Posted in Whathaveyou on November 24th, 2014 by H.P. Taskmaster
Following announcements that they’ll take part in next year’s Roadburn festival and the Desertfests in London and Berlin, Ohio heavy rockers Lo-Pan have made it official that Adrian Zambrano will take over the guitarist position previously occupied by Brian Fristoe. The word came quick and to the point from the band, who’ve spent much of the last five years touring hard on a steadily ascending line in terms of audience and their own approach, steadily becoming a wider known, tighter and more accomplished group. They haven’t done anything the easy way.
Zambrano comes to Lo-Pan via space rocking Columbus natives Brujas del Sol, whose airy tones and synth-heavy sound were last brought to bear on 2013’s Moonliner, on which Zambrano also handled vocal duties. No word yet on whether he’ll back up Lo-Pan‘s Jeff Martin singing, but there can be little question that the dynamic in Lo-Pan will shift with a new player introduced into what was one of the country’s highest-grade fuzz units. Regardless of how Zambrano fits in the band, it’s going to be a change. Lo-Pan‘s advantage at this point is that, if you’re a musician who wants to tour and go to Europe and play shows that people come to see, they’re in the process of making all those things happen.
And by the time next Spring rolls around and Lo-Pan head abroad for the first time, Zambrano will be that much more acclimated to being on stage with Martin, drummer Jesse Bartz and bassist Scott Thompson. Really, if they were going to bring someone in, this was the time to do it. Good luck to the band, to Zambrano, and to Fristoe as well.
Here’s the announcement and the Small Stone stream of their latest album, Colossus (review here), in case you haven’t yet had your ass kicked this morning:
Lo-Pan has parted ways with guitarist Brian Fristoe. We wish Brian all the best in his future endeavors. Taking over guitar duties is Adrian Zambrano of Columbus, Ohio. Adrian is a gifted, dynamic musician with an exciting style. Join us in welcoming Adrian to the party.
Posted in Whathaveyou on November 6th, 2014 by H.P. Taskmaster
Hot off the release of their fourth album, Colossus (review here), Ohio fuzz rockers Lo-Pan have been announced as taking part in Desertfest Berlin 2015. The announcement follows a recent schism/split with guitarist Brian Fristoe, and since Lo-Pan are also slated to play Roadburn and have shows booked before then and will be touring Europe as well, one can’t help but wonder who’ll be handling guitar for them going forward. No word has come out yet in that regard, but I’ll let you know when I hear what’s up.
In the meantime, good for the band — who killed when they came through recently with Black Cobra– for getting over to Europe. Feels a little overdue for how hard they’ve slogged it out in the States, but better late than never, and I’m sure they’ll find open arms waiting for them at Desertfest, Roadburn and wherever else they might wind up.
Two-in-one news: first, we are pleased to tell you that fuzz rockers Lo-Pan join the SOL family and will be touring in April! Then, we are proud to add them to our DesertFest Berlin line-up! Stay tuned for more news!
We stoked to announce that fuzz rockers Lo-Pan are now confirmed to kick a good deal of ass at Desertfest Berlin 2015!
With “Colossus”, LO-PAN’s last album – released about a month ago on Small Stone Records – the Columbus’ four-piece have moved beyond their influences and arrived at their own sound – a “style built on aggression without caricature, fuzz without cliché, melody without redundancy and their meanest groove to date.” (The Obelisk)
Posted in Reviews on October 7th, 2014 by H.P. Taskmaster
I’ll make no attempt to hide my appreciation for Ohio’s Lo-Pan, who over the last six years or so have emerged to take a place among the hardest-working American heavy rock bands out there, slogging back and forth across the country to deliver their fuzz one town, one venue at a time, but the fact of the matter is that if they didn’t have the songwriting to match their work ethic, they wouldn’t have come as far as they have. Plenty of bands tour, and even more bands kick ass. Lo-Pan distinguish themselves not only by what they do, but how they’ve done it and what they’ve gained from it. Since their 2007 sophomore outing, Sasquanaut, which was reissued as their first release on Small Stone in 2010 (review here), the four-piece of guitarist Brian Fristoe, vocalist Jeff Martin, bassist Scott Thompson and drummer Jesse Bartz have essentially been grinding themselves down to their essential parts. If one examines the progression from their 2006 self-titled debut through Sasquanaut, the subsequent 2011 full-length Salvador (review here) and their latest, the newly arrived Colossus, the path cut across these records is pretty clear, Lo-Pan moving from a relatively upbeat stoner rock sound to something much more focused, leaner, meaner sounding. Colossus, which at 10 tracks/43 minutes shaves a song and three minutes off Salvador‘s runtime, is their most pointed work yet. Their road time has made them tighter than they’ve ever sounded, and an Andrew Schneider production helps play up a more aggressive feel overall. They are not laying back on Fristoe‘s riffs so much as propelling them forward at the listener, and while pace varies throughout, the overarching whole of Colossus – named in honor of the Colossus of Rhodes, marking a triumph, perhaps simply of the band having come out of the last several years intact — has a breakneck feel and urgency that comes through even more than it did on Salvador, which when this decade is over I’ve no doubt will go down among its best heavy rock albums.
