Grotto Sign to Stickman Records; New Album Finished

Posted in Whathaveyou on July 4th, 2019 by JJ Koczan

According to Grotto‘s Thee Facebooks page, the new album that Stickman Records hints toward in its announcement of having signed the band is done and awaiting release. They said, “We are happy to let you guys know we have a full LP finished and waiting to be released! More info/dates soon…” Well, that’s neat. And if you’re going to put an album out, putting it out on Stickman is all the better.

Particularly for a band like Grotto, whose sound fits easily as labelmate/kin to the likes of Weedpecker and latter-day Elder for its heavy and progressive style and attention to melody. There isn’t a release date for their new album yet, or I’d probably have led with that, but Grotto‘s second full-length, Circle of Magi, was issued in late 2017 and is comprised of three 11-minute-long tracks, so there’s certainly plenty to dive into until the new one shows up. If you haven’t heard that, it charts a winding course into and out of psychedelic territory but is marked by the smoothness of its shifts between nodding groove and more atmospheric meanderings. Each song has a spacious feel that lets the listener live in it for a while before passing the baton to the next part or the next piece. It’s enough to pique my interest about their new one, easy.

Stream it at the bottom of this post. Here’s word of the signing from Stickman:

grotto

Stickman Records new signing: Grotto

We are pleased to announce our latest signing: GROTTO!

This young Belgian three-piece instrumental band has been on our radar for a while now, having two killer albums already under their belt. Their mix of psychedelic rock, stoner riffs and a great sense for melody alongside progressive song structures makes them a natural fit in our roster and we’re happy to welcome them to the fold.

We’ll be revealing some details about their new album soon, so stay tuned!

Grotto is:
Marvin Dinneweth – Guitar
Jeroen Moerman – Bass
Arno Tucker Cottyn – Drums

https://www.facebook.com/GrottoRiffs
https://grottoriffs.bandcamp.com/
https://www.stickman-records.com/
https://www.facebook.com/Stickman-Records-1522369868033940

Grotto, Circle of Magi (2017)

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Quarterly Review: Salem’s Bend, Motorpsycho, Sigils, Lord Dying, Sunn O))), Crimson Heat, Molior Superum, Moros, Glitter Wizard, Gourd

Posted in Reviews on July 2nd, 2019 by JJ Koczan

quarterly-review

Today is Tuesday, I’m pretty sure, and hey, that’s nifty. I thought yesterday kicked off the Summer 2019 Quarterly Review really well, and any time I get through one of these without my head caving in on itself, I feel like that’s a victory, so yeah. Now we wade even deeper into what will ultimately be a 60-review plunge, with another 10 offerings of various stripes and takes on heavy. Some higher profile stuff in here, which is fine, I guess, but most of it is pretty recent, so if there’s something you haven’t heard yet, I hope you find something you dig, as always.

Quarterly Review #11-20:

Salem’s Bend, Supercluster

salems bend supercluster

This is the sound of a band who’ve figured it out. Salem’s Bend have taken retroist boogie and modern tonalism, production and melody and turned it into something of their own. Supercluster (on Ripple) follows the Los Angeles trio of guitarist/vocalist Bobby Parker, bassist/vocalist Kevin Schofield and drummer Zach Huling‘s 2016 self-titled debut (review here), and with an uptick in the complexity of songwriting overall and particularly in the arrangements of dual-vocals, it is a marked step forward palpable as much in the hook of “Ride the Night” — and if you’re gonna call a song that, you better bring it — as the heavy crash ending “Heavenly Manna” and the languid, lucidly dreaming groove in “Infinite Horizon,” which appears ahead of the acoustic hidden track “Beltaine Chant.” That won’t be the last time these guys unplug, but whether it’s the raw Zeppelin vibe of “Show Me the Witch” or the crunching low-end nod of “Thinking Evil” or the leadoff thrust in “Spaceduster,” the message is clear that Salem’s Bend have arrived.

Salem’s Bend on Thee Facebooks

Ripple Music webstore

 

Motorpsycho, The Crucible

motorpsycho the crucible

The latest in Motorpsycho‘s nigh-on-impossible-to-chart and ever-growing discography is The Crucible, issued through Stickman Records, and taking some of the heavy rock push of 2017’s The Tower (review here) and stretching out to more willfully progressive execution across three increasingly extended tracks. Running from shortest to longest, the album begins with “Psychotzar” (8:44) which resolves itself in maddening turns after fleshing through an energetic beginning, and rounds out side A with the 11-minute “Lux Aeterna,” with vocal harmonies and mellotron building into a graceful swell of volume before a headspinner solo and jam take hold, break to near-silence and finish in a burst of directly earliest-King Crimson majesty. This all before the 20:51, side B-consuming title-track crashes in with immediate tension and plays back and forth at releasing that through a course that is rife with melody and an emphasis on the mastery of Motorpsycho over their sound and direction. Onto the list of the year’s best records it goes.

