Posted in Whathaveyou on May 19th, 2016 by H.P. Taskmaster
The show Brimstone Coven are playing on June 25 in Ohio that precedes their run through the Midwest in July is being called Wookfest 2K16. It also features Druid and Clay Otter. A couple dates into the July stint, Brimstone Coven will link up with Castle — on their own extensive tour — for a few shows. They’re out supporting their 2016 debut full-length, Black Magic (review here), released by Metal Blade. Black Magic came out in January and is the follow-up to a 2015 self-titled (track stream here) that was a long-player in runtime but compiled from two earlier EPs.
Shows kick off July 23 in Cleveland and the tour includes stops in Ohio, Indiana, Michigan, Wisconsin and Western Pennsylvania. Tour dates and some comment from the band, as well as a stream of the Black Magic title-track, follow here, courtesy of the PR wire:
BRIMSTONE COVEN: Dark Occult Rockers Announce US Tour Dates
West Virginia-based dark occult rockers, BRIMSTONE COVEN, have confirmed their Summer tour plans which include a one off show in Athens, Ohio on June 25 before kicking off a nine-date mini tour from July 23rd through July 31st alongside Castle on select dates.
Bassist Andrew D’Cagna comments: “The response we’ve received since the release of Black Magic has been phenomenal. Our Coven is growing, but our mission is never ending. We can’t wait to hit the road and spread the word of the Coven to those who’ve not yet witnessed our live ritual… See you this Summer! Behold! Believe!”
BRIMSTONE COVEN: 6/25/2016 The Smiling Skull – Athens, OH 7/23/2016 Maple Grove – Cleveland, OH 7/24/2016 Realm – Toledo, OH 7/25/2016 5th Quarter Lounge – Indianapolis, IN 7/26/2016 Reggies – Chicago, IL ** 7/27/2016 High Noon Saloon – Madison, WI ** 7/28/2016 Frank’s Power Plant – Milwaukee, WI ** 7/29/2016 Shakespeare’s Pub – Kalamazoo, MI ** 7/30/2016 Corktown Tavern – Detroit, MI ** 7/31/2016 Howler’s – Pittsburgh, PA ** ** w/ Castle
Brimstone Coven is: “Big John” Williams – vocals Corey Roth – guitar Andrew D’Cagna – bass Justin Wood – drums
Posted in Whathaveyou on April 5th, 2016 by H.P. Taskmaster
That is a gosh darn significant lineup. The Obsessed, The Atomic Bitchwax and Karma to Burn? I mean, really. Who’s gonna complain about that show? Unless you happen to live in/near a city not being hit by the tour, I can’t really see anything to bitch about when it comes to pairing those acts up. Each offers something different from the others, but is completely excellent at what they do, whether that’s The Obsessed‘s trailblazing Maryland doom, The Atomic Bitchwax‘s frenetic winding riffage or Karma to Burn‘s instrumental crunch. Seems reasonable to expect these will be some killer evenings.
Word came out from The Obsessed a bit ago, but Karma to Burn — still in the midst of a current European tour — newly announced the run as follows via the PR wire:
KARMA TO BURN Announce North American Tour With The Obsessed and The Atomic Bitchwax
In support of their new release Karma To Burn will hit the road this spring with The Obsessed and The Atomic Bitchwax. The tour starts May 13th in Washington, DC and runs through June 11th in Atlanta, GA. A complete list of dates can be found below.
The band commented on the upcoming tour:
“What better way to follow a full European tour than following The Obsessed and Atomic Bitchwax around America? How about a month off in Sardinia, followed by a year living in the Netherlands. As much as we would like that, we should do the tour, it’s only our second full US tour in 5 years, so we’re a bit overdue in our own country. The stacked lineup and extensive schedule should make up for our absence. THE OBSESSED…Wino…the demi-god of DOOM…we couldn’t pick a better US band to support. But honestly we’re most excited about the burritos and burgers. See you on the road.”
There’s no indication that things are about to slow down for this band – what with their spring 2016 tour coming up, which has already been confirmed. So no signs of fatigue in the Karma To Burn camp. “More than 20 years ago, people told me that a purely instrumental band could never work in the long run,” William Mecum recalls. “But Karma To Burn are like a boxer with a big heart, amazing stamina and a talent for getting back on his feet again and again.” Which is just as well, seeing that in this case there’s a mountain to be conquered.
