Brothers of the Sonic Cloth Announce West Coast Tour Dates

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

brothers-of-the-sonic-cloth-Photo-by-Invisible-Hour

My only complaint about Brothers of the Sonic Cloth going on tour is I won’t get to see them. Beyond that, it’s good to see the Tad Doyle-fronted Seattle three-piece getting out in support of their Neurot Recordings self-titled debut (review here), which was released on Feb. 17. The album slays, if you haven’t heard it, and while I keep my fingers crossed that at some point this outfit comes east, I’m glad to know at least someone will get to have their ass handed to them, even if it’s not me just yet.

The PR wire puts it like this:

brothers of the sonic cloth tour dates

BROTHERS OF THE SONIC CLOTH: Seattle Doom Trio Confirms West Coast Tour

Seattle’s BROTHERS OF THE SONIC CLOTH — featuring legendary guitarist/vocalist Tad Doyle, formerly of Tad and Hog Molly, veteran bassist Peggy Doyle and drummer Dave French (The Anunnaki) — will bring their apocalyptic tidings to the streets next month for a long-anticipated run of West Coast performances. Slated to launch on May 21st on their home turf, the trek will quake eight stages through May 30th in Boise and follows the trio’s previously announced record release show at The Columbia City Theater in Seattle with additional live dates to be broadcast in the weeks to come.

Comments Doyle, “After having done our first U.S. West Coast tour back in 2012, we are stoked to be able to bring our songs out on the road once again to a town near you. We look forward to seeing our friends and making new ones as we trudge the highways with 1,500 filthy watts of amplification and drums big enough to be heard from the other side of a mountain range.”

BROTHERS OF THE SONIC CLOTH:
4/18/2015 The Columbia City Theater – Seattle, WA
5/21/2015 Chop Suey – Seattle, WA w/ Baba Yaga
5/22/2015 Dante’s – Portland, OR w/ Atriarch, Rabbits
5/23/2015 Starlight Lounge – Sacramento, CA
5/24/2015 Parkside – San Francisco, CA
5/27/2015 Sister – Albuquerque, NM
5/28/2015 Hi-Dive – Denver, CO
5/29/2015 Metro Bar – Salt Lake City, UT
5/30/2015 Neurolux – Boise, ID

Brothers Of The Sonic Cloth is currently available on CD or LP at THIS LOCATION.

http://www.facebook.com/pages/Brothers-of-the-Sonic-Cloth/63586406187
http://www.taddoyle.com/botsc
http://www.neurotrecordings.com
http://www.facebook.com/neurotrecordings

Brothers of the Sonic Cloth, “Lava”

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Artwork Premiere: Snail, Feral Cover by Seldon Hunt

Posted in Visual Evidence on March 26th, 2015 by H.P. Taskmaster

snail

Feral is the upcoming fourth album and Small Stone debut from West Coast (CA/WA) outfit Snail. Their first record as the three-piece of guitarist/vocalist Mark Johnson, bassist/engineer Matt Lynch and drummer Marty Dodson since their 1993 self-titled debut (reissue review here), Feral is set to issue this summer and features cover art by Brooklyn-based artist Seldon Hunt, known for his work with NeurosisIsisPelicanMade out of BabiesKings Destroy and on and on. Always varied in his approach, from photography to line-drawings to exquisite fractals to whatever the hell you might call the cover of the recent Blind Idiot God album, Hunt has consistently been able to adjust his own style to suit the project at hand, and Snail‘s Feral is no exception.

There is a snail on it, somehow subtly despite it being right up front on the left side of the picture. Gorgeously colorful with natural reds, browns and greens, two knotted trees frame what in other hands might’ve been a simple nature scene. Two snakes wrap around a deer’s antlers, and there’s some kind of scared-looking 10-legged creature hiding partially behind one of the four large mushrooms in the foreground. But the real story is in the deer’s eyes, dead and yellow. They have a threatening look to them which seems to find its answer in the partially-buried human skulls at the bottom and the new-growth grass coming up around them. All of a sudden, it’s more revolution than nature scene, as though human civilization has given way to a new natural order.

