Droids Attack Announce New Rye Lager & Beer Parties

Posted in Whathaveyou on June 14th, 2018 by JJ Koczan

droids-attack

If you might be the type who likes to knock back one or more frosty adult beverages on occasion, I can think of fewer bands I’d trust more to oversee a craft beer release than Wisconsin’s Droids Attack. Not only do they benefit from the Midwest’s way-ahead-of-the-curve-on-the-whole-thing craft beer culture (Dogfish Head and Magic Hat, etc., notwithstanding), but I have no trouble believing these dudes know what they like in beer. When they say something like “soft citrus aroma finish,” I honestly think they taste it. No bullshit.

Their rock and roll operates likewise as regards BS, so it seems all the better they’re bringing the two sides together at a series of beer parties supporting both their new Rye Lager release through Ale Asylum and 2016’s righteous long-player, Sci-Fi or Die (review here). The shows are next month, and I do believe they’ll have beers along for the ride (closed container, of course) in addition to what’s on tap, so if you’re in the neighborhood, might want to stop by and pick up a sixer.

Info from the PR wire:

droids attack beer parties flyer

 

We did that one beer awhile ago, and it ended up selling out so fast they decided to do another. When that one sold out they decided to turn it into a series of Droids Attack beers, so we did some more. After we did four successful beers, we picked up brewer that has out of state distribution, so now we can bring our beers into our neighboring states of Minnesota, and Illinois. Because of this, we have set up beer parties in Milwaukee, Chicago, Madison, & Minneapolis.

Come experience the latest flavor in Droids Attack’s Craft Beer series. This time Droids Attack has partnered with Wisconsin craft brewing juggernauts, ALE ASYLUM, to bring you MASHENOMAK: RYE LAGER. A crisp refreshing lager with a peppery rye kick, brewed with a late hop addition to achieve a soft citrus aroma finish.

Mashenomak is the first song in a two part epic on Droids Attack’s 2016 release, SCI-FI OR DIE. Based on a Native American folk tale, Mashenomak is a fish monster that terrorizes the local tribes, and swallows the souls of all living creatures. Manabush is a brave warrior who allows Mashenomak to swallow him in order to slice open his belly and rescue all of the animal spirits. This tale is beautifully captured in the beer label illustration by artist, ELI QUINN.

To celebrate, Droids Attack and Ale Asylum are bringing the party on the road. Special guests will perform with Droids Attack, and Mashenomak: Rye Lager will be available for a limited time on tap at these venues in the following cities:

7/5 – Company Brewing (Milwaukee) w/ Shogun
7/6 – Reggie’s Rock Club (Chicago) w/ Huntsmen, Archarus, & Attalla
7/7 – Bos Meadery (Madison) w/ Shogun
7/14 – Mortimer’s (Minneapolis) w/ High Graves, & Witchden

http://www.facebook.com/droidsattack
http://droidsattack.bandcamp.com/album/sci-fi-or-die
http://droidsattack.com/

Droids Attack, Sci-Fi or Die (2016)

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Calliope Post “Sea of Red” Video; Chapel Perilousout March 31

Posted in Bootleg Theater on March 16th, 2018 by JJ Koczan

calliope

I suppose it would be a real, real stretch to think of Milwaukee as just being very high desert, so we’ll skip that, but let’s say instead that when it comes to atmosphere, Calliope‘s Chapel Perilous — their third album behind a 2013 self-titled and 2014’s Orbis — there’s more than a bit of sand to contend with in terms of the sound of songs like the happy-to-drift “Creep No More” and, unsurprisingly, “The Dunes.” The new single, “Sea of Red,” takes a somewhat different approach, with a descending chorus that reminds of Snail‘s grunge-gone-heavy methodology while retaining its own flavor in terms of tone and pace.

One could probably spend all day pointing out neo-psych influences to songs like the building swirl of “Evil as You” or the percussive “Brujo,” but frankly I have neither the time nor the inclination. Instead, the Dead Meadow nuances of “Sands of July” and the oh-fuck-yes-more-of-this-please atmospheric wash of post-heavy instrumental closer “Little Smoke” do plenty to signify where Calliope are coming from and the winding, possibly-melting road they’re taking to get where they’re headed.

Over the course of their 10-track/40-minute runtime, the direction of that road changes a bit, but Calliope always seem to have a lysergic underpinning to their intentions, as the oddball droning breadth of the title-track shows, or the languid, semi-Western flow in the verses of the earlier “Carry Me Home.” With emphasis on the intertwining of organ and guitar — the one often laying the bed for the other, as on opener “Astral Hand” — Calliope are able to bring a sense of drama to their songwriting without having to veer too far from traditional verse/chorus structures. Except, of course, when they want to, as on the already noted “Little Smoke.”

