At the end of April, Boston four-piece Gozu released The Fury of a Patient Man. It is their second full-length behind 2010′s Locust Season, which was also issued on Small Stone, and a point of marked stylistic refinement for the band. Whether it was the clarity that holds sway beneath the fuzz of Marc Gaffney and Doug Sherman‘s guitars or the soul that shines through the vocals, the thickness that they seem to turn into shuffle at will, everything that made Locust Season (review here) such an engaging debut has been given a sense of progress on The Fury of a Patient Man, and Gozu, as a unit, have never sounded tighter.

That’s saying something, considering that even as The Fury of a Patient Man (review here) came together, their lineup was going through changes and Gaffney had an extended hospital stay. Bassists Jay Canava and Paul Dellaire both play on the record — put to tape, like the first one, by Benny Grotto at Mad Oak – and the position is now filled by Joe Grotto (yup, related), who joins the rhythm section alongside the scary precision of drummer Barry Spillberg, who makes the High on Fire-style gallop of “Charles Bronson Pinchot” as visceral as he makes the later “Disco Related Injury” swagger and groove.

But Gozu is no more Spillberg‘s show than it is any single member’s, and rather, The Fury of a Patient Man finds its best moments when everyone comes together around a central idea, as on “Ghost Wipe,” which excellently melds some of their heaviest push with an unabashedly pop-minded chorus, the line “The loudness of a broken heart” serving as a takeaway not just from the song but from the full-length as a whole — a sort of complement to the title, furthering the emotional crux and making a point of its melodicism even as its melodies top some of Gozu‘s most fervent riffing, culmination coming in the hypnotic tidal repetitions of the 23-minute “The Ceaseless Thunder of Surf,” on which the band doesn’t so much let go of the song as they do let it wander where it might, sustained lines meeting their deconstruction in a poignant, patient finale. Even this, Gozu makes asongand not a part showcase.

A triumph through the record is — it’s one of 2013′s best, make no mistake — it’s easy to imagine Gozu‘s finest hours yet lay ahead of them. The band have been recruited for a slot at The Eye of the Stoned Goat 3 in Brooklyn this July (more info here), and they’ll tour with Ohio-based labelmates Lo-Pan to get there. In addition, for the 2LP release of The Fury of a Patient Man, Gozu have recently put together a collaboration with Lo-Pan vocalist Jeff Martin – reportedly a cover of D’Angelo‘s “Brown Sugar” — and while gigging in April with Fu Manchu might seem like a high point for anyone who ever based a song around a riff, on May 20, they’ll be at the Great Scott with Norwegian rippers Kvelertak, so the hits, as it were, keep coming. Well deserved.

Please find the 3,500-word Q&A with Marc Gaffney of Gozu after the jump, and please enjoy.

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They’re the titans of tone! The rulers of riffs! The fugelmen of fuzz! Okay, you get the point, which is that Gozu and Lo-Pan teaming up for a tour is a very, very cool thing and if you’re lucky enough to be in an area where one of these four July shows is happening, then you’re probably gonna want to endeavor to show up. Gozu at that point will still be riding high on the release of The Fury of a Patient Man, and Lo-Pan — who were already playing new material late last year — should only have more of it by now with the rare time they’ve spent off the road, so all the better to get an advance glimpse at their next album.

It’s four-nights-only that the labelmates and soulful forerunners will be teamed up, and they’re playing in Worcester, Massachusetts, Manchester, New Hampshire and Boston on their way to join their Small Stone brethren in Supermachine and Lord Fowl, as well as Borracho, Black Black Black, Wasted Theory, Wizard Eye and Geezer at The Eye of the Stoned Goat 3 at The Acheron in Brooklyn. More on that here.

Rumor has it — and by rumor I mean the interview I did a couple weeks back with Gozu guitarist/vocalist Marc Gaffney that I haven’t had time to transcribe yet — that Lo-Pan singer Jeff Martin was recently invited to collaborate with Gozu on a track for the vinyl release of The Fury of a Patient Man, which given the sheer pipes involved is bound to improve the quality of life of anyone who hears it once it comes out. Very much looking forward to that.

Here’s the poster and the dates for the Lo-Pan/Gozu, with more info coming soon:

If that’s not enough to get your rock glands in a tizzy, Gozu are also opening for Fu Manchu (who are playing The Action is Go front to back) this coming week at The Sinclair in Cambridge. More on that here. Lo-Pan play April 20 at Red Sun‘s 10th anniversary show, as reported here the other day. Rock and roll abounds. Let’s make some eggs:

Lo-Pan, “Chichen Itza” Official Video

Gozu, “Bald Bull” Official Video

My only hope is that as Backwoods Payback, Supermachine, Lord Fowl and Sun Gods in Exile head out for these four shows, they bring the poster with them. Seems the Small Stone Records bannerfolk have united under the flag of their label and are hitting the Northeast for a bill they’re dubbing “4 Bands, 4 States, 4 Shows, 1 Label.” Call it a tour by the numbers.

Since Supermachine, Lord Fowl and Sun Gods in Exile all live in New England, so with Backwoods Payback tagged on from Pennsylvania, you can pretty well imagine this one’s going to be a debauched-type good time. A long weekend that no one involved will recall by the time it’s over. Nonetheless, if you’ve gotta have something to remember it by, the following Alexander von Wieding poster is a gorgeous reminder.

Octopus reigns supreme among green-lady headwear:

4 bands. 4 states. 4 shows. 1 label.

