Posted in Label Stuff on March 25th, 2013 by H.P. Taskmaster
21 11 Copies Left.
Once again, if you’ve managed to pick up a copy of Clamfight‘s new CD, I Versus the Glacier, either using the Paypal button above or through the Maple Forum BigCartel store, you have my sincere thanks as well as that of the band.
We’re in the home stretch — a scant 21 copies remain in my possession and they’re going at a steady pace. If you’ve been on the fence, it’s a get-it-now-or-regret-it-later kind of deal. The Maple Forum doesn’t do second runs. It’s in the charter. Okay, there isn’t a charter, but seriously, the discs are moving, so thank you for that and they won’t be around for much longer. I guess that’s the point.
If you’re in Philly this coming weekend, as I know I’ll be, catch them Saturday, March 30 at Kung Fu Necktie with Borracho, Been Obscene and Supervoid. Friday, they’re at Cafe 611 in Frederick, MD, with Ichabod, War Injun, Beelzefuzz and Hollow Leg, and the band has sent along word of more shows to come, including confirmation that they’re looking to hit the West Coast this summer and news about new material in progress!
Anyone can bring you a Clamfight update with show news. Here’s one from drummer/vocalist Andy Martin that has a unicorn:
Forgive me for the bullet points folks, but I’m bashing this out on a borrowed laptop in a hotel somewhere deep in the wilds of Pennslytucky, and time is of the essence…
We’ve got two great shows this weekend, we’re at Cafe 611 in Fredrick Maryland with Ichabod, War Injun, Beelzefuzz, and Hollow Leg on Friday the 29th, and we’ll be hooking up with Supervoid, Been Obscene, and Borracho at Kung Fu Necktie in Philly on Saturday, March 30.
April 6th we’re atThe Depot in York PA with Crobot, Kingsnake, and Witch Hazel.
April 25th we’re back at Kung Fu Necktie with Holly Hunt, Sunburster, and the mighty Shroud Eater, in a show that’s sure to start our great southern weekender off with aching heads and rumbly tummies.
April 26th-29th with our bosom chums/band-I-am-also-in, Heavy Temple, we’ll be rampaging through the southeast. Friday the 26th sees us both at the Oasis in Charleston, South Carolina, with Compel, Greenseer and possibly one more TBA, Saturday will likely see us in Virginia (details still getting ironed out on that one), and Sunday the 29th we’ll be wrapping it up with the Akris at Lallo’s in Knoxville Maryland.
The other massive (for us anyway) show news is that we will be slipping the surly bonds of the east coast this summer. We can’t say when or with who but trust us, Clamfight will be heading west this summer.
The final bit of big news is that we are actively writing the next record. We’ve demoed about 25 minutes of material and have rolled out one new song, “Block Ship” live. Obviously things are very premature at the moment but we’re aiming to be in the studio by next winter. Saying much more would almost feel like cursing a process that’s been going really, really well for us, so we’ll just say this, we aim to be studio bound not long after hitting Richmond, Virginia, for Stoner Hands of Doom XIII this November.
Speaking of SHOD and “Block Ship,” we’ll be heading back to Gradwell House as soon as our schedules allow to record both “Block Ship” and a reworked version of a tune that shall remain nameless (for the time being) from our first record for our special SHOD-only split with Wizard Eye and Allthing.
Finally we’d just like to say one last thanks to Thump Box, Brain Candle, The Workhorse 3, Black Hand, and the many, many friends who came out to see us in Delaware last week. Delaware’s somehow always been incredibly cool to us and due to our show/my digging schedule last week’s show may have been our last in Delaware till the fall. Fear not first staters… We shall return.
Posted in Label Stuff on February 13th, 2013 by H.P. Taskmaster
37 21 Copies Left.
Thanks to everyone who ordered a copy of Clamfight‘s I Versus the Glacier, either by clicking the Paypal button above or hitting The Maple Forum‘s Official BigCartel Store. I’ve been floored by the response to the record and couldn’t be more psyched to have so many people in agreement about its badassery. As of this post, I’ve got 37 copies of the record left, and I don’t expect them to last.
Clamfight have been busting their collective hump to get word out about the album, taking ass and kicking names along the way, and as anyone lucky enough to witness their assault this weekend at The Eye of the Stoned Goat 2 in Delaware can tell you, the dudes are firing on all cylinders at this point. More shows are in the works — I’ve heard rumors of touring outside the Eastern Seaboard over the summer, though nothing’s confirmed yet — and they’re currently writing new material as well ahead of their appearance at this year’s Stoner Hands of Doom, set to take place in Richmond, Virginia, Nov. 7-10.
Oft-shirtless frontdrummer/drunk-hugger Andy Martin has issued an update on the band’s multi-pronged doings that we should all tremble to behold. So, uh, do that:
This last Saturday we played the “Eyes of the Stoned Goat 2″ fest in Delaware. It was an incredible show and we shared the bill with a lot of good friends from Philly and Delaware such as Thee Nosebleeds, Heavy Temple (a band I’m also in), Skeleton Hands, Blackhand, Wasted Theory, Wizard Eye, and some of Maryland doom’s heaviest hitters, Beelzefuzz, Iron Man, and PA’s Pale Divine.
The show was a great time, Delaware’s always been kind to us, and it was ten hours of beers, buxotic babes, and hugging bearded dudes, and was a preview of the madness that will be SHOD. Thanks to Brendan Burns of SnakeCharmer Booking for making it happen, the guy should be commended for pulling that show off.
Speaking of SHOD madness—
We’ll be doing a split with Wizard Eye for SHOD. They’re an amazing Philly band and also happen to be some of our closest friends, and this split’s a celebration of how stoked we are to be playing such an incredible festival together. Not sure of the exact format yet (most likely CD), but the pressing will be limited to 100 copies, forever, and as of yet we don’t have any plans of making it available for download post SHOD, so it’s get it off us at SHOD or get it never.
It’ll be two songs from both bands, with a bridge tune in between featuring Erik Caplan of Wizard Eye and Sean from us on guitar, myself on drums, and since we didn’t want to pick between our own bass players, Elyse Mitchell of Heavy Temple on bass. Vocals will be handled by some unholy combination of Erik and I.
