Posted in Whathaveyou on April 8th, 2024 by JJ Koczan
One-of-a-kind heavy-jazz weirdo insurgents Stinking Lizaveta were announced for Desertfest London 2024 back in November, and they’ll do dates around that appearance in the UK before crossing over into continental Europe for a five-date German stint that includes a stop at Freak Valley — where, barring disaster between now and then, I’ll see them — as well as the Dresden-based Sankt Piechen Festival before wrapping with a second night in Berlin alongside Acid Mothers Temple. The Philadelphia-based trio go in herald of 2023’s Anthems and Phantoms (review here), and whether you’re seeing them at a fest or a club show or anywhere you possibly can, I urge you to do what it takes to put your body in front of wherever they’re standing as they play. Some creativity is just inspiring.
For the UK shows — England, Scotland, Wales, as you can see below — they’ll be hooked up with no less than Maryland audio/visual drone experimentalists Darsombra, and if that doesn’t result in some kind of Stinksombra Big Band collaboration, well, it’ll be the universe’s loss as usual.
There wasn’t really so much an announcement as a posted poster on social media, but between the dates and a few words below, you get the point anyhow, and for a refresher, Anthems and Phantoms streams at the bottom. Go see Stinking Lizaveta:
Stinking Lizaveta – UK & Germany Tour
Stinking Lizaveta hitting the road in the old country!
14 May Bristol ENG The Gryphon w/ Darsombra 16 May Sowerby Bridge ENG Puzzle Hall Inn w/ Darsombra 17 May Cardigan WAL The Cellar w/ Darsombra 19 May London ENG Desertfest London w/ Darsombra (and many more) 22 May Newcastle ENG The Lubber Fiend w/ Darsombra 23 May Glasgow SCO Bloc w/ Darsombra 24 May Edinburgh SCO St. Vincent’s Chapel w/ Darsombra 25 May Inverness SCO Tooth & Claw w/ Darsombra 27 May Jena DE Cafe Wagner 28 May Berlin DE Schokoladen 31 May Netphen DE Freak Valley Festival 1 June Dresden DE Sankt Piechen Festival 4 Berlin DE Neue Zukunft w/ Acid Mothers Temple
Stinking Lizaveta is Yanni Papadopoulos on guitar, Alexi Papadopoulos on upright electric bass, and Cheshire Agusta on drums.
Recorded in 2020, Anthems and Phantoms is the ninth full-length from Philadelphia committed instrumentalists and doomjazz innovators Stinking Lizaveta. The three-piece of guitarist Yanni Papadopoulos, upright electric bassist Alexi Papadopoulos and drummer Cheshire Agusta were last heard from with 2017’s Journey to the Underworld (review here), and the new album — produced at Permanent Hearing Damage in South Philly by Steve Roche and issued via SRA Records — will carry them past the 30th anniversary of their inception in 2024. If you’ve been fortunate enough to see them in the post-pandemic era — they’ve been at Desertfest NYC (review here), Psycho Las Vegas (review here), and are about to support Telekinetic Yeti on a summer tour of the Western portion of the country — then you’ve already basked in the joy and passion that radiates from Stinking Lizaveta onstage. They shred, they dizzy, they head-down-speed-riff-into-open-groove, all hairpin turns and the underlying technical prowess to pull it off, but they’re not a ‘tech’ band at all.
In tone, the nine songs and 34 minutes of Anthems and Phantoms are organic and warm and fluid enough to make even side B opener “Serpent Underfoot” feel inviting with its initial bursts of crash and howling guitar. Alexi‘s bass work, as ever, is a not-hidden treasure of the low end, even as “Serpent Underfoot” layers a guitar solo over the post-midpoint of the track, which by the way is under three minutes long; the shortest on the record by three seconds at 2:45, as opposed to the earlier “Let Live” at 2:48. But there and in the succession of three four-plus-minute cuts that follow — the sneaker-riff “Blue Skunk” (4:40), the mellow-psych bass-highlight exploration screaming into its payoff “The Heart” (4:56) and closer “Light of Love, Darkness of Doubt” (4:37), which follows suit on the quiet start but makes its ending more wistful with a slower (but for the shred), bluesy spirit — Stinking Lizaveta underscore the love-yes-love in what they do live across these studio pieces. I don’t know and won’t speculate on the recording process, though if you told me basic tracks were live, I’d believe it. But there’s layering as well, so at least some manner of overdubbing happened, and not at all to the detriment either of the material generally or the energy with which it hits the listener. It is a complement to the live experience rather than a recreation, and as a studio outing it works toward its own ends, whether that’s the relative stretchout in the album’s back half after the crunchfest of side A or the beyond-dug-in nature of the songs across the whole.
