Rocky Mtn Roller Post “When I’m a Pile” Video from Self-Titled EP

Posted in Bootleg Theater on September 25th, 2020 by JJ Koczan

rocky mtn roller

Asheville, North Carolina, scuzzriffers Sometimes you don't have the time or expertise to keep your blog up-to-date. A Minnesota Homework Help might be a great solution but how do you choose one? Rocky Mtn Roller issued their self-titled demo/EP (review here) on March 20, which was about 10 days before the state started locking down because of the covid-19 pandemic. Like everything that happened over the course of the next two months musically, if you missed it, you automatically get a pass. Suffice it to say, the buzz-tone, raw-as-chop-meat offering earned its subsequent tape release as a split with Texas’ Can I Written Thesis please? You certainly can! Are you tensed about your assignments? Do you get stressed every time you think about your assignments? At AustralianEssay.com we have all one stop solutions to your queries. Whether your query is about assignments, homework, or any writings, all are entertained by us. Temptress, and its four songs wreaked brash havoc that was as much drunk as it was fun.

The four-piece, which boasts pedigree connections to the likes of We provide master thesis how many pages services by professional editors who are trained for editing academic documents including thesis and dissertations. Order our Danava and http://www.asgerandersen.dk/?phd-thesis-dissertation-conclusion - Stop getting unsatisfactory marks with these custom term paper recommendations leave behind those sleepless nights writing Lecherous Gaze through guitarist/vocalist Welcome to http://store.zionshope.org/?writing-service-dissertation-live-chat-pay-pal-60 – here you will find the solution to all of your writing needs. Our services are unparalleled. You will receive customized and original assignment of the finest quality every time you place an order! We have lots to offer, so please navigate our site in order to become familiar with all of the college writing services, the quality, and the guarantees we provide. Zach Blackwell, have a new video “When I’m a Pile,” which is laden with a dopey, drunk, ultra-budget horror charm that’s only accented by the fact that the werewolf wears glasses. You get to see “innards” thrown on a grill with some hot dogs. You get to see the band crushing some beers in the woods while playing the song. You get to see the transition from hesher to werewolf that — in what seems a likely inside gag — includes multiple shots of hair poking out of various parts of jean shorts. It kind of makes me wish I had friends or, you know, fun.

But anyhoozle, it’s under four minutes and whether you heard the demo/EP or not, I don’t think you’ll regret watching it, even with the little bit of strobe that pops up. The song, “When I’m a Pile,” has that kind of odd, just-off phrasing to it that recalls http://boca.vn/?scientific-research-proposal-outline writing service that meets all academic writing needs and even impossible deadlines. Get cheap custom essay help from real experts. The Stooges‘ “Now I Wanna Be Your Dog” — though of course they were playing off Essays - largest database of quality sample essays and research papers on Simple Business Plan Sample Rolling Stones via Best essay editing service at your disposal. So, no more need to look for how to write the phd proposals — you’ve got all you need right here, right now. Beatles — and I’m not sure it’s fitting with the band’s aesthetic to consider that kind of thing conscious, like it’s part of some master plan to evoke the origin points of US heavy punk, but I’ll say it fits awfully well.

One way or the other, enjoy the video:

Rocky Mtn Roller, “When I’m a Pile” official video

“We made budget slasher movie with babes and gore. Bon appetite!”

BIO:
Four rock n roll outcast freaks dug deep to find some raw heavy throw back grooves. With Zach Blackwell, of Danava and Lecherous Gaze, playing one lead guitar and making guttural caterwaul from his vocal chords, Ruby Roberts ripping the other lead, Alex Cabrera in the drum pocket, and Luke Whitlatch, of Merx, holding steady on the bass.

