Tuber Release New Album Out of the Blue

Posted in Whathaveyou on June 2nd, 2017 by JJ Koczan

tuber

Whatever else you might say about Tuber‘s newly-issued second full-length, Out of the Blue, it certainly lives up to its name. Last time we heard from the Greek instrumental four-piece, they were playing Desertfest Berlin 2017, thanking the crowd, and then all of a sudden, they’ve got a follow-up to their 2013 debut, Desert Overcrowded, posted on their Bandcamp. And it’s not just another record — it’s one that brings in copious keyboard elements and different styles to add progressive flair and scope to the band’s riffy underpinnings.

To wit, the whole thing’s streaming now and you can check out the synthy pulsations of “Cat Class” or the proggy post-fuzz of “Luckily Dead” as the band seem to draw inspiration from various heavy and hard rocks across the ages as they find a way to unite it all with a nod-ready groove. The sudden nature of Out of the Blue‘s arrival doesn’t make it any less welcome, certainly, and it shows quickly that while it may have taken three-plus years for Tuber to get this record out, they haven’t at all been stagnant during that time. Vinyl and CD are reportedly coming soon but can be preordered now.

I’ll have a proper review in the weeks to come, but for now, here’s all the info, audio and links, culled from the social medias and their Bandcamp page. Dig it:

tuber out of the blue

Here it is, “Out of the Blue”, our new record available NOW for digital download and physical preorder for Vinyl and CD through https://tuber.bandcamp.com/album/out-of-the-blue

You can also listen to it, at its entirety, on our YouTube channel https://goo.gl/Fk2COq

Soon also available through iTunes, Spotify, etc

Tracklisting:
1. Out Of The Blue 07:06
2. Russian 05:39
3. Cat Class 06:47
4. Noman 08:14
5. Moon Rabbit 06:30
6. Luckily Dead 07:23

Released May 31, 2017

All music written, arranged and performed by Tuber
Produced by Paris Fragkos and Tuber at Flow Recordings, Serres, GR
Mixed by Paris Fragkos www.facebook.com/flowrecordings
Mastering by Brad Blackwood at Euphonic Masters, Memphis, Tennessee.
Cover Layout by Originalreplica.gr
Photography by Panagiota Karagiorgou
Released by NEDA, June 2017

Tuber is:
Yannis Gerostathos
Yannis Artzoglou
Nickos Gerostathos
Paris Fragkos

https://www.facebook.com/tuberband/
https://tuber.bandcamp.com/album/out-of-the-blue

Tuber, Out of the Blue (2017)

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Egypt Announce Cracks and Lines Preorders Available; July Euro Tour Confirmed

Posted in Whathaveyou on May 29th, 2017 by JJ Koczan

egypt

Egypt head back to Europe in July for a tour that rounds out with slots at Stoned from the Underground in Germany and Red Smoke in Poland, and by the time they go, the Fargo, North Dakota, three-piece will have issued their new album, Cracks and Lines. You might recall the band posted the 11-minute title-track of the record back in March — though one didn’t know at the time it shared its name with the record; very sneaky — to give a substantial tease to the follow-up to 2015’s Endless Flight (review here) and reassure their broadening listenership that their bluesy sludge rock remains well intact moving into their next release.

Good to know and good to hear. I’d already been looking forward to the rest of the album, and if you’re in a similar mindset, they’ve got preorders up now through their Bandcamp and have posted the album art and tracklist. Though “Cracks and Lines” itself was 11 minutes long, I’m thinking the rest of the offering might be pretty short since they refer to it as an “EP/LP.” Either way, new Egypt and I’ll take it.

They were also recently confirmed for Glory or Death Records‘ upcoming Thin Lizzy tribute (info here), so plenty going on. Here’s info from their social medias:

egypt cracks and lines

Egypt – Cracks and Lines

The digital and CD preorders of our new EP/LP/album “Cracks and Lines” are now live on bandcamp. The release date is set for 6/20 for the digital/CD. Physical CDs should be in our hands on or before the release date. If a delay occurs we will let everyone know. Vinyl will be coming, but a bit down the road. Check it out. Cheers.

