Friday Full-Length: Kalas, Kalas

Posted in Bootleg Theater on August 12th, 2016 by H.P. Taskmaster

Kalas, Kalas (2006)

Kalas was a short-lived five-piece fronted by Matt Pike of High on Fire and Sleep. During their time together, which reportedly started in 2003, they released one full-length, self-titled, on Tee Pee Records. They did not tour extensively. I remember seeing them at SXSW 2006 in Austin, Texas, at a day party sponsored by Vice — at the time I had no idea what Vice was, but Witch were also playing, so I wasn’t missing it either way — and watching as Pike rushed through the crowd to get on stage because the band’s set was about to start. It was that kind of thing. Someone would tell me later that Kalas essentially came out of his desire to practice his vocals and expand his range for High on Fire — which the album Kalas most definitely does on songs like “Frozen Sun” and “Mother’s Tears” — but I think the appeal of the record goes further than that.

Consider that in 2006, Sleep were still broken up, seemingly permanently. With High on Fire, Pike released Blessed Black Wings in 2005 and would follow it up with Death is this Communion in 2007, indeed having greatly expanded his vocal range. Kalas‘ self-titled is not only a bridge between those two albums, but also a tie to the more purely stonerized riffing of Sleep — or at very least is less maniacally metal than High on Fire were at the time and have only grown to be more so. By stepping back and not playing guitar, Pike gave crucial ground to six-stringers Andy Christ (ex-Eldopa) and Paul Kott (ex-High Tone Son of a Bitch) and led the band, which also included bassist Brad Reynolds and drummer Scott Plumb, in a different way than he ever had before or than he has since. He only played guitar in Sleep, but in Kalas, he only sang (minus a solo on “Frozen Sun”), and that became a defining feature of the group and the album.

Honestly, that would probably be enough to pique interest, but the album continues to deliver quality in the performance of the entire band and the songwriting. It’s not as rampage-prone as High on Fire, but Kalas grooves fluidly across its nine tracks, and the lyrics tackle issues of addiction and the resulting effects on life in a more direct way than Pike ever had before. It became a vibe that, on subsequent releases, might’ve come to develop along a path separate from anything else Pike was involved in, but instead it kind of languished behind the booming popularity of High on Fire — who were in the midst of doing some of their best work to-date — and the reunion of Sleep, which began in 2009. The self-titled would be the only thing they ever put out. Copies still float around, and if you’re lucky you might be able to find one in a used rack somewhere, but it continues to surprise me how little mention Kalas get in the Matt Pike discography, since they were unlike anything he’d done before or would do again. And, again, the songs hold up even a decade later.

More pre-social media heavy seemingly given up to the ages, awaiting reissue. Hope you enjoy.

I lost a little weight recently and so have been digging out some old t-shirts from boxes in the basement in hopes that they might fit. I chose the Kalas record because apparently at some point I purchased a Kalas t-shirt with the album cover on it. Must have been at that SXSW show, though I couldn’t say for sure — it was a long decade ago and I never went to Austin that I didn’t spend the entire half-week bordering on blackout drunk. Or my 20s. Ha.

Anyway, I think I might wear that Kalas shirt to The Obelisk All-Dayer, which is only eight days away. It’s pretty new looking. I might’ve never worn it before.

If you don’t have your tickets yet for The Obelisk All-Dayer, which is Aug. 20 at Saint Vitus Bar, get them here: https://www.ticketfly.com/purchase/event/1067269

Next week the countdown to that show will continue. Look for exclusive and awesome stuff from Funeral HorseKing Buffalo and Heavy Temple, and maybe a special writeup for the afterparty as well, because I’m really stoked on bringing Walter Roadburn and Adam from The Golden Grass on board to DJ after Mars Red Sky plays. It’s going to be such an awesome day. Please come. Please show up.

Also next week, look out for a review and some kind of audio premiere for the new Second Grave album, Blacken the Sky. To be followed Tuesday (I think) by Wretch and Wednesday by Blues Funeral. There’s more for later in the week, I’m just not sure what it is yet. Doing the All-Dayer countdown has put me way behind on videos as well. Might take a day to get caught up. We’ll see how it goes.

I hope you have a great and safe weekend. Please get your The Obelisk All-Dayer tickets, and please check out the forum and radio stream.