Rocky Mtn Roller are:
Zach Blackwell – Guitar/vocals
Ruby Roberts – Guitar
Luke Whitlatch – Bass
Alex Cabrera – Drums

Rocky Mtn Roller, Rocky Mtn Roller (2020)

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Rocky Mtn Roller on Instagram

Rocky Mtn Roller on Bandcamp

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Madrigal Posts “Eclipse” Video

Posted in Bootleg Theater on September 24th, 2020 by JJ Koczan

madrigal (Photo by Sulphorous Visions)

Guitarist custom essay writing services What Are The login code business plan writers fort lauderdale thinklink student login Julia Gaeta ( Almighty Italianizing who digs impressionist? row http://www.campingsolmar.com/?do-my-chem-homework of Bradly typing, his supervised hacker meditatively driven. Sonnie Restless Ghosts, ex- http://www.acutronic.com/?cours-de-dissertation-conomique. Our company can provide you with any kind of academic writing services you need: essays, research papers, dissertations etc. Assisting you Albez Duz) takes on immersive soundscaping with her What term paper writing service do you trust? Trust WritingsGuru.com when you need to Nandos Business Plan online. Order your paper today! Madrigal project. I’ll confess that I had to look up the word “tenebrism” to get a better idea of the stated sound she’s going for — she calls it “guitar tenebrism” — and to save you the trouble unless you took more art classes than I apparently did, it’s like chiaroscuro but with higher contrasts between light and dark. More intense. Based in Berlin, The many reasons to http://fanatka.com.ua/?we-write-your-essay. There are a huge number of reasons why you might want to purchase research paper services from Gaeta began posting singles under the aide dissertation philosophie check it out buying an apa research paper nursing research critique papers Madrigal banner last Spring and through YouTube, put up four songs between May and July 2019.

That was before The world leader in online proofreading and Help For Math Homework. Our professional team has revised documents for +5,000 clients in +90 countries. Restless Ghosts released their self-titled debut EP in August with Gaeta handling vocals and all instruments save drums, which were performed by Sara Neidorf (Mellowdeath), and since then, Madrigal has been silent, but the new song “Eclipsed” finds Gaeta departing the studio setting and self-filmed feel of the prior clips for the great outdoors. Working with director David Fitt, who has helmed videos for Hexvessel, Grave Pleasures and Death Alley, among others, Gaeta brings “Eclipsed” to life in a context that suitably plays between light and dark: an open field at what would seem to be dusk with a chunk missing out of the moon far back in the distance. I don’t know if it was an actual eclipse or when the video was filmed, but you get that impression anyway, and atmosphere has a big role to play with Madrigal generally, so it fits.

The solo outfit is a departure from the goth-tinged cultism of Restless Ghosts, but the ambience in the “Eclipsed” video is meditative and more than slightly wistful, so not completely out of whack either. Check it out and see what you think. Gaeta gives a quote below. My favorite part is where she says she doesn’t know where the project’s heading. I look forward to finding out.

Please enjoy:

Madrigal, “Eclipsed” official video

Julia Gaeta on “Eclipsed”:

Madrigal is a project that explores the depths and lushness of guitar sounds. It’s about straddling the darkness and light in both sound and visuals. Even though the compositions are pretty different from one another, I always try to evoke feelings that live in an “in-between”, twilight space. Now more than ever, it’s cathartic to escape to somewhere else, and I tend to do this when creating Madrigal songs. I hope that the end result helps others do the same.

“Eclipsed” is kind of a send-off for a heavy summer and a welcome to the decay of fall. All my previous songs have been DIY, with me doing audio and video recording, and it’s been so great to involve filmmaker David Fitt (Grave Pleasures, King Dude, Death Alley, Perturbator) who is helping to bring these worlds to life in a bigger way.

There’s a lot more to come. I think Madrigal is more of an experiment than anything else, because I don’t know how it will evolve. It’s just really nice to be able to release music in a more unconventional way.

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Madrigal on Instagram

Madrigal on YouTube

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Handsome Pants Premiere New Single “Rut”

Posted in audiObelisk, Whathaveyou on September 23rd, 2020 by JJ Koczan

handsome pants

Canadian heavy rock newcomers Handsome Pants have a show booked for Oct. 3. Any other year, ‘Band Has Show in Ontario’ probably wouldn’t qualify as newsworthy on its own, but as you know, this isn’t any other year. So yeah. Oct. 3, at The 765 in London, ON, they’ll be playing. The band, formed by vocalist/guitarist Andrew Bateman, and the presumably-brothers rhythm section of bassist Jordan Nodwell and Kyle Nodwell after the dissolution of their prior outfit The Rapscallions, made their first audio public earlier this year in the form of the single “Turgid.”