There’s continuity of structure between the two, and Lo-Pan‘s penchant for hooks remains strong, but opener “Regulus” signals the immediacy of Colossus quickly, shifting from the first verse into the chorus all within the first 30 seconds. Like Salvador‘s “El Dorado,” “Regulus” begins an opening salvo of four songs that boasts some of the album’s strongest material, its five minutes gone in breeze and rushing into the tighter, faster “Land of the Blind,” which is marked by a standout performance from Martin in its hook. Lo-Pan‘s singer has never skimped on soul or attitude either on record or from behind the drum kit on stage, but Colossus easily stands as his best recorded output in the band, and the graceful but forceful layering in “Land of the Blind” is among his most effective called-shots here; I’d also add the later call-and-response of “Relo,” “Marathon Man” and the commanding sway of “Eastern Seas” to that list, but it’s true elsewhere as well. Likewise, Bartz, Thompson and Fristoe have stepped up their game, drums picking up the start of “Black Top Revelation” from the end of “Land of the Blind,” a winding riff taking hold as Colossus‘ momentum continues to build. To call the album front-loaded would presume a dip in quality, but no question Lo-Pan bring Colossus up to full speed before throttling back as they did on Salvador‘s “Bird of Prey” with the six-and-a-half-minute “Marathon Man,” which fittingly enough begins with a vehicle — presumably their tour van, but I don’t know that — revving its worn-sounding engine before Fristoe‘s shuffling riff takes hold and the band remind that though the focus has been on push up to now, they still know how to boogie. After four minutes in and satisfying verse/chorus tradeoffs, there’s a turn to a bridge instrumentally that Martin ties to the original chorus well, his layering once again providing a highlight moment with this revamped hook and a play off the initial verse part. Before you can catch up to what just happened with “Marathon Man,” though, Bartz launches “N.P.D.” with another forward surge that slams Colossus‘ first half to a raucous but still controlled finish.
If there were any doubts about Lo-Pan‘s confidence or the cohesiveness of their approach, let the knock-you-on-your-ass crispness within the delivery of “N.P.D.” be testimony in their favor. But for the fact that it closes side A, it feels like an afterthought movement following “Marathon Man,” and on most albums it would be an apex. The title-track begins the second half and is a song that Lo-Pan have played live for the last couple years — “Eastern Seas” still to come is another — sounding more reminiscent of the last time out than most of Colossus, though both Thompson‘s place in the mix and the fluidity of Martin‘s integration with the music behind him mark its progress. That’s not to mention Schneider‘s treatment of Bartz‘s snare; as a producer/engineer, the Brooklyn-based Schneider has consistently delivered excellence in drum sounds and Colossus is no exception. Side B feels thicker between “Colossus,” “Vox” and “Eastern Seas,” less of a thrust, but the hooks are still there, and “Vox” delivers in that regard both vocally and in its riff and crash, Martin‘s voice echoing in an open space and Black Black Black‘s Jason Alexander Byers (who also contributed the cover art) coming in for a guest spot later in the track. There’s a ringing sound I can’t quite make out that coincides with the drum roll at the start of “Eastern Seas,” but the song’s prevailing impression is in its more languid rhythm — its first part is the slowest in tempo but still mid-paced by most standards — and bigger groove, Martin still in whatever cave he recorded “Vox.” “Eastern Seas” splits almost evenly in half,everyone else dropping out as Fristoe‘s guitar establishes the riff and then kicking back in soon with a faster pace, vocals layered, Thompson getting a turn to stand alone as they push into a secondary hook and through to repetition of the line “Straight on till morning.” It feels like the end of the album, but isn’t. As “N.P.D.” jumped into action after “Marathon Man,” so does “Relo” punch into gear after “Eastern Seas,” though “Relo” is the more memorable of the two — “N.P.D.” and “Relo” share a 2:28 runtime, if you’d like another reason for the comparison — marked out by Fristoe‘s lead-as-rhythm in the verse and the aforementioned call and response near the end, the uptick in pace effective after “Eastern Seas”‘ slowdown in reinforcing the dynamic within Lo-Pan‘s sound at this point in their tenure.
Another likewise vague sample is inserted at the beginning of closer “The Duke,” which caps Colossus like a victory lap, underscoring much of what has made the album work — the meaner push, Martin‘s accomplished layering, the across-the-board energetic delivery, their attacking the beat — but is distinguished from the rest of the collection by the solo Fristoe takes beginning at 2:37, which comes to the head of the mix almost to the point of abrasiveness and wails over a steady rhythm from Bartz and Thompson, who return about a minute later with Martin to round out with a last hook and crashing end. That solo in particular seems to have been residing in Lo-Pan‘s pocket the whole time; in the context of Colossus as a whole, they seem to have saved it for last. And fair enough — it’s as raging a finish as Colossus in its entirety calls for. Perhaps because so much of the album moves, and moves fast, and shoves the listener along its course, and perhaps because four records deep, Lo-Pan show few signs of stagnating creatively, Colossus feels less like a destination than another point along the way. It’s their tightest, tensest outing, but in scrutinizing it on those terms, one can hear the potential for them to move further on the line of their progression, to continue to dig toward the heart of what it is they’re trying to convey. Still, it’s an album that changes who they are as a band and stands as their most refined, precise collection to date. It captures them at a different moment than did Salvador — one can see that even in the sharpened edges of the logo that appears on the album cover — but showcases a forward step in a pursuit that seems thus far unrelenting. I’ve said before that I consider them one of the finest currently active heavy rock acts in the US, and Colossus only strengthens that opinion.