The Obelisk All-Dayer

The Obelisk Forum

The Obelisk Radio

Tags: , , , , , , , ,

The Obelisk All-Dayer Countdown: Death Alley Debut “Supernatural Predator” Live Video

Posted in Bootleg Theater, Features, The Obelisk Presents on August 9th, 2016 by H.P. Taskmaster

the obelisk all-dayer

The Obelisk All-Dayer tickets

True, it hasn’t been all that long since Amsterdam full-charge rockers Death Alley posted up a new clip for the title-track of their most excellent 2015 Tee Pee Records debut, Black Magick Boogieland (review here). Their doing so prompted something of a rant on my part — well fucking justified, from where I sit — about how god damn awesome they are live and how anyone in the US lucky enough to see them for the first time doesn’t even know the kind of right-past-the-next-level-and-onto-the-level-after-that-one show they’re in for.

Naturally, in bringing them aboard for The Obelisk All-Dayer, Aug. 20 at Saint Vitus Bar in Brooklyn (tickets), it’s a sentiment by which I wholeheartedly stand.

All the better that as part of our countdown to The Obelisk All-Dayer, which is a mere 11 days away now, they should check in with a live video, as if to give any unsuspecting parties all the more reason to show up in-person. The clip is for “Supernatural Predator,” the epic and hypnotic space-infused closer from Black Magick Boogieland, and it was filmed this past June at Hellfest 2016 in Clisson, France.

Death Alley shared the Valley stage that day with Kadavar, Lecherous Gaze, Unsane and Puscifer, among others, and watching “Supernatural Predator,” it’s abundantly clear what a force they’ve become on stage. They come to The Obelisk All-Dayer to join forces with Mars Red Sky, Snail, Kings Destroy, Eye, Funeral Horse, King Buffalo and Heavy Temple as part of a short US tour that no doubt will spread their name farther than the cities they happen to be hitting along the way.

Thanks to the band for letting me host this premiere, and for playing in Brooklyn on the 20th as well. I can’t wait.

Enjoy:

Death Alley, “Supernatural Predator” live at Hellfest 2016

The Obelisk All-Dayer tickets

Death Alley on Thee Facebooks

Saint Vitus Bar website

Tags: , , , , , , ,

Death Alley Post Video for “Black Magick Boogieland”

Posted in Bootleg Theater, The Obelisk Presents on July 29th, 2016 by H.P. Taskmaster

death alley

I feel like you don’t even know. Unless you’ve already seen Death Alley, I’m not sure it’s possible to fully appreciate the momentous occasion that their arrival in the US for their first shows on the North American continent represents. They come supporting their 2015 Tee Pee Records debut album, Black Magick Boogieland (review here), and having seen them twice at Roadburn, I can tell their live show is a righteous next step for classic heavy rock, as punk as it is metal and delivered with nigh-on-unmatched vitality that proves so completely essential to the good time the material winds up conveying. Also every now and then they get weird, and that’s awesome too.

That’s what “Black Magick Boogieland” is all about — bringing these pieces together. I could not, could not, could not be more thrilled to have Death Alley in the lineup as part of The Obelisk All-Dayer, Aug. 20 at Saint Vitus Bar in Brooklyn (JUST BUY YOUR FUCKING TICKETS ALREADY), and if the fact that they’re doing more dates besides — including Psycho Las Vegas — means more heads will catch on, then all the better. I cannot imagine being in the same building while they play and not being swallowed up by their energy. It’s going to be completely over the top in completely the best way possible. I fucking mean it.

They’ve got a new video for the aforementioned “Black Magick Boogieland” that you can dig into below. Clip info and tour itinerary follow:

Death Alley, “Black Magick Boogieland” official video

Video by: Boitelle & Grygierczyk Audio Visual Rock Productions

Title track from debut album Black Magick Boogieland. Out on Tee Pee records.

