Friday Full-Length: Lord Sterling, Today’s Song for Tomorrow

Posted in Bootleg Theater on January 24th, 2025 by JJ Koczan

This was a band that could, and regularly did, put on a hell of a show. Didn’t matter that you were in The Saint or the Brighton at 10PM on some Wednesday or other in 2003 — Lord Sterling were about to rip a hole in the cosmos. The band were based in Long Branch and had a connection to Monster Magnet through bassist Jim Baglino, who also held down low end for the Garden State heavy forerunners at the time, but were their own thing through and through. Frontman Robert Ryan, shouting and madcap in “This Time it’s for Real” or “Tough Times for the Troubadours” but mellow and Floydian in the repetitions of “Thread Will Be Torn” from the band’s third and final LP, 2004’s Today’s Song for Tomorrow, defined no small part of their onstage persona, but guitarist Mike Schweigert (also Moog), Baglino (also also Moog) and drummer Jason Silverio explored psychedelic textures and classic blowout heavy rock in a way that was prescient of a generation of spacey stylizations and managed to do so from a foundation of influence in hardcore and post-hardcore. So it’s been over 20 years and I still don’t know where the organ in “Password” or the ultra-Hawkwindian push of “Hidden Flame” — which feels prescient of Ecstatic Vision to such a degree that I’d advocate the Philly band covering the song because (1:) it’s good and (2:) they could make it their own without it being too obvious — come from, but I do know that Lord Sterling delivered range without pretense, were not afraid of scope, and never harnessed that to the sacrifice of raw energy.

Lord Sterling had two records before Today’s Song for Tomorrow, which rivals Nebula in its out-the-airlock spacey vibe and caps with an of-its-era take on Pink Floyd‘s “Set the Controls for the Heart of the Sun,” which feels at half a solar system’s remove from the barroom rock of “Poison Lips” or the punk it seems to lead toward in the second half of “Evaporate” and “Tough Times for the Troubadours” before the title-track is over everything in a way that feels very Sonic Youth but that could just be the East Coast talking. Along the way, whether it’s the Stooges garage sway into the noisy finish of “Poison Lips” or “Hidden Flame” with Ryan‘s sitar setting the central rhythm, the punking-up of Monster Magnet that coincides with the title line being shouted into the cacophony, the pointedly mellow twist that “Thread Will Be Torn” offers — if we’re talking prescience and “Hidden Flame” anticipates Ecstatic Vision, I would cite “Thread Will Be Torn” as a heads up on Tau and the Drones of Praise for some of its cross-source worldly spirit and the fuzzy drift that winds through its subdued flow, but if you want to say the band called it on neo-psych becoming a thing more generally, I wouldn’t argue — they answer impulses toward structure and freakout in kind. Additional drumming by Keith Ackerman (The Atomic Bitchwax, ex-Solace) and Hammond, piano and strings from Shane M. Green helped flesh out arrangements that already demonstrated the flexibility to withstand them.

I guess maybe Lord Sterling were subject to the perils of being a band somewhat between different styles. New Yorklord sterling today's song for tomorrow at the time had a pretty clear divide between who was playing hipster classic garage indie and who wasn’t. Lord Sterling — certainly in either of their first two records, 1997’s Your Ghost Will Walk or the more arc-defining 2002 follow-up, Weapon of Truth, which came out on the Tee Pee-adjacent Rubric Records, run (I believe) by at least some of the crew behind Manhattan’s the Knitting Factory when that was a thing — could veer between the brash and the aggressive, and they weren’t shy about either when they got there. I saw them a bunch during this period and won’t feign impartiality. But of Today’s Song for Tomorrow‘s tracks, cuts like “Pivotal Plane,” “This Time it’s for Real” and “Evaporate” stand out from remembering the band bringing them to life on stage. Since it’s been more than two decades, that feels notable, even if it has little to do with how someone listening for the first time will hear them.

If you are new to Lord Sterling though — if, say, you’re not from New Jersey, which is enough in itself to make you weird where I come from, which is New Jersey — as you take on Today’s Song for Tomorrow there are a couple things to keep in mind. One, this record came out 21 years ago. I’m not saying it’s sounds cutting edge, but if “Password” showed up as a single in my inbox I certainly wouldn’t call it dated. Two, no matter where they go, it’s punk-based. They’re ’90s hardcore kids. That’s true of the tantric psych mediation of “Set the Controls for the Heart of the Sun,” and the grungey shrugoff in “Today’s Song for Tomorrow” itself, and the charged psychedelic rock wrought by “Hidden Flame.” Everywhere Lord Sterling go, they depart from the same place. That will help unite the songs in your mind, but Ryan‘s vocals — like a not-shitty Jim Morrison — play a role there too, wanting nothing for depth or expressive force in mood.

