Here is the Music Player. You need to installl flash player to show this cool thing!
This one’s a couple minutes shorter than the last few have been, but lacks nothing for substance, and particularly after YOB‘s “Marrow,” anything I put at the end would’ve just been filler to meet some imaginary obligation on my part. If you feel like you’re lacking the four minutes, give me a call and we’ll chat about records for the rest of that time. It’ll be a hoot. In any case, I think there’s plenty here to sink into — stuff that for a lot of people, myself included, will be on year-end lists and albums for which 2014 will be remembered when all is said and done. Two of my four current contenders for Album of the Year are featured, first and last.
Parts of this podcast are gorgeous, parts are ugly, but I think everything here holds up in terms of quality and listening back, I like the way this one gets immersive with a mix of longer tracks and shorter ones, slower and faster, etc. As always, I hope you enjoy, and I thank you sincerely for taking the time to check it out.
Lo-Pan, “Regulus” from Colossus (2014)
Steak, “Liquid Gold” from Slab City (2014)
The Well, “Mortal Bones” from Samsara (2014)
Orange Goblin, “The Devil’s Whip” from Back from the Abyss (2014)
Kvlthammer, “Hesh Trip” from Kvlthammer (2014)
Snailking, “To Wonder” from Storm (2014)
Earth, “From the Zodiacal Light” from Primitive and Deadly (2014)
Pallbearer, “Watcher in the Dark” from Foundations of Burden (2014)
Sorxe, “Her Majesty” from Surrounded by Shadows (2014)
Humo del Cairo, “Tres” from Preludio EP (2014)
Joy, “Miles Away” from Under the Spell Of… (2014)
Megaton Leviathan, “Past 21” from Past 21: Beyond the Arctic Cell (2014)
Bong, “Blue at Noon” from Haikai No Ku – Ultra High Dimensionality LP (2014)
YOB, “Marrow” from Clearing the Path to Ascend (2014)
Posted in Whathaveyou on August 21st, 2014 by H.P. Taskmaster
Don’t put 2014 to bed yet! After releasing their debut single earlier this year (review here), The Skull will issue their first full-length, For Those Which are Asleep,on Nov. 4 via Tee Pee Records. I’m in genuine suspense to hear how the Trouble offshoot — vocalist Eric Wagner, bassist Ron Holzner and drummer Jeff “Oly” Olson hailing from the seminal Chicago doomers — pay homage to their origins and even more how guitarists Lothar Keller and Matt Goldsborough (ex-Pentagram) distinguish themselves in tone and style and thus plot a new course for The Skull distinct from that of the band to whom they were originally formed as a tribute.
The title fascinates as well. The phrase “for those which are asleep” would seem to speak of things not human, otherwise it would be “for those whom are asleep.” Not sure if it’s meant to speak of an personify inanimate objects or if it’s just an odd turn of phrase, but it’s one more thing to add intrigue — if only to grammar dorks — about the album.
The Skull have the unenviable task of driving from Montreal to Delaware next weekend to appear at the Wings of Metal and Vultures of Volume festival. Bit of a hike that I’m sure will prove worth their while.
A certain PR wire has specifics:
THE SKULL to Release For Those Which Are Asleep November 4
Metal Band Featuring Former Members of Doom Legends TROUBLE and PENTAGRAM Finalize Debut LP
THE SKULL — the new band featuring original members Eric Wagner (vocals) and Jeff “Oly” Olson (drums) of American doom metal legends TROUBLE alongside longtime TROUBLE bassist Ron Holzner, guitarist Lothar Keller (SACRED DAWN) and former PENTAGRAM guitarist Matt Goldsborough will release their debut album For Those Which Are Asleep on November 4 via Tee Pee Records, the NYC independent record label known for releasing landmark albums from acts such as High on Fire, Graveyard, Earthless and Sleep.
Written and recorded this past spring, For Those Which Are Asleep features ten tracks of elemental Heavy Metal and is the first full length album to feature Wagner, Holzner and Olson since the 1995 release of TROUBLE’s critically acclaimed LP Plastic Green Head. The new record’s greatest strength is how well it captures the apocalyptic trudge that Trouble delivered from the first downbeat of their 1984 debut, but now unequivocally propelled by the hallmarks of a hungry new band fueled by new blood. The mighty voice of Wagner is on full display; the vocalist proving on For Those Which Are Asleep that he still wields an eerie power at the mic. Titanic riffs abound as Keller and Goldsborough weave ominous atmospheres over the molten, crushing core of Holzner and Olson’s sinister strut. Make no mistake, THE SKULL are in complete command of their craft and have capably created a modern classic; a recording where atmosphere is established as drums crash, guitars blare and stories are told.
For Those Which Are Asleep track listing:
1.) Trapped Inside My Mind 2.) The Touch of Reality 3.) Sick of It All 4.) The Door 5.) Send Judas Down 6.) A New Generation 7.) Till the Sun Turns Black 8.) For Those Which Are Asleep 9.) Sometime Yesterday Mourning 10.) The Last Judgment
This month, THE SKULL will pay tribute to TROUBLE’s landmark debut Psalm 9 (which Wagner and Olson co-wrote and performed on) in celebration of the 30th Anniversary of the record’s release. THE SKULL will perform the influential album in its entirety at both the Wings of Metal Festival (Aug. 29 in Montreal) and the Vultures of Volume Festival (Aug. 30 in New Castle, Delaware) as headliners of each gathering. The band has also been confirmed to perform the full album at Barcelona’s Day of Doom Festival on October 10. Additional shows are expected to be announced as well.
Posted in audiObelisk on August 7th, 2014 by H.P. Taskmaster
The gnarly flows like wine all through Joy‘s Tee Pee Records debut, Under the Spell Of…, and the trio rip into an assortment of classic heavy rock jams comprised of tripped out explorations, psychedelic and organic in kind. A trio based out of San Diego, the bluesy circles they run offer a touch of earlier Radio Moscow, but with longer songs — all but two over six minutes and one of those is the album’s intro — Joy distinguish themselves with a raw sense of killing it for the sake of killing it, and the only real question is whether they named themselves after the joy they get in creating this sonic thrust or the joy they give crowds lucky enough to watch them do it. Maybe both.
Guest spots show up throughout Under the Spell Of…‘s eight tracks/46 minutes including Hawkwind‘s Nik Turner, Parker Griggs of the aforementioned Radio Moscow and Astra‘s Brian Ellis, who also produced, and each of them mesh smoothly with the classic power trio dynamic of guitarist/vocalist Zach Oakley, bassist Justin Holson and drummer Paul Morrone, honed over the two years since they made their self-titled, self-released debut in shows alongside the likes of Earthless, Harsh Toke and Mystery Ship. To wit, an early groover like “Evil” subtly draws back the initial charge of “Miles Away” and “Confusion,” setting up the later boogie of “Driving Me Insane,” which smooths progressive shifts in tempo and rhythm with tossoff-style ease. Supreme shuffle ensues, and after the quieter, semi-acoustic sojourn “Death Hymn Blues,” closer “Back to the Sun” feels like a victory lap touting the parsecs traveled since the record’s psyched-out launch in the intro “Under the Spell” and “Miles Away.”
Under the Spell Of…doesn’t make a show of nuance, but it’s there for those who want to hear it, nestled into the airtight, live-sounding performances, particularly West Coast take on heavy psych and blown out echoes of “Miles Away,” which you can hear on the player below. Its seven minutes only comprise a small piece of what Joy have to offer, but I think you’ll find it’s almost impossible not to get lost in it once you start out, and in that, it definitely represents the spell that trio are looking to cast.
Good vibes and busted amps:
Joy will release Under the Spell Of… on Aug. 19 through Tee Pee Records. More info at the links.
