Bellringer, Jettison: Crossing Yellow Lines

Posted in Reviews on September 1st, 2016 by H.P. Taskmaster

bellringer jettison-700

Austin-based heavy rockers Bellringer have been kicking around since showing off a since-retracted self-titled demo EP (review here) in 2014. Changes in personnel involved have given an added sense of intrigue as the band trickled out singles in videos like “Von Fledermaus” (posted here), “Click Bait” (posted here), and “Art Thief” (posted here) throughout the second half of 2015, but they went relatively quiet after that until announcing their debut full-length, Jettison.

As has been the case all along, at the center of the project is Mark Deutrom, known for playing bass in the Melvins during their major label period (arguably their peak era) as well as his solo work under the Mark D moniker, bands like Clown Alley, production work for early Neurosis and Melvins, The Well, and so on.

Here, Deutrom is credited with writing, recording and mixing the material, as well as providing vocals, guitar and various keys throughout, so he is very much at the core of the proceedings, though the rotating cast around him makes formidable contributions as well, be it on bass, drums, flute, vocals, or other. What’s most striking about Jettison isn’t necessarily the lineup, though. It’s how much Bellringer‘s album material willfully seems to remove itself from the prior singles.

None of those songs are featured on Jettison, and apart from opener “The God of Roosters Does Not Forget,” Deutrom works in a much more open creative spirit, veering into lounge lizardry in the back half of “Inner Freak” and calling out The Doors and others in the lyrics to the subsequent “Cowboy Fight.” Things get strange, and as the six tracks/36 minutes of Jettison play out, that strangeness only becomes more welcome.

Looking at it as a two-sided release gives some context to “The God of Roosters Does Not Forget,” which is the shortest cut included at 2:55, in that “Cowboy Fight,” which would start side B, is also shorter than the two songs that follow it, and maybe more straightforward in its easy desert bounce and emergent thicker push. It cycles through twice at a slower pace than “The God of Roosters Does Not Forget,” which seems to show some of Deutrom‘s underlying punker roots, but if one is expecting Bellringer to do the same thing twice, that just doesn’t seem to be the band’s modus or purpose.

Nonetheless, it’s a pointed turn when the AngeloBadalamenti-circa-Twin-Peaks synth line starts the eight-minute “Quitter,” holding a long note as the sort of grumbling guitar tone kicks in, rolling out an immediate nod that it maintains for most of the duration, Deutrom joined by vocalists Chico Jones and Jennifer Deutrom (the latter of whom also did the album art), as well as drummer James Flores, bassist Brian Ramirez and percussionist/vocalist Monique Ortiz — who is also listed as contributing fretless bass, but I’m not sure if that’s here or on “Inner Freak” or “Double Yellow Line” or “Demon,” on which she also appears — as he switches from the mellow but heavy verse to a chorus of “aahs” that makes up in memorability what it lacks in lyrics.

In the final third, an extended version is underscored by a guitar solo, not overdone, but drawn out and playing with sentiment in a similar fashion as the keyboard intro. That dreamy line is how Bellringer end the song, immediately showing more patience than anticipated. With drums, more percussion and a funked-up guitar line at its start, “Inner Freak” is about the groove, presenting its verse as a duet between Deutrom and Ortiz. It’s right at the four-minute mark that the song breaks and shifts into bizarro-jazz territory, Bryan Kennard adding flute along the way to the noodling guitar and shuffling snare. The bass and guitar follow the flute as “Inner Freak” ends, giving way to the aforementioned “Inner Freak” at the start of Jettison‘s second half.

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And “Inner Freak” does well in regrounding the proceedings somewhat, reminding me of Chris Goss‘ most desert-y work with Masters of Reality as Bellringer has in the past. What makes the following “Double Yellow Line” a highlight, however, is its ethereal tonality, its spaciousness, its mellotron, and its languid flow — completely different from everything on the album to that point and yet not at all out of place in style or substance.

