters the void to give life to the first full-length. After months of a negative phase, they are ready to drop their self-titled album, until now the deepest experience.
‘Saturndust’ transmutes the weight of the asteroids into the magnitude of the riffs, explosive grooves, and bleak vocals that absorbs you to unknown realms of the deep space and in your mind. The 6 tracks show how the human is weak and small, closer to it’s own discoveries and the infinity of the cosmos.
With a different perspective than the previous work, ‘Gravitation Of A Hollow Body’ opens the album with an astonishing doom-heaviness, ‘All Transmissions Have Been Lost’ ascends calmly between it’s parts, until decay in bitterness. The side-B begins with ‘Hyperion’ which explores the melodies and more crushing cadenced riffage. There is no god in this journey to beyond.
Way back in October — in the before times, the long, long ago — I reviewed a three-song self-titled EP from Los Angeles trio Lords of Beacon House as part of a batch of radio adds. Well, as it turns out, that wasn’t so much the three-piece’s first EP as a teaser for their eight-song full-length debut, which is coming soon through Hom Hom Hom. Whoops. Whatever you want to classify those tracks as, “Distant Thunder,” “Seven Days” and “Cool Water Blues” made a remarkable opening argument in favor of Lords of Beacon House, steeped in heavy-’70s-via-’10s West Coast boogie and naturalist roll, their groove rich in tone and unpretentious in swing but still ready to be sold over the counter as a mustache-growing vitamin supplement.
Good news followed soon behind when Psycho California announced that Lords of Beacon House – the lineup of Amir Ouaddi, Peter King and Michael Lopez — would take part in its illustrious lineup this May 15-17 along with Earth, Om, Sleep, Pentagram and quite literally dozens of others, and that the band would have their full self-titled (as in, not just three tracks) out on Hom Hom Hom before they took the stage at The Observatory in Santa Ana. A worthy goal. In the meantime, the trio have a new video for “Distant Thunder” directed by Gregory Ontiveros and I’m happy today to be able to host the premiere.
If it’s your first encounter with Lords of Beacon House, some of their ’70s stylization might at first seem familiar, but if you listen to the track there’s actually little about it to call retro. The sound is clear and modern — a bluesy foundational bassline leading the way for the chug-riffing guitar and drums to follow — and in its hook and heft, the song has more in common with the new breed of skater heavy than the proto-metal that many will no doubt cast as its major influence, but so it goes. Whatever you want to call it, the track is catchy as all hell, and whether you’re listening just to this video, or to the three songs thinking they’re a standalone release when they’re definitely not that at all or just making your way through in anticipation of the album’s arrival, I think you’ll find the first impression satisfying.
Lords of Beacon House have a handful of California shows booked this month. Dates follow the video below. Enjoy:
Lords of Beacon House, “Distant Thunder” official video
Lords of Beacon House upcoming shows:
02.14 4th St. Vine, Long Beach, CA 02.18 Los Globos, Los Angeles, CA 02.20 Ham & Eggs, Los Angeles, CA 02.21 The District, Redlands, CA 02.24 The Blue Lagoon, Santa Cruz, CA 02.25 El Rio, San Francisco, CA 02.27 TBA, Santa Cruz, CA 02.28 Stork Club, Oakland, CA
Posted in Radio on January 30th, 2015 by H.P. Taskmaster
The Obelisk Radio server, which I’ve taken to calling the “main computer core,” was down most of last week after some kind of unknown surge in the EPS conduits, so with the data stream running on auxiliary power (yes, I’m using Star Trek science lingo; I’ll stop) it didn’t make much sense to do a round of adds. No one would hear the stuff anyway amid all the Sabbath, Kyuss, Goatsnake, Electric Wizard, etc. Sometimes I really like that backup server, but after a few days of listening, a change is welcome. I was pretty happy when we got the primary box back online.
And by “we,” I mostly mean Slevin, to whose technical expertise I am perpetually indebted. While I wouldn’t dare go much farther than doing so, I’m fortunate enough to be able to add files to the server on my own — I’m sure if you gave him five minutes he’d come up with a more efficient method — so we’ll give that a shot, and if the whole thing doesn’t come crashing down, we can consider it a win. Here goes.