KARMA TO BURN W/ The Obsessed and The Atomic Bitchwax, 5/13: Washington DC @ Black Cat 5/14: Pittsburgh PA @ Altar Bar 5/15: Harrisonburg PA @ Golden Pony 5/16: Brooklyn NY @ Saint Vitus Bar 5/18: Richmond VA @ Strange Matter 5/19: Philadelphia PA @ Kung Fu Necktie 5/20: Huntington WV @ V Club 5/21: Indianapolis IN @ 5th Quarter Lounge 5/22: Chicago IL @ Beat Kitchen 5/23: Minneapolis MN @ 7th Street Entry 5/24: Rock Island IL @ Rock Island Brewing Co. 5/25: St. Louis MO @ Fubar 5/26: Kansas City MO @ Riot Room 5/28: Denver CO @ 3 Kings 5/30: Seattle WA @ El Corazon 5/31: Portland OR @ Dante’s 6/2: San Francisco CA @ Slim’s 6/3: Los Angeles CA @ Complex 6/4: San Diego CA @ Brick By Brick 6/5: Phoenix AZ @ Club Red 6/7: Austin TX @ Dirty Dog 6/8: Ft. Worth TX @ Tomcats West 6/9: Houston TX @ Walter’s 6/10: New Orleans LA @ Siberia 6/11: Atlanta GA @ Drunken Unicorn
Posted in Whathaveyou on March 30th, 2016 by H.P. Taskmaster
More details have started to surface about Rhin‘s upcoming album, Passenger. Set for release May 6 as first announced here, Passenger is the West Virginian noisemakers’ second LP on Grimoire Records, recorded in the label’s traditional manner by Noel Mueller and topped with art by Rhin‘s Ben Proudman. The three-piece have announced a weekender run of shows the week before the LP is out that will take them through Philadelphia, Brooklyn and New Haven, Connecticut. Based on their history, one assumes it won’t be the only time they head out, but the first one is always worth noting.
The six-minute cut “Clay” that was premiered with the announcement linked above is also available to stream below, because I know how hard it is sometimes to open a new tab. I’m not being sarcastic, by the way. I mean that.
To the PR wire:
RHIN: West Virginia Noise/Stoner Metal Troupe Preps Passenger LP For Release Via Grimoire Records
Baltimore-based Grimoire Records is preparing the upcoming third album by West Virginia stoner/noise metal trio RHIN for release in April, with the diverse and damaging Passenger.
Passenger will see release on random splatter vinyl, cassette, and digital formats on May 6th, with a CD pressing coming a bit later. Preorders are available through Grimoire RecordsRIGHT HERE.
Following their well-received 2014-released Bastard LP, the third album from RHIN sees the band delivering just under thirty-four minutes of pummeling new riffery. Passenger shows these three super talented dudes – bassist/vocalist Dom, drummer Ben, and guitarist Tuck — rip through seven tracks of grungy rock n’roll reminiscent of The Melvins, Fu Manchu, The Sword, Unsane, and early Helmet. Tempos range from punk fast to doom slow and everything in between, while always keeping it ultra-heavy and catchy. Passenger was recorded in one day in October 2015 by Noel Mueller, in basically one take, resulting in an exceptionally live and legit sounding recording. The record was then mixed and mastered by Mueller, and fitted with artwork by Ben Proudman.
RHIN has a mini-tour planned for the week preceding the release of Passenger, where they’ll appropriately pair up with Connecticut’s Grizzlor for shows in Philadelphia April 28th, Brooklyn April 29th, and New Haven on April 30th. Stand by for updates on live performances, additional samples from Passenger to be released, and more in the weeks ahead.