Tracklisting:
1. Final Heist
2. Cracks and Lines
3. Dirge
4. Watchin’ You
5. What Lights This Ocean

Here are our 2017 European tour dates. We’re super stoked to be heading back over to Europe this Summer. Check it. Presented by Total Volume & Eclipse Productions!

1-jul Rare Guitar – Münster DE
2-jul Le Garage – Liege BE
3-jul Le Glazart – Paris FR
4-jul Le Ferraileur – Nantes FR
5-jul OFF
6-jul Coq D´Or – Olten CH
7-jul Dome of Rock Festival – Salzburg AT
8-jul KVLT – Budapest HU
9-jul EXIT festival – Novi Sad RS
10-jul Club Daos – Timisoara RO
11-jul Elektropionir – Belgrade RS
12-jul Vintage Industrial Bar – Zagreb HR
13-jul Das Bach – Vienna AT
14-jul Club 007 – Prague CZ
15-jul Stoned From the Underground Fest – Erfurt DE
16-jul Red Smoke Festival – Pleszew PL

EGYPT is:
Aaron Esterby – Bass/Vocals
Chad Heille – Drums
Neal Stein – Guitar

https://www.facebook.com/events/1506362106083449/
https://www.facebook.com/egyptband/
https://egypt1.bandcamp.com/

Egypt, Cracks and Lines (2017)

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Stinkeye Release Llantera June 15; West Coast Tour Announced

Posted in Whathaveyou on May 26th, 2017 by JJ Koczan

Phoenix, Arizona, three-piece Stinkeye have finished work on their debut album, Llantera and are wasting no time in getting it out to the public. After catching the ear with the four-track Llantera Demos (review here) last year, the band will issue the completed seven-song record on June 15. All four songs from the demo — “Orange Man,” “Pink Clam,” “Llantera” and “Fink Ployd” — will appear on the full-length, and upon the release, Stinkeye will turn around and quickly hit the road the next night to begin supporting it on the West Coast, heading up to Oregon and back south again.

A few shows on that stint are still coming together, so if you’re in a position to help out the band with a gig or put them up for the night or give them food or whatever it is you can do, I doubt they’d argue with you. It’s the right thing to do, in any case.

I’ll hope to have more on this to come, but here are the album announcement and tour dates to start with, as sent over by the band:

stinkeye

60’s psychedelic Hash Rock trio from the scorching pavements of Phoenix, Arizona, STINKEYE release their debut album “LLANTERA” June 15th. The drums for the album were recorded at Deep Roots Studios in Tempe, AZ, but most of the record was done at Savage Tactic Studios.

Tracklisting:
1. The Calm
2. Orange Man
3. Pink Clam
4. Llantera
5. Bringer of Grief
6. No Spoon
7. Feed

The album release will followed immediately by a two-week tour through the West Coast starting June 16th. Several dates still TBA.

Stinkeye on tour:
Friday June 16 Bancroft San Diego CA*
Saturday June 17 Gnar Burger Los Angeles CA*
Sunday June 18 Black Light Long Beach CA
Monday June 19 TBA Los Angeles CA
Tuesday June 20 TBA CA
Wednesday June 21 TBA San Francisco CA
Thursday June 22 Johnny B’s Medford OR
Friday June 23 House Show Redmond OR
Saturday June 24 TBA Portland OR
Sunday June 25 TBA Eugene OR
Monday June 26 TBA Medford OR
Tuesday June 27 Winters Tavern San Francisco CA
Wednesday June 28 TBA Los Angeles CA
Thursday June 29 TBA San Diego CA
* with Colour TV

https://www.facebook.com/stinkeyeblows/
https://stinkeye666.bandcamp.com/releases

Stinkeye, Llantera Demos (2016)

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The Obelisk Radio Adds: Big Kizz, Mt. Mountain, Mage, Hypertonus, Lee Van Cleef