Motorpsycho on Thee Facebooks

Stickman Records website

 

Sigils, You Built the Altar, You Lit the Leaves

Sigils You Built the Altar You Lit the Leaves

Hypnotic and immersive heavy post-rock and metal becomes the genre tag well enough, but what New York’s Sigils do on their markedly impressive self-recorded, self-released debut album, You Built the Altar, You Lit the Leaves, is more soulful and emotive than “post-” anything generally conveys. With four tracks/38 minutes best taken as a whole, single listening experience, the band offer resonant depths of tone and vocal echoes centered around airy but still weighted guitar and consuming rhythms brought to bear with the patience of an organic Jesu. The ultimate triumph is in the melody and payoff of 13-plus-minute closer “The Wicked, the Cloaked,” which seems to manifest the haunting sensibility that “Samhain” and “Ritual” advocate on side A, but neither will I discount the chug of the prior “Faceless” or the underlying churn in those two leadoff tracks. Especially as a first album, You Built the Altar, You Lit the Leaves casts a sonic identity for itself that is striking and sees the band already beginning to push themselves forward. One hopes they continue to do so.

Sigils on Thee Facebooks

Sigils on Bandcamp

 

Lord Dying, Mysterium Tremendum

Lord Dying Mysterium Tremendum

Following 2015’s Poisoned Altars (review here), subsequent years of touring and a jump from Relapse to eOne Metal, Lord Dying‘s Mysterium Tremendum is enough of a stylistic melting pot that the best thing to do is call it progressive and just let it roll. Comprised of 11 tracks themed around death and the afterlife, the record takes the Portland, Oregon, outfit’s prior death-doom ways and expands them to incorporate an array of styles and melodies, like a vocoder-less Cynic or even Atheist, but more focused on the songs themselves. It’s being widely hailed as one of 2019’s best metal releases, and honestly I can’t speak to that because who the hell knows what “metal” even means, but it sees Lord Dying pull off a major sonic leap and if this is the direction they’re headed from now on, then I guess “metal” is going to be whatever the hell they want. So there. Expect to see a lot of Lord Dying t-shirts around in the years to come.

Lord Dying on Thee Facebooks

eOne Heavy on Thee Facebooks

 

Sunn O))), Life Metal

sunn life metal

The core of Sunn O)))‘s sound — that is, the drone-riffed tonality of Greg Anderson and Stephen O’Malley, has proven amorphous enough over the last two decades to either be orchestral, minimalist, impossibly bleak, or now, something brighter. The Steve Albini-recorded Life Metal is one of two purported Sunn O))) releases slated for this year, and it follows behind 2015’s Kannon (review here) in manifesting their project in a new way. It is 68 minutes long, comprised of four tracks — the first, “Between Sleipnir’s Breaths,” is notable for the inclusion of vocals from Hildur Guðnadóttir; the rest is instrumental — and while one wonders how much is the power of suggestion amid their colorful artwork and titular presentation, “life” as opposed to death metal, etc., their resonance throughout “Aurora” (19:07) and “Novae” (25:24) strips away much of the flourish that has engulfed Sunn O))) in their post-maturity years and reminds of the power at their center. They chose the right producer.

Sunn O))) on Bandcamp

Southern Lord Recordings website

 

Crimson Heat, Crimson Heat

Crimson Heat Crimson Heat

With a handful of tracks of dirt-coated Sabbathian doom rock, Crimson Heat make their debut with a self-titled demo/EP in no small part defined by its lack of pretense. I’d buy the tape at the show. You’d buy the tape at the show. The download is free. Clearly this is a band figuring out what they want to do and trying to catch a few ears, but the sound is right on. Notable as well for the participation of Sam Marsh of Sinister Haze, tracks like “At My Door” blend Tee Pee Records-style skate vibes with darker traditionalist crunch, and the subsequent acoustic interlude “Firewood” indeed adds a bit of burning-stove smell to the procession ahead of doomed shuffler finale “Deep Red.” They might be new, but from the nod of “Premonition” and the double-layered guitar of “Fortune Teller,” they very clearly know where they’re coming from. What they do with that from here will tell the tale, but for now, selling the tape at the show isn’t nothing. Guess they better get on pressing some up.

