If you heard Stubb‘s 2012 self-titled Superhot Records debut (review here), then there are two things to know about the newly-released Ripple Music follow-up Cry of the Ocean: It’s more complex in style and emotion, and it has more of a full-album feel. I will not take anything away from the first Stubb record. Songs like “Scale the Mountain” and “Road” and “Soul Mover” and so on continue to resonate, as does the subsequent 7″ single, Under a Spell (review here), it’s just that guitarist/vocalist Jack Dickinson, bassist/backing vocalist Peter Holland (also Trippy Wicked and Elephant Tree) and new drummer Tom Fyfe have branched out stylistically from where they started. This is a positive for the band since progress hasn’t come at the expense of songwriting. At just under 39 minutes, the Skyhammer Studios-recorded Cry of the Ocean is a little longer than its predecessor, but none of that time feels wasted, whether it’s the late guitar-led jams in the closing duo of “Snake Eyes” and “You’ll Never Know,” or the Colour Haze-esque interplay of waves and standalone guitar that begin the two-part opening title-track. Rather, while Stubb have clearly become a more patient act — a credit to the time they’ve spent on stage the last couple years — their sound has only gotten richer for it. Dickinson‘s guitar tone, which is as much a draw to Cry of the Ocean as its entrancing shoreline cover art, drives this fluidity across the eight included tracks, and a flow pervades throughout the album’s two halves that stands as further evidence of their growth. The self-titled did a lot of work in establishing Stubb as a band to be taken seriously, and Cry of the Ocean succeeds in building off of those accomplishments as its sets out in its own direction.

Stubb are indebted to classic heavy rock without being retro and they nod at heavy psych on Cry of the Ocean without wading too deep in those waters. Rather than seeming noncommittal, though, the effect is that Stubb retain the penchant for hooks that made their first outing such a joy. “Cry of the Ocean Pt. 1” makes waves of its verses — “And in my mind I break loose/And in my mind I break free…” — and opens to one of the record’s first standout choruses with the lines, “Hear the cry of the ocean, baby/As washes over me.” It is a more brooding sentiment than one might’ve expected, but Dickinson sells the emotion confidently and Stubb prove early they’re more than able to pull off the turn, “Cry of the Ocean Pt. 1” giving way to “Cry of the Ocean Pt. 2,” a two-minute soulful, handclap-laden singalong that asks, “Are you free? Are you free to believe?/Free to be who you wanted to be?” The transition between the two parts is seamless, and the songs remain individually distinct, it sets up the across-album flow that will continue for most of Cry of the Ocean, with Holland and Fyfe setting up a swinging groove behind a guitar solo that adds distinction to what’s intended as a one-riff progression. “Heavy Blue Sky,” which follows, is likewise open-toned and likewise moody, but Dickinson brings lead-work forward early and with a confident, well-balanced vocal, carries the song, less based around its hook than the title cut but still memorable both for its riff and languid, swaying groove, which is held onto for the duration in a way that demonstrates the band’s patience and serves the album for the better. There’s plenty of time to blow doors off with the more fuzzed “Sail Forever,” the nod of which is immediate and which works its way smoothly toward one of Cry of the Ocean‘s best choruses, raw and classically-styled, but heavy and efficient as well, Fyfe‘s snare cutting through Dickinson‘s solo near the halfway mark.

I’m not sure where the side A/B change is. Track-wise, it’s possible to be even on both sides, but in terms of time, one’s bound to be longer than the other. For what it’s worth, the acoustic “Heartbreaker” fits well coming out of “Sail Forever,” giving Cry of the Ocean its most contemplative moment and fitting with the bluesy interpersonal thematic at play in several of the songs. A sweet, folkish guitar line at the center furthers the overarching complexity, minimal-but-still-there drums retaining movement and adding class as Dickinson and Holland come together effectively on vocals in the chorus. Some harder snare hits in the second half tell of the pickup to come, but like “Heavy Blue Sky” never lost sight of its intent, “Heartbreaker” retains its acoustic basis even in its payoff, which is more satisfying considering how easy it would’ve been for the band to layer in a wall of fuzz. That also leaves “Devil’s Brew” tasked as the wake-up call, to which its unabashed catchiness is well suited, vocals following the winding bounce of the riff in “woo-oooh” fashion and a faster, more insistent rhythm emerging. It’s quick hook, but perfectly placed on the record between the acoustic “Heartbreaker” and subsequent “Snake Eyes,” a return to a simpler heavy rock feel between excursions elsewhere and a landmark for Cry of the Ocean‘s second half. Both “Snake Eyes” (7:01) and “You’ll Never Know” (the longest track at 7:14) are more complex, but still fit with the proceedings. Holland comes to the fore vocally in the chorus of “Snake Eyes” and there’s a Hammond organ guest spot from Mos Generator‘s Tony Reed, who also mixed and mastered the album, and Dickinson saves his most impressive soloing for the closer, but the two essentially work from the same structure, moving from early verse/chorus tradeoffs into consuming power trio jams.

