Demon Cleaner, The Freeflight (2000)

Something of a lost classic of its era now, Demon Cleaner‘s 2000 debut, The Freeflight isn’t actually all that lost. Molten Universe, the label that put it out 16 years ago along with early releases by related Swedish acts Dozer and Greenleaf, still has copies available. So maybe not lost, but in the pantheon of the beginnings of Europe’s stoner rock boom of the late ’90s and early ’00s, Demon Cleaner deserve consideration alongside Dozer and Lowrider, among others, and their name is often left off that list. Part of that I think is owed to timing. If the early-Fu Manchu fuzz of “Head Honcho” or “Megawheel” dropped today, it would come accompanied by a video of somebody skateboarding in slow motion and would be hailed for its post-grunge authenticity of tone and live feel. Because it was 2000 — a time when discovering music on the internet was something done largely through surfing somebody’s Napster offerings or the odd message board — the process was different and not nearly so widespread, and unlike Lowrider, who had US distribution through MeteorCity, or Dozer, who kept putting out records, Demon Cleaner called it quits after 2002’s self-titled follow-up (also on Molten Universe), with members moving onto Stonewall Noise Orchestra and drummer Karl Daniel Lidén joining Dozer and Greenleaf before embarking on solo material and a successful career as an engineer — he did the latest Katatonia, for example — so there hasn’t been the same kind of sustained legacy for Demon Cleaner as some of their peers.

That, of course, does nothing to diminish the “Spit blood and gasoline/Chrome and steel/Megawheel” appeal of that track or the nodding roll of “Up in Smoke,” or the push of a song like “Mothertrucker,” in which one can hear the roots of a brand of fuzz rock that countrymen acts like Truckfighters would continue to progress years later. Tone is a huge part of the appeal, as closer “Heading Home” successfully emphasizes, but there’s a rawness in the vocals, a dryness, where so much of what came afterwards was and has been drenched in reverb. It gives the delivery of guitarist Daniel Söderholm — joined at this point by Lidén, guitarist Kimmo Holappa and bassist/vocalist Martin Stangefelt — a punkish feel that’s ultimately much truer to the bulk of what came out of the Californian desert scene, whether it was Kyuss or heavy rock compatriots like the aforementioned Fu Manchu. Listening back to The Freeflight now, one can hear the aesthetic of pre-retro European heavy rock taking shape, and while Demon Cleaner may always be noted for having issued a trio of early splits alongside Dozer before their records dropped, linking those two acts and that scene, their albums deliver something from which even Dozer was operating on a different wavelength, and while of their time, I think these tracks still hold up all these years later.

If you’re worried about investing the time in checking it out, The Freeflight has a long break after “Heading Home” before a hidden cut, so it’s not actually 55 minutes long. I guess it was the Lowrider news earlier today got me thinking about these guys, but either way, I hope you enjoy.

—

If you’re at Desertfest this weekend in either Berlin or London, I hope you have an absolute blast. I’ll admit to being more than a little jealous. Maybe next year I’ll get to Berlin finally or make a triumphant return to Camden Town. I’ll go anywhere that’ll have me, basically.

Rough week at work but who cares? Dragged down by bullshit. Hate letting it get to me. Hate that it does at all. The list goes on. Screw it. Got a couple days not to think about it, so I’m gonna hold tight to that.

Next week: Monday, track stream from Bright Curse and an in-studio report about the new Scissorfight being tracked at the new Mad Oak. Tuesday (right now), Crypt Sermon interview. Wednesday, track stream from Wo Fat. Thursday and Friday I don’t know yet, but probably something will come along, and there are also videos for Kadavar, Limestone Whale, Spiritual Beggars and Drive by Wire that have all dropped in like the last day, so a bit of a backlog there, but I’ll do my best to get on top of that as well. We’re getting into May already. Amazing how quick this year is going.

Before I go — much as I’m ever “gone,” what with writing on the weekends and all — I want to say thanks for the tremendous amount of support I’ve gotten for the book release, for the All-Dayer in August, and for this year’s Roadburn coverage. It’s all hugely appreciated. Because I work full-time in addition to doing this, I don’t always have the chance to be as communicative as I should, because quite literally the choice I make every day is to write or to do everything else and if it’s one or the other I’m writing every time, but please know that if you’ve reached out to me over the last few weeks, thank you. And if you haven’t and you’re reading this, thank you anyway.

Please have a great and safe weekend, and please check out the forum and the radio stream.

The Obelisk Forum

The Obelisk Radio

Washington heavy rock trio Mos Generator and duo Year of the Cobra recently got together to record songs on a 4-track tape for an upcoming split single, with Mos Generator‘s Tony “The Restless” Reed at the helm. The news today is that this split, which will be out on Ripple Music and H42 Records, will coincide with a US tour beginning in June that also leads Mos Generator closer to the release of their new album, Abyssinia, on Listenable Records in July. I’d expect this to be just the first round of what will probably be a several-legged run to support Abyssinia. Ever since Mos Generator took to the road following 2014’s Electric Mountain Majesty (review here) with a revamped lineup, they have basically never looked back.