I don’t know what these guys are up to. Ryan, who I think had the nickname Bing (?), was tattooing. Like 15 years ago, I saw Schweigert in his more aggro next band, The Ominous Order of Filthy Mongrels, but I’m not sure if anything ever came of that or what, because life happens and so on. The good news is this record’s still out there. I know CDs of all three Lord Sterling full-lengths still exist, certainly the latter two, but in a time when turn-of-the-century heavy is getting another look, their take feels like it’s communing with a whole bunch of stuff that’s come out since while remaining firm in its own perspective. Maybe recent events have me feeling nostalgic for this era of NJ heavy. Brighton Bar, and such. That’s fine. You could do a lot worse than to listen to something because you like it.

Thanks for reading.

It snowed here last Sunday night. There was no school Monday, which was also the presidential inauguration, because of MLK Day. We went sledding with two other families from The Pecan’s first grade class, folks we know from school pickup and being around the school generally, blah blah. Normal suburban bourgeois shit. You get the picture.

We were there for maybe an hour and got some good sledding in before The Pecan took a borrowed sled face-first into a metal fencepole, opening a gash in her forehead wide enough that her skull could be seen by anyone who managed to bring themselves to look. I ran down the hill and picked her up — no loss of consciousness or responsiveness; we’ve done head trauma in the past, remember; you look immediately for these things — and her face was of course covered in blood because it’s a headwound. There were a bunch of families on the sledding hill behind the high school, and it turned out that included two moms who were RNs. Fucking women, man. Dudes are clueless. Do you know how wrecked society would be if men actually ran it? I mean, how wrecked it is anyway?

Anyhow, these moms were great and got my kid in a useful position and started to clean her up, ask her questions, tell me what to do, while we waited for the ambulance to come. The cop came first, obviously. Not like he was doing anything. Another dumb boy to get in the way of Competent Moms sorting shit out. Mom #2 had a roll of paper towels, for crying out loud. Officer Mehoff could never hope to compete with that.

The EMT worker in the back of the ambulance, it turned out, liked Zelda, so we chatted about Echoes of Wisdom on the way to the emergency room, which was good for keeping The Pecan (and me, in the interest of honesty), calm. Once we saw the cleaned up wound — featuring, again, her actual fucking skull — we knew the tenor of the day had changed. The Patient Mrs. showed up at the ER, having run home to grab clothes and such (my pants were still wet from sitting on the ground, kid was covered in blood, and so on) and we sat for about an hour and waited in the pediatric ER. A nurse had come through and stuck some gauze in the hole in her forehead, wrapped it up, and she watched Zelda fan-theory YouTube videos on my phone while we waited. The Patient Mrs. read on her iPad. I nodded off in the chair.

A couple rounds of talking to the doctor and like two earth hours later, we ended up driving east on Rt. 80 — The Patient Mrs. drove there, I drove home; a little unnerving being in the car with a major open wound on board — to the office of every plastic surgeon you’ve ever seen in a movie, who would finally close her up and send us on our way for ice cream, confident the dent in her face wasn’t permanent and that, indeed, all would be well by his next teetime, surely within 24 hours. Place was a riot, unless you thought of it as an example of the horrors that stem from mixing capital and medicine. But what fun is that? Or use?

To that end, it was almost fortunate that my seven-year-old daughter broke open her face early in the sunny afternoon, because it offered an excellent chance to not watch, or listen to, or read about, the inauguration. Something better to focus on? Much appreciated, even if the ‘something’ in question is a different kind of terrible.

But she’s doing well, is this Pecan. Both the ER doctor and the plastic surgeon assured The Patient Mrs. and I of her toughness, both saying “I don’t always say this, but…” and then I guess telling us she should go try out for Jackass: TNG or something. Yeah, she’s tough. I know. Try sharing a house.

I don’t know how much of a scar she’ll have. When I was six, I cut my leg open and, like her, it was deep enough to need stitches inside (for muscle) and outside (for the fleshy flesh). I have a six-inch scar on the inside of my right thigh that’s been there calling me stupid for basically my entire life. I’d prefer she have neither the scar nor the self-blame.