If the vocals of Al Kraemer sound familiar by the time you get down to “Brujo,” it might be because he also fronts Moon Rats, whose 2017 debut, Highway Lord (review here), was such a garden of riffly delights. If not, now you know. So there.

Romanus Records has Chapel Perilous out on March 31. Check out the clip for “Sea of Red” below — spoiler alert: somebody gets stabbed — and please enjoy:

Calliope, “Sea of Red” official video

“Drown me in your sea of red”

The new LP, Chapel Perilous, out 3/31 on Romanus Records.

Calliope is a heavy psych rock band from Milwaukee, WI. Drawing influences from classic and modern alike, Calliope pushes fuzzed-out guitar licks and organ-driven grooves reminiscent of bands like The Black Angels, Dead Meadow, Deep Purple and Pink Floyd. Inspired by the cinematic themes of Sci-Fi, Westerns and Anime, Calliope creates a sound that’s wholly their own.

It all started when Al brought his vintage Farfisa combo organ over to Vic’s house back in 2010 for some casual, hazy attic noodling. Now two studio albums and countless gigs later, Calliope is about to embark on their third studio release; Chapel Perilous. Recorded in a remote cabin in the northwoods of Wisconsin, Chapel Perilous captures the sonic amalgamation of electric fuzz, droning organs, thundering drums, crushing bass and soulful vocals. Chapel Perilous will be available 3/31/18 via Romanus Records.

Members:
Al Kraemer: Vocals / Organ
Victor Buell IV: Guitar
Anthony Smith: Bass
Eric Gomoll: Drums

Calliope on Thee Facebooks

Calliope on Bandcamp

Romanus Records webstore

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Quarterly Review: Carlton Melton, Horseskull, Dreadnought, Forsaken, Moon Rats, Son of the Morning, Jesus the Snake, Bert, Galactic Gulag, Band of Spice

Posted in Reviews on January 8th, 2018 by JJ Koczan

Lodewijk de Vadder (1605-1655) - 17th Century Etching, Landscape with Two Farms

Today begins the Quarterly Review. You know the deal by now. 50 records written up between today and this Friday, 10 per day. As always, it’s a huge swath of stuff, and by the end of it I’m usually ready to collapse in a heap, but I’ve yet to regret it afterwards, so we press on. I hope you find something you dig in all this. I say that every time, but it’s still true.

Speaking of digging, how about that new logo up there? Thanks goes out to the Lord of the Logos himself, Christophe Szpajdel, who took on the project. This is the second one he’s done for the site, and aside from being in a completely different style from the last — I like covering a good amount of ground, even in logos — I think it fits pretty well with a variety of aesthetics. Could be doom, could be heavy rock, psych, stoner garage, whatever. Anyway, I’m into it. Hope you are too.

Quarterly Review #1-10:

Carlton Melton, Mind Minerals

carlton melton mind minerals

It might be decades before the dimension we live in has caught up to the plane from which Northern California’s Carlton Melton emanate their resonant transmissions of space-psych, but somehow time doesn’t seem to matter anyway when actually listening. To wit, Mind Minerals, the trio’s first LP since 2015’s Out to Sea, is an 11-track/76-minute whopper – unmanageable by any standard – but once it’s on, all you want to do is roll with it and by the time post-aptly-named intro “Untimely” has begat “Electrified Sky” has begat the droning “The Lighthouse” has begat the fuzzy swirl of “Eternal Return” has begat the 10-minute rumble-and-synth soundtracking of “Snow Moon,” etc., there’s neither escape nor the desire for it. Does it need to be a 2LP? Nope, but nothing needs to be anything, man. In the subdued boogie of “Basket Full of Trumpets,” the is-it-backwards slow freakout of “Sea Legs,” the experimental guitar ambience of “Way Back When,” headphone-ready minimalism of “Climbing the Ladder,” the shaker’s tension that sustains the otherwise wispy “Atmospheric River,” and the final fuzzy resurgence of “Psychoticedelicosis,” Carlton Melton thoroughly reaffirm their residency in the far, far out. Not that anyone was questioning their paperwork or anything.