Upcoming Clamfight Shows: 03/15 Mojo Main, Newark, Delaware, with Thump Box, Braincandle, Workhorse 3, and Black Hand 03/29 Cafe 611, Fredrick, Maryland, with Ichabod, War Injun, the mighty Beelzefuzz and our brothers from Southern mothers, Hollow Leg 03/30 Kung Fu Necktie, Philly with Supervoid, Been Obscene, and Borracho 04/25 Kung Fu Necktie, Philly with Holly Hunt, Sunburster, and Shroud Eater
April 26 Begins a weekender with Heavy Temple in South Carolina that will end on the 28th in Fredrick, Maryland. Details on venues and other bands coming very soon.
Posted in Label Stuff on January 22nd, 2013 by H.P. Taskmaster
56 37 Copies Left.
The day has arrived, and Clamfight‘s I Versus the Glacier is now officially available for purchase! HUGE thanks to everyone who put in preorders for the album. I’ve heard from a few already who are digging it and of course the reviews around the interwebs have been fantastic and much appreciated on this end.
I Versus the Glacier is the fifth release through The Obelisk’s in-house label, The Maple Forum, and it’s an album I feel really strongly about. I’ve been kicking around the idea of doing some kind of review-ish post on it, something basically just to talk about the songs (if you missed it, the band did a track-by-track and it was awesome), and though I won’t out of some misguided cloy at critical integrity, let me say that this is a record I’m proud to be a part of releasing, front to back. I believe in what Clamfight are doing, I have a tremendous amount of respect for them as artists, and I wouldn’t have offered to get involved if that wasn’t the case.
These guys are friends going back years, but the basic fact is I was a Clamfight fan even before I knew them, and I continue to be a fan to this day. I loved their last album and still do, but the songs on I Versus the Glacier put the band in a different league entirely, and it’s my sincere hope that when you get to hear the it, you agree.
As always with Maple Forum releases, this is a one-time pressing and once they’re gone, that’s it. I currently have 56 of my initial 100 copies left.
Posted in Label Stuff on January 15th, 2013 by H.P. Taskmaster
We’re one week away from the release date for Clamfight‘s I Versus the Glacier on The Maple Forum. I’d be lying if I said there weren’t moments when I doubted we’d ever get here, but this thing’s actually going to happen. Most of the preorders have gone out — the post office was giving me shit for the amount of international shipments, but I’ll chip away at them over the next couple days — and more have come in to go out, so I know I’m not the only one stoked on the album. The reviews have been great so far, the band has been kicking ass live, and everything seems to be going in the right direction for an awesome release. No complaints whatsoever on my end.
Last week, Clamfight joined the ranks of Gozu, Order of the Owl, Lo-Pan, Admiral Browning, Weed is Weed and many others on the lineup for Stoner Hands of Doom XIII, set to take place in Richmond, Virginia, from Nov. 7-10 at Strange Matter. Much more on that to come (the fest is on Thee Facebooks here).
Between now and then, Clamfight have been booking weekenders like the workingman riffy bastards they are, and with the release coming next week, they’re once more heading out this coming weekend. Also keep an eye out later this week for a stream of I Versus the Glacier in its entirety via another site whose support is much appreciated. Drummer/vocalist/wiseacre Andy Martin issued the following update last night:
YOUR CLAMFIGHT UPDATE FOR 1/14/13:We’ll be at the El N Gee in New London CT w/ Blue Aside and When the Deadbolt Breaks this Friday, and at the Bug Jar with Baba Yaga and more at the Bug Jar in ROCKchester NY Saturday.
Friday January 25th we’re at Johnny Brenda’s in Philly w/ It’s a King Thing and the Three Six Mafia (or somebody like that, I can’t remember). Feb. 9th it’s double duty for this guy with Heavy Temple, Clamfight, and literally everyone I know’s band at J.B. McGuiness in Delaware, then March 15th at Mojo Main in Delaware w/ Brain Candle and Blackhand, and finally March 29th w/ Hollow Leg, Beelzefuzz and more at Cafe 611 in Fredneck Maryland.
There are a literal fuck-ton more shows being put together as we speak, including at least two more weekenders, and since the Heavy Temple cats and I are enjoying each other’s company so much a potential mess of shows with them as well.
I’m going to be shirtless in public so much this spring that I should probably get my chest hair did.
Posted in Label Stuff on January 10th, 2013 by H.P. Taskmaster
We’re almost there. Reviews have been coming in for Clamfight‘s I Versus the Glacier and all of the ones I’ve seen have been spectacular. As a fan of the band it makes me really excited to see good things happening for them and I hope the momentum continues right into the proper release of the album on The Maple Forum on Jan. 22, just 12 days from today.
As I promised, the preorders are ready to go out today. You can see in the stacks above — separated by international and domestic shipping destinations — that the discs and stickers are packed up and headed to the post office. I have to run out of work early today, so it might be in the morning they actually get mailed, but sooner rather than later, in any case. Of course, if you still want to preorder a copy, you can do so at The Maple Forum store. Is it still a preorder if it ships right away? Shh. I won’t tell if you don’t.
Because they’re awesome people and because they’ve made an awesome album that, if I haven’t yet mentioned it, I’m ultra-excited to finally get out to the public after over a year of discussing it, drummer/vocalist Andy Martin and lead guitarist Sean McKee have sent in a new track-by-track examination of I Versus the Glacier, complete with notations on the references they’re making, points of inspiration and stories about recording. It is an excellent read front to back.
To celebrate the release of the album, Clamfight have booked a couple gigs for next weekend that will take them north, and next month, they’ll also be taking part in the Eye of the Stoned Goat II festival alongside the likes of Pale Divine, Iron Man, Wasted Theory and a slew of others. I’ve included flyers for all the gigs below (click any to enlarge), and hope you get to check them out live in the near future.
Clamfight are Andy Martin and Sean McKee, guitarist Joel Harris and bassist Louis Koble. I Versus the Glacier was recorded by Steve Poponi at Gradwell HouseRecording and also features Erik Caplan of Wizard Eye on guitar and theremin.
1. The Eagle
Sean: This song is a natural opener, and it only makes sense that it’s our oldest song on the album. Most of it was done even before we recorded Volume I but we had some parts to work out, namely the chorus. I think the main riff was so simple, we were trying to come up with something more complex for the chorus. We tried it a few ways but nothing sounded natural. A lot of my ideas come to me when I’m nowhere near a guitar. I remember sitting at work thinking about this song, just running riffs through my head. I thought about taking it back a step to something simpler, mainly so I could remember it when I got home, and I thought it would sound bigger with those open E and D chords ringing. It worked, and I think it really creates a natural chorus, or as much of a chorus as we’re going to have.