The Obelisk Radio adds for Jan. 30, 2015:
Sumac, The Deal
Sumac start out high-profile thanks to the lineup of guitarist Aaron Turner of Isis and Old Man Gloom and drummer Nick Yacyshyn of Baptists and the fact that Russian Circles bassist Brian Cook recorded the low end for their Profound Lore debut, The Deal, but I think even if they were a trio of out-of-nowhere unknown entities, this record would turn some heads. Coated in feedback, blisteringly heavy — in the tradition of older Isis but more assured in its purpose — its six tracks breathe dense tonal life into the pallid post-metal vibe, songs like “Hollow King” (12:21) and “The Deal” (13:41) sounding as complex as they do crushing, wanting nothing in impact or atmosphere. “Spectral Gold” (3:18) and “Thorn in the Lion’s Paw” (8:55) begin The Deal on an ambient note, and the sprawl-drone of “The Radiance of Being” ends it likewise with five minutes of solo guitar from Turner, but in between “Hollow King,” “Blight’s End Angel” (10:17) and “The Deal” work quickly to win over even skeptical ears. Yacyshyn‘s performance is of particular note. Where it would’ve been all too easy to fall into Isis-style patterning to complement Turner‘s riffs, he holds firm to his own personality and The Deal is that much stronger for it. It is a startling and potential-laden debut. Almost enough to make up for the needless dickery Old Man Gloom pulled last year sending a fake record to the press, assuming what I’ve heard from Sumac is actually the real thing. Sumac on Thee Facebooks, at Profound Lore.
Garden of Worm, Idle Stones
Tampere, Finland, trio Garden of Worm make their debut on Svart Records via Idle Stones, their second album following 2010’s Garden of Worm (review here) on Shadow Kingdom. Comprised of four songs alternating between shorter and longer before arriving at 19:49 closer “The Sleeper Including Being is More than Life,” the sophomore outing is a richer, more progressive affair, with bassist SJ Harju and guitarist EJ Taipale combining their vocals effectively at the fore of the mix on “Summer’s Isle” (10:13), which follows the rolling opener “Fleeting are the Days of Man” (5:35). With a style that ultimately owes more to Witchcraft‘s tonal understatement than Reverend Bizarre‘s genre-defining traditionalism, they nonetheless shirk the trap of retroism and make an individual showing with a feel both loose and purposeful throughout. The brighter guitar work of “Desertshore” (7:01) makes it a highlight, along with the persistent crash of drummer JM Suvanto, and the freakout that emerges in “The Sleeper Including Being is More than Life” gracefully and boldly flows across the rarely-bridged gap between doom and heavy psychedelia with a naturalness that very much makes me hope it’s not another half-decade before we hear from Garden of Worm again. Garden of Worm on Thee Facebooks, at Svart Records.
Carpet, Riot Kiss 7″
Story goes that German progressive heavy rockers Carpet started writing for their third album, to follow-up on 2013’s Elysian Pleasures (review here), which was released by Elektrohasch, and wound up with some material that didn’t quite fit the concept they were going for. Since they dug it and didn’t want to just toss it, the Riot Kiss b/w Song of Heartship 7″ was born. Two songs, both a little over four minutes long, reaffirm the Augsburg four-piece’s commitment to forward-thinking textures, with “Riot Kiss” as the space-prog A-side and the quieter, atmospheric-but-still-clearheaded “Song of Heartship” emphasizing Carpet‘s range on side B, the cuts having more dynamic between them than many bands show in their career. I don’t know what Carpet – the lineup of Sigmund Perner, Jakob Mader, Hubert Steiner and Maximilian Stephan — are shooting for with their third record that these songs didn’t jibe with, and I guess we won’t know until that album arrives, but Riot Kiss is a stopgap of considerable substance that showcases Carpet‘s ability to present progressive ideas in ways not only palatable but deeply engaging. Carpet on Thee Facebooks, Elektrohasch Schallplatten.