RHIN w/ Grizzlor: 4/28/2016 The Fire – Philadelphia, PA 4/29/2016 Grand Victory – Brooklyn, NY 4/30/2016 Three Sheets – New Haven, CT
Tracklisting: 1. Uncle Tuck 2. Unwell 3. Drag My Feet 4. Snivlem 5. Clay 6. Basement 7. Bad Timing
Posted in Reviews on March 29th, 2016 by H.P. Taskmaster
I thought yesterday went pretty well, by which I mean I didn’t receive any complaints that somebody’s name was spelled wrong (yet), so I feel alright going into the second batch of releases for the Quarterly Review. Today mixes it up a bit, which is something I always enjoy doing with these, and while I’ll take pains to emphasize that the list of releases today, as with every day, isn’t in order, there was no way I wasn’t going to start with the first record below. Some albums just demand top placement.
Quarterly Review #11-20:
Eight Bells, Landless
However you define the word “heavy” as it relates to music, Eight Bells are it. The Portland, Oregon, trio release their second album and first for Battleground Records in the form of the five-track Landless, and from the opening sprawl and lumber of “Hating” through the crawling-plus-blasting chaos of “Touch Me,” a strong progressive current underscores the material – most notably the 13-minute title-track, but really the rest as well, which flows gracefully even in its harshest moments, the blackened rush in the second half of “Landless,” for example, which follows psychedelic drones and harmonies just minutes before, or the similar thrust of centerpiece “Hold My Breath,” which works in tighter quarters but manages to span genres all the same. “The Mortal’s Suite” provides some respite in airy guitar and airier vocals, giving new drummer Rae Amitay a break while showcasing the harmonies of guitarist Melynda Jackson (ex-SubArachnoid Space) and bassist Haley Westeiner. As open atmospherically as the band is in their creative scope, there just isn’t a level on which Landless isn’t superb.
Swedish four-piece Öken do themselves huge favors by refusing to be easily categorized on their 2015 self-titled Ozium Records debut full-length, which runs an immersive 62 minutes and blends doom, classic heavy/desert rock and forest psych with subtle grace throughout its eight tracks, each of which is fleshed out in an overarching naturalist atmosphere. “Väktaren” dives headfirst into boogie only after initial minimalist teasing, and “Crimson Moon” bursts to life after a hypnotic psychedelic opening to find its crux in later runs of dueling guitars. The two closing cuts, “Under Vår Sol” and “Cuauhtémoc” are an album unto themselves, the former nodding initially at Sungrazer’s serene vibes before pushing into even more open psychedelic territory, and the latter proffering riffy largesse en route to a striking classic prog finish. That Öken make these elements work side-by-side and transition from one to the other fluidly is emblematic of the confidence at work in the band, and they carry their scope with organic-sounding ease.
West Virginian roots doomers Brimstone Coven made their debut on Metal Blade in 2015 with a self-titled EP compilation (track stream here), and Black Magic is their first full-length. Its 10 tracks/54 minutes take cues varyingly from classic heavy rock, doom and the less majestic side of the NWOBHM, but Brimstone Coven’s approach is marked out by the extensive use of vocal harmonies on cuts like the prog-tinged “Beyond the Astral,” the later moments of raw-roller “Upon the Mountain” and “The Plague.” Black Magic’s production is barebones enough that this singing – credited solely to “Big John” Williams, while Corey Roth handles guitar, Andrew D’Cagna bass and Justin Wood drums – doesn’t really soar so much as nestle in and enhance the begging-for-vinyl analog-worship of the instruments surrounding, a proliferation of cultish themes distinguishing Brimstone Coven even as a song like “The Seers” finds them inheriting a trad-doom soulfulness from The Gates of Slumber.
Between its vicious aggression, inhumane chug and have-fun-enduring-this stomp, the self-titled, self-released debut LP from Pants Exploder could just as easily be definitive New York noise, but the low-end heft of their assault right from opener “It’s Ok, I’m Wiccan.” (punctuation included in title) has an element of early-Mastodonic lumber, and that’s a thread that continues throughout “End of the World” and “You Don’t Strike Me as a Reader,” which offsets its slab-of-concrete-on-your-chest push with moments of respite, but remains driving in its intensity. As in, driving your head into the ground. Also the ground is pavement. It’s fucking heavy, is the point. To wit, the mega-plod of “Um, I Curated an Art Show in College, So…” and thrust of “God Has a Plan for Me.” Capping with the seven-minute “You Smug Bastard,” Pants Exploder pays off the tension they build in a noise-wash fury that is as impressive as it is scathing.