Andy: One thing I do remember about the writing of “The Eagle” is that we essentially took what would have been the half-time crushing end riff and made it the whole song. This ended up being a guiding principle behind most of the songs on I Versus the Glacier. At one point early on, we essentially had two halves of two different records written, a handful of direct bruisers like “Eagle” and a few songs that fit more into the melodic “rock” side of the stoner thing we do. I remember sitting in Sean’s basement with two competing lists of songs written down and trying to find a way for them to make sense together. Once we realized they were never going to make a cohesive record, we had to make the call: either go direct and heavy or fuzzy and melodic. Since we have far too much fun being cavemen and trying to smash our equipment it was a no-brainer, and the rock songs were consigned to Riff Jail, probably for all eternity.
2. Sand Riders
Andy: Ahhhhh sweet Dune, is there anything more metal than songs about Dune? I’m sure Dune needs no introduction to the Obelisk crowd, so I’ll stick to the song. I’m a little fuzzy on the writing of this one but I feel like it came together pretty quickly. For me this song is all about two things: Sean‘s solo in the beginning which I love because it’s a very bluesy/’70s rock solo that he manages to work into a pretty driving metal tune and the end breakdown. It’s a stick/floor tom destroyer and I think [engineer] Steve Poponi‘s best work on this entire record… the end of this song kills live and Steve managed to capture that same intensity as well.
Sean: I can remember writing the main riff and instantly knowing we had a bruiser. The song came together very naturally, and we felt after the uptempo first half we had to pull it back but maintain the heaviness. The second half is a blast to play live and really crushes with Andy‘s thumping bass pedal. We can’t resist a good reprise.
3. The Shadowline
Sean: Lyric-wise, “The Shadowline” is one of Andy‘s most personal songs on the album. It’s also a song that went through a lot of changes from the time we first wrote the main riff. The opening phrase was always the same, however, we used to play the main riff with fast palm-muted downstrokes. We liked it at first, but it just started to lose its luster after a while and we felt like it needed to be nastier. I remember one day at work, after a practice session in which Andy and I hammered on the song for two hours with little progress, we were trading texts with ideas of how to play it. He said he wanted to try laying back on the drums while I sped up the riff, kind of like Led Zeppelin‘s “Black Dog.” I think I said it’s already fast as shit, how do you want me to speed it up? His reply was “gallup!” I thought he was crazy, but I ran over to Guitar Center at lunch and worked out the riff, and I loved it. Because of this exchange, I now have a guitar and small practice amp in my office so I can work stuff out immediately if I get an idea in my head.
4. I Versus the Glacier
Andy: In 1845, Sir John Franklin and 128 men set out for the Northwest Passage, none of them ever returned. I don’t set out with the idea that every Clamfight record needs a song about a shipwreck and cannibalism (see Vol. 1‘s “Ghosts I Have Known”) but it keeps shaking out that way. The Franklin expedition fascinates me for more than just the tabloid aspects of what happened to the crew, as a student of history I feel like it’s noteworthy because it’s one of those “nothing ever changes” moments that brings me a little comfort every time I fear our leaders are going to steer us into the ditch. A lot of the current work on the Franklin expedition’s fate points the finger at Franklin‘s men being underequipped and the British government’s hiring of the cheapest and quickest cannery to provision the expedition (some of the bodies of the dead have tested positive for botulism), playing a role in dooming these men, and governments taking the cheap way out at the expense of human life is something that resonates to this day.
Musically it’s a driving riff and a lot of fun live — the end doom-down may be responsible for spilling more of my blood than any part of any Clamfight song ever… and though we’ve yet to make it happen live (our fault not his) Erik Caplan from Wizard Eye swoops in to deliver some really chilling theremin work. Erik came by the studio and pulled this off in one take. He asked about the mood of the song and I said something vague along the lines of, “Give me something arctic and chilly sounding,” and he absolutely crushed it. The guy’s a miracle worker and we were lucky to have him on the record.
5. Age of Reptiles: Rhedosaurus
Andy: There’s songs on this record that are intensely personal and were born of the hardest time in my life… and then there’s “Age of Reptiles: Rhedosaurus,” which was born of a hangover, medicinal fried chicken, and Frank Frazetta and Ralph Bakshi‘s Fire and Ice. I was loafing around one Saturday afternoon, knowing that I was due to record vocals on Monday night and true to form I didn’t have a single line written. I already had the title, minus the “Rhedosaurs” bit, and being a huge dinosaur nut (I count Charles R. Knight paintings and my dad’s Zeppelin records as probably my two most formative musical influences) I had a general theme. I tried, and failed thank god, to pull some real freshman English dinosaurs-as-a-metaphor-for-closing-factories shit, and when that wouldn’t work, I decided to take a break and watch a movie. Luckily for me that movie was Fire and Ice. Once I got to the part where the dinosaur pops out of the pond and rescues Princess Tit-tania or whatever her name is I knew I had my lyrics. It felt right, the bridge for “Age of Reptiles” is maybe the jiggliest, most ass-shaking riff we’ve ever written, so it made sense to write about the most boob-tastic dinosaur chase in cinema history instead of trying to be a budget ass Bruce Springsteen.
6. River of Ice
Andy: “River of Ice” is one of those rare Clamfight songs that basically wrote itself in the space of one practice. While on the train to Jersey, I’d finished Wallace Breem‘s amazing The Eagle in the Snow, a novel about the failed defense of the Rhein by a Roman Legion in the waning days of the Roman Empire. I’ve read enough historical fiction to know that a lot of it’s crap, the kind of thing you’re only reading for the beheadings and the pillaging but Eagle in the Snow is more or less literature (whatever that means beyond “I know it when I see it”) and the ending is devastating. It was a particularly bleak winter night and I got off the train stunned by what I had just read and staggered into practice where I began clawing away at the wardrums that begin the song and Sean caught the mood and laid our most somber riff over it.
Sean: My favorite part about recording “River of Ice” is that I got to play through Erik‘s rig. I knew I wanted a certain big type of sound to come in right after the first verse. I asked Erik to help me dial in the sound he uses on Wizard Eye‘s song “The Dying Earth.” He told me to grab his guitar and after he hit a few pedals he said “try that.” Oh man, it was perfect. It’s some type of combination of a phaser and custom fuzz pedal that, to this day, I still haven’t mastered myself. I wouldn’t want to copy it perfectly either, because he’s crafted such a unique tone that it deserves to stand alone.