We’ve been gooping her head with Neosporin every couple hours, and she’s got antibiotics that are disgusting but that she’s taking anyway, because tough, and “limiting her activity” basically just means The Patient Mrs. and I get stressed out when she runs across the living room furniture, so apart from that — because usually we don’t care — it’s business as usual. She’ll heal up and we’ll be onto the next thing before you know it. What I wonder is whether she’ll remember this long-term. She doesn’t at this point remember falling down the basement stairs and cracking her skull in March 2021 — and fair enough, she was three — but that was a worse trauma than this. For everybody. It’s funny to think this might end up as some defining moment in her life and both her mother and I are like, “Meh, we’ve seen worse. Suck it up, stitchy!”

In any case, if there’s a parenting decision, really any kind of decision about any kind of thing, I’m sure I’m fucking it up. Turns out that the magic someday-I’ll-be-a-grown-up-with-my-shit-together day that I always dreamed was on the horizon is in fact a myth perpetuated to sell hair growth formula and pricey shirts. I’m 43 years old, and given my family history, lifestyle and demographics, there’s just about no feasible way my life isn’t more than halfway over. Some part of me is always going to be that same kid who sat on a glass fishbowl and sliced a hole in his leg big enough to stick your arm through.

My father, hateful and disdainful though he was, applied so much pressure on my bleeding-out leg that I had bruises for weeks after. The doctor said he saved my life, and I believe he did. We didn’t even like each other, ever, and he was for sure no paragon of having his shit together, but that was a thing he did for me. I could barely make it up the sledding hill with my kid without falling down. What a wreck.

And it’s sad, and I know it’s sad, but there’s also a certain kind of freedom in letting go of the expectation that it’s ever going to get better. That there will come a point at which it will all click and I’ll always know where my phone is, or I’ll finally be caught up on vacuuming, or I’ll get in shape in some kind of “once and for all” permanent way that doesn’t even exist in the first place.

I’m not that guy. I never could be. Maybe I’m a loser. Fine. I look around at who’s winning these days and I think maybe I’m better off not.

Thanks for reading and have a great and safe weekend. I’m back Monday with more and I’m in Vegas next week to cover Planet Desert Rock Weekend, which will be a hoot. Much appreciated if you keep up.

FRM.

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Ripplefest Texas 2025: Weedeater, Telekinetic Yeti, Shun, Human Impact, Valley of the Sun and More Added to Lineup

Posted in Whathaveyou on January 24th, 2025 by JJ Koczan

Okay, so here’s the deal. Last year, I found myself wanting to keep up with Ripplefest Texas‘ lineup additions and couldn’t really do anything coverage-wise because they were happening daily and that kind of turns the site into a one-subject show in a way that doesn’t really help. Took me a year to figure it out, but I’m going to do Friday updates like this one — a roundup of what’s been coming out every day from the fest since the last announcement — for as long as they go with the daily adds. I don’t know when that will be, how many bands are playing — 2024 was huge, I’d expect 2025 to be correspondingly proportioned — or what time your flight needs to get into Austin for you to get there in time for the start on Sept. 18. I’m low on insight. But this is a party that’s becoming central to the year here in the US, so I want to cover it as much as I can.

The fest had quite a week. This is in order from oldest to newest, so Weedeater were the first added, etc. Here you go:

ripplefest texas 2025 weedeater

RIPPLEFEST TEXAS 2025 – NEW BAND ANNOUNCEMENT: WEEDEATER

Those infamous sludge outlaws WEEDEATER bring their own branded “weed-metal” to RippleFest Texas. Their style marks the crossroads where true Southern rock and metal meet raw humour, old religion, as well as weed and whiskey.

If you’ve seen them live before then you know what a great show they put on! If you haven’t seen them then you are in for a treat! Get your eardrums and your livers ready!

RIPPLEFEST TEXAS 2025 LUNA SOL

NEW BAND ANNOUNCEMENT: LUNA SOL

Denver’s high mountain stoner blues rock band, LUNA SOL, is fronted by singer and lead guitarist DAVID ANGSTROM, known from Hermano, Supafuzz, Black Cat Bone, and Asylum On The Hill. Celebrating their 14th year, they released an epic album, VITA MORS, on September 20, 2024, via Todd Severin’s kickass Ripple Music label.

On VITA MORS, Angstrom collaborates with drummer ZETH PEDULLA and bassist DOUG TACKETT, creating a unique chemistry that inspired them to capture the raw energy of their sessions. VITA MORS delivers a live sound, immersing listeners in an atmosphere reminiscent of a dive bar with heavy riffs and vivid Southern Kentucky roots. The album embodies a mix of fury and delicacy, providing a perfect backdrop for Angstrom’s powerful storytelling.

