Moss Announce New EP Release Carmilla (Marcilla)/Spectral Visions

Posted in Whathaveyou on August 22nd, 2014 by H.P. Taskmaster

UK purveyors of aged and crawling miseries Moss have announced a new EP due out on Halloween. Carmilla (Marcilla)/Spectral Visions will be the first Moss outing since last year’s Horrible Night full-length (review here), and it is set to emerge via Stone Tapes, an imprint helmed by the band born out of their own Buried and Forgotten Productions, through which they’ve periodically issued offerings every couple years or so. The last one was the Never Say Live tape in 2010.

Carmilla (Marcilla)/Spectral Visions earns further distinction by being the first vinyl Moss has self-released on their own label, whatever that label might be called. I don’t know if this portends future LPs coming from the band’s own hands, but it’s a noteworthy jump one way or another.

They sent the following down the PR wire:

Cartoons!

NEW MOSS 10″ EP, preview streaming now

UK doom metal veterans MOSS return with a new EP released on the 31st of October on 10″ vinyl and digital, via their own label Stone Tapes.

Consisting of two tombstone classics, Carmilla (Marcilla)/Spectral Visions is nearly 20 minutes of pure, horror-obsessed doom metal, dragging the endless atmospheres found on 2013′s ‘Horrible Night’ even deeper and further down into unfathomable depths.

A 100% DIY release in the truest sense and coming on gimmick-free black 10″ vinyl limited to 500 copies, Carmilla (Marcilla)/Spectral Visions is available to pre-order now from MOSS’s official bandcamp page http://www.mossdoom.bandcamp.com

Since they emerged from Hampshire’s catacombs in late 2000, MOSS have tirelessly dragged intimidating amplification and metaphysical malignance down a murky and overgrown path to oblivion. Whilst their sound has morphed slowly from lengthy and devastating exorcisms of psychic horror to a comparatively traditional form of sermonising, the last decade and a half has only seen them draw closer to a motherlode of ceremonial ambience and otherworldly dread. Fuelled by classic doom metal and British horror yet in thrall to no-one but their own wayward co-ordinates, these three seers have created a formidable collection of audial documents that bear testimony to an unflinching fascination with the ghastly and esoteric.

However, Hallowe’en 2014 sees the triuvirate encroaching on territory anew. Having released an album on Aurora Borealis and two more on Rise Above alongside untold EPs, live recordings and split releases, they now embark on their first release for their own imprint, Stone Tapes, having chosen not to renew their association with Rise Above after the release of 2013′s ‘MOSS’s Horrible Night’. A 10” double A-side EP limited to 500 copies, it sees the band in splendid isolation, expanding on the gruesome Grand Guignol atmosphere of their last opus in suitably monomaniacal fashion, and deploying grimly earthen guitar tone, death-knell battery and stentorian oratory to conjure otherworldly malice from beyond with deadly fortitude.

These two tracks draw on a sphere of influence that includes classic horror fiction, arrive swathed in unearthly feedback, and volley forth at a funereal pace. Yet they manage to effortlessly waylay both the preponderance of humdrum cliches and the needless barrage of volume and excess that frequently hold sway in contemporary doom-laden circles. Always a band out of time, the trio operate impervious to fashion or most any outside influence bar certain personal pecadiloes and the demons lurking in their own subconscious. These twenty minutes of tumult, recorded at the Cro’s Nest in Purley, by Sam Thredder, only underline the uncompromising and bloody-minded attitude that have rendered MOSS a primal force that transcends trappings of genre and scene.

The dawning of a new chapter in an uncanny saga, ‘Carmilla (Marcilla)’ and ‘Spectral Visions’ function as both an imtimdating document in their own right and as portents of all manner of unimaginable entities lurking in the furthermost reaches of everyday perception. Yet as MOSS’s power grows stronger, one can only wonder aghast at the consequences for all…

http://www.facebook.com/mossdoomcult
http://www.facebook.com/stonetapes
http://www.mossdoom.bandcamp.com
http://www.youtube.com/user/mossdoomofficial

Moss, “Carmilla (Marcilla)” (2014)

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Uncle Acid and the Deadbeats Post Video for “Runaway Girls”

Posted in Bootleg Theater on August 19th, 2014 by H.P. Taskmaster

Look hard enough amid all the vintage bikes, cult leaders and sexualized violence in Uncle Acid‘s new video for “Runaway Girls” and you might find something that surprises you: The band. They showed up in glimpses last year as well in the similarly-minded “Mind Crawler” video – no doubt also a nightmare in the editing — but they’re just a little more present in “Runaway Girls,” and fair enough. The UK garage doom forerunners are a more public entity than they were a year ago, what with a handful of live shows under their belt alongside Black Sabbath and an impending US tour beginning next month. The world already knows what you look like. Might as well show up in your own video.

Beyond that, “Runaway Girls” is all the tanlines and devil-worship one might expect from Uncle Acid and the Deadbeats, who by now have converted more than a handful of bands to their cultish ways following the 2013 release of Mind Control (review here), an album that pushed the grainy riffage of 2011′s landmark sophomore outing, Blood Lust, into more psychedelic expanses. The song itself is the highlight, of course, and it pulls back on some of the spaciousness of Mind Control to the eerie threats of Blood Lust. If it’s a leftover from the Mind Control sessions, it’s easy to see why it didn’t fit on the record, and if it’s older, then the many who salivated over Blood Lust at the time should be all the more pleased. I don’t think it’s a brand new recording either way, but if it is, then perhaps Uncle Acid are teaching a lesson about what we can do with our expectations, even as they reaffirm them with the video.

The Runaway Girls single is out Aug. 25 on Rise Above, and Uncle Acid and the Deadbeats start their US tour on Sept. 24 at the Underground Arts in Philly. Dates follow the clip, which was directed by Marc Morris, below.