SMALL STONE RECORDS NORTH EAST US TOUR

featuring:
BACKWOODS PAYBACK
SUPER MACHINE
LORD FOWL
SUN GODS IN EXILE

04.25.13 – The Dover Brickhouse, Dover NH
04.26.13 – KCs Tap, Pawtucket RI
04.27.13 – The Winchester, Woodbridge CT
04.28.13 – Leftfield NYC, Manhattan NY

Even before Hydra is a heavy rock album, it’s a rock album. The third full-length from Malmö, Sweden’s Deville and first for their new label, Small Stone Records, has its roots in Foo Fighters as much as, if not more than Kyuss, and it’s a difference of presentation and method that runs deeper than one might initially think. A lot of the trad stoner tonality that showed up on Deville‘s first two studio offerings, 2007′s Come Heavy Sleep and 2009′s Hail the Black Sky, has dissipated, but if you listen to those two albums in line with the 11 tracks of Hydra, the latest still seems a logical extension of their methods, if one driven in a more straightforward, less fuzz-reliant direction. The band recorded themselves, with drummer Markus Nilsson handling the engineering, so one imagines they knew what they were doing and that the clean, crisp, professional sound they wound up with on these songs wasn’t an accident. Even in terms of the songs themselves, one can see a difference. Not troubling itself with intros, outros or interludes, Hydra also finds Deville tightening the structures of their material, so that in its varied array of moods, there’s only one song reaching over five minutes long — the penultimate “Imperial,” at 6:31 — where each of the prior two offerings has had four. That’s probably not a conscious decision on the band’s part, that is, they likely didn’t sit down and say, “Okay guys, time to write shorter parts,” but it’s another example of Deville departing their stonerly beginnings in favor of a more straightforward take, skirting the lines between hard and heavy rock an an almost track-by-track basis.

Clocking in at a vinyl-ready 44:35, Hydra makes a strong opening statement in its first three tracks, “Lava,” “Iron Fed” and “In Vein.” Each is opened by Nilsson‘s drums and finds vocalist/guitarist Andreas Bengtsson leading the band with guitarist Martin Hambitzer and bassist Markus Åkesson contributing to the momentum. Right away, the band carries across their sonic shift — again, not so drastic that if you heard Deville before you wouldn’t guess you were listening to them again, but still a marked change from the first two records — but if Hydra‘s first volley proves anything, it’s that the tradeoff comes in the band being tighter performance-wise and clearer in their intent. “Iron Fed” chugs through its verse en route to one of the album’s finest hooks, something mid-period Dozer would’ve been proud to hang their hats on, and keeps motion central even in its lead break, which hits right where it should at the end of the second third of the track, right before the chorus comes back in, once and then again with more feeling. Hardly a slowdown, “In Vain”  sees Åkesson come forward in the mix, joined by a guitar swell in the chorus, as Bengtsson pulls back on the vocal thrust to ride the groove kept active by Nilsson‘s upbeat snare. It’s in line structurally with most of the rest of Hydra, but “In Vain” also serves as the first signal that Deville have more to offer in terms of mood than the driving rock they’ve so far presented.

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…Yeah, I know, 24 is a buttload of records to buy in the span of about a month and a half. To do the division, it would mean buying a new album every 2.04 days. Probably not feasible in terms of time, let alone budget, but hell, it’s a nice thought and seeing the onslaught of new stuff coming between now and the end of April, I thought maybe a list would help keep it all straight. Even if I’m only helping myself, I could probably spend my time in worse ways.

Worth noting that even with 24 albums, presented below in order of release, I feel like there’s stuff I’m forgetting. Frankly, it’s an overwhelming amount of material, so if I’ve missed something or there’s something you’d like to see added to the list, as always, that’s why there’s a comments feature.

Okay. These are numbered just for fun, but listed by date:

1. Orange Goblin, A Eulogy for the Fans (March 12)

My understanding is that London’s foremost doom scoundrels, none other than Orange Goblin, have been selling copies of A Eulogy for the Fans since starting their US tour with Clutch on March 8 in Cincinnati, Ohio, but today is the official release date, and I can think of no better place to start than with the four-piece’s ferocious performance at the 2012 Bloodstock festival, captured audio and video in all its bloodsoaked glory. Not to be missed or taken lightly because it’s a live record. Album review here.

2. Borracho, Mob Gathering 7″ (March 13)

Even though it’s comprised of older tracks, the new Mob Gathering 7″ from Borracho is welcome by me for two reasons: I’ve never heard the songs before and Borracho rocks. The Washington D.C.-based riffers recorded “Mob Gathering” and “Short Ride (When it’s Over)” in 2009 and are set to release the cuts on a limited platter in black and orange swirl through Spain’s Ghost Highway Recordings and Germany’s No Balls Records. They’ve been playing live as a mostly-instrumental outfit while guitarist/vocalist Noah is out of the country on what I can only assume is an awesome spy mission, so if you need a Borracho fix — and it’s obvious from the way your hands are shaking that you do — this might be the way to go. More info here.

3. Inter Arma, Sky Burial (March 15)

Like Windhand below, Inter Arma are recent Relapse Records signees from Richmond, Virginia, and Sky Burial will serve as their first release for the label. Literally and figuratively, the album is expansive, topping 69 minutes and pummeling the whole way through with a genre-transcending concoction of bleakness that’s not so much aligned to any particular heavy aesthetic so much as it is set to its own atmospheric purposes. Through this, Inter Arma emerge terrifyingly cohesive where many others would falter, and their second LP behind 2010′s Sundown (review here) leaves a progressive impression despite an almost complete lack of sonic pretense. Mostly, it’s fucking heavy. Track stream and info here.

4. Clutch, Earth Rocker (March 19)

If 2013 ended tomorrow, Clutch‘s Earth Rocker would be my album of the year. That’s not saying the situation will be the same nine months from now when I actually start putting that list together (already dreading it), but as of March 12, it’s the cat’s pajamas and no foolin’. The long-running Marylanders outdid themselves and put together a surprisingly fast, energetic collection of songs that don’t forsake the bluesy tendencies of their last album, 2009′s Strange Cousins from the West, so much as they put some of the jamming on lockdown in favor of all-out pro-grade heavy rock and roll. The velocity is crucial and the wolfman is out, but it feels like the party’s just starting. Look for them on tour sometime between now and forever. Album review here.

5. Black Mare, Field of the Host (March 20)

Black Math Horseman and Ides of Gemini frontwoman Sera Timms (who’s also recently collaborated with Yawning Man‘s Gary Arce in the new outfit Zun) steps further out on her own with the solo-project Black Mare, from whom Field of the Host is the first album. Due March 20 on LP through The Crossing and on cassette through Breathe Plastic, limited in both cases and sure to be gone shortly after release if they’re not already taken through pre-orders. Fans of Timms‘ past works will be glad to hear the misty wash of melody and dreamy, somehow sad, languid roll of “Blind One,” for starters. Audio and info on the forum.