Sean: The main riff for “Mountain” was actually born of a jam session we had with Kris, the drummer from the band we had prior to Clamfight. We were practicing for a “reunion” show and started messing around with this crushing, slow, droney beat. We really had no intentions of writing any new material with Kris and it was too slow for his style anyway, but we knew there was something to it, so we recorded it to revisit at a later date. As anyone who writes music knows, some songs come together so naturally and easily and some really take time to construct. “Mountain” is definitely one of the latter, and as easily as that opening riff and the chorus were developed, we really struggled mightily finding where we were taking the rest of the song. Around this time, we were struggling with another song, “Indian Fire.” It had a really cool bridge, but had grown stale. Andy suggested using that bridge in “Mountain” and seeing where it led. The bridge fit so well it really was like the song was leading us to a natural ending rather than us taking it there. The last big riff just flowed out of the bridge.
Recording “Mountain” was a particular high point on this album because I got to directly collaborate with Erik. I felt like the song was the right vibe for him and the solo was long enough so we could each add enough flavor to it. We were able to jam on it once before entering the studio, which really helped me more than it did him. I think we have similar styles except Erik is more spontaneous, and he was able to improvise something in the studio where I had to have something pretty solid ahead of time. I love hearing the different guitar tones in the solo and the key change leading to those high notes makes me smile whenever I hear it. He also loaned me an awesome pedal to use for the leads over the bridge and helped me work out the harmonies. I’m honored we were able to put something like this together with Erik and I hope to do it again in the future.
8. The Green Gods of Yag
Sean: We don’t necessarily set out to write instrumentals, some songs just end up that way. We had three-quarters of “Green Gods” in the bag before we decided to make it an instrumental. It just had that feeling. We initially called it “Tower of the Elephant II” after “Tower of the Elephant” from Volume I, but that sounded too Metallica. Andy kept with the Robert E. Howard theme, though, and went with “The Green Gods of Yag.” We actually sat on the song for a while because we thought the “chorus” was too much like Black Sabbath‘s “Fairies Wear Boots.” We were going to change it, but we finally decided a little Sabbath influence is not necessarily a bad thing. We also pulled off a last minute change to the bridge just before we went into the studio because we felt it sounded too much like “Mountain.” I really like the change. It brings the tempo down just enough before we kick it in the balls again. I don’t really have a traditional solo, but I had a lot of fun in the studio layering the leads toward the end of the song. I remember telling Steve I had one more thing I wanted to try, and he gave me a look that I knew meant I had one shot at nailing it. I added the high scale ending with a long bend right before we come back around to the main riff. I asked him how it sounded and he replied, “Ridiculous.” Done!
9. Stealing the Ghost Horse
Sean: “Stealing the Ghost Horse” and “Age of Reptiles” were written one after the other. With these songs, two things became evident: we knew what direction we were going with the sound of this album, and we had our closer. “Ghost Horse” just flows into bigger riffs and I think it could really go on and on, which is why we chose to fade it out. It’s the type of song where Andy and I needed Louis and Joel to kind of reel us in, because we’d just keep adding riffs and play it forever. I don’t really remember how we composed the main riff, I just know it’s very fluid and a lot of fun to play. I love the big chorus and the galloping bridge really adds another dimension to the song. The solo was a bitch to compose. I worked on it for weeks until I had something I was happy with, and it’s still challenging to pull off live. I particularly enjoy the second half of the song, starting after the solo. I love the way it sounds with the guitars pounding away on a single note while Louis takes it away with an underlying progression. And then the riffs keep getting bigger, and Andy gets angrier, until we fade into the distance. I think perhaps we’ll have to start the next album with a “Ghost Horse” fade in… Damn, that’s good. I’m going to work on that right now.
Andy: A little ways back we were doing a run of shows with the mighty Rukut, and they were staying with us so the usual post show Euro-horror and Miller Hi-Life soaked shenanigans resulted. Cut to the foggy next morning and finding that one of us had written in huge letters on a legal pad “STEALING THE GHOST HORSE,” which a character in Amando De Ossororio‘s excellent Tombs of the Blind Dead actually does (an act repeated several times in the series, which always struck me as odd because I’m not sure if I saw a ghost horse I’d be tempted to abscond with it), and I knew I finally had a title and a theme for this massive song that we’d just written. Finally, the death metal bits at the end are my tribute to Hooded Menace, a band that I love, and one that also loves the Blind Dead movies.
Posted in Label Stuff on December 14th, 2012 by H.P. Taskmaster
Happy to report that 23 copies of Clamfight‘s I vs. the Glacier have been pre-ordered as of this post. If you haven’t had the chance to put yours in yet, please head over to the Maple Forum Bigcartel store and get your Paypal grooving. They’re going quick and as we get closer to the January 22, 2013, release date, I don’t think that’s gonna stop anytime soon.
Reviews have started to come in as well and, unsurprisingly because the record kicks ass, they’re awesome. Thanks to Axis of Metal and HeavyHardMetalmania for taking on this beast. I’m stoked to see what everyone else thinks as the official release approaches. I feel like these songs are so densely packed that they’ll catch a lot of people off guard. Clamfight walk a fine balance of a couple different kinds of metal — stoner, thrash, sludge, doom, etc. — and make a lot of really hard shifts sound really easy. Hopefully, whether you’re writing a review or not, you agree once you hear the record.
And as for that — actually hearing it — the kind souls at Stereokiller have put up the track “Sandriders” for streaming, which, thanks to the wonders of embed technology, you can hear on the player below. Check it out:
Thanks again to everyone who’s helped spread the word about Clamfight‘s I vs. the Glacierone way or another, and even more to everyone who’s put an order in so far. Make sure you get yours while the getting’s good by pre-ordering at the Maple Forum store.
The fifth release on The Obelisk’s in-house label The Maple Forum, New Jersey riff-thrashers Clamfight will draw forth I vs. the Glacieron Jan. 22, 2013. I know we’re still a ways off from that, but I firmly believe that when 2013 is over, Clamfight‘s epic second album will stand not only among the year’s strongest releases, but also perhaps one of the greatest cultural moments Western Civilization has yet produced. Needless to say, if that doesn’t turn out to be the case, I’ll be severely disappointed.
Bill Shakespeare, George Carlin, Black Sabbath, Shatner and Clamfight. I’m dead fucking serious.