See you punks at one of these!
8/19 – Philadelphia – Kung Fu Necktie
8/20 – New York City – Saint Vitus (Obelisk Alldayer)
8/21 – New York City – Cake Shop
8/27 – Las Vegas – Hard Rock Hotel (Psycho Las Vegas festival)
8/31 – San Francisco – Elbow Room
9/01 – Los Angeles – Viper Room
9/02 – San Diego – Til Two Club
9/03 – San Diego – Til Two Club

The Obelisk All-Dayer tickets

Death Alley on Thee Facebooks

Death Alley BigCartel Store

Tee Pee Records website

Tags: , , , , , , ,

The Atomic Bitchwax, Lo-Pan & The Dirty Streets Announce Coast-to-Coast Tour

Posted in Whathaveyou on July 21st, 2016 by H.P. Taskmaster

A couple months ago, while out on a run with The Obsessed and Karma to BurnTone Deaf is killing it with the package tours this year — bassist/vocalist Chris Kosnik of The Atomic Bitchwax sustained an injury to his arm that forced the band to cancel about half the dates. Sierra filled in, but still kind of a bummer for the stalwart NJ trio, whose 2015 Tee Pee Records album, Gravitron (review here), was among the year’s finest.

No doubt they’d get back out, and this time they’ll be headlining a coast-to-coast stint with Ohio’s Lo-Pan and Memphis blues rockers The Dirty Streets. For Lo-Pan, it will mark the four-piece’s first tour with new guitarist Chris Thompson, who was just announced as having joined the band earlier this week. They’re on the tour from Aug. 19 through Aug. 27 only, it looks like, so presumably the next night will serve as their stop at Psycho Las Vegas. The Dirty Streets, on the other hand, have an off-night as the Bitchwax and Lo-Pan roll into Tucson on Aug. 27, so I guess that’s when they’ll be playing the Vegas megafestival.

In any case, glad to see The Atomic Bitchwax heading off again and continuing to keep excellent company. Dates were posted by the band:

the atomic bitchwax lo pan dirty streets tour-700

USA!!
Arm is healed up so let’s try this again!!

THE ATOMIC BITCHWAX (ALL DATES)
W/ LO PAN (8/19-9/27) and THE DIRTY STREETS (8/19-9/10 excluding 8/27)
08/19/2016 Charlotte NC The Milestone w/ Lo-Pan, The Dirty Streets
08/20/2016 Hattiesburg MS The Tavern w/ Lo-Pan, The Dirty Streets
08/21/2016 New Orleans LA Siberia w/ Lo-Pan, The Dirty Streets
08/22/2016 San Antonio TX Limelight w/ Lo-Pan, The Dirty Streets
08/23/2016 Houston TX White Oak Music Hall w/ Lo-Pan, The Dirty Streets
08/24/2016 Austin TX Grizzly Hall w/ Lo-Pan, The Dirty Streets
08/25/2016 Ft Worth TX Rail Club w/ Lo-Pan, The Dirty Streets
08/26/2016 Albuquerque NM Ned’s Bar w/ Lo-Pan, The Dirty Streets
08/27/2016 Tucson AZ Flycatcher w/ Lo-Pan
08/28/2016 San Diego CA Soda Bar w/ The Dirty Streets
08/29/2016 Los Angeles CA Viper Room w/ The Dirty Streets
08/30/2016 San Francisco CA Elbo Room w/ The Dirty Streets
08/31/2016 Portland OR Dante’s w/ The Dirty Streets
09/01/2016 Vancouver BC Biltmore w/ The Dirty Streets
09/02/2016 Seattle WA El Corazon w/ The Dirty Streets
09/03/2016 Bellingham WA Shakedown w/ The Dirty Streets
09/06/2016 Minneapolis MN Grumpy’s w/ The Dirty Streets
09/07/2016 Chicago IL Double Door w/ The Dirty Streets
09/08/2016 Cleveland OH Grog Shop w/ The Dirty Streets
09/09/2016 Philadelphia PA Kung Fu Necktie w/ The Dirty Streets
09/10/2016 Brooklyn NY Black Bear w/ The Dirty Streets

https://www.facebook.com/The-Atomic-Bitchwax-86002001659/
https://www.facebook.com/lopandemic/
https://www.facebook.com/thedirtystreets
http://tonedeaftouring.com/

The Atomic Bitchwax, Live in Toulouse, France

Tags: , , , , , , , , , , ,

Friday Full-Length: Ruby the Hatchet, Valley of the Snake

Posted in Bootleg Theater on July 1st, 2016 by H.P. Taskmaster

Ruby the Hatchet, Valley of the Snake (2015)