6. Kvelertak, Meir (March 26)

Short of setting themselves on fire, Norwegian triple-guitar six-piece Kvelertak did just about everything they could to get noticed in support of their 2010 self-titled debut LP (review here), and sure enough, their work paid off in getting signed to Roadrunner Records for all territories outside their native Scandinavia (where Indie Recordings holds sway) and trumpeting up a wave of anticipation for their second full-length, Meir. Their energetic, genre-crossing approach might not be for everybody, but the band have turned a lot of heads and I wouldn’t at all be surprised to find them on bigger tours this year with Roadrunner behind them. More info on the forum.

7. Black Pyramid, Adversarial (April 2)

This is actually the first time the Eli Wood cover art for Black Pyramid‘s Adversarial has been seen in full, so you know. The Hydro-Phonic Records release of the third Black Pyramid album and first to be fronted by guitarist/vocalist Darryl Shepard along with bassist David Gein and drummer Clay Neely punctuates the beginning of a new era for the Massachusetts trio. If the advance listen to closing track “Onyx and Obsidian” is anything to go by, they could very well be at their most potent yet, and though I’d hardly consider myself an impartial observer, as a fan of the band, this is one I’ve been looking forward to for a while now. More to come. Track stream here.

8. Moss, Horrible Night (April 2)

I’ve yet to hear the complete album, but UK trio Moss seem poised to surprise with a cleaner vocal approach on Horrible Night, their first offering since 2008′s impressive Sub Templum LP and two EPs in 2009, so in addition to wondering how they’ll pull it off, the level of the shift remains to be seen. That is, how big a deal is it? Should I call my mom? Is this something grandma needs to know about? Time will tell, but for it having been five years since the last time a Moss record reared its doomly head, it seems only fair to give the band a little breathing room on their evolution. More info and video here.

9. Mars Red Sky, Be My Guide EP (April 8)

How glad am I that French fuzz rockers Mars Red Sky have a new EP coming? Well, I’m not as happy that it’s coming as I am that it’s frickin’ awesome. The trio keep the weighted bass tones that gave so much depth to their 2011 self-titled debut (review here), but they’ve also clearly set to work expanding the formula as well, adding stomp to second track “Seen a Ghost” and an eerie repetitive sense to side B closer “Stranger,” while also broadening their melodic reach and taking claim of whichever side of the line they want between fuzz rock and heavy psychedelia while remaining so much more to the ears than either genre descriptor can offer to the eyes. At half an hour, my only complaint with it is it’s not a full-length album. Video trailer and info here.

10. Blaak Heat Shujaa, The Edge of an Era (April 9)

A sample of the poet Ron Whitehead — who also featured on Blaak Heat Shujaa‘s late-2012 debut EP for Tee Pee Records, The Storm Generation (review here) — comes to clarity just in time for the gonzo Boomer poet to let us all know that, “America is an illusion” (that may be, but it’s an illusion with an army of flying killer robots), and from there, the youngin’ desert transplants embark on a low-end-heavy freakout topped with sweet surf rock guitars and set to use in intricate, sometimes surprisingly jagged, rhythmic dances. Mario Lalli of Fatso Jetson guests, Scott Reeder produced. Review is forthcoming, but till then, there’s more info here.

11. Devil to Pay, Fate is Your Muse (April 9)

Fate is Your Muse serves not only as Indianapolis rockers Devil to Pay‘s Ripple Music debut, but also as the double-guitar foursome’s first outing since 2009′s Heavily Ever After. With tales of lizardmen attacks and the alleged end of the world, it’s got its fair share of personality, and set to the chugging riffs, melodic vocals and straightforward heavy grooves, that personality still goes a long way. I’ll have a review up before this week is out (I hope), but still, I wanted to make sure to include Devil to Pay here too, since their songs command both attention and respect. To wit, I just can’t seem to get “This Train Won’t Stop” out of my head. Video and info here.

12. Cough & Windhand, Reflection of the Negative Split (April 15)

Virginian doomers Cough and Windhand share a hometown in Richmond, a love of volume, a bassist in Parker Chandler and now a label in Relapse Records, so yeah, a split makes sense. Reflection of the Negative will be Windhand‘s first release through Relapse ahead of their sophomore full-length, scheduled for later this year (info here). For Cough, this split marks their first outing since 2010′s An Introduction to the Black Arts split with UK masters The Wounded Kings (review here), and they’ll present the 18-minute “Athame,” while Windhand bring forth “Amaranth” and “Shepherd’s Crook.” More info here.

13. Uncle Acid and the Deadbeats, Mind Control (April 15)

What the last Uncle Acid and the Deadbeats album, 2011′s Blood Lust (semi-review here), did so well was capture the atmosphere and the grainy imagery of late ’60s/early ’70s psychedelic horror and put it into audio form. For that, Blood Lust earned massive praise, but I still think that without the central core of songwriting underneath the genre trappings, it would’ve fallen flat. When it comes to Mind Control, the question waiting to be answered is if the band wants to stick to the blueprint they’ve established or go brazenly into uncharted weirdness. I’m not really sure they can lose, either way. Info and music here.

14. Kadavar, Abra Kadavar (April 16)

Their debut on new label Nuclear Blast and the quick-arriving answer to my pick for 2012 debut of the year, Abra Kadavar arrives with plenty of anticipation leading the way. The retro-rocking German trio have their work cut out for them in following that self-titled, but however it turns out in the comparison, it will be fascinating to learn how Kadavar develops the band’s sound and whether or not they prove able to push the boundaries of their aesthetic while simultaneously setting a new standard for promo photos. New video here.

15. Spiritual Beggars, Earth Blues (April 16)

I guess when it comes to these long-running Swedes, everybody’s got their favorite lineup, their favorite tunes, etc., but for me, I’m just impressed that Michael Amott — now more than 20 years on from starting Spiritual Beggars as a side-project while still in grindcore pioneers Carcass — still has any interest in keeping the classic rock Hammond-loving outfit grooving. Their last outing, 2010′s Return to Zero (review here), was the first to feature vocalist Apollo Papathanasio, formerly of Firewind, and though those songs were solid, I wouldn’t be surprised if they’re more settled in on Earth Blues when it drops via InsideOut Music on April 16. More info on the forum.