It’s a fitting way to end Cry of the Ocean, the layers of high-end interweaving on “You’ll Never Know” with a considerable foundation in Fyfe‘s drums and Holland‘s bass, a final effects swirl underscoring the point of how far Stubb have come in just two years’ time. Clearly they’re a unit with a firm sense of what works for them, and the boldness with which they expand those parameters on Cry of the Ocean only makes it easier to be a fan. If you heard the first record, the progress here will impress. But even if Cry of the Ocean is your first exposure to Stubb, their level of songwriting, natural tones and heavy roll seem ready to find favor at a moment’s notice.

Stubb, Cry of the Ocean (2014)

Stubb on Thee Facebooks

Cry of the Ocean at Ripple Music

Ripple Music

Following announcements that they’ll take part in next year’s Roadburn festival and the Desertfests in London and Berlin, Ohio heavy rockers Lo-Pan have made it official that Adrian Zambrano will take over the guitarist position previously occupied by Brian Fristoe. The word came quick and to the point from the band, who’ve spent much of the last five years touring hard on a steadily ascending line in terms of audience and their own approach, steadily becoming a wider known, tighter and more accomplished group. They haven’t done anything the easy way.

Zambrano comes to Lo-Pan via space rocking Columbus natives Brujas del Sol, whose airy tones and synth-heavy sound were last brought to bear on 2013’s Moonliner, on which Zambrano also handled vocal duties. No word yet on whether he’ll back up Lo-Pan‘s Jeff Martin singing, but there can be little question that the dynamic in Lo-Pan will shift with a new player introduced into what was one of the country’s highest-grade fuzz units. Regardless of how Zambrano fits in the band, it’s going to be a change. Lo-Pan‘s advantage at this point is that, if you’re a musician who wants to tour and go to Europe and play shows that people come to see, they’re in the process of making all those things happen.

And by the time next Spring rolls around and Lo-Pan head abroad for the first time, Zambrano will be that much more acclimated to being on stage with Martin, drummer Jesse Bartz and bassist Scott Thompson. Really, if they were going to bring someone in, this was the time to do it. Good luck to the band, to Zambrano, and to Fristoe as well.

Here’s the announcement and the Small Stone stream of their latest album, Colossus (review here), in case you haven’t yet had your ass kicked this morning:

Lo-Pan has parted ways with guitarist Brian Fristoe. We wish Brian all the best in his future endeavors. Taking over guitar duties is Adrian Zambrano of Columbus, Ohio. Adrian is a gifted, dynamic musician with an exciting style. Join us in welcoming Adrian to the party.

https://www.facebook.com/lopandemic
https://twitter.com/LoPandemic614
https://www.facebook.com/BrujasdelSol
http://smallstone.bandcamp.com/album/colossus

Lo-Pan, Colossus (2014)

Cactus, One Way… or Another (1971)

“I know some of you people like to dance
And I know some of you people just like to roll and rock
And roll and rock
So come on honey, it’s alright
We’ll do whatever YOU feel like…”
— Cactus, “Whatever You Feel Like”

The exact recording dates, I’m not sure, but Cactus‘ second album, 1971’s One Way… or Another, was put to tape at Electric Lady Studios in Manhattan sometime after the release of their 1970 debut, and listening to Tim Bogert swagger out the second “roll and rock” in “Whatever You Feel Like,” no question Jimi Hendrix was a presence in mind at the time. All that’s missing is a little “uh huh” after “rock.” Considering the studio opened in Aug. 1970 and Hendrix was dead less than a month later, it seems only fair to think Cactus would’ve been working with some of his influence in following up their first record, their fluid tempo shifts on “Rock and Roll Children” and the wah/acoustic layering on “Song for Aries” are easy enough to see in that light as well, though of course Cactus were foremost indebted to blues rock, and there’s plenty of that to be had on One Way… or Another as well.