A mellow vibe pervades, with just a hint of foreboding before the second verse, but it’s carried by Deutrom‘s vocals from there and Aaron Lack‘s drums do well in giving them and the guitar plenty of room to breathe and spread out as they do. I doubt they were an influence, but it’s the kind of hypnotic effect that Sungrazer‘s Rutger Smeets could often produce during quieter jams, or that seems to come so naturally to Gary Arce of Yawning Man. Of course, the context is different with “Double Yellow Line,” but it’s an otherworldly excursion that greatly broadens the reach of Jettison overall.

Its subdued vibe continues into the start of closer “Demon,” though with more prominent bass fuzz and a horror-flick organ line, repetitions of “demon” and lines derived therefrom, the mood shifts as well. The organ disappears and returns at around four minutes in, and then an angular start-stop line of thicker guitar provides transition into an extended solo that serves as the album’s final movement, closing instrumentally with a couple last measures of chugging insistence and keys, which are sustained until everything else has stopped, then cut short as well.

I’ve been trying to come up with a solid reason Bellringer might call the record Jettison, and I can’t decide between a few. On the one hand, it’s a synonym for “release.” Might as well call the album “Album,” but it would fit with some of the sonic quirk in the material in its subtle cleverness. There’s also to jettison in the sense of shooting outward or letting go. A somewhat more satisfying notion is that Deutrom, as the force behind the songwriting, is letting go of this material by releasing it in the first place — the notion of jettisoning these songs to attain some kind of catharsis.

I don’t know if that’s the case, obviously, but if Jettison is the result of Deutrom feeling these ideas needed to get out, neither am I inclined to argue with the results of his efforts in that regard. His will to defy expectation and change approach becomes one of the record’s most satisfying aspects, and while it seems superfluous to point out again this is a debut given his pedigree, to think of Jettison as the beginning of an exploration, one can only hope that exploration will continue.

Bellringer, Jettison (2016)

Bellringer on Thee Facebooks

Mark Deutrom on Bandcamp

Rock is Hell Records

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Quin Galavis, My Life in Steel and Concrete: Woe and Eternal Happiness (Plus Full Album Stream)

Posted in audiObelisk, Reviews on August 29th, 2016 by H.P. Taskmaster

quin galavis my life in steel and concrete

[Click play above to stream Quin Galavis’ My Life in Steel and Concrete in full. Album is out now on Super Secret Records.]

True, the new double-LP My Life in Steel and Concrete from Austin-based singer-songwriter Quin Galavis might be singular in the construction of its title, and in the moniker of the performer who indeed is at its core, but it’s far from a solo offering. Long ways off. The Super Secret Records release, which spans 20 tracks/75 minutes of has-a-lot-to-say varied craftsmanship, instead often boasts the sound of a full four-piece, if not more, and like Galavis‘ prior work under his own name (as opposed to his work with bands like Nazi GoldFalse Idol and The Dead Space), it brings in a host of guests from around Austin’s populous weirdo scene, including Thor Harris (Swans), and in the past, Eva Vonne of Sans Soleil.

Songs jump from style to style easily, from the joyous and string-inclusive Wes Anderson-ready indie of “Can’t Erase” to the more raging noise punk of “Dead Born,” blown out vocals and all, but being disjointed seems to be part of the fun for Galavis and company. Each side of the 2LP receives a subtitle — A is ‘The Tragedy of Miss Foster,’ B ‘The Long Walk of Mr. Morrow,’ C ‘The Tears of Lady Guadalupe’ and D ‘The Ancient Fire of Northway’ — but if there’s some narrative connecting them, I wouldn’t dare speculate as to its plotline.

Also worth noting that none of the characters mentioned in those subtitles are Galavis himself, so it’s entirely possible that My Life in Steel and Concrete, despite its autobiographical and somewhat indulgent veneer, isn’t about Galavis at all. Not knowing is part of what ultimately makes the record fun, in a similar fashion to how, as one track moves into the following à la the post-grunge crunch of “Distaste” going right into the Angels of Light-style neofolk of “Glorious Man,” it’s never quite clear what’s coming next. These shifts are stark, as noted, but what anchors My Life in Steel and Concrete across its considerable breadth is the songwriting.

