Posted in Whathaveyou on July 21st, 2016 by H.P. Taskmaster
As noted earlier this year, Austin rockers Heavy Glow signed to respected German imprint Kozmik Artifactz for the release of their next album. I’m not sure on the status of that next outing, but before they get there, they’ve just reissued their 2014 sophomore outing, Pearls and Swine and Everything Fine (review here), with the label’s usual deluxe, limited edition vinyl treatment. It’s available now and comes either in black or black and orange marble with a matte gatefold cover. Pretty snazzy, and if you’ve heard the record before you already know it has hooks to match.
From the PR wire:
Heavy Glow’s 2nd Album Re-Released!
Heavy Glow’s “Pearls & Swine and Everything Fine” re-released through Kozmik Artifactz (Germany.)
A message from our label in Germany announcing the re-release of our 2014 album “Pearls & Swine and Everything Fine” on very special edition colored 180 gram vinyl, with new artwork, full lyrics, new photos, and gatefold packaging:
Heavy Glow from Austin, Texas are a classic rock trio and they deliver their rock with a fresh and modern vibe. Heavy Glow constructs “Pearls & Swine” on a foundation of fuzz-fueled hard rock, appointed with psychedelically-tinted blues and beautifully textured washes of Motown/Memphis soul. Simultaneously, a punkish verve cattle prods the retro rock vibe squarely into right now.
“Pearls & Swine and Everything Fine” features Joe’s exquisite bass runs while Jared plugs his guitar into rock’s heavy history with nods to Jimi Hendrix, Ritchie Blackmore, and Tony Iommi. At the same time, melodic pop subtlety underpins the album’s heaviest chord stomp moments; witness the swinging soul delicacy of “Fat Cat.”
It’s all welded together by Jared’s totally now perspective, his innate ability to focus his love of rock/soul/psychedelia through a contemporary lens to create Heavy Glow’s modern classicism. Heavy and melodic, raucous & guitar-driven: That’s Heavy Glow!
Vocals/Guitar – Jared Mullins Bass – Joe Brooks Drums – St. Judas
Available as CD & limited vinyl
VINYL FACTZ – 166x black marbled orange (exclusive mailorder edition, handnumbered) – 150x black – plated & pressed on high performance vinyl in Germany – matte laquered 300gsm gatefold cover – special vinyl mastering
TRACKS A1. 45 Shakedown A2. Look What You’re Doing To Me A3. Mine All Mine A4. Fat Cat A5. Love Ghost
B1. Domino (Black Flowers) B2. Hello September (Goodbye April) B3. Got My Eye On You B4. Nerve Endings B5. Headhunter
Posted in Whathaveyou on July 18th, 2016 by H.P. Taskmaster
Houston dark heavy rockers Doomstress have hooked up with DHU Records to release a new limited single called Wicked Woman. The cover art, by the renowned David Paul Seymour, is NSFW — aside from being generally sick of littering this site with cartoon tits and of heavy rock’s over-usage of them in general, I have a job now where that kind of thing matters — but can be viewed by clicking the cropped header above. Spoiler: there are cartoon tits involved.
No audio yet from the single, but the lead track is a cover of Coven‘s “Wicked Woman” from 1969’s Witchcraft Destroys Minds and Reaps Souls, and Doomstress made their debut earlier this year with the two-songer Supernatural Kvlt Sounds (video premiere here), from which the track “Way of the Mountain” — featured on the Wicked Woman 7″ — also comes.
The total number pressed is 250, and that’s split between red-and-black splatter and purple-and-orange splatter versions, both of which look awesome and ideally will be back from the plant before Doomstress head out on tour in the Midwest and East Coast. They’re due to make a stop at Tennesseean Sludge Fest on Aug. 19 and will reportedly have more dates added around that. I’ll post when I hear about them.