Immediately, as it happens. One Way… or Another opens with the Little Richard cover “Long Tall Sally,” also done by Elvis and The Beatles and many, many others. But Cactus take the original and slow it down to a vicious, sleazy groove, guitarist Jim McCarty basically giving bassist Tim Bogert — who usually handled backup vocals to Rusty Day‘s leads, but took the fore on “Whatever You Feel Like” (Day got his moment in a harmonica solo) — and drummer Carmine Appice all the room they could ever ask for to swing through and then some. Cactus‘ Cactus was a little more unhinged, a little more dangerous overall, but the fullness of sound and tonal satisfaction that One Way… or Another provides isn’t to be understated. That’s not to say “Big Bad Mother Boogie” doesn’t have its edge, just that if you listen back to their take on “Parchman Farm” from the first record it sounds like the song is about to fly out from under them.

Their take on Chuck Willis‘ “Feel so Bad” gives a bluesy start to a side B that branches out soon with “Song for Aries” and hits possibly its most righteous note in “Hometown Bust,” a heavy return that’s as huge as anything that might’ve been called metal at a later point in the decade, McCarty wailing out a lead that, yeah, there’s Hendrix again, and killing it in the process while Day throws in some chops on harmonica. The closing title-track rests on an up-down nod of a riff not frantic but still maddening in its turns, Bogert and McCarty playing off each other brilliantly before the last chorus return, Day‘s vocals doubled for maximum effect en route to the last, all-too-quick fade.

Cactus had one more album, 1971’s Restrictions, with the same lineup, though the changes that would result in lineup shifts for 1972’s ‘Ot ‘n’ Sweaty — bringing in Leaf Hound‘s Peter French to replace Rusty Day — were already taking root. I’m not sure which I’d pick over the other, Cactus or One Way… or Another, but both are heavy rock classics and definitely the sophomore record makes some compelling arguments in its case, the upped Hendrixery among them.

Hope you enjoy.

—

In case you’re also wondering, no, I have no idea where November went. Next week is Thanksgiving, which is another one of those US holidays celebrating a fiction — this one about peace between European colonists and the native people being colonized — like Xmas or Columbus Day or Labor Day, and so on and so on, but screw it, a day off is hard to argue with. The Patient Mrs. and I are heading south for the occasion — I know you’re shocked — to New Jersey. I expect family time will consume the bulk of the week, but I’ll have some posts along the way where and when I am able as well, including a new podcast on Wednesday, so if you’re traveling for the holiday, or just sitting on your ass (it works either way), you might want to grab that when it’s up. I’m gonna shoot for Wednesday morning, but we’ll see how it goes.

Also look out for a Murcielago review hopefully on Monday and something or other on Tuesday to fill time while I pack to head to Jersey on Tuesday night. I’m looking forward to seeing family and friends and, if I’m honest, to not being in the house for a while but also knowing where I’m going, ever. After a year of where-the-hell-am-I-what’s-the-fastest-way-to-the-highway-and-which-highway-do-I-want-anyway, it’s starting to wear a little thin. Novelty fades. Inconvenience is forever.

I hope you have a great and safe weekend. I’ll be mentally preparing myself for the onslaught of the holidays by sitting as quietly and as still as possible. It’s like meditation except it involves watching hours of Star Trek episodes at a time.