No matter in what form Galavis and company — in the past his band has included Graham Low on bass/cello, Shelley McKann on keys/glockenspiel/vocals and Matt Hammer on drums, but the exact lineup here is unclear — choose to express this kind of post-modern disaffection of caring too much to care at all, it comes through with a defined structure, each track a world that seems to have its own rules and parameters that become clearer as it progresses, from the stomp and jangle of foreboding opener “Hand of Light” through how “Manuel’s Rose Garden” and “Powell’s Rose Garden” seem to mirror each other despite the varied theatrics contained within them.

quin galavis (Photo by Alison Eden Copeland)

Galavis is hardly the first songwriter to show range, but even more impressive are the turns of mood My Life in Steel and Concrete makes as it plays out and the fact that as the darkened echoes of “Turn You In” and the wrenching intensity of “Hate” move through the push of “Be Patient” into the minimalist pastoralia of “A Gift for Salt,” there’s no dip in the quality of execution or the seeming purposefulness of the arrangements. As easy as it is to tag Galavis as “experimental” and be done with the issue of classification — about as descriptive as tagging the moon as “round” — there’s very little even in the feedback peppering “Vile and Disgusting” that feels accidental.

Each side ultimately has its personality, though I’ll admit that’s harder to get a handle on in digital form than it probably would be on the vinyl, and a darker ambience unites much of the material, but Galavis saves some brighter moments for the final movement. “Idumea” — the title from a region in Southern Israel — is a retitled take on the 18th century hymn sometimes simply called “And am I Born to Die,” which Neil YoungSteve Von Till and Current 93 have also recorded in years past. Galavis‘ version is a stunner of a violen-led duet following the poetic drama of “Powell’s Rose Garden,” duly mournful but effective in capturing the feeling that they might be leading a chorus in a small, box-shaped church.

The subsequent tracks, from the swinging “Tree Burning” to the banjo-inclusive ramble of “Those Little Dreams” and into the Elton John-esque piano ballad of closer “Wake Up” let go of some of the severity of earlier cuts like “Dead Born” or “Hand of Light” or “Hate,” and if there is a narrative thread telling a story in My Life in Steel and Concrete, one imagines the album’s final side is where that story finds its resolution. In this way, ‘The Ancient Fire of Northway’ becomes a kind of exhale through which Galavis et al can at last breathe out, and the sense of relief is palpable from “Idumea” onward to the end.

Could it have been two albums instead of a 2LP? It probably could’ve been three, each with a different aesthetic, but the diversity of the songwriting and the immersiveness of the work as a whole would lose impact were such capitulations toward accessibility made. It’s supposed to be a challenge. That’s the idea.

Quin Galavis on Thee Facebooks

Quin Galavis on Bandcamp

Quin Galavis website

Super Secret Records webstore

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Stone Machine Electric Announce “Hot and Sweaty” Weekender

Posted in Whathaveyou on August 18th, 2016 by H.P. Taskmaster

The title of Texas duo Stone Machine Electric‘s latest album, Sollicitus es Veritatem (review here), translates to ‘nightmares are real,’ and yeah, that sounds about right for an early September drive through West Texas into Arizona and New Mexico. Hope the air conditioning is working in whatever vehicle the two-piece are using to make that considerable drive.

They’ve got four shows lined up, two in TX, one in Tempe and one in or near Albuquerque still TBA (if you can help there, get in touch with the band via Thee Facebooks), and in addition to stuff from the new album, they’re apparently already looking to road-test some new jams via improv or I guess however they might come out. Their style is pretty open and I’d imagine at this point, Dub and Kitchens can pretty much just plug in and go for it. All the better.

Two things I really, really dig about the announcement below. First, they refer to themselves as “two-piece weirdos,” which is something I’ve insisted on doing for the last several years nearly every time I’ve written about them, and two, they not only made a poster, but they made an awesome poster that involves absolutely zero cartoon boobage. Kudos all around, gentlemen.

Behold:

stone machine electric tour poster

STONE MACHINE ELECTRIC – Hot+Sweaty Weekend

Hurst, Texas two-piece weirdos, Stone Machine Electric, are set for a small tour westward over the Labor Day weekend. They’ll make their way through Texas, into Arizona, and hopefully survive the trek through New Mexico.

