Snail Confirm Sept. 25 Release for Feral

Posted in Whathaveyou on September 1st, 2015 by H.P. Taskmaster

By the time Snail‘s new album, Feral, arrives, it will be almost six months to the day since the Seldon Hunt artwork was premiered here. That is not an insignificant stretch, but until you actually hear it you’re just going to have to take my word for it when I say it’s worth every second of the wait. After a strong comeback outing in 2009’s Blood (review here) and a definitive step forward in 2012’s Terminus (review here), Feral takes Snail‘s songwriting to places it hasn’t yet been and retains a sense of laid back heaviness and melodicism that has become their signature these last six years. If you don’t already have it on your gotta-hear list, put it there.

The PR wire brings affirmation, the preorder link, a bio I’m pretty sure that I wrote, the tracklisting and the stream for “Building a Haunted House,” which opens the record. Dig in:


Seattle psych metal trio SNAIL return with fourth album “Feral”, this month on Small Stone Records.

Seattle based psych metal forerunners SNAIL are making a great comeback with their heavy, hazy and stirring fourth record “Feral”, to be released this September on Small Stone Records.

Stream SNAIL’s intoxicating new song Building A Haunted House

SNAIL formed in 1992 in Los Angeles, consisting of singer Mark Johnson (The Crucified, PASTE, Blessing the Hogs), bassist Matt Lynch and drummer Marty Dodson. The eponymous first album (Big Deal Records) garnered much praise in the press, and gained a loyal following from peers, leading to the DIY, 4-track cassette-recorded All Channels are Open EP, after which SNAIL sadly succumbed to the “sex, drugs, and rock and roll” lifestyle and eroded to the point of breaking up.

After 15 years’ absence, SNAIL reunited in 2008 with longtime friend and guitarist Eric Clausen as a fourth member, and unleashed Blood (Meteor City), which was among the highest-rated heavy rock records of 2009, combining fuzzy guitars and a pummeling rhythm section with layered, soaring melodies rarely heard in the genre. In a time of industry turmoil, the record went from blood-red to “in the black,” even attracting the attention of underground music legend Henry Rollins, who gave it multiple plays on his “Fanatics” radio show on influential Los Angeles station KCRW.

SNAIL’s 2012 follow-up, Terminus, showcased all fresh material, infused with the enthusiasm of newly-minted collaboration. Influences that were not evident in past works came to the fore, steeped in old-school metal and psychedelia. The subject matter was noticeably more mature, delving into the themes of mortality and its implications in our modern world. From crushing doom to head-bobbing Camaro rock and hypnotic psych, Terminus was SNAIL’s most varied work to date; but most importantly, it rocked.

With the challenge of a “first new album” behind them, SNAIL set to work on Feral, their fourth full-length and first for Small Stone. Taking the varied approach of Terminus to new degrees of psychedelia and sonic heft, songs like “Smoke the Deathless” and “Thou Art That” epitomize the weighted melodic appeal of the band, while closer “Come Home” steps forward in its brazen emotionalism. Topped off with mind-bending artwork by Seldon Hunt, Feral is their best work to date, demonstrates the progressive capacity of the once-again trio of Johnson, Lynch and Dodson, and shows that Blood and Terminus may have just been the start of the wildness to come.

Preorder on limited edition 180gr vinyl, CD and digital at this location

1. Building A Haunted House
2. Smoke The Deathless
3. A Mustard Seed
4. Thou Art That
5. Born In Captivity
6. Derail
7. Psilocybe
8. Come Home

Mark Johnson – Guitars, lead vocals, keys
Matt Lynch – Bass, keys, vocals
Marty Dodson – Drums, percussion, vocals


Snail, Feral (2015)

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The Melvins Re-join Forces with Jared and Coady from Big Business; Headed to Europe Next Month

Posted in Whathaveyou on August 31st, 2015 by H.P. Taskmaster

Well, there go those Melvins boys, reunitin’ with Jared Warren and Coady Willis from Big Business to go tour Europe and the UK. Doin’ stuff that’s unexpected and probably puttin’ out records that despite being experimental as hell still sound just like the Melvins. You know how they do. Probably better than me.