Two Fridays ago, we closed out the week with Internal Void‘s 1993 debut, Standing on the Sun, in honor of the band’s appearance at Maryland Doom Fest 2016. Now that the fest is over, it seems only fair to follow that up with something more current representing another side entirely of the offerings last weekend in MD. Philly/New Jersey’s Ruby the Hatchet are one of the groups I was most looking forward to seeing throughout the weekend for the simple reason that I’d never seen them before and their early 2015 Tee Pee label debut and second album overall, Valley of the Snake (review here), was positively entrancing, taking Uncle Acid-style garage doom to more psychedelic places with a classic sensibility in its swing and organ-inclusive melodies.

The songs were also catchy as hell, and that never hurts.

Comprised of six tracks for a 40-minute run, Ruby the Hatchet‘s second LP broke cleanly into its two sides and asked little more of the listener than to nod along to cuts like the strong opening duo of “Heavy Blanket” and “Vast Acid,” the latter of which seemed to wink directly at Uncle Acid‘s ultra-influential “I’ll Cut You Down,” but still come out of it with a personality of its own, and both of which were highlights of their performance at the fest. Frontwoman Jillian Taylor was responsible for a lot of that, and her vocal command is a major appeal throughout the record, but guitarist John Scarperia, bassist Mike Parise (since replaced by Lake Muir), drummer Owen Stewart and organist Sean Hur each have their say as well, and as they shift into the drawl of side A closer “Tomorrow Never Comes,” it’s Ruby the Hatchet as a whole working cohesively to elicit the doomed feel.

That song plays a bit of back and forth with tempo late, but its primary impression is slower than the two cuts before it. When they start side B with “The Unholy Behemoth,” the feeling is very much like they’ve gone back to the start, but “The Unholy Behemoth” and “Demons,” which follows, are both more the band’s own. Unafraid to break out an upbeat winding intro riff, “Demons” boasts plenty of swing and is still definitely cult rock in its atmosphere, but there’s a sense of Ruby the Hatchet putting their stamp on the sound more than playing to style. The hooks are no less prevalent, fortunately, and as they move into the sunshiny heavy psychedelia of the closing title-track, introducing it with some underlying noise, acoustic guitar and organ, they are completely in their own space. Some heft emerges later on as toms and electric guitar kick in, but Valley of the Snake‘s closer remains golden-hued all the same, capturing a sentimental vibe to finish that’s as resonant emotionally as it is sonically individual.

Post-MDDFRuby the Hatchet spent this week on tour with Black Mountain, and will wrap with the dates below:

Ruby the Hatchet live:
7/1 – Ithica, NY @ The Haunt*
7/2 – Boston, MA @ The Sinclair*
*supporting Black Mountain
**supporting The Obsessed

As this is posted, I’m making my way back down to Maryland. The Patient Mrs.‘ car, which broke down on the final day of Maryland Doom Fest — literally right as I pulled into the parking space outside Cafe 611 as Mangog were getting ready to start — is still at a garage in Frederick. The alternator has been fixed, which is super, but Frederick is about seven hours in the car from where I live on the best of days, let alone the Friday before the July 4 holiday. Traffic sucked pretty bad last week. I don’t expect this trip will be any better.

My first (four-day) week of work at my new job is under my belt. It was good, I think. Actually managed to do something semi-productive yesterday — like an actual task that will be a part of my job going forward — without completely screwing it up, so that was a nice feeling. Other than that, it’s been a lot of meetings, a lot of meeting people, a lot of information overload, pretty typical stuff. I was good and beat by Wednesday night, yesterday dragged some, but today was a half-day, as are all Fridays, so getting out at 1 is pretty much what’s making it possible to get to Maryland, and I’m thankful for that. Can’t keep a rental car forever.

It’s a crowded office, and I share a cubicle, but the people seem nice and nobody’s told me to fuck myself yet. I wore sandals today and yesterday, and a t-shirt with an open short-sleeve button-down, so you know, could be worse. I figure I’ll lose the button-down altogether sooner or later. Don’t think it will be an issue. Too many people here for anyone to care.