Till then, here’s the info on the new single:
DOOMSTRESS has signed with DHU Records for a 7″ vinyl release of : “Way of the Mountain” / “Wicked Woman” single Original artwork by David Paul Seymour Cover concept by Doomstress Alexis
Limited to 250 copies: 150 Red with Black splatter-band edition) 100 Purple with Orange splatter-DHU exclusive Scheduled for release in late summer (hopefully in time for our #WickedSummerTour )
Doomstress, featuring members of Project Armageddon, Sparrowmilk & Venomin James, will be touring the midwest/northeast US over the summer to support their debut. Among their stops will be The Tennessean Sludge Fest! More dates and info tba
8/18-Indianapolis,IN-5th Quarter Lounge 8/19–Murfreesboro,TN-TN Sludge Fest 8/21-Louisville,KY-The Tap Room
Posted in Reviews on July 8th, 2016 by H.P. Taskmaster
One of the most impressive aspects of Sollicitus es Veritatem is that it is so grounded in its theme while being so open and spaced out musically. It’s the self-released second full-length from Texas heavy jam duo Stone Machine Electric — William “Dub” Irvin on guitar/vocals, Mark Kitchens on drums/theremin — and in relatively impressionistic fashion, its five increasingly extended tracks take on the current political climate with predictive fervor and a healthy sense of dread. They’re not running down poll results by any means, but the interpretation of the album’s cover, its rat in a red tie, and Dub‘s gravely repetitions of “I really wish I was dreaming” in second cut “Dreaming” (10:17) both make the message pretty clear.
That’s an aspect of their approach that has developed in the three years since their 2013 self-titled debut (review here), though looking back there were certainly real-world elements at play there, as well as in the 2015 The Amazing Terror EP (review here) that arrived at the start of primary season to set the table for this album, the Latin title of which translates to “Nightmares are Reality.” They may well be, but Stone Machine Electric meet them head on with languid roll, heavy tones and an underlying cohesion to their jams. Recorded by Wo Fat guitarist/vocalist Kent Stump at Crystal Clear Sound in Dallas, the groove at times bears some resemblance to Stump‘s own outfit, but Sollicitus es Veritatem goes far, far out when it goes, and from the quiet, creeping three-minute start of opener “I am Fire” (7:08), the flow that Dub and Kitchens conjure is almost entirely their own, a darkened and spacious vision of psychedelic jamming and heavy blues melded together in seemingly amorphous shapes.
Together, the five tracks total 57 minutes, so Sollicitus es Veritatem is a substantial commitment in the listening if you’re going front to back, but the individual pieces that make it up sort of blur the lines one into the next and that makes the journey more fluid. That’s not to say that “I am Fire,” which is arguably the most straightforward-feeling of the inclusions even with that intro, doesn’t stand well on its own, just that while too long to fit on a single LP, the CD version of Sollicitus es Veritatem benefits from the smooth and linear progression of its component parts. In addition to leading the listener into the band’s world via cymbal wash, drone atmospherics, and guitar minimalism, “I am Fire” offers a declarative hook in its title line, and in light of the apparent thematic intention one has to wonder just who the speaker in the song might be.
A chugging riff keeps the second half earthbound, but already Stone Machine Electric have set a focus on ambience, and the rest of the material — including the slight-return-style complementary closer, “I am Fire (Slightly Burned)” (6:57) — continues to build on that, beginning with “Dreaming,” which picks up from the end of “I am Fire” with exploratory guitar feeling its way through the surrounding emptiness. Around two minutes in, after Kitchens has joined, the riff solidifies and the verse starts with Dub working quick to deliver dire warnings — not directly political in a naming-names sense, but applicable nonetheless — before a first chorus and quick trip solo that’s a precursor for the extended instrumental jam to come, brought back around to the chorus at the end for a satisfying bookend effect.
In centerpiece “PorR” (14:25) and the subsequent “Demons” (18:46), Stone Machine Electric get to the thick of Sollicitus es Veritatem‘s jam-room vibe, though layering would seem to be an essential part, obscure volume swells and noises in the background — could be theremin with effects, I suppose — an essential part in the quiet open of “PorR,” the main progression of which is a rolling guitar figure that kicks in loud in a manner with which I’ll admit some personal association I can’t quite shake, but serves as the foundation for the album’s most resonant jam, Dub pulling back on his gruff vocal delivery for a more melodic take well suited to the creeper vibe. Though it ultimately has enough room to cover its wide swath, “Demons” is more progressive at its heart, dooming out on either side of a long middle stretch of jazzy shuffle that starts after “Moonchild”-style noise past the seven-minute mark and eases into a long and welcome airy solo topping a steady rhythm.