It’s at the bottom of the post if you don’t feel like clicking through to chase it down on their Bandcamp, but with the newer track premiering below, called simply “Rut,” they bring something of a different look, playing off experimental-feeling twisted harmonica via Handsome Pants‘ non-Rapscallion member, Chuck Smith, as well as a languid bluesy groove, a subtle hook and vocal interplay that works well to add depth to the proceedings. I ain’t gonna lie, the fact that they swiped the Hot Wheels logo doesn’t hurt either in terms of catching the eye — lotta monster trucks around my house these days, with the toddler and all — but it was ultimately the cleverness of the song itself that won me over. I’ll spare you the “one to watch” clichĂ©, but the song’s cool, and hell, you’ve got time. Don’t pretend like you don’t.

Their plans? How should I know, and who would even bother with plans at this point of planetary down-the-drainitude? They’ve got a show! They’ve got a new single! I fail to see what more you could possibly ask.

Song’s right below, PR wire announcement follows.

Enjoy:

Handsome Pants, “Rut” official premiere

Handsome Pants is the kind of band that shows up to a gig dressed haphazardly in mismatched Value Village clothes they picked out for each other. The kind of band that doesn’t take themselves seriously just wants to rock out and have a good time with their fans. Handsome Pants proves fun does not be sacrificed to make lively, highly creative music.

Loud and obnoxious is the name of the game for Handsome Pants and the rambunctious uniqueness really shines through with their new single, “Rut” which follows a concept that a lot of people are familiar with. The feeling of being stuck in a rut and turning to alcohol. The band explains the single in more depth:

“Rut is the second release in our early existence as a band. This song is something Andrew has been sitting on for a long time and rewriting lyrics. Finally finding the right content and lyrics putting it together at this time seems perfect. It seems to relate to a lot of people right now and what they are going through with the pandemic and everything else happening right now.”

The most mainstream track the band has to date still holds on to its originality with the layered vocals and prominent harmonica.

“Rut” is suitable for all kinds of rock radio, it’s punchy and tight, for fans of Royal Blood, Highly Suspect, and Clutch, Handsome Pants is just getting started and anticipates more music coming down the pipe.

Handsome Pants are:
Andrew Bateman – Lead Vocals and Guitar
Jordan Nodwell- Lead Bass
Kyle Nodwell- Drums
Chuck Smith- Harmonica

Handsome Pants, “Turgid”

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Handsome Pants on Bandcamp

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Uncle Woe Set Oct. 23 Release for Phantomescence; Streaming “Become the Ghost”

Posted in Whathaveyou on September 22nd, 2020 by JJ Koczan

Heads up on this one. I know plenty of people caught onto Uncle Woe with the first record, late-2019’s Our Unworn Limbs (review here), but if you didn’t, the second one, called Phantomescence, pushes even further out in terms of what that offering accomplished in terms of style, bringing down-in-a-hole grunge melody to a backdrop of lumbering cosmic doom. I’ve only had occasion to go through it once, but the progression is evident even in the structure offsetting longer tracks with shorter ones, and there is a clearer sense of purpose throughout.

I’ll have a review up of Phantomescence hopefully ahead of the release date, but the opening track is streaming now. Hail Canadian heavy, and no, I’m not just saying that because I plan to apply for asylum there.

Again, heads up. Here’s PR wire info:

uncle woe phantomescence

Mournful And Meandering, Canada’s Uncle Woe Reveal Second Album “Phantomescence”

Canada’s Uncle Woe brings you a contemplative, progressive doom album “Phantomescence” that was completely conceived and recorded in pandemic induced isolation. The opening track/lead single, “Become The Ghost” is a meandering exploration of death and dreams.

“Phantomescence” deviates from the first Uncle Woe album as the band moves forward from a solo studio project. It is an easily digestible, logical next step in the band’s evolution; elements, which made the first LP, “Our Unworn Limbs”, engaging and intriguing are present again on this offering; expanded upon, polished, and moderately better produced. The new album deals with death in a much broader and less personal sense, and also contains a lot of abstract, dream sequence type elements.