Carlton Melton on Thee Facebooks

Agitated Records website

 

Horseskull, Chemical Winter Blues

horseskull chemical winter blues

With fluid shifts between Ripple-style straightforward heavy rock, rolling Sabbathian lumber and even some harsher sludge elements, the seven-minute “Black Dawn, Bright Day” sets a varied tone for Chemical Winter Blues, the second LP from North Carolina’s Horseskull. I’m not sure I’d declare any one side or the other the winner in the fight between them by the time the death ‘n’ roll of “Luckless Bastards” gives way to closer “Lost all I Had, then Lost Again” – itself a 17-minute noise-nodder triumph of, well, loss – but the trip through “Hypocrites and Pigs” and 10-minute centerpiece “The Black Flame of Cain” is unpredictable and fun to make in kind. Guitarist/vocalist Anthony Staton reminds a bit of Slough Feg’s Mike Scalzi in his cleaner delivery, which only adds to the album’s declarative feel, and the overarching groove surrounding from guitarist Michael Avery, bassist Robert Hewlett and drummer Steve Smith only reinforces the developing individualism.

Horseskull on Thee Facebooks

Horseskull on Bandcamp

 

Dreadnought, A Wake in Sacred Waves

dreadnought-a-wake-in-sacred-waves

There is very little beyond the reach of Denver four-piece Dreadnought. Their third album, A Wake in Sacred Waves (Sailor Records), blends open, psychedelic jazz, progressive black metal, folk and more into a sometimes-thrashing/sometimes-sprawling meld that recalls the promise of Grayceon and the poise of Opeth while at the same time casting its own impression in melody, arrangement, variety and scope. Opening with the 17-minute longest cut (immediate points) “Vacant Sea,” it brilliantly ties its elements together to present a story arc following in elemental theme from Dreadnought’s first two offerings in centering around the rise and fall of a water-born apex predator, the narrative of which plays out across its four intense, extended and resoundingly complex inclusions, which alternate between beautiful and terrifying in a way that leaves the line utterly blurred and irrelevant. Why this band isn’t on Profound Lore or Neurot, I have no idea, but either way, A Wake in Sacred Waves is a conceptual and manifest triumph not to be missed.

Dreadnought on Thee Facebooks

Sailor Records website

 

Forsaken, Pentateuch

forsaken-pentateuch

A spirit of classic doom metal abounds on Forsaken’s fifth long-player, Pentateuch (Mighty Music), which is the long-running Malta-based outfit’s first offering since 2009’s After the Fall, but though righteous fist-pumpers like “Primal Wound” and “Decalogue” carry an epic and unflinchingly progressive underpinning in their layered vocal melodies, a harsh snare sound and awkwardly punching bass stifle complete immersion. It’s less an issue in a cut like “Saboath (The Law Giver),” which has a full swing surrounding, but it makes post-intro opener “Serpent Bride” sound like a demo (unless it’s my digital promo?) in a way that sets an unfortunate tone in contrasting the obvious class and high-level execution of Pentateuch as a whole. It should be noted that even a rough production can’t hold “The Dove and the Raven” back from making its Candlemassian intent clear, but a record of such overall high standard should feel as crisp as possible, and particularly for being so many years in arriving, Forsaken’s latest seems to want more in that regard, despite the quality of the material that comprises it.

Forsaken on Thee Facebooks

Mighty Music website

 

Moon Rats, Highway Lord

moon-rats-highway-lord

I’ve already counted Highway Lord among my favorite debuts of 2017, but consider it’s worth taking a moment to underline the point of the heavy psych and stoner-fuzz wash that Moon Rats so vigilantly emit on cuts like the opening salvo of “Become the Smoke,” “The Dark Takes Hold” and “Heroic Dose,” balancing languid vibe and sonic heft atop gorgeously natural songcraft. Among the short-feeling 29 minutes and seven inclusions, with the title-track at the center shifting into “Overdose,” the deeply atmospheric “The Hunter” the and melodically spacious “Motor Sword” at the finish, there isn’t a weak spot to be found, and whether it’s the added dynamic of a key arrangement in the closer or the landmark feel of the hook to “Heroic Dose,” the Milwaukee five-piece tap into the there’s-no-rush-we’ll-all-get-there sonic sentiment that once made Quest for Fire so entrancing, while engaging subtle flourish of presentation that promises creative development to come. Bring it on. Please. The sooner the better.

Moon Rats on Thee Facebooks

Gloss Records website

 

Son of the Morning, Son of the Morning EP

son-of-the-morning-son-of-the-morning-ep

Newcomer four-piece Son of the Morning, with the crisply-realized three tracks of their self-titled debut EP, would seem right away to be trying to stake their claim on a piece of the Midwest’s doom legacy. Coiling between heavy rock swing and classic doom tonality, each cut, from “Left Hand Path,” which rounds out after its welcoming hook with a sample of what sounds like somebody hanging in the breeze, through the post-Uncle Acid riffing of “Release,” and the more ethereal, organ-laced psych of “House of Our Enemy,” offers its own take in a clearheaded and efficient five minutes, getting in, leaving its mark and getting out to make room for the next piece in this initial sampling. Potential abounds from vocalist/organist Lady Helena, bassist Lee Allen, guitarist Levi Mendes and drummer H.W. Applewhite, and the core question is how they might tie these elements together across a first full-length. It should be noted they sound more than ready to embark on that project and provide an answer.