Following 2015’s “Blood Moon” and 2017’s “Below The Deep,” VITA MORS spans 50+ minutes, exploring themes of betrayal, love, murder, and heartache. It features contributions from friends across various bands, continuing LUNA SOL’s tradition of collaboration. Angstrom noted, “The riffs were flowing, the tones were massive …and the fun continues.”

LUNA SOL is currently scheduling various US dates + an EU 2025 tour. The band’s live show is always impressive and delivers a fistful of full frontal riffs and immense power from a wall of vintage amps …and beer. There’s always a lot of beer.

ripplefest texas 2025 shun

NEW BAND ANNOUNCEMENT: SHUN

Shun is a four-piece heavy, atmospheric post-rock band from the Western Carolinas (Greenville, SC / Asheville, NC) comprised of Matt Whitehead (Throttlerod), Rob Elzey, Jeff Baucom, and Bo Leslie (ex Throttlerod). Shun’s debut album was self-recorded during pandemic isolation, mixed by J Robbins (Clutch, The Sword, Coliseum, and so many more), and released on Small Stone Records. With styles ranging from melodic noise rock and heavy riffs to atmospheric largesse with contemplative, patient contraction, Shun emerged from the pandemic and began playing regional shows with bands like Shiner and Spotlights.

In 2024, Shun reteamed Small Stone and with J Robbins for their follow-up record, Dismantle, this time recording at J’s Magpie Cage studio in Baltimore, Maryland. Dismantle continues several crucial threads from the self-titled in terms of songwriting, while expanding their scope with a more refined crunch and drifting, ethereal outreach. It is heavier and paints a broader landscape in Matt Whitehead’s vocal and guitar melodies and reshapes it as the backdrop for weighted post-rock while refusing to sap its own vitality in service to shoegazey posturing.

Dismantle is able to push, pull, crash down loud or recede into float as Shun wills. That they’d wield such command in their craft likely won’t be a surprise to those who took on the self-titled, but among the things Dismantle undoes, it strips the listener of expectations and replaces them with its unflinching creativity and refreshingly forward-looking take.

ripplefest texas 2025 telekinetic yeti

NEW BAND ANNOUNCEMENT: TELEKINETIC YETI

Based out of Iowa, Telekinetic Yeti is a two-man band that delivers sonic brutality melded with psychedelic doom wizardry, forged by the worship of the almighty riff and honed by relentless touring and dedication to their craft.

Creating music as cryptically enchanting as it is heavy, you wouldn’t guess that the impressive cacophony pouring out of the speakers like molten, metal syrup is being produced by only two people. Founder and guitarist Alex Baumann explains, “Originally I decided not to have a bass player purely for logistical reasons, it was just another schedule to work around, another person who’s boss could tell us we can’t tour, but then I started seeing it as a challenge, like let’s see how heavy we can make it with just two people.”

After having Telekinetic Yeti 2 years ago at RippleFest Texas, we couldn’t wait to have them back!

ripplefest texas 2025 whores

NEW BAND ANNOUNCEMENT: WHORES.

Formed in 2010 in Atlanta, Georgia, the trio has established themselves as one of the most successful and motivated bands in the genre today. Elements of Helmet, Melvins, and the Amphetamine Reptile roster can be heard throughout their catalog, but Whores are no regurgitated throwback act. Through intense, cathartic live performances and the perfected aggressive tenacity present on their recordings, the band has gained a fervent following sure to do nothing but grow in the years to come.

ripplefest texas 2025 human impact

NEW BAND ANNOUNCEMENT: HUMAN IMPACT

Human Impact, the New York-based outfit founded by Chris Spencer (Unsane) and Jim Coleman (Cop Shoot Cop), who recently released their sophomore album, Gone Dark (Oct. 4, Ipecac Recordings).