I have 95 copies of the album to sell, and they’re up for pre-order now. Each Clamfight pre-order comes with a handwritten thank-you card (not pictured because I haven’t bought them yet, but they’ll be nice) [PLEASE NOTE: Due to the volume of pre-orders, I had to can the thank-you cards. Not that I appreciate your order any less -- quite the opposite -- but I've only got so many hours to fill these things out.] and a couple of the brand new Obelisk stickers with the octobeliskopus design by Skillit, as seen in the site’s header. They are $10 domestic American and $12 international, shipping included, and available to purchase at The Maple Forum Official Store.
All pre-orders will ship out Jan. 10, some 12 days ahead of the release date, to make sure everyone who ordered ahead of time gets the record early, and if I wound up having to write out 95 thank-you notes, well, that would just be awesome as far as I’m concerned. Maybe if they all go that quickly I’ll ship them out before the New Year hits to celebrate or something. Just floating ideas.
In another fit of “let’s try awesome,” I’ve also cut the price on the HeavyPink 7″, the fourth release on The Maple Forum. As you can see in the store, it’s now just $8 domestic/$12 international.
Thank you for your continued support of The Obelisk and of The Maple Forum. It means more than I have words to say.
And in case none of the other links did the job, click the album cover to buy:
Posted in Reviews on November 12th, 2012 by H.P. Taskmaster
First thing’s first: As one of the two presenting parties for the show — the other being BrooklynVegan, whose promotional assistance was massively appreciated for this weekender tour — I probably shouldn’t even be reviewing it at all. On the other hand, however, Black Pyramid, Kings Destroy and Clamfight rule, and after plugging the living crap out of it beforehand (see here, here and here), it seems like I’d be leaving the story unfinished without some kind of wrap-up. I felt a little bit like I was going to my own birthday party.
It was the first night of a three-gig weekender, at Union Pool in Brooklyn. The other two shows, Saturday and Sunday, were in Rochester and Allston, Mass., but this one had the added bonus of being free, so all the better. Yeah, C.O.C. and Royal Thunder were playing down at the St. Vitus bar the same night, but though that provided a bit of pre-show anxiety, the crowd was by no means lacking for any of the bands. Even as Clamfight got going, the room had plenty of people in it, for which I was thankful.
I’d shown up to the venue early to deliver the NJ/Philly-based outfit their I vs. the Glacier CDs, due out for release on The Maple Forum on Jan 22. It wasn’t long before they were out on the merch table, so hopefully a few people got early copies, which is always awesome. They got going circa 9:30PM and delivered a set of their epic riffy thrash. Their set was almost entirely new songs — that would prove to be a theme throughout the night — with “The Eagle” as a highlight alongside the slower, more languid guitars of “River of Ice,” which guitarists Sean McKee and Joel Harris made all the groovier while drummer/vocalist Andy Martin slammed his drums so hard he collapsed his floor tom and broke every stick he brought with him for the three shows, leaving Louis Koble‘s steady bass to the task of holding the songs together.
Martin, who has been occasionally known to throw up the night’s alcohol on stage but was doubtless pacing himself for the weekend ahead on Friday, has emerged as a solid frontman presence in the band, despite being behind the drums. He plays with charisma and the shouts and screams he lets loose feel like cruelties directed at the microphone. The band would do well to push his kit more to the front of the stage — not necessarily with anyone behind, but playing more on a lateral, à la Weedeater – and give their set even more of an unhinged atmosphere. As it was, they more than gave a favorable impression to the crowd, and capped off with “Stealing the Ghost Horse,” which also closes I vs. the Glacier and is arguably the most expansive Clamfight song yet, with a sense of drama to offset some of the brashness found elsewhere and a one-man clean/harsh call and response from Martin that’s as memorable live as it is on the album.
This was the first time I’d seen them since being delivered the master for I vs. the Glacierand knowing the songs better just made their set more fun to watch. McKee is relatively understated on stage — well-headbanged hair often obscuring his face entirely — but standing alone to Martin‘s left, he tears into a slew of killer solos, while Harris and Koble keep the riffs flowing on the other wise. Their live dynamic is beginning to come into its own. There are kinks to be worked out — more shows will help — but the potential remains strong and they did right by their new songs, as did Brooklyn’s own Kings Destroy, who turned the lights low and played cuts off their new record, the title of which I’m pretty sure I’m not at liberty to reveal.
I’m not aware of any album title, nor would I be at liberty to disclose any such title were I aware of its existence. Turn your head and cough. Ha.
As if the lighting at Union Pool needed to be any more challenging to my novice-ass picture-taking, Kings Destroy basically played in the dark but for a projection of what looked like shards of light that cut through. Their new songs — the likes of “The Toe,” “Decrepit” the more upbeat “Casse-Tête” and “Storm Break” — are a distant cry from where their first album, And the Rest Will Surely Perish (also aMaple Forum release, fancy that), once came. Part of that has to be due to the departure of bassist Ed Bocchino as a songwriting factor, but if it’s guitarists Carl Porcaro and Chris Skowronski coming up with the guitar parts around which this current batch of material is based, the results are intricate, complex and more and more atmospheric. I’m not about to decry the first album — I wouldn’t if I could — they’ve just flipped the formula on its head and as a result are less tied to genre stylistically.
They’ve also become a force on stage. Union Pool isn’t a huge room, but neither is it small, and that’s how the five-piece made it look, bassist Aaron Bumpus, drummer Rob Sefcik and vocalist Steve Murphy delivering a pro-grade run through a well-constructed set of their latest, the chaos all the more palpable for the fact that it was basically happening in the dark. The band all around has grown from their time on stage in Europe and the US, Skowronski and Porcaro keeping individual identities in a wash of tone and feedback, Murphy cutting through the morass, Bumpus touching on creative fills that just hint at the mountain of talent on which he seems to stand, while Sefcik‘s propulsive thunder proved no less weighted fast or slow. Their new stuff runs a risk of throwing some people off who perhaps expect a direct port of the straightforward side of the debut, but they’re on the way to mastering their aesthetic, and the direction they’re headed inis rich and progressive in a way that they’ve barely hinted at being to this point.
So yeah, by the time they finished with the creepy awesomeness of “Turul,” the first two bands of the night had me in a full-on nerdout. I can admit it. I wasn’t exactly going for impartiality here to start with, just trying to let you know how it went down. And if I wasn’t a fan of the bands, I probably wouldn’t have signed on to release their stuff on The Maple Forum, so if you have to take the review with a grain of salt, well, fine.
