The Western Mystics Stream The Last Western in Full

Posted in audiObelisk on April 28th, 2016 by H.P. Taskmaster

the western mystics

On my first listen through of The Western Mystics‘ new live release, The Last Western (Live at Treefort 2016), all I had to go by was the waveform. I didn’t know the names of the songs they played, or where one started and one stopped, and while I’ve since been able to garner that information, I think the other way has a certain appeal as well. Not knowing where one piece ends and the next begins, The Last Western flows as a single entirety, and I’ve no doubt that’s exactly how it was presented at Treefort Music Fest 2016 last month in the band’s native Boise, Idaho, lush and psychedelic in some places, showcasing encouraging depth of ambience in quiet stretches with vocals as much as keys and/or baritone guitars, and taking off on flights of classically-styled progressive rock. In short, this is a band capturing the process of finding their sound on stage, live, as it happened.

That’s a pretty bold move for a group who, to-date, hasn’t yet released a studio outing of any form, but neither is it The Western Mystics‘ first time putting out a “bootleg” where a demo might otherwise appear. Then working as the trio of drummer/vocalist Brent Joel and baritone guitarists Travis X. Abbott (rhythm) and Nik Kososik (lead; also of Sun Blood Stories), the western mystics live at treefort 2016they made their debut last fall with Once upon a Time in the Cosmos (discussed here), establishing a space-and-Western thematic blend that continues however many months later into the Treefort performance, which also introduces keyboardist/vocalist Riley Anne Johnson. Her work here is not to be understated in refining the textures of this material. The richness keys bring alongside the depth of tone from Abbott and Kososik is evident throughout, whether that’s organ keeping up with the guitars in “Running from the Living,” the opening movement, or Rhodes-style note droplets bolstering the drones of the penultimate “Sea that has Become Known.”

At this point, I could tell you where exactly where each track starts and ends between “Running from the Living” and “Running from the Dying,” which closes with an apex of Magma-style progressive bounce, but I honestly think you’re better off like I was, making your way through the entirety of The Last Western (Live at Treefort 2016) without knowing and then hitting up The Western Mystics‘ Bandcamp to find the runtimes and how it all divides up as the band work their way closer to where they want to be sound-wise and stylistically through this material. It’s only been a few months since Once upon a Time in the Cosmos (on which “Running from the Living” also appeared), and that leads one to hope it won’t be much longer before a studio recording of one sort or another surfaces from The Western Mystics, who even on stage show themselves as being able to pull elements from various genres — prog rock, heavy psych, post-rock, drone, etc. — in order to service an individualized intent. I look forward, in other words, to nerding out over their debut. Whenever it might arrive.

Stream The Last Western (Live at Treefort 2016in full below. You’ll find more info on the release beneath the player.

Please enjoy:

The Western Mystics on The Last Western:

As far as our plans go, we are constantly writing new material, especially due to our newest member, Riley Johnson, on the keys. We are going to play some out of town dates in Washington and Oregon this summer with other Treefort Alumni and hope to keep pushing out new material.

We as a band are definitely fans of improvisation and writing on the fly so we can guarantee our next batch of songs won’t be anything like the previous.

Recorded Live at Neurolux for Treefort Music Fest V on 03/23/2016

1. Running from the Living
2. See You In Space
3. The Scary Can Be A Psyche Place
4. Intramolecular Summit
5. Sea That Has Become Known
6. Running from the Dying

All songs written by Brent Joel, Riley Anne Johnson, Nik Kososik & Travis X. Abbott

Brent Joel – Drums, Vocals
Riley Anne Johnson – Keys, Vocals
Nik Kososik – Lead Baritone
Travis X. Abbott – Rhythm Baritone

Live mix by Eric Penney & Lawrence Van Bishop at Neurolux. Mastered by Travis X. Abbott. Special thanks to: Tyler Walker (lights & visual effects). Photo credit: Cameron Andreas.

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Moon Tooth and Rozamov Announce Tour Dates

Posted in Whathaveyou on April 27th, 2016 by H.P. Taskmaster

In a little less than a month, Long Island prog-metallers Moon Tooth head out on tour to support their latest album, Chromaparagon, which was released in February. They’ll be doing essentially a month-long swing down and back up the Eastern Seaboard, playing New England with Warm at the end of May, pushing into the South early in June, and then cutting back north, meeting up with Boston trio Rozamov to continue into Upstate New York and into Canada for shows in Montreal and Toronto before rounding out June 20 in Burlington, Vermont.