Stone Machine Electric will be playing songs off their latest album, Sollicitus Es Veritatem, along with their usual/unusual improvised transitions. There is always the possibility they might play something new, since they’ve got some in the works…

Hot+Sweaty Weekend Dates:
September 1st – Depot Obar in Lubbock, TX
September 2nd – The Sandbox in El Paso, TX
September 3rd – Tempe Tavern in Tempe, AZ
September 4th – TBD around Albuquerque, NM

https://www.facebook.com/StoneMachineElectric/
https://twitter.com/SME_band
http://stonemachineelectric.bandcamp.com/
http://www.stonemachineelectric.net/

Stone Machine Electric, Sollicitus es Veritatem (2016)

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Blues Funeral, The Search: Harbingers and Paragons

Posted in Reviews on August 17th, 2016 by H.P. Taskmaster

blues-funeral-the-search

A fervent undercurrent of metal runs beneath the progressive atmospheres of The Search. It extends even to the liner notes of the CD, which not only contain the full lyrics, typed out clear with credits, but notes included for which of the two guitarists — Maurice Eggenschwiler and Jan “El Janni” Kimmel, both also vocals — is taking the solo in that place. More often than not, it’s one, then the other. Shades of oldschool thrash there, but the debut full-length from the Houston, Texas, four-piece owes much more of its crux to prog metal and heavy rock than to anything so raw as younger Slayer. Still, the dogwhistle blows to those who might hear that particular frequency, and the spirit of precision that was always an undercurrent both of thrash — underproduced as it was — and the NWOBHM manifest in these vinyl-ready six tracks/41-minutes, topped off with artwork by David Paul Seymour.

The band was founded by Kimmel, Eggenschwiler and drummer Cory Cousins in 2014 following the hiatus of Sanctus Bellum, and in bringing on board bassist Gabriel Katz, they’ve also shifted their sonic focus toward grander fare. Tonally, The Search, which was recorded and mixed at Lucky Run Studio in Houston, adopts a heavy rock feel, but as it’s presented in such a clean, clear style — and maybe standard tuning? — the overarching impression becomes that of the band’s reach rather than their heft. That’s fitting for the traditions in which they’re working, from Uriah Heep to latter-day Opeth — also noteworthy that Kimmel handles keys, specified by the band as Nord, which Opeth‘s Per Wiberg also used — and with the shared vocal duties, they bring something of themselves fluidly to what winds up being an ambitious debut release.

Variety in the songwriting extends to within individual tracks as well as between them. With the exception of the penultimate title-cut at 9:45, songs range around five to six minutes long, but as Blues Funeral show immediately with the blend of Thin Lizzy bounce and proggy lead work in opener “Autumn Dream.” A previously posted live version had reminded me of Beelzefuzz, and though that’s less the case tonally on the record, some element remains, though the context of The Search immediately broadens with “Harbinger,” the shortest track at 5:19, which takes the central groove of Black Sabbath‘s “A National Acrobat” and successfully repurposes it to suit a rhythmic base for vocal harmonies dressed out with flourish of acoustic guitar, choice ride work from Cousins and later thickening of tone behind the soloing of Eggenschwiler and Kimmel.

blues funeral

Something of a darker feel results than anything either “Harbinger” or “Autumn Dream” before it offered, but the rush of “Planet Void” and the urgency of its push assure Blues Funeral aren’t mired one way or the other. With more impressive dual-vocal work and nods vocally and in the riff to Iron Maiden, it’s Katz‘s low end again that holds the proceedings together as the guitars are prone to launching into momentary fits of scorch, only to return to the verse shortly thereafter, as though nothing ever happened. The vocals are dry at least for the most part, and I don’t think some treatment of reverb would hurt, but as it stands they effectively emphasize harmonies when intended, as in the chorus of “Planet Void,” which is revisited just before a final solo — from Kimmel — brings the first half of The Search to a close.

Kimmel adds organ to “Paragon of Virtue,” and with the creepier doom vibe that follows, it would seem to mirror the Beelzefuzzing of “Autumn Dream” while, again, putting its own ’70s-inspired spin on it. The organ rises to prominence in the mix before all drops out leaving light, intricately-plucked Akerfeldtian guitar as the bed for an instrumental midsection — solo included, naturally — that builds guitar harmonies in layers before shifting into its next phase of lower-toned chug behind another solo section. A little Ritchie Blackmore circa Rainbow would seem to be the initial basis for the start of The Search‘s title-track, but there’s a more patient take in the album’s longest cut — it meanders a bit, purposefully — before sweeping in with organ to its first verse at around the two-minute mark, and the classic heavy rock style still holds its complement of metallic vibe, Katz‘s bass getting a moment to shine early for its heretofore underappreciated tonal warmth.