In its colorful psychedelic vibe and quiet foreboding, Hunt‘s piece fits the Snail record well, and I’m happy to be able to premiere the cover art. Click the image below to enlarge it if you’d like a closer look. Some comment from the band follows:

snail feral seldon hunt

Says Matt Lynch:

It was actually [The Obelisk’s] doing that we hooked up with him. I saw the art he did for Blind Idiot God because of your feature and we were still kinda exploring our options after many failed attempts by me to get something we could all agree on.

And I saw that art and thought “this guy gets it” you know, he had the feel of the record in him. The first idea he sent us was spot on. It was just a scribble sketch but we knew by the description that this was our guy.

Snail on Thee Facebooks

Seldon Hunt’s website

Small Stone Records

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Wounded Giant Lightning Medicine Repress and Limited Edition LP Available to Preorder

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

wounded giant

Shipping at the end of this month, a Black Mess Records repress of oft-topless Seattle trio Wounded Giant‘s 2013 debut, Lightning Medicine, is now available to preorder. The record is an easy fit for aficionados of riff, and the label is giving it due attention with a total 300 copies whipped up, 50 in limited-edition form that come with an etched copper patch and a jar for your weed. Yes. A jar. For weed. We live in a new era of band branding, my friends.

A mere 28 of those packages are left, and Wounded Giant are headed out on tour this weekend after two hometown shows, playing up and down the West Coast with the formidable likes of Mos Generator and Demon Lung. They’ll also make their way to the East Coast this summer to take part in the Eye of the Stoned Goat 5 fest alongside — by no coincidence, I’m sure — Mos GeneratorGozuDoctor Smoke and many more (info here). Their latest release is a split with Goya on STB Records (review here).

Vinyl details and tour dates follow, courtesy of the PR wire:

wounded giant lightning medicine vinyl

Wounded Giant Repress and Ltd Ed. Vinyl Package

We are reissuing the sold out Wounded Giant “lightning medicine” 180g LP. It will be available for sale on our website around the 30th of march. We also have a preorder up on the webstore a version limited to 50 copies on 180g white vinyl that comes with a printed jar and a etched metal patch only 28 copies remain!!!

Wounded Giant “Lightning Medicine” LP (2nd press)
-200 copies 180g black vinyl on sale starting march 30th
-50 copies on 180g white vinyl available only from the band
-50 copies on 180g white vinyl available for pre-order now
comes with limited edition printed herb jar and etched copper patch
(ONLY 28 limited edition pre-orders remain!!)

Wounded Giant on Tour
March 17- Seattle @ Neumos (Jameson Punk Cover Night)
March 18 – Seattle @ Rendezvous Shirts Off Kickoff! w/ Deathbed Confessions
March 20 – Eureka/Arcatia (tba)
March 21 – SF @ Bender’s Bar
March 22 – Oakland @ The Golden Bull w/ Demon Lung, Church of Disgust and Hallucinator
March 23 – Fullerton @ The Slidebar w/ Nagual Sun, Demon Lung and Mondo Generator
March 24 – San Diego @ the Merrow w/ Mos Generator & Desert Suns
March 25 – LA @ Complex w/ Castle, Demon Lung & Philthy Heathens
March 26 – Ventura @ the Garage w/ Demon Lung & Philthy Heathens
March 27 – Eugene @ the Wandering Goat
March 28 – Salem @ the Wisp House w/ R.I.P & Entrail
March 29 – Tacoma, @ the Valley w/ Deathbed Confessions
April 2 – Seattle, @ El Corazon w/ Saviors

http://blackmessrecords.com/home/product/wounded-giant-lightning-medicine-limited-edition-presale-package/
http://woundedgiant.bandcamp.com/album/lightning-medicine

Wounded Giant, Lightning Medicine (2013)

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The Colossus of Destiny Melvins Documentary Kickstarter Launched

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

the melvins

People sure do like the Melvins. Like, enough to make a documentary about them, which is a lot when you think about what actually goes into producing a film like Bob Hannam and Ryan Sutherby‘s The Colossus of Destiny, which is due out early next year. The pair have launched a Kickstarter to help cover the costs of putting the movie together, and in about 10 days they’ve managed to raise $53,000 of their total $75,000 ask, which is significant. If you haven’t seen it yet, the donation rewards are pretty sweet as well, from t-shirts and posters to — since it’s the Melvins, there would have to be — a deluxe edition, 3-DVD set of the movie that comes housed in a wood box. Pretty badass.