16. Beastwars, Blood Becomes Fire (April 19)

Alternating between periods of brooding intensity and all-out crushing heaviness, the second full-length from New Zealand’s Beastwars, Blood Becomes Fire, is nasty, nasty, nasty. It’s nasty when it’s quiet and it’s nasty when it’s loud. It’s the kind of record you put on and you’re like, “Damn that’s nasty.” And you’re not wrong. The four-piece — touring shortly with Unida — upped their game even from 2011′s self-titled debut (review here), and for anyone who heard that record, you know that’s saying something. I’m still in the “getting to know it” phase, but so far all that nasty feels pretty right on. More info here.

17. Ghost, Infestissumam (April 19)

Man, this one just kind of happened, huh? I suck — and I mean S-U-C-K suck — at keeping up with band hype. I’m the dude who hears the record three months later and goes, “Yeah, I guess that’s cool,” as countless reviews here can attest, including the one for Ghost‘s 2010 debut, Opus Eponymous, but with the Swedish cult heavyweights, all of a sudden I turned around and blamo, major label deal, semi-name change to Ghost B.C., and enough slathering over the impending Infestissumam to make the first album seem like less than the hyperbole it was treated to initially. Funny how that happens. Out in April? I’m sure I’ll review in June and go, “Yeah, I guess that’s cool.” More info on the forum.

18. One Inch Giant, The Great White Beyond (April 19)

Now signed to Soulseller Records, Swedish heavy rockers One Inch Giant will unveil their debut full-length on April 19 and as three of my favorite words in the English language are “Swedish heavy rockers,” I’m excited to find out how this Gothenburg four-piece follow-up their Malva EP, and if they can capture some of the extreme dynamic they brought to their live show when they toured the US last summer — a run of shows that included a stop at SHoD. Hard not to pull for a band after they come over to play club dates. More info and music here.

19. The Heavy Co., Midwest Electric (April 20)

It was actually the other day writing about The Heavy Co.‘s Midwest Electric that I had the idea for this feature, so however high the profile might be for some of these albums — Ghost walks by on their way to cash a check — it was these unpretentious Hoosier rockers and their new outing, Midwest Electric, that started me off. From what I’ve heard so far, the new collection sounds a little more confident in exploring psychedelia than did the trio’s 2011 debut EP, The Heavy (Please Tune In…) (review here), so I’m looking forward to hearing if and how that plays out over the course of the whole thing. Video trailer here.

20. Gozu, The Fury of a Patient Man (April 23)

I have an interview slated for later this week with Gozu guitarist/vocalist Marc Gaffney, and I’m even more excited for this time than I was when we last spoke, around their 2009 Small Stone debut, Locust Season (review here), since in everything but its goofball song titles, the sophomore outing marks a huge developmental step in the band’s melodic reach and songwriting chemistry. Stay tuned for that interview and check out the Bandcamp stream included with the album review here.

21. Yawning Man & Fatso Jetson, European Tour Split 7″ (April 26)

Note: I don’t actually know that April 26 is the day that what’s sure to be 2013′s most desert-rocking split is due to arrive, I just know that it’s Fatso Jetson and Yawning Man‘s European tour split, and that’s the day the Euro dates start — with performances at Desertfests London and Berlin, to be more specific. Given both the greatness of Fatso Jetson‘s last record, 2010′s Archaic Volumes (review here), and of Yawning Man‘s own 2010 outing, Nomadic Pursuits (review here), the bands’ shared lineage and the relative infrequency of their touring, it doesn’t seem unreasonable to hope that, even for a single, they pull out all the stops. And starts. And riffs. More info on the forum.

22. Serpent Throne, Brother Lucifer (April 29)

Philly-based instrumental heavy rockers Serpent Throne will follow-up 2010′s White Summer/Black Winter (review here) with Brother Lucifer, and while no one can ever really know what to expect, it’s a safe bet that the dual-guitar outfit will have the solos front and center once again. Having seen them do a couple new songs back in December, I can’t blame them in the slightest. Looking forward to letting these songs sink in for a while and having those solos stuck in my head. Track stream here.

23. Melvins, Everybody Loves Sausages (April 30)

Hey wow, a Melvins covers album. Finally, an opportunity for the band to let their hair down and go wild a bit, right? I mean, at long last, they can really feel free to indulge a little and explore their musical roots in a free and creative way. Okay, you get the point. In all seriousness, it’s a pretty cool idea and anything that teams the Melvins with Scott Kelly to do a Venom song is probably going to be a worthy cause. The most amazing part of it is they haven’t already done a version of “Black Betty.” More info on the forum.

24. Revelation, Inner Harbor (April 30)

Their most progressive outing yet and their first album since 2009, Revelation‘s Inner Harbor (review here) is bound to surprise some who thought they knew what to expect from the Maryland doom stalwarts who double as the classically rocking Against Nature. Good thing Inner Harbor had a digital release last year through the band’s Bland Hand Records to act as a precursor to this Shadow Kingdom CD issue. Rumor has it vinyl’s on the way as well, so keep an eye out, since John Brenner‘s guitar tone should be heard on as natural-sounding an apparatus as possible. More info here.

–

Okay, so you’re saying to yourself, “Golly, that’s a lot of stuff.” You’re absolutely right. But even as I was typing up this feature, I got word of a new Queen Elephantine full-length coming in April, so even as much as this is, it’s not everything. And that’s not even to mention May, which will bring a new Shroud Eater EP, a new Kylesa record and a new Mark Lanegan collaboration, among however much else. Tons of stuff to keep your ears out for, and like I said way back at the top of this thing, if you have something to add, a comment’s always appreciated.

Thanks for reading.

Star-wipe alert!

It’s a scientific fact that Connecticut-based heavy rocking foursome Lord Fowl have enough cool on hand at any given moment they could rent it out to other bands running low. I think what I like best — aside from the star-wipes — about the double-guitar slinging outfit’s new video for the title-track of 2012′s Moon Queen sophomore full-length (review here), also their debut on Small Stone, is that every time I watch it I could swear I’ve somehow just slipped back in time and I’m watching something I taped off local access circa 1991.

Between the vintage effects, the soundstage look and the stacks of amps behind, it hits all its marks in much the same way Moon Queen did when it dropped last year, so all the better. In case you missed the news a little while back, Lord Fowl are heading out on the road later this week with Irata and their fuzz-loving Virginian labelmates in Freedom Hawk, which makes the timing on the new video coming out even better. You’d almost swear these things were planned out ahead of time.