The Human Impact arsenal is more formidable than ever thanks to the addition of two more noise-rock veterans: bassist Eric Cooper (Made Out of Babies, Bad Powers) and drummer Jon Syverson (Daughters). Spencer had spent the 2020 COVID lockdown working on a cabin in the East Texas woods and would travel into Austin for informal jam sessions with the pair in the Cooper’s garage. Friendly blasts through vintage Unsane songs ultimately resulted in the rhythm section being fully absorbed into Human Impact.

ripplefest texas 2025 valley of the sun

NEW BAND ANNOUNCEMENT: VALLEY OF THE SUN

After fourteen years of rocking and rolling across the world, Valley of the Sun released their fifth lp, “Quintessence”, which explores new sonic dimensions for the band, who is once again in a three piece format. Over the years they have graced the stages of clubs and festivals alike, including Hellfest, Palp Festival, Keep It Low, Tabernas, Lazy Bones, Motocultor, and Desertfests New York, Berlin, London, and Belgium. Hellbent on dominating the world with their unique, unapologetic twist on stoner-grunge, they finally bring the show to Ripplefest Texas.

There is no greater family reunion than RippleFest Texas, so get your tickets now and get your eardrums and bodies ready for lots of crushing music and warm hugs!

Get Tix at: www.lickofmyspoon.com

https://www.facebook.com/theripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

https://www.facebook.com/LOMSProductions
https://www.instagram.com/LOMSProductions/
http://www.lickofmyspoon.com/
https://linktr.ee/Lickofmyspoon

Mothership, Live at Ripplefest Texas 2022

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Esbjerg Fuzztival 2025: Dead Meadow to Headline

Posted in Whathaveyou on January 24th, 2025 by JJ Koczan

Last week, Esbjerg Fuzztival set forth on a series of weekly lineup additions by adding Danish heavy psych forerunners to the bill, and today they follow that rather substantial happening by announcing that Dead Meadow will headline. The Californian outfit will be on tour in Europe supporting their upcoming album, Voyager to Voyager, which is out March 28 through Heavy Psych Sounds. And as Dead Meadow have been previously confirmed for Freak Valley Festival in Germany, which happens June 19-21, two weeks after Esbjerg Fuzztival, it seems likely they’ll spend at least a substantial part of June on the road. Fair enough. The new single “The Space Between” is below, and I hope to have more on the record — like a review, I mean — before it’s out.

Esbjerg Fuzztival 2025, meanwhile, I expect will be back next Friday with another name to drop for its bill, which in addition to Dead Meadow and Causa Sui includes Wyatt E., Daily Thompson, Karkara, Daevar, Dunes, Skyjoggers, Green Milk From the Planet Orange, Aptera, Djinn, the house band Vestjysk Ørken, and yes I did just cut and past that from the last post. It doesn’t make it less true, and among the crowded sphere of European festivals, you can see Esbjerg Fuzztival developing over the last several years its niche in heavy psychedelia and a range of jammy, heavy or trippy sounds. Dead Meadow can fit with any of it, so could hardly be more fitting to headline.

From social media:

esbjerg fuzztival dead meadow

ESBJERG FUZZTIVAL 2025 – Dead Meadow

Headlining Friday night at Fuzztival 25 we have Dead Meadow (Official) the American Heavy Psych pioneers! For nearly 30 years this is a band that have continued to push boundaries and set the gold standard for other bands to follow. We never thought the day would come where we would be able to present Dead Meadow – one of our all time favourite bands!

https://www.facebook.com/esbjergfuzztival/
https://www.instagram.com/esbjerg_fuzztival/
https://www.fuzztival.com/

Dead Meadow, “The Space Between”

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Kadavar Post New Single “I Just Want to Be a Sound”; Album Available to Preorder

Posted in Whathaveyou on January 24th, 2025 by JJ Koczan

The vague sense of longing hinted toward in the title, the exhaled ‘just want’ in “I Just Want to Be a Sound,” is mirrored in a kind of pop urgency in the song’s chorus. This is the first track Kadavar have put out from their upcoming album of the same name, and in addition to answering how the inclusion of Jascha Kreft on second guitar might have shifted their dynamic — the guitar reaches farther out, giving breadth to the hooky, again pop-ish, longing and the vocal melody that carries it — it’s the first clue as to what Kadavar‘s next LP might have on offer sound-wise. In its range and atmosphere, you could almost call “I Just Want to Be a Sound” psychedelic, but there’s no mistaking the outreach in its production or the underlying structure, even if the bass still brings a bit of heft to its transitions.

Kadavar have been working to build hype leading to releasing this single, and fair enough. They’re a band who thrive on taking chances, and they’re taking a big one here, as it’s almost certain some of their listenership won’t be able to follow them on this path. Knowing that as they surely do, it’s all the more admirable that Kadavar have never capitulated to it. Surely they could be out there smiling through vintage longhair fashion shoots and a thousand differently-named remakes of “Doomsday Machine” and still have an audience. I feel like not knowing what you’re getting, their willingness to ride the edge and push the limits of expectation — is “I Just Want to Be a Sound” heavy? should it want to be? why? — can make it more satisfying, and I know better than to think one single represents the entire album from which it comes, even if it is the leadoff title-track.