A note about the hazards of no cover charge: As Kings Destroy were wrapping up, Guy Who Clearly Just Wandered In saw me standing by the side of the stage in front of Black Pyramid drummer Clay Neely‘s kit and asked if I was in a band. It’s not an unreasonable suspicion — black t-shirt, jeans, long hair, beard; I’ve got the uniform. Now, I don’t want to go around making unreasonable assumptions about the behavior of others, but with the stickers on his $500 leather jacket, the crazed look in his eyes, dual-blonde accompaniment and “I’m everybody’s best buddy and the life of the party” demeanor, I had no choice but to presume he was on cocaine.
This is not an unreasonable assumption to make about anyone on a Friday night in either the Manhattan or Brooklyn boroughs of New York City, but I think that given the evidence — circumstantial though it is — I wasn’t necessarily in the wrong for being on my toes. I told him that, no, I wasn’t in the band, and that Neely, standing next to me, was their drummer. Sweat running down from the well-tended crop of spiky hair on his head, he persisted, as though I was simply obscuring the fact that I was in a band, indeed the band that was playing next, and we were just involved in some kind of playful joshing. No sir, I insisted, I’m not in a band, not in that band. Finally, and in a sterner tone that was not quite a yell but nonetheless definitely the “daddy voice” I’ve put on while scolding my dog for chasing a squirrel toward the road, I told him, “Dude, I’m not in that band. I’m just weird looking. I promise you,” and walked away to watch the end of Kings Destroy‘s set. So to the hazards of no cover: You ne’er know who’s gonna walk in.
It turned out — much to his surprise — that I wasn’t in Black Pyramid. Neely, bassist Dave Gein and guitarist/vocalist Darryl Shepard (who killed it just six days prior performing as Blackwolfgoat at the Small Stone Boston showcase) were in Black Pyramid, and no sooner were they set up and ready to go than were they laying waste to everything in their path, including the room, which by this point was fairly well packed out. Up front were a few headbangers — a rarity for New York anything — and the band’s energy fed off their own as they led off with “Stormbringer” and then went into “Aphelion” from their 2012 split with Odyssey, the first studio cut with Shepard‘s vocals and guitar, its axe-wielding groove making it an immediate highlight.
There were a few new cuts in the set from Black Pyramid‘s next album, which was finished being recorded only hours before the band pulled up to play Day Four of this year’s SHoD, and it’s worth noting how much more at home Shepard seemed on the material he helped compose. He stepped into kind of an awkward situation when he joined the band late last year before the release of their second full-length, II, and though he’s done well to make the prior material his own — as “Stormbringer,” “Visions of Gehenna” and the finale “No Life King” showed — there’s a difference between his performance of the songs he adopted versus the songs he wrote. It’s not an easy thing to make someone else’s work yours — that’s why most covers suck — but what he brings to Black Pyramid is about 20 years of writing killer riffs, plus an ability to toss off embarrass-your-lead-guitarist solos like he was taking off a pair of shoes. He makes some of the older leads look easy to the point of silliness.
His vocals on both new material and old fit the songs excellently, though, and he, Gein and Neely were as tight as I’ve ever seen Black Pyramid, including at Roadburn 2011, which if it wasn’t their prior apex had to be close to it. I’m hardly objective in their case either, even if I haven’t released anything of theirs, but the crispness of their presentation made me look forward all the more to when I might get the chance to hear the studio versions of the new tracks and give them an overly-worded track-by-track review, which no doubt will also carry with it a disclaimer disavowing any and all critical credibility. But it’ll be fun, and that’s what matters.
Ditto that for this gig. It was a great time. All three of these bands are made up of killer dudes, and when I rolled out of Union Pool and headed back to Jersey, I was more than a little wistful at the thought of following the tour up north to Rochester, but it wasn’t to be. Instead, I rolled into my humble river valley at around 1:30AM, found that the internet had finally come back on after Hurricane Sandy, and spent the remainder of the evening — all 25 minutes of it — beginning to chip away at the weeks of neglected emails that I hadn’t had the chance to answer. Some you win, some you lose. I felt lucky to see these three acts on the night I did, and hopefully they get together and do it again.
Posted in Label Stuff on November 8th, 2012 by H.P. Taskmaster
Yes, the rumors are true. Those soft rumblings you’ve heard from the ground, the whispers on the wind. Clamfight‘s second album, I vs. the Glacier, has been giving a Jan. 22, 2013, release date via The Maple Forum. The discs are back from the pressing plant, and they’re just sitting in my office waiting to go out. We’ll have preorder info up in the next couple weeks.
And before we get to January, the band are going to be breaking their asses to promote. There’s talks of a video, track streams, late-night talk show appearances, etc., and to help them in their quest for riffy thrash domination, the four-piece have enlisted the ultra-capable Earsplit PR, whose dedication to the cause and work with the likes of Neurosis, C.O.C. and EyeHateGod (among countless others) has rendered their expertise unfuckwithable. Clamfight are in good hands.
Earsplit sent the following announcement down (what else?) the PR wire:
CLAMFIGHT Prep New Album For Deployment
Mini-Tour With Black Pyramid, Kings Destroy Begins This Week
Riffmongering Westmont, New Jersey-based CLAMFIGHT has completed their second album, and are preparing it for deployment in early 2013, unless there is some truth to this Mayan calendar fiasco that is.
As with their impressive 2010 debut Volume I, the new opus, I Versus The Glacier, was recorded by Steve Poponi at Gradwell House Recording in Haddon Heights, New Jersey. The thundering nine-track ruckus that is I Versus The Glacier magnifies the signature CLAMFIGHT blend of sludge, thrash, and doom that, according to Doommantia webzine, “has more than enough groove to break down walls,” yet ventures into even more expansive and torrentially-infectious territory on the nearly fifty-minute album.
I Versus The Glacier will see release on January 22nd, 2013 exclusively through New Jersey-based The Maple Forum, the official label imprint born of admired webzine/music community The Obelisk. In coordination with BrooklynVegan, The Maple Forum is co-sponsoring a weekend warrior tour kicking off in Brooklyn this Friday and plowing through Rochester, New York and Allston, Massachusetts, uniting CLAMFIGHT alongside Kings Destroy (members of Killing Time) and Black Pyramid.
CLAMFIGHT Live Engagements: 11/09/2012 Union Pool – Brooklyn, NY w/ Kings Destroy, Black Pyramid 11/10/2012 Monty’s Krowne – Rochester, NY w/ Kings Destroy, Black Pyramid, Babayaga 11/11/2012 O’Brien’s Pub – Allston, MA w/ Kings Destroy, Black Pyramid 11/20/2012 Kung Fu Necktie – Philadelphia, PA w/ Thee Nosebleeds, Screaming Rattler
Additional live excursions are being devised for the coming weeks and will be announced as the album’s release date nears.