If you’re feeling generous, the PR wire offers a worthy cause:

the colossus of destiny a melvins tale

MELVINS’ DOCUMENTARY, “THE COLOSSUS OF DESTINY – A MELVINS TALE,” LAUNCHES KICKSTARTER CAMPAIGN

RELEASE NEW TRAILER

The filmmakers of the forthcoming Melvins’ documentary, “The Colossus of Destiny – A Melvins Tale,” have launched a Kickstarter campaign featuring artwork donated by Haze XXL, Brian Walsby, Arik Roper, Skinner and Mackie Osborne (https://www.kickstarter.com/projects/26674096/the-colossus-of-destiny-a-melvins-tale).

The film, which is currently under production with an anticipated early 2016 release, is the creation of Bob Hannam and Ryan Sutherby. The pair, who met through a mutual affection for the Melvins, began work on the officially authorized documentary in late 2014.

“We kept asking ourselves why no one had ever made a film about the Melvins,” explained Hannam. “What an incredible story and twisted tale both Buzz Osborne and Dale Crover have taken. There aren’t many bands who can say they’ve influenced some of the most popular artists of our generation and done it in every instance according to their own rules, still as important, if not more so, some 32 years after forming.”

“The Colossus of Destiny – A Melvins Tale” follows the band’s journey, from the backwards waters of the Chehalis River in Washington, through the Golden Gate of Northern California and finally, into Los Angeles where Osborne and Crover both reside. The film features lengthy interviews with Osborne and Crover as well as present and ex band members, collaborators and many other musicians from bands such as Mudhoney, The Jesus Lizard, Soundgarden, Butthole Surfers, Sleep, Babes In Toyland, Neurosis and Redd Kross to name but a few.

https://www.kickstarter.com/projects/26674096/the-colossus-of-destiny-a-melvins-tale
www.melvinsmovie.com
www.facebook.com/melvinstale

The Colossus of Destiny Trailer

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Brothers of the Sonic Cloth, Brothers of the Sonic Cloth: Path Cut through Mountains

Posted in Reviews on March 3rd, 2015 by H.P. Taskmaster

brothers-of-the-sonic-cloth-self-titled

There’s little room left for argument after all the air’s been pushed from your lungs. Six years after issuing their initial demo (review here) and subsequent split 10″ with Mico de Noche (review here), Brothers of the Sonic Cloth at long last make their full-length debut with a self-titled release on Neurot Recordings, and whatever weight is brought to Brothers of the Sonic Cloth via guitarist/vocalist Tad Doyle‘s pedigree for having fronted underrated Seattle heavy rockers TAD or work engineering at his own Witch Ape Studio, where this album was also recorded (Billy Anderson mixed), rest assured that’s still less heft than the tones on crushers like “Empires of Dust” and the churning, 11-minute “La Mano Poderosa.” Together with bassist Peggy “Pegadeth” Tully (also his wife) and drummer Dave French (also of The Annunaki), Tad leads the charge through seven rounds of atmospheric post-sludge, the record’s 44 minutes no less concerned with ambience and mood than with gritting their teeth and bashing the listener over the head with waves of tectonic nod. It is a massive, unforgiving impression that the album leaves behind, rife with churning tension, a volume-as-ritual sense of purpose and an impact that becomes undeniable by the time “I Am” shifts into the drum-led, Neurosis-style tribalism of “The Immutable Path,” but there’s also breadth to it, and even its repetitions have a reason behind them. French‘s drums alternate between doomed marching and driving propulsion, but the hitting is consistently hard, and that seems to be true just about across the board. Even in quiet stretches, like the beginnings of “Unnamed” or “I Am” or the piano-led “Outro,” which closes, there is a tense, clenched feel that never quite lets the listener be fully at ease.