Sporecaster, See Through Machine
An experimental drone/psych duo comprised in half by Ron Rochondo of Boston’s Ice Dragon, Sporecaster‘s debut release, See Through Machine, is four tracks/26 minutes of exploratory drone given natural breadth through use of didgeridoo and percussion. The outing was tracked at Ron’s Wrecker Service and has a lo-fi feel despite its spaciousness, and chants out its hypnotism early, opener “Invocation or Incantation” (4:20, by astounding coincidence) wrapping itself around consciousness like some kind of psychedelic serpent, only to have the whistle-blowing “Things are Not What they See” (3:21) and tribal-ish drummed “The False Light” (5:46) push deeper into the moody ambience laid out at the beginning. Closer “You are Transparent” (12:45) makes me wonder what Sporecaster might do working in even longer forms, its drone-out having room for both a jammy drum progression and a continuation of the earlier experimental and improvisational feel. As an early showing of their intent, though, See Through Machine makes it clear that Sporecaster‘s creative process is wide open. Sporecaster on Thee Facebooks, Ron’s Wrecker Service.
The Devil and the Almighty Blues, The Devil and the Almighty Blues
The slow-rolling “The Ghosts of Charlie Barracuda” (7:46) begins the self-titled debut from Oslo-based five-piece The Devil and the Almighty Blues, released on the upstart Blues for the Red Sun Records. That song picks up gradually in the first of several of the six-song full-length’s satisfying builds, but atmospherically sets a laid back tone that tracks like the subsequent “Distance” (4:11) and more active “Storm Coming Down” (10:17) play off of, the band proving equally comfortable in long- or short-form material, nestling into a neo-heavy semi-retro blues rock more in line with Graveyard‘s overarching moodiness than Witchcraft‘s early-days dooming. Well-balanced lead guitars and crooning vocals serve as a uniting theme, but in a classic dynamic, it’s the rhythm section that makes the swing of side B’s particularly thick “Root to Root” (9:48) and “Never Darken My Door” — the singing especially blown-out on the latter — so irresistibly grooved. Wrapping with the classy fuzz of “Tired Old Dog” (6:28), The Devil and the Almighty Blues will come from a familiar place sonically, but as their debut, The Devil and the Almighty Blues boasts a cohesion worthy of its weighty title. The Devil and the Almighty Blues on Thee Facebooks, Blues for the Red Sun Records.
Some of this stuff — Sumac, The Devil and the Almighty Blues, Carpet — was also included in the podcast that went up yesterday, so if you’d like another avenue for getting a sample, that might not be a bad way to go. However you choose to dig in, I hope that you will and hope that you find something that you feel is worth the time and effort.
Posted in Whathaveyou on January 29th, 2015 by H.P. Taskmaster
I’m not sure where I got the idea, but for some reason I was thinking that Blackout‘s forthcoming debut on RidingEasy Records was a reissue of their 2013 EP, We are Here (review here). It’s not. It’s a new album, a full-length. I’ll be damned. Had I been correct to start with, there’s no way I wouldn’t have included Blackout‘s first LP in my 2015 most anticipated list, having so thoroughly dug that EP and the Converse-sponsored EP (review here) that followed it in 2014. Sometimes it takes me a minute to catch up on stuff, though, so better late than never.
Following the album’s release on March 31, Blackout will head west in May for a slot as part of the Psycho California fest’s dream-team lineup (info here). They’ll be in good company.
The PR wire makes sure we’re all on the same page:
Blackout announce release of new album via RidingEasy Records in March
This March Brooklyn’s self-proclaimed “pillars of rock and roll righteousness” will release their new, self-titled album through Los Angeles’ equally badass record label RidingEasy Records.
Blackout was initially formed by guitar player/vocalist Christian Gordy and drummer Taryn Waldman at Gordy’s July 4th cookout in the Bushwick neighborhood of Brooklyn, New York back in 2011. Waldman, a former Hooter’s waitress turned big time commercial film editor and Gordy; a one-legged bartender/artist/BBQ enthusiast were (by their own admission) something of an oddball couple for NY’s rigid metal scene. Yet with no direction and zero discussion both connected instantly and instinctively began banging out massive caveman jams against a patriotic backdrop of food, alcohol and the stars and stripes.
In fact as far as names go, choosing Blackout – suggesting a power crash, sudden and temporary loss of consciousness or a mob hit on an entire family – was a total no brainer.