So as Lord Fowl prepare to hit up SXSW, Fuzzed Out! fest and more, here’s the clip for “Moon Queen,” followed by the tour dates:

Freedom Hawk, Lord Fowl & Irata: SXSW & More
03/08 Chapel Hill, NC @ Nightlight w/ Collossus
03/09 Murrell’s Inlet, SC @ Rockin Hard Saloon
03/10 Columbia, SC @ New Brookland Tavern w/ Carolina Chupacabra
03/11 Athens, GA @ Caledonia Lounge w/ Savagist, Guzik
03/12 Birmingham, AL @ Nick w/ Aethenoth
03/13 Lake Charles, LA @ Luna Live w/ Large Marge
03/14 Austin, TX @ Headhunters – Small Stone SXSW Showcase
03/15 San Antonio, TX @ Nightrocker Live – SXSA Small Stone Showcase w/ Wo Fat & Las Cruces
03/16 Austin, TX @ Scoot Inn – Converse/Thrasher “Deathmatch” @ SXSW – The Power of the Riff – Free Day show 12-4pm.
03/16 Fort Worth, TX @ The Grotto – Fuzzed Out! Fest w/ Wo Fat and Southern Train Gypsy, Ape Machine, Been Obscene, Mothership
03/17 Nashville, TN @ TBA

Relatively speaking, there hasn’t been much word out of Swedish fuzz rockers Asteroid‘s camp since they signed to Small Stone about a year ago. They played Desertfest (review here) and did other shows as well, but after losing drummer Elvis Campbell in 2010, the focus seems to have been on resolidifying the trio with new percussionist Henrik Jannson alongside guitarist/vocalist Robin Hirse and bassist/vocalist Johannes Nilsson. If that seems like a while to get things hammered out, then weigh that time against the organic nature of Asteroid‘s approach and it will probably make more sense — purveyors of laid back groove and whole-grain fuzz that they are, one imagines it takes some time to get the vibe just so, like trying to make sure a painting is even on all sides. Toward the end of last year, Asteroid issued their first offering with the Jannson/Hirse/Nilsson lineup, a self-released, limited 7″ single featuring the songs “Move a Mountain” and “One Foot in the Grave.” Strictly speaking, it’s the first Asteroid studio output since 2010′s much-loved II (review here) dropped courtesy of Fuzzorama, and as quick as it is, the new tracks are nonetheless a welcome arrival, hopefully heralding a new full-length to come, if not this year than sometime sooner rather than later.

It is short, though. “One Foot in the Grave,” a straightforward, heavy rocking B side less jammy than some of Asteroid‘s material, is reportedly the shortest thing the Fuzzorama alums have ever done, and I tend to believe it. Even the bluesier “Move a Mountain” feels relatively frill-less, though Hirse still finds room for an engaging solo in an instrumental break. It’s a blues, not 12-bar, but of a similar descending construction, and the three-piece sound at least as organic as they did on II, the vinyl’s compression only pushing forward the richness in Nilsson‘s tone and the rush of the guitar. As ever, the dual vocals from Hirse and Nilsson are a distinguishing factor (more on side B), and their approach remains neither completely aligned to a straightforward heavy rock take nor to Sweden’s oh-so-prominent post-Graveyard retro set. It’s mainly the open space in their songwriting that allows them to distinguish themselves so, and Jannson has made himself right at home in the groove of “Move a Mountain,” punctuating the bassline while Hirse strums out a teasing lead line near the song’s midpoint before a dead stop brings about a return to the verse. Hard to imagine this jam wouldn’t be longer live, but there’s only so much room on a 7″ single and they do well working efficiently anyhow, highlighting the catchiness of their blues and the lack of pretense with which they present it as the structure once again gives way to an instrumental break, Jannson‘s cymbals playing as much of a role in the build as Hirse‘s guitar and Nilsson‘s bass — the trio ideal.

The driving groove they elicit as the “Move a Mountain” peaks (get it?) bodes well for the dynamics they might be able to bring to a full-length, and on the other side of the platter, “One Foot in the Grave” is more of a shuffle — not necessarily in a rush, but an uptempo, classic groover that Nilsson and Hirse top with quick verses that leave little room for instrumental explorations. More than “Move a Mountain,” “One Foot in the Grave” is a departure, but it’s not necessarily out of character either with what Asteroid did on II, though were it to appear on that record, it would probably be more developed. The temptation is to read some change into it that might show up on a subsequent full-length, but really, it’s just the B side of a limited single and if Asteroid are signalling a shift in approach or some development of their style, likely that won’t come at the expense of any of the tonal warmth that has typified both of their full-lengths or their earlier debut split with Blowback. These guys arrived with a good sense of what they wanted to do, and “One Foot in the Grave” is enough in line with that so as not to be jarring so much in its approach — they’re not all of a sudden ripping out black metal screams or something — as it is for the sheer fact that it’s faster and shorter. It’s a fun experiment, and if Asteroid work in some higher-tempo material on their next record, the variety can really only make it a stronger offering.

Really, from my standpoint, that’s what Move a Mountain/One Foot in the Grave is accomplishing: It’s Asteroid signalling that despite the lineup change, the personality of the band remains intact and they’ve been working on getting themselves back up to speed, so to speak, perhaps with incorporating some new elements along the way. As a special release for fans to enjoy who might seek it out, the 7″ gets that message across well and revives some of the momentum Asteroid had coming off of II ahead of the potential III, which, the sooner it gets here, the better.

Asteroid’s website

Asteroid on Thee Facebooks

Always cool to see good bands hitting the road together, and Lord Fowl and Freedom Hawk will be joining forces with some killer acts along the way, including Ape Machine, who just signed to Ripple Music, and their Small Stone labelmates and stewards of Texas heavy, Wo Fat.

Joining them on the trek will be North Carolina’s Irata. Dig the sass in the press release below:

Freedom Hawk, Lord Fowl & Irata to Tour Your Pants Off

During Small Stone Records time the Ides of March circa 2013, Freedom Hawk hath been summoned by the Lord Fowl to bring their fuzzy, groovy, soulful heavy rock vibes with the reincarnated Irata coming along to help carry the torch. This spring they commence a sensory experiment, a flashback of sorts to an age when there was no CD players, smartypants phones or 24-hour news cycles.