I’m a fan of this band and I won’t pretend otherwise, but while metal and prog have entire leagues of bands whose focus is solely on look-what-we-can-do-style fret runs and odd time-signatures, etc., heavy rock and roll has Stinking Lizaveta. In the fading-in feedback and subsequent siren-call lead twists of opener “Electric Future,” the constant smoothing-out and brash throwing of sonic elbows — and a bit of Iron Maiden in the ‘verse’ — of “Shock,” and the way “Let Live” seems to roll into its stops as a preface to the midtempo fluidity of “Nomen est Omen” with its nod and ascending movement through the finish, Anthems and Phantoms may be anthems up front, phantoms in the back in terms of the A/B LP divide, or it may just be what came out of the studio that particular day three years ago, but no matter where they go, it is unquestionably Stinking Lizaveta‘s own.
They are singular, and unique, which is not a word I often use. With the careening guitar, snare-shred and the depth, bounce and heft provided by the bass, “Daily Madness” is only a fitting centerpiece, drawing a line under the fact that Stinking Lizaveta don’t need anything other than themselves. Yeah, there’s another layer of lead guitar (probably not keyboard) tucked into the ending of the song, a little extra twist thrown in for good measure, but even so, Anthems and Phantoms is pure Stinking Lizaveta front to back, and it doesn’t need to be a departure because the band themselves are the departure.
For someone taking them on for the first time — and six years after their last record, that’s entirely possible — Anthems and Phantoms might come across as head-spinning in a way that’s hard to keep up with, but that’s the idea. The righteousness of Stinking Lizaveta stems from the execution of their own approach on their own terms, and from the fact that they so clearly love what they do. Started off with guitar, “Nomen est Omen” is both raw and high-class, elaborate in style and barebones in arrangement, sprawling and unpretentious. And the same is true as “Blue Skunk” Hendrixes toward its finish, serving as a transition to the aforementioned closing pair of “The Heart” and “Light of Love, Darkness of Doubt,” and everywhere else. As comparatively gentle as the ending of the album is compared to “Electric Future” and “Let Live” — triumphant and memorable as they are in leading off the record, and very much intended to be as frenetic as they might feel — it is only through engaging with both that the full scope of Anthems and Phantoms can be internalized. Dense as some of the parts are, don’t be surprised if that takes a few listens.
And don’t be surprised if some never get there. I’m not gatekeeping or talking down to anyone or any of that on-the-internet garbage, but I have to imagine even Stinking Lizaveta would admit their music isn’t composed or played for universal accessibility. They are so much on their own wavelength that it’s inevitable, but much to their credit, the sounds across Anthems and Phantoms — fast, slow(ish), manic, soothing, up, down, left, right, A, B, select, start — are an invitation more than a line in the sand. Stinking Lizaveta are ready to bring their audience with them on this relatively brief outing, just as they do live. If they were gospel, this would be their ‘joyful noise,’ and what they’re worshiping is creativity itself. Open mind, open ears, gird loins, dive in. Whether you’re a longtime fan or you’ve never heard them before, Anthems and Phantoms manifests so much of what has made Stinking Lizaveta so special for so long. It is life-affirming in the truest sense of defining its own purpose.