In the months that followed the pair recruited close friend Justin Sherrell on bass duties, and as things began to get louder and considerably heavier in November 2012 the trio entered Vacation Island Studio with engineer and producer Rob Laakso (Diamond Nights, Swirlies, Kurt Vile) to record their debut release We Are Here. Choosing to self-release the album on vinyl in early 2013 it garnered plenty of acclaim from some of the hottest blogs du jour and was praised for its Melvins-esque ferocity and pounding Sleep-like groves.
Following an extensive gigging regime in, around and way beyond New York’s city limits with acts like Acid King, Weedeater and Trouble the band took to the studio once again in the summer of 2013 to record a body of new songs. Songs that strictly worked off the riffs spontaneously summoned during practice sessions where old material was revived, ideas hashed out and sounds reworked into the record you will soon hear in full. Songs that make up Blackout, the band’s eagerly awaited follow up and soon to be released revelation on RidingEasy Records.
Blackout by Blackout will be released worldwide on RidingEasy Records on 31st March 2015.
Posted in Radio on January 9th, 2015 by H.P. Taskmaster
Usually I approach doing a batch of radio adds with some trepidation — after all, I’m basically writing five (or, in this week’s case, six) short reviews — but after doing that Last Licks series last week, this honestly feels like a breeze. Perspective is everything, and to add to yours and mine, I’ve got 18 records joining The Obelisk Radio playlist this afternoon, and it’s a widely varied bunch, both in what’s written up here and the actual makeup of the stuff.
Full-lengths, EPs, splits, a live release, a single, some doom, some black metal, some heavy rock, sludge, psych, you name it. I had the radio going for a while yesterday and heard a few really satisfying changes in style. I like that and I hope you do too, because I don’t think it’s going to change anytime soon. Full list of adds is on the Updates and Playlist Page.
The Obelisk Radio adds for Jan. 9, 2015:
Formes, Dysphoria Part 1
For an album that starts “Through this Hole” and finishes in “Dead Ends,” Formes‘ Dypsphoria Part 1 is a resoundingly progressive and diverse outing that, at its core, works primarily in playing shoegaze psych and extreme metal off each other. Somewhere between Dead Meadow and Akercocke, a song like “Dead Ends” finds a way to mesh wub-chug riffing with the crooning vocals of guitarist/bassist Steve McNamara with the responding death growls of his brother, drummer/guitarist Jordan. The UK three-piece is rounded out by Rob “The Alchemist” Hemingway, whose synths feature heavily in songs like “I am Nothing” and “Tumult,” which atmospherically expand on the ideas the opener presents, thrusting these two sides into the same place and, in defiance of what are generally thought of as the physics of genre, making it work. Formes‘ most effective moments are when they ram one into the other, as on the acoustic-to-doom-pummeling “Smile Club,” which follows quietly seething brooder “I Will Make You Ill” and rounds out with an extended whistle of harsh feedback, but I won’t discount the value they clearly place on structural variety either. Together, they make Dysphoria Part 1 as satisfying as it is unpredictable, and while I don’t know when one might expect Part 2 or just how many installments of Dysphoria there might be, I look forward to when I can next encounter the fruits of Formes‘ stylistic restlessness. Formes on Thee Facebooks, on Bandcamp.
Romero, Gold for the Hunt
Madison, Wisconsin, sludge poppers Romero made a New Year’s present out of “Gold for the Hunt” by offering the song as a free download on Jan. 1, but it’s also the first new studio material to come from the four-piece since their early 2013 full-length, Take the Potion (review here). Like that album, the single revels in a Floor/Torche influence, but seems to delight even more in its fuzzy tone and burly edge in the vocals of guitarist Jeffrey Mundt and drummer Ben Brooks. With the foundation of Patrick Hotlen‘s bass rumbling beneath, the guitar and vocals push through a tension-release chorus and into a well-layered chugging bridge that further highlights Romero‘s penchant for melodic bellowing. Guitarist/percussionist/organist Tim Consequence seems all but absent initially, but in the final movement, a sustained current of organ winds up as one of “Gold for the Hunt”‘s most distinguishing factors. Well, that and the brutal growing, anyway. Glad to hear from Romero, even in so abbreviated a manner. If you’ve never encountered them before, “Gold for the Hunt” provides a quick, efficient summary of their approach, and if you heard Take the Potion, the new song will only make you further anticipate the follow-up. Romero on Thee Facebooks, on Bandcamp.