All put together, it’s a not inconsiderable run, and hardly Moon Tooth‘s first, the band over the last several years having basically forced their way into East Coast the progressive consciousness through hard work and volume. As noted below, this is the first time both of these acts will hit Canada, and Rozamov do so ahead of the release of their much anticipated debut album, due out later this year. They’ll apparently be playing new material at these shows.

Word came down the PR wire:

moon tooth rozamov poster

Long Island progressive sludge rock weirdos Moon Tooth and Boston atmospheric sludge mongers Rozamov have announced a string of dates together this June. This will be both bands’ first excursion north of the border, hitting both Montreal and Toronto on this run. Moon Tooth are supporting their self released debut LP “Chromaparagon” which has reached numbers 85 and 120 on the Hard Rock and Best New Artist charts respectively.

Rozamov recently wrapped up the recording for their own first full length, and will be airing songs from the album on this run. Last year saw Rozamov release “Ghost Divine” on a split with Deathkings via Midnite Collective.

June 16th – Kingston, NY @ The Anchor
June 17th – Rochester, NY @ Monty’s Krown
June 18th – Montreal, CAN @ Crobar
June 19th – Toronto, CAN @ Smiling Buddha
June 20th – Burlington, VT @ Nectar’s

https://www.facebook.com/Rozamov/
https://www.facebook.com/moontoothband/

Moon Tooth, Chromaparagon (2016)

Rozamov, “Ghost Divine” from split with Deathkings (2015)

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Stone Machine Electric Premiere “I am Fire” Video

Posted in Bootleg Theater on April 27th, 2016 by H.P. Taskmaster

stone machine electric

Wade patiently into the murky depths of Stone Machine Electric‘s first single from their new album, Sollicitus es Veritatem, and imagine that the Texas two-piece are setting the stage on which, as the title indicates, nightmares might become reality. Of course, the nightmare they’re talking about — at least if the album artwork is anything to go by — is 30-plus years of Republican anti-government rhetoric coming home to roost, but that otherworldly sense of darkness is evident in the opening of “I am Fire” as well. And as much as Stone Machine Electric — the duo of guitarist/vocalist William “Dub” Irvin and drummer/vocalist/Thereminist Mark Kitchensstone-machine-electric-posterteased jammy vibes with their late 2015 EP, The Amazing Terror (review here), “I am Fire” does wind up with a hook to go with its rolling groove, centering the nightmare in a real-world structure.

As much as this is the real world, anyway.

As previously announced, The Obelisk is presenting Stone Machine Electric‘s release show for Sollicitus es Veritatem, which takes place at The Grotto in Fort Worth on May 27 and finds Dub and Kitchens joined by FoggThinman Conspiracy and The FTW. My reasoning for climbing on board for said event was pretty simple: I dig Stone Machine Electric a lot. Their material has always kind of a weirdo underpinning, whether they’re working in open structured jams or more grounded songcraft, and in combination with a richness of tone often captured by Wo Fat‘s Kent Stump, the appeal is that you never quite know what Stone Machine Electric are going to do next. You’ll know what I mean as “I am Fire” jumps from its intro into the nod of the first verse. They’re still able to catch their audience off guard. I like that.

Sollicitus es Veritatem is out May 17 — though if you’re in Europe, you can apparently buy copies from Wo Fat‘s merch table now — and you can find the premiere of the “I am Fire” video below.

Please enjoy:

Stone Machine Electric, “I am Fire” official video

The Obelisk presents “I Am Fire” – the first track off Stone Machine Electric’s anticipated album “Sollicitus Es Veritatem”. The new album is set to be released May 17th, 2016.

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Release show event page

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Dinosaur Eyelids Post “Vernal Equinox” Video

Posted in Bootleg Theater on April 26th, 2016 by H.P. Taskmaster

dinosaur eyelids

New Jersey-based heavy rockers Dinosaur Eyelids are currently in their seventh year and working on their fifth album. Their last offering, Bypass to Nowhere — even as I know the exact bypass they’re talking about I can’t help but wonder why it always comes back to highways with New Jersey — was released in 2014 and among its featured tracks is the spacey, jammy “Vernal Equinox.” And it just so happens that Dinosaur Eyelids have a new video for that song put together with satellite/ISS views from space, performance footage that I’m pretty sure comes from the Court Tavern in New Brunswick, some cool sunspots and so on.