Posted in Whathaveyou on April 11th, 2023 by JJ Koczan
Pleased as punch to say I’ve heard some (though not all) of these tunes that will feature on Stinking Lizaveta‘s first record in six years, Anthems and Phantoms, and the case with the Philadelphia instrumentalists remains much the same: if you know, you know. One way or another for most of the last 30 years, the band have operated on their own wavelength in bringing together heavy classic rock, jazz and pure metal shred, and while it’s been since 2017’s Journey to the Underworld (review here), the new one finds them having lost none of their edge. Preorders are up, the links are below from the PR wire, and that’s about all you really need.
If you’ve caught Stinking Lizaveta live at any point since shows started happening again, you’ve probably seen some of this material — at least “Electric Future” and “Daily Madness” and “Nomen est Omen,” etc. — on the stage, and if the resonant joy with which the band delivers their goods didn’t grab you, then perhaps the ability to sit and fully take stock of what they’re actually playing on the songs will. To that end there’s no audio from the record posted as yet, but I’ve got my hopes up that there will be soon, and as a fan of the band, I look forward to hearing the finished album as well when the time comes. Also hopefully soon. Anthems and Phantoms releases June 23 on SRA Records.
Note they’re blurbed by other artists. Very much that kind of band:
Instrumental doom jazz innovators Stinking Lizaveta announce ANTHEMS AND PHANTOMS, out 6-23-23 on SRA Records
Formats include digital, CD, vinyl LP and are available for pre-sale:
Instrumental doom jazz innovators, Stinking Lizaveta, drop their first studio album since 2017 on Friday, June 23, 2023 via SRA Records. “With no shortage of wild rippers, electrifying melodies and pure heavy metal spirit,” says Gina Gleason Baroness guitarist , “Anthems And Phantoms is a rock guitar triumph!” Lamb of God guitarist Mark Morton describes the new album with reverence: “Heavy, hypnotic grooves. Soaring lead guitar. Swaggering riffs that peel away into lurching, angular blasts. Driving flows that feel balanced and cohesive.”
Stinking Lizaveta has spent nearly three decades building an unparalleled catalog of instrumental rock. Brothers Yanni Papadopoulos (guitar) and Alexi Papadopoulos (upright electric bass) were heavily influenced by the sounds and values of their early years in the D.C. area. Drummer Cheshire Agusta hails from West Virginia and started on piano. Regarding her sound she says: “I let other people describe my music. I play it.”
Anthems and Phantoms, is an otherworldly sonic experience. The nine tracks on the album command attention with their fierce guitar tones, rich bass sounds, and robust drumming. When asked about the inspiration behind the record, Yanni Papadopoulos explains, “The title came to me as I was thinking about how to best describe our music. Some of the songs sound like national anthems from imaginary countries. Or perhaps they could describe a certain person, landscape, or terrain. All the tunes are slightly haunted by unexplained spirits.” The band is looking forward to performing their new material on tour. Cheshire Agusta says, “Stinking Lizaveta is saying exactly what I want to say to the world. I know I’m speaking clearly because I love the people who come to see us.”
The band have cut their teeth in the live music arena in America and Europe performing with bands such as Clutch, Mastodon, the Sword, Torche, Weedeater, Fugazi, Dÿse, Rollins Band, Lamb of God, Orange Goblin, Zeni Geva, Hidden Hand, Corrosion of Conformity, and Today’s the Day. Festivals they’ve played in the U.S. and abroad include Desertfests in London, New York and Berlin; Emissions From The Monolith in Ohio; SXSW in Austin; England’s All Tomorrow’s Parties; and Psycho Las Vegas.
The band released their self-titled 1994 EP on Joe Lally’s (The Messthetics, Fugazi) Tolotta Records. Lally describes Stinking Lizaveta as “…Always putting everything they have into their performance. I’ve never seen them just coasting along. It’s downhill at full speed until they’re spent.” Stinking Lizaveta solidified their place in the stoner rock and doom metal scenes with their album Hopelessness and Shame which was recorded by Steve Albini in 1996. Stinking Lizaveta has also been recorded by acclaimed producers Sanford Parker (EyeHateGod, Yob, Pelican, Yakuza) and Steve Berrigan (Down, EyeHateGod, Superjoint).