Sinister Haze on Thee Facebooks

Crimson Heat on Bandcamp

 

Molior Superum, As Time Slowly Passes By…

Molior Superum As Time Slowly Passes By

The boogie runs strong in Molior Superum‘s first album in seven years, As Time Slowly Passes By… (on H42 Records), the title of which might just hint at the distance between their two full-lengths. Their debut was Into the Sun (discussed here) in 2012, and they answered that with 2014’s Electric Escapism (review here), but for a band who sound so energized on cuts like “Att Födas Rostig” and “Through Valleys of Wonder,” the time differential from one record to the next is curious. Still, no question the Swedish four-piece make the most of the 36 minutes they present on their sophomore offering, realizing classic vibes and fuzz tones through modern production that recalls the likes of GraveyardJeremy Irons and the Ratgang Malibus and even, on “Into the Grey,” Demon Head‘s doomier fare, with an overarching bluesy sensibility that remains exciting even in moments like the hypnotic midsection build of centerpiece “Divinity Blues.” Even the closing soft-guitar title-track has movement. They sound hungry in a way that suggests maybe it won’t be another seven years before a third LP arrives.

Molior Superum on Thee Facebooks

H42 Records

 

Moros, Weapon

moros weapon

Just because Philly is leading the Eastern Seaboard in terms of psychedelic charge, that doesn’t mean there isn’t room for the guttersludge extremity of a unit like Moros. The destructive three-piece’s first full-length, Weapon (on Hidden Deity Records), is vicious in its bite and downright nasty in its groove, abrasive from the static intro “(Vortexwound)” onward through “We Don’t Deserve Death” and “Devil Worshipper,” which recalls slower Napalm Death in its riff but is met with a harsh scream as well as shouts. The brutality continues through “Wizard of Loneliness” and into the outright pummel of “Death Nebula,” such that the locked-in nodder groove in the second half of “Every Day is Worse Than the Last” feels almost like a lifeboat, though there’s little salvation on offer in the closing title-track, which fades out on a noisy note in much the same way it faded in. Filthy, mean and heavy. The crust is real and it is thick.

Moros on Thee Facebooks

Hidden Deity Records website

 

Glitter Wizard, Opera Villains

glitter wizard opera villains

I was enticed to dig further into Glitter Wizard‘s Opera Villains (on Heavy Psych Sounds) by the recent video for opener “A Spell So Evil” (posted here), and it’s not a choice I regret. The San Fran-based weirdo collective are putting on a show, no doubt, but the quality of their songwriting on “The Toxic Lady” and the punkish underpinning of “Dead Man’s Wax,” etc., puts them in a classic rocking no man’s land in which they absolutely revel. The laser-strewn drama of “March of the Red Cloaks” and the organ- and flute-laced swing of “Hall of the Oyster King” embrace the grandiose in brazen fashion, and thereby make it that much easier for the listener to join them on this wavelength that is so thoroughly their own. Closer “Warm Blood” taps prog-of-old pomposity in its largesse while the earlier “Fear of the Dark” seems to do the same thing with just an acoustic guitar and some vocal harmonies. A record that knew exactly what it wanted to be and then became that thing. Awesome.

Glitter Wizard on Thee Facebooks

Heavy Psych Sounds website

 

Gourd, Moldering Aberrations

gourd moldering aberrations

Ambient darkness is inflicted with only the cruelest of spirit throughout Gourd‘s Moldering Aberrations EP, the Irish two-piece alternating minimalist spaciousness with gurgling drone intensity, the extremity of which doesn’t so much come through in pummel or drive, but in the swell of volume and its contrast with the emptiness surrounding. Also the growls. Three tracks are offered up like monuments to pain, and through “Befoulment,” “Mycelium” and the title-track, they conjure a heft of atmosphere as much as one of low end, the claustrophobic feeling of their craft coming through even in the relatively peaceful opening of the last song. That peace, of course, isn’t so much moment of respite as it is precursor to the next plunge, and either way, Gourd work in grueling fashion over 23 minutes to dismantle consciousness and expectation with a grim, distortion-fueled chaos from which there seems to be no escape, until the rumble and noise leave “Moldering Aberrations” and there’s just residual hum and a cymbal crash left. Madness.

