Posted in Whathaveyou on September 20th, 2016 by H.P. Taskmaster
Preorders are up now for the self-titled debut from Melbourne sludge rockers The Ruiner, which comes out Sept. 26 on Desert Highways. The band have a couple tracks streaming on their Bandcamp from prior digital singles, and as it seems like both those cuts will be featured on the album as well with their aggressive take underscoring the band’s more extreme origins and early-Crowbar-style push, I’m not sure if they’re re-recorded or from the original sessions in 2013, but either way, there’s a whole bunch of others that have never with them because, you know, that’s how it works with albums and whatnot.
The PR wire had this to say about it:
THE RUINER Self-Titled Debut Album OUT MONDAY SEPTEMBER 26
Established in 2013, The Ruiner were originally brought together to play a one-off show as a tribute to legendary death / grind / stoner band Christbait (1989-1996). They appeared under the moniker Dirtypunkmutha, the name of Christbait’s 1996 release. Somehow, amid much arm-twisting and promises of fame and fortune, two of Christbait’s original members decided to get the project off the ground as a proper band.
Featuring Craig Westwood (guitar – Christbait, Dern Rutlidge, Budd), Jason Vassallo (vocals – Christbait, Dread), Jason PC (bass – Blood Duster, Dern Rutlidge, Birdcage) and brothers Adam Stokes (guitar – Legends Of Motorsport, Pillow) and Ben Stokes (drums – Pillow, Tailbone, Piggy). The Ruiner blends heavy and dark doom riffs with hard stoner grooves; they’re a cross between Isis, Goatsnake and the band you always wanted to join, super heavy while not being afraid of a song.
The Ruiner’s intensity and strength live didn’t take long for them to impress. Having all played together in their numerous projects, The Ruiner boys know each other’s strengths and weaknesses, and fit together well. They’ve released two digital singles to date with their debut album set for release Monday 26 Sept 2016 through Desert Highways, with tracks being recorded between Goatsound by Jason PC (Witchskull, Watchtower, Broozer, I Exist) and Toyland by Adam Calaitzis (Blood Duster, Damaged, Dern Rutlidge), with mixing duties between Jason PC and Billy Anderson (Melvins, Sick Of It All, High On Fire, Cathedral, Sleep).
The Ruiner: Jason V- Vocals Craig Westwood- Guitar Jason PC- Bass Adam Stokes- Guitar Ben Stokes- Drums
Posted in Whathaveyou on September 15th, 2016 by H.P. Taskmaster
This record rules. It really does. I had some decent-sized expectations of New York heavy blues rockers Geezer after their 2015 split with Borracho (review here), but they’ve absolutely blown those out of the water with their self-titled album, due out Nov. 18 through Ripple Music in conjunction with STB Records. That those two imprints — one on the West Coast, the other on the East — would be once again teaming up to get behind the band should tell you something in itself, but I think the songs on Geezer‘s Geezer are not only going to thrill those who’ve already caught onto the band for what they bring to their sound, but probably grab some new ears as well.
So that’s the mini-preview, I guess. Record’s good. Much more to come as we get closer to the release date. For now, the PR wire brings the track “Sunday Speed Demon” for your streaming pleasure and the following art and info:
GEEZER bring heavy cosmic rock on new Ripple Music album | Stream and share new song ‘Sunday Speed Demon’
Geezer will release their self-titled album on 18th November via Ripple Music and STB Records
Hailed as one of the standout EPs of 2014, Gage confirmed that whether spinning on your turntable or playing live, Geezer could electrify listeners with an appreciation of the American outsider like no one else.
Picking up where Gage left off and building on their contribution to the critically-praised Second Coming Of Heavy series on Ripple Music, the Kingston, New York-based trio return this November for another round of sonic meltdown.
For the uninitiated, Geezer is the sound of tres hombres – beer drinkers and hell raisers – spinning Charley Patton, Son House and Corrosion Of Conformity records, doused head to toe in peyote and whisky. From the swirling and psychedelic ‘Sun Gods’, the Iggy-esque ‘One Leg Up’ and hot asphalt shuffle of bluesy opener ‘Sunday Speed Demon’, guitarist Pat Harrington marks himself out as an authentic twenty first century boogie man. A player capable of leaving the likes of Jack White and Dan Auerbach with the meanest of night terrors, especially when backed by the powerhouse rhythm section of drummer Chris Turco and bassist Richie Touseull.