It goes without saying, but that’s obviously the point. The intensity of Brothers of the Sonic Cloth‘s Brothers of the Sonic Cloth is not happenstance. It’s pervasive, and it begins with the very start of the album, on opener “Lava,” where what might otherwise have been an intro riff expands into a three-minute song topped with growled verses and crashing at full turn-this-up-now righteousness. A turn to a jagged riff sits well on some half-time drums and vocal call and response make the track an outlier compared to what follows — the next four cuts comprise the meat of the album and they’re all nearly or more than twice as long — but it’s as honest an introduction as one could ask. The only thing missing from it is the grueling and slow, and “Empires of Dust” quickly (also slowly) remedies the issue. Its first three minutes are devoted to far-back gutturalism and dirge riffing, and even after things open from there, setting up a back and forth that plays out again over “Empires of Dust”‘s 7:51 resulting in a morose but creative and semi-melodic doom, the vibe remains pummeling. Tad gurgles out lyrics obscured by the distortion surrounding and echoes of noise end out, leading to the spacious guitar line that starts “Unnamed” on a more subdued, peaceful note, as if all that swirling malevolence was just a dream. It wasn’t. In tone and vocal delivery, the quicker thrust of “Unnamed” reminds somewhat of the last Amebix as each syllable of each line seems spit out, but the churn behind is more in league with Through Silver in Blood‘s brand of chaotic atmospherics, and after five and a half minutes, the song moves into a different cycle entirely, chugging its way toward an apex met by vocals that prove the most melodic on the album. They jump back to the churn with less than a minute to go — an effective bookend — and the 11-minute “La Mano Poderosa,” a version of which also appeared on the demo, introduces its roll with the guitar, its central progression a theme from which it deviates only twice along its march, once for an angular break in the middle, and again for a bigger finish on which French once again pulls back on the drums to let the guitar and bass sound as huge as possible.

brothers-of-the-sonic-cloth-(Photo-by-Invisible-Hour)

In its length and position, “La Mano Poderosa” is the centerpiece, but the following “I Am,” which was also a demo cut, is a more dynamic listen, following a build structure that starts quiet and brooding, makes its way toward its peak in the middle and, with a stop and scream just past 5:10 to signal arrival, rides out its groove for the remaining three minutes. To look at the waveform, there are clear indicators of increasing density, and the sound is no less marked out, but the flow crafted over the course of “I Am” makes it a highlight, and in some respects its the apex of Brothers of the Sonic Cloth, since neither “The Immutable Path,” on which Doyle joins John O’Connell on drums and layers a quiet vocal on top with droning ambience behind, nor the piano-led “Outro” approach the same kind of heft, though certainly each of the last two tracks has an atmospheric resonance of its own. That might be true even more of the two-minute “Outro,” which with just piano echoing has a disjointed feel that holds firm to its melody even as it begins to fade out to end the record. My understanding is “The Immutable Path” and “Outro” are both bonus tracks for the CD/DL editions of the album, but they have a function in the overarching mood of what comes before them anyway. No doubt part of the reason Brothers of the Sonic Cloth have garnered such a response is Tad Doyle‘s legacy and this self-titled being his first studio release since Hog Molly‘s lone outing in 2000, but this trio does nothing if they don’t set themselves apart from that legacy, and the spirit that pervades this material isn’t backward-looking in any way. That said, with six years between the demo and the album, I wouldn’t try to hazard a guess at when a follow-up might be in the beginning stages, let alone completed, but Brothers of the Sonic Cloth is an outing that does well standing on its own and its scope and sheer ferocity speak to a vibrant creativity at work.

Brothers of the Sonic Cloth, “La Mano Poderosa”

Brothers of the Sonic Cloth on Thee Facebooks

Witch Ape Studio

Neurot Recordings

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The Obelisk Radio Adds: Primitive Man, Sandrider + Kinski, Hiram-Maxim, Obrero and Elbrus

Posted in Radio on February 16th, 2015 by H.P. Taskmaster

the obelisk radio

I know it’s not the usual custom to do Radio adds on Mondays, but what the hell, it’s not exactly like there are rules one way or another, and my desktop has hit eight rows deep of folders with albums in them, so whatever day it might be, it’s time to clear out as much of it as possible. A full 22 records join The Obelisk Radio playlist today. Some of it is very strange, some of it pretty straightforward, but one way or another, I think it all makes the stream better and more diverse, and that’s what it’s all about. For the full list of everything added, check out the Playlist and Updates page.