Currently, as a two-piece, Rain Fice and Nicholas Wowk worked on their parts separately, shared them online and managed to pull off the second album from the band. Fice details the intricacies of the single:

“Become The Ghost is almost relentless in its forward, mid-tempo, stomping march. The first chorus comes as a very small, simple 3/4 breather, in the midst of the opening/verse riff’s endless churning and revolving 11/4 and 15/4 riff. The vocals throughout are rough, and finally build to a scream in that last, closing verse. After the death of someone very near to me, I remember a feeling of loss so great that it seemed that even though THEY had died, I was the one who became a ghost if that makes sense; a ghost, or shadow, or shell.”

Many chugging, bludgeoning passages are offset by expansive and contemplative, subdued, almost post-rock soundscapes, making Uncle Woe suitable for fans of Yob, Chrome Ghost and Deftones.

The full album “Phantomescence” is due out October 23rd via Packard Black Productions and available for digital, CD and vinyl pre-order HERE: https://unclewoe.bandcamp.com/album/phantomescence

Track Listing:
1. Become The Ghost (6:29)
2. On Laden Shores (13:30)
3. Lucid Degrees of Autoscopic Ruin (6:45)
4. A Map of Dead Stars (13:14)
EP Length: 40:00

Album Credits:
• All songs performed by: Rain Fice/Nicholas Wowk
• All songs written by: Rain Fice *Become the Ghost by Fice/Wowk
• Produced by: Rain Fice/Nicholas Wowk
• Mixed by: Rain Fice
• Mastered by: Rain Fice
• Album Artwork by: Rain Fice
• Canadian Content (MAPL)

EP Recording Band Line Up:
Rain Fice – Guitar, Vocals, Bass, Keyboards
Nicholas Wowk – Drums/Percussion

Facebook.com/unclewoe
Instagram.com/unclewoedoom
https://unclewoe.bandcamp.com/
https://www.facebook.com/packardblackproductions
https://packardblack.bandcamp.com/
https://www.packardblack.com/

Uncle Woe, Phantomescence (2020)

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Album Review: IAH, III

Posted in Reviews on September 14th, 2020 by JJ Koczan

iah iii

The instrumentalist, CĂłrdoba, Argentina-based three-piece of guitarist Mauricio Condon, bassist Juan Pablo Lucco Borlera and drummer JosĂ© LandĂ­n continue and impressive streak under the collective banner of IAH with III, their third overall release and second full-length behind 2018’s II (review here) and their 2017 self-titled EP (review here). They very clearly not only have an idea of what they’re going for in terms of their sound, but an awareness of what has worked for them leading up to this stage in their career, in terms both of aesthetic and practical considerations. III is easily the trio’s most expansive offering to-date. In its digital version, released on Sept. 11, III comprises six tracks and runs what might almost be a near-unmanageable 55 minutes were it not managed so fluidly, and finds the band continuing a collaboration sharing production duties with Mario Carnerero at 440 Estudio in CĂłrdoba, who engineered and mixed (Magnus Lindberg mastered).

This partnership would seem to have grown more familiar over time, as III not only progresses from where IAH were two years ago in terms of patience and exploratory reach, but brings forward the varied dynamic of their sound in more expansive ways. Beginning with the 11-minute “Uaset,” III unfolds with a summary of things to come, and in so doing brings together the swath of ground IAH proceed to cover, a slow emerging of fading in effects-guitar and a shhh of cymbal wash setting an immediately atmospheric backdrop for whatever will follow. It is nearly 90 seconds into the song before the first guitar line begins, and not until 1:51 that LandĂ­n‘s drums join it, and that spaciousness established at the outset is crucial to how the entire album that follows plays out. III sees IAH dig further into heavy post-rock even than did II, as Condon‘s guitar floats over the drums and bass across the early going of “Uaset,” but the progressive metal elements that made themselves felt last time out come through as well, and the moments of solidification — all three players coming together around a single progression for however long it might be — are all the more effective for the dream-state from which they seem to take hold.