Here is the Music Player. You need to installl flash player to show this cool thing!
This one’s beamed in from a universe of all good times. I don’t want to walk around tooting my own horn like I actually did anything, but you’ll pardon me if I say that once you get on board here, you might not want to jump back off. The flow is up and down, alternately drawn out and rushing, and right up to the last song which is a bit of a return to earth, the second hour is the most spaced out it’s ever been around these parts. I’m way into it. I hope you’re way into it.
Like last time, I tried to get a mix of excellent stuff upcoming with other recent items you might’ve missed. One of these days I’m gonna do another one of these where I talk, but this is straight-up track into track the whole way through and I think it moves really well that way. Please feel free to grab a download or hit the stream and dig in and enjoy.
The Melvins, “Sesame Street Meat” from Hold it In (2014)
Fever Dog, “One Thousand Centuries” from Second Wind (2014)
Lo-Pan, “Eastern Seas” from Colossus (2014)
Witchrider, “Black” from Unmountable Stairs (2014)
Alunah, “Awakening the Forest” from Awakening the Forest (2014)
Craang, “Magnolia” from To the Estimated Size of the Universe (2014)
Slow Season, “Shake” from Mountains (2014)
Lucifer in the Sky with Diamonds, “Guillotine” from The Shining One (2014)
The Proselyte, “Irish Goodbye” from Our Vessel’s in Need (2014)
Flood, “Lake Nyos” from Oak (2014)
Lord, “Golgotha” from Alive in Golgotha (2014)
My Brother the Wind, “Garden of Delights” from Once There was a Time When Time and Space were One (2014)
Spidergawd, “Empty Rooms” from Spidergawd (2014)
The Myrrors, “Whirling Mountain Blues” from Solar Collector (2014)
Witch Mountain, “Your Corrupt Ways (Sour the Hymn)” from Mobile of Angels (2014)
Posted in Whathaveyou on September 23rd, 2014 by H.P. Taskmaster
Italian heavy rock four-piece Isaak are getting ready to tour in Europe once again. They released their Small Stone label debut, The Longer the Beard the Harder the Sound, last year, and are currently working on a follow-up, though what stage it’s actually in remains a mystery. Still, if you, say, had a post-it note with impending 2015 releases on it so you could remember them for later when you wanted to put together some kind of larger list/feature on the subject, Isaak‘s next record would be another one to add.
Not that such a post-it note exists or is already becoming overcrowded or anything. I can neither confirm nor deny, and so on.
Here’s the news:
*ISAAK* on tour ( Small Stone Records / HEAVY PSYCH SOUNDS)
Isaak , born from the ashes of Gandhi’s Gunn, immediately signed a worldwide contract for two albums with the American label Small Stone Records: the critically acclaimed debut “The Longer The Beard The Harder The Sound” released in 2013 and a second one that is going to be recorded very soon. “Having the chance to release two albums for an American label and reaching metal fans all over the world it’s a great honor but also a confirmation: we always thought we had an international sound since the beginning. And you will hear it even more in the new album.”
We also managed to tour in Europe for the first time this year. Thanks to this growth and to our love for bands like Clutch, Big Business, Torche, Red Fang the sound of our next album will be something really special. With the first single “The Frown” from the imminent new album, we tested the reaction of our fans receiving amazing responses. So we realized this was the right direction to follow”.
Isaak, who developed from a stoner rock into a promising international power sound band, are ready for the challenge, determined and strong just like their music. Are you ready?
04/12/2014 IT Rome-Init “HPS Rec Label Party” 06/12/2014 IT Milano-LoFi 07/12/2014 CH 08/12/2014 D 09/12/2014 D Augsburg-Blue Box Skate Park 10/12/2014 CH Winterthur-Gaswerk 11/12/2014 CH 12/12/2014 CH Mühledorf Niedergösgen-No Mute Bandraum 27/12/2014 IT Savona- Officine Solimano Christmas Show
Posted in Whathaveyou on September 22nd, 2014 by H.P. Taskmaster
Look, I could tell you how much I appreciate everyone giving up a little bit of their hard-earned to help out Small Stone in the label’s time of need, but the fact is it’s not about me. It’s about Scott Hamilton, who runs the label, being able to continue putting out some of the finest heavy rock and roll the world has to offer, him worrying more about getting the Lo-Pan pressing back from the plant in time for the October release rather than if his basement is going to have mold in it leftover from the flood. Priorities. Getting things to where they need to be.