The rather ominous The Moon Rises EP is the first non-demo offering from Asheville, North Carolina, four-piece Shallows, who blend heavy psychedelic and grunge influences across its five tracks, opener “Shimmering” and closer “Distance” mirroring each other’s spacious push while between, “Zero,” “A Mile Beneath” and the Earth-influenced “The Barn Burning” enact gorgeous vocal harmonies between Cameron Zarrabzadeh and HannahLynn Cruey atop atmospheric heavy rock, hitting into Alice in Chains-meets-Kylesa territory on the centerpiece, “A Mile Beneath,” which is a fair bit of ground to cover. That cut is the high point in showcasing Shallows’ potential, but the Western take with “The Barn Burning” and meandering post-rock echoes and organ of “Distance” only add to the breadth of this impressive, too-short collection. With a focus consistently kept on ambience throughout, The Moon Rises flows like a full-length album, and so bodes that much better for what Shallows will be able to accomplish when they get there. I’ll look forward to it.
Even before they get to the all the aggro fuzz riffing, there’s a distinct threat of violence in Monumentum’s The Killer is Me. Its four songs, “Noose,” “Whore,” “Fiend and Foe” and “Killer Me,” each seem to find the Norwegian band doling out noise-influenced heavy rock, driven by some underlying dissatisfaction on this, their first EP. Released on vinyl through Blues for the Red Sun Records, it offsets being so outwardly pissed off through groove, the starts and stops of “Killer Me” and the rolling seven minutes of opener and longest track “Noose” (immediate points) both marked out for both their tonal weight and the force with which Monumentum push their material forward – not speedy, though “Whore” is by no means slow, but dense and emitting a residual tension all the same. Somewhat unipolar in its mood, The Killer is Me still manages to give an initial impression of what Monumentum are about sound-wise, and provides them with a solid start to work from.
While the UK isn’t at all short on doom or sludge at this point, Canterbury five-piece Famyne distinguish themselves on their self-titled first EP with a traditional take and the at-times theatric harmonies of vocalist Tom Vane. Along with guitarists Alex Tolson and Alex Williams, bassist Chris Travers and drummer Jake Cook, Vane nods at Alice in Chains on lumbering opener “Enter the Sloth” without going full-on “hey whoa momma yeah” and provides a considerable frontman presence, particularly for a debut recording. Comprising three songs with the speedier bonus track “Long Lost Winter” as an add-on download with the CD version, Famyne’s Famyne EP finds its crux in the nod and push of the 10-minute “The Forgotten,” which takes a cue atmospherically from The Wounded Kings but finds its own, less-cultish niche in bringing new energy to classic doom and setting in motion a progression that already puts an individual stamp on established tenets.
There’s patient, and then there’s Ethereal Riffian, whose riffy ritualizing and exploration nonetheless brims with some intangible energetic sensibility on their new live outing, Youniversal Voice. Heavy psychedelic wash, thick riffs, theatric vocals and guitar effects, stoner roll and the occasional fit of shredding, one might hear any of it at a given point in over-12-minute cuts like “Wakan Tanka” and “Anatman,” the latter which arrives as the penultimate of the eight-song/56-minute set. The clarity, for being a live album, is remarkable, and Ethereal Riffian add to the experience with a CD version that includes a candle, elaborate packaging and artwork, and tea, so the multi-sensory impression is obviously important, and where many live outings are throwaways or a means of bowing to contractual obligation, Youniversal Voice adds to Ethereal Riffian’s studio work a substantial ambassasorial feel, conveying an onstage vibe with a fullness of sound and clarity of mind not often heard.
Desert rock trio Wet Cactus don’t make any bones about where they’re getting their influence from on their late-2015 self-titled second EP. By the time they get around to the penultimate “The Road” on the five-track/24-minute outing, they’ve dug themselves in deep into the worship of crunchy Kyuss-style riffing, and you can throw in looks for Unida, Queens of the Stone Age, Slo Burn and whoever else of that milieu, but Kyuss is at the root of it all anyway. Less grand in their production than UK outfit Steak, who operated in similar territory on their 2014 debut LP, Slab City, Wet Cactus keep it natural in the tradition of their forebears, and while there’s room for them to grow into a more individual approach, the hazy fuckall in closer “World’s Law” has a stoner charm before and after it kicks into a punkish push to close out. Cool vibe either way, and the tone is dead on. If these cats go jammier, watch out.