Anthems and Phantoms features Yanni Papadopoulos on guitar, Alexi Papadopoulos on upright electric bass, and Cheshire Agusta on drums. The album was recorded at Permanent Hearing Damage in South Philadelphia in October of 2020, and produced by Steve Roche (Mischief Brew/Erik Petersen, Witching, Saetia, RAMBO).
Anthems and Phantoms track listing: -Side A- Electric Future Let Live Shock Nomen est Omen Daily Madness -Side B- Serpent Underfoot Blue Skunk The Heart Light of Love, Darkness of Doubt
Posted in audiObelisk on October 12th, 2017 by JJ Koczan
Philly-based heavy rockers Hound have an Oct. 20 release show booked for their new album, Born Under 76, which is due out accordingly via SRA Records on CD and Let’s Pretend Records on vinyl. On whichever format one might choose to engage it, it’s the third Hound full-length behind 2015’s sleeper hit Out of Space (review here), and while hearing the crisp three-minute delivery of the hook and subtle organ inclusion in “Aqualamb,” one might be tempted to relate Hound to some vision of Monster Magnet channeled through Mos Generator‘s penchant for straightforwardness of craft, the greater impression of Born Under 76 overall stems from cuts like opener “Born Under a Blacklight,” “Death Lends a Hand,” “Best Wishes,” “Two Horns,” “Bad One” and closer “Any Day Now,” which strip down the presentation overall from the debut in favor of a more charging, punkish tack. These influences were certainly present on Out of Space as well, but in tone and rhythm, the balance brings them forward even more so that even as second track “Eyes in the Dark” nestles into a comfortable tempo, it does so tonally informed by punk rock traditionalism, and the returning three-piece of guitarist/vocalist Perry Shall, bassist Pat Hickey and drummer Chris Wilson (also Ted Leo and the Pharmacists), make the most of that just as much in the swagger of the Thin Lizzy-esque “Suitable for Framing” as in the later fuzz rollout of “That’s a Famous Feeling.”
An underscore of noise rock or heavier tone balanced against punker intent and some measure of classic heavy rock influence? Sounds like the wheelhouse of producer J. Robbins (Clutch, Jawbreaker, Murder by Death, Coliseum, etc.), who would seem to have been the perfect choice to helm Born Under 76 if the transition between “Two Horns” and “Bad One” and the momentum the record builds in general is anything to go by. The balance of sonic naturalism and impact across Hound‘s 12-track/40-minute run — whether it’s the lumbering swing of the penultimate “Welcome to the Land of Bad Magic” or the midtempo chorus-leaning of “Demon Eyes” setting up the thrust and channel-panning lead of “Best Wishes” in the album’s midsection — serves as one of the LP’s most effective assets, and it’s what allows that momentum to be maintained despite some rather striking shifts in approach on a per-track basis, as when the ultra-catchy “Aqualamb” and “Suitable for Framing” boogie and big-rock-finish their way into the oncoming train that is “Death Lends a Hand,” or when the later charge of “Welcome to the Land of Bad Magic” winds its way to a sudden stop before the piano-inclusive blues intro of “Any Day Now” sets up its own spring-loaded-snake-in-the-can-of-peanuts with the song’s final push. This, like what precedes, is a transition as fluid as it wants to be, and indeed it ends up being some of these contrasts that makes Born Under 76 such a fun listen. As the material is drawn together by the quality of its songwriting, Hound are free to explore a greater divide of influences and still maintain their hold on their audience’s attention.
That sense of command is fitting for a band on their third album, Hound having made their debut with 2014’s Out of Time, but as Born Under 76 steps away from the apparent thematic modus of record titles — out of the Out of…, if you will — so too does it seem to present the strongest case for the three-piece as being somewhat underrated as well. As Philadelphia has taken shape in recent years as a hotbed of heavy rock and psychedelia on the East Coast — bands like Ruby the Hatchet, Ecstatic Vision, etc. — one can only wonder what it might take to bring Hound more to light in that emergent set, since they seem so much to be earning their place in these tracks.