Gourd on Thee Facebooks

Cursed Monk Records on Bandcamp

 

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Motorpsycho European Tour Starts Tonight

Posted in Whathaveyou on May 14th, 2019 by JJ Koczan

Europe needs my American ass to tell it to go see a Motorpsycho gig like it needs a surge of right-wing populism — which is to say not at fucking all — but as the ultra-prolific Norwegian progressive heavy rockers begin their Spring 2019 tour this evening in support of their latest album, The Crucible, I’d like to point out that their tour will meet up with Elder‘s on May 16 in Hamburg, and together they’ll play a gig marked out as a 25th anniversary celebration for Stickman Records. Damn right. Motorpsycho and Elder sharing a bill is about as much as you could ask for in an evening, so yeah, I’d think if there’s going to be an anniversary party for their label, that would be the night to do it.

Motorpsycho are an institution when it comes to heavy prog, so while I don’t need to tell Europe to go see it, in the name of friendship, I will anyway. I’ll have a writeup for The Crucible in the next Quarterly Review at the start of July — which is much closer than it sounds like — but obviously, the short version is, “duh, it’s Motorpsycho.”

Here are the tour dates:

motorpsycho

Motorpsycho – European Tour Dates

Good news if you’re on the European continent – Motorpsycho and Elder have embarked on respective tours this spring/summer.

The two will team up on May 16th at the Markthalle in Hamburg, Germany for a special show to celebrate 25 years of Stickman Records!

Those in attendance will be able to enter into a raffle to win one of a number of test pressings offered up by the bands and Stickman. All proceeds from raffle ticket sales will be donated to One Earth One Ocean, an environmental organization that works to improve the health of our oceans by removing plastic waste.

For those of you who also want to do good and throw your hat in the ring for some rare test pressings, we will be holding another raffle online in the coming months.

Motorpsycho live:
14.05.19 Aarhus (DK), Train
15.05.19 Copenhagen (DK), Hotel Cecil
16.05.19 Hamburg (DE), Markthalle
19.05.19 Utrecht (NL), Tivoli
21.05.19 Groningen (NL), Vera
22.05.19 Leuven (B), Het Depot
23.05.19 Hannover (DE), Faust
24.05.19 Wiesbaden (DE), Schlachthof
25.05.19 Lausanne (CH), Les Docks
27.05.19 Wien (AUS), Arena
28.05.19 Trezzo Sull’Adda (IT), Live Club
29.05.19 Bologna (IT), Zona Roveri
30.05.19 Avelino (IT), Teatro Partenio
31.05.19 Ciampino (IT), Orion
01.06.19 Genova (IT), Goa Boa Preview
02.06.19 Reutlingen (DE), franz.K
28.06.19 Trondheim (NOR), Trondheim Rocks
31.07.19 Trondheim (NOR), Olavsfestdagene
06.08.19 Oslo (NOR), Øya Festival
29.09.19 Bremen (DE), Schlachthof
01.10.19 Köln (DE), Gloria Theater
15.10.19 Frankfurt (DE), Mousonturm
16.10.19 Leipzig (DE), Conne Island
17.10.19 Berlin (DE), Festsaal Kreuzberg

Motorpsycho is: Bent Sæther, Hans Magnus “Snah” Ryan, Tomas Järmyr.

https://www.facebook.com/motorpsycho.official/
https://twitter.com/motorpsychoband
http://motorpsycho.no/
https://www.facebook.com/Stickman-Records-1522369868033940/
https://www.instagram.com/stickmanrecords/
https://www.stickman-records.com/

Motorpsycho, “Lux Aeterna”

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King Buffalo Announce European Tour Dates with Child

Posted in Whathaveyou on April 9th, 2019 by JJ Koczan

king buffalo

I can’t help but notice that in the list of just-announced European tour dates that King Buffalo will undertake in the company of Australian blues rockers Child, there’s a four-day stretch between their stop at Black Deer Festival in the UK and a date in Caligari, Italy. Does that mean what I think it means? Perhaps a trip to Sardinia on the sly to take part in a certain ultimate-daydream unofficial festival? Yes, I’m talking about Duna Jam. Are King Buffalo playing it? With Child? Fucking take a second and imagine how incredible that will be. Take another second.

Speculation on my part. I know nothing about Duna Jam, or if it’s even happening. It might just be the bands needed a little time to travel after the UK stop. I don’t know. But man, even the thought of King Buffalo playing on the beach in Sardinia, well, it sounds like a really good idea to me, and just maybe I’m not the only one.