Bellringer, Bellringer EP
Based in the weirdo haven of Austin, Texas, newcomer trio Bellringer – for whom this untitled/self-titled, self-released EP is the first outing — boast a familiar face (or at least a familiar cowboy hat) in guitarist/vocalist Mark Deutrom (Clown Alley, peak-era Melvins), who’s joined by bassist Corey Cottrell (ex-Megazilla) and drummer Craig Nichols (Guided by Voices, The Breeders) on these four tracks. The sound, while adventurous stylistically and in terms of the construction of individual parts, is rooted in heavy rock, opener “Vapor Lock,” a catchy number like “Wait” and the instrumental chorus of “Von Fledermaus” reminding some that, yes, Deutrom was the bass player on Stoner Witch, but particularly in the latter an even more resonant impression comes across like Masters of Reality‘s blend of pop and heavy rock oddness. That vibe continues on the nine-minute psych-jam closer “The Burning Gift,” which brings Deutrom‘s vocals forward and works in keyboard arrangement flourish, bell sounds, string sounds and various melodic volume swells to underscore the point that, even on Bellringer‘s introduction, pretty much anything goes if it works. So be it. The world needs more experimental rock that doesn’t forget there are two sides to that equation, and Bellringer seem to come out of the gate ready to gleefully tip the scales one way or the other. Bellringer on Thee Facebooks, on Bandcamp.
Wizard Eye, Riff Occult Live
If, like me, you’ve been itching to get a handle on some new music from Philly’s theremin-laced, golly-these-guys-need-to-get-a-new-record-out stoner doom trio Wizard Eye, Riff Occult Live should do the trick. All but two of the tracks — “On the Banks of a River” and the meshed-together “Gravebreath/Say No More” — come from the riffy three-piece’s forthcoming sophomore outing, and while it’s definitely a live record, the dense fuzz and nod-ready roll that guitarist/thereminist/vocalist Erik Caplan, on-a-first-name-bassist Dave and drummer Mike Scarpone conjure wins out anyway on cuts like “Drowning Daydream” and “Flying/Falling,” Scarpone‘s kick drum a pop in the low end while Wizard Eye ooze their way through one Sabbathian jam into the next. Opener “Eye of the Deep” sets a tone for extended solos and thick groove, and Wizard Eye do not falter from that path as the set makes its way to the 11-minute final jam, each riff arriving, kicking ass, and moving on in well-purposed succession. Riff Occult Live doesn’t entirely sate the anticipation for a new album, but it certainly doesn’t hurt either. Wizard Eye on Thee Facebooks, on Bandcamp.
Lewd Flesh, Op I Røven, Dø I Smerte
Marked out immediately by the echoing, over-the-top bluesy vocals of Malene Pedersen, Copenhagen heavy rockers Lewd Flesh make their Spaghetti Casetti Records debut with the Op I Røven, Dø I Smerte 7″, bringing together the two songs “Acid Rider” and “Lewd Troves” to give a professional, crisp first impression across two sides and about 11 minutes. Guitarists Nanna Braunschweig Hansen and Casper Nilsson, bassist John Madsen and drummer Jakob provide the backdrop for Pedersen‘s rocked-out vocal thrust on “Acid Rider,” and more ’90s-style cues are taken on “Lewd Troves,” the wailing guitars offering a flourish of noise influence to coincide with the band’s straightforward production. It is their first outing, and two songs, and it’s a raucous start to make, but there’s room to grow as well in Lewd Flesh‘s hammering out their balance of grunge, noise and heavy rock impulses and figuring out where to place the vocals in the mix. To the credit of both the band and the release, Op I Røven, Dø I Smerte sounds both smoothly produced and on-stage energetic, and hopefully they can keep that spirit intact as they continue to grow. Lewd Flesh on Thee Facebooks, on Bandcamp.