Peddling a riotous trip into the hard-edged and heavy acid blues sounds of ’70s groups like Josefus and Blue Cheer, Geezer will receive an official worldwide release on 18th November via Ripple Music (CD/digital) and STB Records (vinyl). In the meantime however follow this link to stream and share their brand new song ‘Sunday Speed Demon.’
Track Listing: 1. Sunday Speed Demon 2. One Leg Up 3. Sun Gods 4. Bi-Polar Vortex 5. Dust 6. Hangnail Crisis 7. Superjam Maximus 8. Stoney Pony
Geezer: Pat Harrington – Guitar, Vocals Richie Touseull – Bass Chris Turco – Drums
Posted in Whathaveyou on September 2nd, 2016 by H.P. Taskmaster
You might recall Los Angeles heavy rockers Salem’s Bend hit the road on the West Coast earlier this year alongside Kind. That hardly felt like a coincidence at the time, so it makes sense that the trio would find themselves labelmates now to their once-tourmates on Ripple Music, which will issue Salem’s Bend‘s Salem’s Bend, on Oct. 7. The song “Balshazzar” is streaming to bolster the announcement of the release, and if you head over to the three-piece’s Bandcamp page linked below, you can hear the record, which was originally issued in late 2015, in its entirety.
From the PR wire:
Ripple Music to release debut album from LA-based trio SALEM’S BEND | Stream and share new song ‘Balshazzar’
Salem’s Bend is released worldwide on 7th October 2016 via Ripple Music
Ripple Music is thrilled to announce that this October will see the official release of the self-titled debut album from LA-based rock trio Salem’s Bend.
Cutting their teeth in various outfits around LA through the years, after idly deciding to crawl into a garage together one day, three unassuming dudes emerged into sunlight as a mighty hard rock triumvirate skilled in the execution of maximum Sabbath, Priest and Zeppelin worship… For on this day, Salem’s Bend was born.
Running an aural gamut of ’70s sounding classic rock alongside the influence of melodic heavy-hitters from the contemporary realms of desert, doom metal, psych and stoner rock, the band coalesced in the summer of 2014 with the intention of turning heavy riffs into the catchiest of tunes. With seven songs eventually making the cut on what would become their self-titled debut, the trio earnestly self-released the album via Bandcamp in December of last year and in doing so caught the ear of Ripple Music. Garnering some early praise one reviewer commented on just how well the band managed to, “forge their own searing, raucous guitars; intense, deep bass; and athletic, punctuated stickwork around some of the most intelligently interesting melodies to float through the stonersphere in quite some time.”
Thanks to the good folk and fellow Californians at Ripple, the album in question – Salem’s Bend by Salem’s Bend – will receive an official worldwide release on 7th October.
Track Listing: 1. Balshazzar 2. Queen Of The Desert 3. Silverstruck 4. Losing Sleep 5. Sun And Mist 6. Mammoth Caravan 7. A Tip Of Salem
Artist: Salem’s Bend Title: Salem’s Bend Release Date: 7th October 2016 Label: Ripple Music Formats: Vinyl/CD/Digital
Posted in Reviews on September 2nd, 2016 by H.P. Taskmaster
Nothing’s been announced as yet, but don’t be surprised when the news comes out that this or that label has snagged Pale Grey Lore for a pressing of their self-titled debut. The band has hinted at a vinyl issue in 2017 for the as-of-now-self-released offering, and with the level of songcraft they show throughout, the sheer efficiency of the material, it just seems like too prime an opportunity to pass up putting on a platter.
Comprised of brothers Michael (guitar/vocals) and Adam Miller (drums) and bassist Donovan Johnson, the trio got their start in 2014 and so it seems fair to consider them a relatively new project, having played locally around Ohio, but with the nine tracks/32 minutes of Pale Grey Lore, they dive headfirst into influences classic and modern and come out of the process with a crisp execution and an identity of their own. That would be enough to have it make sense for someone to pick them up — bands have been signed for far less — but the hooks and the performances only let them shine all the more.
Stylistically cohesive across the front-to-back span, the album shies away neither from classic psych-pop, as highlight centerpiece “She Radiates” shows with its theremin and trippy soloing, nor from the modern cult stoner crunch of “Black Sun Rise.” Songs run in the three-to-four-minute range exclusively, and though moods vary, among the factors most tying the record together one cut to the next is the mindful structuring that seems to be the root of their approach. They sound like a band with a whiteboard in the rehearsal space, but at the same time have more to offer in melody and groove than just being able to put together a verse and chorus in a way that makes sense.