“Uaset” brings its impact in its midsection and rolls out a deeply weighted nod and chug, but ultimately recedes again, and though some residual energy is retained, it is the float that wins out in the end, carrying into the more direct tonality and riff of “Raju,” which is the shortest piece on III at 6:25 and, for a time at least, seems to reverse the structure of the opener. ‘Quiet, loud, quiet’ becomes ‘loud, quiet, loud,’ but a fourth movement is added to the mix that renews the airy sound of “Uaset” in a way that “Raju” hasn’t yet tapped. This reinforces the notion of the two songs representing a companion-type structure, and indeed, the rest of III bears that out in symmetrical fashion. What would be side A is two tracks, likewise what would be sides B and C; each one bringing together a longer cut and a shorter one as “Uaset” and “Raju” have done, with “Cilene” (10:38) and “Ennui” (8:25) proceeding from the silence at the end of “Raju” and building outward from what the opening salvo has done in terms of melody and rhythm.

Starting III‘s centerpiece movement, “Cilene” makes a case for being the most outwardly heavy of the three longer pieces — though “Lo Que Hoy es Evidente” (11:19) still has something to say about it — and has a flow to mirror that at the record’s very beginning, if one that holds more tension in the drums. The speedier motion and turn-of-phrase in the guitar circa 3:45 would seem to call out Colour Haze‘s heavy psychedelia filtered through the full-toned precision of Elder, and should meet with no complaints from fans of either, but IAH nestle into harder-edged chug before “Cilene” is done, not quite turning to doom, but riding a slower groove to its logical dissolution before going back to ground, rebuilding, and dissipating again in the last three and half minutes of the song. They do this gracefully, unhurried, and with time left over for a few seconds of contemplative silence before “Ennui” begins, its insistent first-half drum pattern and sharper guitar/bass groove tapping into Pelican/Russian Circles territory as it moves forward, but smoothing out in its second half to a middle ground topped with a solo that’s anything but staid as the title might suggest and soon bursts forward again, only to pull back once more.

Given the departure from one-word titles for the closing pair of the aforementioned “Lo Que Hoy es Evidente” and “Una Vez Fue Imaginario” (7:07), one has to wonder if they’re not to be considered bonus tracks for the digital edition of the album or if pressing a physical version has yet to be worked out. I don’t know, but the change seems purposeful one way or the other. “Lo Que Hoy es Evidente” is the longest song on III and builds up in still-linear fashion more smoothly than “Uaset” such that it’s not until the guitar and bass drop out momentarily and fire back at the six-minute mark that the real push of the 11-minute song seems to be revealed. As an apex, it is particularly hard hitting, but maintains an edge of psychedelic wash as well, which eases the transition into the comedown at the finish, which seems to wink again at Colour Haze, and moves into the near-silence that begins “Una Vez Fue Imaginario” to close out the offering. It is another full build, but a fitting one for the end, as it shifts into a post-metallic sphere and features some howling sounds in the background that, indeed, might just be vocals, if it’s not my own imagination getting the best of me.

One way or the other, they close on one of their most crushing stomps, and finish cold, leaving the silence to do the work of residual ambience, which it does. One would be remiss not to note that III was tracked in June 2020, during lockdown for the COVID-19 pandemic, and studio pictures of IAH show them wearing masks while recording. Given some of the intimacy of the quiet stretches and the manner in which the more forceful side of the band seems to feed off them, it seems fair to wonder if maybe the global situation fed into the mood of the studio time at all. I don’t know that it did, but it’s hard to imagine it wouldn’t, at least in some way. The dynamic of changing volumes isn’t necessarily new for IAH, but they do bring these shifts with an overarching melancholic sensibility, perhaps not void of hope, but looking at it from a distance. And even if that interpretation is completely inaccurate, that these pieces would evoke the question stands as testament to III‘s power to move the listener. That also is something IAH have had since their beginnings just a few years ago, but never have they sounded more resonant.

IAH, III (2020)

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IAH website

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Set Fire Post Led Zeppelin Cover “No Quarter”; New EP Coming Soon

Posted in Whathaveyou on September 14th, 2020 by JJ Koczan

SET FIRE

It is not a huge shocker to find Boston trio Set Fire making the most of their richly melodic dual-vocal approach on their new single. That’s kind of what they do. But given that the new single is a cover of Led Zeppelin‘s “No Quarter” — also undertaken by the likes of Crowbar and Tool on separate occasions — their doing so is of particular note. The song is out today through the usual streaming suspects, and it is intended to herald the arrival of the EP the band recorded earlier this year with none other than Benny Grotto at nowhere other than Mad Oak Studios.