Enjoy:

Uncle Acid, “Runaway Girls” official video

UNCLE ACID AND THE DEADBEATS North American Tour:
9/24: Philadelphia, PA @ Underground Arts
9/25: New York, NY @ Bowery Ballroom
9/26: Cambridge, MA @ Middle East
9/27: Montreal, QC @ Il Motore
9/28: Toronto, ON @ Lee’s Palace
9/30: Chicago, IL @ Subterranean
10/1: Minneapolis, MN @ Triple Rock Social Club
10/3: Denver, CO @ Marquis Theater
10/4: Salt Lake City, UT @ Urban Lounge
10/6: Seattle, WA @ Neumos
10/7: Vancouver, BC @ Rickshaw
10/8: Portland, OR @ Hawthorne Theatre
10/10: San Francisco, CA @ Slim’s
10/11: Los Angeles, CA @ The Roxy Theater – SOLD OUT
10/12: Los Angeles, CA @ The Roxy Theater

Uncle Acid on Thee Facebooks

Rise Above Records

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The Obelisk Radio Adds: Ides of Gemini, Michael Rudolph Cummings, Witch Charmer, Kikagaku Moyo, Spindrift

Posted in Radio on August 15th, 2014 by H.P. Taskmaster

the obelisk radio

It’s a pretty wide stylistic swath with this week’s adds to The Obelisk Radio, but I don’t think that’s a bad thing. If you check out the playlists for the last couple days, you’ll see a considerable variety of track picked out — also a lot of Clutch – and that only bolsters the appeal of the stream as far as I’m concerned. Straight-up riffs all the time is cool, I guess, but sometimes a left turn out of nowhere can make your whole day seem richer. Maybe that’s what I’m going for with this week’s picks. Either way, it’s a lot of quality, so your tuning in is appreciated.

The Obelisk Radio Adds for Aug. 15, 2014:

Ides of Gemini, Old World/New Wave

ides of gemini old world new wave

The Sera Timms-fronted three-piece return with Old World/New Wave, their second album on Neurot Recordings with a suitable foll0w-up collection of otherworldly melodies and ethereal instrumental explorations, setting a balance between doomly undulation and minimalist ambience. Also handling bass, Timms (ex-Black Math Horseman) is of course in command of her form vocally, and guitarist J. Bennett and drummer/backing vocalist Kelly Johnston play more than a complementary role, the trio functioning even tighter than on their 2012 debut, Constantinople, hitting on psychedelic mastery with “White Hart” and rolling out a classic riffly chug on the later “Fememorde.” Mood and ambience are never far from being the central focus, but Ides of Gemini let loose a bit on “The Chalice and the Blade,” with Bennett‘s guitar taking forward position in the mix with an echoing lead tone that seems to be in direct conversation with Timms‘ vocals. It’s a dialog worth hearing, and one that makes Old World/New Wave a markedly rich, immersive listening experience, the spaces the three-piece create in their songs seeming inevitably destined for headphone-on isolation, and in that context, flourishing. Ides of Gemini on Thee Facebooks, Neurot Recordings.

Michael Rudolph Cummings, “Long Haul”

A single following the earlier-2014 solo release, Get Low, from Pennsylvania-based Backwoods Payback guitarist/vocalist Michael Rudolph Cummings, the new song “Long Haul” finds Cummings partnered with his Backwoods bandmate Jessica Baker (bass), as well as guitarists Dan Metzker and Pat Shannon and drummer/vocalist Mike Bardzik under the adopted moniker mRc and the Souvenirs. The feel of the track is accordingly full-band, casting off most of the punk influence and heavy tonality that distinguishes Backwoods Payback‘s riff-led take in favor of warmer, classic rock vibing. Cummings‘ voice is suited to the change, and especially following Get Low, “Long Haul” feels like an exploration in progress — new ground being felt out — and I’d argue it’s successful in its push toward creating something distinct from Cummings‘ other solo work and the Backwoods itself. He’s reportedly got an EP coming with The Souvenirs, and as a first taste of what that might sound like, “Long Haul” holds promise of good things to come. Michael Rudolph Cummings on Bandcamp, Backwoods Payback on Twitter.

Kikagaku Moyo, Mammatus Clouds

Improvisational five-piece Kikagaku Moyo are obviously comfortable working in longer forms. The Tokyo outfit’s second offering, Mammatus Clouds, was initially released as limited tape through Sky Lantern Records and has been picked up by Cardinal Fuzz for a deluxe 2LP. No real question why — its three tracks, “Pond” (27:50), “Never Know” (16:50) and “There is No Other Place” (3:19), enact a lush wash of hypnotic, sitar-laced psychedelia. “Pond” is especially satisfying in its exploration, drones and melodies playing out over a consistent rhythmic bed, driving further and further out into ambient breaks and louder payoffs until dropping out to spacious waves of noise, but I won’t discount the appeal of realizing that Kikagaku Moyo are playing off The Beatles‘ “Tomorrow Never Knows” in their own “Never Know” either, taking a recognizable sitar line and burying it deep within their own impulses, truly making an individualized work of it. Likewise, the closer “There is No Other Place” comes as a surprise, an effects-drenched psych rocker quick in its pulse and building to Mammatus Clouds‘ noisy conclusion. The sound here is richer than the average heavy jam, and the effectiveness of the ambience is not to be understated. I haven’t heard the vinyl or the tape, but I have a hard time imagining a format on which this music isn’t absolutely beautiful. Kikagaku Moyo on Thee Facebooks, Cardinal Fuzz webstore, Sky Lantern Records on Bandcamp.

Witch Charmer, The Great Depression

Multi-vocalist UK bruiser doomers Witch Charmer debut on Argonauta Records with The Great Depression, the follow-up first full-length to their 2013 Euphoric Curse EP. Mixed and mastered as that release was by Mos Generator‘s Tony ReedThe Great Depression works well to establish a varied if not necessarily stylistically diverse sound, frontwoman Kate McKeown, guitarists Len Lennox and Adam Clarke and drummer Dave McQuillan all contributing vocals — the band is completed by bassist Richard Maher — over dense and accordingly depressive riffing. I’m not sure which of them does the Kirk Windstein-style growls, but they’re pretty dead on, as “A Watching of Wolves” will attest, and the tradeoffs both keep the record moving and keep a sense of spontaneity to coincide with the rolling riffs and longer arrangements, leading to the extended closer “Stare into the Sun,” which hides a sample-topped acoustic outro. Not sure why they’d feel the need to bury those impulses, but their first outing may be setting the stage for an unfolding creative progression, and cohesive as it is, I’m not going to knock it for solid riffs front to back and a doomed-out feel. Witch Charmer on Thee Facebooks, Argonauta Records.

Spindrift, Exotic Detonation EP

Underrated cowboy psych outfit Spindrift — now featuring guitarist Thomas Bellier of Blaak Heat Shujaa — apparently had some material leftover from last year’s Spindrift: Ghost of the West, and three new songs surface as the Exotic Detonation EP via Tee Pee Records, bringing The Twilight Zone to mind immediately on the opening title-track before launching into the snare-march Morricone-isms in which they so readily trade. That Spindrift would wind up doing soundtrack work — to their own movie, no less — isn’t surprising, since their style is so cinematic, but I guess “Exotic Detonation,” the desert-jammy “Ghosts Go West” and the minimalist finale “High Plains Spindrifter” didn’t fit on the initial release. Issuing them on a complementary EP makes sense, and from the standpoint of the radio stream, it’s three more Spindrift songs that weren’t there before, so fair enough. They continue to reside in a very particular niche that’s very much theirs, and for fans of those who might happen into them live, Exotic Detonation will seem right at home among their other Western thrills. Spindrift on Thee Facebooks, Tee Pee Records.