Point is I doubt it’s anything you’d see paired with the track itself and think it’s out of place. While I think I’ll always hear an underlying edge of aggression in anything from my formerly beloved Garden State, Dinosaur Eyelids are at very least toning it way down here, I guess leaving the crunchier vibes for album cuts like “Halo Judgment” and “Talkin’ to Me” while the bulk of the record basks in a post-grunge alternamelodic looseness, and if it’s disaffection, well, at least it’s disaffection in the summertime humidity. These guys have always been right on the line between what I think fits around here and what doesn’t, and I won’t speak for their currently-in-progress next record, but at least this song works.

Find the “Vernal Equinox” video below, and enjoy:

Dinosaur Eyelids, “Vernal Equinox” official video

Official music video from the album “Bypass to Nowhere”

We’d like to take a moment to clear up some of the rumors currently circulating in the media. Yes, we are in the studio working on our fifth album. Yes, it is better than anything we’ve ever done. Yes, we are working with music legend Ed Wilson as our producer. Yes, Mark has impregnated all of the Kardashians.

We hope this clears things up.

Thanks to everyone who came out to our ALS Benefit Show at John in Peter’s (New Hope, PA) in December! We raised almost $1,000 for a very good cause. Thank you also to everyone who came to our big return to the Court Tavern (New Brunswick, NJ) on March 4th. It was our 20th show in the basement and definitely one of the best.

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Dinosaur Eyelids website

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Merchant, Suzerain: Seeds and Veins (Plus Full Album Stream)

Posted in audiObelisk, Reviews on April 12th, 2016 by H.P. Taskmaster

merchant-suzerain

[Merchant release Suzerain on April 18. Click play above to stream the album in full.]

Proffering massive roll over four extended tracks, drenching itself in an encompassing bleakness and grand-scale semi-psych sludge extremity, Merchant‘s Suzerain impresses with a sense of vision underlying that few debuts can claim. A four-piece based in the crowded Melbourne, Australia, heavy scene, Merchant issued their first single, the 10-minute Seismic (review here), just last year, and Suzerain‘s four similarly-extended tracks affirm the potential that piece showed, while also expanding the band’s reach into YOB-style cosmic crush and menacingly abrasive growls, the first-names-only lineup of vocalist Mirgy, guitarist Ben, bassist/vocalist Wilson and drummer Nick coming together as a single, lurching unit, rawer than fellow Melbourne residents Whitehorse, but vibrant in a disaffection that wouldn’t be out of place alongside the heft of Horsehunter or Watchtower, despite having a danker atmosphere.

Though they get there anyhow, the tracks on Suzerain — “Seed and Soil” (8:51), “Mourning Light” (11:37), “Suzerain” (20:17) and “Black Vein” (8:59) — feel less concerned with conjuring tonal largesse than with making skin crawl, and as the opener thunders its way through its initial roll circling back for each verse line in a grueling nod, there doesn’t seem to be a goal set by the band that isn’t met by the time the chug opens up to dual-vocals and hits building to a head prior to the midsection. Ben introduces another element that will be in play across the record in the second half of “Seed and Soil,” which is the airy, psychedelic lead guitar cutting through all that crush, but in light of the aforementioned YOB and the likes of Ufomammut, one could hardly accuse it of being out of place, particularly as the solo shreds.

More accurately, playing space echoes off earthbound roll only deepens the complexity of what Merchant are able to do with their first album, and by expanding their sonic palette, they only further the potential they showed last year. When it starts following the raging finish of the opener, “Mourning Light” introduces itself with quiet but still tense guitar, drums joining after about a minute in and Mirgy‘s raw-throated rasp delivering the title line soon thereafter. A slow churn ensues that Nick‘s drums seem to be holding together amid the low-end wash of each riff. Again, we get a taste of psychedelic guitar early, but it’s brief, and Merchant soon dip back into the nod at the track’s core, the sheer density of it providing a gravity pull downward on the listener. It’s heavy, in nearly a physical sense. Past the midpoint, guitar and bass open up a bit, but it’s all leading toward a faster thrust at the apex of “Mourning Light,” an uptick in tempo leading, naturally, to a deconstructing slowdown that rounds out. One could quibble about which is actually the peak of the build, but at the end of the day it doesn’t really matter whether you’ve been hit in the head with a shovel or with a hammer — the result is the same.

merchant (Photo by Sally Townsend)