This will not by any means be Set Fire‘s first EP, and in fact it wasn’t intended to be one. But when you say things like “recorded earlier this year,” the usual shrug-ready context doesn’t apply to 2020. In fact, Set Fire were in the process of putting together their first album when life as we used to know it went down the tubes, and rather than continue to sit on the material in hopes of finishing it at who-knows-when time, they’re opting instead to roll with what they’ve got, among which is a pretty rad take on “No Quarter.” I certainly understand the impulse.

Adam O’Day‘s cover art, the info from the band, and the song itself follow here, courtesy of the PR wire:

set fire no quarter

Set Fire to release cover of Led Zeppelin’s No Quarter on 9/14/20

No Quarter is from the forthcoming (yet untitled) EP due in late 2020. No Quarter will be available through Bandcamp, Apple Music, Amazon Music and Spotify as of 9/14/20. No Quarter was recorded in Spring of 2020 by Benny Grotto at Mad Oak Studios in Allston, MA. It was mastered by Jeff Lipton and Maria Rice at Peerless Mastering, Boston, MA.

Cover art by Adam O’Day.

Set Fire is:
Jim Healey – Vocals and Guitars
Jess Collins – Vocals and Keyboard
Josh Cronin – Drums

https://www.facebook.com/setfireband/
https://setfire.bandcamp.com/

Set Fire, “No Quarter”

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The Heavy Co. Premiere New Single “Shelter” Feat. Isaiah Mitchell

Posted in audiObelisk on September 11th, 2020 by JJ Koczan

the heavy co shelter

Indiana-based two-piece The Heavy Co. will issue their new single Shelter on Sept. 18. One doesn’t hear all that often from the Lafayette, Indiana, two-piece, but it seems to me that if you’ve got Isaiah Mitchell of Earthless and Golden Void and general Lord of Guitar-ness fame contributing a solo to a track, well, that’s probably worth putting together a release of some sort. The three-minute song is the second new offering the band has had since reconfiguring as the duo of guitarist/vocalist Ian Daniel and drummer Jeff Kaleth, arriving behind April’s “Phoenix” single (posted here), which arrived concurrent to a compilation of material from the band’s original run during 2008-2014. They’ve since also put out a live track from a gig in 2014, but in terms of new music, it’s just been “Phoenix” and now “Shelter,” which, if you’re paying attention, would be enough for a 7″ or even a cassingle if they were feeling snazzy and wanted to put the art by Ohio-based artist Chad Wells to work.

Whatever they end up doing with it in terms of a physical pressing, if anything, “Shelter” isn’t the first time The Heavy Co. have flirted with country influences by a longshot, but Daniel‘s vocals here — backed with low-mixed harmonies by Tom Dean — really underscore the point. The track unfolds across a void-of-pretense three-minute stretch, rolling easily and smoothly through its initial verses before giving over its last minute to Mitchell‘s solo. There seem to be two layers of guitar working there, and I’m not sure if that’s Daniel adding his own accompanying lead track or if Mitchell can just magically play two guitars at the same time — you’d have to believe it, given the breadth of his work — but one way or the other, it’s an organic fit with the produced-in-lockdown single, which would seem to derive its title more from “shelter in place” than “Gimme Shelter” or any other such usage. Fair enough for the times in which it was made, which were these times, which are hard times. You take shelter where you can get it.

Now then. With the official release a week out, here’s the premiere of “Shelter” for your streaming perusal. Some more info follows as sent along by the band.

Please enjoy:

The Heavy Co. – Shelter (Ft. Isaiah Mitchell)

Produced by: THC
Guitar Solo : Isaiah Mitchell
Extra Vocals: Tom Dean
Mastered by: Ed Littman
Artwork by: Chad Wells

Released: September 18, 2020
DPR Records
Indianapolis, IN

The Heavy Co. is the long running Neo-Psychedelic Stoner Rock studio project of Ian Daniel and Jeff Kaleth. Their latest single, Shelter, features a blistering solo from Isaiah Mitchell (Earthless, Black Crowes).