Year of the Cobra‘s debut long-player is set to arrive later this year as well. Not sure if it’ll be out by the time of this tour — STB was handling the release, last I heard — but they’re sure to be heralding its coming one way or another. Their 2015 EP, The Black Sun (review here), can be streamed below.

Tour dates and the recently-unveiled art for Abyssinia follow, as seen on the social medias:

“Been waiting to announce this for a while… Year of the Cobra and Mos Generator have a split 7″ record coming out on Ripple Music and H42 Records. Both bands will tour the U.S. together this summer to support it. Check the poster for dates! Also, both bands will be playing separately on the dates not listed – check our websites for more info on that. Looking forward seeing and meeting some new friends this summer.”

Mos Generator have unveiled the cover artwork of their new full-length album, ‘Abyssinia’, scheduled for a July release.

Tony Reed comments”These new songs show major change and growth for the band, I wanted the cover to represent that as well. I knew it was going to be collage art style and in searching for an image that moved me I came across this untitled piece. Abyssinia is slang for “I’ll be seeing you”. Sometimes my brain feels like the image on the cover.”

Here are the complete dates for the Mos Generator U.S. tour. More Regional (northwest) dates and European dates for MG coming soon.

6/16 Portland OR –
6/17 Missoula MT – The Palace*
6/18 Salt Lake City UT – (Crucialfest)
6/19 Denver CO – Hi-Dive
6/20 Lincoln NE – Bourbon Theater
6/21 Sioux Falls – Bigs Bar*
6/22 St Paul MN – Agharta records (7pm in-store)
Big Vs (night show)*
6/23 Indianapolis IN – State st pub*
6/24 Chicago IL – Reggie’s
6/25 Columbis OH – Ace of Cups
6/26 Frederick MD (Maryland Doom Fest) Cafe 611
6/27 Raleigh NC – Slim’s*
6/28
6/29 Little Rock AR – Vito’s*
6/30 Tulsa OK – Holy Mountain Records(7pm in-store)
Downtown Lounge (evening show)*
7/01 Fort Worth TX – The Grotto*
7/02 Austin TX – The Lost Well*
7/03 OFF
7/04 Albuquerque NM – Launchpad*
7/05 Flagstaff AZ* – Greenroom*
7/06 Las Vegas NV – Dive bar*
7/07 Boise ID – Neurolux*
7/08 Seattle WA – The Substation*
7/09 Vancouver BC – SBC*
* w/ Year of the Cobra

https://www.facebook.com/MosGenerator/
https://www.facebook.com/yearofthecobraband/
www.ripple-music.com
https://h42records.bandcamp.com

Mos Generator, “The Prow” (Voivod cover)

Year of the Cobra, The Black Sun EP (2015)

There is just no mistaking the metal in Dee Calhoun‘s pipes. Even in the context of the acoustic-twanging Rotgut, his forthcoming solo debut, the rare power in Calhoun‘s voice shines through in the force of his delivery. To wit, his new video for “Rotgut,” the title-track from the album, finds him exploring expression through guitar and percussion as well, but it’s still his singing that makes the song so striking. Moreover, Calhoun‘s ability to conjure a mood around his voice, a sense of struggle even when he’s so tuned to fist-pumping triumph, leaves the track feeling all the more like an accomplishment.

June 6 is the release date for Rotgut via Argonauta Records, and Calhoun also has a book out — Tales of the Screaming and Mad, derived from the nickname “Screaming Mad” Dee — so in addition to serving as the frontman for Maryland doom stalwarts Iron Man, he’s keeping plenty busy. Solo shows have also become more frequent, and if you’re looking for more of a taste of what Rotgut has to offer, there are an increasing amount of live clips available to surf through. Once he starts singing, you basically can’t miss him, even in the middle of the woods as he is here.

Video follows with more info on the clip and song, as found on the internets:

Dee Calhoun, “Rotgut” official video

Beyond stoked to premiere today the first single by Dee Calhoun, singer of Doom legends Iron Man Band, from his solo debut release “Rotgut”.

“Rotgut” is also available now for preorders:

CD Digisleeve: http://bit.ly/1VWewHv (SAVE 20%)
CD + T-Shirt (all sizes): http://bit.ly/26wrmzU (bundle offer only for preorders)

Rotgut, the song:

Produced and engineered by Dee Calhoun. Recorded at The Dustbuster, Frederick MD. Mastered by Doug Benson at Commodore Recording Studio, Thurmont MD. Lyrics and music by Dee Calhoun.