Of course, as it consumes 40 percent of Suzerain‘s 50-minute runtime, the title-track is a major focal point, and one which, further to the band’s credit, they execute fluidly across a purposefully overwhelming span, toying some with pacing early on, but only winding up more excruciating as Mirgy and Wilson again come together in layers of growing and the kick resumes circa the five-minute mark. The thud and roll that follows serves as the rumbling bed for a fuzzed-out lead from Ben, and at 7:53, a second layer of the solo joins in even more forward in the mix, the two coming together in a swirl that meets the lumbering head-on with its own scorch, such that as the verse resumes shortly before nine minutes in, the transition is jarring like a crash to the ground. This also is doubtless intentional. “Suzerain” stomps and crashes its way to its midsection on a gradual fade with the bass and drums remaining, joined soon by open-spaced guitar that seems to provide something Merchant haven’t yet offered: a moment of respite.

It’s brief. Before long, the band resume their full-weight course forward, uphill, in snow, dragging who knows what. But the effect of that quick break is important in the hypnotic element of it, lulling the listener into a false sense of security that’s soon to evaporate, as well as in showcasing Merchant‘s commitment to more than just heft and extreme vocals. Like the flourishes of melody throughout Suzerain and those which the lead guitar brings to the second half of the title-track, it’s another example of the four-piece working to distinguish themselves and establish a sonic personality of their own. They tease a faster progression, but ultimately keep “Suzerain” at its slow-grinding clip and bring it to a wash of noise from which the drums depart in the last minute to let the noise hold sway on a longer fade into the sudden crash of the intro to closer “Black Vein,” which Nick sets up as a faster thrust that maintains an angularity in kind with the opener before letting loose some of the pent-up tension in a more upbeat motion.

Playing back and forth in verses and choruses, they soon move into a post-halfway-point breakdown, vocal tradeoffs, china cymbal and all, and everything drops out save for the guitar, which resumes a chugging gallop before “Black Vein” hits its sixth minute. By then they’re bordering on thrash and it’s a wonder tones so thick can move at all, but though a big, final slowdown is somewhat telegraphed, that doesn’t make its arrival any less satisfying. Merchant hit the brakes and ride out “Black Vein” on a molasses lurch topped with a line of manipulated feedback that at last gives way to the oppressive final measure, faded out to close. It should say something that Merchant hold that aggression to the very last second of their debut, but it shouldn’t say that aggression is all the band has to offer. Suzerain might seem monolithic on an initial listen, but it’s not, and especially in light of it being Merchant‘s debut, it affords the band multiple avenues of growth going forward, even as it lands with all the apparent subtlety usually considered for giant rocks from outer space. Visceral at times, it nonetheless engages in how it conducts its own extremity.

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Merchant on Bandcamp

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Atala Premiere “Gravity”; Shaman’s Path of the Serpent Available to Preorder

Posted in audiObelisk, Reviews on April 12th, 2016 by H.P. Taskmaster

atala

Desert-dwelling trio Atala release their new album, Shaman’s Path of the Serpent, on May 20. With the returning lineup of guitarist/vocalist Kyle Stratton, bassist John Chavarria and drummer Jeff Tedtaotao, it’s a 32-minute four-songer that might lead one to wonder just what happened to the band between their 2015 self-titled debut (review here) and this second album, arriving about a year after they took the first record on the road. There is a stark difference in sound between the two releases, the prior outing having been produced by Scott Reeder and finding the trio exploring desert rock roots in a vaguely sludgy context, some harsher vocals worked in amid familiar rhythmic turns and driving heavy rock. Recorded in Oregon with Billy Anderson when they went on the aforementioned tour, Shaman’s Path of the Serpent is stylistically bolder and enacts a much larger sonic space, still capable of pushing into more caustic territory, as “King Solomon” shows, but more atmospheric on the whole, more patient and fluid. Perhaps with the first outing under their collective belt, they were able to gain a clearer picture of what they wanted their sound to do, or maybe Shaman’s Path of the Serpent will be a stylistic one-off. Either way, it’s a radical departure from where they were last year and, especially with the confidence they display throughout, one that suits them remarkably well.