Be well, and please check out the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

I’ve expressed my nerdy idolatry for Italian ‘zine Vincebus Eruptum on numerous occasions — each new issue seems to bring out a feeling of admiration for their project and their accomplishment of it — but as I flip through the latest edition, No. 18, of the vaunted publication, even more of a standout is just how together the Vincebus Eruptum product is. Editor Davide Pansolin has been slowly, steadily expanding the brand over the last year plus, taking Vincebus Eruptum from a reactivated fanzine to a state-licensed associazione culturale, beginning to work directly with bands as a label and promotion vehicle and continuing to give Italian heavy rock and psychedelia its best public representation as the scene grows in no small part because of its own efforts. An example? When I removed Vincebus Eruptum from its plastic sleeve, inside I found a CD copy of Essay on a Drunken Cloud (review here) by Anuseye. It’s not the first time Vincebus Eruptum has tied in Vincebus Eruptum Recordings releases with the publication itself, but even the sheer amount of coordination involved was impressive, since not only was the album placed right between the two pages containing an interview with guitarist/vocalist Claudio C. (also ex-That’s all Folks!), but those two pages were also the dead-center of the issue itself.

Attention to detail like that, coupled with the psychedelic design and unabashed readiness to support the European heavy psych scene make Vincebus Eruptum indispensable. The Anuseye CD, which is only available with the issue (vinyl is for sale separately), is also reviewed — I won’t begrudge Pansolin laying it on a bit thick in the self-promotion department as the ‘zine celebrates its 15th anniversary — and as usual, the company it keeps is an impressive swath of recent heavy rock and psych releases from groups like Octopus Syng, Fatso Jetson/Herba Mate, Hot Lunch, L’Ira del Baccano, Vibravoid, Electric Moon and so on. Of course, Italy is thoroughly represented, both in independent bands and through labels like Go Down Records, Heavy Psych Sounds and Vincebus Eruptum Recordings. As ever, the pieces are concise and to the point — there’s a lot to fit — but informative and give a sense of what the groups are going for and whether or not they get there, and I find myself with an expanding wishlist of stuff to check out. Business as usual, in that regard, but it’s no less true reading No. 18 than it ever is, Pansolin handling all of the reviews by himself this time out except for Essay on a Drunken Cloud, which he turns over to Roberto Mattei.

Being a sucker for that kind of thing, I tend to go to the reviews first, but interviews with Electric Wizard, Swedish sleeper-hitters Jeremy Irons and the Ratgang Malibus and retro cyclone Prisma Circus make for fascinating fare, and having seen their name with an increasing frequency, I appreciated a chance to get a better sense of Australia’s Child as well. Da Captain Trips, who also have a record out through Vincebus Eruptum Recordings, are interviewed, though I think most fascinating of all is the chat with Wolf, who heads the German imprint World in Sound, and is responsible for fostering quality acts like Samsara Blues Experiment, the aforementioned Prisma Circus, The Lone Crows, Doctor Cyclops and many others. Topped off by Kabuto cover art recreating the Malleus cover of the first issue 15 years ago, a stirring note in the beginning from Pansolin himself, and the Anuseye album for a soundtrack, and Vincebus Eruptum seems to be passing the 15-year mark going stronger than ever. As someone always happy to nerd out on what Pansolin and his crew have going, I couldn’t be happier for them and hope we get another 15 years of quality, dedicated psychedelia coverage and much more.

Anuseye, Essay on a Drunken Cloud preview

Vincebus Eruptum at Heavy Ripples Distro

Vincebus Eruptum website

Vincebus Eruptum store

Vincebus Eruptum on Thee Facebooks

Anuseye on Thee Facebooks

German heavy psych trio Mother Engine are the latest confirmation for Desertfest Berlin 2015. They join the esteemed ranks of Orange Goblin, Red Fang, Black Pyramid and Karma to Burn in the lineup for the fest, which is set for the end of next April at the Astra Kulturhaus, where Desertfest has been held since its inception. I won’t pretend to know a lot about the three-piece, who got their start in 2011 and decided to press on as an instrumental act following the departure of their frontman, but if the jammy heavy rock they propagated on their 2012 Fuzzmatazz Records debut, Muttermaschine, is any indicator of where they’re at now, they should fit right in on the bill.

The album is rife with warm tones and a natural, jammed-out vibe in the post-Colour Haze vein, though a little rougher around the edges for Mother Engine being a new band. Since it will be about two and a half years after the release by the time they take the stage at Desertfest, I’d be interested to hear how they’ve changed in that time. Maybe the slot coincides with a new album? I guess we’ll find out sooner or later.