I could tell you how long this took me to put together, but frankly it’s embarrassing. Still, this is but a portion of the albums added to The Obelisk Radio this afternoon. To see the full list (it includes Pallbearer), check out The Obelisk Radio Updates and Playlist page.

Thanks as always for reading and listening.

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New Orange Goblin Album Back from the Abyss Due in October

Posted in Whathaveyou on August 15th, 2014 by H.P. Taskmaster

orange goblin

Well, one of the few remaining questions I had about releases in 2014 was whether or not the new Orange Goblin was going to arrive before the end of the year, and it looks like Candlelight Records has taken care of answering that. London’s heavy rock forerunning stalwarts will have Back from the Abyss – I’ll just assume that’s not their statement on touring in the US — out this October, gunning for an autumnal addition to the year-end best-of lists and, I’m sure, getting it. I know I’ll be keeping a slot open. There’s a new track posted at Loudwire that I haven’t listened to yet, but I wanted to get the news posted right away because, well, it’s new Orange Goblin, and that’s kind of a big deal.

They’ll head out on tour in Europe with Saint Vitus immediately following the release. No doubt much boozy destruction will ensue.

The PR wire has it like this:

ORANGE GOBLIN’s New Album Coming This October

Candlelight Records today confirms October 7th as the North American release date for ORANGE GOBLIN’s new album, Back From The Abyss. Recorded earlier this year in London, the album reunites the band with producer Jamie Dodd. It was mastered at Turan Audio in late July. Back From The Abyss will be available for preorder via iTunes and Amazon beginning August 26th. Fans can begin to preorder the CD today via Candlelight’s official webstore and Bandcamp page.

Loudwire.com is celebrating the announcement with an exclusive North American stream of the album’s first single, “The Devil’s Whip.” Vocalist Ben Ward says, “This song is a real old-school banger stuffed full of riffs, sleaze, filth, and speed… just like the best metal should be! It’s Motörhead-style, outlaw-biker rock in all its glory, destined to get heads banging, fists pumping, drinks flowing and asses shaking. If you don’t find yourself breaking the speed limit to this song, desperate to find the roughest bar in town, start a fight and spending the night in a cell, then you are quite clearly already dead. Let’s ride, let loose, let’s rip… that’s right, you can’t escape ‘The Devil’s Whip.’”

Back From The Abyss follows the band’s most successful release, 2012′s A Eulogy For The Damned, and the recent reissue of their 2007 album Healing Through Fire. Featuring twelve new songs, it delivers the quartets now internationally respected heavy metal. Decibel Magazine calls the band’s sound, “maximum riffage and turbo doom.” Blabbermouth dubs them, “a big burly bag of rock goodness.” Rocking hard as fans have come expect, Back From The Abyss shows not only the band’s tried-and-true blues and doom but the high caliber of their musicianship.

ORANGE GOBLIN will kick off the Autumn with a European tour alongside doom legends St. Vitus. Set to begin in France on October 9th, the tour will work its way through thirteen countries before concluding in Germany on November 14th. On the tour’s announcement Ward said, “We are extremely excited to be going on tour with our good friends and long-time heroes St. Vitus. Vitus are one of the bands that inspired us to form ORANGE GOBLIN all those years ago and to be able to promote our new album and celebrate their thirty-fifth anniversary at the same time just blows my mind.”

American dates in support of Back From The Abyss are anticipated to start early in the new year. Details to be announced shortly.

Together since 1995, ORANGE GOBLIN has released seven full-length studio albums. A Eulogy For The Damned was the band’s first for Candlelight Records and closed a five year recording hiatus. The album was supported with the most live dates by the band in their history; touring that saw the band on North America soil first alongside Clutch then on a full-scale headline tour that found them on thirty-eight stages across the US and Canada. Two videos were filmed and released for the album, including “Red Tide Rising” and the special Scion A/V video for “Acid Trials.”

Back From The Abyss Track Listing:
1. Sabbath Hex
2. Ubermensch
3. The Devil’s Whip
4. Demon Blues
5. Heavy Lies The Crown
6. Into the Arms of Morpheus
7. Mythical Knives
8. Bloodzilla
9. The Abyss
10. Titan
11. Blood Of Them
12. The Shadow Over Innsmouth

ORANGE GOBLIN is vocalist Ben Ward, guitartist Joe Hoare, bassist Martyn Millard, and drummer Christopher Turner. The band are endorsed by Marshall Amplification, Orange Amplification, Fender Bass Guitars, Natal Drums, Meinl Cymbals, Vater Sticks, Remo Skins, Vans, Volcom, Boss Pedals, Rotosound Strings, and Jagermeister.

http://www.facebook.com/orangegoblinofficial
http://www.orange-goblin.com
http://www.candlelightrecordsusa.com

Orange Goblin, “The Devil’s Whip” from Back from the Abyss (2014)

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Yawning Sons’ Ceremony to the Sunset Vinyl Due this Fall

Posted in Whathaveyou on August 14th, 2014 by H.P. Taskmaster

I was fortunate enough to be there to take the above photo of Yawning Sons at the 2013 Desertfest in London. Their set was plagued by technical difficulties — all the more a bummer since the collaboration between Yawning Man‘s Gary Arce and UK instrumentalists Sons of Alpha Centauri doesn’t happen every day — but still, my affection for Yawning Sons‘ debut album, Ceremony to the Sunset (review here), had (and has) endured to the point where it hardly mattered. Just being there to watch them jam out, even for about half their allotted time, was one of the high points for me of that entire trip.

Seems I’m not the only one who still digs on Ceremony to the Sunset five years after its initial release through Cobraside Distribution. Respected Spanish imprint Alone Records has the album slated for a vinyl pressing on Oct. 6, with a preceding digital reissue next week. That’s notable because the record is gorgeous and worth hearing for anyone who hasn’t yet had the occasion, and because in addition to reworked cover art, the new version will also feature a previously unreleased track from Yawning Sons, started with the intent of being included on the album but never finished.

You can find the vinyl details below — pressing of 500, transparent colors, etc. — courtesy of the PR wire, but keep an eye out either way, since rumor has it this is a prelude to further collaboration between Arce and Sons of Alpha Centauri, and if that’s the case, the desert just got richer.