To wit, the swath they cut through modern heavy rock is pretty deep. One can hear ’90s vibes in the poppy “Life in the Hive” and the later “Woe Betide Us,” Michael seeming to move into and out of a British accent with ease, but opener “The Conjuration” rolls out a groove that finds common argument with Elephant Tree‘s recent self-titled debut, and the key infusion in the penultimate “Tell the Masters” and riff of closer “Grave Future” add a cultish feel that seems to speak to life after Uncle Acid.
There are sonic differences, but I’d also say that what Pale Grey Lore are doing with reimagining post-grunge ’90s alt-rock isn’t all that dissimilar in process to what Demon Lung do to classic doom — a refresh of an established sound that seeks to put its own stamp on familiar themes. Quality of songwriting might be a factor in that comparison as well, even though, again, each group is on its own wavelength. Still, these impressions persist and Pale Grey Lore‘s debut makes an impressive melting pot for them.
Not at all haphazard and less exploratory feeling than debuts often are, it carries a sense of confidence in what it wants to do and that it can make those ideas a reality — so of course it does. Even in darker moments like “Black Sun Rise” or “Woe Betide Us,” Pale Grey Lore don’t position themselves at such remove from the shimmer at the end of “Spiders” or “She Radiates” as to make their transitions jarring, and if anything, the album is done before the formula has a chance to really sink in.
Brevity can be a decisive advantage. I’m not sure Pale Grey Lore would work in the same way if it was 45-50 minutes long, and I’m not sure sacrificing the neatly-presented semi-psychedelic push of “Ruins” would be worth having the band flesh out the songs further or extended them somehow simply for the sake of doing so.
The ’90s revivalist psych-rock of “She Radiates,” for example, comes across so fluidly with its languid, echoing vocals, bouncing chorus riff and ’60s-worship solo that to mess with it would seem cruel. This material has obviously been worked on, hammered out, maybe even whittled down to get to the point it’s at, and Pale Grey Lore may decide as they move forward that they want a looser approach to songwriting, that they’re more suited to jamming out or something like that, but what they’ve done with their first album is show that the three of them — the two Millers and Johnson, together — can work as a single unit toward expressing musical ideas through craft.
They’ve shown that it’s not about who’s in the band, or any particular player necessarily — though Michael has several shining moments of tone and vocals — but about the songs they’ve come up with and executed as a group. That doesn’t always happen, but it’s a palpable sensibility throughout Pale Grey Lore, no matter how the vibe might change between “Woe Betide Us” and “Grave Future,” that brings the material together and helps create the linear front-to-back flow which, as in the best of cases, only makes individual tracks feel stronger as it goes.
Posted in Whathaveyou on September 1st, 2016 by H.P. Taskmaster
I’ll admit my curiosity is piqued in part here because the circumstances seem so strange. Danish death-doomers A Sun Traverse are getting ready to release their self-titled debut through Mighty Music. Nothing too weird about that, but the fact that the EP is coming out on Dec. 24 strikes me as particularly odd given the fact that it’s the day before Xmas. Hard to imagine a time the public is paying less attention to new stuff being released — not to mention being broke from buying presents for friends and relatives. Maybe they’re betting death-doom fans are lonely atheists, and maybe they are, I don’t really know, but if you’re so lonely and so godless that you’re buying records on Xmas Eve instead of spending time with your family, you’re welcome to come to dinner with mine instead. I promise no one will talk about Jeebus even once.
A Sun Traverse will have a video out to precede their self-titled debut next month. For now, you can sample a couple tracks from their ReverbNation page (oy.) under the PR wire info below:
A SUN TRAVERSE
NEW DOOM METAL BAND FEAT. EX SATURNUS MEMBERS
A SUN TRAVERSE is a new Doom metal band from Copenhagen, Denmark.
After departing with SATURNUS, Peter E. Poulsen (guitars), Tais Pedersen (guitars), Nikolai Borg (drums) and Anders R. Nielsen (keyboards) formed A SUN TRAVERSE and was later joined by bassist player Lennart Jacobsen (also ex. SATURNUS). Recently vocalist Michael H. Andersen (THORIUM, ex. WITHERING SURFACE) completed the line-up.