Cruzin’ shall commence in cities Down, Left and Middle with a range of cohorts from Aethenoth to labelmates Wo Fat and like-minded Austrian groovehounds Been Obscene. Fests and showcases will be played, brains will be blown and hearts will be broken. Dig it if you dare:

Freedom Hawk, Lord Fowl & Irata: SXSW & More
03/08 Chapel Hill, NC @ Nightlight w/ Collossus
03/09 Murrell’s Inlet, SC @ Rockin Hard Saloon
03/10 Columbia, SC @ New Brookland Tavern w/ Carolina Chupacabra
03/11 Athens, GA @ Caledonia Lounge w/ Savagist, Guzik
03/12 Birmingham, AL @ Nick w/ Aethenoth
03/13 Lake Charles, LA @ Luna Live w/ Large Marge
03/14 Austin, TX @ Headhunters – Small Stone SXSW Showcase
03/15 San Antonio, TX @ Nightrocker Live – SXSA Small Stone Showcase w/ Wo Fat & Las Cruces
03/16 Austin, TX @ Scoot Inn – Converse/Thrasher “Deathmatch” @ SXSW – The Power of the Riff – Free Day show 12-4pm.
03/16 Fort Worth, TX @ The Grotto – Fuzzed Out! Fest w/ Wo Fat and Southern Train Gypsy, Ape Machine, Been Obscene, Mothership
03/17 Nashville, TN @ TBA

Come Rawk out with your Hawk out, Bow to the Fowl, and rock Irata more!

Truth be told, they’ve been putting on shows during SXSW since 1997, but 2013 makes it a full decade that Small Stone has been doing an official SXSW showcase, and the venerable Detroit imprint are celebrating in style. I always get a little wistful thinking about my days in Austin at these parties — I went four years from 2003-’07 — and from seeing Suplecs touring on the strength of a post-Man’s Ruin demo to watching Sasquatch and The Brought Low lay waste to the room. Good friends, cheap beer, occasionally Mexican food. Some of the best times I’ve had at shows were at those things, and not just for the refried beans.

I won’t be making the trip this year, but consider it highly recommended nonetheless if you can get down that way. Brian Mercer has once again provided the poster for the shindig, which is below, followed by the lineup and set times:

Also available in purple.

Marking 10 years of official SXSW showcases, Detroit’s Small Stone Records returns to Headhunters (720 Red River) on March 14 with some of the finest in heavy rock. This year’s Small Stone showcase is headlined by New Orleans veterans Suplecs and Connecticut upstarts Lord Fowl, and features Virginia’s Freedom Hawk and Texan natives Wo Fat along with Luder, Supermachine and Mellow Bravo. For lovers of classic guitar and motor-ready grooves, it gets no better than Small Stone, and with a decade under their belts, they still throw a party like none other. Expect the epic.

Date: Thursday March, 14th, 2013
Venue: Headhunters – 720 Red River – Austin, TX – 78701
1 am: Suplecs (New Orleans, LA)
12 mid: Lord Fowl (New Haven, CT)
11pm: Freedom Hawk (Virginia Beach, VA)
10pm: Wo Fat (Dallas, TX)
9pm: Luder (Ferndale, MI)
8pm: Supermachine (Dover, NH)
7pm: Mellow Bravo (Boston, MA)

Well, Small Stone certainly seems to have taken Bandcamp by the proverbial horns. The venerable Detroit imprint will issue the label debut from Swedish heavy rockers Deville come March 26, and though that’s still more than a full two months off, Hydra is streaming in its entirety now on the player below. Maybe Small Stone wanted to get the word out on the record early in advance of Deville performing at the annual Small Stone SXSW showcase this coming March — a gig that will hopefully come surrounded by a run of US shows that also includes a NY-area date. Likely more on that in the weeks ahead and I’ll have a review of the album at some point before it’s released as well.

Till then, guitarist/vocalist Andreas Bengtsson sends word about the stream and some of the band’s doings for 2013:

Small Stone Records streaming new Deville album!

Hi! Small Stone Records are streaming the new Deville album “Hydra”!

Here: http://smallstone.bandcamp.com/album/hydra

Out 26th of March!

Deville signed to Small Stone Records and are confirmed for SXSW Austin, Texas, Desertfest London 2013, SFTU, Erfurt among other festivals and tours.

During 2011 and 2012 Deville have been stuck in the studio most of the time except for some european festivals and random shows. After two full length albums and a couple of hundred shows all around Europe the new record is a product of that. Trying to take this experience of what the band does best and what works live this new record is more wide than previous releases.

best regards!
Andreas/Deville

Earlier this week, Small Stone Records announced the latest in a string of European pickups: French four-piece The Socks, from Lyon. The Socks follow in a line of bands that includes their countrymen Abrahma and Mother of God, as well as Deville, Isaak and Asteroid as part of Small Stone‘s Euro expansion, and as it happens, they needed a bio. Well, I’ve done a couple in my day and with a bit of info to work from, I actually kind of like the process, so when I was asked, I was happy to oblige with one for The Socks.

They’re a band about whom I didn’t know much leading into it, but after checking out their two posted EPs — this year’s Bedrock (which you’ll find below courtesy of their Bandcamp) and Side A from 2011 — they seem like a solid addition to a rapidly growing roster. In case you’re not familiar, here’s the bio I wrote:

The Socks – Bio

Julien – Lead Guitar & Vocals
Jess – Drums & Percussions
Nico – Guitar, Keyboards & Vocals
Vincent – Bass

Some dudes just sound like they were born to do it, and listening to the classic heavy rock groove of The Socks, there can be no doubt it’s what they’re made for. They’re naturals. The double-guitar French foursome formed in Lyon in 2009 and started surprising audiences almost immediately, eventually settling down to pump out their debut EP the following year.

2010’s Side A was five songs well concentrated from a band still feeling out where they wanted to go. You had your Sabbath, your Zeppelin, and The Socks supported the release by playing with an array of national and international acts, busting out energetic, intense gigs while continuing to develop their style. The next two years drove the band to write darker songs, hit harder, become thicker, more powerful, more calculating and less frenetic.

