Hard to determine what’s my favorite thing about this clip of Wino performing the song “Manifesto” live at Substance Record Store in Vienna on his 2010 European tour. He laughs as he breaks a string about two minutes in, and that’s pretty enjoyable — probably less for him at the time — and he takes his guitar and walks out into the crowd, troubadour-style, toward the end. Plus the song itself, which lives up to its name in continuing Wino‘s penchant for socially conscious lyric-writing — something that arguably was most present in the word of The Hidden Hand but has been a factor all along — while the quick acoustic strumming provides a kind of tension that usually comes coated in fuzz where his songwriting is concerned.

Either way, it’s a winner, and for me, even more interesting in context. Toward the end of last year, I posted a video shot on the same tour of the same song, and he did basically the same thing — out into the crowd and all that. That video was shot in Belgium on Oct. 10. This one was Vienna just 10 days earlier, and what’s really great about it is Wino, fresh off a tour with Premonition 13, had been on the road for about two weeks at the time, so basically you get to see him become more comfortable with the idea as you go from the earlier video (this one) to the later one. Maybe that’s me putting a narrative to it, or just a bit of super-nerdery, but it’s pretty cool to see, either way, since by the time October rolled around, it was a spirited protest-song bit of populism and here it’s getting there, but not quite as triumphant yet.

Keep your eyes open for that and the broken string, and have a great Wino Wednesday:

Wino, “Manifesto” live at Substance Record Store, Vienna, Sept. 30, 2010

By virtue of being comprised of tracks recorded in 2013, 2006 and 2003, Elvis Deluxe‘s latest outing, The Story So Far (review here), is by its nature somewhat uneven. The good news, however, is that the newest material the Warsaw four-piece have to offer — the stuff recorded in 2013, duh — is the best of the bunch, and its from that most recent batch that the track “No Reason” comes. Drenched in attitude and heavy rock boogie, it’s a song more or less tailor-made for attention as a single, guitarist Bert Trust taking a lead vocal spot and providing a punkish gravel over an engaging stomp.

Elvis Deluxe is comprised of Trust, guitarist Bolek, bassist/vocalist Ziemba and drummer Miko, and though The Story So Far — also their debut on Metal Mind — doesn’t stand up in my mind to the gloriously loose feel that the band was able to hone on their previous 2011 outing, Favourite State of Mind (review here), that’s more because of the mix of recording styles than the quality of the songs themselves. They’re worth checking out, is what I’m saying in my roundabout, overtired way. And if you haven’t had occasion to do that as yet, I thought posting the video — watch for the twist at the end with the living-it-up young lady who appears throughout — might be a good way to go.

Dig it:

Elvis Deluxe, “No Reason” official video

Elvis Deluxe on Thee Facebooks

Metal Mind Productions

This Saturday, Lo-Pan will take the stage as headliners at The Eye of the Stoned Goat 3 in Brooklyn, New York. Sharing the bill with the stalwart Ohio road dogs is a litany of heavy rockers worthy of repute, some labelmates on Small Stone, others up and comers playing with a similarly fuzzed, riff-minded style. All told, The Acheron plays host to one of the sickest lineups of the year on July 27, with Lo-Pan at the top alongside Gozu, Supermachine, Black Black Black, Borracho, Wizard Eye, Lord Fowl, Geezer and Wasted Theory, whose own drummer, Brendan Burns (interview here), is responsible for booking the fest.

The Stoned Goat gig comes as the latest in a series of righteous happenings for Lo-Pan, whose considerable touring is beginning to pay off with — what else? — more touring. Making their way into Brooklyn as the final in a set of four dates with Gozu, Lo-Pan have been using July as a vehicle for long weekenders, first with Indianapolis-based rockers Devil to Pay, then a handful of shows including last weekend at StaVentfest in Pennsylvania with D.C.’s Borracho — also playing in Brooklyn — following a couple weeks off after spending the first half of June on tour with Torche and KENmode. All this is ostensibly to support a vinyl reissue through Small Stone of Lo-Pan‘s landmark 2009 sophomore outing, Sasquanaut, which also got a CD revisit in 2011 (review here), but really, it’s just Lo-Pan continuing to do what they do best, and that’s hand-deliver some of the finest fuzz being produced in the US, or anywhere else for that matter.