The Obelisk Radio adds for Feb. 16, 2015:

Primitive Man, Home is Where the Hatred Is

12 Jacket (3mm Spine) [GDOB-30H3-007}

After their destructive 2013 Relapse Records debut, Scorn (review here), Primitive Man‘s reputation for brutality precedes them. The Denver trio’s new EP, Home is Where the Hatred Is, is only likely to further that reputation, its four tracks alternating between grueling, unrepentantly slow-lumbering, ungodly-toned extremity and fits of grinding megaviolence. The release is arranged longest to shortest so that opener “Loathe” (11:03) is sure to weed out the weaker constitutions en route to the ensuing crushers “Downfall” (8:43) and “Bag Man” (7:09). The closer, “A Marriage with Nothingness” (4:17) is a collage of noise and fedback threat topped with a sample of a woman either in ecstasy or agony — in context it’s kind of hard to tell — but the message is plain either way. One might think of that cut as an answer to Primitive Man‘s 2013 P//M Noise Tape, which also explored droning forms between covers of PortisheadBlack Sabbath and Crowbar. Perhaps most foreboding of all is how smoothly Primitive Man shift between the facets of their increasingly diverse sound, since it speaks to a progression in progress in terms of bringing the various elements together. A beast is one thing, but a thinking beast seems all the more ominous. They may be in the process of outgrowing their name, but a savage force remains at the heart of their bludgeoning. Primitive Man on Thee Facebooks, Relapse Records.

Sandrider and Kinski, Sandrider + Kinski Split

sandrider kinski split

With geography in common in their Seattle base of operation, Sandrider and Kinski present their Sandrider + Kinski split on Good to Die Records with three new songs from the former, including a cover of Jane’s Addiction‘s “Mountain Song,” and two from the latter, working in instrumental, textured heavy psychedelic forms that complement Sandrider‘s bombastic approach as heard on their two full-lengths to date, 2013’s Godhead (review here) and 2011’s self-titled debut (review here). Both “Beyond in Touch with My Feminine Side” (8:42) and “The Narcotic Comforts of the Status Quo” (5:17) flesh out open spaces, rich in tone and flowing movement, with the closer more of a riffy, space-rock feel while “Beyond in Touch with My Feminine Side” is more exploratory, fading out at its end is the jam sort of deconstructs below lead guitar. As for Sandrider‘s “Rain” (4:47) and “Glaive” (4:40), for anyone who’s heard the rolling punk heaviness of their albums, it should be enough to say they sound like Sandrider – upbeat and catchy and furious and kinetic — and while I’m not sure anyone ever needed to hear a Jane’s Addiction song ever again (ever.), they take what was probably the band’s best riff and re-suit it to their own purposes, which if you’re going to do it at least is the right way to go about it. Sandrider on Thee Facebooks, Kinski on Thee Facebooks, Good to Die Records.

Hiram-Maxim, Hiram-Maxim

hiram-maxim hiram-maxim

Ultimately, Hiram-Maxim‘s self-titled Aqualamb debut reads more like an experiment in the deconstruction of sound than an album in the traditional sense, and perhaps I use the word “reads” because it’s a book. As has become Aqualamb‘s modus, the four-track release comes as a 100-page artbook and a download that contains its nonetheless-vinyl-ready darkened forms, whether it’s the brooding “One” (11:47) with backing drones and open guitars or the preceding “Can’t Stop” (11:55) with its rising current of abrasive, almost grating noise that gradually consumes whatever song was there to start with. It is a dark atmosphere, and the opener, “Visceral”  (7:14), is well titled, but the pervading vibe is more exploratory than theatrical; like the listener, the Cleveland four-piece are feeling their way through these deep reaches, and when they come around to the apex of closer “Worship” (6:25), the resolution they seem to find is frantic and desolate in turn. In another universe, one might call it punk rock. Here, it is gleefully and thoroughly fucked. Hiram-Maxim on Thee Facebooks, Aqualamb.