Whether you see them there or don’t, see them. I’ve been scratching my head for the last little bit trying to think of some of the most crucial up and coming acts in the varying stripes of American heavy, and King Buffalo are a name to which I continually return. See them.

Dates follow:

king buffalo euro tour

We’re European bound this summer with our good friends CHILD!! All dates below:

21.06 GER – Siegen, Freak Valley Festival**
22.06 UK – Royal Tunbridge Wells, Black Deer Festival
27.06 I – Cagliari, Corto Maltese
28.06 I – Bologna, Freak Out
29.06 I – Allesandria, Cascina, Bellaria
30.06 A – Innsbruck, PMK
01.07. GER – Munich, Feierwerk
02.07. A – Vienna, Viper Room
03.07. GER – Cottbus, Fauler August
04.07. GER – Berlin, Badehaus
05.07. GER – Münster – Rare Guitar
06.07. A – Salzburg, Rockhouse
07.07. GER – Cologne, MTC
08.07. GER – Darmstadt, Oetinger Villa
09.07. GER – Hamburg, Hafenklang
10.07. SWE – Motala, Bomber Bar
11.07. NOR – Oslo, Bla
13.07. LIT – Anyksciai, Devilstone
**only KB

Previously announced East Coast shows:
4/20 Toronto, ON @ Velvet Underground
4/26 Boston, MA @ Middle East Upstairs
4/27 Newport, RI @ Rusty’s
5/3 Baltimore, MD @ Windup
5/4 Philadelphia, PA @ Kung Fu Necktie
5/26 Joshua Tree, CA @ Stoned & Dusted
6/1 Brooklyn, NY @ Saint Vitus
6/8 Montreal, QC @ Tattoo Nouvelle Ere

Info & ticket links: http://kingbuffalo.com/

Lineup:
Sean McVay – vocals, guitar, synth
Dan Reynolds – bass, synth
Scott Donaldson – drums

kingbuffalo.com
facebook.com/kingbuffaloband
instagram.com/kingbuffaloband
twitter.com/kingbuffaloband
kingbuffalo.bandcamp.com

King Buffalo, Longing to be the Mountain (2018)

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The Devil and the Almighty Blues, Tre: Salting the Earth

Posted in Reviews on April 2nd, 2019 by JJ Koczan

the devil and the almighty blues tre

The Devil and the Almighty Blues‘ third album, titled simply Tre, arrives through Blues for the Red Sun Records almost exactly two years after its predecessor, II (review here). That in turn came out two years after their 2015  self-titled debut (review here). They are, it would seem, like clockwork. And just as II showed up and demonstrated a marked growth from the first record, so too does Tre push the Oslo, Norway, five-piece to a new echelon in their craft. It shares some methods with the preceding outing, including opening with its longest track (immediate points) in the 12-minute “Salt the Earth,” but finds the band — a returning lineup of vocalist Arnt O. Andersen, guitarists Petter Svee and Torgeir Waldemar Engen, bassist Kim Skaug and drummer Kenneth Simonsen — refining their style to a point of moving beyond their influences and truly stepping into their own style.

Oh, there’s the devil, and there’s the blues, and if you hold your breath long enough, you might even get a glimpse of the almighty, but much of what the band does so well throughout Tre can be heard in the eight-minute side B opener “Heart of the Mountain,” which finds the perfect tempo so that the measures of its verses don’t even seem cyclical so much as an unfolding line, and which bleeds soul from Andersen‘s vocals as well as the lead guitar and metered groove. The Devil and the Almighty Blues aren’t in a rush, and even when they offer up a bit of boogie, as on the hook-laden “Lay Down” or the penultimate “No Man’s Land,” they do so with a sense of poise that speaks not only to the confidence of their delivery, but how well they know what they want out of their songwriting. To listen to the background gospel vocals in second track “One for Sorrow” or even the quiet break in “Salt the Earth” that follows the chorus at about the 6:40 mark, one of The Devil and the Almighty Blues‘ greatest assets on Tre is the sense of space in the recording, and almost as important as how they fill it is how and when they choose to not fill it.