Since this is all going down even as the band continues to write and road test new material for a follow-up to 2011’s will-still-put-you-on-your-ass-two-years-later third album, Salvador (review here), it seemed to me a prime time to get on the phone with drummer Jesse Bartz (not for the first time) for a brief check-in about the band’s latest doings, how they see the effort and time they’ve put in starting to result in shows  like those with Torche or with High on Fire last fall, the timing on when they’ll look to put the next record to tape, and much more. Bartz — joined in the band by guitarist Brian Fristoe, vocalist Jeff Martin and bassist Scott Thompson — was forthcoming and realistic as ever about the work Lo-Pan has done to this point and the work they still have ahead of them.

So, with The Eye of the Stoned Goat 3 this weekend, a tour with Weedeater next month, the Sasquanaut vinyl out now and their focus geared toward a European tour in support of their next album in 2014, you’ll find my quick Q&A with Jesse Bartz after the jump.

Please enjoy:

Read more »

Last time we checked in, San Diego trio Earthless were playing some of their new material live as they began a European tour to herald the coming of their new album, From the Ages, at Stoned from the Underground in Germany. Before that, there appeared the cover art for the record, which is their first studio outing in six years. And now, at last, a release date, track listing and some further info on the album’s doings. No music just yet, but that can’t be far off.

Earthless‘ From the Ages is set for release Oct. 8. The PR wire takes it from here:

San Diego Psych Rock Supergroup EARTHLESS to Release New Album “From the Ages” October 8

Revered Band’s First New LP in Six Years Blends Japanese Psychedelic Guitar Heroics with Krautrock’s Experimental Underpinnings

Award-winning San Diego power rock band EARTHLESS has completed work on its brand new album From the Ages. The first new studio album from the globally celebrated trio since the release of 2007’s critically acclaimed Rhythms from a Cosmic Sky, the LP was recorded in San Francisco with producer Phil Manley (Trans Am, The Fucking Champs, SubArachnoid Space). An hour-long double LP, From the Ages will see an October 8 release date via Tee Pee Records.

Formed in 2001, EARTHLESS prides itself on creating energetic, utterly unique and free thinking instrumental music inspired by an eclectic mix of German krautrock and Japanese heavy blues-rock. The Californian trio has dedicated itself to mastery of the mind-bending jam session, evoking the spirits of Jimi Hendrix and Black Sabbath in equal measure. Named after a song title from vintage New York garage-psych band The Druids of Stonehenge, EARTHLESS’ sound has been called “A sonic kaleidoscope of lava and lightning”, earning it the title of “California’s loudest band”. The group delivers “one of the best live shows in all of modern, heavy rock,” leading to one reviewer stating that the band’s “epic shredding harkens back to the days were psychedelic rock had balls the size of grapefruits and wasn’t afraid to take its listeners on a ride for which they may never return.”

Each member of EARTHLESS has done time in many other bands. Drummer (and former pro skater) Mario Rubalcaba currently plays in the hardcore punk band OFF! and has also occupied the drum throne in Rocket From The Crypt and Hot Snakes amongst many others. Bassist Mike Eginton played with Electric Nazarene and guitarist Isaiah Mitchell was most recently in Howlin’ Rain, has played with Nebula and Drunk Horse and also heads up the Bay Area band Golden Void. In the end, EARTHLESS is the musical rock that grounds the three musicians and now, after more than half a decade since the release of their last studio LP, EARTHLESS has returned and is out to prove — through sheer rock power — why they are considered the cream of the modern day heavy psych scene.

“We feel this is some of the strongest material that we have ever created and we cannot wait to get out there and share it with everyone in a live setting,” said the band when asked for comment. From the Ages’ sprawling, epic cover art was created by renowned rock music poster artist Alan Forbes (Queens of the Stone Age, SWANS, Black Crowes) while the record’s surreal inner design was brought to life by the band’s own Mike Eginton.