Guitar and vocals harmonize together past 14 minutes in, and from there the riff re-thickens, diminishes, and returns with YOB-esque push toward the fadeout, giving the album a fitting apex before “I am Fire (Slightly Burned)” begins its cymbal washes recalling the opener. The lyrics are different and the instrumental approach is different — definitely some theremin — almost like Dub and Kitchens took the basic instrumental foundation they had put down for “I am Fire” and built it out in another way. A studio experiment, maybe, but its weirdo vibe is right at home on Sollicitus es Veritatem, and its raucous, noisy and swirling crescendo not only serves as an epilogue post-“Demons” but a manifestation of the otherworldly nightmarish realization Stone Machine Electric would seem to have been moving toward all along. I’ve been a fan of the band since I first heard their demo in 2010 (review here), and though they’ve walked a difficult, sometimes rough path between trying out third members and so on, their second full-length brings a sound and vibe that suits them remarkably well and, as a fan, I can only hope they continue to move forward in this direction.
Stone Machine Electric, Sollicitus es Veritatem (2016)
Posted in Whathaveyou on June 29th, 2016 by H.P. Taskmaster
There hasn’t been any kind of official announcement from the PR wire about it, but savvy social media types that they are, both The Well and RidingEasy Records have been dropping hints about the former’s follow-up to 2014’s most excellent debut, Samsara (review here). The most solid word from the label has come down to confirm the title of the Austin, Texas, trio’s second outing as Pagan Science and an Oct. 14 release date. Preorder info, reportedly, is coming soon.
The Well — bassist/vocalist Lisa Alley, guitarist/vocalist Ian Graham and drummer Jason Sullivan — toured hard behind Samsara, so it seems reasonable to expect that Pagan Science will benefit from that. Like its predecessor, Pagan Science seems to have been tracked at Ohm Recording Studio in Austin, though if it was Mark Deutrom (also of Bellringer) once again at the helm as producer and Chico Jones engineering — the team that handled Samsara — I don’t know for sure. Doesn’t seem unlikely, considering how well that album captured the band’s live sound.
Doesn’t seem at all unlikely either that they’ll hit the road hard once again either before, after or during the release of Pagan Science, but The Well also recently had a song feature as the opening theme of Ride with Norman Reedus, starring the titular actor best known at this point for his role as Dale on The Walking Dead. That’s not likely to hurt exposure-wise either, especially leading into a new record.
RidingEasy‘s announcement was short and to the point. Will keep you posted when I hear more about a firm release date, tour in the US or abroad, or any of that other good stuff.
For now, here’s what the label had to say and the Samsara stream if you’d like a refresher:
[UPDATE 6/30: The PR wire sent the album art as well. It follows here.]
Stay tuned for @thewellband pre-sale info on the new album “Pagan Science” out worldwide October 14th. Are you ready for some new Jams?
Posted in Whathaveyou on June 24th, 2016 by H.P. Taskmaster
To answer your immediate question, yes, there is actually a fiddle involved in Fiddle Witch and the Demons of Doom. The Houston-based trio feature it pretty heavily on their new single, in fact. They were recently picked up by Domo Music and issue “Midnight Mayhem” under the label’s banner with nods toward pagan metal and progressive death. It’s a weird blend, which is what I like about it, but they make it work. Of course, “Midnight Mayhem” is really just a sampling of what Fiddle Witch and the Demons of Doom might have in store, but as a first impression, it offers a look at a group who seem hell bent on developing a style of their own. Hard not to respect that.
From the PR wire:
Fiddle Witch and The Demons of Doom Get Signed and Release new Single
“Midnight Mayhem” perfectly illustrates the mood and musical content of a new single released by Fiddle Witch & The Demons Of Doom. Collectively, the Houston, Texas based artists deliver an innovative, melodic blend of classical and metal music.
Penned by band members Jo Bird, Geoffrey Muller and SPIKE the Percussionist, “Midnight Mayhem” reflects the band’s collaborative spirit, unique instrumentation and sound.
Of the band, producer Ulrich Wild said, “It’s very rewarding to work with new and exciting artists such Jo Bird, Geoffrey Muller and Spike the Percussionist who fearlessly conquer new ground. The new single by Fiddle Witch & The Demons Of Doom, Midnight Mayhem marries electric viola and Death Metal into a mutant pagan ritual.”
Jo Bird said, “We’re excited to unleash Midnight Mayhem onto the unsuspecting world that leads us to new avenues.” Geoffrey Muller added, “We had an amazing time working with Ulrich Wild on this new track. Powerful and creepy, it contains all of the intricacies you would expect from a Fiddle Witch & The Demons Of Doom track!” SPIKE The Percussionist concludes, “The new noiz really pushed us into a new experience and an unexpected direction with themes ranging from sinister classical elements to exotic world motifs. This new track is quite a sonic adventure.”