Once again, Born Under 76 is out Oct. 20. Today I have the pleasure of hosting “Suitable for Framing” as a track premiere. You’ll find it below, followed by some words from Shall about the track and more background from the PR wire.
Please enjoy:
Perry Shall on “Suitable for Framing”:
“We recorded this record with J. Robbins at the Magpie Cage in Baltimore. It was such an honor to work with someone who we consider a legend and now a good friend. He knew how to find the perfect balance between the punk aspect of our music along with a big rock sound and somehow make it work in perfect harmony.”
When a thunderclap met a tornado, Hound was born in the Philly dark, bred off primal energy, and unleashed without warning. If 2015’s Out of Space orbited around murky prog textures and metal snarls, its forthcoming follow-up Born Under 76 gets soaked in the swamp between punk and hard rock. Whether that winning concoction is the sum of Hound’s ragtag parts – featuring Chris Wilson (Ted Leo and the Pharmacists) on drums, Perry Shall on guitar/vocals, and Pat Hickey on bass – or the LP’s dances with the devil, it’s obvious something burbles under the streets of Philadelphia. It’s sinister yet familiar, and bites with its own maniacal energy. But don’t worry – it’s delivered with a smile. Hound is back, and they’re armed with a dozen reasons to answer their howl. Maybe they’ll bring one out of you, too.
Hound release show: 10/20 – Philadelphia, PA – Space 1026 (Album release show w/ “Financial Guru” Greg Gethard, Dialer, Mary Houlihan, Alicia Camden, Michael Sneeringer)
Posted in audiObelisk on November 18th, 2015 by JJ Koczan
“Over the Edge” is the closing track on Hound‘s sophomore full-length, Out of Space. The Philadelphia natives’ second album is set to release Nov. 27 on SRA Records, and while “Over the Edge” doesn’t exactly capture its entire breadth, it’s righteous enough to stand in for the whole and definitely placed last for the broader impression it leaves of what the trio do. As to that itself, their methods vary some over Out of Space‘s nine inclusions, which are quick to show off their punker roots on opener “Emotional Collapse” and the subsequent “Mortality Jam” — which kicks off a five-song sequence of cuts under three minutes long — but the three-piece remain steeped in raw, heavy rock and roll throughout, calling to mind a similar creative trajectory as some of Small Stone‘s roster over the last decade, bands like Suplecs and Roadsaw, whose roots in more aggressive fare one way or another have led them to weighted grooves and a more riff-happy modus operandi.
Comprised of guitarist/vocalist Perry Shall, bassist Patrick Hickey and drummer Chris Wilson (also Ted Leo and the Pharmacists), Hound‘s style feels deceptively straightforward superficially, but the more one digs into the album and uncovers the organ buried in the mix of “Intro” and “Cold Blooded,” which follows — it’s worth noting that “Intro” is actually the longer of the two — and the plays of tempo that occur between the later “Super Junkie of Being…” and “Walking Curse,” the more complex Out of Space shows itself to be. Shall, Hickey and Wilson have that rawness at their core, but their second LP finds them in the process of building on top of that stylistically and to engaging effect. A strong undercurrent of ’90s alt hard rock shows itself in “Walkin’ the Fine Line,” but there’s a more modern heaviness to it, as well as a bit of shuffle, that bring it into the all-encompassing context of the heavy ’10s. And when it comes around, “Over the Edge” arrives as a pure moment of riff hedonism, a chugging, crawling, slow-motion nod that Shall buries his voice beneath to make it sound even huger, not that it was hurting anyway.
It’s not trying to change the world, it’s not trying to fix something stylistically that isn’t broken, “Over the Edge” is just tilting its figurative head back and riffing out, and sometimes that’s exactly what you need most. I’m thrilled today to be hosting the track for its streaming premiere, and hope that you get as much of a kick out of it as I have. Please find it on the player below, followed by some comment from Shall on “Over the Edge” and more info on the album from the PR wire.