For now, the announcement:

Mother Engine confirmed for DesertFest Berlin 2015!!

Since their legendary campsite gig at the Stoned From The Underground 2013, everyone has either heard of their name or even their great debut record, “Muttermaschine”. Their music is chill-out music to the max, music that touches your soul, and they truly deserved to be part of the festival next year!

Get your limited HARD TICKET along with a free DESERTFEST 2015 T-Shirt (with Elvisdead design) on Woolheads!
http://woolheads.com/…/desertfest…/tickets-desertfestberlin/
Only 200 available (85€ + shipping)!

DESERTFEST BERLIN #4 – APRIL 23th, 24th, 25th 2015
ASTRA KULTURHAUS / F-HAIN/X-BERG BERLIN (GER)

Red Fang + Orange Goblin + My Sleeping Karma + Black Pyramid + Karma To Burn + Brutus + Dopethrone + The Atomic Bitchwax + Lo-pan + Mountain Witch + Mother Engine + many many more acts:)

www.desertfest.de
www.soundofliberation.com
http://motherenginerock.bandcamp.com/
https://www.facebook.com/MotherEngineRock

Mother Engine, Muttermaschine (2012)

Finnish four-piece Renate/Cordate (also stylized lowercase as renate/cordate) were last heard from with their early 2013 self-titled debut full-length (review here), which was a solidly constructed and smooth sounding execution of heavy psychedelia. Reminiscent at times of My Sleeping Karma‘s ultra-fluid push, it showed the then-instrumental outfit had room to grow but already a decent idea of what they were going for tonally and in terms of process. A good start, in other words. Twenty-one months later, they return with Growth, which the respected purveyor Breathe Plastic Records will release on tape in December, their sophomore outing comprised of four mostly extended tracks that come from a different enough stylistic base that I had to double-check and make sure I was listening to the same band the first time I put it on. With only one of the four cuts under 10 minutes long, Renate/Cordate have blown out their expansion to a cosmic degree, churning opener “Evolve, Submit” around Ufomammut-style repetition and following a psychedelic doom path of deep-echoing vocals around what seems a chaos swirl of massive tonality, hypnotic and deep. Working with Niko Lehdontie of countrymen psychedelonauts and Svart Records inductees Domovoyd to add extra effects to the wash, Renate/Cordate — the same lineup as last time of guitarists Ville and Samuli (the latter also vocals), bassist Aki and drummer Antti-Pekka — present such a stylistic turn that I’m tempted to think of Growth as a debut and of the self-titled as a demo for how much more solidified and clear-headed in their purpose the band seems to be. At very least, you could say the album is aptly-named.

And if the shift in sound is jarring, it’s bound to be less so for anyone who didn’t hear Renate/Cordate‘s debut and for whom Growth marks their first exposure to their work. It is an expansive 43 minutes, still perhaps vinyl-ready, though they’d more likely get rid of third track “Laudanum” and dedicate the whole of side B to the 17-minute closer “Mother” for ease of time. Side A, then, would be the back-to-back 10-minute post-doom wallops of “Evolve, Submit” and “Humankind (Not My Kind),” which quickly announce the band’s new direction in their sprawl and atmospheric take. The record is a big jump from where they were last year, and clearly a purposeful one, but not all of the elements from Renate/Cordate, the album, are gone. One can still hear the airy ringing of Russian Circles-style post-rock guitar presiding over the mix as the opener rolls past its third minute and into the first of Growth‘s encompassing space-doom nods. Heavy crashing leads to a quiet break of minimalist guitar — one of their most Ufomammut moments — and “Evolve, Submit” explodes again into cascades of echoing riffs that set a lot of the atmospheric course for what follows, rounding out with a long fade of feedback into dreamy synth that pushes forward into the quiet guitar opening of “Humankind (Not My Kind),” which is more about the tradeoffs than was “Evolve, Submit,” but no less ably conceived. An extended subdued intro builds for the first three and a half minutes before pushing into its first heavier section. The lull has the effect of drawing a listener further in, and should Renate/Cordate continue in this direction — after the difference between their first two albums, I wouldn’t speculate as to where they might go on a third — I wouldn’t be surprised to find them toying more with that feeling of stillness and the juxtaposition against pummeling riffs, but even here, they’re able to transition easily from light to heavy and heavy to light, as they do on “Humankind (Not My Kind),” taking the song all the way down to silence before rebuilding their way to the tone-wash apex that ends out.