Fiddle Witch & The Demons Of Doom features the talents of Jo Bird, Geoffrey Muller and SPIKE the Percussionist. Jo Bird conceived the notion of Fiddle Witch in 2012 as a way to further explore her diverse musical influences. At that time, Bird was referred to SPIKE the Percussionist who shared her classical training and passion for metal and rock music. Veteran Houston Bassist and session musician Geoffrey Muller rounds out the trio. Fiddle Witch & The Demons Of Doom look forward to a “Mayhem” filled 2016 on the heels of their new release and upcoming tour dates.
Posted in Reviews on June 24th, 2016 by H.P. Taskmaster
This one’s for all the marbles. Or at very least tiddlywinks. The last day of The Obelisk’s Summer 2016 Quarterly Review begins. I’ll admit that when I was planning this out — started soon after the last Quarterly Review was finished in early April; that one ran late, this one has run early — I decided to take it easy on myself the last day. Still 10 reviews, so not that easy, but in terms of what’s included today, a lot of is stuff I feel pretty comfortable talking about, whether it’s bands I’ve covered before (which a lot of it is, now that I look at the list) or whatever. If you’ve been keeping up this week, thanks. I hope you found some cool music.
Quarterly Review #41-50:
From the Finnish hotbed of Tampere, Atomikylä made a striking impression with their 2014 Svart Records debut, Erkale (review here), giving a take on psychedelic black metal that was immediately and truly their own in its balance of elements. The band, featuring members of Dark Buddha Rising and Oranssi Pazuzu, return with doom-jazz fervor on sophomore full-length, Keräily, with three songs covering yet-unnamed stylistic reaches and offering a get-to-the-studio-and-see-what-happens experimentalism to go with their plotted course on 18-minute opener and longest track (bonus points) “Katkos,” which is followed by the building horn freakout “Risteily” (9:15), from which a space rock push takes hold on drums, resulting in maddening guitar swirl – because of course – and closer “Pakoputki” (6:55), which consumes with a darker thrust and more up-front blackened vibe that still holds onto some of the psychedelia in its layers of guitar. Keräily progresses effectively from Atomikylä’s debut and highlights just how individualized they are as a group. They continue to have the potential to do really special work, and the argument is easy to make they’re already doing it.
As opener and longest track (bonus points) “Beasts of Prey” careens toward its apex finish near the 12-minute mark and the title-track begins is crashing, harmonized intro before moving into an Alice in Chains-via-stoner verse, the distance Poland’s Sunnata cover on their second full-length, Zorya, begins to really unveil itself. There doesn’t seem to be a genre within the heavy sphere that’s off limits. They never get into death metal, but heavy rock, doom, psychedelia, prog, sludge – it’s all in play at one point or another in Zorya’s five-track/50-minute run. The reason the album works and isn’t just a haphazard mash of styles is because Sunnata, who’ve been active in Warsaw since the last decade, make each one their own and thus bend genre to suit their purposes and not the other way around. They continue to impress through the rush of “Long Gone,” the airy expanse of “New Horizon” and the more brooding closer “Again and Against,” conjuring effective flow from what in less capable hands would be disparate components.
I have kind of a hard time with White Dynomite. Not musically – the Boston five-piece’s new EP, Action O’Clock (on Ripple) typifies their accessible punk rock; a reminder of a time when the style used guitars – but conceptually. Their lineup features bassist Tim Catz and vocalist Craig Riggs (on drums) of Roadsaw, as well as guitarist Pete Knipfing (also Hey Zeus, Lamont), vocalist Dave Unger and guitarist John Darga, and while I can’t argue with the charm of a track like “Werewolf Underwear” or “Evil Ballerina” — the lyric “Tutu woman, too too much for me” alone makes Action O’Clock worth the price of admission, let alone “I got fangs in my pants” from “Werewolf Underwear” – but I haven’t yet been able to listen to the band in the context of it having been six years since the last time Roadsaw released an album, and thinking about years passing, priorities and whatnot. They sound they’re having a blast all the way through, and I won’t begrudge them exploring other influences, I guess I just miss that band.