Enjoy:
Perry Shall on “Over the Edge”:
“Over the Edge’ is a song I wrote and recorded a demo of two years before some insane people thought the world was supposed to end (in 2012). The final version you’re hearing is exactly what I wanted it to end up sounding like. Long, droney, stream of conscious type of feeling.”
Philadelphia underground rock band HOUND will release its new album Out of Space on November 27 via SRA Records. The power trio — guitarist / vocalist Perry Shall, drummer Chris Wilson (also of Ted Leo and the Pharmacists) and bassist Patrick Hickey — whose sound has been described as “just the right combination of attack and restraint” recorded the album at Studio 4 in Conshohocken, PA (Title Fight, Braid). Out of Space is the follow up to HOUND’s 2014 debut, Out of Time.
HOUND will throw a Philadelphia album release party for Out of Space on November 27 at Everybody Hits. Special guests include The Kominas and Dangerbird. For full details,visit this location.
Track listing: 1.) Emotional Collapse 2.) Mortality Jam 3.) Walkin’ the Fine Line 4.) Intro 5.) Cold Blooded 6.) Super Junkie of Being 7.) Stone Carvin’ Man 8.) Walking Curse 9.) Over the Edge
Posted in Whathaveyou on November 10th, 2015 by JJ Koczan
Out of Space follows Hound‘s 2014 debut, Out of Time, so yeah, it would seem the Philly heavy rockers are working on a theme. Fair enough. SRA Records is handling the new album, and to herald its arrival, in addition to a release show Nov. 27, Hound will play two gigs Nov. 20 and 21. The first, as one might expect, is in their hometown. Underground Arts is the venue. The second is a bit more of a surprise, as it seems they’ll hoof it down to New Orleans on Nov. 21 to play The Howlin’ Wolf. That’s a hell of a trip to make in a day.
I mean, I guess it’s possible even if they’re not flying. The Googles says it’s an 18-hour drive from one venue to the other, and technically that’s less than a full day’s 24 hours, but not an easy trip by car. Very rock and roll, either way. Sounds like crazy fun.
Haven’t seen any audio come out from Out of Space yet, but you can stream Out of Time on the Bandcamp player under the PR wire whathaveyou below:
HOUND to Release New Album ‘Out of Space’ November 27
Philly Hard Rock Dogs Hammer Home the Heavy on Beastly New LP
Philadelphia underground rock band HOUND will release its new album Out of Space on November 27 via SRA Records. The power trio — guitarist / vocalist Perry Shall, drummer Chris Wilson (also of Ted Leo and the Pharmacists) and bassist Patrick Hickey — whose sound has been described as “just the right combination of attack and restraint” recorded the album at Studio 4 in Conshohocken, PA (Title Fight, Braid). Out of Space is the follow up to HOUND’s 2014 debut, Out of Time.
“To me, ‘Out of Space’ is like, if Motörhead’s Stiff Records-era songs were written by someone who was stuck living in Philadelphia their whole life,” says Shall. “The record channels hard rock influenced by the ideas of time and space. Space being Philadelphia”
Led by Shall (a visual artist who’s done album covers for JEFF the Brotherhood and Diarrhea Planet and made videos for Tweens and Pujol among others), HOUND is a band that understands the deadeningly powerful effect of hammering down the riff. Reaching into heavy psychedelic blues and blasting it into the 21st century, the group mates metallic heft with punk’s economy and tempo in a coupling that evokes the New Wave of British Heavy Metal. On Out of Space, HOUND sweeps aside the glossy metal of the moment with waves of gritty fuzz, pushing swirling volume through battered amps. Admirers of vintage rock ‘n’ roll won’t be disappointed.
HOUND will throw a Philadelphia album release party for Out of Space on November 27 at Everybody Hits. Special guests include The Kominas and Dangerbird. For full details,visit this location.
Track listing: 1.) Emotional Collapse 2.) Mortality Jam 3.) Walkin’ the Fine Line 4.) Intro 5.) Cold Blooded 6.) Super Junkie of Being 7.) Stone Carvin’ Man 8.) Walking Curse 9.) Over the Edge