Dig:

YAWNING SONS is the result of a unique collaboration between musicians from different sides of the Atlantic. ALONE RECORDS are proud to present the vinyl release of the desert rock classic CEREMONY TO THE SUNSET.

Limited to only 500 copies housed in a deluxe gatefold housing on either transparent yellow, red or orange vinyl this release includes the original closing album track from the studio master tapes not on the 2009 release! CEREMONY TO THE SUNSET has proven itself as a classic desert rock album and five years after initial release deserves the fullest vinyl release treatment – a revelation to fans of any and every of the artists involved.

Since 2009 and this release, YAWNING SONS have gone from strength to strength releasing their first 7″ single from Abbey Road Studios in 2010 with desert brothers ‘WaterWays’ and beginning live performances in 2013. Return now to the beginning of the adventure with this deluxe release and remember the freedom of music and the spirit of the CEREMONY TO THE SUNSET!!

Limited to only 500 copies housed in a deluxe gatefold housing on either transparent yellow, red or orange heavy vinyl.

Highly limited pre-orders begin here: http://www.the-stone-circle.com/store/ and the LP release date is October 6th.

The album will be digitally re-released on Monday August 25th.

http://www.the-stone-circle.com/store/
https://www.facebook.com/yawningsons

Yawning Sons, “Ghostship – Deadwater”

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Steak Premiere Video for “Rising” from New Album Slab City

Posted in Bootleg Theater on August 14th, 2014 by H.P. Taskmaster

UK heavy rockers Steak may have gone to the desert to record Slab City, but they went to the woods to film the video for “Rising.” Their full-length debut is due out Sept. 9 on Napalm Records, following two successful EPs, 2013′s Corned Beef Colossus (review here) and 2012′s Disastronaught (review here), and a host of European tours and festival slots. The London-based four-piece of vocalist Kippa, guitarist Reece Tee, bassist Cam and drummer Sammy will join forces with their labelmate John Garcia – who also puts in a guest appearance on the album — for a round of dates with his solo live band this fall. I’m not sure how many sjpws they’re doing together, but posters have started to surface, and what it all rounds out to is the next stage of progression for one of the fertile UK scene’s most potent up and coming acts.

Dudes in comics.Slab City was tracked at California desert hotspot Thunder Underground in Palm Springs, and I don’t know where the “Rising” clip was captured, but there isn’t a speck of sand to be seen. Off in the woods at night, there’s magical drug/artifact smoking, weird reincarnation rituals, and in the meantime, with spotlights behind branches like they used to do on the X-Files, Steak can be found jamming out with tree-falls-in-the-forest abandon. If you’re looking to get a feel for what Slab City is all about, the song itself is a more than suitable representation of its desert-minded grooves and bulk supply of spacious riffage. It is the apex of the record as well as its longest track and one of its most powerful executions, the band tackling the form of desert rock and invariably bringing something of their own to it.

“Rising” was directed by Samuel Smith and produced by Smith and Kieron Allender. Please enjoy:

Steak, “Rising” official video

Steak‘s Slab City will be out Sept. 9 on Napalm Records. The album is available now for pre-order. More info at the links.

Steak on Thee Facebooks

Slab City at Napalm Records

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Friday Full-Length: Hawkwind, Hawkwind

Posted in Bootleg Theater on August 8th, 2014 by H.P. Taskmaster

Hawkwind, Hawkwind (1970)

Like most humans who’ve never actually been in the band — there are still five or 10 of us left; we get together on weekends — I am viciously underqualified to discuss the life and times of Hawkwind. I haven’t even seen the BBC documentary, though I have to wonder how more than four (I think it was three at the time) decades of space-rock pioneering could possibly be summarized in a single viewing anyway. In any case, all of Hawkwind‘s groundbreaking, all of their lysergic push, all the drugs, all the riffs, and their insurmountable discography — they continue to release albums; I interviewed Dave Brock a few years back about one of them — all began with their 1970 self-titled debut. If you’re looking for the launch point, this would be it.

At the time, Hawkwind was Brock on vocals/guitar/keys, Nik Turner — who’s touring this fall with his own incarnation of the band — on sax/vocals, guitarist/vocalist Huw Lloyd, bassist/vocalist John A. Harrison, synth/key specialist Michael “Dikmik” Davies and drummer Terry Ollis. I doubt any of them could’ve known the movement they were beginning or the litigation they’d eventually undertake when they recorded this album live with The Pretty Things guitarist Dick Taylor, but as they continued to refine their sound (and lineup) over the next five years, getting through the classic 1971 outing, In Search of Space, en route to albums like 1974′s Hall of the Mountain Grill 1975′s Warrior on the Edge of Time, it became apparent that what they were doing was more than just the standard psychedelic fare, and the rhythmic thrust that became their signature is still widely influential today, 40-plus years after the fact.

That thrust is hardly writ large over the self-titled, but as you can hear as the record plays out, Hawkwind were pretty much making it up as they went along, and of course the tradeoff for self-realization on the part of a band is a necessary narrowing of focus. Hawkwind, the album, is all the more varied for the fact that the band hadn’t really taken shape yet, and so it captures a moment that, in all their releases, studio, live and whatever else, would never come again.

I hope you enjoy.

Tomorrow night, I’m going to drive north to Portland, Maine, to see the last of the three slated We’re all Gonna Die reunion shows. They’re playing with Murcielago and Blackwolfgoat, so I’m expecting a good time and a late night both. I haven’t been to a show in more than a month, with the move and all, so I’m very much looking forward to getting out for a bit and hearing something loud. The plan is to review on Monday.

Also Monday, I may or may not have a Steak video premiere? I’m not sure what’s going on with the timing of that, or if I’m doing a premiere or it’s just coming out, or what the deal really is. I figure it’ll get sorted sooner or later and I’ll adjust accordingly. While I’m talking about nascent plans that may or may not fall through, I got offered a Funeral Horse album stream today that I’d very much like to do because that band rules that I was hoping to do Tuesday. Got my fingers crossed it comes together.

The party don’t stop either way, though. Tuesday night High on Fire play the Sinclair in Cambridge and I’ll be out for that, because if you’re gonna jump back in, do it like you mean it, and I’ll hope Wednesday to get a piece up on that. More Radio Adds to come, and hopefully a review of the Witch Mountain record, which is a little more bittersweet now that Uta Plotkin has announced it’ll be her last with the band. So it goes.

Of course there’s other stuff too, but I can’t possibly imagine what it might be because my mind is in full-on Hawkwind drift. We’ll just have to figure it out when we get there.