A SUN TRAVERSE is proud to present the first official release. A Journey into classic, melancholic yet beautiful doom/death metal with haunting melodies and deep, roaring vocals. Produced and mixed by KB Larsen (Volbeat, The Kandidate) and mastered by Henrik West/Medley Studio (Artillery, Glenn Hughes).
The Self titled minialbum is released on Mighty Music on Christmas Eve 2016 on LP format and all digital platforms.
Recently a music video was done for the 8+ minute opus “Dance Darkness Dance” with Kennie Ørsted (The Vision Ablaze, Sea) to be released on October 28th.
Currently the band is booking their shows for early 2017.
[Click play above to stream ‘Icebound’ from Wretch’s self-titled debut, out Aug. 26 on Bad Omen.]
Doom has anxiously and rightfully awaited the return of Karl Simon to the fold. Formerly the guitarist/vocalist for The Gates of Slumber, Simon formed Wretch shortly before the untimely passing of Gates bassist Jason McCash in 2014, that band having called it quits some months earlier after the release of a final EP, Stormcrow (review here). The Indianapolis outfit make their self-titled debut on Bad Omen Records with seven tracks that in some ways stand very much in line with what Simon brought to The Gates of Slumber and in other ways are a marked departure. Bassist Bryce Clarke and drummer Chris Gordon both make a striking impression as the rhythm section, particularly in the Judas Priest cover “Winter” and the tempo-shifting “Icebound,” which follows, but a lot of Wretch‘s Wretch is Simon directly confronting the death of a close friend, and even in stylized moments like the churning, mostly-psychedelic instrumental solo showcase “Bloodfinger,” that sincerity and intensity of feeling are palpable.
The Gates of Slumber told stories about conquerors and monsters — Wretch seem more grounded in the actual pains of living on. Of course, anyone who has heard Simon‘s prior work will recognize crucial elements like the early NWOBHM darkness and, in closer “Drown” particularly, the influence of Saint Vitus‘ Dave Chandler‘s style of lurch-riffing. What Simon has managed to do throughout his career — and most especially on the final The Gates of Slumber album, 2011’s The Wretch (review here), from which this band takes their moniker — is bring something fresh to that influence and to that of Scott “Wino” Weinrich, preaching a true doom ethic that has both won over and created converts for more than the last decade.
Wretch‘s Wretch is hard to separate from this context, but it’s important to note that the album does have a personality of its own that’s separate from what The Gates of Slumber might’ve done even on a follow-up to their last offering. A seven-track run provides a dense but manageable and varied 33-minute listen, and between the gallop of opener “Running out of Days” and the hook of the subsequent “Rest in Peace” — not a Trouble cover, but no doubt nodding in that direction — on which Simon delivers the lines “Set me free/Let me rest in peace” in such a manner as to make one wonder who the speaker in the song is, himself or McCash, the new band is quick to establish itself as something separate. That one-two punch — the leadoff track crashing directly into the second — gives Wretch an immediately distinct feel, and it’s one that feeds into even the later crawl of “Drown” or “Icebound” or even the minimal guitar interlude “Grey Cast Mourning” that separates them.
A general downward trajectory in tempo for the linear front-to-back listen, Wretch split the album neatly into two sides, and though the whole thing is downtrodden, it’s clearly side B where that comes through most in the material, though even the Wino-style solo layering of “Bloodfinger,” which is as close to classic psychedelia as anything I’ve ever heard Simon play, and probably closer — Gordon does an excellent job holding down a central groove to give the guitar space to flesh out — there’s an underlying melancholy. “Winter,” which originally appeared on Judas Priest‘s 1974 debut, Rocka Rolla as “Winter/Deep Freeze,” plays that up as well even as it basks in “War Pigs”-esque bounce and an element of swirl that feeds off what “Bloodfinger” accomplishes before it in expanding the overall scope of the record.
As “Winter” fits thematically with “Bloodfinger”‘s instrumental feel, so too does “Icebound” pick up smoothly in lyrical theme from “Winter.” The eight-minute cut is the longest on Wretch and while its main riff brings to mind The Obsessed and is trad doom of the highest order, the three-piece find room as well to sneak a bit of boogie into the midsection, which is unexpected and satisfying in kind, particularly following a wah-soaked solo from Simon. They return to that main riff without ceremony and ride it through a verse and shift into a long minute-plus fadeout that ends the song and brings on “Grey Cast Mourning,” a 2:34 piece for standalone guitar that reinforces the emotional crux of the album in its atmosphere of grief and melancholy. It’s an interlude, but both for how it splits “Icebound” and “Drown,” and for what it brings in mood, is more than justified in its presence. Its peaceful meditation makes the “I Bleed Black”-ish riff of “Drown” feel that much more weighted as it introduces the album’s closer.