With more spacious vocals, “The Search” offers a hook as well as proggy expanse, and even after it veers into a more extended organ solo, it takes the time to bring back the chorus and keep the composition itself as the focus, rather than the execution. One might’ve expected Blues Funeral to follow it by ending with a lighter, more melancholic feel. They go the opposite route. “Palmdale” rounds out with nigh-on-thrashy riffing and a leveled-up push from even what “Planet Void” brought to bear, delivered with a down-to-business efficiency and a Candlemass-style soaring vocal that serves to highlight how skillfully the band is able to mesh their influences together.

By the time they get there, of course they end with a solo-topped big rock finish. Well earned. Keeping in mind that The Search is their first outing — preceded by no recordings so far as I know — Blues Funeral meet their considerable ambitions head on, while also setting themselves up for stylistic expansion in any number of directions. They effectively bridge gaps between the classic and modern, rock and metal, and metal and prog worlds, and, most encouraging of all, sound like they’re only going to keep growing.

Blues Funeral, The Search (2016)

Blues Funeral on Thee Facebooks

Blues Funeral on Bandcamp

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Las Cruces Rejoined by Original Vocalist Mark Zamarron

Posted in Whathaveyou on August 15th, 2016 by H.P. Taskmaster

Texas doom rockers Las Cruces have set the Denizens of the Dark festival in San Antonio as their first appearance with original frontman Mark Zamarron. The vocalist, who appeared on the band’s last record, 2010’s Dusk (review here), has rejoined the band ahead of the release of their fourth album and Ripple Music debut, which has been in the works for at least the last three years. Considering the album before Dusk, the sophomore outing Ringmaster, came out in 1998, they’re still on pace for a significant decrease in the split from one record to the next at six or seven years, and of course they’ve continued to play shows all the while.

The lineup for Denizens of the Dark — which I’ve posted below the band’s announcement of Zamarron rejoining the fold — is a considerable gathering of heavy acts from Texas and beyond, easily worth your perusal. Check it out if you feel like spending the rest of your day digging on bands (and why wouldn’t you?):

las cruces

Great news to share from the Las Cruces camp. Original frontman Mark Zamarron has returned to flock.

The prodigal son has returned from his ten year dragon slumber!

The Ringmaster himself, original frontman Mark Zamarron back in Las Cruces. First full set appearance will be at The Denizens of the Dark festival Sept 2nd. We will be recording our up coming album “Altar of the Seven Sorrows” on Ripple Music.

Las Cruces:
George Trevino – Rhythm Guitar
Mando Tovar – Lead Guitar
Mark Zamarron – Vocals
Paul De Leon – Drums
Jimmy Bell – Bass Guitar

Denizens of the Dark Festival
September 2 & 3
Bonds Rock Bar
450 Soledad St, San Antonio, Texas 78205

Friday line up :
Destroyer of Light (Austin)
Las Cruces
Jason Kane and the Jive
Cursus
Over the Top
Kin of Ettins (DFW)
King Earth

Saturday line up:
Mos Generator (WA)
Mala Suerte (Austin)
Deguello
Switchblade Jesus (Corpus)
The Dirty Seeds (Houston)
Orthodox Fuzz (DFW)
Dead Hawke (DFW)
Death’s Embrace

https://www.facebook.com/Las-Cruces-107675405929597/
www.ripple-music.com
https://ripplemusic.bandcamp.com

Denizens of the Dark Festival preview

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The Obelisk All-Dayer Countdown: Funeral Horse, “Burial of the Sun” Live in Houston

Posted in Bootleg Theater, Features, The Obelisk Presents on August 12th, 2016 by H.P. Taskmaster

the obelisk all-dayer

The Obelisk All-Dayer tickets

Since their inception three years ago, Houston heavy rockers Funeral Horse have proved to have more than enough weirdo edge to match their rolling, classic-style groove. In the fine and long-standing tradition of Bizarro Texas, their material is both strange and familiar somehow, playing smartly off conventions of traditional metal and punk and noise rock, but establishing an experimental undercurrent that assures they’re completely allied to none of the above.