Please have an excellent, safe weekend. Eat ice cream and kick ass, because you can.

And don’t forget to check out the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

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Temples Festival 2015 Adds Converge as First Headliner

Posted in Whathaveyou on August 8th, 2014 by H.P. Taskmaster

Temples Festival made a pretty impressive debut in 2014 with Neurosis, Electric Wizard and Clutch as headliners, and it seems they’ll continue their push into the underground festival marketshare next year as well. There are some impressive names on their lineup so far — Goatsnake, Triptykon, Pig Destroyer, etc. — and a few I’d have a hard time caring less about if you paid me — incidentally, I’m available for hire in this capacity — but the one name you need to see to know these cats mean business is Bongzilla.

A Bongzilla reunion, whether it takes place only at Temples or at other fests too, puts the Bristol-based gathering in the league of events that doesn’t only assemble bands to play, but that makes something special happen as well. It’s the first I’m hearing of a Bongzilla reunion at all, so I’ll be interested to discover in the coming weeks how far they’re going with it as more dates are (at least potentially) announced. Either way, that’s obviously a welcome name to see on a lineup anywhere.

The announcement went out earlier via Thee Facebooks, and it looked like this:

Patrons of Temples Festival,

Please welcome our first headliner of 2015, performing in Bristol for the first time ever as their only UK show of 2015; the legendary Converge.

Converge will be joined on our Main Stage by an onslaught of prestigious bands (including both Nails & Trap Them) on Friday May 29th – which, at the risk of perpetuating stereotypical promoter hype……is gearing up to be one of the most chaotic line-ups the UK will ever witness.

Furthermore, please welcome another 17 bands to the Temples Festival 2015 line-up (in no set order);

PIG DESTROYER
TRIPTYKON
GOATSNAKE
NAILS
BETWEEN THE BURIED AND ME
BONGZILLA
TORCHE
MAGRUDERGRIND
TODAY IS THE DAY
PORTAL
TRAP THEM
WILL HAVEN
BOLZER
IMPETUOUS RITUAL
GOATWHORE
CELESTE
LENG T’CHE

With an additional 55 artists yet to be announced, including both our Saturday and Sunday headliners – Temples Festival 2015 is firmly on track to match the calibre of artists on offer at our inaugural edition, and follow on with the simple theme of well-programmed & diverse underground heavy music.

Temples Festival 2015 will also include the addition of a third stage, an outdoor ale/cider bar, high-quality catering suited to both vegan and carnivore dietary requirements alike – and all set within the confines of one of the most unique and versatile venues in the UK. This truly is shaping up to be something monumental.

Weekend Tickets are now available from www.templesfestival.co.uk, Day Tickets will not be released until later in the year.

Again, we’re expecting you…….

- Temples HQ

www.templesfestival.co.uk
https://twitter.com/TemplesFestival
https://www.facebook.com/TemplesFestival

Neurosis, “We all Rage in Gold” Live at Temples Festival 2014

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Godflesh Announce A World Lit Only by Fire Album Details; Stream New Song

Posted in Whathaveyou on August 5th, 2014 by H.P. Taskmaster

The new Godflesh album exists. It’s really coming out and you’re really going to be able to hear it. It’s called A World Lit Only by Fire, and it will be released through Justin Broadrick‘s Avalanche Recordings as the first Godflesh LP since 2001′s Hymns. Due Oct. 6, it will be the follow-up to earlier 2014′s Decline and Fall EP (review here), which stood as testament to the undiminished intensity of Godflesh‘s sound and their unwillingness to ignore a decade-plus of musical evolution since their last time out. It is an album very, very much worth looking forward to.

Here’s the PR wire with artwork, a new song, and more about it:

GODFLESH ANNOUNCE DETAILS OF FIRST ALBUM IN 13 YEARS, SHARE NEW SONG AND ANNOUNCE UK TOUR DATES. A WORLD LIT ONLY BY FIRE SET FOR OCTOBER 6 RELEASE

Industrial metal innovators Godflesh have announced the details of their highly anticipated full length A World Lit Only By Fire, set for an October 6 release on their own Avalanche Recordings label. The album arrives on the heels of June’s Decline And Fall EP, which was met with widespread acclaim for its effortless synthesis of the duo’s fan-favoured early albums, themselves groundbreaking genre experiments that pioneered an integration of electronic music’s bombastic rhythms, metal’s bludgeoning force, and post punk’s aural atmospherics. Whereas the new EP succeeded by fulfilling listener expectations, the full length exceeds them; delivering a full force exploration of the furthest boundaries of Godflesh’s extreme sonics, and then pushing beyond them, detailing the rich musical experience accrued in the dozen year span and countless musical projects (Jesu, Final, Vitriol, Greymachine, Techno Animal, etc.) between recordings.

The duo, comprised of legendary talents of Justin Broadrick (also of Jesu, JK Flesh, Techno Animal, Pale Sketcher, and more) and GC Green, formed in 1988 in the same fertile Birmingham, UK scene that forged the talents of Napalm Death, Carcass, and Head of David among many others. Initially disbanding in 2002, the band resumed live performances in 2010 and began the arduous work of crafting a follow up to 2001’s Hymns. The resultant self-recorded ten song set mounts the thin line between high definition clarity and raw, visceral heaviness, inducing a meditative state via seething minimalism that hinges on ritualistic riff repetition and the tenuous membrane between anxiety-inducing dissonance and cathartic minor key melody.

A WORLD LIT ONLY BY FIRE TRACK LIST

1. New Dark Ages
2. Deadend
3. Shut Me Down
4. Life Giver Life Taker
5. Obeyed
6. Curse Us All
7. Carrion
8. Imperator
9. Towers of Emptiness
10. Forgive Our Fathers

A WORLD LIT ONLY BY FIRE DECEMBER UK TOUR DATES

Tue 09.12.14 The Haunt Brighton
Wed 10.12.14 Garage London
Thu 11.12.14 Rescue Rooms Nottingham
Fri 12.12.14 Sound Control Manchester
Sat 13.12.14 Art School Glasgow

FOR MORE INFORMATION:

http://www.avalancheinc.co.uk/
https://www.facebook.com/pages/Justin-K-Broadrick/118373041529126
https://twitter.com/JKBroadrick

Godflesh, “New Dark Ages” from A World Lit Only by Fire

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Grifter, The Return of the Bearded Brethren: Boogievolution