Posted in Radio on May 22nd, 2017 by JJ Koczan

the obelisk radio cavum

We’re only slightly overdue for a batch of adds to The Obelisk Radio. I need to start setting a reminder or something. By the time this post goes up, my hope is that we’ll actually be off the backup server and back on the full or at least mostly-full playlist. It’s been a long road, as the terrible opening theme to Star Trek: Enterprise once said, but I think Slevin has it ready to roll, and there’s still some rebuilding to do, but I think it can be an ongoing thing working on the new hard drive. We’ve worn the crap out of that backup playlist. It would be nice to not have to use it for a while. Fingers crossed, anyhow.

Whichever server these files wind up on, they’ll be joining some playlist as soon as humanly possible. Let’s do the rundown in the meantime.

The Obelisk Radio Adds for May 22, 2017:

Big Kizz, Eye on You

big kizz eye on you

Some who take on the debut single from Swedish trio Big Kizz will find the band reminiscent of some of the rawer moments of long-running Danish garage-psych rockers Baby Woodrose, but for many, an additional draw to the three-track/eight-minute offering (delivered via Tee Pee Records) will be the lineup, which features bassist John Hoyles (Spiders, ex-Witchcraft), guitarist/vocalist Pontus Westerman (also of Lady Banana), and perhaps most notably, drummer Axel Sjöberg in his first recorded appearance after splitting with Graveyard. Turns out he’s still a fantastic drummer. His play in leadoff cut “Eye on You” and the push he brings to “Baby Boy” and the closing Roky Erickson cover “White Faces” will surely lead some to relate Big Kizz to Sjöberg‘s former outfit, if only in their earliest going (which was also on Tee Pee, remember), but the truth is the trio show themselves to be on a different trip throughout Eye on You, as they bring the aforementioned garage stylization forward amid classic boogie and, particularly in “Baby Boy,” nod toward mid-’60s psychedelia in a quick but fluid bridge. The Roky Erickson cover could hardly be more fitting, handclaps and all, but it’s the sense of movement in the two originals that shows the most potential here as Big Kizz seem to set their eyes on establishing their dynamic and building from there. Will be interested to hear what they do with the context of a full-length and if some of the psych in “Eye on You” and “Baby Boy” is relegated to flourish or if it comes to the fore as they develop, but they’re off to a rousing start.

Big Kizz on Thee Facebooks

Big Kizz at Tee Pee Records

 

Mt. Mountain Dust

mt. mountain dust

Devotees and pilgrims of longform psychedelia will no doubt and should rejoice at Dust (on Cardinal Fuzz), the maybe-second long-player from Perth, Australia, five-piece Mt. Mountain, which from its 17-minute titular opener and longest track (immediate points) unfolds a ritual of superior immersion and conscious trance inducement. Over the course of four songs/37 minutes total, Mt. Mountain unfold a sprawl reportedly intended to capture the atmosphere of the Australian Outback — and maybe they get there, I don’t know; I’ve never been — but either way, the balance of repetition and depth in “Floating Eyes” and the shimmer of the nine-minute “Kokoti” speak to a varied ecosystem that, indeed, one might get lost in, never to return. Mellotron, organ, djembe and percussion play a central role in the overarching sense of mind-expansion along with the guitar, bass, vocals, drums, etc., but it’s the combination of elements, the variety between tracks — they’re jam-based, but distinct songs, to be sure — that really stands Dust apart from much of drift-minded modern heavy psych. One advises patience with the drones of the opener and the cautious first steps that the fading in percussion seems to be taking, as the rewards are considerable when it comes to the front-to-back experience Mt. Mountain offer, which is stark, striking, marked by underlying threat and casts a feeling of the infinite that no doubt was the very intent behind its making.