A massive, rolling nod ensues, Simon‘s vocals buried under his and Clarke‘s tones and coated in effects, and it becomes clear quickly that Wretch are hitting bottom as regards the atmosphere of the record. I’m not sure if there could’ve been a more appropriate finish for the self-titled than “Drown,” which not only contrasts the relatively upbeat — at least in pace — beginning of the album, but emphasizes the spiral that led them to that point while mirroring that downward movement in the lyrics with masterful cohesion. The end comes with a final crash from Gordon and a short ring-out, leaving the listener with the feeling that there’s more to say. This too is no doubt purposeful on the band’s part, and it ultimately makes their debut all the more resonant, as if to ask what good it would do to keep going, emotionally or practically. In taking these issues head-on, Wretch‘s Wretch would be grueling were it not for the work the early portion does in building forward momentum, but as it stands, the balance positions the album among 2016’s best in doom. It is brutally honest, conceptually and aurally weighted, and, one hopes, cathartic.
Kalas was a short-lived five-piece fronted by Matt Pike of High on Fire and Sleep. During their time together, which reportedly started in 2003, they released one full-length, self-titled, on Tee Pee Records. They did not tour extensively. I remember seeing them at SXSW 2006 in Austin, Texas, at a day party sponsored by Vice — at the time I had no idea what Vice was, but Witch were also playing, so I wasn’t missing it either way — and watching as Pike rushed through the crowd to get on stage because the band’s set was about to start. It was that kind of thing. Someone would tell me later that Kalas essentially came out of his desire to practice his vocals and expand his range for High on Fire — which the album Kalas most definitely does on songs like “Frozen Sun” and “Mother’s Tears” — but I think the appeal of the record goes further than that.
Consider that in 2006, Sleep were still broken up, seemingly permanently. With High on Fire, Pike released Blessed Black Wings in 2005 and would follow it up with Death is this Communion in 2007, indeed having greatly expanded his vocal range. Kalas‘ self-titled is not only a bridge between those two albums, but also a tie to the more purely stonerized riffing of Sleep — or at very least is less maniacally metal than High on Fire were at the time and have only grown to be more so. By stepping back and not playing guitar, Pike gave crucial ground to six-stringers Andy Christ (ex-Eldopa) and Paul Kott (ex-High Tone Son of a Bitch) and led the band, which also included bassist Brad Reynolds and drummer Scott Plumb, in a different way than he ever had before or than he has since. He only played guitar in Sleep, but in Kalas, he only sang (minus a solo on “Frozen Sun”), and that became a defining feature of the group and the album.
Honestly, that would probably be enough to pique interest, but the album continues to deliver quality in the performance of the entire band and the songwriting. It’s not as rampage-prone as High on Fire, but Kalas grooves fluidly across its nine tracks, and the lyrics tackle issues of addiction and the resulting effects on life in a more direct way than Pike ever had before. It became a vibe that, on subsequent releases, might’ve come to develop along a path separate from anything else Pike was involved in, but instead it kind of languished behind the booming popularity of High on Fire — who were in the midst of doing some of their best work to-date — and the reunion of Sleep, which began in 2009. The self-titled would be the only thing they ever put out. Copies still float around, and if you’re lucky you might be able to find one in a used rack somewhere, but it continues to surprise me how little mention Kalas get in the Matt Pike discography, since they were unlike anything he’d done before or would do again. And, again, the songs hold up even a decade later.
More pre-social media heavy seemingly given up to the ages, awaiting reissue. Hope you enjoy.
I lost a little weight recently and so have been digging out some old t-shirts from boxes in the basement in hopes that they might fit. I chose the Kalas record because apparently at some point I purchased a Kalas t-shirt with the album cover on it. Must have been at that SXSW show, though I couldn’t say for sure — it was a long decade ago and I never went to Austin that I didn’t spend the entire half-week bordering on blackout drunk. Or my 20s. Ha.
Anyway, I think I might wear that Kalas shirt to The Obelisk All-Dayer, which is only eight days away. It’s pretty new looking. I might’ve never worn it before.