Posted in Whathaveyou on August 1st, 2014 by H.P. Taskmaster
Brooklyn cosmic rock originals Naam are headed back to Europe next month. They made two trips over last year in support of their 2013 sophomore Tee Pee Records full-length, Vow (review here), and will bring with them a new free live EP, Live in Berlin, that was presumably recorded on one or the other of those runs. Between that EP, Vow‘s continued resonance in the consciousness of their audience and their participation in Heavy Psych Sounds‘ four-way split with Black Rainbows, The Flying Eyes and fellow New Yorkers White Hills, they’ve got plenty of cause to spend some time abroad, and from this tour it looks like they’ll be making the most of it.
Of particular note are appearances at this year’s Reverence, Blizzard Mountain and Up in Smoke festivals. As we begin to move out of summer and into the fall, the common perception is that festival season is over, but it’ll be October as Naam close out this run — though they warn that this is an “initial” batch of dates, which could just as easily mean more will be added — at Up in Smoke in Pratteln, Switzerland, so clearly summer-only rules no longer apply. I’m a little surprised the four-piece aren’t sticking around another week to play Desertfest Belgium after doing London (review here) and Berlin in 2013, but if there are more dates to come, I wouldn’t rule anything out entirely just yet.
It’s past time to start thinking of Naam as one of the US’ finest heavy psych exports, and great to see them getting out again:
Naam European Tour 2014
02.09 Berlin 8MM (DJ Set) 05.09 Oslo Psych Fest 06.09 Naumburg Sallepartie 07.09 Kassel Secret Show 08.09 Munich Feierwerk 09.09 Karlsruhe Alte Hackeri 10.09 Dresden Ost Pol 11.09 Lisbon Reverence Warm Up 12.09 Valada Reverence Festival 14.09 London The 100 Club 17.09 Mannheim 7 ER Club 18.09 Jena Kulturbanhof 19.09 Berlin Swamp Fest 20.09 Rotterdam Baroeg Open Air 23.09 Copenhagen Loppen 26.09 Helsinki Bar Loose 27.09 Oulu Nuclear Night Club 30.09 Hamburg Hafenklang 02.10 Chambery Blizzard Mountain Festival 03.10 Weil der Stadt Kloster 04.10 Pratteln Up in Smoke Festival
Posted in Features on July 8th, 2014 by H.P. Taskmaster
Before I even start, let’s get one thing out of the way. I want a new Sleep album too. My not including them on this list isn’t due to the fact that I don’t think a new Sleep album is a good idea, but just because I haven’t seen anything about it being recorded or released in the next five-plus months. If it hits on Jan. 1, 2015, I’ll be the happiest Baby New Year you ever saw, but that’s a different list altogether.
Ditto that Om and High on Fire. The latter were writing as of May, and I know Om did some recording way back in January, but I’ve yet to see solid word of new records at all, let alone before the end of the year. Either or both or all three may happen, but until I see some hint of it, all I can go on is the info I can find.
Seriously though, how badass would it be if all three put out albums before the New Year? That excitement is kind of what this list is about. Some of these records I’ve heard, but most I haven’t, so it’s just basic speculation about what I think could be some of the best releases in the next couple months. You’ll note that while there are plenty of dates TBA, nothing listed arrives in November, so as 2014 winds down, there’s bound to be even more quality stuff than appears here.
In fact, I struggled to take things out to get it down to 30. And it still goes to 31! I figured no one would mind. They’re numbered, but the list is in alphabetical order.
If I left something out you’re dying to hear, please let me know in the comments.
Thanks in advance for reading:
1. Alunah, TBA (Sept.)
Birmingham’s Alunah, like several others below, are a holdover from the Most Anticipated Albums list back at the start of the year. The difference between now and then is that, while its title still hasn’t been revealed so far as I know, their Napalm Records debut has been recorded, mixed and mastered, the latter by Tony Reed, the former by Greg Chandler of Esoteric, and given a September release date. Two years after Alunah made riffy doom sound easy on their sophomore outing, White Hoarhound (review here), I look forward to hearing how they’ve grown and shifted in their approach to warm-sounding tones and memorable hooks. They’ve set a pretty high standard for themselves. Alunah on Thee Facebooks, Napalm Records.
2. Apostle of Solitude, Of Woe and Wounds (Oct.)
These guys. I don’t mind telling you it was a thrill when Indianapolis doomers Apostle of Solitude were announced as having signed to Cruz del Sur to release their third album, Of Woe and Wounds, this fall. Their second outing, 2010’s Last Sunrise (review here), didn’t get the attention it deserved, but the handful of songs they’ve made public since have shown much promise, and as the first Apostle of Solitude full-length to feature guitarist/vocalist Steve Janiak (also Devil to Pay) in harmony with guitarist/vocalist Chuck Brown — the band is completed by bassist Dan Davidson and drummer Corey Webb — this is definitely going to make for a doomly autumn. Apostle of Solitude on Thee Facebooks, Cruz del Sur Music.
3. Blackwolfgoat, Drone Maintenance (Aug. 26)
Recorded late last year at Amps vs. Ohms in Boston, the third album from Maple Forum alum Blackwolfgoat — the prog-drone alter ego of guitarist Darryl Shepard (Milligram, Black Pyramid, The Scimitar, Roadsaw, etc.) — is the project’s most expansive outing yet, and it seems Shepard is moving more in a song-based direction, rather than some of the building loops of the past two offerings. Of course, there will be plenty of those as well, but watch out for some acoustic guitar, and deep-in-the-mix vocals, as they could easily hint of things to come. Or Darryl could turn it on its head and do a calypso record. Either way, I’m on board with no pretense of impartiality. Blackwolfgoat on Bandcamp, Small Stone’s Bandcamp.
4. Blues Pills, Blues Pills (Aug. 5)
The much-heralded Swedish/French/American psych-blues conglomeration Blues Pills will make their self-titled debut (short review here) next month, and while it’s probably going to be a bigger deal in Europe than in the States — at least until Nuclear Blast brings them over here for a tour, then the country is going to go apeshit for them — the songwriting and soulful execution of their tracks justifies the hype. There’s a bit of retro posturing to what they do, some Graveyard shuffle (it feels inevitable at this point with a ’70s-influenced band), but the grooves are easy to dig into and the potential is basically limitless for where they want to go. It’s scary to keep in mind, but this is just the beginning. Blues Pills on Thee Facebooks, Nuclear Blast.
5. Bongripper, Miserable (July 7)
You may notice something strange about the date above for a list of upcoming albums in that July 7 was yesterday. Well, Chicago’s Bongripper posted their new three-track full-length monster Miserable on their Bandcamp for stream and download ahead of the vinyl’s arrival, and it was just too righteous to leave out. Those seeking landmark riffing need look no further than the 19-minute centerpiece “Descent,” which meters out stomp enough that future “scientists” will study its footprint, and closer “Into Ruin” (28:25) is guaranteed to be the heaviest half-hour you’ll spend today. Miserable feels like a no-brainer, but maybe that’s just because Bongripper have such a propensity for pounding skulls into mush. Bongripper on Thee Facebooks, Miserable on Bandcamp.
6. Botanist, VI: Flora (Aug. 11)
I feel like I missed a couple numbers from San Francisco-based environmentalist black metal unit Botanist along the way, but they’ll nonetheless issue VI: Flora on The Flenser next month, furthering their marriage of destruction and beauty and insistent percussive expression. The spaces Botanist — a one-man project from Robert Martinelli — create feel ritualistic without the dramatic posturing that pervades much of the genre, and sound, somewhere between raging and mournful, is hypnotic. Whatever your expectation might be, Martinelli seems pleased to use it to their advantage, and ultimately, defy it. Post-human, hammered dulcimer-laden black metal. It would be harder for Botanist to not be unique. Botanist on Thee Facebooks, The Flenser.
7. Brant Bjork, TBA (TBA)
When Brant Bjork‘s next album might show up, I don’t know. I know he’s signed to Napalm, and I know the photo above was snapped as he finished some vocals before going on tour with his Low Desert Punk band that includes guitarist Bubba DuPree, bassist Dave Dinsmore and drummer Tony Tornay, but whether or not the album they made is the funk-inspired Jakoozi that’s been in the offing for a while, or another collection of songs, and if Napalm will get it out before the end of the year remain a mystery. I do find it interesting that for his first “solo” outing post-Vista Chino (that band being on hiatus), Bjork has assembled a new band to work with rather than record multiple instruments himself, but no matter who’s involved, when it’s Brant Bjork writing the songs, it’s gonna be high rock from the low desert. Can’t wait to dig into whatever comes. Brant Bjork on Thee Facebooks, Napalm Records.