All told, the Small Stone fundraiser brought in over eight thousand dollars, and that wouldn’t have been possible without your help, so thank you. If you donated, that’s amazing. Some gave $100 at a clip, some gave $5, but what really matters is that when it came to it and someone who has been a major contributor to this weird, pan-global community required assistance, people stepped up and pulled together and showed they were willing to support somebody who needed it when they needed it. I know there have been crossover bands and every now and then some mainstream entity deigns to not completely ignore this genre, but heavy rock and roll is still a very underground phenomenon, and if we don’t help each other, it’s not like there are a million people lined up outside to pick up the slack.
So thank you for being a part of this. Even if you didn’t get to donate and you just spread the link around, that’s huge. I know Scott‘s repairs are ongoing after the flood, but the water’s gone and he’s got a desk and a shelf for label product and his amps and gear set up down there, and that’s definitely a start. As somebody who’s spent years nerding out on Small Stone‘s output, I’m just happy to know I’ll be able to keep doing that.
Posted in Reviews on September 15th, 2014 by H.P. Taskmaster
It was just over a month ago I last saw Blackwolfgoat, in Portland, Maine, opening for We’re all Gonna Die‘s final reunion gig, so I’d say the stuff was pretty fresh in my brain, even aside from listening to the new album, DroneMaintenance, for an I’ll-get-there-I-swear-I-will review, but this was the release show for that record and sometimes you feel like maybe you need to show up. Another chance to scope out Connecticut duo Bedroom Rehab Corporation was added appeal, and it was the live debut from Sea, which boasts bassist/vocalist Stephen LoVerme of Olde Growth and guitarist Liz Walshak, formerly of Rozamov, so put that together with noise-riff duo Shutup!! opening, and yeah, it’s a night. A Friday, in Allston, in September. College kids, hip youngsters, and me, rolling down Harvard Ave. like a forest troll looking for parking. Around and around and around Allston’s designed-for-the-crowded-populace-of-1700 blocks I went, ducking drunk undergrads and Bruins fans. There were other shows around town. I knew where I wanted to be.
O’Brien’s was much as I left it whenever the last time I was there was. Low, red lights, equipment along the wall. They played Floor between bands, which was a nice touch, and people shuffled in and out over the course of the evening in various degrees of stupor. It wasn’t a rock show entirely, but there was a bit of that going on. Here’s how it all went down:
One of the issues with going to see drone live is that the crowd, especially after a couple minutes in, invariably starts to chatter, and you hear it over the performance, still very much in progress. The guitar/bass two-piece Shutup!! avoided this issue neatly by being so fucking loud you could barely hear yourself think, let alone transmit those thoughts verbally to another human being. Clever. Bassist Aarne Victorine is set to debut with another band, UXO (featuring Steve Austin of Today is the Day and Chris Spencer of Unsane), next year, but paired with guitarist Jon Christopher in Shutup!! the modus was forceful low-end rumble all the way. They were on as I was walking into O’Brien’s and clearly audible from outside, tossing in a few lumbering riffs to go with the massive wash of amp noise, feedback and effects that seemed to bite right past one’s earplugs — the cheap foam kind, but still. It was a short set, less than 20 minutes, but I doubt anyone there would argue they didn’t get their point across. Exploratory but vicious, heavy drone not for the faint of heart or the weak of tolerance.
It is a cruelty to judge a new band or anything they do by their first show, so I won’t, but don’t take that to mean newcomer four-piece Sea didn’t come across well or like they knew what they were going for. With a blend of flowing doom and some post-metal churning inflection, as well as a strobing desk lanp on top of guitarist Mike Blasi‘s amplifier timed to be’chopped drummer Andrew Muro‘s kit, Sea seemed to be on their way toward solid construction and an aesthetic in the making. LoVerme varied his vocals between post-Mastodon shouts and more subdued melodies, and Walshak and Blasi added ambient sprawl to quieter sections to contrast and complement the heavier push. Their songs, as I understand, are as yet untitled, but one could hear an oceanic theme at work, and while the project is nascent, there seemed to be potential at work as well. They were the fullest band of the night with twice as many members as anyone else, but received a warm welcome that, especially for a debut gig, didn’t seem like it could’ve left them disappointed. Will be interesting to see where they go as they continue to hammer out their sound (and light show).
Bedroom Rehab Corporation
Speaking of good bands getting better, the night also re-confirmed for me how far ahead of their 2013 debut, Red over Red (review here), are bassist/vocalist Adam Wujtewicz and drummer Meghan Killimade of Bedroom Rehab Corporation. After seeing them for the first time earlier this summer, this was already apparent, but no less so in Allston, the New London, CT, twosome engaging in varying doomly methods, Melvins-style crunch and a bit of noise punk to boot, the gruff shouts of Wujtewicz adding a sense of burl to the set. He announced their intention to record with Justin Pizzoferrato, who also helmed Red over Red as well as past and upcoming efforts from Elder and many others, in the coming months, and though they’ve worked together before, I wouldn’t be surprised if the next Bedroom Rehab Corporation is a much different affair than was the first. They seem to be in the process of discovering their sound and that only makes watching them play, even the older material with its seafaring thematic — New London is on the no-less-ambitiously-named Thames River, and is a town with a port history — more enjoyable.