Before I check out and take over driving from The Patient Mrs., I’d like to extend a special thanks to Sean “Skillit” McEleny for absolutely killing it on the poster for The Obelisk All-Dayer (tickets here) Aug. 20 at Saint Vitus Bar. If you didn’t see it, click below to enlarge:

the obelisk all-dayer poster skillit

It turned out better than I could’ve hoped and his monumental effort is massively appreciated. Superlatives all around. Dude is amazing.

Been a stressful week, gonna be a stressful next day or two down to MD and back to CT, then MA, but whatever. I hope you have a great and safe weekend. Might put one or two posts up Monday relevant to Europe if anything comes through, or might just let it ride until Tuesday. Maybe a podcast! It’s been forever. Gonna play it by ear.

Please check out the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

Tags: , , , ,

Comet Control, Center of the Maze: Spreading Wings (Plus Track Premiere!)

Posted in audiObelisk, Reviews on June 22nd, 2016 by H.P. Taskmaster

comet-control-center-of-the-maze

[Click play above to hear ‘Artificial Light’ from Comet Control’s Center of the Maze. Album is out this Friday on Tee Pee Records.]

Though it spends much of its time engaged in a garage-in-space push, the prevailing vibe on Comet Control‘s second album, Center of the Maze, is still one of serenity. The Toronto five-piece’s sophomore release follows their 2013 self-titled (review here), and like that debut it arrives via Tee Pee Records with a bright, vital blend of heavy psychedelic and space rock lent further shoegazy ethereality by the languid vocals of guitarist Chad Ross. Ross, joined in the band by guitarist Andrew Moszynski, bassist Nicole Howell, drummer Jay Anderson and keyboardist Christopher Sandes, is responsible in no small part for that serene impression, and after full impulse power of songs like opener “Dig out Your Head” and “Criminal Mystic” is disengaged and Comet Control set themselves to the relative drift of closing duo “Sick in Space” and “Artificial Light” — which between them comprise 18 of the record’s total 45-minute runtime — the vocals become another part of the lush and consuming arrangements that offer warmth as much as hypnotism.

Although Center of the Maze ultimately finds Ross and Moszynski pushing farther away from their work with prior outfit Quest for Fire (they were also in The Deadly Snakes), the songcraft and depth of mix in these eight tracks speaks to some measure of continuity between the two projects. Still, there’s little question that Comet Control have set themselves to the task of finding their own personality apart from what their members have done before, and that shows itself in dividends from one end of the LP to the other.

The sense of journey along the way isn’t to be understated. At their starting point in “Dig out Your Head,” Comet Control dive and weave and space-rock-stomp through what serves as an immediate hook on which they continue to build as they go forward into other early cuts like the more shuffling “Darkness Moves,” with some highlight snare work from Anderson, and the more folkish “Silver Spade,” which calls to mind Revolver-era The Beatles without aping them either in melody or structure. That in itself is an accomplishment worthy of note, acoustics leading as Mellotron-style keys add melodic flourish and brighten the atmosphere. They seem to be setting up a solo freakout like that which “Darkness Moves” undertakes in its solo section, but keep it smooth as “Silver Spade” heads into the tambourine-laden shoegaze of “The Hive.”

comet-control-Photo-by-Melissa-Boraski-and-Jennifer-Keith

Acoustic strum is audible in kind with the spaced-out fuzz, and “The Hive” seems to deliver the swirlfest in its second half that “Silver Spade” hinted toward, the march that’s been underway the whole time subtle but already at some distance removed from when they set out on “Dig out Your Head,” the flow between songs remarkable and feeling very intentional but not in a way that sacrifices the natural sound of the material. Purposeful but not contrived. That continues as the motion of “The Hive” feeds into “Criminal Mystic,” on which Sandes comes forward in the chorus wind a similar course to the guitars but provide the hook beneath the heavier, lower-toned fuzz of the guitars and Howell‘s bass. “Criminal Mystic” is a particularly good example of the heavy psychedelia that Comet Control have made their own, a blend of instrumental push and vocal calm, swirling and spacious but still catchy as well. In its place at the end of side A (I think), it becomes a high point of Center of the Maze‘s first half.