Next week the countdown to that show will continue. Look for exclusive and awesome stuff from Funeral Horse, King Buffalo and Heavy Temple, and maybe a special writeup for the afterparty as well, because I’m really stoked on bringing Walter Roadburn and Adam from The Golden Grass on board to DJ after Mars Red Sky plays. It’s going to be such an awesome day. Please come. Please show up.
Also next week, look out for a review and some kind of audio premiere for the new Second Grave album, Blacken the Sky. To be followed Tuesday (I think) by Wretch and Wednesday by Blues Funeral. There’s more for later in the week, I’m just not sure what it is yet. Doing the All-Dayer countdown has put me way behind on videos as well. Might take a day to get caught up. We’ll see how it goes.
I hope you have a great and safe weekend. Please get your The Obelisk All-Dayer tickets, and please check out the forum and radio stream.
Posted in Whathaveyou on August 12th, 2016 by H.P. Taskmaster
I’m an easy sell on the prospect of Fuzz Evil‘s debut album. Having been lucky enough to see the trio in their native Arizona this past February, I’ll say they left zero doubt they were up to the task of their first full-length, and the newly-streaming “Killing the Sun” from their upcoming self-titled would seem to back that opinion thoroughly. They’ve got a couple choice guests involved as well — anytime Arthur Seay shows up, it’s a party — and Fuzz Evil‘s Fuzz Evil will be out via respected purveyor Battleground Records on Sept. 30.
If you’ve been paying attention or have seen the new release calendar on the forum, you already know that Sept. 30 is arguably the most crowded release date of the year. No coincidence as it’s when print mags will be starting to get their year-end lists in for consideration. Nonetheless, Fuzz Evil boldly throw their hat in the ring with Brant Bjork, Truckfighters, Alcest, Holy Serpent and Langfinger, as well as probably six or seven others still to come. I look forward to hearing what they’ve come up with for the album as a whole.
West Coast tour dates and the album announcement, from the PR wire:
FUZZ EVIL to release debut album on Battleground Records | Embark on US West Coast Tour this October
Fuzz Evil is released on 30th September 2016
Formed in Arizona’s Sierra Vista in 2014, Fuzz Evil is a riff propelled power trio founded by brothers Wayne and Joseph Rudell of heavy desert stoners Powered Wig Machine.
With two singles currently to their name – last year’s ‘Born Of Iron’ and 2014’s 7” split with fellow Arizonans, Chiefs – this September sees the official release of their self-titled debut on the Washington-based label Battleground Records.
Joined by newest member and fellow Powered Wig Machinist Daniel Graves on drums, Fuzz Evil serves up a thunderous blast of rock ‘n’ roll reverie indebted to the likes of MC5, The Stooges, Clutch and Black Sabbath. Recorded, mixed and mastered at Primrose Studio by Brian Gold, from the opening crunch of ‘Good Medicine’ (featuring Unida/House Of Broken Promises’ Arthur Seay) to the progressively harbingered ‘Black Dread’, the album flows like the diaries of a cosmic nomad. Swirling and psychedelically enhanced with storylines spun from the mind’s eye of vocalist Wayne Rudell and his obsession with comic books, science fiction and cult cinema.
Fuzz Evil also embark on US West Coast Tour this October in support of the new album, which will receive an official release on 30th September via Battleground Records. For the full list of dates take a look below.
Fuzz Evil: Wayne Rudell – Vocals/Guitar Joseph Rudell – Bass Guitar Daniel Graves – Drums
Arthur Seay (House Of Broken Promises/Unida) – Lead Guitar on ‘Good Medicine’ Marlin Tuttle – Drums Brian Gold – Keys
Fuzz Evil Live: 1/10 – Silver Dollar Saloon – El Monte, CA 2/10 – Golden Bull – Oakland, CA 3/10 – TBC – San Jose, CA 4/10 – Starlite Lounge – Sacremento, CA 6/10 – Kenton Club – Portland, OR 7/10 – Valley’s – Tacoma, WA 8/10 – Tim’s – Seattle, WA 9/10 – Sam Bonds – Eugene, OR
Artist: Fuzz Evil Title: Fuzz Evil Release Date: 30th September 2016 Label: Battleground Records Formats: Vinyl/CD/Digital All songs written by Fuzz Evil Recorded/Mixed/Mastered by Brian Gold at Primrose Studio, Sierra Vista, Arizona