After stints in recent years in Hackman, Black Pyramid, The Scimitar and most recently Kind, Blackwolfgoat seems all the more like the vehicle through which guitarist Darryl Shepard can express unmitigated joy in his craft. He’s all alone up there — wasn’t at this show, but we’ll get there in a second — looping guitar pieces on top of each other and feeling out the spaces his tones create. The project has proved more progressive over time. His first album on Small Stone, 2010’s Dragonwizardsleeve (review here), was rife with darkened noise, while the subsequent 2012 outing, Dronolith (CD released by The Obelisk’s in-house label, The Maple Forum), branched out to more varied atmospherics. With the new Drone Maintenance, the release this show was celebrating and a record I was fortunate enough to see in the making, Shepard again pushes himself toward traditional songwriting ideology, but maintains a full-headed sense of purpose to each piece, each one accomplishing a goal of its own feeding into the larger whole of the album. At O’Brien’s, new works like “Axxtrokk” and “White Hole” led to Shepard bringing up his Kind bandmate Matthew Couto (also Elder) for an entirely improvised jam that ended the set in a chaotic swirl of effects noise that refused to be grounded, either by Couto‘s drumming or the crowd’s expectation. Having seen Kind recently, I had some sense of what to expect from the collaboration, but the results were still the highlight of the evening and something special that hadn’t been done before. If that jam foretells a direction Blackwolfgoat might take, it’s one of any number possible for the wide open creativity on display.
Turns out Allston hadn’t gotten any less fucked up while I was inside O’Brien’s, but I mowed down zombies with video-game accuracy and grooved out to the Masspike without further incident. A couple close calls here and there, but easily a trip worth the risk.
New Paltz final-frontiersmen It’s Not Night: It’s Space released their debut and most recent full-length, Bowing Not Knowing to What (review here), back in 2012. They were announced as having signed to Small Stone at some point last year and their new album is reportedly in progress, but no solid release date has been given yet. One imagines the instrumental trio will get there sooner or later, and in the meantime, Bowing Not Knowing to Whatstill has plenty of cosmic delights to offer those who’d take it on, as the new video for “The Gathering” demonstrates.
The clip, which appropriately enough features a slug laced in with spaced-out B-roll, was put together by John Lutomski, brother of It’s Not Night: It’s Space drummer Michael Lutomski, and like the song itself, it’s a peaceful but increasingly foreboding build, cinematic in the sense of having grandeur, but ultimately weirder than you’d find in most movies. “The Gathering” does well in blending natural elements — flute, percussion — and a steady effects wash as it builds up, which makes sense considering it’s the leadoff on Bowing Not Knowing to Whatand the introduction to the rest of the album, but the languid ritualism is what carries through most of all, and in that it’s a fitting representation for what It’s Not Night: It’s Space have to offer.
That record, as well as the band’s 2011 debut EP, East of the Sun and West of the Moon, is available as a name-your-price download through Bandcamp, so there’s plenty of opportunity to get acquainted if you’ve yet to do so. It’s Not Night: It’s Space is Lutomski, bassist Tommy Guerrero and guitarist Kevin Halcott. and their new LP was recently performed in full at the New Paltz Rocks Fest over Labor Day weekend. More to come on the release, I’m sure.
Until then, enjoy “The Gathering” on the player below:
It’s Not Night: It’s Space, “The Gathering” official video
Posted in audiObelisk on September 4th, 2014 by H.P. Taskmaster
If you’re looking for Lo-Pan, they’re on tour. That’s where you’ll usually find the Columbus, Ohio, heavy rockers. They’ve spent the better part of the last five years kicking up dirt across this fair land in pursuit of riffy glory, and the time and effort have paid off. Their new album, Colossus — their fourth overall and second for Small Stone Records – finds them a tighter and more efficient-sounding unit than they’ve ever been, and where their last full-length, 2011’s Salvador(review here), was a pinnacle for their songwriting’s blend of fluid groove, soulful vocals and memorable tracks, Colossusreaps the reward of all that touring in pushing Lo-Pan‘s methods even further.
So it’s a meaner, more precise Lo-Pan this time around — the band is still comprised of vocalist Jeff Martin, guitarist Brian Fristoe, bassist Scott Thompson and drummer Jesse Bartz – but they’re also branching out in terms of what their songs do. That will probably make no sense until you listen to “Vox” below. Lo-Pan have done big songs before, but “Vox” gives a spacious feeling in Martin‘s echoing voice that’s genuinely new for them — not to mention a guest spot near the end from Black Black Black‘s Jason Alexander Byers (also ex-Disengage) — and they blend it well with Fristoe‘s smooth-running riffs, Thompson‘s viscous but always moving basslines and the ever-raucous stomp from Bartz. In its hook, and in its subtle — and not so subtle — rhythmic shifts, “Vox” emphasizes a lot of the progression in Lo-Pan‘s approach, and less surprisingly, kicks a good deal of ass along the way.