The resulting 2012 EP, Bedrock, soon caught Small Stone Records’ eye, with strong instrumental performances from Jess (drums), Vincent (bass), Nico (guitar/keys/vocals) and Julien (vocals/guitar), the latter also serving as the frontman and delivering a guttural but memorable vocal performance throughout the tracks, psychedelic in some places and elsewhere delving into a neo-grunge moodiness that was a change from the first release. During Fall 2012, The Socks completed their first European tour, drawing on experience garnered from festivals and gigs alongside Karma to Burn, Red Fang, Truckfighters, Horisont, Mars Red Sky, Black Rainbows and many others with whom they share some elements while still maintaining a personality of their own.

Simply put, they were a hit. Small Stone picked up the band and is set to issue their first full-length in 2013, as the band continue to thrust themselves into Europe’s next generation of heavy rock and roll alongside acts like Abrahma, Deville, Asteroid, Isaak, Black Rainbows and Mother of God. Look for The Socks to continue their momentum into 2013 and beyond, in the studio and on the road, and expect nothing less than some of the finest riffs the continent has to offer. That’s how it goes when you deal with naturals.

A friendly reminder that this very Saturday is Small Stone‘s showcase at The Magic Stick in Detroit. Since the one in Boston earlier this month was such an unholy good time, I can only heartily recommend that the entire Midwest shows up and prepares itself for riffy communion. Even if The Obelisk wasn’t presenting it, it’d still be a kickass rock gig, and probably as far east as we’re going to get Sasquatch anytime soon.

Label honcho (and Luder guitarist, as it happens) Scott Hamilton was recently interviewed by Detroit’s Metro Times about how he manages to thrive where so many others have succumbed to the likes of internet piracy, generational disinterest in rock, and so on. Pretty fascinating read, but before you click over, make sure you’ve got the skinny on the gig Saturday, because you don’t want to miss it.

Info comes courtesy of the Thee Facebooks event page:

Since many folks have been asking us for a few years now, we have finally caved in… So here it is in all its glory, a full blown SSR Showcase in the state that we actually live in. We have put together a top notch line up which features the return of New Jersey’s Halfway To Gone for the first time since 2005! Come early, stay late… The Magic Stick is great venue, and the drinks will be flowing at reasonable prices too… It should be an epic evening of rawk… Hell, we might even have copies of the new album from Five Horse Johnson at the show too.

Featuring:

Halfway To Gone (Long Branch, NJ)
Five Horse Johnson (Toledo, OH)
Sasquatch (Los Angeles, CA)
Freedom Hawk (Virginia Beach, VA)
Luder (Ferndale, MI)

Doors: 7pm
Tickets: $10.00

The Fine folks over at Tito’s Vodka are helping us and the Magic Stick will have Tito’s Drink Specials All Night!

Advance tickets can be purchased here.

[NOTE: Five Horse Johnson will play Small Stone’s Obelisk-presented Detroit showcase on Dec. 1 at the Magic Stick, with Halfway to Gone, Sasquatch, Freedom Hawk and Luder. Also note: You should go.]

It has been a quick six years since bluesy Ohio stalwarts Five Horse Johnson released The Mystery Spot. In that time, frontman Eric Oblander toured the world with Clutch during what I’ve come to think of as their “family band” period that also included an organ and was brought in to sing for Sorcen, a partial Necros reunion. Guitarist Phil Dürr (also of Big Chief) joined forces with Luder, Five Horse Johnson’s Small Stone compatriot act which also features label head Scott Hamilton on guitar. And Jean-Paul Gaster, who played drums on The Mystery Spot, also happens to play in Clutch. The ties especially between Five Horse Johnson and Clutch prove pervasive throughout the former’s upcoming seventh album, The Taking of Black Heart. Gaster makes a return appearance on drums for the 11-track outing, and the record was produced in everything but Oblander’s vocals by longtime Clutch engineer J. Robbins at The Magpie Cage in Baltimore. Robbins, also of Jawbox, also contributes organ and percussion throughout The Taking of Black Heart, and Cheap Trick vocalist Robin Zander steps up for a take on Rod Stewart’s “You’re My Girl (I Don’t Want to Discuss It)” that trades off the parenthetical “Discuss” for the more genial “Talk About.” Through several of its tracks, The Taking of Black Heart seems to rely on some consistent lyrical thematic, though if there’s a narrative arc to the tracks, I don’t know what it is. Nonetheless, on opener “The Job,” Oblander mentions his horse, named Mexico, which appears a short time later on the track “Mexico” and tracks like “Black Heart Baby,” “Smash and Grab” and the closing pair of “Shoot My Way Out” and “Die in the River” seem to work in a successive progression toward the unhappy ending of the last cut, and the atmosphere remains relatively close to the Western-style vibing evident on the cover art. So if nothing else, there’s a lot of context behind Five Horse Johnson’s seventh, though the songs themselves arrive with as little pretense as possible, coated in blues influence and driving heavy rock that, unsurprisingly, finds a lot of common ground with latter-day Clutch.

There are, however, numerous distinctions to be pointed out between the two. A huge factor in Five Horse Johnson’s sound is Oblander’s blues harp. Filling the space between verse lines, doing call and response with Dürr and Brad Coffin’s guitars on “Keep on Diggin’,” taking the occasional solo throughout the record, it’s a defining element of what the band does, no less an instrument at play than either of the guitars, Gaster’s drums or Steve Smith’s bass. Another difference is influence. While Gaster is bound to be a consistent element, and his snare work early into “Black Heart Baby” or the later highlight “Hangin’ Tree” (not a Queens of the Stone Age cover) is easily pegged as his style, the songs he’s playing on are more straightforwardly influenced by classic rock. Clutch’s funky guitar progressions are all but absent here, and even when blatant commonalities show up, as they do toward the middle of the record on “Beating in My Hand” – Robbins’ organ helps drive the comparison as well – or the following “Quick on the Trigger,” which treads close in its bounce to “Electric Worry,” the track on Clutch’s 2007 outing, From Beale Street to Oblivion, on which Oblander’s guest appearance led him to tour with the band in the first place, those elements have a different stylistic context. Five Horse Johnson’s blues come stuffed tight into classic rock swagger on The Taking of Black Heart, and in that way, the album makes a solid follow-up to The Mystery Spot, and one can hear that the last six years has furthered the maturity level that that album showed coming off of 2003’s The Last Men on Earth, though were it not for the consistent quality of songwriting I’d be hesitant to even compare the two with so much time having elapsed between them. Nonetheless, “Mexico” and the ultra-catchy “Beating in My Hand” and “Quick on the Trigger” carry the record through its halfway point and Five Horse Johnson offer a new-feeling take on their trademark brashness, sounding all the more dynamic for the realization that you don’t necessarily have to go as hard as possible at all times.