I vs. the Glacier Track Listing: 1. The Eagle 2. Sandriders 3. Shadow Line 4. I vs. the Glacier 5. Age of Reptiles 6. River of Ice 7. Mountain 8. Tower of the Elephant II 9. Stealing the Ghost Horse
Once again, I doff my hat to the work of Sean “Skillit” McEleny, who just sent over this poster for the Black Pyramid, Kings Destroy and Clamfight “Annihilate All Weekend Long” weekender tour next month. You may know Skillit‘s stuff from, uh, scroll up, he did the header for this site, as well as from kickass shows and artists too numerous to mention in a post that’s just supposed to be about artwork. His site is here.
I wanna be friends with it:
Friday, 11/9 – Union Pool, Brooklyn, NY **FREE SHOW**
Saturday, 11/10 – Monty’s Krown, Rochester, NY
Sunday, 11/11 – O’Brien’s Pub, Somerville, MA
By way of band updates:
Kings Destroy will also be playing Nov. 2 at the St. Vitus bar in Brooklyn with Witch Mountain. Their new album is being mastered next week by Joe Lambert in Brooklyn, and will be out early 2013.
Clamfight are in Delaware this weekend with Wizard Eye and others. The latest on their new album is here. I can’t fucking wait for it to be released.
Black Pyramid kick ass. That’s not really news, but it’s true all the same.
Posted in Label Stuff on October 24th, 2012 by H.P. Taskmaster
Got home from work last night and found a big ol’ box of Clamfight CDs. It was enough to have made the workday worthwhile.
They’re geeerjus, as you can see in the totally natural, not-at-all-arranged picture above. I’m always stoked on everything The Maple Forum puts out, but Clamfight are friends going back years and years. We played shows together when they were barely a band, and I’ve only become more of a fan as they’ve grown into the unwieldy riff ‘n’ thrash monster they are now. I vs. the Glacieris going to stomp your face.
It’s a four-panel digipak. Here’s the full outside cover, with firehorses and scantily :
Here’s the inside cover with the disc:
And here’s a closer look at the cover:
We’re eying a January release. Stay tuned for pre-order info. Of course, the band might also have some copies with them on the upcoming Clamfight, Kings Destroy and Black Pyramid “We vs. the Weekender” tour, about which you can find more details here or here.
Posted in Label Stuff on October 4th, 2012 by H.P. Taskmaster
I stopped off at the post office on my way to work this morning and shipped out the master, the art and everything else has been uploaded, so Clamfight‘s long-awaited second album, I vs. the Glacier, is officially in production. It’s been a long time coming, but the band worked their asses off getting the record together, the songs are even better than I could’ve hoped for, and I’m stoked to be involved in the release via The Obelisk’s in-house label, The Maple Forum. It’ll be a full four-panel digipak with sophomore-year-notebook-worthy artwork that we’ll have more on in the future.
As for when that release will actually be out, we’re not sure yet. The impulse every time I get a disc back from the press — or, in the case of HeavyPink‘s 7″ single, from Tony Reed — is to put it on sale right away, because I’m all excited and whatnot and suddenly it makes a ton of sense to release something I’m super-into without really telling anyone about it first. Maybe I’ve learned my lesson on that one, maybe not. This record’s been in the works for a while and I don’t want to be the cause of further delay. On the other hand, it’s a killer album and it deserves whatever fanfare it can accrue before actually coming out, be it reviews, word of mouth, whatever.
So there’s some coordination that still needs to happen, but for today, I’m just going to be thrilled that at long last, Clamfight‘s Ivs. the Glacierwill be pressed. The CD will be limited to 300 copies, of which I’ll have 100 for sale. As we get closer to the eventual release, we’ll talk tracklisting, recording info, etc. But that’s all for later. For now, I raise my coffee mug in salute to the havoc this excellent frickin’ record is going to wreak on any ears fortunate enough to hear it.
Thanks for your continued support of The Maple Forum and of this site.
Posted in Features on July 12th, 2012 by H.P. Taskmaster
When vocalist Steve Murphy of Kings Destroy — who’s hands down one of the most solid dudes I’ve ever come across in my doomly travels — first pitched me on the idea of a European tour diary, I was like, “Yeah, alright, I’d be up for that.” And I was, but I kind of figured that the band would be too busy drinking good beer and kicking good ass to actually follow through on it.
More the fool I, and rarely have I been so thrilled to play the fool. Below, bassist Aaron Bumpus checks in from the road as Kings Destroy opens the Red Stage at Sweden’s Getaway Rock Fest and continues their European run with Rosetta. If you’ve missed the first installments of the tour diary, click here.
Berlin-Prague Official tour song: Scorpions, “Winds of Change” Official tour mascot: Paul Stanley
After another great show at Magnet with our tourmates, Rosetta, Kings Destroy says farewell to Berlin and heads north to Sweden. My mind begins to generate a rather long list of bands that were born in this country over the years, and I start to think, “What metalhead wouldn’t be psyched about going to Sweden?”. Especially when said visit involves an insane event like GetawayRockFest.
Driving up from Berlin to the ferry, we hadn’t slept much in the van. So once we boarded the ferry, I put my head down and was out within minutes. I did wake up a couple of times to take a peak outside at what appeared to be small glacial structures. An ominous mist rose off the top as we crept by. Fucking metal, indeed.
After a second blown rear tire in three days (this time on Rosetta‘s van), we continued on to Linköping, where we made camp for the night. We would get an early start in the morning. Of course, delays are inevitable sometimes. Without getting too detailed, I guess it’s fair to say we may have put a little too much faith in our GPS. Once we figured out a way to get to a much more reliable road, we hauled ass to Gävle with Captain Murphy at the helm, and arrived at the exact time we were scheduled to set up for soundcheck. The view from the “Red” stage at Getaway Rock Fest was a sight to behold, adjacent to the river, blue skies and a clear sunny day. Since we opened the show on our stage (with Rosetta to follow), we weren’t expecting much of an audience. This was the earliest set we’ve ever played (2PM), but sure enough, people started making their way over to rock with us. Good times on that stage — always nice to have a bit of room to run around. Well received, and we had the rest of the day to hang out, drink beer and watch some of the other bands.