Posted in Reviews on August 5th, 2014 by H.P. Taskmaster

UK trio Grifter walk a fine line on The Return of the Bearded Brethren. Their second album for Ripple Music, it’s a 10-track collection produced by Rich Robinson, mastered by Tony Reed, that breaks evenly into two 21-minute sides and strongly answers the songwriting prowess the three-piece of guitarist/vocalist Ollie Stygall, bassist Phil and drummer Foz showcased on their 2011 self-titled debut (review here) as well as their 2009 mission-statement EP, The Simplicity of the Riff is Key (review here) and its formative 2008 predecessor, High Unholy Mighty Rollin’. It also dares to be dudely. Very dudely. As dudely as the bearded dude on its front cover. As dudely as an unrepentantly straightforward heavy rock album with songs about Guinness and Princess Leia and digging out a bunker for the end of the world can be. And yet, what saves The Return of the Bearded Brethren from being simple masculine caricature, and thus unlistenable, is the willingness to poke fun at themselves, the awareness of how silly dudeliness is in the first place. Not only that, but their ability to be tongue-in-cheek lyrically but still sincere, without giving themselves over to condescending irony, helps Grifter attain a rare balance of personality and intellect in their material. Fortunately, this comes coupled with a penchant for hooks second to very few in Britain or out of it, and songs like “Black Gold,” the evolution paean “Bow down to the Monkey” — with its steady references to Charles Darwin as “Mr. D.” — “Fire Water,” and “Princess Leia” make for memorable standouts on a record void of pretense and thick in quality. The Return of the Bearded Brethren is plenty dudely, but by the end of it, you’d almost believe dudes were actual people.

Front to back, Grifter‘s second brims with motoring tones and rhythmic swing. Foz‘s cymbal work never veers into self-indulgence but provides a subtly complex foundation on which the riffs run, and they do, whether it’s shorter cuts like “She Mountain,” which follows opener “Black Gold,” or side B’s launch point, “Braggard’s Boast,” a 2:22 sprint that gives a look at the trio at their most raucous. That song works, and works well, but ultimately, Grifter are most comfortable dug into a mid-paced groove, quick enough not to be slow, but not fast enough to be aggressive. “Black Gold,” heralding the various attributes of Guinness — see lines like “Nothing else is true,” and “Top o’ the morning!” — works at a decent clip to start a momentum that carries right through to the end of side A. This stretch of five songs and the flow and movement between them is The Return of the Bearded Brethren‘s most lasting impression, “Black Gold” giving way to “She Mountain,” “Paranoiac Blues,” “Princess Leia” and “Bow down to the Monkey” in a fluid succession that’s as natural as one could ever hope of a live set. The scope is largely unflinching on initial listens, but the character of the songs comes out more with repeat listens, the Southern-style slide and stomp on “Paranoiac Blues” providing an engaging first-half centerpiece and an early shift in approach that pays dividends throughout the rest of the full-length. This in combination with the soul-searching and humor of the lyrics to “Princess Leia,” which tackles issues of aging in the context of an enduring crush on the Star Wars character, and the good times rush preceding on “She Mountain” ensure that the transitions on the first half of the album are seamless and that the momentum leading into the back end.

And since they are ultimately a classic-minded band — not at all retro-sounding, but working off classic influences all the same — side B of Return of the Bearded Brethren does expand the breadth of the album somewhat. The party-vibe of “Black Gold” finds hungover complement in side B’s midpoint, “Fire Water,” and after the boogie thrust of “Braggard’s Boast,” a chugging shuffle in “It’s Not Me it’s You” offers a kissoff somewhat more personal than that of the general religion-is-silly commentary of “Bow down to the Monkey.” If that’s Grifter honing their focus to a finer point, the songwriting remains consistent, and on the other end of “Fire Water”‘s less riotous verses and howling solo, the title-track breaks down the fourth wall with a sort of declaration of Grifter‘s purpose and position. Curious they’d bury it so near the conclusion of side B, but maybe they thought after pushing other highlights to the front, they’d hold something back to finish out. It makes sense, though the song itself is somewhat overshadowed by the Black Sabbath cover of “Faeries Wear Boots” that serves as closer. Inevitable maybe, and a somewhat obvious pick on the band’s part — though it’s been a while since anyone in my recent memory saw fit to take on the track, and in being unabashedly honest, it’s consistent with what Grifter do across the board, like an indirect challenge to the barrage of ’70s-worship retro bands trying to out-obscure each other or at least a reminder of what it’s all about — but they do the track justice and deliver a performance as clean and heartfelt as the nine original inclusions preceding, which is really all one might ask of them for it. StygallPhil and Foz presented no shortage of confidence on the self-titled, but there’s been clear growth in their command of their sound, and Return of the Bearded Brethren stands as proof that straightforward classic heavy rock doesn’t need to enmesh itself with needless stylistic extras when the craftsmanship holds up. Grifter are a rare beast, and their second album satisfies both superficially and on closer inspection of its impeccably constructed, thoroughly dudely wares.

Grifter, “Princess Leia” official video

Grifter on Thee Facebooks

Ripple Music

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Kamchatka Announce Exclusive UK Show on Sept. 19

Posted in Whathaveyou on August 4th, 2014 by H.P. Taskmaster

Headlining in the UK for the first time, Swedish trio Kamchatka have announced a show Sept. 19 at The Black Heart in Camden Town, London, on Sept. 19. The three-piece released their fifth album, The Search Goes On, earlier this year on Despotz Records and boast the formidable presence of Per Wiberg in their ranks. Their last stop off in the UK was at the 2012 Download festival, and their resume also boasts an opening slot for Clutch, whose drummer Jean-Paul Gaster is a former collaborator.

I’ll grant that Camden is a long ways away for me to be plugging a show, but I’ve been to that venue as a part of Desertfest and met the people who run it and found them to be exceedingly welcoming, and the room upstairs where bands play is badass. I can think of an infinite number of less pleasant ways to spend an evening, so yeah, it’s not the most geographically central place for me to note a gig happening, but I think the circumstance warrants the mention.

From the PR wire:

Kamchatka – UK Exclusive Event

Snuff Lane Promotions has team up with Chaos Theory Music to proudly present – Exclusive Kamchatka UK Headlining event. (Only UK performance of the year).

Despite fans demanding more shows since their performance at 2012’s download festival, as well as having been spotted supporting the likes of Clutch, we’re flabbergasted that this is Kamchatka’s debut UK Headlining event.

In support of their new album ‘The Search Goes On’, the band has recently recruited the addition of Per Wiberg (Ex-Opeth, Spiritual Beggars…) – we’re certain that this is a must see event and request fans to attend to be a part of Stoner Rock history Tickets are due to go live today; with an unmissable line-up still to be announced, including another Swedish act for special guest support.