Opener “Gravity” is the longest track on the album (immediate points) at 10 minutes flat, and it unfolds with echoing lines of prog-metal guitar, setting an ambient impression right away upon which the rest of the record continues to build. There’s a post-metallic element at play in the slow-rolling rhythm, but a vocal hook keeps the proceedings relatively grounded. A slowdown in the opener’s second half pushes into more cavernous fare, and they build back up to round out the track on a fittingly weighted note. Ultimately, “Levity” atala shamans path of the serpentfollows suit in its atmosphere, but between the blown-out vocals post-Electric Wizard and an Uncle Acid-style swinging riff, it does much to increase the album’s scope all the same, its post-midpoint cut in tempo leading to an open-spaced bridge and satisfying build topped by Stratton‘s echoing vocals, layered to rich effect. When they bring “Levity” back to its chorus, it gives a sense of structure to what seems to have long ago left that behind, and the percussive finish presages the heavier portions of “King Solomon” to come, which as the most abrasive stretches on Shaman’s Path of the Serpent, come across as driven more by Neurosis-style impulses than anything that’s come out of the desert in the last couple decades. This fervency comes offset by quieter, spacious parts, and where much of the long-player is geared toward a fluid overarching vibe, “King Solomon” feels more bent on basking in the contrast.

All the better to suit the scope of Shaman’s Path of the Serpent as a whole, which closer “Shapeshifter” continues to expand. In a way not entirely unlike the 10-minute “Sun Worship” from Atala, it finishes the outing with a particular fullness of sound, but from the warmth in Chavarria‘s bass to the push in the guitar tone that follows, it also emphasizes how far Atala have come in such a short time. There’s something foreboding lurking beneath “Shapeshifter”‘s early going, and it gradually comes forward so that by about five minutes in, the band are working at a slow crawl with far-back vocals to enact the biggest-sounding movement of the entire record. Unlike “Levity,” they make it pretty clear they’re not pulling this one back to any kind of hook once it’s gone, and for doing so, they make themselves even less adherent to a single methodology. Taken front to back, Shaman’s Path of the Serpent would seem to have been the result of a conscious shift in approach on the part of Atala, since, played next to their debut they’re barely recognizable as the same group. I won’t decry what they were able to accomplish last time out, but among the expectations I had for a follow-up, the kind of reach they show throughout these four tracks utterly surpasses them.

Please enjoy “Gravity” on the player below, followed by the dates and cities for Atala‘s upcoming tour, as well as the preorder link for Shaman’s Path of the Serpent.

Dig:

ATALA’s Shaman’s Path of the Serpent encapsulates the raw and mature essence of the band today. The album is a journey through the mind of guitarist/vocalist Kyle Stratton. Lord of Heaviness Billy Anderson (SLEEP, MELVINS, MASTODON) engineered the album, capturing the raw emotion and sonic heft that the band delivers in speaking to the listener. Shaman’s Path of the Serpent will leave the listener wondering if Stratton is lamenting the idea of death, reveling in the joy of its inevitability.

ATALA will embark on a U.S. tour in support of Shaman’s Path of the Serpent. Confirmed dates are below. Stay tuned for venue confirmations and additional dates!

ATALA on tour:
05.20 Bend, OR
05.21 Stockton, CA
06.18 Mesa, AZ
06.19 Albuquerque, NM
06.20 Oklahoma City, OK
06.21 St. Louis, MO
06.22 Pittsburgh, PA
06.24 Maryland Doom Fest, Frederick, MD
06.27 Charlotte, NC
06.28 Nashville, TN
06.30 Dallas, TX
07.01 El Paso, TX
07.02 Bisbee, AZ
07.03 Temecula, CA

Shaman’s Path of the Serpent preorder

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War Cloud Release New Single “Vulture City”

Posted in Whathaveyou on April 7th, 2016 by H.P. Taskmaster

war cloud

I was all set to think of War Cloud‘s new single as their debut, but then — intrigue! A quick clickover to their BigCartel store reveals that not only is “Vulture City” not the Oakland, California, four-piece’s debut single, as posited in their initial communication, but they’ve already got an EP under their collective belt called Hurricane, with upward of five tracks on it. Entirely possible they’ve got a new lineup or something like that, and “Vulture City” is (obviously) my first exposure to the band, but just because it’s the only thing on their Bandcamp page doesn’t mean it’s the only thing they’ve put out. Life lessons all over the place.

First or no, “Vulture City” finds War Cloud digging into an encouraging dual-guitar blend of early thrash and heavy rock and roll, not necessarily out of place with the West Coast’s current riffy boom, but looking for a niche within it. I asked vocalist/guitarist Alex Wein for some comment on the track, and he confirmed that War Cloud will hit the studio again this summer and tour on the West Coast.