Links and audio and such follow. If you’ve got thoughts, I’d love to hear them in the comments. And remember, Kadavar announced that Fall 2025 tour just a couple days ago as well:

kadavar i just want to be a sound

KADAVAR – “I JUST WANT TO BE A SOUND”

I JUST WANT TO BE A SOUND out now & available on all platforms.

Produced by @maxrieger
Thanks to @cloudshillmusic @chris_vosshagen

Pre-save “I Just Want to Be a Sound”: https://kadavarband.lnk.to/ijustwanttobeasoundIN

Album Tracklist:
1. I Just Want To Be A Sound
2. Hysteria
3. Regeneration
4. Let Me Be A Shadow
5. Sunday Mornings
6. Scar On My Guitar
7. Strange Thoughts
8. Truth
9. Star
10. Until The End

Kadavar are:
Lupus Lindemann – Vocals & Guitar
Simon ‘Dragon’ Bouteloup – Bass
Tiger – Drums
Jascha Kreft – Guitar/Keys

https://www.facebook.com/KadavarOfficial/
https://instagram.com/kadavargram/
https://www.youtube.com/channel/UCVmSmatRaSUU2LMhecGKiqg/
https://www.kadavar.com/

https://www.facebook.com/robotorrecords/
https://www.instagram.com/robotorrecords/
https://robotorrecords.bandcamp.com/
https://www.robotorrecords.com/

Kadavar, “I Just Want to Be a Sound”

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Khanate Announce May/June Live Dates

Posted in Whathaveyou on January 23rd, 2025 by JJ Koczan

As they did around their appearance last year at Roadburn Festival (review here) in the Netherlands, the somewhat-reunited alldoomers Khanate have announced a couple — literally two — shows taking place on either side of their slot at Prepare the Ground in Toronto, which looks pretty sweet either way. It’s Chicago and New York for the other locales. One is the home city, the other the next-biggest metropolitan center that doesn’t require flying to the West Coast to play.

So, three shows, one fest. You could not accuse them of favoring one market over the other, I guess, but whatever wherever, the fact of the matter is that when you see Khanate, first of all they should have counselors on hand for after, and second, it’s a thing you might never see again. A band people will travel for, and rightly so.

Of course, Khanate are still ostensibly supporting their surprise 2013 return, To Be Cruel (review here), but really it’s probably safer to say they’ll be out heralding the endtimes through which we’re living, giving cathartic voice to the harshest and darkest aspects of our hateful selves. You know, being Khanate.

This came from the PR wire:

Khanate north America sq

Khanate Announce First U.S. Tour Dates Since 2005

Khanate play their first North American shows in 20 years this spring, with a trio of rare live dates, including headlining performances in Chicago and New York, as well as a featured spot at the Prepare The Ground festival in Toronto.

Khanate tour dates:

May 30 Chicago, IL Thalia Hall (Jon Mueller opens)
June 1 Toronto, ON Prepare The Ground
June 3 New York, NY (Le) Poisson Rouge (Mick Barr opens)

Tickets are on-sale this Friday, Jan. 24, at 10 am CT/11 am ET via this link: https://bnds.us/lcb8ux.

Khanate’s full discography is available via their webstore at https://shop.khanateofficial.com/.

Khanate is Alan Dubin (vocals), Stephen O’Malley (guitar), James Plotkin (bass) and Tim Wyskida (drums).

https://khanateofficial.com
https://instagram.com/officialkhanate
https://facebook.com/officialkhanate

Khanate, To Be Cruel (2023)

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Slow Draw Posts New Video/Single “Living in a Land of Scarecrows”

Posted in Bootleg Theater on January 23rd, 2025 by JJ Koczan

Slow Draw Living in a Land of Scarecrows

Hurst, Texas-based solo experimentalist Mark Kitchens, who operates under the moniker Slow Draw and doubles as drummer/noisemaker in Stone Machine Electric, presents a relevant take on the zeitgeist with the new EP, Living in a Land of Scarecrows. A proverbial song for our times. Samples tell some of the story across the 23-minute track that comprises the entirety of the EP, but not all of it. “If I only had a brain” from The Wizard of Oz precedes a full delve into SunnO)))-esque drone-wail, which is twisted and manipulated. It sounds for a time like Kitchens is shoving the guitar downward, but it settles into a figure that’s riff-adjacent, and unfolds across a first half that manages to shift from that initial cacophony to something more of a slog, the long repetition and pre-midpoint slowdown feeling like a ready stand-in for everyday horrors and/or the disconnection therefrom.