We would greatly appreciate any articles you’d announce in relation to our event, so please do request any additional information or press material to support.

Event: Kamchatka – UK Exclusive
Date: Friday 19th September
Venue: The Black Heart, London
Tickets: £10.00 (Advance)
Support: TBA.

https://www.facebook.com/events/433089766833008/
https://www.facebook.com/Kamchatkaofficial/
http://kamchatka.se/

Kamchatka, “Tango Decadence” official video

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Electric Wizard Post New Video for “I am Nothing”

Posted in Bootleg Theater on July 29th, 2014 by H.P. Taskmaster

Presented with their usual fuckall, Electric Wizard‘s new video for “I am Nothing” simply takes the song from their upcoming Spinefarm Records debut — eighth LP overall – Time to Die and puts it to a psychedelic oil lightshow. The band doesn’t appear, there’s no discernible budget, but it’s a way of getting the song out and no matter what the UK stoner doom kings do at this point, people are going to find it and pay attention. So if nothing else, the fuckall is well justified.

Time to Die is out Sept. 30 on Spinefarm and marks a new stage in Electric Wizard‘s development, departing some of the smoothed out, psychedelic cultisms of 2010′s Black Masses (review here) and the preceding 2007 return, Witchcult Today in favor of something dirtier and more wretched sounding. It’s not really a return to the raw druggery of their early work, but something different blending that side of the band with their more recent era. Bottom line, it sounds like Electric Wizard, which try though they might, is something no one else seems to be able to pull off.

Wake up, baby. It’s time to die:

Electric Wizard, “I am Nothing” official video

TIME TO DIE, THE NEW ALBUM FROM ELECTRIC WIZARD, TO BE RELEASED SEPT. 30

OFFICIAL “I AM NOTHING” VIDEO CLIP UNLEASHED

ALBUM/BUNDLE PRE-ORDERS AVAILABLE

Electric Wizard have revealed that their forthcoming studio album, Time To Die, will be released on Sept. 30 via Spinefarm Records; Time To Die is the eighth full-length offering from the masters of aural punishment, and is testament to the fact that Electric Wizard continue to be the most uncompromisingly heavy, genuinely twisted and evil band in the world.

This will be their first album release since signing a worldwide deal with Spinefarm Records.

In addition to this, a brand new video clip for “I am Nothing” has been unleashed via www.ElectricFuckinWizard.com.

EW guitarist/vocalist Jus Oborn has said if the track, which harnesses the dark underground death metal spirit of 1984:

“It was the year I became a metal-head. It was heavy shit for real – there was no way you were ever going to get a decent job. So I became a Satanist, I dug up a grave, I got into tape-trading, I had a one-man noise/black/death metal band called Regurgitated Guts, and there were loads of documentaries on TV warning us not to listen to the devil’s music…”

All official Electric Wizard pre-order bundles are now live on www.ElectricFuckinWizard.com, featuring limited numbers of vinyl, CD, T-shirt, back-patch and pin badge packages.

Electric Wizard, who have just played headline slots at a number of European festivals, including Hellfest (France), Roskilde (Denmark) and Sonisphere (UK), have the following appearances lined up for 2014, with more shows to be added:

August 16 London, UK Jabberwocky (The Excel Centre)
September 12 Portugal Reverence Valada (headline with Hawkwind)
October 10 Antwerp, Belgium Desertfest

Electric Wizard are here for Revenge… Be Afraid…

Electric Wizard’s website

Electric Wizard on Thee Facebooks

Electric Wizard on YouTube

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Witch Charmer Sign to Argonauta Records; New Album The Great Depression Due Sept. 1

Posted in Whathaveyou on July 21st, 2014 by H.P. Taskmaster

Today brings the news that UK doom rockers Witch Charmer have inked a deal to issue their first album, The Great Depression, via Italian imprint Argonauta Records. It will be the follow-up to the fivesome’s 2013 debut EP, Euphoric Curse, and is set to feature cover art by guitarist/vocalist Adam Clarke and a mix/mastering job by the omnipresent Tony Reed of Mos Generator, who, for a guy who doesn’t actually live in Britain, certainly finds himself involved in a lot of music coming from that part of the world.

Witch Charmer will head out tour ahead of the release of The Great Depression starting Aug. 16, and the dates can be found in the poster below, which also makes use of the album’s cover art. A rehearsal room demo of the song “Suffer” follows after the announcement of the signing, hoisted from Argonauta‘s page.

Dig it:

New signing: WITCH CHARMER!

After the great feedback received across the board for their debut E.P. “Euphoric Curse“, Sunderland (UK) based Stoner/Doom/Metal outfit WITCH CHARMER follow it up with their first full length record raising the bar on what came before. The band (featuring the talents of Kate McKeown – Vocals, Dave McQuillan – Drums & Vocals, Len Lennox – Guitar & Vocals, Adam Clarke – Guitar & Vocals, Richard Maher – Bass) expands on the sound from their previous release and add a monolithic slab of smoked out doom and groove to take you on a satirical journey to enlightenment.

“The Great Depression” has been mixed and mastered by Tony Reed (Mos Generator, Stone Axe) and will be released by Argonauta Records in September 2014. Just wait for a massive dark, groove-laden, heavy stoner-doom album that fans of Acid King, Purson, Uncle Acid & the Deadbeats, Goatsnake & Electric Wizard cannot miss!

https://www.facebook.com/witchcharmerband
http://witchcharmer.bandcamp.com/
http://www.argonautarecords.com/

Witch Charmer, “Suffer” rehearsal demo

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Grifter Premiere Video for “Princess Leia”

Posted in Bootleg Theater on July 21st, 2014 by H.P. Taskmaster

When I was fortunate enough to be asked, I said yes immediately to hosting the premiere of the new Grifter video for the track “Princess Leia” from their upcoming album, The Return of the Bearded Brethren. My reasons were manifold. I’m excited about the release — it’s out Aug. 11 on Ripple Music as the follow-up to Grifter‘s 2011 self-titled debut (review here) — but the song itself also sums up a lot about what I think the UK trio do really well musically and lyrically.

It’s a straightforward song, and Grifter are a straightforward band. They write classic heavy rock hooks, but have a completely modern approach to their sound and perspective. Bassist Phil, drummer Foz and guitarist/vocalist Ollie Stygall have a crisp chemistry. Their material swings, as “Princess Leia” showcases, but it does so always with a forward direction in mind. The lyrics to “Princess Leia” also remind of Grifter‘s ability to couch some pretty personal issues in a humorous package. We’ve heard them do this before, on a song like “Young Blood, Old Veins” from the last album, but by using the frame of a boyhood crush on the Star Wars character, Stygall and company are able to look at getting older through an even cleverer lens.