Please find “Vox” on the player below, prepare yourself to spend the rest of the day listening to it on repeat, and enjoy:
Lo-Pan recorded Colossus with Andrew Schneider at Translator Audio in Brooklyn and will release the album Oct. 7 on Small Stone Records. Cover art is by Jason Alexander Byers. Lo-Pan have been on tour with Black Cobra since Aug. 28. Remaining dates for the run are as follows:
LO-PAN w/ Black Cobra: 9/04/2014 Siberia – New Orleans, LA 9/05/2014 Handlebar – Pensacola, FL 9/06/2014 Orpheum – Tampa, FL 9/07/2014 Gramps – Miami, FL 9/08/2014 Back Booth – Orlando, FL 9/09/2014 529 – Atlanta, GA 9/10/2014 The Mothlight – Asheville, NC 9/11/2014 Chop Shop – Charlotte, NC 9/12/2014 Strange Matter – Richmond, VA 9/13/2014 The Metro – Baltimore, MD 9/14/2014 Dusk – Providence, RI 9/15/2014 Nectars – Burlington, VT 9/16/2014 TT The Bears – Boston, MA 9/17/2014 Kung Fu Necktie – Philadelphia, PA 9/18/2014 Saint Vitus – New York, NY 9/19/2014 Lost Horizon – Syracuse, NY 9/20/2014 Bug Jar – Rochester, NY 9/21/2014 The Outpost – Kent, OH * 9/22/2014 Howlers – Pittsburgh, PA 9/23/2014 Reggie’s – Chicago, IL 9/24/2014 7th St Entry – Minneapolis, MN 9/26/2014 Replay – Lawrence, KS 9/27/2014 Lost Lake Lounge – Denver, CO 9/28/2014 Burt’s Tiki Bar – Salt Lake City, UT 9/29/2014 Dive Bar – Las Vegas, NV 9/30/2014 The Alley – Sparks, NV 10/01/2014 The Garage – Ventura, CA 10/02/2014 New Parish – Oakland, CA 10/04/2014 Downtown Lounge – Tulsa, OK * *LO-PAN headlining date/No Black Cobra
Posted in Whathaveyou on August 28th, 2014 by H.P. Taskmaster
As you can see in the photo above, the flood that ravaged Small Stone Records‘ offices two weeks ago (if you missed that news, see here) is being dealt with. Progress is being made, but of course there’s still a ton to do. The fundraiser has gotten an awesome response and has been about as visible as anyone could ask, so thanks to everybody for helping to get the word out and of course for donating. Please keep it going.
Label honcho Scott Hamilton took some time out and sent some pics of the damage being repaired and updated on the progress being made:
We would personally like to thank everyone who has generously kicked in… It has been beyond helpful (lifesaving) and we are very thankful to any and all involved. We are now finally clean and dry… We still have a long way to go in terms of getting this up and running again, but here is a quick pic of the progress thus far.
90% of my time has been taken up with restoring all the above… i think i have been to home depot over 40 times in the last 2+ weeks
bottom line… this fundraiser has been saving my ass… the last time i was at home depot like this was 14 years ago when we first moved in… holy shit is everything way more expensive then it used to be!
So there you have it. A lot of work being done and a lot more still to come. It’s been amazing watching this community come together to support Small Stone and help Scott get back to where he needs to be, and thanks to folks like Ripple Music for hosting a charity auction, The Heavy Co. for donating all the proceeds of their new live album, and Seb from Abrahma for putting together a series of charity auctions as well. All of this is huge and it shows Scott there’s a reason all the work he’s putting in is worth the effort.
Here is the Music Player. You need to installl flash player to show this cool thing!
This one’s a couple minutes shorter than the last few have been, but lacks nothing for substance, and particularly after YOB‘s “Marrow,” anything I put at the end would’ve just been filler to meet some imaginary obligation on my part. If you feel like you’re lacking the four minutes, give me a call and we’ll chat about records for the rest of that time. It’ll be a hoot. In any case, I think there’s plenty here to sink into — stuff that for a lot of people, myself included, will be on year-end lists and albums for which 2014 will be remembered when all is said and done. Two of my four current contenders for Album of the Year are featured, first and last.
Parts of this podcast are gorgeous, parts are ugly, but I think everything here holds up in terms of quality and listening back, I like the way this one gets immersive with a mix of longer tracks and shorter ones, slower and faster, etc. As always, I hope you enjoy, and I thank you sincerely for taking the time to check it out.
Lo-Pan, “Regulus” from Colossus (2014)
Steak, “Liquid Gold” from Slab City (2014)
The Well, “Mortal Bones” from Samsara (2014)
Orange Goblin, “The Devil’s Whip” from Back from the Abyss (2014)
Kvlthammer, “Hesh Trip” from Kvlthammer (2014)
Snailking, “To Wonder” from Storm (2014)
Earth, “From the Zodiacal Light” from Primitive and Deadly (2014)
Pallbearer, “Watcher in the Dark” from Foundations of Burden (2014)
Sorxe, “Her Majesty” from Surrounded by Shadows (2014)
Humo del Cairo, “Tres” from Preludio EP (2014)
Joy, “Miles Away” from Under the Spell Of… (2014)
Megaton Leviathan, “Past 21” from Past 21: Beyond the Arctic Cell (2014)
Bong, “Blue at Noon” from Haikai No Ku – Ultra High Dimensionality LP (2014)
YOB, “Marrow” from Clearing the Path to Ascend (2014)
Posted in Whathaveyou on August 18th, 2014 by H.P. Taskmaster
It was painful last week to see the pictures of the Small Stone Records offices, flooded out from powerful storms that tore through the Detroit area. Still sealed label product floating through dirty water, files and CDs, the fruit of countless hours of work on the part of label owner Scott Hamilton, simply ruined. In one of the pictures, however, you can also see a floating vacuum cleaner, and that’s also important, because it reminds us that more even than being where kickass riffs come from, this is somebody’s home.