Pittsburgh newcomers Horehound formed just last year, so one might go into their self-titled debut full-length thinking it’s an early arrival, but in an unpretentious seven-track/33-minute collection of straightforward but engaging doom rockers, the five-piece demonstrate a clear idea of what they want to do sonically. While it may not represent where they’ll ultimately end up as a band, its songs sound fleshed out in terms of direction and the resultant feel on the release is much more album than demo. So be it. A particular highlight is “The Waters of Lethe,” on which a sweeter melody emerges in the guitar and vocals, but neither will I discount the low-end crunch and vocal call-and-response in closer “Waking Time” or the more uptempo thrust of second cut “Sangreal.” Not that Horehound don’t have room to grow, but their initial offering preaches well to the converted and should give them a solid foundation to work from in that process.
Beyond the Hollow Mountain is the first full-length from Portuguese mostly-instrumentalists Sulfur Giant, who bring together influences from classic progressive rock, psychedelia and heavy rock so that when they dip into Iommic riffing on “Vertigo,” it’s no stranger than the peaceful jamming of “Whisper at Dawn,” which follows. Friendly if not exactly innovative, Sulfur Giant’s debut makes its chief impression with the four-piece’s instrumental chemistry, which brings about an easy flow within and between the eight tracks, which having already been issued digitally will see vinyl release later this year on Pink Tank Records. It’s hard to ignore what organ adds to “Evermore,” but “Sea of Stone” sneaks in some vocals amid its thicker-riffing and Sungrazer-style exploration, and “Magnolia” and the galloping “Unleash Fears” follow suit, so Sulfur Giant have a few tricks up their collective sleeve they hold back from the initial roll and gallop of the opening title-track. All the better.
New Planet Trampoline, Dark Rides and Grim Visions
Never say never in rock and roll. From Cleveland, Ohio, the psych-rocking four-piece New Planet Trampoline called it quits in 2008, leaving behind an unfinished album. After coming back together for 2014’s The Wisconsin Witch House EP, the ‘60s-stylized outfit set themselves to the task of finishing what became Dark Rides and Grim Visions, basking in the glow of early Floyd, Beatles and others of the ilk while keeping a harder edge to songs like “Grim Visions” and a healthy cynicism to “We’ll Get What We Deserve” and the tongue-in-cheek keyboard-laced closer “Haunted as Fuck.” Of the several more extended tracks, the nine-minute “Acts of Mania” is the longest, and provides suitable patience and atmospherics to stand up to its scope. All told, Dark Rides and Grim Visions is a formidable journey at 13 songs/68 minutes, but after more than half a decade away, it’s hard to hold New Planet Trampoline having their say against them, particularly when that say is as lush and dreamy as “This is the Morning.”
With their second LP, Cold Winds (on Crusher Records), Gothenburg’s Hypnos seem to be betting that the next step in the retro game is NWOBHM. They make a convincing argument; it’s kind of how it went the first time around, and their songwriting offers a top-notch look at the moment where Thin Lizzy bounce became Iron Maiden gallop, as on second cut “I’m on the Run,” just minutes after opener “Start the Hunt” featured a flute solo. Broken into two sides, each one works its way toward a longer finale – “Det Kommer en Dag” (7:23) on side A and “1800” (8:32) on side B – but sonic diversity and changes in song structure throughout do much to keep Cold Winds from feeling overly plotted, and like their countrymen in Horisont, Hypnos offer a seamless melding of classic heavy rock and metal, soaring and scorching on “Descending Sun (Unrootables White)” and swinging and swaggering immediately thereafter on “Cold September,” both accomplished with unwavering command.
Texas boogie rockers Honky were last heard from with 2012’s 421 – which I’ll assume is the “going to 11” equivalent for getting high – and their eighth outing, Corduroy, finds bassist JD Pinkus (Butthole Surfers, Melvins) and guitarist Bobby Ed Landgraf (Down) hooked up with drummer Trinidad Leal of Dixie Witch and Housecore Records for the release. To call is business as usual for the underrated outfit in the classic swing and grit they hone would only be a compliment, songs like “Baby Don’t Slow Down,” “Bad Stones” and the harmonized “Double Fine” offering soul as much as push, ‘70s influences given a modern kick in the ass throughout as a swath of guests, including Melvins drummer Dale Crover, come and go, perhaps none making their presence felt as much as Rae Comeau, whose work on “Bad Stones” makes that song a highlight – not to take away from the a capella cover of Led Zeppelin’s “Moby Dick,” here retitled as “Mopey Dick,” that closes. Chicanery ensues, booze flows, good times are had for those who’ll have them.