Kitchens references the “current state of things” as his impetus, and as he notes the sonic departure that is “Living in a Land of Scarecrows” — with that as an implied intellectual assessment — the timing is made all the more political by a release set on the US presidential inauguration day, earlier this week. I recognize the possibility that he’s talking about something else entirely. It’s a big universe and anything can happen in it.

And I don’t know about you, but my disassociated ass would rather watch the slow-motion horror of Slow Draw‘s “Living in a Land of Scarecrows” than the news, which I’m working hard to live distantly from. I’ve been paying attention every day since 9/11 and for what? To see my home nation go full-idiot over a crypto-dealing felon selling himself on messianic promises as the second coming of Big Daddy Ronald Reagan? Thanks, but I’m 43 and I know I should be line fight-fight-fight vive la résistance and such, but I just don’t have it in me. The world already sucked and it’s going to get worse whether I take time out of my day to feel bad about it or not. I don’t want to know. I might be done voting as well, with the given options being fascists, democrats, and worse still somehow, fascist democrats.

I could go on for a while here about “things” and their “current state,” and clearly in his own way Kitchens is ready to do likewise. Video follows here. Please enjoy. May we all survive these times and the wanton corruption and cruel hubris of idiots. If you’re fighting the good fight, thanks. The rest of us are better for that.

Again, visual horror awaits. Be ready for it:

Slow Draw, “Living in a Land of Scarecrows” official video

The current state of things generated this output, as it is not what I was initially working on in my current songwriting phase. This was not the next album I anticipated making, but here we are. This one will hopefully cleanse the palette of your mind.

Slow Draw, The Mystic Crib (2023)

Slow Draw on Facebook

Slow Draw on Instagram

Slow Draw on Bandcamp

Slow Draw website

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Sons of Arrakis Announce Spring Tour Plans & More

Posted in Whathaveyou on January 23rd, 2025 by JJ Koczan

Montreal heavy rockers Sons of Arrakis this week begin their 2025 round of live activity supporting their second album, Volume II (review here), heading out on the previously announced ‘The Great Scattering Part II’ tour with Salem’s Bend. The occasion there — in addition to the record and the importance of getting together and doing things with friends, duh — is a stop through Planet Desert Rock Weekend V at the end of the month in Las Vegas, and I can’t help but note that Stoomfest, which is listed below for July at the end of the band’s to-now-revealed live plans for this year, is in the UK. Seems fair to expect at very least a week of touring around that, unless it’s an exclusive one-off or some such.

To my knowledge those will be the band’s first shows not in Canada or its embarrassing southern neighbor, but there are plenty of chances to see them in the US too, including this Spring in the Northeast and at Maryland Doom Fest in June. All the dates and info are below, as posted on socials by the band:

Sons of Arrakis volume ii tour

🚀 Sons of Arrakis: Shai-Hulud Odyssey Part I – 2025 🚀

We’re thrilled to announce the Shai-Hulud Odyssey 2025 tour presented by Black Throne Productions! 🌌 This journey will take us across North America and beyond!

Follow for more dates and info. Events + tickets : https://linktr.ee/sonsofarrakis

Here’s where you can catch us :

Friday, January 24th – Montréal, QC @ l’Escogriffe Bar Spectacle
Mountain Dust Album Release w/ Moutain Dust and Pale Horse Ritual

Tuesday, January 28th – Palmdale, CA @ Transplants Brewing Company – The Great Scattering Part II w/ Salem’s Bend and Super Dope 76

Wednesday, January 29th – San Diego, CA @ Til Two Club – The Great Scattering Part II w/ Salem’s Bend and Formula 400

Thursday, January 30th – Las Vegas, NV @ Count’s Vamp’d for Planet Desert Rock Weekend V – Jan. 30+31+ Feb. 1 in VEGAS

Friday, January 31st – Los Angeles, CA @ The Slipper Clutch
– The Great Scattering Part II w/ Salem’s bend + Formation Ritual and Solar Haze

Saturday, February 1st – San Francisco, CA @ Thee Parkside
– The Great Scattering Part II w/ Salem’s Bend + Laser Beam