And make no mistake, that is what they’re doing. The opening line of the song is “I’m a man of a certain age,” and the Orange Goblin-style rush of the chorus abandons all facade and pleads, “Take me back to better times, yeah/Strip the years away.” But rather than simply reflect on bygone days and regrets and the usual midlife blah blah blah, Grifter poke fun not only at themselves, but at the whole notion of mourning the passage of time, and “Princess Leia” — whatever it might be saying or speaking to emotionally — remains a fun, engaging song.

The video likewise. One thing I’ve always enjoyed about Grifter is how even at their most gleefully classless — see “Alabama Hotpocket” from the self-titled — they work clean. Princess Leia does indeed appear in the video, and she does indeed boogie down (hilariously by the end of it), but she doesn’t strip, and Grifter don’t give into the gold-bikini impulse. That would be easy, and thoughtless, and Grifter aren’t that band.

The Return of the Bearded Brethren is out Aug. 11 on Ripple Music. Enjoy “Princess Leia” below, as directed by Russell Cleave:

Grifter, “Princess Leia” official video

Grifter on Thee Facebooks

Ripple Music

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Death Penalty to Release Self-Titled Debut in September

Posted in Whathaveyou on July 21st, 2014 by H.P. Taskmaster

Today is the official release date for the debut seven-inch from Death Penalty, the new band featuring former Cathedral guitarist Gaz Jennings along with vocalist Michelle Nocon and drummer Frederik Cosemans, both formerly of Belgian doom outfit Serpentcult. Together with bassist Raf Meukens, also of death metallers Torturerama, Jennings and company issue Sign of Times through Rise Above in a varied pressing of 500 copies ahead of a self-titled debut which is set to release in September.

That album will mark Jennings‘ first full-length outing since Cathedral met their end, and given his unearthly pedigree of riffing, it’ll be interesting to hear what he brings to this new project. As you can hear below, the single bodes well.

Ever-vigilant, the PR wire has details on the album and more background on how the band came together

DEATH PENALTY (Featuring Gaz Jennings of Cathedral) to Release Self-Titled Debut on Rise Above Records September 16th in North America

Artwork and Track Listing Revealed

When all is said and done, the art of making people bang their heads comes down to one central component: the riff. The riff has been refined and redefined so many times over the last four decades that ownership of a guitar and half a brain should be all that’s required to at least have a decent stab at getting things right, and yet very few people seem capable of tapping into the true essence and ethos of what made Tony Iommi such an all-conquering pioneer and overlord of six-string power and glory. Over the last 25 years, discerning metal fans may have struggled to pinpoint any bona fide contemporary greats amongst the never-ending proliferation of also-rans and wannabes, but as chief composer and guitarist for UK doom metal legends Cathedral, Gaz Jennings has more than earned the mantle of the modern age’s most consistent and supremely talented Riffmaster General. A perennial unsung hero of the heavy underground, Gaz has already contributed a vast number of classic songs to the metallic canon, but when Cathedral finally called it a day in 2013 it looked as if another guitar hero was destined to disappear into the shadows. Gloriously, he has now returned with a brand new band, DEATH PENALTY, and an eponymous debut album that once again proves his absolute mastery of the form.

“When Cathedral split I didn’t have any intention of getting another band together,” Gaz admits. “I wanted to do a record, because Lee [Dorrian, Cathedral front man and Rise Above Records boss] has been saying for years that he’d give me a deal! But all my time was taken up writing stuff for Cathedral. I had a few bits and bobs lying around, so I started writing material a few years back and that’s where it all started. And now the album is ready to go.”

With such a formidable reputation to uphold, it was absolutely vital for Gaz to select the right musicians to work with in his new band. Enter vocalist Michelle Nocon and Fredrik ‘Cozy’ Cosemans, members of Belgian doom warriors Serpentcult; a band that Gaz greatly admires and fellow Rise Above alumni. Although resident in Belgium, Michelle and Cozy were simply the right people for the job and kindred spirits that Gaz suspected would be perfect for helping him to realize his new musical vision.

With the DEATH PENALTY line-up completed by the addition of another Belgian, bassist Raf Meukens, Gaz was now fully equipped to bring his new band into the spotlight. The first results emerged via a debut seven-inch single, Sign Of Times/Seven Flames, which showcased DEATH PENALTY’sfiery blend of old school heavy metal, subtle doom shades and Michelle Nocon’s extraordinary vocal talents. The real meat of the matter will be unveiled upon the release of the band’s self-titled debut album, a triumphant tour-de-force of pounding heaviness that brilliantly encapsulates everything that Gaz has brought to the table with Cathedral while veering off on a number of new and distinctly compelling tangents along the way. Fans of the NWOBHM era will find themselves instantly entranced by the likes of Howling At The Throne Of Decadence and Golden Tides, while diehard doom acolytes will be immediately reassured that Gaz’s ability to pen timeless riffs remains entirely undimmed, as demonstrated on the grandiose grit of Into The Ivory Frost and Children Of The Night.

The final piece of the puzzle slotted neatly into place when Gaz chose a name for the new band. Anyone that has followed the guitarist’s career over the years will recognise that DEATH PENALTY is the title of Witchfinder General’s classic 1982 debut album; a record that has long been an essential part of Gaz’s inspirational armoury. However, beyond paying homage to his childhood heroes, he freely confesses that the name was simply the first and only credible option and a telling alternative to the countless terrible band names currently doing the rounds.

Once DEATH PENALTY’s debut hits the shops (and the nebulous world of online retail, of course), it seems highly likely that everyone from Cathedral fans and old school diehards to new school doom and psych rock admirers will celebrate the arrival of another truly great heavy metal band for the modern age. Quite content to remain an underground concern, DEATH PENALTY are just beginning their journey into the outer limits of refined riff worship and Gaz Jennings’ hopes and expectations are every bit as humble and honest as long-time fans will expect.

Death Penalty Track Listing:
1. Grotesque Horizon
2. Howling at the Throne of Decadence
3. Eyes of the Heretic
4. Golden Tides
5. Into the Ivory Frost
6. Children of the Night
7. The One That Dwells
8. She is a Witch
9. Immortal by Your Hand
10. Written by the Insane

For More Info Visit:
http://www.riseaboverecords.com
https://www.facebook.com/riseaboverecords

Death Penalty, “Sign of Times” (2014)

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