I didn’t realize the Midi Theater in Tilburg was reopened. Shows what I know.

And oh hey, the Melvins. They also have an unreleased album from 1998 or sometime thereabouts coming out I saw something about the other day. I don’t know. The rest of the world keeps up on the Melvins so hard, sometimes I feel redundant for even a minimal effort to try.

But anyway, here. Have fun, kids:

melvins (Photo by Kevin Willis)


The Melvins shall be welcomed back to Europe with open arms this September and October, with a series of live dates commencing Sept 13th in the UK in Bristol. The band shall be performing as a four-piece, joining forces again with Jared Warren and Coady Willis of Big Business. Having released three full-length LP’s together, Warren and Willis also performed on the band’s The Bulls & The Bees EP, which was recently re-leased as a split alongside Electroretard. This 13 song album features both releases on one CD, available for the first time as a package. The quartet also collaborated with a series of guest stars on their 2013 covers album Everybody Loves Sausages.

Confirmed tour dates include performances across Europe, with more shows, and support, still to be announced. See below for the dates that have been confirmed so far:

Melvins European Tour
Sept 13, 2015 – Bristol, England – Exchange
Sept 14, 2015 – Brighton, England – Concorde 2
Sept 15, 2015 – Tilburg, The Netherlands – Midi Theater – Incubate Festival
Sept 16, 2015 – Tilburg, The Netherlands – Midi Theater – Incubate Festival
Sept 18, 2015 – Angers, France – Le Chabada (Levitation France Festival)
Sept 19, 2015 – Paris, France – Le Bataclan
Sept 20, 2015 – Belfort, France – La Poudriere
Sept 21, 2015 – Cologne, Germany – Underground
Sept 22, 2015 – Hamburg, Germany – Logo
Sept 23, 2015 – Bremen, Germany – Lagerhaus
Sept 24, 2015 – Berlin, Germany – Berghain
Sept 25, 2015 – Leipzig, Germany – UT Connewitz
Sept 26, 2015 – Prague, Czech Republic – Futurum
Sept 27, 2015 – Budapest, Hungary – A38
Sept 28, 2015 – Vienna, Austria – Arena
Sept 29, 2015 – Zagreb, Croatia – Mochvara
Sept 30, 2015 – Bologna, Italy – Locomotiv
Oct 01, 2015 – Milan, Italy – Leoncavallo
Oct 02, 2015 – Feyzin, France – L’Epicerie Moderne
Oct 03, 2015 – Pratteln, Switzerland – Z7 Konzertfabrik (Up In Smoke Festival)
Oct 05, 2015 – Munich, Germany – Feierwerk/Hansa 39
Oct 06, 2015 – Frankfurt, Germany – Zoom
Oct 08, 2015 – Reading, England – Sub 89
Oct 09, 2015 – Manchester, England – Gorilla
Oct 10, 2015 – London, England – Electric Ballroom

The Melvins also released Hold It In last October, the 12-song album pairs Osborne and Crover with Butthole Surfers’ JD Pinkus and Paul Leary.

Melvins, Live in Louisville, Kentucky, 2015

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Phemüt Release The Memory of Spring Debut EP

Posted in Whathaveyou on August 25th, 2015 by H.P. Taskmaster

Stomping, plodding doom, caked equal shares in feedback and loathing, pervades the debut EP from Seattle-based Phemüt. Titled The Memory of Spring, the four-song collection takes its cues from tonal massiveness brought to bear by the familiar presence of Aaron D.C. Edge, who the last time we heard from him had fractured a vertebra in his back mountain biking and was attempting to cover even more medical expenses incurred beyond those resulting from his ongoing treatment for M.S. — not a minor financial commitment.

He’s joined in the new project — I believe that’s a milestone band #87 for Edge — by vocalist Cole Benoit of Dead Again and percussionist Penny Keats (Keeper), and much growing, deathsludge ensues, but it would be hard for a 16-minute cut like “Of Bones and Ash,” which hits second after opener “The Symbology of Ruin,” to sustain itself without a corresponding sense of atmosphere, and the EP as a whole winds up with plenty of that to go with its encompassing morass, in that song as well as “Beneath the Embers,” which follows, loud/quiet tradeoffs set the tone. Admittedly, loud wins, but that’s about right for what Phemüt are aiming at, which is destruction. “Only Death is Forever” rounds out on a suitably downtrodden note, and as it straddles the line between EP and LP, The Memory of Spring offers little by way of hope for warmth in its crushing roll.