The verse of “One for Sorrow” wants nothing for sounding full. Its lead and rhythm guitar and bass tones are rich, its drums are understated but not absent, and its vocals are forward in classic fashion, yet even when the song — which is the shortest on Tre at 5:13, so well paired with the opener before it — sweeps into its more raucous solo section in the second half, there is still a bit of what seems to be space in the mix. Mastered at lower overall volume for vinyl, maybe? If that’s the case, then the adage about doing so letting a more natural and classic-style dynamic shine through certainly holds, as The Devil and the Almighty Blues have never sound so in charge of their direction as they do on this 48-minute six-tracker, but either way, the impression isn’t that the band are somehow holding back, but almost like they’re struggling against something bigger than themselves.

the-devil-and-the-almighty-blues

“Salt the Earth” very much sets the tone for this, from its soft opening to how its memorable chorus playing out in an echo cutting through held-out lumbering progression with a layer of backing vocals behind, a depth that seems only to go deeper in the aforementioned break, which they build up to a consuming place and still remain well in control, as shown in the melancholy guitar harmonies that take the place where a grandiose apex solo might otherwise show up. This is the band serving the song, the song serving the album and the album serving the expression. Tre casts the most resonant vibe The Devil and the Almighty Blues have yet conjured, and whether it’s the particularly Scandinavian-sounding classicism of “No Man’s Land” or closer “Time Ruins Everything” seeming to lose itself — but not actually getting lost — in the downtrodden soul of its chorus before it breaks à la “Salt the Earth” in order to set up the last push, which does feature the solo that might otherwise have come too soon in the opener.

Everything has its place, the band have a place in the moody aspect they create throughout Tre. The performance they give throughout “Lay Down” and “Heart of the Mountain” as side A gives way to side B isn’t to be missed, for its naturalism as well as the fluidity of the band’s conversing with aesthetic, and the atmosphere that results isn’t ever forced or overly dramatic; it just is. With subtlety and care, The Devil and the Almighty Blues build the world in which their tracks inhabit — and, I’d argue, thrive — and even more than two years ago, those tracks are able to affect the listener in multiple ways, whether its the well-placed upticks in motion with “Lay Down” and “No Man’s Land,” the crescendos in “Heart of the Mountain” and “Time Ruins Everything” or the organic feel that serves to tie it all together as a single work.

One thing to note. I went back and looked at the review for II, and it was laced with comparisons to other bands. I have none to make for Tre. One can hear shades of this and that, but nothing stands out so much as the level to which The Devil and the Almighty Blues have left their own mark on this material. Listening to the album, it is easy to believe this is to what their work up till now has been leading, and that may be the case, or Tre might just be another step forward on their path, but the sense of arrival here is palpable, and in kind with the quality of the songs, it makes The Devil and the Almighty Blues come across as all the more powerful in their approach. Not because they’re the loudest, or because they’re the most aggressive, or they have the nastiest tones, but because they give life to something that is theirs entirely, and because you can’t hear it and imagine you’re listening to someone else.

The Devil and the Almighty Blues on Thee Facebooks

The Devil and the Almighty Blues on Bandcamp

Blues for the Red Sun Records on Thee Facebooks

Stickman Records website

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The Devil and the Almighty Blues to Release Tre March 29; Touring Europe in April & May

Posted in Whathaveyou on February 12th, 2019 by JJ Koczan

the-devil-and-the-almighty-blues

Maybe you know this and maybe you don’t, and maybe I’ve said it before and maybe I haven’t, but it bears repeating: The Devil and the Almighty Blues are hot shit. I was fortunate enough to see them live when they played Roadburn supporting their second album, II (review here), and if the gods are generous, I’ll be able to see them again in their native Norway this Fall at Høstsabbat 2019 supporting their third, Tre, which is due out late next month on Blues for the Red Sun Records. Cue me sending an email to try and chase down a track premiere without even having heard the record yet in three, two, one…

And why, you ask? Because The Devil and the Almighty Blues are, as noted, hot shit. They own the stage and their records bring together classic songcraft with a heavy blues rock mentality and a willingness to stretch out of the confines of genre that only makes their work less predictable on the whole. Sign me up. Seriously. I’m in. New record. Let’s do this.

Before I forget, here’s album info from the PR wire:

the devil and the almighty blues tre

Heavy blues conjurers THE DEVIL AND THE ALMIGHTY BLUES return with new album ‘TRE’ this spring ; European tour announced!

Oslo bluesy quintet THE DEVIL AND THE ALMIGHTY BLUES unveil details for their third album ‘TRE’, coming March 29th on Blues For The Red Sun. The band also announced a European tour, including Desertfest appearances and dates with Stoned Jesus and Earthless.