Friday, February 21st – Salem, MA @ Koto Underground Music and Events w/ Sundrifter + Dust Prophet + Scuzzy Yeti

Saturday, February 22nd – Burlington, VT @despacitovt w/ Sun Drifter + Dust Prophet + Evil Bong

Thursday, April 3rd – Toronto, ON @ Bovine Sex Club
LOW ORBIT + CLEEN

Friday, April 4th – Chicago, IL @ Reggies
w/ Shadow_of_Jupiter_Official + Temple of the Fuzz Witch + Hashtronaut

Saturday, April 5th – Detroit, MI @ Outer Limits Lounge
w/ CLEEN + Angel Of Mars + Suede Brain

Friday, May 16th – Braintree, MA – TBA

Saturday, May 17th – Brooklyn, NY – TBA

Saturday, June 21st – Frederick, MD – The †maryland DOOM† Fest

Saturday, June 28th – Stoney Creek, ON – Rhüne Mountain Festival

Friday, July 4th – London, UK @ The Garage for Stoomfest / StoomFest25

🌌 Stay put for some more info and dates to be announced

Poster design : Jim Laflamme at @gorepunk__co

https://www.sonsofarrakis.com/
https://sonsofarrakis.bandcamp.com/
https://www.facebook.com/sonsofarrakisband
https://www.instagram.com/sonsofarrakis/

https://www.facebook.com/Black-Throne-Productions-101840285724006
https://blackthroneproductions.com/
https://linktr.ee/BlackThroneProductions

Sons of Arrakis, Volume II (2024)

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All Are to Return Premiere “The Augur” Video

Posted in Bootleg Theater, Duuude, Tapes! on January 23rd, 2025 by JJ Koczan

all are to return (photo by Dejavie)

Netherlands-based caustic industrial two-piece All Are to Return will release a new audio/visual EP, Līmen, sometime in the near future. The persistently harsh outfit, which as ever is comprised solely of F and N, last Spring made the dark offering of AATR III (review here) and with it conjured a litany of bodily and/or existential terrors, and the upcoming four-tracker is consistent in that regard while pivoting to an even noisier approach. That is to say, while not lacking in the first place for cinematic foreboding or an aurally bleak cast, All Are to Return are upping the stakes of their already punishing methodology.

What does this mean for the listener? A new litmus in Līmen? I mean, maybe. It likely depends on how much time you’ve spent embroiled in harsh noise and drone. “The Augur,” the video for which premieres below with a kind of narrative playing out in text for lyrics that aren’t there — for something so extreme in its purposes generally, it’s hard not to think of the words as part of a manifesto — is emblematic of the intention behind what follows it on the mercifully brief outing (not taking the piss; these are cruel sounds and it’s not an accident; if it was pleasant it would be a different kind of art), as “Sujet Maudite” comes to howl before dropping to silence amid suitably anti-capitalist treatise, “The Veil” ties in notions of the physical self while droning lower and more primal, and “That Which Listens” reminds in rhythmic minimalism of the connections underlying existence.

The centaur question — I was trying to write “central” there, but I acquiesce to autocorrect based on the image of slaying the centaur of one’s own ignorance — is whether or not you can hang with All Are to Return as they are here. It’s not the most outwardly furious they’ve ever been, but especially on headphones hypnotized by the slow motion of the video on full screen, Līmen plays out like an arthouse installation more than a collection of songs, and it’s probably best if it’s consumed that way as well. What I’m trying to say is be ready and willing to leave your comfort zone behind because the greater likelihood is All Are to Return are coming from and speaking to a place well outside of it. If you’re up for a challenge, so are they.

And no, three minutes of harsh noise ambience probably isn’t going to deconstruct your consciousness, but it does expand the idea of what the band’s songs can do, is heavy in ways beyond volume and, in combination with the video/text, finds a depth of impression generally reserved for the psychedelic. Does that make Līmen a kind of nightmare machine psych? I don’t have a better thing to call it, save perhaps for “hellish.”

“The Augur” premieres below. Please enjoy:

All Are to Return, “The Augur” video premiere

All Are To Return līmen is an AV-release consisting of 4 videos with an interconnected narrative, of which The Augur is the first chapter.

Tracklisting:
1. The Augur
2. Sujet Maudite
3. The Veil
4. That Which Listens

Credits:
Music, video and narrative by All Are To Return.

All Are to Return, III (2024)

All Are to Return on Bandcamp

All Are to Return on Soundcloud

All Are to Return website

Tartarus Records store

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