Obrero, The Infinite Corridors of Time

Obrero The Infinite Corridors of Time

The Infinite Corridors of Time, the second long-player from Stockholm old-schoolers Obrero should — contrary to their logo — appeal to fans of Hour of 13 and Argus and others who’ve made preservation of classic metal their mission, skirting the fine line between doomly Sabbath worship and proto-NWOBHM stylized forwardness of purpose. The double-guitar five-piece show some penchant for ’70s heavy rock on cuts like “Oneironaut” (6:20) and “The Axial Age” (5:40) but by and large their purposes are more metallic, meshing AC/DC and Judas Priest impulses into the keyboard-laden “Manchester Morgue” (5:01) or “Phobos and Deimos” (5:42), which stands out for its hook and successful blend alike. At eight tracks/52 minutes, The Infinite Corridors of Time is no minor undertaking — there is no song under five minutes long — but their use of keys allows Obrero to work in various moods, and for those seeking purity in their metal, the Swedish outfit offer glimpses without being wholly derivative of what’s come before. Obrero on Thee Facebooks, To the Death Records.

Elbrus, Far Away and into Space Pt. 2

Elbrus Far Away and into Space Pt. 2

If you feel like you missed out on Far Away and into Space Pt. 1, don’t worry about it. Melbourne, Australia, four-piece Elbrus are actually starting out with Pt. 2, and it’s their debut single, an 11-minute psychedelic push of heavy blues rock, stoner rollout and organ-blessed jamming. I’m not sure it’s safe yet to call what’s happening in Melbourne right now a “heavy blues revival” as acts like Elbrus and Child delve into such sonic territory — if only because with bands like Horsehunter and Hotel Wrecking City Traders out there, the city’s take on heavy isn’t so easily categorized — but one rarely recognizes such things until beaten over the head by them. Either way, “Far Away and into Space Pt. 2″ gracefully looses a molten flow over its 11:06 stretch, vocalist/organist Ollie Bradley-Smith unafraid to cut through the natural-sounding, weighted tones of guitarist Ringo Camilleri and bassist Mafi Watson while Tom Todorovic‘s drums smooth the way between volume and tempo changes and add cymbal-crash swing to both. It’s a smooth-grooved nod, and aside from making me curious to hear the first installment of “Far Away and into Space,” it makes me wonder what Elbrus might next encounter as that journey unfolds. Elbrus on Thee Facebooks, on Bandcamp.

One more time, this is not even a quarter of what’s been added today. There’s also stuff from Black Rainbows, Felipe Arcazas, Headless Kross, Warhorse, Twingiant and others, so please make sure you hit up the Obelisk Radio Playlist and Updates page to see the full list.

Thanks as always for reading and listening.

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Terminal Fuzz Terror Stream “Megalodon” from Vol. 0: In the Shadow of the Mountain

Posted in audiObelisk on February 16th, 2015 by H.P. Taskmaster

terminal-fuzz-terror

Named for its 17-minute closing track, Vol. 0: In the Shadow of the Mountain is the debut full-length from Seattle experimental heavy rockers Terminal Fuzz Terror, set to release limited-style on Robotic Empire March 3. It is an off-the-wall freakout beast that hearkens to multiple eras — ’60s psych meandering, ’70s riffing, ’90s purposeful weirdness, etc. — and in so doing is invariably of the modern moment: what navelgazing might be if you did it into other people’s bellybuttons; a broken mirror showing different angles of an already fractured reality. Plus it grooves!

Opener “Senseless Boogie” would seem to tell the whole tale, but in truth it’s only part of the story, and whether it’s the funtime freakout of “Zealousy” or the psych-punk thrust of centerpiece “Megalodon,” the four-piece of guitarist/vocalists D. Rodriguez and D. Nelson, bassist J. Kleine and drummer A. Crawshaw hone a chaotic swirl that feels like it could at any point fly off the handle entirely. Likewise the repeated echoing incantations of “Cycles,” which seems to call Satan not so much to spread misery and hellishness over terminal fuzz terror vol. 0 in the shadow of the mountainthe earth, but rather to crack a beer and mess around with effects pedals, and of course “In the Shadow of the Mountain,” the monolithic semi-title-track is a focal point — at just a little less than half the 36-minute runtime, there’s no way it wouldn’t be — but rather than get lost in their own grandiosity, Terminal Fuzz Terror turn plod into ritual before warping into one last high-speed wah-drenched jam, paying off what’s come before, sure, but also breathing life into a form of space rock that’s more than Hawkwind idolatry and flange overload.