There is, however, a decided sonic shift as Comet Control begin side B. It happens as the keys come to the fore on “Golden Rule” after space rock howling opens to elicit a late-’60s stomp, soon further emphasized through tambourine. In pace, it connects with a lot of side A — even “Silver Spade” moved — but it also sets up the transition into the more pastoral spaces that “Sick in Space” and “Artificial Light” will cover. The closing duo also comprise the two longest tracks on Center of the Maze at eight and 10 minutes, respectively, and between them also go further out into cosmic meandering, wonderfully melodic and full in sound and realization, “Sick in Space” soothing even as its wash grows more prevalent. That apex is powerful, but the song ends with Ross delivering the album’s title line and it feels like a setup for “Artificial Light,” which of course it is.

And it’s a finale worthy of setup. No doubt in my mind that when December list time comes around, “Artificial Light” will be one of the best songs of the year. Sonically, it recalls some of the best moments of Quest for Fire‘s laid-back mind expansion, but as they have all along, Comet Control put their own twist on it, this time via a flat-out beautiful meld of standout synth lines and background effects wash and overarching vocal harmonies for the ultra-memorable chorus, “I’ll be your eyes/I’ll be your heart and your breath/Spread your wings or fall to your death.” Once again, acoustic strum emerges alongside the electrified guitars, and Comet Control cap the triumph of their second record with a sense of patience that answers all the prior rush as if to wonder what was the hurry in the first place. As it gracefully waltzes into its second half solo, “Artificial Light” dives into classic heavy grandeur while sounding effortless and keeping its core rhythm, tempo and that current of acoustic guitar intact, never quite letting go until it casts out its final, long-fading wash of keys and noise to end the album.

Staggering in resonance and emotionally gripping as it is, Center of the Maze‘s finish is still just one part of what it has to offer, and after it’s over, it’s all the more worth looking back to “Dig out Your Head” and internalize the distance covered. It is vast. A follow-up from Comet Control had been one to anticipate, but I’m not sure even the most hopeful of scenarios could have accurately predicted what they achieve here.

Comet Control on Thee Facebooks

Tee Pee Records

Tags: , , , , , ,

DEATH ALLEY Confirmed for The Obelisk All-Dayer, Aug. 20 at Saint Vitus Bar

Posted in The Obelisk Presents on June 15th, 2016 by H.P. Taskmaster

the obelisk all-dayer

Buy Tickets Here

With the addition of Amsterdam’s Death Alley, the bill for the first-ever The Obelisk All-Dayer is complete. Show is Saturday, Aug. 20 at Saint Vitus Bar in Brooklyn. The complete lineup is as follows:

THE OBELISK ALL-DAYER:
Mars Red Sky*
Death Alley*
Snail*
Kings Destroy
EYE
Funeral Horse*
King Buffalo
Heavy Temple
* first East Coast appearance.

Death Alley

death alley
Motor-driven Netherlands heavy rockers Death Alley tore their way into the consciousness with their 2015 debut album, Black Magick Boogieland (review here), on Tee Pee Records. An offering that set itself a seemingly impossible task with its title and then managed to live up to it, the record pulled together straightforward, classic-style brashness and offered an edge of spaced-out expanse that worked in a scope few groups would dare attempt, especially their first time out.

With members of Gewapend BetonThe Devil’s Blood and Mühr in the lineup, they’re not exactly inexperienced, but the energy they brought to Black Magick Boogieland and the energy they bring to the stage is fresh and righteously their own. I was fortunate enough to see them at Roadburn in 2014 (review here) and again twice this year (reviews here and here), and the progress they’ve made in that time was evident both in their sound and in the crowd they drew to watch them play. A group that obviously enjoys what they do on stage and wants you to do the same, they’ll bring vitality and push to The Obelisk All-Dayer in a way that no one else could, and maybe get a little weirdo jammy in the process. Awesome.

The Afterparty

Yeah, I know what you’re thinking: “Oh an afterparty. La-di-da. Let’s all do blow and talk about Reaganomics.” Not quite what I’m going for. The show itself will run from 2:30PM until about midnight. Today I’m thrilled to announce that at 12AM, two DJs will be taking over: DJ Adzo and Walter Roadburn.

I don’t think either needs much of an introduction. Walter is of course the creative force behind the aforementioned Roadburn festival in Tilburg, the Netherlands. DJ Adzo is also known as Adam from Brooklyn’s own The Golden Grass and La Otracina. Both are excellent human beings and I’m humbled they’re willing to be involved in The Obelisk All-Dayer.