Info and audio follow:

Phemüt the memory of spring

Phemüt: with members of Lumbar, Keeper and Dead Again…

a studio project featuring: cole benoit (dead again), penny keats (keeper), and aaron edge (lumbar and iamthethorn)
released 20 August 2015

phemüt performs “the memory of spring”

cole benoit: vocals
aaron d.c. edge: strings
penny keats: percussion

electronic kit recorded by jacob lee at the doom cupboard
guitars and bass recorded by aaron edge at myelin studio
vocals recorded by russell white at the secret location
mixed by aaron edge and cole benoit
mastered by cole benoit
design by cole benoit
“hooded figures” illustration (1970) by nicholas monro

Phemüt, The Memory of Spring (2015)

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Tony Reed Releases The Lost Chronicles of Heavy Rock Vol. 1

Posted in Whathaveyou on August 24th, 2015 by H.P. Taskmaster

tony reed 2

Recorded in pieces over a span of three tumultuous years, Tony Reed‘s The Lost Chronicles of Heavy Rock Vol. 1 stands testament both to the influences and the restlessness of its creator. Reed, who in 2011 was still showcasing his love of ’70s heavy with Stone Axe prior to reigniting his once-again main outfit, Mos Generator — now a full-fledged touring act with a revamped lineup — set to covering gems from the early days of heavy rock, and while his take on Pentagram‘s “Forever My Queen” surfaced in video form two years ago, the vast bulk of this stuff will be brand new to those who embark on the free download, which is available now on Reed‘s Bandcamp.

It’s worth noting that Reed probably could’ve called this a Mos Generator release and no one would’ve blinked, even though he plays all the instruments, sings and recorded it all by himself. By keeping it under his own name, it emphasizes the personal nature of these songs and how they’ve affected him as a player and as a writer in his own rock. Sometimes you just gotta jam out a classic riff, and if you’re Tony Reed, sometimes you gotta put together a whole record of them.

Release info and stream follow:

tony reed the lost chronicles of heavy rock vol. 1

When I get a song stuck in my head it usually doesn’t go away until I cover it. With these songs I tried to be true to the original in playing and production style. It’s an exercise in recording and playing skill and a real challenge. Over the last few years I have been recording covers for what I wanted to be a proper vinyl release but I have decided to give it away for free. Many of these songs have been with me through my life and some have just been introduced to me by other fans of underground rock of the 1970’s. There are, of course, many other songs that I could have done or added to this but I have chosen these because they moved me in some way. Also, this is called “Vol. 1″ for a reason.

I would like to thank Henry Vasquez for bringing much of this music to my attention over the years.

TR – August 2015

Tony Reed – All instruments and vocals, Mellotron and Hammond organ.
Recorded & Mixed by Reed at HeavyHead Recording Co. 2011 – 2014
Photos by Audrey Reed.

1. Battle (Boomerang ’72) 04:12
2. Ain’t No Lovin’ Left (Fanny Adams ’72) 06:09
3. Fifteen (Highway Robbery ’72) 03:01
4. Queen of Torture (Wishbone Ash ’70) 03:21
5. Nobody Else (Atomic Rooster ’70) 04:45
6. Garden Road (Rush ’74) 02:56
7. Still Born Beauty (Necromandus ’73) 04:04
8. Forever My Queen (Pentagram ’73) 02:21
9. Dier Not a Lover (Bloodrock ’70) 04:09
10. In the Court of the Crimson King (King Crimson ’69) 07:00

Tony Reed, The Lost Chronicles of Heavy Rock Vol. 1 (2015)

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Master Musicians of Bukkake to Issue Further West Quad Cult LP

Posted in Whathaveyou on August 19th, 2015 by H.P. Taskmaster

master musicians of bukkake (Photography by Alison Scarpulla)

Seattle experimentalists Master Musicians of Bukkake planned the whole thing all along. The pervasively and purposefully strange outfit packaged their 2013 album, Far West, with an extra vinyl pocket. Why? Because they knew that at some point they’d issue a companion piece, and my friends, that day has arrived and that companion piece is called Further West Quad Cult.