Red Mess, Crimson EP
Familiar riffs abound on Red Mess‘ debut EP, Crimson, and the Brazilian trio give due reverence to the likes of Sabbath and Goatsnake, but it’s the rougher, semi-retro presentation that draws the listener into the atmosphere created by guitarist/vocalist Thiago Franzim, bassist Lucas Klepa and drummer Douglas Labigalini over the four tracks/22 minutes. There’s something theatrical in Franzim‘s vocals to opener “Trapped in My Mind” that also give a classic Alice Cooper Band feel to the proceedings as well, and that’s really just one element of heavy ’70s worship that continues on “Hole” and the subsequent, motor-ready “Stoneage Coopers,” but they save the best for last in 5:30 closer “Through the Trees,” which offsets Graveyard-style subdued blues noodling with heavy rock thrust, a highlight performance from Klepa alongside Labigalini‘s swinging cymbal and tom work, and an engaging build throughout. They’re feeling their way through developing their sound, and that’s exciting to hear since the three-piece already has some considerable chemistry between them. Hopefully they’re able to take lessons from Crimson – named, apparently, in homage to a classic prog influence — and move forward as they discover where they want to go and how they want their songs to take them there. Red Mess on YouTube, on Bandcamp.
Had to get that sixth one in there, and not just because it frees up another space on my desktop. The idea behind doing adds like this isn’t just to remind people there’s a radio component to this site. That’s part of it, sure, but the bigger agenda here is to hopefully give you another opportunity to check out music you might dig. That’s why the audio is right there under each review. I sincerely hope something above piques your interest and that you also share it with someone you think will enjoy.
Posted in Whathaveyou on January 5th, 2015 by H.P. Taskmaster
Originally issued by the band in April 2013, the self-titled debut from Vancouver heavy rock trio La Chinga is available now on vinyl through Bilocation Records. The German purveyor has pressed up the album in a total edition of 333 copies, with 111 in an exclusive marbled mailorder version and 222 on yellow wax, all handnumbered with a quality stock on the gatefold cover and three bonus tracks. Not my wont to tell you your business or anything, but it sounds like a pretty sweet deal for a record that’s continued to gather acclaim more or less since the second it dropped.
So much so that, last I heard, Small Stone had picked up the three-piece for the follow-up to La Chinga, which may or may not be coming later this year. Either way, if you dug the debut or missed it, info on the vinyl follows, hand delivered down the electronic cables of the PR wire:
LA CHINGA debut album sees european vinyl release – available now.
La Chinga is a stoner boogie power trio sitting on the world’s edge in Vancouver, Canada. Drawing from Sabbath, Zep, the MC5 and their own superbad habits, La Chinga has established a penetrating buzz across Canadian campus radio. Selfreleased in 2013, the band’s debut self-titled album prompted ecstatic reviews from the kind of people who wonder why they don’t make ‘em like this anymore.
“With their electric black magic unleashed and in full flight, they bonded with the children of the forest over Cro-Magnon riffage, pounding drums, banshee wails, bell bottoms, boogie vans and the sweet miracle of tequila. Through sheer stoopidity, brutality, violence and volume they honed their primordial craft into a sonic axe of stone, opening skulls with deadly precision for as far as the pterodactyl flew.” (from: La Chinga Biography)
Their debut album which is “made by rockers for rockers” is honoured now with the european release including three exclusive bonustracks.
The sale starts through our store on 30/12/14.
La Chinga are: Carl Spackler: Bass, Vocals Ben Yardley: Guitars, Vocals Jason Solyom: Drums
Recorded by Jay Solyom. Mastered at Full Circle Mastering. Produced by La Chinga. Artwork by Sab Kay.
VINYL FACTZ – 111x marbled (EXCLUSIVE MAILORDER version) – 222x yellow – Plated & pressed on high performance vinyl in Germany – Matte laquered 300gsm gatefold cover – Handnumbered – Mastered for vinyl
TRACKS A1. Early grave 3:01 A2. Snake eyes 3:38 A3. The wheel 3:04 A4. Catty 3:18 A5. To let silver 6:07 A6. Precious & grace 3:03
B1. Freedom machine 2:59 B2. Country mile 3:50 B3. La chinga 4:02 B4. The reaper 4:37 B5. When i get free 3:47 B6. The universe is mine 4:19