Mt. Mountain on Thee Facebooks

Cardinal Fuzz webstore

 

Mage, Green

mage green

Self-released in a six-panel digipak with decidedly grim artwork courtesy of Dominic SohorGreen is the third full-length from Leicestershire, UK, heavy rockers Mage. Last heard from with 2014’s Last Orders (review here), they retain the blend of heavy rock groove and metallic aggression that’s become their signature sound, and continue the march forward in finding a space between post-Down/Orange Goblin dude-rockery and doomlier fare. Vocalist Tom blends harsh growls and a cleaner approach on opener “Nowhere to Nothing” and the later “Primitive Drive” while mostly avoiding sounding like Phil Anselmo, and as guitarist Woody, bassist Mark and drummer Andy dig into the slower roll of “Eclipse King,” Mage seem to hit the mark they’re shooting for in terms of style and songcraft. The centerpiece title-track has a little more head-bob to its central progression — and then there’s that wah; always fun — but they’re right to mess around with the proportion of stylistic elements throughout to add variety, and the 10-minute closer “Vultures Mass” does well in taking the punch of “Nowhere to Nothing” and “Heroic Elegy” at the album’s start and pushing it outward into a satisfying apex. Straightforward in its intent, given a sense of mass via a recording job at Skyhammer Studios and executed with a clean conscience, Green is the work of a band who know what they want from their sound and know how to make it happen, which, thankfully, they do in these tracks.

Mage on Thee Facebooks

Mage on Bandcamp

 

Hypertonus, Tidal Wave

hypertonus tidal wave

Tidal Wave is the self-issued debut full-length from German instrumentalist three-piece Hypertonus, and it lands some six years after the band first got together, preceded by a semi-eponymous 2013 EP, HPRTNS. If the more-than-half-a-decade stretch seems like a while for a group to get to their first long-player, it might be, but one suspects the Bremen-based troupe comprised of guitarist Patrick Büch, bassist Arne Staats and drummer Hannes Christen spent a significant amount of that time in the jam room developing their sound, because what they cast over this nine-track/45-minute outing is a keen progressivism and chemistry that feels not at all happenstance. With shifts into and out of technically-minded parts that seem to be driven by Staats‘ bass, Hypertonus reportedly tracked Tidal Wave live, and I have no reason not to believe it, particularly given the eight-minute closer “Phantasmagoria (Improvisation Jam),” which departs from the quick psych-meditation of “Aeropause” and the almost jazzy rhythms and post-rock guitar of “Expect the Sky Below” to bring the band’s style even more to life for the listener to take on. It’s a heady release, and some of the changes come across as willfully choppy — playing with expectation in a “now we’re over here!” kind of way — but there’s a marked sense of accomplishment throughout that’s nothing if not well earned.

Hypertonus on Thee Facebooks

Hypertonus on Bandcamp

 

Lee Van Cleef, Holy Smoke

lee van cleef holy smoke

Pressed to gorgeous-sounding vinyl by White Dwarf Records last November, the five-track instrumental Holy Smoke is the debut LP from Naples, Italy, jammers Lee Van Cleef, and aside from its righteously striking cover art, one finds primary impressions in the gotta-hear-it bass tone of Pietro Trinità La Tegola, the molten lysergism in Marco Adamo‘s guitar and the grounding-but-not-too-grounding effectiveness of drummer Guido Minervini in anchoring a jam like the 13-minute “Banshee,” which takes the best lessons of groups like Germany’s Electric Moon and Portugal’s Black Bombaim and brings them to methodical, engagingly rumbling fruition. Nod persists through the more uptempo, Tee Pee Records-style centerpiece “Hell Malo,” but the three-piece seem even more comfortable dug into the post-Sleep riffing of the subsequent “Mah?na,” finishing that track with a standout wash of a guitar lead ahead of the brighter-feeling closer “Towelie,” which underscores an otherworldly vibe that turns out to have been in Holy Smoke all along. Lee Van Cleef have already followed Holy Smoke up with a single titled “Everyone Should Kill an Old Hippy” (discussed here) — it’s worth noting that this album starts with “Heckle Yuppies,” so they’re not fans of them either — and one can’t imagine it will be long before they answer back with another full-length offering. The question is how they’ll ultimately distinguish themselves from the crowded European jam-based heavy psych underground, but there’s nothing in these tracks to give the impression they can’t or won’t do so as they continue to grow.