8. Earth, Primitive and Deadly (Sept.)
The headline for Earth‘s new album is it’s the one where they experimented with vocalists. And hey, if you’re going to toy around with the idea, you might as well get Mark Lanegan involved. The former Screaming Trees frontman is one of several singers appearing on Primitive and Deadly, due in September on Southern Lord, and it would appear that Earth‘s sound — always evolving, always somehow changing — is about to take another considerable turn. Fortunately, the Seattle band, led by guitarist Dylan Carlson and now approaching their 25th year, have long since proven worthy of trusting with their own direction. Earth will never be huge, by the simple nature of what they do, but their influence resounds and the quality of their output is unmatched. Earth on Thee Facebooks, Southern Lord Recordings.
9. Electric Wizard, Time to Die (Sept.)
“Wake up baby/It’s time to die.” So goes the title-track hook of Electric Wizard‘s new album and Spinefarm Records debut, Time to Die. As ever, it’s simple, hateful, drenched-in-fuzz misanthropy, and Electric Wizard revel in it accordingly. Their witchcult continues to grow in their native UK and abroad, and while their last two records have divided some listeners, they’ve invariably gained more ground than they’ve lost. A legal dispute with Rise Above finds them on the new label, and if there’s even the slightest chance that change will bring them to the US for a tour, I’ll take it. Expect 66 minutes of glorious filth. Electric Wizard on Thee Facebooks, Spinefarm Records.
10. Fever Dog, Second Wind (TBA)
Palm Desert youngsters Fever Dog have been kicking around the last few years finding their sound in varying elements of heavy rock and psychedelic experimentation. Most recently, they impressed with the single “Iroquois” (review here) taken from their new album Second Wind, and in looking forward to the full-length, I’m eager to learn how their style has solidified and what sort of vibes they conjure over its course. They’ve shown plenty of propensity for jamming in their prior work, so hopefully there’s a bit of that on hand as well. I’ve said before they’re a trio of marked potential, and nothing I’ve yet heard has dissuaded me from that impression. Fever Dog on Thee Facebooks, Fever Dog on Bandcamp.
11. Goat, Commune (Sept. 23)
Somehow, a band from Sweden who dress up in tribal costumes (problematic) and play Afrobeat psychedelia became a very, very big deal. I couldn’t explain it if I wanted to, and I won’t try, but I know that when Sub Pop releases Goat‘s second album, Commune, it’s going to be to a flurry of hype and heaps of critical fawning. It would be tempting to call Goat a novelty act, but their 2012 debut, World Music (discussed here), showcased a legitimately creative musical approach to go with the visual aspects of their presentation, and I find the fact that I have no idea what to expect from Commune to be refreshing. Goat on Thee Facebooks, Sub Pop Records.
12. Grifter, The Return of the Bearded Brethren (Aug. 11)
UK heavy rockers Grifter will make a welcome resurgence on Ripple Music with The Return of the Bearded Brethren, an album that builds on the straightforward, catchy sounds of their 2011 self-titled label debut (review here) and takes their infectiousness to new places lyrically, such as exploring issues of aging via an ode to Princess Leia from Star Wars. That particular brand of humor and is writ large on Grifter‘s second Ripple outing, and the trio set to work refining their take without losing the engaging feel of their self-titled. It feels like a long three years since that record hit, and I’ll be glad to have a follow-up in-hand. Grifter on Thee Facebooks, Ripple Music.
13. Ice Dragon and Space Mushroom Fuzz, New Blue Horizon/A Peak into the Future (TBA)
Unclear at this point whether Boston outfits Ice Dragon and Space Mushroom Fuzz collaborated on New Blue Horizon/A Peak into the Future, or if it’s a split. Either way, the prolific acts make a sound pairing. Both are vehemently creative and exploratory, psychedelic and progressive each in their way, and if what’s presumably a single finds them working together, all the better, but even if not, new material from either is nothing to balk at, particularly when topped off by such gorgeous artwork. Neither act is ever long from putting something out, so to have them come together one way or another makes a weird brand of sense, which I’m relatively sure the songs will as well. Ice Dragon on Thee Facebooks, Space Mushroom Fuzz on Thee Facebooks.
14. Ides of Gemini, Old World New Wave (Sept. 16)
Ides of Gemini‘s 2012 Neurot Recordings debut, Constantinople (discussed here), established the three-piece as freely inhabiting either side of the imaginary line between ambience and heaviness, J. Bennett and Kelly Johnston providing sometimes minimal, sometimes consuming foundations for vocalist Sera Timms (ex-Black Math Horseman, also Black Mare) to cast ethereal melodies. What Old World New Wave will hold sound-wise, I don’t yet know, but Ides of Gemini‘s otherworldly resonance and ultra-patient approach makes it well worth finding out. Ides of Gemini on Thee Facebooks, Neurot Recordings.
15. John Gallow, Violet Dreams (Aug. 4)
Frontman of Blizaro and Orodruin guitarist John James Gallo adds a ‘w’ to his last name and steps out solo on the I, Voidhanger Records release, Violet Dreams, the title hinting at some of his on-his-sleeve affinity for Italian psych-doom master Paul Chain and Swedish legends Candlemass. Gallo‘s work in Blizaro has a tendency to lean toward the progressive and cinematic, but as John Gallow, the focus is more on classic doom riffing and darkened metallurgy. As one would expect, he’s well in his element on the hour-long album, and I hope he decides to call the next one Ancient Theatre. Also note the incredible artwork of Costin Chioreanu. John Gallo on Thee Facebooks, I, Voidhanger Records.
16. John Garcia, John Garcia (Aug. 5)
A long-discussed solo debut for the former Kyuss frontman following a stint alongside Brant Bjork in Vista Chino, John Garcia‘s John Garcia (review here) finds the singer right in his comfort zone, topping desert rock riffs with his trademark guttural vocals. To be perfectly honest, I’m not sure I’d trade a second Vista Chino outing for it if given the choice — that band seemed to be on course for a sound of its own, separate from Kyuss‘ legacy, and that struck me as worth pursuing — but these songs have a similar enough production style that it’s easy to think of the one as an offshoot of the other, and of course Garcia calls his shots well throughout. John Garcia on Thee Facebooks, Napalm Records.
17. King Buffalo, TBA (TBA)
Including King Buffalo here was pretty speculative on my part, but I dig the Rochester, NY, outfit and didn’t want to leave the prospect of their STB Records debut long-player out. It probably won’t land until 2015 — the future! — but their demo (review here) still gets regular plays around these parts, and I’m very much looking forward to catching them with similarly-minded Nashville blues rockers All Them Witches when they tour together next month. Whatever King Buffalo‘s recording/release plans might be, they’re definitely one to keep an eye on in the back half of this year. King Buffalo on Thee Facebooks, STB Records.
18. Kings Destroy, Kings Destroy (TBA)
Love these guys, love this band. I make no bones about it. Their third record, self-titled and produced as the last two were by Sanford Parker, is as close as they’ve yet come to capturing their live sound, and while they’ve yet to nail down an exact release date, they have a couple very cool tours in the works for this fall, including dates next month with Eric Wagner‘s Blackfinger, that will make a fitting lead-in to their best outing yet. I’ve heard this and had the chance to see some of the material live, and they’ve outdone themselves again, which, considering the esteem in which I continue to hold their 2013 sophomore full-length, A Time of Hunting, is really saying something. Kings Destroy on Thee Facebooks, War Crime Recordings.