From their first record, 2013’s Savage Audio Demon (review here), onward, Funeral Horse have willfully defied expectation. At the time I confirmed them for The Obelisk All-Dayer, Aug. 20 at Saint Vitus Bar — just EIGHT DAYS AWAY; get your tickets here — I did so in no small part because I thought maybe seeing them live would help explain at least in part just what the hell it is they’re up to. I wound up seeing them this past February and not only did I get a sense of the roots of their offbeat vibe, but was taken aback by their stage presence and the tightness of their performance as well. Bonus.

The song in today’s countdown video is called “Burial of the Sun.” It was filmed in Houston a couple weeks ago and it comes from Funeral Horse‘s impending fourth album, Psalms of the Mourning, which is currently being recorded. I’m stoked beyond all repair to welcome Funeral Horse to The Obelisk All-Dayer and hopefully watch as they blow a few minds and catch a lot of people off-guard, which they’re bound to do even if you think you might know what to expect.

Funeral Horse join Mars Red Sky, Death Alley, Snail, Kings Destroy, EYE, King Buffalo and Heavy Temple on the bill at The Obelisk All-Dayer, Aug. 20 at Saint Vitus Bar in Brooklyn, NYC. For more info and to get your tickets for under the door price, click here.

Enjoy “Burial of the Sun” below:

Funeral Horse, “Burial of the Sun” Live in Houston

The Obelisk All-Dayer tickets

Funeral Horse on Thee Facebooks

Saint Vitus Bar website

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Greenbeard Announce New Album Recording, Shows and Video

Posted in Whathaveyou on August 9th, 2016 by H.P. Taskmaster

Having already shown their riffly wares at Heavy Metal Parking Lot 3 at SXSW in their native Austin, Texas, and traveled north to Colorado for the Denver Electric Funeral fest, heavy rock trio Greenbeard have announced intentions to show up in further illustrious spaces — Psycho Las VegasNorthwest Hesh FestStoned Meadow of Doom — throughout the next month-plus. They’ll reportedly also be recording a new album with Matt Bayles to follow-up their well-received Stoned at the Throne for Sailor Records, which is an action preceded by the new single “Love Has Passed by Me,” for which they also happen to have a new video.

Bottom line? No shortage of news from these cats. By all means, dig in below:

greenbeard-700

Greenbeard announces video release, tour schedule, and recording of new album.

Sailor Records band, Greenbeard, agrees to upcoming studio session with Matt Bayles in Seattle, WA. Greenbeard is also releasing a music video for their upcoming single, “Love has Passed By Me” with Washington based video production company, The Dead Suits. In addition, the band will be playing a string of high profile shows in the upcoming months. Further action includes a live video/lighting theater tour featuring the visual artwork of Federico Moreno.

Matt Bayles is a Seattle based producer operating his studio, Red Room Recording. Bayles has recorded and produced bands including Isis, Soundgarden, Minus the Bear, Mastadon, Botch, and Fall of Troy. Bayles will be working with Greenbeard on recording their upcoming record (title TBD) which will be released in mid 2017 on Sailor Records.

The Dead Suits is a Washington based video production company helmed by Editor/Videographer, Tony Moser. Greenbeard collaborated with Austin videographers, Jay Conlon and Andrew Simonds, to shoot local footage with the band, which was sent over to Moser to combine with his footage shot in Kennewick, WA. Greenbeard met Tony while on tour, playing a show at Ray’s Golden Lion in Eugene, Oregon. Months later, Tony reached out to the band proposing his interest in producing a music video with them. Coincidentally, Greenbeard was in search of a videographer to produce a music video for their recently recorded single, “Love Has Passed By Me”.

“Love Has Passed By Me” is the new single released by Greenbeard recorded and mixed by Miles Randall in Austin, TX. Eric Wofford of Cacophany Recorders mastered the track. Wofford is an esteemed contributor to Austin’s recording scene. Notable works include The Black Angels, Ume, White Denim, Okkervil River, and Lord Buffalo.