The shorter “Laudanum” follows and is more immediate in its riffing though ultimately just as spacious as the rest of what surrounds, even finding room in its six minutes for a jammy midsection break that boasts some especially satisfying guitar work holding the tension until the heavier tones reemerge and thrust into a louder and louder burst of noise. If there are vocals — and there might well be — they are buried deep enough in the mix that they’re indistinguishable from a sample. All you get is a vague human presence, and it works to the song’s advantage, cutting out right before the thrust of the final echoing solo, deconstructed along with everything else to bring about the 16:53 concluding statement, “Mother.” Begun on a foundation of bass and drums backed by swirl and ambient noise, “Mother” unfurls essentially as a combination of everything else Renate/Cordate do on the album structurally, bridging the gap between a loud/quiet interplay and an extended linear build by simply doing both. Before its first four minutes are through, it has built up and peaked and moved to an ethereal, almost jazzy peacefulness, but the crushing reignites several minutes later, only to once again fall back past seven minutes in. This is the key transition, since the band uses this stillness as the starting point for the trip to to Growth‘s last crescendo. The turn happens right around the 12:30 mark, but by then, it’s less about payoff than just going where the band takes you, and that winds up being Renate/Cordate‘s greatest success with their second album. They’ve accomplished this change in style, which is all well and good, but they’ve managed to hold onto the immersive nature of what they did on their self-titled as well, and that only makes the ending of “Mother” more consuming and thus more satisfying. Yes, it’s wildly heavy, and yes, it’s a suitable ending, but what leaves an even more resonant impression is the ability of the band to retain their control over their sound even at its most unbridled. If they do wind up staying on this path, or if they don’t, that can only serve them well as they continue to progress.

[PLEASE NOTE: I’ve been given permission by Renate/Cordate to host a full stream of Growth for your listening pleasure. I hope you’ll give it a shot on the player below and enjoy.]

[mp3player width=480 height=360 config=fmp_jw_widget_config.xml playlist=renate-cordate-growth.xml]

Renate/Cordate on Thee Facebooks

Renate/Cordate on Bandcamp

Breathe Plastic Records

If you think the jump-up-and-down-and-run-in-circles fuzz of Truckfighters and the classic-minded heavy blues rock of Blues Pills don’t mix, the two Swedish acts have more in common than you might think, up to and including drummer André Kvarnström. Kvarnström was playing with Truckfighters after they parted ways with Oscar Johansson (who subsequently joined Witchcraft, just in case the scene didn’t seem incestuous enough yet), but has rotated into the lineup of Blues Pills following their split with Cory Berry, half-brother of Blues Pills bassist Zack Anderson and, like Anderson, an alum of Radio Moscow.

Got all that? Good. The takeaway is Blues Pills and Truckfighters are touring Europe together next March/April and they’ll be joined by Jex Thoth. They’re calling it the “Rock Revelation Tour” and the announcement goes like this:

Blues Pills – Truckfighters – Jex Thoth

ROCK REVELATIONS TOUR

BLUES PILLS are back! After their successful first big headline-tour in October 2014 with 11 sold out shows in Germany, Belgium, Switzerland and Austria, the band is going to come back for 13 shows. BLUES PILLS´ singer Elin Larsson comments: “We´re very happy to announce that we´re going to come back to Germany and Switzerland to play some new places that we couldn´t do on our last tour. We´re looking forward to meeting you all in March and April 2015. Love / BP´s”

Next to Blues Pills their fellow countrymen TRUCKFIGHTERS are confirmed as well as US Doom/Psych Rock sensation JEX THOTH.

Get your tickets at www.hardticket.eu for BLUES PILLS and their 2 very special guests on this tour.