Distinguished as on centerpiece “The Rambler” by their use of organ amid a semi-retro heavy boogie style, French five-piece Cheap Wine recorded Sad Queen – as the cover art says – live for Celebration Days Records. It’s somewhere between an EP and album, and strips away some of the individual track length of their 2013 debut, Mystic Crow, in favor of maximizing the energy put into each piece, the subdued “Intro” and “Opening” that start sides A and B, respectively, aside, though as “Opening” feeds cleanly into the quiet, airy and soulful beginning of the title-track, even that seems to have a tension that builds toward its eventual release, different from the shuffling raucousness of the post-“Intro” opener “Cyclothymic” maybe, but palpable nonetheless. They close somewhat melancholy on “Yesterday’s Dream,” but the complementary guitar of Valentin Constestin and keys of Ahn Tuan aren’t to be missed, nor how well work in concert with vocalist Mathieu Devillers, bassist Valentin Lallart and drummer Louis Morati.
Gurt & Trippy Wicked and teh Cosmic Children of the Knight, Guppy
The UK heavy scene excels at not taking itself too seriously. To wit, Gurt and Trippy Wicked and the Cosmic Children of the Knight get together for a split (on When Planets Collide for CD and HeviSike cassette) and, they call it Guppy and the first two songs are “Owlmegeddon” and “Super Fun Happy Slide.” It kind of goes from there. Recorded together, sharing a drummer and collaborating on the centerpiece, “Revolting Child,” it’s basically two outfits who are close friends coming together to have a good time, but that doesn’t take away from Gurt’s sludgy intensity on “I Regret Nothing” or the nodding heavy rock Trippy Wicked hold forth on closer “Reign.” Taking its title from the two band names put together, one can only wonder if this will be the last conjoined offering Gurt and Trippy Wicked will make, or if there might be a whole school of guppies in the future. Frankly, this sounds like too good a party to only throw it once.
Posted in Whathaveyou on June 24th, 2016 by H.P. Taskmaster
As announced last month, Austin’s Bellringer will make their full-length debut this summer. In addition to that release on Rock is Hell, Bellringer mainman Mark Deutrom will have a vinyl split with Australia’s Dead tomorrow. So what’s new? Well the title of that Bellringer offering is Jettison — presumably calling it “release” would’ve been too straightforward — and two Melvins records that Deutrom played bass on, Stag and Stoner Witch, will be reissued tomorrow on Third Man Records. And that’s enough for me.
The PR wire has it like this:
BELLRINGER: Texas Act Formed By Ex-Melvins/Clown Alley Guitarist Mark Deutrom To Issue Jettison LP Via Rock Is Hell In August
Austin, Texas-based BELLRINGER, founded by guitarist/vocalist Mark Deutrom, has completed the brand new Jettison LP, and is preparing for it to strike this August through Rock Is Hell.
The live vehicle for the music of Deutrom – formerly of West Coast hardcore punk outfit, Clown Alley, and Prick/Stoner Witch/Stag/Honky-era Melvins, and others – BELLRINGER currently also embodies the contributions of musicians James Flores, Aaron Lack, Monique Ortiz, and Brian Ramirez. Recorded in Austin earlier this year, the outfit’s swanky new Jettison album was fully written and produced by Deutrom. The six expansive tracks traverse an immense volume of genre territory with nearly forty minutes of action, fusing elements of psychedelic and exploratory rock with bluesy and jazzy jam elements, all coalescing in the signature Mark D style. Outer-cosmos radioactive dust cloud soundscapes go head-to-head with lush, organic, earthling grooves, while a quirky edge stimulates hallucinations of animated characters colonizing psychedelic parallel existences.
Partnering once again with trusty label counterpart Rock Is Hell, who also released Deutrom’s Brief Sensuality & Western Violence LP+7″, Ruckus Juice 12″, The Value Of Decay 2xLP, as well as titles from his wife Jennifer Deutrom, Burmese, Bulbul, Shit & Shine, and others, BELLRINGER’s Jettison LP will see release am an offset/hand-screened limited edition LP and digital download on August 1st. Stand by for the cover art, audio samples, a video trailer, an official video, preorders, and more as the LP nears release in the coming weeks.