19. The Kings of Frog Island, V (Fall)
Easily one of the LPs I’m most eager to hear over the next few months, and specifically on vinyl. The Kings of Frog Island have shown themselves to be so dedicated to the format that their early-2013 album, IV (review here), was presented as two bundled sides even digitally. They recently gave a taste of what their fifth album will in-part hold via a video for “Sunburn” and I’m told more jamminess ensues elsewhere to complement that track’s easygoing flow and platter-ready hook. All the better. The Kings of Frog Island on Thee Facebooks, The Kings of Frog Island on YouTube.
20. Lonely Kamel, Shit City (Sept. 9)
I’d be lying if I said part of my immediate interest in Oslo heavy rockers Lonely Kamel‘s fourth record wasn’t due to the cheeky title, but it’s been three years since the Napalm Records four-piece released their last album, Dust (track stream here), and as they’ve put in plenty of road-time, it doesn’t seem unreasonable to go into this time around with elevated anticipation. I’m not sure you could get away with calling an album Shit City unless you meant business. Got my fingers crossed that’s precisely the case with Lonely Kamel. Lonely Kamel on Thee Facebooks, Napalm Records.
21. Lo-Pan, Colossus (Oct. 7)
Fucking a. Doing the research for this list was the first I’d seen the Jason Alexander Byers cover art for Lo-Pan‘s fourth album, Colossus, or its Oct. 7 Small Stone release date. I haven’t heard the tracks yet — they recorded in Brooklyn back in March, and while I got 2012’s Salvador (review here) pretty early, the Columbus four-piece seem to be keeping a tighter lid on the follow-up — and I can’t help but feel like that’s my loss. Judging by what I’ve heard of the material live, Lo-Pan have dug further into their individual brand of riff-led soulful heavy, and I’ve got a high wager that a few months from now, Lo-Pan‘s latest will make an appearance on another list. More to come. Lo-Pan on Thee Facebooks, Small Stone Records.
22. Novembers Doom, Bled White (July 15)
One of doom’s most fascinating and largely ignored progressions is that of Chicago melancholists Novembers Doom, who, when they started out 25 years ago, did so largely as a death metal band, and then moved on to pioneer an American interpretation of what’s commonly thought of as European doom, until, over their last several records, as they’ve started to move back to a more extreme, double-kick-drummed style. Bled White, on The End Records, continues along this path, but especially in the cleaner vocals of frontman Paul Kuhr there remain shades of the morose emotionality that typified what’s now become their mid-period doom idolatry. Unheralded, Novembers Doom keep exploring deeper, darker terrain. Novembers Doom on Thee Facebooks, The End Records.
23. Pallbearer, Foundations of Burden (Aug. 19)
Foundations of Burden is unquestionably among the second half of 2014’s most anticipated albums. Arkansas-based doom four-piece Pallbearer will mark its release with extensive European and North American tours, and where their 2012 Profound Lore debut, Sorrow and Extinction (review here), came out and caught listeners off-guard with its unabashed emotional core, their sophomore outing finds them positioned at the forefront of American doom. Already the hype machine is rolling out the red carpet for the Billy Anderson-produced Foundations of Burden, but no one can say these guys haven’t put their work in, and the record is indeed one to look forward to. Pallbearer on Thee Facebooks, Profound Lore Records.
24. The Skull, TBA (TBA)
For The Skull to put out an album of original material is a unique challenge. Their earlier-2014 first single (stream/review here) found them standing up to it on the new song “Sometime Yesterday Mourning,” but at least half the point of the band since its inception has been to pay homage to legendary doomers Trouble, from whence vocalist Eric Wagner, bassist Ron Holzner and drummer Jeff “Oly” Olson come. For their Tee Pee Records debut full-length — yet untitled and hopefully out before 2015 — it’ll be most interesting to see how guitarists Matt Goldsborough (ex-Pentagram) and Lothar Keller (Sacred Dawn) rise to the occasion of building off some of doom metal’s most celebrated tones. Fingers crossed on this one. The Skull on Thee Facebooks, Tee Pee Records.
25. Snail, Feral (TBA)
Nothing has been formally announced yet, but on Small Stone Records‘ website, they list Snail‘s Feral among their upcoming releases. It would make a suitable pairing, the West Coast riffers having previously worked with MeteorCity on their 2009 post-reunion outing, Blood (review here), prior to independently releasing 2012’s Terminus (review here), and Small Stone seems like a good home for their fourth overall record and return to form as a trio, which was their original incarnation before their original dissolution circa 1994. How they expand on the heavier crunch of Terminus remains even more a point of fascination, and surely their cult following will be glad to find out. I know I will. Snail on Thee Facebooks, Small Stone Records.
26. Steak, Slab City (Sept. 9)
After two strong EPs in 2012’s Disastronaught (review here) and 2013’s best-title-ever-boasting Corned Beef Colossus (review here), it’s time for London stoner rockers Steak to step up their game for their Napalm Records debut full-length. The four-piece headed to the Californian desert to record Slab City, and so it’s fair to think some of that atmosphere may have worked its way into the material. Would be an awfully long way to go, otherwise. In either case, Steak have showcased considerable songwriting chops already, now it’s just a matter of sustaining it for a full album’s runtime and keeping enough variety in their approach. I have no doubt they’re ready for this next step. Steak on Thee Facebooks, Napalm Records.
27. Stubb, Cry of the Ocean (TBA)
It is with simple, unabashed warm feelings that I look forward to hearing Cry of the Ocean, the second long-player and Ripple Music debut from UK riffers Stubb. They’ve traded out drummers since 2012’s self-titled (review here), bringing aboard Tom Fyfe with guitarist/vocalist Jack Dickinson and bassist/vocalist Peter Holland, but I’m excited to hear what changes and shifts in sound Cry of the Ocean might have in store to match its provocative title. Goes without saying the photo above isn’t the final artwork, but instead Tony Reed‘s mastering sheet from back in May when he worked on the tracks. No solid release date yet, but hopefully soon. Stubb on Thee Facebooks, Ripple Music.
28. Torche, TBA (TBA)
Torche‘s new album and Relapse Records debut was originally slated for the end of the summer. Given that no official word has come out about a title or anything like that and the members of the band have been busy with other projects, it seems unlikely as of now that they’ll hit that target, but after something of a break so frontman Steve Brooks could focus on the resurgent trio Floor, Torche are in fact getting going again, beginning with their first tour of Australia this fall. Maybe their LP will be out by the time they go and maybe it won’t, but word on the street is that whenever the thing arrives, it’s gonna be heavy, which I have no problem believing. Torche on Thee Facebooks, Relapse Records.
29. The Well, Monomyth (Late Summer)
I’ve been waiting since the March announcement that Austin trio The Well signed with RidingEasy Records for further word of their debut full-length, Monomyth (pretty sure that’s not the cover above), but thus far to no avail. Their 2012 single, Seven (review here), was a repeat-listen thriller, and anticipation abounds for what sort of psychedelic garage riffing they’ll conjure up for the album itself. It’s been a couple months at this point, and maybe it’ll be 2015 before Monomyth gets out, but screw it, a boy can hope. The Well on Thee Facebooks, RidingEasy Records.
30. Witch Mountain, Mobile of Angels (Sept.)
Please note: The original cover art with this post was not final and has been replaced with the above band photo.
Portland, Oregon’s Witch Mountain have spent much of the two years following their 2012 third LP, Cauldron of the Wild (review here) on tour in the US and abroad, playing fests, headlining, supporting, but generally putting in a lot of time. As such, Mobile of Angels, which will be out on Svart in Europe and Profound Lore in North America, comes as the end product of a considerable touring cycle. Has all that gigging worn Witch Mountain into the ground, or will they rise above it with metal-loving doom-blues supremacy? They’ve got a vinyl-ready 38 minutes on tap for September and if they’ve ever been in a position to make their case, it’s now. Watch out for the killer sway in “Can’t Settle,” the title of which seems a fitting theme for the band. Witch Mountain on Thee Facebooks, Profound Lore Records.