Lee Van Cleef on Thee Facebooks

White Dwarf Records on Thee Facebooks

 

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Coeur Atomique: New Project from Voivod Founder Announces Landscape of Emergency I Debut Album

Posted in Whathaveyou on May 22nd, 2017 by JJ Koczan

coeur atomique

Founding Voivod bassist Jean-Yves ‘Blacky’ Thériault has announced that his new project, Coeur Atomique, will release its debut album July 10. Preorders are up now for what’s been given the title Landscape of Emergency I from the low-end-centric experimentalist two-piece of Theriault and fellow bassist Monica Emond. Comprised of six songs, the 42-minute offering basks in progressive textures and markedly atmospherics, but holds firm to a sense of movement across its span as lines from Thériault and Emond intertwine and feel their way through songs like “Castle Bravo” and “The Waste,” both of which you can hear below.

Thériault, who co-founded Voivod in 1981 with still-missed guitarist Denis “Piggy” D’Amour, left that band following the release of their latest full-length, Target Earth, in 2013. Coeur Atomique — which seems to have originally been called Landscape of Emergency — will use its first long-player as the launch point for a series of releases exploring social themes through instrumentalist means, and already one finds considerable resonance in its focus on tonality, presentation and depth.

Landscape of Emergency I is available now to preorder direct from Coeur Atomique, and you’ll find the link in the info below, which comes courtesy of the band via the PR wire:

coeur-atomique-landscape-of-emergency-i

CŒUR ATOMIQUE is a bassists duo formed by Monica Emond and Jean-Yves Thériault (Voivod, The Holy Body Tattoo). During live performances, their music written for two basses and electronics is accompanied with powerful film projections. Art, they say, is meant to act and to resist! Watch our videos on Youtube.

Their first album called Landscape of Emergency I ~ will be released on vinyl by July 10th, 2017. Pre-order it now through coeuratomique.org. The digital format is already available. This album is the first part of the Landscape of Emergency series of releases which address the silencing machine of ignorance of indifference…

Landscape of Emergency I ~ Song List
1. Fail Safe
2. Calutron
3. Castle Bravo
4. The Waste
5. Berghof
6. Green Run

http://coeuratomique.org/
https://www.youtube.com/channel/UC6An1AAp1UQehEsvKzvOCVA

Coeur Atomique, “The Waste”

Coeur Atomique, “Castle Bravo”

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Naxatras Begin Recording New Album; Self-Titled Vinyl Available

Posted in Whathaveyou on May 22nd, 2017 by JJ Koczan

naxatras

Winning news all around from Greek heavy psych rockers Naxatras, as they’ve begun the recording process for their third studio full-length as of yesterday and released their 2015 self-titled debut as a gatefold 2LP. Based in Thessaloniki, the three-piece of guitarist John Delias, bassist/vocalist John Vagenas and drummer Kostas Harizonis have been garnering acclaim from and beyond Europe’s underground since first issuing their debut two years ago thanks to languid jams like “Shiva’s Dance” and the classic-style fuzz drift of “Downer,” and it’s hard to imagine that by the time this post is live, the vinyl won’t be well on its way to sold out. They only pressed 500.

Among its endearing qualities, Naxatras‘ Naxatras basks in an ultra-natural tonality that would turn even the most loyalist of the vintage aficionados envious. From its 10-minute opener “I am the Beyonder” through the gently progressive roll of “Waves” and the push, blown-out drift, spoken preach and meandering guitar lines of “Ent,” which caps, the album cast aesthetic worries aside in favor of making its impression through immediate chemistry between its players, who recorded live, analog, no overdubs, in a single day. The vitality of performance became the self-titled’s signature, and it’s something that last year’s follow-up, II (review here), continued to develop along with their overall scope.