Well, the day has almost arrived, anyway. Important Records is taking preorders now for Further West Quad Cult, which is meant to be played at the same time as Far West on your awesome two-turntable sound system that you totally have because everyone has one and if you don’t you should feel bad about yourself — or, you know, however — and the release is expected in a couple weeks’ time.

Time enough for you to buy that second turntable.

Have at you:

master musicians of bukkake further west quad cult lp


Ever wonder what the extra pocket in your MMOB Far West LP is for? This LP is designed for simultaneous playback with Far West to create a QUAD experience. Sounds incredible on its own, too. Color vinyl options are available to match the color copies we sold of Far West.

Forseen years ago by the inclusion of a secret extra pocket in the Far West packaging; Master Musicians have created and brought fourth a painstakingly crafted complementary LP for synced playback with their 2013 release Far West. With 2 turntables or other playback devices you can playback a fully unique quad experience. Further West shows off deeper journeys into the cave where we can dissolve ourselves.

Further West also stands alone as an inverted yugified universe from the Far West cannon. Liquid synth journeys into the void. We invite you to enjoy it either way.

Includes fold out poster from photographer Alison Scarpulla

All Tracks dubbed and manipulated from Far West Source Material.
Additional sound design and synths by Randall Dunn and Timm Mason.
All music by Master Musicians of Bukkake.

Produced Recorded and Mixed by: Randall Dunn at Avast Studios

1) Return to White Mountain
2) Where Apollo meets Delphi
3) The Original Argument
4) Bodies Dissolved, Blood Flows
5) The Circle is binding
6) Where Louis Meets Clark

Master Musicians of Bukkake, Further West Quad Cult LP Preview

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He Whose Ox is Gored Announce New Album The Camel, the Lion, the Child

Posted in Whathaveyou on July 30th, 2015 by H.P. Taskmaster

he whose ox is gored (Photo by Reno Tripiano)

Hell yeah, new He Whose Ox is Gored. Sign me up. The Seattle four-piece will issue The Camel, the Lion, the Child — because sometimes you have a thing for cumbersome titles and you run with it — on Oct. 9 through Bleeding Light Records. Their prior 7″, Rumors (review here), was one of my favorite short releases of 2014, so yeah, their debut long-player after a slew of other EPs and singles and whatnots sounds like an easy pick to be worth checking out.

To herald its arrival, they’ll tour with Mutoid Man on the West Coast, as the PR wire informs:

he whose ox is gored the camel the lion the child

HE WHOSE OX IS GORED: Eclectic Doomgaze Ensemble To Unleash The Camel, The Lion, The Child This Fall Via Bleeding Light Records; Tour With Mutoid Man To Commence Next Month

Seattle’s HE WHOSE OX IS GORED has been raising the brows of the underground masses with their eclectic, oft trance-inducing fusion of doom, prog rock, post hardcore and psychedelic shoegaze since their inception in 2009. Following the release of their critically-adored, Bleeding Light Records-issued Rumors 7″ last year, the band will undrape their highly-anticipated full-length debut this Fall.

Titled The Camel, The Lion, The Child, the eight-track, near hour-long sound exhibition was tracked at Red Room and Ex Ex Audio in Seattle by Robert Cheek (Serial Hawk, Noise-A-Tron etc.) with additional recording taking place at Avast Studios with Randall Dunn (Sunn O))), Earth, etc). Matt Bayles (Isis, Mastodon etc.) handled mixing duties and frequent collaborator, Blake Bickel, mastered the album at Dynamic Sound Service.