31. YOB, Clearing the Path to Ascend (Sept. 2)
Yet again — as was the case back in January — alphabetical order forces me to end with YOB, whose seventh full-length and Neurot debut might just be my most anticipated of all on this list. The recently-unveiled Orion Landau cover speaks to a brooding sentiment, and from the one time I was fortunate enough to hear it to-date, the four-track album from the Eugene, Oregon, natives corresponds to its visual side in being a more aggressive push than was 2012’s Atma (review here), but also more exploratory and contemplative in its approach. Now statesmen in American doom and the forebears of a cosmic-minded sound, YOB stand ready to showcase a creative progression that has yet to find its end point. YOB on Thee Facebooks, Neurot Recordings.
Other Notable Mentions
Just a couple of these I’d be remiss if I didn’t note. Some were carried over from earlier this year, others just come up along the way. Not sure on all the release dates, but these are worth keeping an ear out for:
Acid King — Were listed in January, but their record has a Feb. 2015 release date.
Bright Curse — Second album recorded at Skyhammer Studios.
Brothers of the Sonic Cloth — My understanding is the album is done and they’re waiting to secure a label. Seems like a good occasion for Southern Lord to step forward, if not Profound Lore or Neurot.
Eggnogg — Not sure if it’s their full-length, You’re all Invited, or something else that’s coming, but whatever. More stoner-funk riffing needs to be had.
40 Watt Sun — There was some word of this early in the year, but nothing since.
Godflesh — Their first in 15 years, A World Lit Only by Fire, will be out Oct. 7. A fuckup not including them on the list proper.
It’s Not Night: It’s Space — Eagerly awaiting the Small Stone debut from this instrumental outfit, but it might be next year.
Karma to Burn — New album, Arch Stanton, out in August. I emailed for a review promo and never heard back. Always a great feeling.
Larman Clamor — Solo-project from Alexander von Wieding has a new one in the can, but I’m not sure on the release schedule.
Lowrider — They’re working on it, but don’t hold your breath to have it out by December.
The Machine — Kind of a slow year for Elektrohasch, but the new one from these Dutch fuzzers would be a nice way end up.
Nachtmystium — Century Media releases their final album, The World We Left Behind, on Aug. 5.
Orange Goblin — Seriously debated putting them on the list, since I know they’ve recorded, but they seem to be promoting a recent reissue of 2007’s Healing through Fire and their upcoming European tour with Saint Vitus rather than their new album, so unless news comes out about it like this week from Candlelight, I wouldn’t expect it until early in 2015.
Pink Floyd – Believe it when I see it, but I honestly couldn’t care less either way if I tried.
Ruby the Hatchet — Their full-length Tee Pee debut is due sometime in the next couple months.
Sun Voyager — Upstate NY youngsters had hinted at new recordings.
Again, if I forgot anything — and I’m sure I did — please let me know in the comments.
Posted in Whathaveyou on June 20th, 2014 by H.P. Taskmaster
Well, my summer is pretty much fucking made. When I first saw the tour dates last night for Earthless‘ upcoming East Coast stopover with Tee Pee Records labelmates The Shrine, I was all bummed out that it was either going to be drive down to New York or Philly to see them or pretty much fuck off. Then today along comes the news that not only will Earthless play Boston, but they’ll open for Sleep on Aug. 24 jamming out with J. Mascis and Heavy Blanket, as in doing a full-fledged version of the Earthless Meets Heavy Blanket righteousness from Roadburn 2012 that’s just been released as the In a Dutch Hazevinyl (review here). I could not be more stoked for this show if I tried.
Dates and whatnot follow, but for me the takeaway is “Holy shit fucking Earthless and Sleep on the same night,” so keep that in mind:
EARTHLESS and THE SHRINE to Team Up for August East Coast Live Dates
EARTHLESS and J Mascis’ HEAVY BLANKET to Combine, Open for SLEEP at Special Boston Show August 24!
Award-winning San Diego power rock band EARTHLESS has announced a string of August east coast live dates in support of its critically-championed new album, From the Ages. The space rock kings will be joined on the tour dates by California “Destroyers of Rock ‘N’ Roll” (and Tee Pee Records label mates) THE SHRINE. Confirmed performances include Washington, DC (Aug. 20), Philadelphia, PA (Aug. 21), NYC (Aug. 22) and Brooklyn, NY (Aug. 23).
In addition, EARTHLESS will join J Mascis’ HEAVY BLANKET for a special support slot with metal titans SLEEP in Boston on August 24. At the show, the respected musicians will look to re-create the much-talked-about magic they initially combined to create at the 2012 Roadburn Festival, a searing live performance that will now see release under the title EARTHLESS Meets HEAVY BLANKET In A Dutch Haze on July 8 via Outer Battery / Roadburn Records. In A Dutch Haze is available for pre-order purchase at this location.
EARTHLESS + THE SHRINE tour dates: August 20 Washington, DC Rock and Roll Hotel August 21 Philadelphia, PA Underground Arts August 22 New York, NY Mercury Lounge August 23 Brooklyn, NY Saint Vitus August 24 Boston, MA House of Blues (* EARTHLESS Meets HEAVY BLANKET w/ SLEEP)
The long-awaited EARTHLESS east coast shows will be the band’s first since the release of From the Ages, which was named one of 2013’s best albums by Rolling Stone. Formed in 2001 by drummer Mario Rubalcaba, guitarist Isaiah Mitchell and bassist Mike Eginton, EARTHLESS creates energetic, utterly unique and free thinking instrumental music inspired by an eclectic mix of German krautrock and Japanese heavy blues rock. The trio has dedicated itself to the mastery of the mind-bending jam session, evoking the spirits of Jimi Hendrix and Black Sabbath in equal measure.
Undoubtedly one of America’s hottest underground bands, THE SHRINE plays loud, heavy rock ‘n’ roll that combines the hook-laden appeal of ’70’s garage rock and gritty ’80’s hardcore with a skate punk energy and attitude resulting in a sound the trio describes as “psychedelic violence”. Recorded on reel-to-reel tape using vintage gear and colossal Marshall stacks, the band’s new LP Bless Off is a record that attacks with buzzing riffs, blazing hooks and a bruising, mega-amplified punch.
Posted in Whathaveyou on June 19th, 2014 by H.P. Taskmaster
Word has come down the PR wire that Tee Pee Records has picked up Philly rockers Ruby the Hatchet for the release of their debut full-length later this year. Ruby the Hatchet released their Eliminator7″ earlier this year and will record later this month with an eye toward having the album out in the fall. The band also recently played the Northside festival in Brooklyn alongside The Golden Grass, Gods and Nightbitch.
Another one to look out for in the back half of 2014. Somebody should really be keeping track of this stuff. Say in some kind of list form. Say next week or the week after that…
Info in blue:
RUBY THE HATCHET Signs To Tee Pee Records
Philly Dark Psych Gang Prepping “Cohesive Conceptual” Album
Philadelphia heavy rock quintet RUBY THE HATCHET have signed with NYC’s Tee Pee Records, the independent label known for releasing landmark albums from acts such as The Brian Jonestown Massacre, Graveyard, Earthless and Sleep. The hotly-tipped group, who MetalSucks says, “graduated Magna Cum Laude from The Led Zeppelin School of Proto Metal, where they majored in Sabbath and minored in Deep Purple,” and whose “brand of psychedelia should drive fans of bands like Baroness, Ghost, and Royal Thunder absolutely wild,” will enter Retro City Studios in Germantown, PA this month to record its as-yet-untitled new LP. A late fall release date is expected.
“We’ve been making music since 2010, but our upcoming full length is going to be a first in a lot of ways,” says RUBY THE HATCHET vocalist Jillian Taylor. “It’s our first label release and it’s with a label we’ve respected and admired from afar for some time. We managed to bump into the Tee Pee dudes at a Harsh Toke show in Brooklyn a few months back. It was a wild and blurry night, ending with us getting kicked out of a bar and talks of them putting out our full length. These new songs are medieval, melodic, murderous and fuzzed out. They came to us rapidly and embody a sound for us, that, for lack of better words, is right the fuck now.”