Son of the Morning on Thee Facebooks

Son of the Morning on Bandcamp

 

Jesus the Snake, Jesus the Snake EP

 jesus-the-snake-jesus-the-snake

A 31-minute debut EP clearly meant to be heard in its entirety, Jesus the Snake’s self-titled treads some familiar ground in progressive heavy psychedelic instrumentalism throughout its four tracks – “Floyds I,” “Floyds II,” “Karma” and “Moment” – but with an inherent sense of mood and reach not unlike earliest My Sleeping Karma, its tonal warmth and emergent weight of groove find welcome all the same. Particularly for being the Portuguese outfit’s first public unveiling, the interplay of Joka Alves’ keys and Jorge Lopes’ guitar is immediately fluid, and as the bass of Rui Silva provides foundation to let drummer João Costa explore jazzy snare textures and stylistic nuance. It’s a beginning, and it sounds like a beginning, but Jesus the Snake also offers a richness and patience that many bands simply don’t have their first time out, and for that and the classic stoner fuzz of “Moment” alone, it’s easily worth the time and effort of thorough investigation.

Jesus the Snake on Thee Facebooks

Jesus the Snake on Bandcamp

 

BerT, The Lost Toes

bert-the-lost-toes

Officially defunct for some time now, Michigan’s BerT compile tracks from throughout their prolific and bizarre run in The Lost Toes (Madlantis Records), proffering a timeline of their post-Melvins avant weirdness that starts with their very first song, “Stuff,” and makes its way through various demos, lost tracks, noise experiments, etc., to the 11-minute drone-out “Return” at the finish line. The digital version on Bandcamp offers an origin story with each track – the 90-second noise rock blast “Human Bone Xylophone” was cut from 2012’s Return to the Electric Church for time concerns, and the subsequent “Commercial Break” (which, yes, is a commercial break) was a class project – but whether you engage the narrative or not, the enduring vibe remains strange and charming in its garage-fuckall, could-and-just-might-go-anywhere-at-any-moment kind of way. BerT were always good fun, and The Lost Toes serves as reminder of the personality they had together that was so very much their own.

BerT on Thee Facebooks

The Lost Toes at Madlantis Records website

 

Galactic Gulag, To the Stars by Hard Ways

galactic gulag to the stars by hard ways

Brazilian instrumental troupe Galactic Gulag traffic in cosmic heft across the five pieces that comprise their first full-length, To the Stars by Hard Ways, but there’s ultimately little about the album that seems to be the hard way. If anything, it’s easy: Easy to groove on, easy to let it unfold over you in a spacious psychedelic drift, easy to nod along as the bassline of “Escape from Planet Gulag” picks up from 12-minute opener “Home.” Easy even to get lost in the sax-laden swirl-bounce off-kilterism of “The Hollow Moon.” So yeah, guitarists Breno Xavier and Pablo Dias, bassist Gabriel Dunke and drummer César Silva might be overselling a sense of difficulty, but as “Space Time Singularity” rolls into the shreddy-style fuzz of 15-minute closer “Eta Orionis,” there are clearly more important issues at hand. Like space. And riffs. And tone. And everything else that’s working so well for the Natal-based foursome on this jam-laden debut.

Galactic Gulag on Thee Facebooks

Galactic Gulag on Bandcamp

 

Band of Spice, Shadows Remain

band of spice shadows remain

Former Spiritual Beggars and The Mushroom River Band vocalist Christian “Spice” Sjöstrand has been fronting the namesake act Band of Spice – formerly Spice and the RJ Band — for over a decade now, and Shadows Remain (Scarlet Records) follows 2015’s Economic Dancers (review here) as their fifth overall full-length. After the suitably-drunk-sounding vocals-only intro “Only One Drink,” the album rides the line between classically metallic tones and heavy rock riffing, a cut like “Don’t Bring Me Flowers” having little time in its 2:46 for brooking nonsense of any sort while later pieces like “Apartment 8” and “The Savior and the Clown” find time for more brooding and sentimental fare, and the penultimate “Take Me Home” and closer “Apartment 8 (Part II)” offer acoustic-strummed departure, so while the 51-minute runtime gives the 13-tracker something of a CD-era throwback feel and the songwriting the resolute in its straightforwardness, neither is Shadows Remain completely single-minded in its approach. A touch of grunge-funk in “Sheaf” goes a long way as well in lightening the mood, making the whole presentation all the more pro-shop, as it should be.