From 12AM to 2AM, they’ll be spinning whatever the hell they want — classics, new stuff, stuff you know, stuff you don’t — and I feel completely comfortable trusting the taste of both of them and can’t wait to hear what they put on. After Mars Red Sky‘s headlining set, there’s still plenty of party left, and I hope you’ll stick around for it.

The Obelisk All-Dayer is Aug. 20, 2016, at Saint Vitus Bar in Brooklyn, New York, and will feature full sets, after-show DJs, food on-hand, live recordings, limited edition merch and much more. Official poster and set times coming soon.

The Obelisk All-Dayer tickets

The Obelisk All-Dayer event page

Kings Destroy on Thee Facebooks

Heavy Temple on Thee Facebooks

Tags: , , , , , , ,

Saint Vitus, The Skull and Witch Mountain Announce US Tour Dates

Posted in Whathaveyou on June 6th, 2016 by H.P. Taskmaster

This is one of those tour-to-end-all-tours tours. Beginning in Austin on Sept. 27, including a stop Oct. 14 at Erosion Fest and culminating Oct. 23 at Southwest Terror Fest, the newly-announced tour with Saint VitusThe Skull and Witch Mountain also covers both coasts in nearly its month-long stretch. I’ll admit the prospect of seeing these three bands together at the Saint Vitus Bar in Brooklyn has my arm hair standing on end, remembering the Vitus-at-Vitus gig from 2012 (review here) as one of the best shows I’ve ever seen, at that venue or anywhere else. It’ll be a different lineup of the band this time, with original vocalist Scott Reagers back in that position as the Die Healing-referential poster art indicates, but they’re keeping excellent company in The Skull and Witch Mountain as well, so kudos all around, including to Nanotear, which put the package together.

Witch Mountain have a couple dates as well en route to meeting up with the others. Find the complete routing, including those shows, below:

saint vitus the skull witch mountain tour

SAINT VITUS tour dates
All dates with THE SKULL, WITCH MOUNTAIN
Sept. 27 Austin, TX @ Midway Field House
Sept. 28 Dallas, TX @ Gas Monkey Dallas
Sept. 29 San Antonio, TX @ The Mix
Sept. 30 Shreveport, LA @ Riverside Warehouse
Oct. 1 New Orleans, LA @ One Eyed Jack’s Saloon
Oct. 2 Atlanta, GA @ The EARL
Oct. 3 Raleigh, NC @ Kings
Oct. 5 Philadelphia, PA @ Underground Arts
Oct. 6 Boston, MA @ @Middle East
Oct. 7 Brooklyn, NY @ Saint Vitus Bar
Oct. 8 Cleveland, OH @ Grog Shop
Oct. 9 Indianapolis, IN @ 5th Quarter Lounge
Oct. 10 Chicago, IL @ Reggie’s Bar
Oct. 11 Madison, WI @ High Noon Saloon
Oct. 12 St. Paul, MN @ Turf Club
Oct. 14 Missoula, MT @ Erosion Festival
Oct. 15 Seattle, WA @ El Corazon
Oct. 16 Portland, OR @ Star Theater Portland
Oct. 18 Sacramento, CA @ Starlite Lounge
Oct. 19 Oakland, CA @ Oakland Metro Operahouse
Oct. 20 Costa Mesa, CA @ Wayfarer.
Oct. 21 Los Angeles, CA @ The Viper Room
Oct. 22 San Diego, CA @ Brick By Brick
Oct. 23 Tucson, AZ @ Southwest Terror Fest

Witch Mountain shows on the way to meet up with Saint Vitus + The Skull:
9/22 Portland, OR – Dante’s (WM only)
9/23 Boise, ID – Neurolux (WM only)
9/24 Salt Lake City, UT – Metro (WM only)
9/25 Denver, CO – Hi-Dive (WM only)

https://www.facebook.com/saintvitusofficial/
https://www.facebook.com/troubletheskull/
https://www.facebook.com/witchmountain/
https://www.facebook.com/Nanotear/
http://season-of-mist.com/
teepeerecords.com/products/

Saint Vitus, “Born too Late” Live at Hellfest 2015

Tags: , , , , , , , , , ,