Both sonically and conceptually engrossing, with The Camel, The Lion, The Child HE WHOSE OX IS GORED — Brian McClelland (guitar, vocals), Lisa Mungo (synths, keyboards, vocals), Mike Sparks (bass) and John O’Connell (drums) – transcend musical boundaries with their meticulous yet organically-executed amalgam of technical guitar compositions and atmospheric synth over a pummeling rhythm section manifesting a uniquely cinematic soundscape that paints a world ready to thrash and burn.

Elaborates McClelland of the band’s latest output: “The Camel, The Lion, The Child is a cup that runs over. From the writing process and through the studio, we made it a point to make the record that we wanted. The songs grow and breathe with their own lives and personalities, and unfold with layers that surprise us to this day. The excellent engineering and mixing of Robert Cheek and Matt Bayles raised the bar, and pushed us to make the best record we could. Now, we share it with you.”

The Camel, The Lion, The Child Track Listing:
1. Oathbreaker
2. Omega
3. Crusade
4. Zelatype
5. Alpha
6. Magazina
7. Cairo
8. Weighted By Guilt, Crushed Into A Diamond

HE WHOSE OX IS GORED will wage their sonic alchemy upon unsuspecting ears next month on a short bout of live dates sharing the stage with rock and roll juggernaut, Mutoid Man. Set to commence on August 22nd, the band will traverse seven cities (five with Mutoid Man) with additional live excursions in their plotting stages.

8/22/2015 Barboza – Seattle, WA w/ Mutoid Man
8/23/2015 Venue Nightclub – Vancouver, BC w/ Mutoid Man
8/24/2015 Hawthorne Theater Lounge – Portland, OR w/ Mutoid Man
8/25/2015 Starlite Lounge – Sacramento, CA
8/26/2015 Bottom Of The Hill – San Francisco, CA w/ Mutoid Man
8/27/2015 The Echo – Los Angeles, CA w/ Mutoid Man
8/29/2015 The Boreal – Eugene, OR

Tuned low and turned up, HE WHOSE OX IS GORED released their debut EP, Op Amps, in 2009 on their own Void Assault label. Featuring heavy guitars and atmospheric synth-centric soundscapes, the band managed to bend genres into a formidable crossover composite. In 2010, the obscure unit unleashed their Tad Doyle (TAD, Brothers Of The Sonic Cloth)-produced follow-up, Op Amps II: Into The Ethers. Through multiple tours and personnel shifts, the band continued to refine their sound and entered Seattle’s Red Room Studios with Chris Common. The resulting Nightshade EP was three tracks of crushing doomgaze, built on texture and aggression.

HE WHOSE OX IS GORED’s The Camel, The Lion, The Child will be released digitally and on limited edition vinyl (500 double gatefold LP ) via Bleeding Light Records on October 9th, 2015 with Breathe Plastic Records (Netherlands) releasing a limited edition tape version of the production. Teaser tracks and preorders to be announced in the coming weeks.

He Whose Ox is Gored, Rumors 7″ (2014)

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Snail West Coast Tour Starts July 30

Posted in Whathaveyou on July 22nd, 2015 by H.P. Taskmaster


I’ll have much more about Snail‘s fourth album, Feral, as we get closer to the Sept. 25 release date, but by way of an early heads up, it’s killer. The tones, the vibe, it all takes the steps the band made with 2012’s Terminus (review here) and matches them in force with the memorable songwriting and thick-toned rolling psychedelia of 2009’s return, Blood (review here), the effect both crushingly heavy and airborne all at once. Their first album as a trio since their 1993 self-titled debut (reissue review here), Feral marks the beginning of a new era for the West Coast outfit, and it’s only fitting they should get out and tour a bit to mark the occasion.

They’ll hit the road starting July 30 with company along the way from SasquatchThe Freeks and Virginia’s Akris, so if you happen to be on the West Coast, keep an eye out. Info follows as seen on the PR wire, along with the album preorder link and paragraph of their new bio that I wrote this past weekend, way overdue as it was:

snail feral tour

With the challenge of a “first new album” — 2012’s Terminus — behind them, Snail set to work on Feral, their fourth full-length and first for Small Stone. Taking the varied approach of Terminus to new degrees of psychedelia and sonic heft, songs like “Smoke the Deathless” and “Thou Art That” epitomize the weighted melodic appeal of the band, while closer “Come Home” steps forward in its brazen emotionalism. Topped off with mind-bending artwork by Seldon Hunt, Feral is their best work to date, demonstrates the progressive capacity of the once-again trio of Johnson, Lynch and Dodson, and shows that Blood and Terminus may have just been the start of the wildness to come.