Band of Spice on Thee Facebooks

Scarlet Records on Bandcamp

 

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Attalla Announce Sept. Tour Dates; Glacial Rule Cassette Available

Posted in Whathaveyou on August 14th, 2017 by JJ Koczan

attalla

Wisconsin’s Attalla will head outward from the frozen wasteland/dairy paradise they call home — depicted via live webcam, one assumes, as the cover art of their new album, Glacial Rule (review here) — next month on a two-week tour. The sludge rocking four-piece make their way toward the East Coast and have gigs set for Rochester and Baltimore with an open Sept. 5 date between that seems like it would be perfect for some generous soul in the New York or Philly area to put something together for. I don’t know who that generous soul might be, but yeah, somebody should get on it, because these guys are good and deserve a gig every night they want one.

In addition to these dates, Attalla took part this past weekend in the opening night of Sheavy‘s ‘Tour of the Doomed’ (info here) alongside those Canadian stalwarts, Apostle of SolitudeThe Skull and many others, and Glacial Rule has just been pressed to tape via Shadow Kingdom, which also got behind Attalla‘s self-titled debut (review here) in 2014. The band sent dates and more info down the PR wire:

attalla tour dates 2017

ATTALLA – September tour and cassette tape release

Wisconsin heavy riff rockers, ATTALLA, head back out on the road this September in support of their latest fuzzed out offering, ‘Glacial Rule’. Cruising through some of the same cities leveled on their last east coast tour and ripping up some Midwest clubs on the route as well.

The highly praised ‘Glacial Rule’ has recently been released on limited edition cassette tape by Shadow Kingdom Records and a 2nd pressing of vinyl is also smoldering on the horizon.

ATTALLA – GLACIAL RULE TOUR 2017
9/01/2017 – Detroit, MI – Corktown Tavern
9/02/2017 – Columbus, OH – Victory’s Live
9/03/2017 – Buffalo, NY – Mohawk Place
9/04/2017 – Rochester, NY – Bug Jar
9/05/2017 – TBA
9/06/2017 – Baltimore, MD – The Sidebar
9/07/2017 – Richmond, VA – McCormack’s Pub
9/08/2017 – Louisville, KY – Magnolia Bar
9/09/2017 – Indianapolis, IN – Taps Live
9/13/2017 – Moline, IL – The Island
9/14/2017 – St. Louis, MO – Fubar
9/15/2017 – Kansas City, MO – Union Library
9/16/2017 – Omaha, NE – Wired Pub

Attalla is:
Cody Stieg – Lead Guitar/Vocal
Brian Hinckley – Rhythm Guitar
Bryan Kunde – Bass
James Slater – Drums

http://facebook.com/attallawi
https://www.instagram.com/attallawi/
http://www.attallawi.bandcamp.com
http://www.shadowkingdomrecords.com/
https://www.facebook.com/ShadowKingdomRecords/

Attalla, Glacial Rule (2017)

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Moon Rats Stream Title-Track of Debut Album Highway Lord out June 23

Posted in audiObelisk, Whathaveyou on June 8th, 2017 by JJ Koczan

moon rats

I wouldn’t usually make this kind of call outright, but I’ll tell you right now that come December, Moon RatsHighway Lord will be on my list of the best debut albums of 2017. A position has already been secured for the Milwaukee five-piece, who’ll release the seven-song outing on tape June 23 through Gloss Records, thanks to their memorable songwriting, perfect pacing, rich tonality, and unpretentious, laid back vibes. Songs like “Heroic Dose,” “Highway Lord,” “The Hunter” and “Motor Sword” — hell, “Become the Smoke,” “The Dark Takes Hold” and “Overdose” too — land heavy but smooth and interplay between two guitars and keyboards let the band shift fluidly between epic-sounding heavy rock and classic psychedelia in a manner that undercuts the idea of Highway Lord as a debut album at all.

Somebody will make vinyl happen. It’s just a question of when. But take a listen to the premiere of Highway Lord‘s title-track at the bottom of this post to get yourself introduced in the meantime and I think you’ll find yourself just as inclined as I am to want to chase down that tape in the interim before a CD or LP shows up. One can always acquire formats as they surface — the important thing is not to miss out. So don’t.