Track listing:
1.) Violence of the Red Sea (14:44)
2.) Uluru Rock (14:08)
3.) Equus October (5:42)
4.) From the Ages (30:55)

Earthless, “From the Ages”/”Godspeed” Live in 2009

Those familiar with the ambience-prone style of vocalist Sera Timms through her contributions to outfits Black Math Horseman — their 2009 offering, Wyllt, still holds up — or Ides of Gemini, who made their first appearance with last year’s Constantinople (track stream here), will be fairly well prepared for the kind of atmospheres she brings to her first solo outing under the moniker Black Mare. The album, Field of the Host, is comprised of seven tracks, and found release this past Spring on limited vinyl through The Crossing and on tape through Breathe Plastic Records.

I opted for the latter. A couple weeks ago, seeing that Field of the Host was dangerously close to selling out on tape, I decided it was time to get one before it was too late. No regrets. Though it showed up with the case cracked — thank you, postal service — the package turned out to be of exceptional quality, with the liner printed on photo paper with lyrics inventively laid out on the inside two panels and the fold of the case, all designed by Timms herself. As I understand it, the vinyl came with a collection of her photos as well, but though there’s no room for such things with cassettes, Field of the Host brings an individual sensibility all the same to a format usually thought of as wholly lacking one — runes on the tape and a smoky dark plastic mirroring the sound of the full-length itself even as the stark font gives an impression of some of the songs’ minimalism.

There is plenty of that to be found in these cuts, I guess, but I have a hard time of thinking of Field of the Host as being bare in any way, mostly because of the echoing effects Timms incorporates for her vocals and the guitars, bass and drums — she plays all the instruments but for some extra guitar on “Fighting Birds” and “Ashlar” credited to Bryan Tulao — and the effectiveness of the atmospheres created. Stretches vary on either side of a loud/soft dynamic, “Saturn’s Grave” ending side one with what’s a cacophony as compared to the quiet moment of the penultimate “Isa” on side two, but in whatever context she’s working, Timms brings a consistently exploratory mood to the material, layering in sonically rich reverb and echo. Drums are present, but deep in the mix. Bass you almost don’t realize is there until it swallows you whole. Guitars rise out of the same fog in post-rock splendor — too clearheaded to be psychedelic, but as otherworldly as you please — and even with the side-change break between “Saturn’s Grave” and “Ashlar,” the dense hypnotism in Field of the Host is maintained front to back.

Principally, the music is evocative. It engages via atmosphere rather than hooks, and Timms creates a sense of wash from the first plucked notes of “Blind One” introducing the ghostly swirl that runs a thread throughout the album as a whole, bringing to mind any number of landscapes, most of them covered in a morning mist. Nothing throughout the tape sounds egregiously repetitive — that is, more repetitive than it’s meant to sound — but I can’t help but wonder what Timms would sound like with her voice not drenched in effects as it is here how songs like “Tearer” or the sweetly concluding “Cybele” might be shifted or the overall dynamic of Field of the Host might be different if that wash became, like the swells and recessions of volume, another element for Timms to manipulate along the way.

That’s not a complaint with the aesthetic of Field of the Host — more like a point of potential growth for Timms‘ next outing as Black Mare, which I hope is not long in arriving. Though her work in Ides of Gemini and Black Math Horseman has defined her career at this point, it could just be Black Mare that winds up as the truest expression of Timms as an artist and the vehicle through which she continues to refine her unflinchingly creative approach.

In the meantime, I’m really glad I bought this tape.

Black Mare, Field of the Host (2013)

Black Mare on Thee Facebooks

Breathe Plastic Records

The Crossing

For years, the fans of long-running and massively influential New Jersey rockers Monster Magnet have been divided. Purists on the one side celebrate the band’s earliest works — 1991’s Spine of God and its follow-ups Superjudge (1993) and Dopes to Infinity (1995) forming a holy trinity of modern heavy psychedelic rock that few can match — while others revere the more straightforward, riff-heavy approach that began to show itself on Dopes, came to the fore and brought the band massive commercial success on the subsequent 1997 outing Powertrip, and has been more or less the root basis for their development since then, God Says No (2001), Monolithic Baby! (2004), 4-Way Diablo (2007) and their Napalm Records debut, Mastermind (2010), each offering an atmosphere of its own while keeping a consistent thread structurally via the songwriting of guitarist, vocalist and founder Dave Wyndorf.