I won’t say a bad word about the artwork of David Paul Seymour in the context of this review or any other, but ultimately, Louisiana doomers Forming the Void are coming from someplace much more in line with progressive metal than the three-eyed goat and robed figures on the cover of their second album, Skyward, might represent. Again, that’s not a knock on Seymour, or for that matter, the band, just that the look of the record is deceptive, dogwhistling stonerisms even as moody cuts like the opening title-track and “Three Eyed Gazelle” – while thoroughly doomed in their vibe – prove more lucidly constructed. That holds true through the chugging centerpiece “Saber” as well, marked out by vocal harmonizing, and “Return Again,” which rolls through atmospheric metal and an ambient interlude to enact the record’s most memorable payoff and set up the linear course of the more patient closer “Sleepwalker.” Cohesive in mood and clearly plotted, Skyward is ultimately darker and more driven than it might at first appear.
Not that Passenger doesn’t have its all-out assault moments. Plenty of them, in fact, but as the track premiere below makes plain, there continues to be more behind the attack of West Virginian trio Rhin than a single angle of approach. That’s true on bouncing, grunge-styled closer “Bad Timing” as much as “Clay” (which you can hear below) and even opener and shortest track “Uncle Tuck,” which peppers its noise rock insistence with a thicker-toned edge that continues through the rolling “Unwell” and “Drag My Feet,” the trio’s attack only broadening as the record plays out its cut (you) and run 33-minute span.
Rhin today announce the May 6 release of Passenger through respected Baltimore purveyors Grimoire Records, who also handled the band’s 2014 sophomore outing, Bastard (review here), and in representing the varied crux of the band’s furies, “Clay” does well to give a sense of where they’re coming from. Mid-paced compared to songs like “Uncle Tuck” and “Basement,” which follows, it answers the more expansive feel of centerpiece “Snivlem” and finds a place for itself between heavy rock groove and noise intensity that doesn’t necessarily ever slow itself down long enough to fall into the trap of being sludge. A bass break toward the middle sets up a shift into a crash-wash build that offers some surprising melody to go with all that push.
“Bad Timing” echoes some similar sentiments, but Rhin are neither ready nor willing to let go of their aggressive charge at this stage. Whether or not they get there eventually is anyone’s best guess, but the blend they offer on Passenger and the vitality with which they offer it, having recorded in “basically one take” (I love that) with Grimoire‘s Noel Mueller this past fall, result in an album that’s frenetic at times but not at all simply flailing without purpose.
You can hear for yourself in checking out “Clay” on the player that follows the album artwork by Ben Proudman and the announcement from Grimoire, which follows here:
It’s another a massive slab of riffs by Rhin called “Passenger.” It’s their 34 minute follow-up to their first 2014 release “Bastard”, this time on sweet, sweet vinyl!
Yet again, these 3 super talented dudes rip through 7 tracks of grungy rock n’roll reminiscent of The Melvins, Fu Manchu, Unsane and early Helmet. Tempos range from punk fast to doom slow and everything in between, while always keeping it ultra heavy and catchy.
The release date for “Passenger” is 05/06/16 on random splatter vinyl pressed by Gotta Groove Records, and pro-cassette by National Audio Company, with CD coming shortly after.
Rhin is Dom (bass/vocals), Ben (drums) and Tuck (guitar).
The new Karma to Burn video begins with guitarist/founder Will Mecum walking down a very European hallway and then down a very European street before entering a very European bar in Biel, Switzerland, which, wouldn’t you know it, has a Marshall full stack and a brew awaiting his arrival. Mecum proceeds to riff out in the bar, in the bar’s bathroom, in a hockey arena, and finally, in a liquor store surrounded by beer bottles. He’s the only member of the West Virginian trio — rounded out by bassist Eric Clutter and drummer Evan Devine — to be seen in the clip, and if there was any lingering doubt about whose show the band is at this point, that should pretty much put it to rest.