One can only hope the thread will continue for what may or may not be called III upon its arrival. I’ve yet to hear of a confirmed date for Naxatras‘ next release, but when and if I do, I’ll certainly let you know. In the meantime, plans seem to be in the works for a Fall 2017 European tour, since the band has been confirmed for the lineup of Keep it Low 2017 in Munich, Germany.

The following was culled together from a few different posts, but brings confirmation direct from the band:

naxatras self titled

They’re here!!!

Two years after the release of our first album, we finally present you its vinyl form!

Double-LP with an analog cutting from the original master tapes by Jesus I. Agnew at Magnetic Fidelity in a lovely gatefold cover by CHRIS RW!

The album was recorded live in the studio with no overdubs during a single day in January 2015. ATR Magnetic Master Tape in 1/4″ was used as the master tape, in a half-track stereo configuration.

Order here: https://naxatras.bandcamp.com/album/naxatras

21st of May we enter the studio to record our 3rd album.

Uber-hyped to play Keep It Low Festival 2017 this October among so many awesome bands!!

Rest of the European Autumn Tour will be announced really soon too, so stay tuned friends…

Naxatras is:
John Delias – Guitar
Kostas Harizanis – Drums
John Vagenas – Bass & Vocals

https://www.facebook.com/naxatras/
https://naxatras.bandcamp.com/

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Mose Giganticus Post Video for “Long as Time”

Posted in Bootleg Theater on May 18th, 2017 by JJ Koczan

mose giganticus

It was right about this time last year that heavy post-rocking Philadelphia two-piece Mose Giganticus released their first new track in six years. That cut, given the reassuring title “We are One” and presented in an accompanying video (posted here), was said to be the beginning point of a series of singles on which the band was embarking as they looked to follow-up their 2010 sophomore LP, Gift Horse, by taking something of a different approach. An ambitious project on the surface, it kind of made sense if you consider an independent band putting out tracks on their own terms as they’re written rather than following this or that other, arguably outdated model.

While I’m not sure if it’s still the intent of Mose GiganticusMatt Garfield and Joe Smiley to continue along the lines of doing a singles series, their new offering is a video for “Long as Time,” and with cinematic photography, creepy-as-hell makeup and lighting, a drama of synth and atmospheric weight, it offers much on both the aural and visual levels. Keys open and unfold to a subdued, tense roll as the two players harmonize through an airy verse en route to a thicker-toned threat of a hook, progressive undertones tying together any disparities of volume or approach. There’s continuity in what they’re doing here with what “We are One” had to offer — in terms of the video and the songwriting itself — but its melody stands “Long as Time” out from its predecessor, as does the patience of its execution; though they tease further heft, they never actually give into the cliché of a linear payoff.

I don’t know what the future might hold for Mose Giganticus, and it’s entirely possible that the week of May 15, 2018, will find me posting another video from them and talking about how they sound like they’ve grown again. Could very well happen. Either way, if you missed “We are One” a year ago, “Long as Time” is well worth checking out and hopefully as you dig into it and the info that follows below, you enjoy.

Here goes:

Mose Giganticus, “Long as Time” official video

Mose Giganticus is Matt Garfield and Joe Smiley

Directed by Matt Garfield and Christopher Kayfield
Produced and Edited by Matt Garfield
Photography by Christopher Kayfield
Production Design by Matt Garfield and Christopher Kayfield
Hair & Makeup by Lauren Jaremko
Lighting Design by Matt Garfield
Audio Recorded at Red Planet by Joe Smiley
Audio Mastered by James Plotkin

Mose Giganticus is an evolving body of music, art, and technology led by Matt Garfield. Since 2007, Garfield has performed hundreds of live shows as Mose Giganticus across North America and Europe, backed by a revolving cast of touring musicians up to 30 members deep. Mose Giganticus achieved notoriety with the release of Gift Horse on Relapse Records in 2010, following an extensive U.S./Canadian tour fueled by recycled waste vegetable oil for Garfield’s custom-built tour bus.