The 2009 self-titled debut from Brooklyn heavy psych forerunners Naam is an album that’s only grown in my esteem since its release, now five years ago, on Tee Pee Records. I think at the time my head was still trying to wrap around the preceding Kingdom EP, so when the full-length came out with the sprawling, 16-minute “Kingdom” as the title-track, it was almost too easy for me to take it as an extension of Naam‘s first offering, rather than the standalone beast that it is. At least that’s how I see it now. Looking back on the interview I did with drummer Eli Pizzuto around when it came out, I seemed pretty into it. Half a decade can do funny things to your brain.
Point is that for as brilliantly open and far out as the entire hour-long stretch of the album is, there’s no part of it that’s to be overlooked. It was last July that I most recently had the occasion to catch them live, which frankly is longer than I’d prefer — Massachusetts has a lot of rock and roll but not much of it could be called psychedelic — and Naam have grown beyond where they were with the self-titled even before you get to factors like the full-time addition of John Weingarten on keys, but that doesn’t at all diminish the appeal of this record for me, the bombastic space rock moments or the quiet stretch of “Tidal Barrens.” There’s so much here that I still feel like I’m digging into something new when I put it on.
As always, I hope you enjoy.
I went and saw Negative Reaction tonight in Allston. Speaking of “been too long.” Ken-E Bones and company were in top form and got a great response from the crowd. Might be Tuesday before I get a review up, depending on holiday plans and whatnot for Memorial Day, but either way I got one or two pics at O’Brien’s to go with, so I’ll roll with that. Basically though it was just awesome to see them and to talk with Bones because, again, it had been a long time.
Also on Tuesday, look out for a full stream of the new Serpentine Path album. It’s out Tuesday, so we’re doing it up for the release date. I’m also interviewing John Garcia on Tuesday, and his solo album isn’t out for a while yet, but would be good to get that posted sooner rather than later. Wednesday I’m premiering a new Mars Red Sky video as well, so much goodness to come. At some point in there I’m also going to squeeze a Radio Moscow album review, and maybe one for that new Eyehategod too if I have time. That too depends on the holiday.
If you’re celebrating Memorial Day, I hope you have a good and not overly jingoistic one. Please have fun and be safe and I’ll see you back here either Monday or Tuesday for more of the ol’ clacky-clacky on the keyboard.
Posted in Reviews on April 29th, 2014 by H.P. Taskmaster
When Toronto shoegaze-psych explorers Quest for Fire announced they were done in Jan. 2013, hints were dropped that new bands were already in the works. For guitarist/vocalist Chad Ross and guitarist Andrew Moszynski, that hint pays off in the arrival of Comet Control, who make their self-titled debut on Quest for Fire‘s former label, Tee Pee Records. Some elements are recognizable between the two bands — Ross‘ distinctly dreamed-out vocal style and a penchant for languid guitars permeate cuts like opener “Blast Magic,” “Hats off to Life” and closer “Master” in a way one might draw from one act to the other — but by the time Comet Control‘s Comet Control has played out its vinyl-ready eight songs and 40 minutes, there can be little mistaking one for the other. Quest for Fire‘s self-titled debut from 2009 and its 2010 follow-up, Lights from Paradise(review here), had their rocking moments as well, usually as a payoff to some gradual build, but Comet Control is by far a more active-sounding band. Comprised of Ross, Moszynski, bassist Nicole Howell, keyboardist Christopher Sandes and drummer Jay Anderson, the five piece get into some genuine space rock on memorable songs like “Future Forever,” the highly-stylized “Ultra Bright” and perhaps most of all on “Century,” the dividing point of the tracklist and presumed side B launch. The upbeat material is what most marks out Comet Control, but the emerging dynamic and fluidity with which they shift from faster material to slower psychedelia is no less integral to the overall vibe of the album, which is hazy enough to limit visibility and yet clearheaded in its execution of hooks like that on “Ultra Bright” and “Future Forever.”
Those two particularly stand out for their relatively straightforward take. Comet Controlopens with a sprawl; “Blast Magic” is the longest song on the album (immediate points) at 8:04 and can almost be read stylistically as a transition point between Quest for Fire and this new band. It is a slow roll, steady in its nodding appeal, and Ross‘ vocals in both the verse and the chorus incantations make a familiar impression over the lush instrumentation. Even here, though, Comet Control have a heavier, fuller sound, less concerned with minimalism and more comfortable in the heft emerging. This proves to be a precursor once the subsequent one-two shots of “Future Forever” and “Ultra Bright” introduce the faster, more swirling side of Comet Control‘s sound. Looking at the record’s structure in a linear form — digital or CD, though vinyl is pretty clearly what they were thinking of in putting it together — the five-piece depart from “Blast Magic” and continue to build momentum through “Century” before they pull back again on “Hats off to Life,” which puts “Future Forever,” “Ultra Bright,” “The Soft Parade” and “Century” into a distinct movement separate from the other four tracks included. To say half the record is fast and half is slow is over-simplifying it — and flat-out wrong, time-wise — but it reinforces how much opening with “Blast Magic” adds to the richness of the proceedings that the album as a whole comes across not as bifurcated along tempo lines, but as an engagingly complex and varied release, whether it’s the blown-out bass buzz of “The Soft Parade” adding a touch of garage to the effects wash and Anderson‘s well-grounded drumming or the acoustic psych-blues push of the penultimate “Fear the Haze.”
Posted in Whathaveyou on April 15th, 2014 by H.P. Taskmaster
French psych rockers Aqua Nebula Oscillator will spend three weeks on the road in the US starting April 23 and including slots at Austin Psych Fest and Scion Rock Fest. A run that’s the better part of a month long and apparently the precursor to more touring on the West Coast is a bold undertaking for the spacey outfit, who released their fourth album, Spiritus Mundi, late last year on Tee Pee Records, but as you can see in the list of dates below, they’re playing with some killer acts along the way, including King Buffalo, The Golden Grass and Electric Citizen. Keeping good company always helps.
The PR wire puts it like this:
French Psych Rockers AQUA NEBULA OSCILLATOR Announce U.S. Tour Dates
Major Market Trek to Include High Profile Performances as Part of Austin Pysch Fest and Scion Rock Fest
Celebrated French underground psych rock trio AQUA NEBULA OSCILLATOR has announced a U.S. tour in support of its new album Spiritus Mundi. Now, with a head of steam and an established name in the U.S., AQUA NEBULA OSCILLATOR will perform the first-ever U.S. live shows of its storied career. The tour will kick off on April 23 in NYC and include A-level performances as part of both the Austin Psych Fest (May 2) and Scion Rock Fest (May 17).
AQUA NEBULA OSCILLATOR — formed in 2000 by David Sphaèr’os — creates utterly unique and fantastically tripped out occult psych rock inspired by parallel dimensions, voodoo, ethnic trance, horror and cult movies (from the 1920’s to the 60’s), painters like Hieronymus Bosch and Salvador Dali, dark underground literature (H. P. Lovecraft, Isidore Ducasse, Antonin Artaud), aliens and UFOs! A modern mix of Krautrock / motorik with Hawkwind-style psychedelia, Hendrix-styled, ultra tripped out guitar action and an apocalyptic, Raw Power energy, AQUA NEBULA OSCILLATOR’s mind-burning, dark and dirty “chaos-sound” is a cauldron full of seething, psychedelic rock. ANO looks and sounds like it was buried in a tomb in the late 60’s / 70’s and has just been dug up, ready to resume its wild sound-making once again.