The highlight for me was at about 4:30PM, when I was lucky enough to catch Suicidal Tendencies set in its entirety. I watched from the frontlines singing along every word like an obsessed angst-filled Dogtown teenager. One can never get tired of watching Cyco Miko bug out on stage — dude never seems to run out of energy. I can honestly say, with four stages, 12 hours of bands, blond headbanging as far as the eye can see, and of course, t-shirts of all kinds, from obscure local favorites to the usual hall of famers (Iron Maiden wins the t-shirt popularity contest without question), I’ve never seen anything quite like this. The magnitude of such an event is pretty unbelievable, until you witness it for yourself.
Spent some time hanging out with the guys from Weedeater, who are some of the nicest dudes, and always entertaining both on stage and off. You know what? I take back what I said earlier. The REAL highlight of my day was watching the Weedeater cats commandeer a forklift from the stage crew, going full throttle towards the backstage area, then Dixie riding the lift all the way up to the top and back down, all without spilling his beer.
Saturday’s headliner: none other than the legendary Yngwie Malmsteen, who has not slowed down one bit since Rising Force. Sweden’s prodigal son returns, in triumph, to unleash the fucking fury in his homeland. Now that’s a sight I never thought I would get to see.
After a quick ferry ride followed by a 16-hour drive, we’re back in Germany for a show in Hamburg. Our overall weariness from the drive may have added to the extra-slow set we delivered, making it appropriately doomtastic. We made friends with some of the locals who accompanied us to a metal bar in the neighborhood where we spent the majority of the rest of the night drinking beer and filling up the jukebox. Lots of laughs as we stumbled back to the venue/apartment where we were staying.
Before I tell the story of our arrival in Prague, I should mention we just had our third flat tire in a week (the second flat for Rosetta‘s van). In order to make the gig, we had both bands pile into one van with all our gear, and fucking tore ass across the German border. Pretty intense. We knew we were going to be late, but “the show must go on,” as they say. We didn’t mind playing a relatively short set so the Rosetta fans at Klub 007 would get their money’s worth.
It was also C-wolf‘s birthday yesterday. I can’t think of a better place to celebrate the man and the legend that is the C-wolf. The next morning, we took a walk into town. We really haven’t had much time to go out and explore, but I’m glad Prague was one of the three we’ve been able to check out. Old cities are something of a fascination of mine, and I’ve been fortunate to see several on this tour. Little by little, we’re creeping closer towards the end. It’s really starting to sink in that this thing is almost over. But, with six days left in the tour, there are bound to be a few more adventures.
Posted in Label Stuff on July 10th, 2012 by H.P. Taskmaster
When it’s finally released — and it will be, mark my words — Clamfight‘s I vs. the Glacier will hit you so hard your pants are going to shit themselves. You’re not even going to shit your pants. They’re going to do it for you. That’s how heavy Clamfight are. One of my favorite reasons that Philadelphia is my favorite city, the two-guitar foursome checked in with an update on the progress for the completion of the album’s artwork. Though by the time it’s out, we’ll all no doubt long since have felt like we did indeed fight a glacier, rest assured this one’s going to be worth the wait.
Here’s the latest from frontdrummer Andy Martin and the cover art:
So it occurred to me that a little heads up to the general, riff-loving populace might be in order when at a show a few weeks back a buddy of mine said, “So when’s Chinese Democracy II coming out?” A little harsh, but more than a little warranted.
The former Clamfight 3 — now called I Versus the Glacier — is done. Way done in fact. It’s mixed and mastered and nearly ready for your greedy mitts. Currently we’re waiting on a final panel of art from the massively talented Josh Wright and then it’s on to JJ to decide when this puppy comes out.
What’s been behind the delay you ask? Life, really. We’re four guys with pretty demanding professional lives and are just as passionate at keeping roofs over our loved ones’ heads as we are rocking your tits off. Hell, one of us is launching a private audiology practice and I’m pecking this thing out while just minutes from hopping a plane to Iceland to spend my summer digging.
We’re busy guys but whenever JJ says I Versus the Glacier is coming out, we’ll be shelving as much of the work stuff as possible and looking to play this thing live for as many of you as we can possibly reach, while still holding onto those aforementioned roofs. Personally I can’t wait.
Once we have an actual release date to announce we’ll have an official track premiere, although a handful of you may have gotten your hands on that track from one of our recent shows. We’re proud of the finished product and honored to be working with JJ and The Maple Forum, and we can’t wait to get it out there to the loyal community. You’ll be hearing from us soon…
There you have it. In the meantime, if you haven’t gotten yours yet, there are a meager 60 copies of HeavyPink 7″ left, and they’re available through the Maple Forum BigCartel store. Thanks as always for your support of The Obelisk and its low-key, limited-type label arm.
I don’t know if you’ve ever met him or spoken to him, but I can’t even begin to tell you how excellent it is to work with Tony Reed. He’s one of the most bullshit-free individuals I’ve ever had the pleasure to meet, and by way of an example, when I emailed him yesterday to say, “Hey dude, I’ve sold a few copies of the HeavyPink 7″ in the last week and thought it might be a good time to do an update, you got anything new in the works?” it wasn’t even an hour later that he got back to me with info on two new albums he’s a part of and the news that he’s starting in on the next batch of HeavyPink songs already as well.
While I admit I’m hardly impartial, I’m really excited to see where Reed takes the one-man HeavyPink psychedelic project next. Of all his current bands and acts to which he’s contributed of late — Stone Axe, Mos Generator, Blood of the Sun, and so on — I really thought that HeavyPink was something different and unique within his catalog. Something he’d never done before. That was a big part of why I was so happy to help put it out, and with 67 copies left, I hope that if you wound up hearing the 7″, you’ve enjoyed it as well.
Reed informs that he, as ever, is busy. In addition to preparing for Stone Axe‘s set of Free covers at London Desertfest, which runs from April 6-8, and their European tour with Stubb and Trippy Wicked and the new releases detailed last week, he’s gotten started on what will be the first Mos Generator output in four years, a brand new studio album tentatively titled Nomad, for which there will also be a video for the song “Cosmic Ark.” In addition to this, Blood of the Sun‘s new album, Burning on the Wings of Desire, will be released by Listenable Records later this year.
So all good things, and in addition, Reed mixed and mastered the recently-lauded Stubb full-length, and recorded the new Saint Vitus album that’s due out this Spring, so it’s never too long before he’s heard from, one way or another.
Thanks for your support of HeavyPink, The Maple Forum and The Obelisk. To purchase one of the remaining 67 copies of HeavyPink‘s debut 7″, please follow the link above or simply click here.