In related news, Mark Deutromhas a split LP with Australian outfit DEAD which sees release on WeEmptyRooms Records this Friday, June 24th, the release limited to 250 copies on 180g vinyl with a hand-screened cover. This will be a vinyl only release, with no digital available in any form. A promo video is available HERE, and is the only way to hear any audio from the release online. The preorder is up HERE for USA customers, and HERE for Australia/Oceania customers.
Additionally, this Friday, June 24th, Third Man Records is reissuing the classic Melvins titles, Houdini, Stoner Witch, and Stag, the latter two of which Deutrom performed on, which sees any of these albums being pressed on vinyl for the first time in over two decades; preoreders are live HERE.
BELLRINGER Live: 7/22/2016 Andy’s Bar – Denton, TX 8/19/2016 Curtain Club – Dallas, TX 9/03/2016 Bang Bang Bar – San Antonio, TX
Posted in Whathaveyou on June 13th, 2016 by H.P. Taskmaster
Austin-based heavy rockers Sweat Lodge recently announced they’d hit the road with Monolord and Beastmaker this August. The band, who released their full-length debut, Talismana (review here), last year on Ripple Music, just completed a long weekender alongside Crypt Trip, and word has come down that they’ve been picked up by Brutal Panda Records for a vinyl reissue this summer.
Already this qualifies them for “got a lot going on” status, but Sweat Lodge will also record a new short release titled Tokens for Hell — presumably you need them on the subway to get there, or maybe you can exchange them for prizes once you arrive — that will follow-up on the Brutal Panda version of Talismana, which again, is due in the coming months.
The PR wire confirms the above:
SWEAT LODGE Sign to Brutal Panda, Announce Talismana Reissue + Upcoming Tour Dates
Brutal Panda Records is proud to announce the signing of Austin, TX quartet SWEAT LODGE. Formed in 2010, the Hard Rock / Heavy Psych / Progressive Rock / Proto-Metal band have released a self-titled EP (2013) and a full-length Talismana (2015), the latter of which will see a vinyl reissue via Brutal Panda this summer. SWEAT LODGE are known for their vigorous live shows and have performed with YOB, Acid King, Earthless, The Sword, Pentagram and many others.
SWEAT LODGE are currently on the road with fellow Texan hard rockers Crypt Trip and have been announced as support for the upcoming summer tour with Sweden’s Monolord and California’s Beastmaker. A full listing of dates is available below.
Additionally, SWEAT LODGE will enter the studio later this year to record a new EP entitled Tokens for Hell, which will see a late 2016 release via Brutal Panda. Details will be announced shortly.
The band commented on the signing:
“Sweat Lodge is really excited about the vinyl reissue of Talismana and our new EP. Killer roster, killer people! Look out for us this summer with Monolord and Beastmaker!”
SWEAT LODGE Live: *All Dates 8/5 – 9/10 with Monolord & Beastmaker* 8/5 Seattle, WA – Barboza 8/6 Bellingham, WA – The Shakedown 8/8 San Franciscio, CA – The Chapel 8/9 Los Angeles, CA – The Viper Room 8/11 San Diego, CA – Soda Bar 8/12 Scottsdale, AZ – The Rogue Bar 8/13 Albuquerque, NM – Launchpad 8/15 Dallas, TX – The Rail Club 8/16 Austin, TX The Sidewinder 8/17 Houston, TX – White Oak Music Hall 8/18 San Antonio, TX – The Korova 8/19 New Orleans, LA – Siberia 8/20 Tampa, FL – The Orpheum 8/21 Ft. Lauderdale, FL – Kreepy Tiki Bar & Lounge 8/22 Orlando, FL – Will’s Pub 8/23 Atlanta, GA – The Masquerade 8/24 Richmond, VA – The Broadberry 8/26 Baltimore, MD – The Windup Space 8/27 Brooklyn, NY – Saint Vitus Bar 8/28 Philadelphia, PA – Voltage Lounge 8/30 Boston, MA – Great Scott 9/1 Toronto, ON – Coalition: T.O 9/2 Cleveland, OH – Grog Shop 9/3 Chicago, IL – The Empty Bottle 9/4 Minneapolis, MN – The Cabooze 9/5 Omaha, NE – Lookout Lounge 9/6 Denver, CO – Lost Lake 9/7 Salt Lake City, UT – Metro Bar 9/8 Sacramento, CA – Starlite Lounge 9/9 Portland, OR – Ash Street Saloon 9/10 Vancouver, BC – Astoria Hastings