Art, info and audio follow:

moon-rats-highway-lord

MOON RATS – Highway Lord

A collection of Milwaukee music-scene veterans have formed a new band, MOON RATS, and are stoked to announce the release of their debut album, HIGHWAY LORD. The band itself is an amalgamation of musicians from bands (Calliope, The Rashita Joneses, Sonic J, Myles Coyne) whose styles range wildly from folk to psych and stoner rock.

The album developed a sound which the band has dubbed ‘stoner-psych rat-metal for motorcycle enthusiasts’ as it took them through seven creeping and heavily fuzz-laden tracks, which follow the path of realization for the legendary hero, the Highway Lord.

HIGHWAY LORD will be released on a limited quantity of high-quality cassette tapes via GLOSS RECORDS on Friday, June 23rd.

Tracklisting:
1. Become the Smoke
2. The Dark Takes Hold
3. Heroic Dose
4. Highway Lord
5. Overdose
6. The Hunter
7. Motor Sword

MOON RATS will celebrate their release on Tuesday, June 27th at Cactus Club (2496 S. Wentworth ave. Milwaukee, WI) with THE WELL (Riding Easy Records) and Asatta.
Doors @ 9:00 PM // $8 // 21+

Moon Rats is:
Al Kraemer (Calliope) – vocals, rhythm guitar
Jeff Grabo – vocals, bass
Victor Buell – lead guitar
Myles Coyne – keys
Brendt Dondero – drums

https://www.facebook.com/MOONRATSmke/
https://moonratsmke.bandcamp.com/
https://www.facebook.com/glossrecords/
http://www.glossrecords.us/

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Droids Attack Announce West Coast Tour and Beer Collaboration; New Live Video Posted

Posted in Whathaveyou on May 17th, 2017 by JJ Koczan

droids attack

Friday night, Droids Attack play a release show for what sounds like a beer strong enough to be worthy of the gauntlet thrown down by their 2016 album, Sci-Fi or Die (review here), the secret hidden title-track of which (posted here) laid it all on the line: “Death to false stoner thrash.”

So be it. The Madison, Wisconsin, trio have been steadily kicking ass for nearly the last decade and a half, and if they want to up the stakes, they’re backing it up both in the quality of their material — look, I dig Must Destroy and Fatal/Error as much as the next cat who really, really digs them, but the new record’s just at another level — and the ABV of the new, 8.2 percent double red IPA they’re producing with House of Brews, which has been dubbed Aztec Astronaut and apparently already so well received that it’s going to be the first in a series of Droids Attack-themed adult beverages. Can “The Kegger” be far behind?

In addition to this big news, Droids Attack also have a new live video for “Koko Beware” from a show earlier this year, and a round of tour dates coming up next month that will take them out to the West Coast for what I’m pretty sure is the first time supporting Sci-Fi or Die.

Much to see, much to do. Check it out:

Droids Attack – Beer & Tour

We recently had a craft beer released in our honor. It’s called Aztec Astronaut, brewed by House Of Brews by brewer Peter Schroder here in Madison, WI, and commissioned by Trixie’s Liqour who are planning to make it a yearly release. It is a 8.2% Double Red IPA. The beer is sold in 22 oz. hand numbered bottles that include a unique download code for Brahma Astra off of SFoD, and it is also available on tap at select venues. We are performing a launch party for the beer at The High Noon Saloon in Madison this Friday, May 19th.

Thanks to everyone who bought up all of the Droids Attack beer around town! Because of the success of the release, the folks who put it out are interested in doing another Droids Attack beer based on one of our other albums in the Fall! I hope you can all maintain your unquenchable thirst for alcohol until then! In the meantime, we are getting ready to party at the High Noon Saloon this Friday, & announce all of the places where you will be able to find Aztec Astronaut on tap! Come join us! More fun to be announced soon!

Droids Attack live:
06.16 Des Moines IA Des Moines Social Club
06.17 Omaha NE O’Leaver’s
06.18 Denver CO Bar Bar
06.19 Bozeman MT The Filling Station
06.20 Spokane WA The Pin
06.21 Seattle WA Substation
06.22 Portland OR High Water Mark
06.23 Eureka CA Little Red Lion
06.24 Sacramento CA Starlite Lounge
06.25 Los Angeles CA Viper Room
06.26 Las Vegas NV Beauty Bar
06.27 Tempe AZ Yucca Taproom
06.29 San Antonio TX The Gold Bar
06.30 Austin TX Swan Dive
07.01 Oklahoma City OK Blue Note Lounge
07.02 St. Louis MO Fubar
07.03 Chicago IL Township

https://www.facebook.com/events/1891476624460859/
http://www.facebook.com/droidsattack
http://droidsattack.bandcamp.com/album/sci-fi-or-die
http://droidsattack.com/product/pre-order-sci-fi-or-die/