AQUA NEBULA OSCILLATOR tour dates: April 23 Manhattan, NY Pianos (Free, Midnight show) April 24 Brooklyn, NY Saint Vitus Bar (w/ WHITE HILLS) April 25 Philadelphia, PA Dobbs April 26 York, PA The Depot (w/ The Golden Grass ) April 27 Baltimore, MD Holy Frijoles (* FREE show w/ The Golden Grass) April 28 Richmond, VA Strange Matter (w/ ZOMBIE ZOMBIE) April 29 Asheville, NC Double Crown April 30 Atlanta, GA 529 (w/ Abby Gogo) May 1 Mobile, AL Music Box (w/ Electric Sheep) May 2 Austin, TX As part of Austin Psych Fest May 5 Little Rock, AR Vino’s May 6 Nashville, TN The Other Basement May 7 Cincinnati, OH MOTR Pub (w/ Electric Citizen) May 8 Pittsburgh, PA Brillo Box (w/ Shaky Shrines) May 9 Rochester, NY Bug Jar (w/ Roz and the Rice Cakes) May 10 Providence, RI Firehouse 13 (w/ Nervous Virgins) May 12 Manhattan, NY Pianos May 17 Pomona, CA * As part of Scion Rock Fest
AQUA NEBULA OSCILLATOR is: David Sphaèr’os (Guitar, Vox, Sithar and Organ, Master Of Ceremony), Adrian Bang (Drums, Orchestra Conductor), Andreas Carrere (oscillation, organ, flute, backing vocals) and Alexis Raphaeloff (Bass, EarthQuaker). Follow the group on Facebook.
Posted in audiObelisk on April 8th, 2014 by H.P. Taskmaster
Today, Chicago’s The Skull release their debut single on Tee Pee Records. Sometime Yesterday Mourning b/w The Last Judgmentarrives preceded by much anticipation as the first studio output from the Trouble offshoot, fronted by the inimitable Eric Wagner and featuring Trouble alumni Ron Holzner (bass), Jeff “Oly” Olson (drums) and Chuck Robinson (guitar) in the five-piece lineup with Lothar Keller of Sacred Dawn. Its two songs were produced by Billy Anderson (Sleep, the Melvins, Acid King, so many others), and for classic Trouble fans, the inclusion of “The Last Judgment” is a bonus — the song minus an ‘e’ from when it appeared as “The Last Judgement” on Trouble‘s own recorded debut on the 1983 Metal Massacre IVcompilation.
Right away then, The Skull seem to be geared toward a classic sound, and “Sometime Yesterday Mourning,” the first taste of their new, original material, feeds into that framework. Keller‘s guitar — I’m fairly certain Robinson wasn’t in the band yet when these were recorded — meters out a steady chug of a central riff to start, and he’s soon joined by Holzner‘s bass and Olson on drums, setting up a well-paced groove for Wagner‘s entry. When the vocals hit, they do so in crooning fashion, Wagner keeping to the lower end of his famous range for the verse while layering in higher-register parts for the chorus; a formidable hook worthy of the band’s pedigree. It’s an earthy sound but given ambient vitality later in its progression by the lead guitar and Wagner‘s suitably mournful echoing deeper in the mix, proving as an initial showcase that there’s more to The Skull‘s approach than riffs and familiar faces.
Trouble‘s “The Last Judgement” was also featured on their 1983 demo and has shown up on a few compilations since, and The Skull give it a respectful update. Following a descending pattern of tom hits from Olson, we’re greeted by rhythm and lead guitar interplay before moving into the rush of the song itself, crisp with Anderson‘s recording, and Wagner in a vocal duel with himself. He’s not quite looking to wail in the same way as 31 years ago, but he changes up his approach dynamically almost on a per-line basis and ultimately makes both faster and slower parts more engaging, the guitar taking over in the second half for a solo that furthers The Skull‘s allegiance to traditional metal, mounting a build all the way to the sudden ending, the vocals almost (but not) cut off for the last line, “It’ll be alright,” just as they were in the original version.
The real kicker about Sometime Yesterday Mourning b/w The Last Judgmentis how well the two songs work next to each other despite the decades between when they were written. I doubt The Skull intended to give a lesson about the timelessness of doom on their first single so much as give a taste of what their debut full-length might have to offer sound-wise, but you won’t find me complaining with their having accomplished both.
Please find the two tracks below for your streaming pleasure, and enjoy:
Here is the Music Player. You need to installl flash player to show this cool thing!
The Skull‘s Sometime Yesterday Morning b/w The Last Judgment is available now through Tee Pee Records digitally and as a limited CD pressing. More info at the links.
Posted in Whathaveyou on March 27th, 2014 by H.P. Taskmaster
Now a five-piece after recently adding ex-Trouble bassist Chuck Robinson on guitar alongside Sacred Dawn‘s Lothar Keller, The Skull have announced that the two songs recorded with Billy Anderson will be released as a single on April 8 through Tee Pee Records. Available for preorder as a $4 CD and a download, Sometime Yesterday Mourning c/w The Last Judgmentpairs brand new material against a cover of some of Trouble‘s earliest output, “The Last Judgment” having been featured on 1983’s Metal Massacre IV comp a year prior to the release of Trouble’s first LP, Psalm 9, which turns 30 this year.
Much seems to be in the works to celebrate both The Skull’s original track and Trouble’s ongoing legacy. The PR wire has this:
THE SKULL: Release Date Revealed For Two New Singles
Worldwide Debut To Air On Heady Metal with Jeff Olson
Listening Party Scheduled In Chicago
There’s no “trouble” for THE SKULL – the heavy doom-rock band featuring original TROUBLE members vocalist Eric Wagner and drummer Jeff “Oly” Olson, longtime former TROUBLE bassist Ron Holzner and newly recruited former TROUBLE bassist Chuck Robinson, now on dueling guitar, alongside SACRED DAWN guitarist Lothar Keller – as they will unleash their two new singles recorded with acclaimed producer/engineer Billy Anderson (MELVINS, NEUROSIS) worldwide on Tuesday, April 8th via Tee Pee Records.
In other news, THE SKULL’s worldwide debut of “Sometime Yesterday Mourning” and “The Last Judgment” will premiere exclusively on drummer and keyboardist Jeff “Oly” Olson’s podcast HEADY METAL WITH JEFF OLSON via InThePitRadio.com on Friday, April 4th from 7PM-9PM EST. Olson will be live on-air and field reporting from THE SKULL’s listening party that evening at the Ragnarokk Metal Apocalypse Fest in Chicago located at Reggies Rock Club where fans can purchase the CD. Olson, along with vocalist Eric Wagner, bassist Ron Holzner, guitarist Chuck Robinson, and guitarist Lothar Keller, will all be available to personally sign the limited edition white vinyl replica CD.
“Sometime Yesterday Mourning” is a doomy metal song written by Keller, Holzner and Wagner that showcases the genre pioneers’ distinct style while “The Last Judgment” is a “revisiting” of the classic TROUBLE song of the same name that originally appeared on the classic 1983 “Metal Massacre IV” compilation album.
“I think “Sometime Yesterday Mourning” is the perfect song for THE SKULL to lead with and there’s a reason why it was the first song we completed as a band,” commented Wagner. “It’s about coming to a point in life when it’s just time for a new beginning, a fresh start if you will, and finally coming to terms with the past.
“Being that it is the 30th anniversary of the release of the song “The Last Judgment” — the first song we ever released — we thought it fit perfectly for the B-side and considering what “Sometime Yesterday Mourning” is about, it made sense to me. You have to go through your past to get to your future.”
Drummer and keyboardist Jeff “Oly” Olson on Chuck Robinson’s addition to the band:
“We are excited and honored that Chuck Robinson has accepted our invitation to join the band. He is the perfect fit for THE SKULL.”
“I’ve always enjoyed rehearsing with Chuck as he is disciplined with his art. He’ll surely bring a bonus to the band with his experience as a former TROUBLE member and as a seasoned musician who utilizes both his talented song writing ability and his exceptional recording skills. We are looking forward to tour with our brother again.”
Olson added, “Chuck is more then a bass player. He grew up playing guitar with his father, also a very talented guitarist. Eric, Ron, Lothar, and myself know that Chuck is more than capable for the job. He’ll bring chops with a heavy groove to our debut album, as well as bring his charisma to the stage.”
THE SKULL has confirmed the following three shows.
May 09 – Cleveland, Ohio – The Grog Shop May 10 – Chicago, Illinois- Reggies August 29 – Montreal, Canada – The Wings of Metal Festival
The Wings of Metal Festival will be a headlining performance consisting of two sets. The first set will be a performance of TROUBLE’s 1984 debut album “Psalm 9” in it’s entirety. The second set will include a performance of their newly recorded songs as well as TROUBLE classics.