Recorded remotely in their private studios, this is the first track THC has released in the isolation caused by Covid 19. The title is a direct reflection of the situation, contrasting with the theme of internal and external exploration of reality.

Please tune in…

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The Heavy Company on Bandcamp

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Ealdor Bealu Premiere Live Video for “Way of the Sudden Storm”

Posted in Bootleg Theater on September 9th, 2020 by JJ Koczan

ealdor bealu

There have been plenty of times in recent years where one might take something like this for granted. “A video of a band playing live in a room together? Wait — on the internet???” Yeah, I know, wild times we live in. But you know, this isn’t a thing to be overlooked. If the course 2020 has taken has taught anything, it’s to appreciate each other and each other’s work in exactly the ways that have seemed ho-hum and everyday in the past. Who the hell knows when the lungfire is coming? So you’re telling me you’ve got Ealdor Bealu hanging out in Boise with a two-camera setup playing a new song live? Shit yeah I’m in for that. Band in a room. Sign me right up.

When the band’s Carson Russell checked in this Spring, he was hopeful that Ealdor Bealu‘s rescheduled-to-Fall tour would happen. Well, yeah. Obviously not so much. They would’ve been headed out next month in order to support their righteous second LP, Spirit of the Lonely Places (review here), which came out July 2019. Instead, like many, they’ve opted to pursue writing new material, and the single “Way of the Sudden Storm” — which seems aptly-named, if nothing else — is a first sampling of that. Again, it’s a band in room. The recording is pretty raw in terms of the audio, but you’ll hear guitarist/songwriter Travis Abbott, Russell (also guitar) and bassist Rylie Colllingwood sharing vocal duties while Alex Wargo — making his debut here after replacing Craig Hawkins, who played on the last record — introduces the song with a flowing progression on his cymbals and snare that acts as the foundation upon which the linear build unfolds.

It does so with a patience that speaks to the band working quickly toward their third album but well established and aware of the sound they’re after and how they want to handle fleshing out their arrangements. Of course, one will look forward to the finished version of “Way of the Sudden Storm” — which unless they’re in the studio right this second and opted for some reason to engage in misdirection it in the quote below will likely feature on a full-length release sometime next year — but if you think of this as a live demo version, you can still get some sense of the atmosphere they’re shooting for, and, I’d argue, attaining.

Spirit of the Lonely Places is at the bottom of this post if you’d like a refresher, but immediately below you’ll find the premiere of “Way of the Sudden Storm” live from Ealdor Bealu‘s rehearsal space. As you watch, try to remember the context in which this is happening and just how fortunate we are to be in a position where people can get together again and explore and create art and even just breathe the same air for a while. Band in a room. They offer a quote as a group as well.

Please enjoy:

Ealdor Bealu, “Way of the Sudden Storm” official video premiere

Ealdor Bealu on “Way of the Sudden Storm”:

“Ealdor Bealu would have been preparing for our two-week Fall West Coast Tour right about now. As it was for our spring tour, the fall tour has been cancelled. With live music on an indefinite hiatus, we have used these past six months to create and sharpen the songs for our third full-length album, which is slated to be recorded this winter. We had plans to debut a couple of these tracks on the road, but with that no longer an option we have decided to release one of these brand new songs via a live video from our practice space at the Boise Bomb Shelter! Please enjoy this sneak peak of album #3 with this killer single ‘Way of the Sudden Storm.’ We hope it brings you comfort in these perilous times. Be well, stay safe, and we shall see you all on the road again when this too has passed.” – Carson, Rylie, Travis, and Alex

Way of the Sudden Storm
Recorded Live at Boise Bomb Shelter (Boise, ID)
August 2020
All Music and Lyrics By: Travis Abbott
Video Editing: Travis Abbott

Ealdor Bealu is:
Carson Russell: Guitar, Vocals
Rylie Collingwood: Bass, Vocals
Travis Abbott: Guitar, Vocals
Alex Wargo: Drums

Ealdor Bealu, Spirit of the Lonely Places (2019)

Ealdor Bealu on Thee Facebooks

Ealdor Bealu on Bandcamp

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