On Oct. 15, Monster Magnet will issue what could be a new stage of their evolution in their ninth full-length and second for Napalm, Last Patrol. While some — and I count myself among them at least at times — have clamored for years for a return to the space rocking psych of the band’s first triumphs, we all know the past is the past. Monster Magnet in 2013, by the sheer laws of physics, cannot be Monster Magnet in 1993. And yet, as we hear on the new track “The Duke (of Supernature),” Magnet are at their most ethereal in decades. Wyndorf, who has long been the driving force in the band and taken his lumps along the way accordingly, shows his intent even in the fact that he recorded Last Patrol with rhythm guitarist Phil Caivano, DIY-style, such as it is. The aim was a natural sound and one that brought in elements Monster Magnet long since left behind in favor of more straightforward, accessible fare.

Still, it’s not like Wyndorf — joined in the band by Caivano, bassist Jim Baglino, guitarist Garrett Sweeny and drummer Bob Pantella — is trying to recreate wholesale something his outfit did years ago and with a different lineup. Frankly at this point I don’t think he could stop being catchy if he wanted to, and “The Duke (of Supernature),” for its lysergish drawl and attitude drip, is still a catchy showcase of quality songwriting. So at least here, they’re not just looking back and they’re not just pressing on as they were. It’s something new. What will the rest of Last Patrol hold? I’ll let you know when I hear it.

In addition to the the announcement of the album release, the first showing of the gorgeously cosmic John Sumrow painting serving as the front cover to Last Patrol and the track “The Duke (of Supernature)” itself, Monster Magnet here unveil their first coast-to-coast US tour in a decade. It’s a thrill and an honor to host both the song and the info for your listening and perusing pleasure.

Please enjoy:

MONSTER MAGNET Announce New Album!

Confirm First North American Tour in Over 10 Years!

MONSTER MAGNET are back! The band has confirmed an October 15th North American release date for their new album entitled Last Patrol via Napalm Records. Today MONSTER MAGNET has unveiled the artwork and tracklisting for Last Patrol. Dave Wyndorf and Phil Caivano produced Last Patrol, while Evil Joe Barresi mixed the album with additional production duties handled by Matt Hyde. The artwork was created by Johun Sumrow with consultation coming from Chris Ryall and designs by Ryan Clark for Invisible Creatures Inc. The album will be available as a Limited Edition CD, standard CD, 2LP and digital format.

In support of Last Patrol, MONSTER MAGNET will be embarking on a full-blown North American Tour! Although the band has toured Europe relentlessly over the past decade, this is MONSTER MAGNET’s first full North American tour in over 10 years! The band is eager to hit the road in the states for the first time in what seems like forever. Prepare to hear MONSTER MAGNET classics and new cuts from Last Patrol for the first time live! Support will come from Prosthetic Records artist Zodiac. The tour is scheduled to kick off November 14th in Grand Rapids, MI and will run through December 14th in New York, NY.

Frontman and MONSTER MAGNET mastermind Dave Wyndorf checked in with his thoughts about Last Patrol:

“Last Patrol is a return to our roots in terms of vibe and recording style. It’s full-on psychedelic space-rock with a 60’s garage feel, recorded almost exclusively with vintage guitars, amps and effects in our hometown of Red Bank, NJ. The songs are a kind of Space-Noir, tales of cosmic revenge, peaking libidos, alienation and epic strangeness. It’s a weird trip through the back alleys of a dark, retro-future, which not by coincidence very much resembles my own life. (laughs) The lyrics aren’t fantasy really, rather a recounting of my musings on, observations of and general emotional reaction to my life and environment during a 1 week writing period in February of 2013. But I tend to use the vernacular and imagery of science fiction and surrealism to express myself and that’s where these lyrics get trippy. There’s also our cover version of Donovan’s “Three Kingfishers” which I thought fit the mood of the album.”

“Last Patrol was produced by Phil Caivano and myself with an effort to bring a home grown feel to the whole affair. We had been doing smaller projects out of Phil’s “Studio 13” recording space and I really felt comfortable there so it was the natural choice on where to record the next full-scale Monster Magnet album. Phil and I grew up together and have a shared love of some very particular vintage music and styles. And everybody in the band played their asses off on this one.”