Though the touring line-up has shuffled, Joe Smiley has been a consistent contributor to Mose Giganticus from the start- both in the studio and on the stage. Smiley’s talents have been featured on every recording as a guitarist, recording engineer, or both.

As a multi-instrumentalist duo, Garfield and Smiley layer their live performances with custom interactive electronics and lighting design to build a cohesive display that seems beyond their capacity.

Mose Giganticus on Thee Facebooks

Mose Giganticus on Bandcamp

Mose Giganticus website

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Six Dumb Questions with Six Sigma

Posted in Six Dumb Questions on May 17th, 2017 by JJ Koczan

six sigma

One imagines that, to a band coming back after a 15-year absence, there are few words as gratifying as ‘Funded.’ New Jersey trio Six Sigma, who entered the fray of a busy post-Monster Magnet scene in Long Branch that already boasted names like Halfway to Gone, Solarized, Solace and The Atomic Bitchwax, among others, with 2000’s The Spirit is Gone EP, well surpassed their goal when it came to asking listeners to help them pick up the tab through preorders on pressing the long-awaited follow-up, Tuxedo Brown (review here). The album is out now and the PledgeMusic page currently reads it at 121 percent of its funding goal. That has to feel good, right?

As to what caused the delay in the first place? Guitarist/vocalist Doug Timms (ex-Drag Pack) is perhaps brutally honest when he attributes it to “stoner rock.” And as somebody who’s waited on bands to deliver various assets from tapes and CDs to mp3s, jpegs and YouTube embeds, I can attest that not much more needs to be said than that. I call it the “two weeks phenomenon,” as in, “Yeah, should be done in about two weeks,” as years go by. It is a real thing. The band comprised of Timms, bassist Scott Margolin and drummer Mappy, Six Sigma‘s case is obviously an extreme one, but they’re by no means the only ones and by no means is 15 years the longest stretch a band has gone between releases. To wit, The Obsessed.

Tuxedo Brown, however, has the added advantage of speaking directly to the three-piece’s initial run, since that’s when the bulk of it was recorded. Save for the extended psych jam “She Burn in Blues,” which is newer, songs like “Curb Feeler” and “Here’s Yer Stoner Anthem” successfully convey the tones and energy of turn-of-the-century heavy, but come across as fresh in their presentation thanks in no small part to the blend of old material and new. Topped off with a David Paul Seymour cover, the album is a successful return for a group who seem genuinely relieved to finally get it out, and who were kind enough to discuss the odd origin and timing of the release in the Q&A that follows here.

Please enjoy the following Six Dumb Questions:

six sigma tuxedo brown

Six Dumb Questions with Six Sigma

How many years has it actually been since these songs were written, and what made you finally decide now was the time to release them?

Mappy: Most of the songs were written in 2000-2001. We were still relatively young as a band at the time, having got together in 1999 and having just put out our first EP a few months earlier. We put this record out because we felt we had unfinished business. Bands like Atomic Bitchwax, Core, Halfway to Gone and so many others were part of our local NJ scene. The common thread in that music scene back in those days is that every band came to play 100 percent and everyone was just kick-ass musically. Being part of that, we would try to go toe to toe with each band on a musical level every night we played and this album put a bit of a light on that setting in time. It needed to come out if only for our own satisfaction and it was a great feeling to finally hear it after fixing the little things that bothered us for a decade and a half. I think this album is a testament to our dedication as a band and that we felt strongly about getting our music out there.

Scott Margolin: I suppose there are a lot of reasons why this is happening now, but a little history on the gap first. We had a record deal in place to put this all out in 2001 – these tracks were actually on our demo and were to be recorded as part of our new full-length record. Without going into drama detail, record company reneged – they are long gone and we are still here. Karma. I guess like we said on our last record, the spirit was gone at that time. We kept doing shows here and there until 2004 – very much enjoying playing as ever, however, we just plum ran out of energy to go back into the studio. Writing, rehearing and playing was far more fun anyhow.