Scott is somebody whose tastes and whose efforts have helped greatly to shape the course of American heavy rock in the last decade-plus. Whether you’re a fan of Dixie Witch or Roadsaw or Sasquatch or Wo Fat or anyone else on his enviable roster, chances are even if you don’t listen to those bands, someone in a band you listen to does. Small Stone has become the standard-bearer, and you can see the influence it has had not only in bands going for “that Small Stone sound,” but also in labels who have come up in the last several years wanting to support the music they’re passionate about in a similar way.
But again, this is about more than music. It’s Scott‘s house too, and that’s why it’s so important that this community comes together to help him out. You and I are part of a worldwide subculture. Don’t believe me? Go to a show anywhere and look around you. It’s the same every place you go, and that’s no mistake. One of our own — someone who’s directly participated in making this weird, ongoing thing to which we belong — needs our help. Frankly, that should be enough to make you want to get involved.
Donations are being taken through the middle of next month, but since it’s a water cleanup process and there’s the ever-present threat of mold, time’s a factor. Thanks for reading and thanks for your support.
In August 2014, bad storms dumped flood waters all through the Detroit area, including into the offices of Small Stone Records, the label home of Sasquatch, Wo Fat, Greenleaf, Lord Fowl, Dixie Witch, Roadsaw and so many others.
Gear and product were both destroyed and insurance in Michigan is crap, so we’re coming together to help Scott from Small Stone with some of the massive expense of cleaning up from this flood.
Scott’s support for heavy music over the last 19 years that he’s run Small Stone has never wavered and this is a chance to help somebody who’s helped us by enriching our lives with great bands and great riffs.
Every bit helps. Thank you for your support.
–Please note that YouCaring.com takes no fees from donations and unlike other sites, ALL THE MONEY YOU DONATE GOES DIRECTLY TO HELP SCOTT.
Put Halfway to Gone against any Southern heavy band you want to — including the late, great Alabama Thunderpussy, with whom they once shared a split — and see if they don’t stand up. Of course, they weren’t actually from the South, unless you consider Central New Jersey the South, which some people I know in North Jersey most definitely do. Born in 1999 as an offshoot of Solarized, Halfway to Gone came out of the same Red Bank scene that gave planet earth gifts like The Atomic Bitchwax, Solace, Core and the mothers of them all, Monster Magnet. They released three records on Small Stone in their time — 2001’s High Five was the debut (after the aforementioned ATP split), followed by 2002’s Second Season and a 2004 self-titled — and toured hard at the time, but have played only intermittently over the last eight or nine years. Guitarist Lee “Stu” Gollin and his brother, drummer Danny Gollin, continued on for a while in A Thousand Knives of Fire, whose 2007 outing, Last Train to Scornsville, was recorded in part by Halfway bassist/vocalist Lou Gorra, but that petered out when their bassist moved away. Gorra in the meantime founded his studio and set about recording other bands, including mine, Halfway to Gone getting together every now and again to play Long Branch’s The Brighton Bar, perpetually killing the place.
If I’m not mistaken, they did a show there last year. Last I saw them was 2012, and they were still a force on stage. There was talk at the time of a long-awaited fourth album, though to-date nothing has come of it. Gorra was playing bass with Sourvein this year for their European tour — it was a beyond-pleasant surprise to run into him at Roadburn — but knowing this band and knowing these dudes, I’d never quite count them out. Still, it’s good to go back to the beginning and revisit High Five, which from where I sit is a Jersey classic. Dig that slide guitar on “Story of My Life,” or the reworked Gettysburg Address in “Kind Words for the Southern Gentleman” — the band taking the “you’re not Southern!” contingent head on — and the hook in “Devil Spit (The Van Zant Shuffle)” or the slow roll of “Limb from Limb.” Gorra does whiskey-soaked vocals without the chestbeating Down-ery that seems to have unfortunately become the hallmark of the style over the last decade, and Stu and Danny tear it up, a thick-toned power trio ahead of their time as much as they were behind it. They’d tighten up further structurally on the second record and branch out stylistically on the third, but as far as starting points go, there’s not much for which I’d trade High Five.
Hope you enjoy.
In Connecticut for the weekend. Was here last weekend as well. Actually, the only reason I drove back to Massachusetts on Tuesday was to see High on Fire at The Sinclair – my first show in Boston in, uh… I don’t even know, since Fu Manchu maybe? — and I didn’t get in. It was a free show! No ticket for me. Ugh. I was so beat by the time I’d stood on line for half an hour, right at the front, and listened to the stupid-assed conversations of those around me after driving two-plus hours to get back up there that when I couldn’t get in, I didn’t even have the energy to make a case for myself. I walked back to my car through college-bound Cambridge and went the fuck home to bury my head. What a bummer.