Heavily inspired by Delta blues, and standing at the crossroads of both American and British blues-based rock, The Devil and the Almighty Blues hail about as far from that unmarked place where Robert Robert Johnson sold his soul to the devil as one can be: Oslo, Norway. By infusing all the world’s other sub-genres of rock, from punk to garage rock, and from heavy psych to southern sludge, The Devil and the Almighty Blues sounds heavy without becoming too metal, slow without being doom, slow and raw, fucked up and bluesy without being predictable, or losing the blues’ muddy origins. – Walter Hoeijmakers, Roadburn.

With their third full-length ‘TRE’, the Norwegian five-piece conjure up some of their finest bluesy licks and heavy grooves while keeping their trademark mid-tempo songcraft — the very one sound that has held all crowds spellbound and made the band stand out from the underground heavy rock scene. Each one of the songs on ‘TRE’ is as soulful as it is filled with electricity: from stomp-inducing anthems (‘No Man’s Land’), bewitching female vocals (‘One For Sorrow’) to tenebrous and emotional ballads (‘Heart Of The Mountain’), it arouses such a wide range of emotions that it instantly gets the listener all speechless and fulfilled at once.

THE DEVIL AND THE ALMIGHTY BLUES – ‘TRE’
New album out March 29th on Blues For The Red Sun

TRACK LISTING:
1. Salt The Earth
2. One For Sorrow
3. Lay Down
4. Heart Of The Mountain
5. No Man’s Land
6. Time Ruins Everything

The Devil and the Almighty Blues European tour:
28.04.19 – Hamburg (DE) w/ Stoned Jesus
29.04.19 – Groningen (NL) w/ Stoned Jesus
30.04.19 – Dresden (DE) w/ Stoned Jesus
01.05.19 – München (DE) w/ Earthless
02.05.19 – Wiesbaden (DE) w/ Earthless
03.05.19 – Berlin (DE) Desertfest
04.05.19 – Nijmegen (NL) Sonic Whip
05.05.19 – London (UK) Desertfest
08.05.19 – Wien (AU) Arena
09.05.19 – Salzburg (AU) Rockhouse
10.05.19 – Stuttgart (DE) Universum
11.05.19 – Cologne (DE) Helios

TDATAB IS
Arnt O. Andersen – Vocals
Kim Skaug – Bass
Petter Svee – Guitar
Torgeir Waldemar Engen – Guitar
Kenneth Simonsen – Drums

https://www.facebook.com/thedevilandthealmightyblues/
https://thedevilandthealmightyblues.bandcamp.com/
https://www.facebook.com/BLUES-FOR-THE-RED-SUN-645295312258485/
https://www.stickman-records.com/

The Devil and the Almighty Blues, II (2018)

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Sunnata and Weedpecker Touring Later This Month

Posted in Whathaveyou on February 6th, 2019 by JJ Koczan

That’s a solid pairing, Sunnata and Weedpecker. I’d call both bands progressive heavy psychedelic rock, but they don’t really tread a lot of the same ground when it comes right down to the nitty-gritty of their respective approaches. I’d imagine they’ll complement each other well on tour as they head through the Balkans and into Greece en route to playing the SoundArt Festival in Bucharest, Romania. Both acts put out records last year, so all the better they’re joining forces for the run, and while I’m sad to say I’ve never seen either live, at least I can appreciate two such forward-thinking bands getting out and delivering their wares from door to door for about two weeks. I would not expect this to be either of their only shows this year, but still would be cool to catch them together. Plus the poster is awesome and that never hurts either.

The dates were posted as follows on the social medias, and there’s audio at the bottom of this post to get your brain expanded:

sunnata weedpecker tour

Sunnata & Weedpecker – 2019: A Balkan Odyssey Tour

2019: A Balkan Odyssey Tour. Conjoined journey of Weedpecker and sunnata to the south. We are bringing you the finest oriental/psychedelic/stoner trips you might get in February/March. Prepare your spacesuits and see you at:

27.02 – Vienna: Sunnata, Weedpecker, Ozymandias
28.02 – Zagreb: Weedpecker & Sunnata na Good Vibrationsu u Mocvari!
01.03 – Budapest: Sunnata /pol/ & Weedpecker /pol/ koncert Budapesten!
02.03 – Timisoara: Sunnata [POL] + Weedpecker [POL] live at Reflektor
03.03 – TBA / Serbia
05.03 – Sofia: Weedpecker & Sunnata live in Mixtape 5
06.03 – Thessaloniki: Sunnata [PL] & Weedpecker [PL] live in Thessaloniki
07.03 – Athens: Sunnata [PL] & Weedpecker [PL] live in Athens
09.03 – Bucharest: SoundArt Festival 2019
10.03 – Cluj-Napoca: Live / Sunnata [POL], Weedpecker [POL]

This one is going to be trippy.