Fast forward to the here and now… Doug had a project from his old band (Drag Pack) that was being put out digitally, and we collectively realized that: a) we didn’t have a digital release of our first record and b) we have Tuxedo Brown on 2” tape sitting in a closet, so why not dust it off and give it a proper release in the way we wanted? That was the initial spark that got us back rehearsing, creating and entertaining the idea of putting music out again. 2017 is such an unbelievable time to get your music heard and to be in total control of doing that. PledgeMusic provided us with an amazing platform which enabled us to setup preorders and fully-fund the record – we were able to offer formats that we probably never have been able to convince a record company to put out (180g vinyl, 8-track), merch for the first time and the ability to reach new fans. Digital distribution is such a trip nowadays in that your music takes on its own life form very quickly once it’s out.

Of course, who knows what it would have been like if we put it out in 2001, but that wasn’t meant to be. With all that said, this was exactly the right time to get it out.

What do you remember about recording the album? Is it strange to have it come out now when it has to be so far in hindsight for you as a band?

Doug Timms: I don’t really think it’s that strange at all. I guess a lot of people record something and then release it within the year, but it’s quite natural for me to procrastinate things for decades at a time. So, while this may seem unusually slow for other people, it’s just normal protocol for me. How can someone consider themselves stoner rock and NOT take 15-plus years to get something done?

M: I remember a sense of anxiousness as we didn’t have much time to knock this out and how cool Charlie [Schafer]’s (Word of Mouth Studios) full-analog recording setup was. We’ve been listening to it for years so it’s strange to think of it as new. It’s great being able to share it with people finally.

Who is the character of Tuxedo Brown and how does the record relate to him? Is there a story being told in the songs?

DT: It’s 1976; the album is a movie soundtrack and Tuxedo Brown is the star. He’s a streetwise scalawag, roaming the town with style and grace and a busted-up face. The songs are meant to work together to tell the story of Mr. Brown.

Tell me about writing “She Burn in Blues.” That song is such a standout on the album. Where did it come from?

DT: This was the one song entirely written and recorded in the past year. So, it’s very encouraging every time we hear people singling out that song. It gives us confidence that we can still make good music together. We came up with a great blues riff, I set my pedals loose, we smoked up a little too much, and then just recorded the jam – we filmed the entire thing as well – because, 2017. We ended up cutting a good 10 minutes off that jam for the album. The song describes what happens when Mother Nature is a jilted ex-lover, fed up with your shitty-ass ways, and decides to unleash her full vengeance upon you and your kind. She burns in blue, and you better run. 

M: My favorite song right now. Maybe because it’s new. It came together quickly (in like… we discussed what we were going to do, played it through two times, then recorded it) and it evolved in a lot of ways in that short amount of time. I’m psyched because someone commented it was Zeppelin-ish [it was me – ed.] and that was the exact vibe I was feeling when I started playing it. It’s a bit of a different sound for us and may hint at what the future of Six Sigma sounds like.

Will there be new Six Sigma material? If so, how do you see the band as having changed in the years since Tuxedo Brown started to come together?

DT: Definitely. We have one-to-two albums’ worth of material already written. Now it’s just a question of whether we can break our record and finish it in under 16 years. We could potentially drop the next album at the end of this year.

SM: In terms of how we have changed over the years, it’s always hard to judge for ourselves. We play to our own tastes and are more committed than ever to creating music to that end. Our influences remain the same, but we are definitely more united than ever on what our sound is. One other thing that changed is that nobody will help me carry my bass cab any longer!

Any other plans or closing words you want to mention?

SM: Just want to thank so many people for gently pushing us to do this along the way. Lots of gratitude to those that have supported us from so long ago and never forgot about us. We are very much looking forward to performing again soon – we expect to be playing live again this summer.

Six Sigma, Tuxedo Brown (2017)

Six Sigma on Thee Facebooks

Six Sigma on Bandcamp

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