Next weekend is Sleep at the House of Blues with Earthless and Heavy Blanket jamming out to open. Got my fingers crossed for that. The day before, I’ll be in Pennsylvania for All Them Witches and King Buffalo, so a bit of travel there as well. Whatever. I won’t regret it.
This weekend though, some rest and some research. I’ve got a few things in the works that I’m hoping fall into place over the next couple weeks — all very hush hush, or I’d give you the details outright — so it’s important to keep my head straight. Getting there is pretty much my intent for the next couple days.
Reviews coming up for Witch Mountain and maybe the Fatso Jetson/Herba Mate split, but after doing Powered Wig Machine today and Demon Eye yesterday, I’m starting to feel pretty good about tackling the pile, so I might keep up with that as well. I’ll play it by ear and do as much as I have the energy to do. You know how it goes by now. I pretty much post until I feel like I’m ready to fall over and then I stop for a few hours and then post again.
Clacky clacky clacky. Always with the keyboard.
For now though, I’m gonna go watch some Star Trek with The Patient Mrs. and call it a night.
Please have a great and safe weekend and please check out the forum and radio stream, because they are awesome.
Posted in Whathaveyou on August 14th, 2014 by H.P. Taskmaster
Swedish heavy rockers Mother of God are hitting the UK for a few inaugural dates next month alongside countrymen Molior Superum and Britain’s own Baron Greenback. The three shows, presented by Snuff Lane and Monster Rock Booking, will be to support Mother of God‘s latest EP, Black Ocean, on H42 Records, and 2013’s Small Stone debut, Anthropos, thought the four-piece are reportedly already at work on their next outing as well, so should you happen to be in Bristol, Manchester or Oxford in September, seems likely you’ll be treated to some new material.
If you’re into it, and yeah, you’re probably into it, the PR wire’s got diggable info for your eyeball digestion below:
Snuff Lane Promotions has partnered with ‘Monster Rock Bookings’ to deliver Mother of God in their debut tour of the United Kingdom. Supporting these Swedish rockers are fellow labelmates Molior Superum, making their first appearance in the United Kingdom and both touring in support of their new EP’s.
Snuff Lane are also delighted to be adding Bristol’s very own hard-hitting Baron Greenback to the tour, whose debut album is due for release in the forthcoming weeks.
The tour starts on Saturday 20th September, with exclusive and unique acoustic performances at the debut “Music Is the Healer” charity event. Taking place at The Cavern Club, Bristol, this event will be in support of national charity Nordoff Robbins – who provide music therapy services for thousands of people across the country.
All proceeds from “Music Is the Healer” will go directly to the charities involved.
Also announced is Swedish psychedelic stoner rockers Kamchatka’s debut UK headlining event at The Black Heart, London on Friday 19th September.
Mother of God + Molior Superum + Baron Greenback – UK September Tour Saturday 20th September – The Cavern Club, Bristol (Day & Evening) Sunday 21st September – Gullivers NQ, Manchester Monday 22nd September – The Cellar, Oxford
Posted in Whathaveyou on July 28th, 2014 by H.P. Taskmaster
It’s always fascinating to see what Alexander von Wieding has come up with next for his one-man project, Larman Clamor, now getting ready to issue the fifth outing under the moniker, Beetle Crown and Steel Wand. The Hamburg-based artist/musician continues to work at a speedy clip, and the latest full-length and third for Small Stone will also be the follow-up to 2013’s Alligator Heart(review here). One never knows quite where von Wieding might be headed at any given moment — the last offering stripped down some of the more elaborate arrangements of 2012’s Frogs(review here), but a pleasingly strange trip into swamp blues is almost assured, and like last year, the year before, and the year before that, a welcome journey whenever undertaken.
No solid release date as yet, but if Beetle Crown and Steel Wandgets out before the end of 2014, that would give von Wieding five releases in the four years, which even for a one-man show is an impressive pace.
Friends of the Clamor, it is that time of the year again to announce a new album!
The musical journey continues with “Beetle Crown & Steel Wand”, Larman Clamor’s 5th album.
There is no fixed release date as of yet, but it will most likely be out on the mighty fine Small Stone Records this fall or near the end of 2014. Let the chips fall where they may and let the spirits speed my hands to get the artwork done.
In the meantime, here you all have a peek at the album cover and the tracklisting.
Feel free to spread the good news.
Larman Clamor – Beetle Crown & Steel Wand 1. Beetle Crown & Steel Wand 2. My Lil’ Ghost 3. Eggs In The Sand 4. Wilderness, Wilderness 5. We Shine Alright 6. Caravan Of Ghouls 7. Tangerine Nightfall 8. Alter Yer Ways 9. Bleak Heart’s Night Waltz 10. Drone Monger 11. Aurora Snarling 13. Her Majesty, The Mountain 13. She Was Born A Sorceress