SUNNATA is:
Szymon Ewertowski – vocals, guitar
Adrian Gadomski – vocals, guitar
Michal Dobrzanski – bass
Robert Ruszczyk – drums, percussion

Weedpecker is:
Wyro – guitar,vocals
Bartek – guitar,vocals
Karol – bass
Kuks – drums

https://www.facebook.com/sunnataofficial
https://twitter.com/followsunnata
http://sunnataofficial.bandcamp.com/
https://www.youtube.com/user/sunnataofficial/videos

https://www.facebook.com/Weedpecker-349871488424872/
https://weedpecker.bandcamp.com/
http://weedpecker.bigcartel.com/
http://weedpecker.8merch.com/

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King Buffalo Announce East and West Coast Touring, Hint at More to Come

Posted in Whathaveyou on January 10th, 2019 by JJ Koczan

king buffalo (Photo by Mike Turzanski)

I know it’s a New Year and all, and hey, that’s nifty, but lest we forget that King Buffalo put out two of the finest releases of 2018 in the form of their Repeater EP (review here) and their second full-length, Longing to Be the Mountain (review here). One might want to keep this in mind when it comes to mapping out where you’re going to be the night King Buffalo hit your town.

You can apply whatever cliche you want about them hitting their stride or coming into their own sound, but the fact is that King Buffalo are quickly making themselves one of the US underground’s most crucial up and coming heavy bands, and it’s the kind of thing where you see them now and brag about it later. For years. If I need to say it outright, I will: You should find a show and go to it. It is not a thing you’ll regret.

They’re on the second pressing of the LP already. More info follows:

King Buffalo West Coast and East Coast Dates

We’re excited to be heading back out on the road for our Third and Fourth legs of the Longing To Be The Mountain Tour. We’ve received a lot of support for the new record and we can’t thank everyone enough. Please keep spreading the word! We’re amazed to hear how many people find out about us through word of mouth.

We have a lot of touring planned for 2019, so if these dates aren’t in your area, stay tuned. We look forward to seeing everyone soon.

The 2nd pressing of Longing To Be The Mountain is now available. Get a copy at kingbuffalo.bigcartel.com

JUST ANNOUNCED WEST AND EAST COAST 2019 TOUR DATES
Tickets on sale at 10am est on 1/11/19.

2/7 Ottawa, ON @ House of Targ
2/8 Montreal, QC @ L’Esco
2/9 Burlington, VT @ Higher Ground
2/22 New York, NY @ Mercury Lounge
2/23 Buffalo, NY @ Mohawk Place
3/14 Grand Rapids, MI @ Founders Brewing Co.
3/15 Chicago, IL @ The Hideout
3/16 Milwaukee, WI @ Cactus Club
3/17 Minneapolis, MN @ 7th Street Entry
3/20 Spokane, WA @ The Pin
3/21 Seattle, WA @ Barboza
3/22 Vancouver, BC @ Wise Hall
3/23 Portland, OR @ White Eagle Saloon
3/24 San Francisco, CA @ Café Du Nord
3/26 Los Angeles, CA @ Catch One
3/27 Phoenix, AZ @ Rebel Lounge
3/28 Las Vegas, NV @ Beauty Bar
3/29 Salt Lake City, UT @ The Loading Dock
3/30 Denver, CO @ Lost Lake Lounge
4/2 Kansas City, MO @ Riot Room
4/3 St Louis, MO @ Duck Room
4/4 Louisville, KY @ Zanzabar
4/5 Cincinnati, OH @ Motr Pub
4/6 Pittsburgh, PA @ Café Club
4/20 Toronto, ON @ Velvet Underground
4/26 Boston, MA @ Middle East Upstairs
5/4 Philadelphia, PA @ Kung Fu Necktie

Info & ticket links: http://kingbuffalo.com/

Lineup:
Sean McVay – vocals, guitar, synth
Dan Reynolds – bass, synth
Scott Donaldson – drums

kingbuffalo.com
facebook.com/kingbuffaloband
instagram.com/kingbuffaloband
twitter.com/kingbuffaloband
kingbuffalo.bandcamp.com

King Buffalo, Longing to be the Mountain (2018)

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