Dee Calhoun – vocals, guitar, percussion
Muddy Jelly – Harmonica

From the album “Rotgut,” on Argonauta Records

Rotgut, the video:
Directed and edited by Dee Calhoun. Cameras by Dee Calhoun and Robert Calhoun. Featuring Mike Orris as “The Junkman.” Special thanks to Dorothy and John Nahwooks. Public domain footage courtesy Internet Archive.

Dee Calhoun website

Argonauta Records

Today, Austrian festival Lake on Fire 2016 announces its second headliner will be Swedish heavy rockers Lowrider. It’s been a minute or two since the reformed four-piece were last heard from, and though they’ve been teasing the prospect of new recordings and new material for a while now, concrete word of a release to follow-up their landmark 2000 debut, Ode to Io, has yet to surface. They join Uncle Acid and the Deadbeats at the top of the two-night bill for the fest, which takes place in Waldhausen at a lakeside campsite and is already sold out. Because it’s lakeside riffing, and I don’t think I’ve ever met anybody who doesn’t think that’s an awesome idea. I know I do. Frankly, the fest should be sold out on principle alone.

But hey, if you want an extra dose of awesome, Lowrider will most certainly provide that. Wonder if they’ll play new material.

From the PR wire:

You guys are expecting something rare n’ heavy – allright, look no further! For the very first time here in Austria, please welcome a mighty bulldozer named Lowrider! One of the early European Stoner Rock pioneers will arrive at the floating stage for a very special fly-in show! So much heavy riffage!

THANK YOU/THANK YOU/THANK YOU
UnfUCKIN’believeable! You guys must be kidding! The festival is sold out again, but what – in 90 seconds??? Seriously? Looking forward to see you crazy dudes and dudettes in August!

We are very sorry for those who haven’t got their tickets. Believe us, we have never been prepared for a demand like that! We would love to give everyone access to the Lake on Fire, but our capacities are limited and it was always our intention to keep the festival’s familiar and homely atmosphere!

However, as we had a lot of advance payment purchases with 10 days allowed for payment, we will keep you updated, in case some ticket orders will get cancelled again!

Lake on Fire Festival returns for its 5th anniversary on 05-06.08 2016

LINE UP:
Uncle Acid and the deadbeats (UK)
Causa Sui (DK)
Gomer Pyle (NL)
The Flying Eyes (US)
Savanah (AT)

https://www.facebook.com/lowriderrock/
https://www.facebook.com/LOF.festival/
https://www.facebook.com/events/528023717362620/
http://www.lakeonfirefestival.com/

Lowrider, Live at Hellfest 2014

[Click play above to stream Heavy Psych Sounds’ four-way split between The Golden Grass, Killer Boogie, Wild Eyes SF and Banquet in full. It’s out today.]

There are far more ambitions toward compilation series than there actually are actual, realized compilation series. Very often, a record label or other party putting together a multi-band release finds that the coordination involved isn’t worth the effort or the expense, and so a lot of “Vol. 1”-type offerings go without a sequel. Given the impressive roster and body of work that Italian imprint Heavy Psych Sounds is currently engaged in fostering, and the sheer amount of drive that the label puts into that process, it shouldn’t really be a surprise that the 2014 4-Way Split Vol. 1 (review here) has gotten a follow-up of like-minded scope. That first release brought together the venerable likes of Naam, Black Rainbows, White Hills and The Flying Eyes, and worked with a heavy psychedelic and space rock influence as its central unifying theme, tying disparate material and recordings together with an overarching sense of purpose that resulted in a successful front to back flow despite the series of swaps of one band for another.

4-Way Split Vol. 2 takes a similar approach, but has swapped out the underlying theme of space for boogie, each of the four included acts — Brooklyn’s The Golden Grass, Rome’s Killer Boogie, San Francisco’s Wild Eyes and Banquet — digging deep into a classic shuffle presented with its own take across three songs apiece operating in various degrees of retro-fied style. Once again, the foundational commonality between the bands brings the material cohesion, and ultimately, 4-Way Split Vol. 2 highlights the cutting edge in where heavy rock is going and how its modern era is directly influenced by classic methods.

Those vibes start just about immediately as The Golden Grass kick off the release with the motor-riffing of “Livin’ ain’t Easy,” followed soon by the handclap swing of “Flashing out of Sight” and the flute-inclusive jam in “Hot Smoke and Sasafrass,” the trio nodding there toward some of the progressive influence they showcase on their also-newly-issued second album, Coming Back Again (review here), where both “Livin’ ain’t Easy” and “Flashing out of Sight” both have a more straightforward approach, more active on the whole than the laid back style of their 2014 self-titled debut (review here), but very clearly grown out of a similar mindset. Who-style acoustic/electric blend on “Flashing out of Sight,” vocal harmonies on “Livin’ ain’t Easy” and the aforementioned flute assure that The Golden Grass stand out from the crowd on 4-Way Split Vol. 2, but that will become as much of a theme for each act included as much as the concurrent thread of boogie.