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I guess when you get on a roll, you get on a roll. Small Stone, who’ve already signed a buttload-and-a-half of bands this year including Asteroid, Deville, Larman Clamor and Lord Fowl, continues its worldwide scour for the best in heavy rock, this time stumbling on Italian rockers Gandhi’s Gunn. Having just switched their name to Isaak, the four-piece (previously On the Radar-ized here) issued The Longer the Beard, The Harder the Sound earlier in 2012 and will make their label debut next year, with US touring reportedly to follow.

Congrats to the band and kudos to the label on its continued expansion. Get yourself informed:

ISAAK & SMALL STONE RECORDS: A NEW ERA

“The Newer the Name, the Cooler the Label”

Gandhi’s Gunn change their name and become ISAAK.

It’s a new course, full of important choices starting with a very great news: a two-album WORLDWIDE contract with an American label.

Scott Hamilton, founder and owner of Small Stone Records, the undisputed leader of worldwide stoner scene (responsible for the release of many albums by authentic icons as Acid King, Dozer, Los Natas, Sons of Otis, Solace, Might Could, Wo Fat, Five Horse Johnson, Skanska Mord and Dixie Witch among others), was enthusiastic about the project and sound of ex-Gandhi’s Gunn and wanted the Genoese band in its roster.

“We are very proud to become part of the Small Stone family” the Ligurian band members say. “This label doesn’t need any introduction and will surely provide us a worldwide visibility” continues the band “and this can only be the best possible start for a project that will give us huge satisfaction, for sure. We are proud of our hard work and progress so far. We are so pleased to have achieved such an important record recognition”.

ISAAK have signed a contract that will provide for the remastered reissue of “The Longer The Beard, The Harder The Sound” including some unreleased bonus tracks, and a new full length planned for the end of 2013. “We’re going to be able to announce our first European tour supporting an important American band” the members of ex-Gandhi’s Gunn also reveal “and we’re also planning our first U.S. tour during 2013 under the aegis of Small Stone. In the meanwhile we’ve started writing the songs for our new album, that will hopefully be considered a starting point for a new era in our history.. so, after celebrating the record deal, the time has come to give life to ISAAK, a band born to win a place of honor in the Heavy Rock world.”

Gandhi’s dead. Isaak was born.

Swedish five-piece Skånska Mord follow-up their Small Stone debut with Paths to Charon, a second full-length that affirms the band’s blend of ‘70s and ‘90s heavy rocks. As with its predecessor, 2010’s The Last Supper (review here), there’s very little about Paths to Charon that’s striving to be modern, and yet the production is clean, crisp and not at all geared toward a retro mentality. The Örkelljunga band – comprised of former members of Sverige clans Half Man and Mothercake – let the classic structures, soulful vocals, occasional flourishes of organ (provided by recording engineer Martin Ekelund) and riff-led songwriting do that work for them. Guitarists Patrik Berglin and Petter Englund are at the fore for most of the album, but in the tradition of their countrymen in Abramis Brama, vocalist Janne Bengtsson provides a standout performance in the tradition of Soundgarden’s Chris Cornell, backed by Englund on the album highlight/longest cut “Lord of Space and Time” and by guest vocalist Ann-Sofie Hoyles on the earlier “Addicts,” the second song on Paths to Charon following the opener “Dark Caves of Your Mind,” an immersive, rocking start that sets a tone with its catchy chorus and classic-style verse riff. Amid a final build of swirling wah guitar and rhythmic push from bassist Patric Carlsson and drummer Thomas Jönsson, Bengtsson throws his harmonica into the mix to play up a bluesier vibe and it works well as a catalyst for the duet in “Addicts” to follow, on which the fuzzier guitar rests below Bengtsson and Hoyles’ shared verses while Carlsson holds the song together with a semi-shuffling bassline. Hoyles’ approach is breathy and fits well with Skånska Mord overall, but there’s a sense in putting that song up front, followed by the moodier “A Black Day” and “Lord of Space and Time” that Skånska Mord are frontloading the tracklisting, perhaps more than they necessarily need to. There’s plenty to Paths to Charon that characterizes the second half of the album over the last five tracks – and a vinyl-type side A/B structure both suits the band’s influences and Small Stone’s recent shift into the format – but on a final impression, a lot of what stands out about Paths to Charon happens over the course of those first four cuts.

That’s not to disparage the second half of the record, just to say that a lot of the stylistic elements it presents – the progressive boogie of “Laggåsen” or the more foreboding mood of “The Ambassadeur” – already make themselves known on Side A. If Paths to Charon were 65 minutes long, this might be a real sticking point, but at 44:44, Skånska Mord’s sophomore outing doesn’t lose its straightforward heavy rocking appeal to redundancy. Jönsson effectively propels the early verses of “Lord of Space and Time” with his snare as the guitars cycle through the riff until breaking to a slower groove shortly before two minutes in. Here Bengtsson rests farther back vocally than anywhere on the album, and it works both to change up the approach and add psychedelic vibing to Skånska Mord’s otherwise organic but still earthbound aesthetic. Their build is patient, rising first, then falling again, before playing out its subdued course into the CD centerpiece “The Flood,” which proffers a mid-paced hook of a riff complemented in breaks by Bengtsson’s harmonica. There isn’t much to distinguish “The Flood” as the centerpiece – the song’s bounce is effective and in its later moments, Carlsson kicks into a few choice bass fills under a likewise impressive guitar solo, but especially after “Lord of Space and Time,” it’s something of a comedown, though it works well transitioning into the change of course that “Laggåsen” brings on, with its classic prog vibe and tight rhythmic execution. Skånska Mord never really tap into the retro rock put forth by an increasing number of their countrymen – again, their sound is natural, but not necessarily analog or “vintage” seeming – but the sixth track is as close as they come, a sweet melody playing over forest-type bounce, keyboards and guitar leads working in post-blues tandem, Jönsson’s snare runs sounding richer than anywhere else on Paths to Charon for the extra space around them. All instrumental, the quieter jam picks up to full heavy breadth twice but doesn’t ever really telegraph where it’s headed, so as to snap you out of hypnosis as quickly as it put you under.

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