If you feel like you can dig it, you’re probably right. “Megalodon” is available for streaming on the player below, and by way of a heads up, look out for near-immediate push, obscure garage-echo vocals and weirdo breaks, a biting tonal mania rife with unhinged churn that cleverly masks just how structured the song actually is. Terminal Fuzz Terror are hardly traditional in the verse/chorus sense, but there are themes to latch onto throughout Vol. 0: In the Shadow of the Mountain, and “Megalodon” works quickly to establish its own amid the cosmic reverb captured by Tad Doyle at his Studio Witch Ape and mastered by James Plotkin.

One more time, vinyl is out March 3 in finite quantities. Album info follows the player:

Terminal Fuzz Terror is a Seattle-based band comprised of D. Rodriguez (guitar, vocals), D. Nelson (guitar, vocals), A. Crawshaw (drums) and J. Kleine (bass). Drummer Crawshaw also runs the Seattle based screen printing monolith Broken Press, who printed the jacket for TFT’s hand assembled, limited release. Their vinyl debut, Vol 0: In The Shadow Of The Mountain, was recorded at Witch Ape Studio, engineered and mixed by Tad Doyle (TAD) and mastered by James Plotkin.

Limited to 300 copies and including a high-quality digital download, 50 special deluxe versions of the record will include an embroidered 4″ round patch and come packaged in a tote bag.

Vol 0: In The Shadow Of The Mountain is Terminal Fuzz Terror’s strongest work to date, and is available digitally to pre-order now, with vinyl available via Robotic Empire on March 3rd.

Preorder at Robotic Empire

Preorder on iTunes

Terminal Fuzz Terror on Thee Facebooks

Terminal Fuzz Terror on Bandcamp

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Mos Generator Stream “Beyond the Whip” from In Concert: 2007-2014; New Lineup and Tour Dates Announced

Posted in audiObelisk on February 4th, 2015 by H.P. Taskmaster

mos generator

Though it shares a basic cover design and a partial title with it, Mos Generator‘s upcoming Listenable Records live album, In Concert: 2007-2014 – out March 23 — isn’t to be confused with the 2013 In Concert (review here) on Lay Bare Recordings. That outing was one concert, captured on the Port Orchard, Washington, trio’s European tour with Saint Vitus, whereas the new release, as its title hints, is more of a compilation of material culled from years of gigs around the world, as early as Roadburn in 2008 and as recent as Freak Valley last year. Founding guitarist/vocalist Tony Reed explains it in the quote below.

Says Tony Reed:

“This release is compiled from five different shows over seven years and is a great representation of what we have sounded like live. It has at least one song from each of our albums and also showcases jams and the evolution of song arrangements from studio to stage. It was a challenge to mix these recording from different shows together to make it seem like one live experience but i think the result captures the energy and chemistry that was happening between the three of us on stage during these years. A few of our finest moments were captured here including songs from Roadburn Festival in 2008 and Freak Valley Festival in 2014. It’s also cool that this will be coming out just in time for our European tour in April of 2015 to get everybody in the spirit for live MOS GENERATOR.”

mos generator in concert.jpgWhat Reed doesn’t mention there is that In Concert: 2007-2014 also serves as the capstone for an ending era of the band. In the wake of 2014’s Electric Mountain Majesty (review here) and with a desire to tour more than they have in years past, Reed has parted ways with drummer Shawn Johnson and bassist Scooter Haslip, bringing on board the rhythm section of bassist Sean Booth and drummer Scotty VanDweller (a touring name if e’er was one). Accordingly, ReedBooth and VanDweller have Mos Generator‘s first full-US tour booked and set to begin this month, and after that, the plan is to head to Europe and make their presence felt there.

It’s entirely possible that at the end of 2015, one might think of Mos Generator as a completely different band than, say, the one that made such a righteous comeback in 2012 with the Nomads (review here) full-length on Ripple Music, but if anything’s certain at this point it’s that this is a year of change for the stalwart heavy rock specialists, and that the new lineup are meeting that change and the challenges it might bring head on. As a fan of the band and of Reed‘s work in general, I’m looking forward to finally getting the chance to see these songs played live.