Karma to Burn release a new EP, Mountain Czar, later this month on Rodeostar Records, and the song “62” that features in the clip comes from that EP and has also been issued as an advance single. All this is to precede the band’s next European tour, which starts March 12 and features Sons of Morpheus in the support slot. Karma to Burn have been on the road steadily since the release of their latest full-length, Arch Stanton (review here), in 2014. They toured hard in the US and Europe both last year.
In addition to this upcoming run through Europe, they’ll also be playing the Maryland Doom Fest (info here) this summer, and I highly doubt that’ll be the last date they announce for the year. You can see from the list of tour dates under the video below, they’re not exactly shy about getting out there:
Karma to Burn, “62” official video
Single “62” is available! Check out iTunes store or your preferred digital download choice. EP “Mountain Czar” out on 26 February 2016.
Video directed, filmed & edited by Roberto Miola.
KARMA TO BURN –EUROPEAN TOUR 2016 (with support from Sons of Morpheus) 12.03 – Bikini Test, Le Chaux De Fonds, CH 18.03 – Le Peniche, Douai, FR 19.03 – The Anvil, Bournemouth, UK 20.03 – The Oobleck, Birmingham, UK 21.03 – The Key Club, Leeds, UK 22.03 – The Full Moon , Cardiff, UK 23.03 – Think Tank, Newcastle, UK 24.03 – King Tuts, Glasgow, UK 25.03 – Star & Garter, Manchester, UK 26.03 – The Slade Rooms, Wolverhampton, UK 27.03 – The Arts Centre, Colchester, UK 28.03 – The Underworld, London, UK 30.03 – Effenaar, Eindhoven, NL 31.03 – Bastard Club, Osnabrueck, DE 01.04 – Hafenklang, Hamburg, DE 02.04 – Beta, Copenhagen, DK 03.04 – TBC 04.04 – John Dee, Oslo, NO 05.04 – Truckstop Alaska, Gothenburg, SE 06.04 – TBC 08.04 – Kuudes Linja, Helsinki, FI 09.04 – Progresja, Warsaw, PL 10.04 – Durer Kurt, Budapest, HU 11.04 – Flying Circus Pub, Cluj Napoca, RO 12.04 – Cassiopeia, Berlin, DE 14.04 – Freakout Ckub, Bologna, IT 15.04 – Officina Degli Angeli, Arbizzano, IT 16.04 – Raindogs House, Savona, IT 17.04 – Warm Audio, Lyon, FR 18.04 – Venue TBC, Montpellier, FR 20.04 – Rocksound, Barcelona, ES 21.04 – Caracol, Madrid, ES 22.04 – Dabadaba, San Sebastian, ES 23.04 – Le Korigan, Luynes, FR 24.04 – Le Glazart, Paris, FR 25.04 – Magasin 4, Brussels, BE 26.04 – Asteriks, Leeuwarden, NL 27.04 – MTC, Cologne, DE 28.04 – Feierwerk, Munich, DE 29.04 – B72, Vienna, Austria 30.04 – Le Nouveau Monde, Fribourg, CH
Posted in audiObelisk on December 17th, 2015 by H.P. Taskmaster
West Virginian duo Iron Jawed Guru will release their debut EP, Mata Hari on Jan. 29 through Grimoire Records. The seven-track/24-minute offering is bound to draw comparisons to Karma to Burn, and fairly enough so. The guitar/drum two-piece of Mike Lorenzen and Roy Brewer post up straightforward heavy rock grooves, light on frills and weighted of tone — Grimoire‘s Noel Mueller captures that tone fully and crisply — and between that and the fact that until early this year they actually featured current-KTB bassist Eric Clutter, yes, there are some lines to be drawn from one crunching outfit to the other.