Last Patrol Tracklisting:
1) I Live Behind the Clouds
2) Last Patrol
3) Three King Fishers
4) Paradise
5) Hallelujah
6) Mindless Ones
7) The Duke
8) End of Time
9) Stay Tuned

MONSTER MAGNET North American Tour:
11/14: Grand Rapids, MI @ Intersection
11/15: Detroit, MI @ St. Andrews
11/16: Chicago, IL @ Bottom Lounge
11/17: Minneapolis, MN @ Mill City Nights
11/19: Denver, CO @ Marquis Theater
11/20: Salt Lake City, UT @ Urban Lounge
11/22: Seattle, WA @ Neumos
11/23: Vancouver, BC @ Rickshaw Theater
11/24: Portland, OR @ Hawthorne Theater
11/26: San Francisco, CA @ The Independent
11/27: Los Angeles, CA @ House of Blues
11/29: Tempe, AZ @ Club Red
11/30: Albuquerque, NM @ Launch Pad
12/2: Austin, TX @ Red 7
12/3: Houston, TX @ Fitzgeralds
12/4: Dallas, TX @ Trees
12/6: Atlanta, GA @ Masquerade
12/7: Charlotte, NC @ Amos Southend
12/8: Baltimore, MD @ Baltimore Sound Stage
12/10: Toronto, ON @ Lee’s Palace
12/12: Boston, MA @ Sinclair
12/13: West Chester, PA @ The Note
12/14: New York, NY @ Bowery Ballroom

For More Info Visit:
http://www.zodiaclung.com
https://www.facebook.com/monstermagnet
http://www.napalmrecords.com

There’s a lot to like about this clip of new Satellite Beaver. First and foremost is the Polish foursome, because they rock. Second is the video itself, because it makes it look like the room where this Days of the Ceremony 2 fest pre-show took place has a really low ceiling. Third, the song, which will appear on Satellite Beaver‘s upcoming full-length debut and gives some indication of where the band has gone since their 2012 EP, The Last Bow (review here). Put that all together and you get a hearty “right on” from me. So yeah, right on.

Satellite Beaver, who also opened theDesertfestin Berlin this year, sent over the following update:

Last Thursday we played at warm-up party of second edition of Days Of The Ceremony festival (Pentagram, Eyehategod, Orange Goblin, Acid King, etc).

We played there along with Suma and Major Kong and this is how it went. This is our new song from upcoming debut album, which is about to be recorded in September and released on Dec. 2013/Jan. 2014.

More on the album as it surfaces, but in the meantime, here’s a sampler of where the four-piece is headed:

Satellite Beaver, Live at Days of the Ceremony 2 pre-show

UK outfit Monolith Cult, which features former members of Lazarus Blackstar and Solstice, have released their debut album today. Run from the Light is available now on Future Noise Recordings. The album was added to The Obelisk Radio last month, and the band has already made a positive impression on a number of critics, so as they gear up for the release show this Friday, look for them to take a shot at parlaying that critical success into a growing fanbase.

The news, links and the catchy eponymous tune “Monolith Cult” follow here, as dictated by the PR wire:

MONOLITH CULT “Run from the Light’ out TODAY!, Release party this Friday 26th July

MONOLITH CULT album ‘Run from the Light‘ is out today!, limited to 300 copies on white vinyl & CD, so give yourself a big heavy treat and pay a visit to our online store, we’re also offering a vinyl + CD deal, big thanks to everyone who has pre-ordered a copy shipping has already started. Future Noise Big Cartel store http://futurenoise.bigcartel.com (reviews at the bottom of this message).

And if you didn’t know the Monolith Cult release party is this coming friday in their home town of Bradford on 26th July at The Black Swan, Thornton Road. The bill will also included the monstrous B*STARD OF THE SKIES and RISE TO THUNDER. This triple bill of heaviness will cost you nothing as it’s FREE ENTRY, doors 7pm, starts 9pm, we are advising people to get there early, any press or photographers wishing to cover this gig please get in touch asap!

Also as part of the build up to this show we are giving away some free tracks by B*STARD OF THE SKIES and a full live set from RISE TO THUNDER via the Future Noise bandcamp.

http://www.facebook.com/pages/Monolith-Cult/469161969792692
http://www.future-noise.co.uk

Monolith Cult, “Monolith Cult” from Run from the Light