Federico Moreno is a filmmaker, live video projectionist, and lighting artist residing in Austin, TX. Federico has worked with Bob Mustachio, Uncle Acid & The Deadbeats, Dead Meadow, and Austin’s Levitation festival helping to produce living and fluid lightscapes interlaced with video. Moreno and Greenbeard are working together on producing a theatrical video performance to be housed in theaters across the country for late 2017.

Greenbeard’s upcoming show schedule is filled with exciting festivals, and the band will be rubbing shoulders with a number of class acts.
– 08/24/16. Psycho Las Vegas (Hard Rock Hotel & Casino, Las Vegas, NV) — w/ Fatso Jetson, Mac Sabbath, Electric Citizen, Mothership, and Mudhoney…
– 09/02/16. Stoned Meadow of Doom (The Slowdown, Omaha, NE) — w/ Weedeater, Egypt, Wofat…
– 09/09/16. Video collaboration with Federico Moreno (Texas Theater – Dallas, TX)
– 09/24/16. Northwest Heshfest (Dante’s, Portland, OR) — w/ Red Fang, Deafheaven, Uncle Acid & The Deadbeats, American Sharks…

https://www.facebook.com/greenbeardtheband/
https://greenbeard.bandcamp.com/album/stoned-at-the-throne

Greenbeard, “Love Has Passed by Me” official video

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Duel Announce European Tour Dates

Posted in Whathaveyou on August 5th, 2016 by H.P. Taskmaster

duel

Austin-based heavy rockers Duel made their debut earlier this year with Fears of the Dead (review here) on Heavy Psych Sounds, and today the band announces that the booking wing of the same concern has lined up their European tour, set to include slots at Desertfest Belgium 2016, Keep it Low and the Heavy Psych Sounds Fest as well, where Duel will join Fatso Jetson and others in Parma, Italy, ending their run in the same country where it will have started.

Joining Duel for the stretch will be Komatsu from the Netherlands, who are getting ready to release their new album, Recipe for Murder One, on Sept. 23 via Argonauta Records.

Heavy Psych Sounds announced the dates thusly:

duel tour poster

HEAVY PSYCH SOUNDS Records & Booking is proud to announce the dates for the upcoming European Fall Tour of DUEL. The band will be supported the entire tour by Komatsu band from Netherlands.

Tour Supported by Soz Sozconcerts

The tour will feature two great festivals: Desertfest Belgium and Keep it Low Festival!

Tour Dates:
11.10.2016 IT Pescara-Scumm
12.10.2016 IT Viterbo-Secret Show
13.10.2016 IT Ravenna-Bronson
14.10.2016 IT Treviso tba
15.10.2016 IT Lago di Como tba
16.10.2016 BE Antwerp-Desert Fest Belgium
17.10.2016 DE Lichetenfeld-Paunchy Cats
18.10.2016 CH St Gallen-Rumpeltum
19.10.2016 AT Wien-Das Bach
20.10.2016 CH Basel-Hirschneck
21.10.2016 CH Luzern-Bruch Bros
22.10.2016 DE Munich-Keep It Low
23.10.2016 AT Feldkirch-Graf Hugo
24.10.2016 AT Salzburg-Rockhouse
25.10.2016 DE Dresden-Tba
26.10.2016 DE Berlin-Urban Spree
27.10.2016 DE Leipzieg-Liwi
28.10.2016 CH Olten-Coq D’Or
29.10.2016 IT Parma-Mu/HPS Fest 3

DUEL is heavy psychedelic stoner doom metal from Austin, Texas. Hugely influenced by the darker sounds of early 70’s Proto-metal. Features two ex Scorpion Child (Nuclear Blast)members. Their sound is menacing and brutally old school. Total purists, their tunes cut right to the bone with heavy, deep groove and blistering tone. Tough and Loud! Hard rock as it should be!

Poster artwork by SoloMacello

https://www.facebook.com/DUELTEXAS/
https://duel3.bandcamp.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/
www.heavypsychsounds.com

Duel, Fears of the Dead (2016)

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