That does not mean, however, that Mata Hari is without its own personality. The inherent rawness of working as a two-piece — though they’re not hurting for low end — and moments like the post-thrasher creep riff of the title-track demonstrate that, while formative, Iron Jawed Guru‘s approach is intent on finding its own path. This works to the immediate benefit of these songs, from the bouncing insistence that quickly takes hold with opener “Quake” through the more spacious feedback-into-full-rush that rounds out the finale of “Vesuvius,” Lorenzen and Brewer provide subtle depth of tone and a focus on forward momentum while keeping to as unpretentious an aesthetic as possible. Front to back, the EP is like plug and play. Turn it on and off you go.
In the spirit of the release itself, I’ll keep it quick and to the point, but it’s worth recognizing that along with their straight-ahead drive and the linear feel of the EP as a whole, Iron Jawed Guru leave room for some well-placed shifts, like the post-grunge guitar melody on centerpiece “Gemini” or the pull-back largesse of “Navajo,” giving Mata Hari a richer overall context. Still. experienced listeners will have no trouble getting where they’re coming from, and from the friendly riffing of “Aftershock” to the fact that it was recorded in a junkyard garage, to the fact that the release takes its name (and artwork, with photos by Clutter) from a pinball machine in that same garage, the low-bullshit-heavy-riffs vibe is pervasive across the board. You won’t hear me complain.
Get a sampling with the track premiere for “Quake” below, and enjoy. EP is out Jan. 29:
Iron Jawed Guru is a power duo of heavy, in your face, instrumental groove rock.
“Mata Hari” is a 7 song, instrumental EP clocking in at ~25 minutes, featuring NO BASS, just a touch of an octaver pedal on guitar to fill things out.
This EP will be released digitally and on CD by Grimoire Records on 01/29/16.
Posted in Whathaveyou on December 9th, 2015 by H.P. Taskmaster
I guess you could call the forthcoming Black Magic from Brimstone Coven the West Virginian outfit’s first album. The band offered up a 70-minute self-titled last August as their debut on Metal Blade (track stream here), but that was two earlier EPs compiled together, so in a way, yeah, Black Magic — which Metal Blade has up for preorder now — is their debut full-length. Fair enough.
Either way, cultish chicanery rules the day, clearly, in the newly-unveiled video for the title-track, as Brimstone Coven transition back and forth between robe-clad incantations and more-of-a-t-shirt-kind-of-thing live footage. The groove remains fervent, which is essential for such weedian creepery.
Your friend and mine, the PR wire, sends art, info, the preorder link and that video, which you’ll find below:
Brimstone Coven reveals details for new album, ‘Black Magic’; launches video for title track
On January 29th, West Virginian dark occult rockers Brimstone Coven will release their first full-length album, Black Magic, via Metal Blade Records! Recorded at Andrew D’Cagna’s Sacred Sound Studios in Ohio, Black Magic was mostly written over a year period against a backdrop of candles, incense, solitude, and a thick air of ganja. The resulting record boasts gritty, groovy riffs (a la Black Sabbath, Pentagram, Led Zeppelin) with Pink Floydian psychedelic movements, and three-part vocal harmonies reminiscent of the Mamas and Papas, Yes, and The Byrds.
Black Magic track-listing: 1. Black Magic 2. Black Unicorn 3. Beyond the Astral 4. As We Fall 5. Upon the Mountain 6. Slow Death 7. The Seers 8. The Plague 9. Forsaken 10. The Eldest Tree
Formed only four short years ago in Wheeling, West Virginia, Brimstone Coven self-released Brimstone Coven and its follow-up II in 2013, before Metal Blade inked a deal and packaged both releases as a single set, entitled Brimstone Coven (2014). Inspired by the Appalachian’s darkness and mysticism (such as the Mothman, a winged creature that emerged in the ’60s; Screaming Jenny; and the Phantom of Flatwoods), the quartet’s heavy rock also pushes the atmospheric envelope when the mood fits. Brimstone Coven explains, “What sets ‘Black Magic’ apart to me is the genuinely eerie aura it invokes. We strove for a sound that makes you feel like you’re wandering through a shroud of mist, unable to see your own hand in front of your face. We want you to feel equally excited and creeped out, letting your imagination run wild and get the best of you.”
Brimstone Coven line-up: “Big John” Williams – vocals Corey Roth – guitar Andrew D’Cagna – bass Justin Wood – drums