THE SKULL will follow the release of the new songs with its debut full length LP, tentatively slated for release this autumn.
THE SKULL is:
Eric Wagner – vocals Jeff “Oly” Olson – drums/keys Ron Holzner – bass Lothar Keller – guitar Chuck Robinson – guitar
Posted in Whathaveyou on March 19th, 2014 by H.P. Taskmaster
By the time they split at the beginning of 2013, it was starting to get a little silly how much I dug Toronto slow-psych aficionados Quest for Fire. Their second album and swansong, 2010’s Lights from Paradise (review here), I still consider top notch, gotta-have heavy psych for those unstirred by the bulk of the post-Dead Meadow fuzzgaze set, and when bassist/vocalist Chad Ross released the 2011 debut from his Nordic Nomadic solo-project, Worldwide Skyline (review here), I was right on board with the folkier vibes as well. What Comet Control, which reunites Ross with former Quest for Fire guitarist Andrew Moszynski — as well as bassist Nicole Howell and drummer Jay Anderson — might portend sound-wise, I don’t know, but you can be damn sure I’m interested in finding out.
Comet Control will make a self-titled debut via Tee Pee Records on May 20. The PR wire offers the following:
COMET CONTROL to Release Debut Album “Comet Control” May 20
From the Ashes of Celebrated Rock Band QUEST FOR FIRE, A New Shooting Star Rockets Towards the Heavy Psych Scene
COMET CONTROL is the new band from Andrew Moszynski (guitar) and Chad Ross (vocals/guitar), formerly of Canadian psych rock champions QUEST FOR FIRE. The powerhouse musicians are joined in COMET CONTROL by Nicole Howell (bass), Jay Anderson (drums) and Christopher Sandes (keys) and the group’s eight song self-titled debut is nothing short of stunning. Comet Control will drop on May 20 via Tee Pee Records.
COMET CONTROL extends the dark, bass-driven washes of sound that QUEST FOR FIRE fabulously produced and drenches it in majestic bursts of pastel post-rock guitars and bright, breezy vocals. Recorded at Toronto’s Candle Recording (Fucked Up, Sebastien Grainger) and mastered by Carl Saff (Bass Drum of Death, Earthless), the album exceeds expectations, delivering a driving, dreamy sound that will lodge itself in your ears and refuse to let go. Simultaneously heavy and sunny, COMET CONTROL rocket to the forefront of today’s dark psych scene and deliver a modern classic with their triumphant debut. Out-of-this-world, futuristic cover art and packaging for Comet Control, designed by far-out artist SIGNALSTARR (known for his work for the 20th Century Fox film “Prometheus”) adds to the potent push of the record’s searing scope.
“After Quest for Fire broke up, Andrew and I still had a lot of songs in the works,” commented Ross. “We are very excited about how things turned out. Everything clicked really fast with the new band, and the songs have taken a step in a fresh, new direction.”
Track listing: 1.) Blast Magic 2.) Future Forever 3.) Ultra Bright 4.) The Soft Parade 5.) Century 6.) Hats Off to Life 7.) Fear the Haze 8.) Master
Posted in Whathaveyou on March 5th, 2014 by H.P. Taskmaster
Newly signed to Tee Pee Records, Chicago-based Trouble offshoot The Skull have announced that they’ve added former Trouble bassist Chuck Robinson on guitar alongside Lothar Keller and a lineup of former Trouble luminaries: bassist Ron Holzner, vocalist Eric Wagner and drummer Jeff “Oly” Olson. Shortly lived as a four-piece, The Skull have two songs in the can recorded by Billy Anderson set to release in Spring, with a full-length slated to follow later in the year.
It’s also been revealed that The Skull will appear at Montreal’s Wings of Metal festival, playing full sets, one comprised of Trouble‘s Psalm 9in its entirety to mark the album’s 30th anniversary. The PR wire has details:
THE SKULL’s New Guitarist Revealed
There is now more “Trouble” for THE SKULL – the new band featuring original TROUBLE members vocalist Eric Wagner and drummer Jeff “Oly” Olson alongside TROUBLE’s longtime bassist Ron Holzner and SACRED DAWN guitarist Lothar Keller – as they have recruited former TROUBLE bassist Chuck Robinson as their new dueling guitar player.
Drummer and keyboardist Jeff “Oly” Olson comments: “We are excited and honored that Chuck Robinson has accepted our invitation to join the band. He is the perfect fit for THE SKULL. I’ve always enjoyed rehearsing with Chuck as he is disciplined with his art. He’ll surely bring a bonus to the band with his experience as a former TROUBLE member and as a seasoned musician who utilizes both his talented song writing ability and his exceptional recording skills. We are looking forward to tour with our brother again.”
Olson added, “Chuck is more than a bass player. He grew up playing guitar with his father, also a very talented guitarist. Eric, Ron, Lothar, and myself know that Chuck is more than capable for the job. He’ll bring chops with a heavy groove to our debut album, as well as bring his charisma to the stage.”
THE SKULL has confirmed the following three shows. More shows will be added for North America and Europe in the coming weeks.
May 09 – Cleveland, Ohio – The Grog Shop May 10 – Chicago, Illinois – Reggies August 29 – Montreal, Canada – The Wings of Metal Festival
The Wings of Metal Festival will be a headlining performance consisting of two sets. The first set will be a performance of TROUBLE’s 1984 debut album “Psalm 9” in it’s entirety. The second set will include a performance of newly recorded songs as well as TROUBLE classics.
As previously reported, THE SKULL has inked a deal with Tee Pee Records and has recently recorded two songs with acclaimed producer/engineer Billy Anderson (MELVINS, NEUROSIS) which will see the light of day this spring. THE SKULL will follow the release of the new songs with its debut full length LP, tentatively slated for release this autumn.
THE SKULL is: Eric Wagner – vocals Jeff “Oly” Olson – drums/keys Ron Holzner – bass Lothar Keller – guitar Chuck Robinson – guitar
Posted in Whathaveyou on February 26th, 2014 by H.P. Taskmaster
Fascinating news today that Trouble-offshoot The Skull have inked a deal to release their debut album on Tee Pee Records. The Skull‘s traditional doom is something of a step aside for the label, which has focused in recent years on psychedelia and retro-style heavy punk, but a cool fit either way. As the PR wire informs, The Skull recently tracked two songs with Billy Anderson that will be issued as the first studio audio from the band.
Looking forward to hearing this one:
THE SKULL Signs to Tee Pee Records
New Band Featuring Members of Doom Metal Pioneers TROUBLE Set to Release New Music
THE SKULL — the new band featuring original members Eric Wagner (vocals) and Jeff “Oly” Olson (drums) of American doom metal legends TROUBLE alongside longtime TROUBLE bassist Ron Holzner and SACRED DAWN guitarist Lothar Keller — have inked a deal with Tee Pee Records, the NYC record label known for releasing landmark albums from acts such as High on Fire, Graveyard, Earthless and Sleep.
THE SKULL recently recorded two songs with acclaimed producer / engineer Billy Anderson (Melvins, Neurosis) which will see the light of day this spring. “Sometime Yesterday Mourning” is a doomy metal song written by Keller, Holzner and Wagner that showcases the genre pioneers’ distinct style while “The Last Judgement” is a “revisiting” of the classic TROUBLE song of the same name that originally appeared on the classic 1983 “Metal Massacre IV” compilation album.
“I think “Sometime Yesterday Mourning” is the perfect song for The Skull to lead with and there’s a reason why it was the first song we completed as a band,” commented Wagner. “It’s about coming to a point in life when it’s just time for a new beginning, a fresh start if you will, and finally coming to terms with the past. Being that it is the 30th anniversary of the release of the song “The Last Judgement” — the first song we ever released — we thought it fit perfectly for the B-side and considering what “Sometime Yesterday Mourning” is about, it made sense to me. You have to go through your past to get to your future.”
THE SKULL will follow the release of the new songs with its debut full length LP, tentatively slated for release this autumn.
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