Snail will be slowly and deliberately crushing the West Coast with tourmates Akris and The Freeks in late July/early August 2015. See dates below:

July 30 – Tower Bar, San Diego, CA with Sasquatch and Desert Suns
July 31 – Cafe Nela, Los Angeles, CA with The Freeks and The Ultra Electric Mega Galactic
August 1 – Cellar Door, Visalia, CA with The Freeks
August 2 – The Golden Bull, Oakland, CA with Blackwulf, Forgotten Gods, Lowcaster
August 4 – Starlite Lounge, Sacramento, CA with Akris and Amarok
August 6 – Ash Street Saloon, Portland, OR with Akris and Night of Elegance
August 7 – The Astoria Pub, Vancouver, BC with Akris, Mendozza and Bog
August 9 – The Highline, Seattle, WA with Akris and Dura Madre

Snail, “Building a Haunted House”

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Giza Premiere “Cenotaph” from Migration

Posted in audiObelisk on July 10th, 2015 by H.P. Taskmaster


Don’t be lulled into a false sense of security by the quiet opening of “Cenotaph” — or better yet, do. Go ahead and let the dreamy drift of the first 40 seconds or so carry you along at a comfortable pace, minimal, contemplative, maybe just a little foreboding. All the better to let the slam into full weight tonality that follows catch you off balance, Seattle trio Giza launching their third outing, Migration, softly enough but soon giving way to a lumbering groove drawn in part from the post-Neurosis school, but given just a touch of YOB-style kosmiche, the lead line that emerges in the midsection calling to mind some of the fellow Pacific Northwesterners’ mystical ways.

It’s a steady diet of rumble that Migration feeds the listener, the subsequent “Hashteroid” fleshing out trades between airy acoustics and further crushing atmospheric sludge, a chug underlying a dense mix of layers that almost fools you into thinking it’s done before finally deconstructing itself in a momentary freneticism of giza migrationguitar that nods at some of Russian Circles‘ payoffs while retaining its own identity as well, drummer Justin Rodda stepping forward from Richard Burkett‘s guitar and Steve Becker‘s bass to finish the track with a vicious flurry of snare. Impressively, “Strawberry Caviar” changes methods, building up from a hypnotic, soft guitar line to a more ambient wash, feedback only helping to set the mood.

That feedback ends “Strawberry Caviar” cold to make way for the opening bells of 13-minute closer “March of the High Priests,” which is the only non-instrumental piece of the four included on the 32-minute full-length. Vocalist Irene Barber tops the building rollout and instead of ultimately fading behind the wall of riffing that Giza construct, as one might expect, remains for the duration, giving the song a spacious presence somewhere between Ides of Gemini and Pallbearer, but again, not wholly indebted to anyone over the concoction of their own making from the various stylistic ingredients, huge-sounding crashes finishing out by giving way to a last, sustained rumble cut short. Clearly, Giza‘s work here is done.

Giza release Migration on Aug. 1 as the follow-up to last year’s I am the Ocean, I am the Sea, and I’m pleased today to be able to host the premiere of “Cenotaph” for your streaming pleasure. Please find it on the player below, and enjoy:

GIZA’s newest effort finds the band in its most creative/heavy/mild-melting/amp-worshiping effort to date. It’s also the bands first foray into added musicians. “Migration” boasts two guest appearances by Bryce Shoemaker (Bronze Fawn, Jules, Vermillion) on guitar on “Hashteroid” and Irene Barber on vocals (Dust Moth, XVIII Individual Eyes) on “March of the High Priests.”

* Album art by Ryan Frederiksen

“Migration” Track List:
1. Cenotaph
2. Hashteroid
3. Strawberry Caviar
4. March Of The High Priests

US live appearances coming soon.

Giza on Bandcamp

Giza on Thee Facebooks

Giza on Twitter

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