TOURDATES
20.03.2015 DE – Erfurt, Stadtgarten
21.03.2015 DE – Berlin, Astra
22.03.2015 DE – Dresden, Tante Ju
23.03.2015 DE – München, Backstage
25.03.2015 CH – Geneve, Usine
26.03.2015 DE – Lindau, Club Vaudeville
27.03.2015 DE – Cologne, Kantine
28.03.2015 DE – Olsberg, Konzerthalle
30.03.2015 DE – Saarbrücken, Garage
31.03.2015 DE – Karlsruhe, Substage
01.04.2015 DE – Wiesbaden, Schlachthof
04.04.2015 DE – Oberhausen, Turbinenhalle
05.04.2015 CH – Zürich, Komplex

TOURPRESENTER
Blast!, EMP, Eclipsed, Musix, Noizeletter, Rockhard, Rocks, Visions

TICKETS
www.hardticket.eu

https://www.facebook.com/BluesPills
https://www.facebook.com/truckfighters
https://www.facebook.com/pages/Jex-Thoth-Official/360347127314661

Blues Pills, “No Hope Left for Me” official video

I mean, duh, right? This one’s an absolute no brainer. You’ve got Floridian duo Holly Hunt and Northern Irish three-piece Slomatics — both of whom utterly destroy — packed together on a split 7″? AND Holly Hunt‘s song is called “Bill Ward?” It’s like the easiest sell in the world. What more could you possibly ask of heaviness than that?

Fucking Slomatics, man. Every time I hear that band, it’s just a reminder of how much more I need to hear that band. I’m still kicking myself for not having the cash to shell out and purchase a proper CD copy of their Feb. 2014 full-length, Estron — though it’s audible on Bandcamp here — let alone reviewing it. And Holly Hunt released their Prometheus EP this summer on Other Electricities and like everything they’ve done up to now, it just crushes. Good bands pairing up to do cool shit. It doesn’t get much better than that.

Other Electricities will have the split out on Dec. 2 in the US. Black Bow Records — the imprint helmed by Conan guitarist/vocalist Jon Davis — is handling the UK/EU release as well. All parties worthy of support.

Info and audio previews follow. Fucking a:

Slomatics/Holly Hunt – Split 7”

Two sides of heavy from two parts the world! Holly Hunt’s “Bill Ward” on the A side – an authentic testimonial to the duo’s live sound and energy. Slomatics’ “Ulysses, My Father” on the flip – a sludgy sonic tale. Miami meets Belfast, all take cover! Mastered by James Plotkin. Out Dec 2nd via Other Electricities / Sonic TITAN (US) and Black Bow (UK/EU).

Audio previews/artwork:
Holly Hunt – “Bill Ward”
Slomatics – “Ulysses, My Father”

Formed in Belfast late 2004, Slomatics aim to reduce riffs to a primal state of heaviness, to produce music which whilst imploding under its own weight, creates a joyous and euphoric state of wellbeing which can only be obtained with a slew of vintage amplifiers, fuzz pedals, analog synths and an alarming array of percussion instruments. This has endured through UK tours, gigs in Europe, four albums and a mountain of split/vinyl/cassette releases. Showing no signs of slowing down, the band will bring 2014 to a close with a seismic split release with Miami bruisers Holly Hunt. The band’s new lastest album, Estron, was released February 2014 to universal praise, including the Quietus best of 2014 and was nominated for the Northern Ireland Music Prize 2014.

Drummer Beatriz Monteavaro (ex Floor/Cavity) and guitarist Gavin Perry have demonstrated themselves as a loud and lumbering giant of the Miami music scene. The visceral impact of sound – the raising heart rate, neck chills, the warmth spreading throughout your torso – this is Holly Hunt’s raison d’être. Holly Hunt champions heavy metal’s potential to transcend genre and become a physical experience. Though stripped down to the most bare essentials, the duo’s innate technical chops, strong dialogue, and incredibly deep relationship to their gear produces a sound and style far beyond rudimentary tags like “heavy,” “hard,” or “brutal.”

http://hollyhunt.bandcamp.com/
https://www.facebook.com/HOLLYHUNT.LTD
http://slomatics.bandcamp.com/
http://www.facebook.com/pages/Slomatics/196382747053529
http://other-electricities.com/album/oe040
http://blackbowrecords.bigcartel.com/

Slomatics, “Ulysses, My Father” Preview

Holly Hunt, “Bill Ward” Preview