Info on “Vulture City,” words from him and the stream of the song itself follow here:

war cloud logo

Our latest track, Vulture City, now available here!

Recorded at Different Fur Studios, San Francisco, California. Mixed and mastered by Ron Graves.

Alex Wein on “Vulture City”

War Cloud received the opportunity to record at Different Fur Studios for Converse Rubber Tracks and we wrote Vulture City only days prior. We draw from all eras of rock, bringing Lizzy-like twin guitar leads, driving Motörhead rhythms, and bellowing Pentagram vocals. We are booked to record again in July at Louder studios for various upcoming projects and splits, which will be announced soon, as well as a west coast tour towards the end of Summer.

Alex Wein – Vocals/Guitar
Tony Campos – Guitar/Vocals
Sean Nishi – Bass/Vocals
Joaquin Ridgell – Drums/Vocals

https://www.facebook.com/warcloudiscoming/
https://www.instagram.com/WarCloudRock/
http://warcloud.bigcartel.com/
http://warcloudiscoming.bandcamp.com/track/vulture-city

War Cloud, “Vulture City”

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Hepatagua Announce East Coast Tour; Premiere New Track “Ganesha”

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

hepatagua

If you want to give people a taste of what you’re going for with your debut EP, a 10-minute track will probably get the job done. Thus Boston-based duo Hepatagua unveil the sprawling “Ganesha,” the closing cut from their upcoming Worms release, which is out this Friday and which they’ll carry with them on their upcoming East Coast tour, all serving as a precursor to their first full-length, The Lost Art of Dropping Dead, due out later this year. Got all that? It’s a lot, I know.

The take-away is that Hepatagua, the two-piece of guitarist/vocalist Aaron Gray and drummer Nate Linehan, are getting ready to unveil their first offering, Worms, by taking it down and back up the Eastern Seaboard for shows in Philly, Brooklyn, Connecticut, Massachusetts, South Carolina, Alabama, etc. A release tour is a pretty bold move for a band like Hepatagua, but a listen to the EP finds their sound working likewise, either reveling in noisy aggro crush, as on its title-track, melding post-metallic progressive churn and soaring melodies on “No Rights” or moving from the initially frantic opening stretch of “Ganesha” to the patient, semi-psychedelic wandering that follows and rounds out with Gray‘s guitar offering full-on hypnotic drone at the finish.

You can hear “Ganesha” via the player below, following the tour info and some more background on Worms and the impending The Lost Art of Dropping Dead.

It all goes like this:

hepatagua worms

Hepatagua announces East Coast Spring 2016 Tour in support of their upcoming EP titled “Worms”

Boston sludge/doom/dark rock duo, Hepatagua are about to hit the road for their first East Coast tour. They’ll kick things off with an EP release (a selection of the upcoming LP) show at O’Brien’s Pub in Allston, MA on Friday April 8th, 2016 and then head out down to AL and back to support the EP. Also joining them will be local sludge titans, Phantom Glue, hardcore/metal/thrashers Jack Burton vs David Lo Pan (also their LAST SHOW), and sludge/doom heartthrobs, Upheaval.

Hepatagua East Coast TOUR DATES
4/8/16 O’Brien’s Pub – Allston, MA
4/9/16 33 Golden St – New London, CT
4/10/16 Lucky 13 Saloon – Brooklyn, NY
4/12/16 The Radio Room – Greenville, SC
4/13/16 The Ordnance – Birmingham, AL
4/14/16 Union EAV – Atlanta, GA
4/15/16 The Odditorium, Asheville, NC
4/16/16 Guido’s Speakeasy, Frederick, MD
4/17/16 Kung Fu Necktie – Philadelphia, PA

Hepatagua was once described as a two headed giant fighting another giant with the limbs of a third giant. It came to life in 2013, when BFF’s Nate Linehan (of AxCx/Fistula fame) and Aaron Gray (owner of Grayskull Booking) came to realize that they loved The Melvins, Nirvana, High on Fire, Failure, and formed a two piece dedicated to the riff and the exploration of playing whatever genre they feel like as long as it’s heavy as fvck. They’ve shared stages with the likes of Weedeater, King Parrot, Jucifer, Lo-Pan, and more and their debut EP, Worms, is just a taste of their upcoming LP titled “The Lost Art of Dropping Dead.”

www.facebook.com/hepatagua
www.hepatagua.bandcamp.com
twitter : @hepatagua

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