If you’re in a similar boat, Listenable has offered up “Beyond the Whip” from In Concert: 2007-2014 for your streaming pleasure. As it was the opening track on Electric Mountain Majesty, presumably this comes from last year’s stop at Freak Valley, and it sounds like a damn good time. Please find it on the player below, followed by the live album tracklisting, the announcement from Reed about the new lineup and the tour and the dates for the US run.

Please enjoy:

Mos Generator, In Concert: 2007-2014 Tracklisting :
1. Lumbo Rock
2. Cosmic Ark
3. Lonely One Kenobi
4. Silver Olympus
5. On The Eve
6. Godhand Iommi
7. This Is The Gift Of Nature
8. Beyond The Whip
9. Step Up / Jam
10. Acapulco Gold
11. Breaker
12. Sleeping Your Way To The Middle / Jam
13. Dyin’ Blues
14. Electric Mountain Majesty

We’ve got a few big announcements coming at ya today. First off we have a nice run of U.S. tour dates coming up and we have posted the dates and a few fun posters to help promote the tour. We would like to thank all of the promoters and bands that have helped us book many of these dates and we would also like to thank Elder and Tone Deaf Touring for bringing us along on what will be the first ever east coast tour for Mos Generator. Plans are in the works for more touring in the U.S. and Europe during the first half of 2015. We would like to make it out to see all of you this year.

The second announcement doesn’t come easy for me. After 14 years, 8 albums and hundreds of shows together I have had to part with the original rhythm section of Shawn Johnson and Scooter Haslip. Touring is imperative to the success and public awareness of any band and we couldn’t do the work that it takes to rise above the countless bands out there putting their passion to the test. We made amazing music together, but that is not enough, not for me anyway. I want to show it to the world. Mos Generator will never be the same in the absence of Shawn and Scooter but challenge and growth are also a musician’s nature and with that I announce Sean Booth (Bass) and Scotty VanDweller (Drums). Sean and Scotty have spent years attending Mos Generator shows and admiring the playing of their respective instrumentalists. That respect and understanding will help us perform the older material with much of the energy and power as it had with the original band and soon we will be writing and taking the sound of Mos Generator to new and interesting levels. That is something I am truly looking forward to.

Cheers
TR – Feb. 2015

MOS GENERATOR US Tour Feb/March 2015
mos-generator-tour-poster2/13 Seattle, Wa @ Columbia City Theater
2/14 Port Angeles, Wa @ Coo Coo’s Nest
2/18 Fort Worth, Tx @ The Grotto
2/19 Austin, Tx @ The Lost Well
2/20 El Paso, Tx @ Low Brow Palace
2/21 Tuscon, Az @ The Rock (Borderland Fuzz Fiesta)
2/23 TBA
2/24 TBA
2/25 TBA
2/26 Grants Pass OR @ G Street Bar
2/27 Eugene, Or @ Black Forest
2/28 Portland, Or @ World Famous Kenton Club
3/3 TBA
3/4 TBA
w/Elder*
3/6 Providence, RI @ As220*
3/7 Peterborough, Nh @ The Wreck Room*
3/8 Rochester, Ny @ Bug Jar*
3/9 Pittsburgh, Pa @ Gooski’s*
3/10 Columbus, Oh @ Ace of Cups*
3/11 Indianapolis, In @ 5th Quarter*
3/12 Chicago, Il @ Reggie’s*
3/13 Texarkana, @ Silver Dollar*
3/14 Dallas, Tx @ Double Wide*
3/16 Corpus Christi, Tx @ Boneshakers
3/17 Austin, Tx @ The Lost Well
3/18 Houston, Tx @ White Swan
3/20 Tulsa, Ok @ Downtown Lounge
3/21 TBA
3/23 Anahiem, CA @ The Doll Hut
3/24 San Diego, Ca @ The Merrow
3/25 Sacramento, Ca @ The Press Club
3/26 San Jose, Ca @ The Caravan
3/27 Oakland, Ca @ The Golden Bull (Ripple fest)
3/28 Arcata, Ca @ The Alibi

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