Droids Attack, “Koko Beware” Live at the Majestic Theatre, Jan. 7, 2017

Droids Attack, Sci-Fi or Die (2016)

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Days of the Doomed Fest Announces ‘Tour of the Doomed’

Posted in The Obelisk Presents, Whathaveyou on April 14th, 2017 by JJ Koczan

Today I’m proud to count The Obelisk among the presenters for the Tour of the Doomed — the traveling incarnation of the Wisconsin-based festival Days of the Doomed set to take place this summer. I had some great times out in Cudahy at Days of the Doomed, so it’s awesome to see Mercyful Mike Smith take his game to this important next level, and all the better for the fact that the week-long run will head east, starting out at the fest’s home base of The Metal Grill — formerly The Blue Pig — and finishing in Brooklyn at the Saint Vitus Bar in Brooklyn.

The lineup is three bands strong with Sheavy headlining and supported by Beelzefuzz and Spillage, covering a swath of heavy from the doom-tinged Chicago-style deep-dishery of Spillage through the progressive oddness that always emanates from Beelzefuzz on stage to the we’ve-long-since-mastered-this riff rock Sheavy have been proffering for more than the last 20 years. Not a doubt in my mind the shows will be killer and there might be a few surprises in store along the way as well, so stay tuned for more as we get closer to August.

Poster and announcement from Mercyful Mike himself follow:

tour of the doomed 2017

After a much needed break to focus on work, family, and life in general, 2017 has presented itself as a fine time to bring back Days Of The Doomed Fest. That being said, I wanted to do something different this time around, so I revisited something I had been working on since late 2011. The planets had never lined up for this to happen before, but again, 2017 presented itself as the perfect time for this to work out.

So… prepare yourselves because we are taking Days Of The Doomed Fest on the road!!! I give you TOUR OF THE DOOMED! I am absolutely ecstatic to announce that this tour will be headlined by a legendary band that will be making its first official visit to the US! The one and only… SHEAVY! Stephen Hennessey (lead vocalist) and I have been in touch for the past 6 years trying to make this happen, and we are both stoked to finally make this a reality. Through the years of doing Days Of The Doomed Fest, sHeavy has always been one of the most mentioned bands to be added to the roster. I am so happy to now be able to honor those requests!

Direct support for the tour will be supplied by the undeniably unique, heavy riffs of the mighty Beelzefuzz, and the brilliant, “bluesy-doom” sounds of Chicago’s own Spillage! But that’s not all! Each date on the tour will feature more support acts that make Days Of The Doomed Fest what it is. You will see some favorite alumni acts along the way, and of course be witness to the new crop of riff-worshiping bands as well!

The tour kicks off on 8/12 in Milwaukee, WI, and in true Days Of The Doomed Fest style, I promise you an absolutely insane line up to literally “get the show on the road”! Rosters for each date of the tour will be announced next week, so keep an eye out!

I’m really excited to be bringing Days Of The Doomed Fest to all of you, so come on out and get heavy with us!!! See you in August!!!
–Mercyful Mike

https://www.facebook.com/daysofthedoomedfest/
www.daysofthedoomed.com

Sheavy, “0000011111”

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Review & Full Album Stream: Attalla, Glacial Rule

Posted in audiObelisk, Reviews on March 20th, 2017 by JJ Koczan

attalla glacial rule

[Click play above to stream Attalla’s Glacial Rule in its entirety. Album is out March 24 with preorders up now.]

If you want to get a sense for what Oshkosh, Wisconsin, four-piece Attalla are up to on their second full-length, Glacial Rule, you don’t have to go far. The opening cut of the album is “Butte des Morts,” and it lands with a swing and a stomp at six and a half minutes of the band digging their heels into what reveals itself as the first of many amply-proportioned, riff-led grooves. Their prior offering, a 2014 self-titled (review here), carried with it an abidingly raw sensibility, and while the six tracks of Glacial Rule follow suit to a degree, guitarists Cody Stieg (also vocals) and Brian Hinckley, bassist Bryan Kunde and drummer James Slater are likewise blunt in conveying the progression they’ve undertaken in the three years since. On a production level, Glacial Rule — recorded last Spring by Shane Hochstetler at Howl Street Recordings in Milwaukee — is crisper and cleaner, but Attalla still have some dirt under their sonic fingernails, giving their material from the launch of “Butte des Morts” onward character and a sense of intent standing behind it.

Working on themes as shown in the Adam Burke cover art of cold and cruel nature throughout pieces like “Ice Harvest,” “Black Wolf Rituals” and the closing title-track, Attalla — who are not to be confused with California post-desert rockers Atala — come across as more confident on the whole in their presentation, surer in their footing rhythmically and clearer in their thinking of who they are and what they want to be as a band. To say they took important lessons from their debut would perhaps be an understatement, and more importantly, it’s how they’re putting those to use in the songwriting on the 40-minute sophomore outing that really conveys the growth at hand.

There doesn’t seem to be a narrative arc tying the songs together, but the already noted themes — freezing, naturalist, and vicious as they are — begin with “Butte des Morts,” which takes its name from a lake near Oshkosh named for a Native American burial ground discovered by French settlers. As it should, the opener sets the tone as well in its upbeat, noise rock-infused groove, which would border on the hypnotic were it not so active in its bounce. I’ll allow the alphabetical coincidence might have something to do with it, but in their treatment of the theme, all-in-the-room-together-style recording, fluidity between tempos, noise influence and far-back but still raw vocals, songs like “Ice Harvest” and the rolling “Valderan,” which follow, remind somewhat of Jersey Shores, the 2008 swansong from Seattle’s Akimbo.

Of course, that album had its own story to tell and Glacial Rule is clearly happening in a different time and place, but some of the brashness and roots in hardcore come through Attalla‘s material in similar fashion, even as “Ice Harvest,” which is the longest track on Glacial Rule at 8:44, digs into the righteous nastiness of its lumbering midsection ahead of a long instrumental/solo exploration that follows and leads the way out of the song. Nothing on Attalla touched that kind of length or adventurousness, but the band’s development can be heard in the restraint of the tempo on “Valderan” as well; in an emerging patience within their sound that seems to be struggling against the impulse to burst out, creating a tension that accompanies the palpable build as the side A finale marches forward. I don’t know which came first, the riffs or the notion that would tie them together, but they were right to settle on the word “glacial.” It’s not the slowest thing in the world, but the theme fits for sure, and as it proceeds into its second half Glacial Rule, feels all the more consistent for working around this central idea.

attalla

And perhaps what’s not as immediately apparent to an outsider is just how directly tied to Wisconsin that central idea is. “Valderan” would seem to take its name from Valders, a town surrounded by hills that were once a mountain range eroded by glaciers, and the state’s Amish population actually do harvest lake ice in order to preserve food without the use of electricity. Likewise, side B’s “Black Wolf Rituals” comes from the town of Black Wolf, in Winnebago County, and “Devil’s Lake” — a misinterpreted Native American translation — is in Sauk County, so even as the former might appear on the surface like mountain-man-rock cultism, it’s actually speaking to a very specific location as it unfurls its mid-paced push and more open-feeling verse, moving in its back end like “Ice Harvest” into an ending instrumental section from which the core structure opts not to return.

“Devil’s Lake” brings more stomp just when it seems to be most needed — by this point, Attalla have dug themselves pretty deep into a moraine of frozen sludge riffing — but ultimately nestles into its own solo section led by Stieg before a thunderous chugging finish. As Slater‘s drums calmly start the closing title-track, it’s hard not to feel like Glacial Rule has hit its moment of arrival. The guitars soon take hold with resonant heft backed by the bass and drive into a quick verse near the two-minute mark. There are two such verses and an accompanying chorus for the second of them, but by the time Attalla hit the third minute of “Glacial Rule”‘s total 7:32, they seem itching to launch into the solo section that will finish track and album alike, breaking after a subtle hat-tip in the riff to Sabbath‘s “Snowblind” into a more subdued progression in order to enact a last build not quite from the ground up, but close enough to make the point.

That nod to the masters — emphasis on “nod” — comes back around in the last minute of the track just before it ends, and provides a crucial moment not just of creating an analog of influence, paying homage, etc., but of demonstrating the continuing process by which Attalla are maturing as a band, since by bringing that part back on “Glacial Rule,” they’re doing what “Devil’s Lake,” “Ice Harvest” and “Black Wolf Rituals” refused to in reinforcing a sense of structure and craft at work in the songwriting. Taken in kind with the thematic cohesion so prevalent throughout Glacial Rule, that characterization becomes even more important, since it gives StiegHinckleyKunde and Slater something to work from their next time out, and as Glacial Rule shows in relation to the self-titled before it, that’s work Attalla are clearly interested in doing. How all of this intent might find balance with the rawer aspects of their style, it’s hard to guess, but they capture an intriguing moment of revelry in the interaction between impulses in these tracks, and one looks forward to finding out where they’re headed.

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