Speaking of, Killer Boogie seem to have formed with their moniker as a mission statement, leaving nothing to question as to their intent on their three cuts, “You Will be Mine,” “Make Another Ride” and “The Thunder.” Their first album, Detroit (review here), arrived in 2015, and they weren’t a band for long before that, but with Gabriele Fiori — also of Black Rainbows and head of Heavy Psych Sounds — out front on scorching guitar and vocals (note the Hendrix turn in “You Will be Mine”) and The Wisdoom‘s Luigi Costanzo on drums alongside bassist Matteo Marini, Killer Boogie party-vibe their way through infectious ’70s-style heavy, brash in the tradition of Blue Cheer but still owing just an edge of their sound to psychedelic swirl. These tracks prove Detroit was no fluke, and further Killer Boogie‘s position as one of the most exciting new groups of the last couple years.

Heavy Psych Sounds has rolled deep on the West Coast heavy rock boom, and one can’t help but feel like pairing Wild Eyes SF and Banquet next to each other on 4-Way Split Vol. 2 is intended to emphasize that point. Wild Eyes, who share bassist Carson Binks with Saviours and signed to the label in summer 2014 in time to play a European tour that fall put together by HPS‘ booking wing, begin their section with the blown-out, raw-after-a-night-out soul of Janiece Gonzalez, who proceeds to tear into that song, the blues-catchy “Gator Shaker” and shuffling “Hot Sand” with a commanding performance bolstered by the natural tonality behind it. After the initial wake-up call, Wild Eyes continue the momentum that The Golden Grass and Killer Boogie got rolling, while also distinguishing themselves with their boozy sway and still-friendly-until-they-punch-you fuckall.

Their last album, Above Becomes Below, was released in 2014 as the follow-up to their 2013 debut, Get into It! (review here), and they fit well alongside Banquet, who do the honors of rounding out 4-Way Split Vol. 2, only months after putting out their debut LP, Jupiter Rose (review here). Whether their three inclusions, “Seven Sisters,” the expansive and propulsive “Starmaker” and a righteous cover of Baby Huey‘s “Runnin’,” were recorded at the same time as Jupiter Rose or not, could go either way, but they certainly fit right in here, and the closing take on Baby Huey speaks to the underlying soul/funk influence that’s often the unexplored aspect of modern heavy. Mirroring the straight-ahead grooves of Killer Boogie, Banquet bring the split to a raucous finish worthy of the good times preceding, and serve as a reminder of the vibe that draws all these acts together. What Heavy Psych Sounds might have in store for 4-Way Split Vol. 3, I’ve no idea, but it seems entirely likely that with two successful thematic compilations/splits under its belt, the label might just keep going with it. This installment does nothing but push momentum forward for all involved parties.

The Golden Grass on Thee Facebooks

Killer Boogie on Thee Facebooks

Wild Eyes SF on Thee Facebooks

Banquet on Thee Facebooks

Heavy Psych Sounds

Following a couple weekenders next month — including one alongside Brooklyn’s Tombs — and a gig in Baltimore with The Body and Krieg, Philadelphia blackened psychedelia purveyors Hivelords will head out in June for about a month solid of touring the East Coast and Midwest. They’ll do this partially in the company of Set and Setting and Choking, but also with a fair amount of solo shows on what seems like a considerable summertime slog through a region that, at that point, will be humid enough to no doubt inspire much buzzsaw tone and atmospheric murk.

They go supporting their 2015 full-length, Tapered Limbs of a Human Star, which was released last August by Anthropic Records. The PR wire brings dates, details, links and audio:

HIVELORDS announce spring/summer tour dates

Philadelphia psychedelic black metal band HIVELORDS announces new tour dates for spring and summer 2016. The tour, which starts on May 5th in York, Pennsylvania, sees HIVELORDS travel throughout the months of May, June and July before ending on July 3rd in Philadelphia. HIVELORDS will have direct support from SET & SETTING (Florida, Prosthetic Records) and CHOKING (Ohio). HIVELORDS will also be direct support for Brooklyn-based blackened heavyweights, TOMBS (Relapse). This is HIVELORDS fifth fully DIY North American tour.

A full list of confirmed tour dates and lineups can be found below.

HIVELORDS will be touring in support of their critically acclaimed album, Tapered Limbs of a Human Star. HIVELORDS full discography is streaming now at the Anthropic Records Bandcamp site.

HIVELORDS tour dates:
*Hivelords only dates
5/5 York, PA –Skid Row Garage*
5/6 Utica, NY-Gordon’s Tap Room*
5/7 Binghamton, NY-Greasy Manor*
5/8 New Hope, PA-John & Peter’s*
5/13 Philadelphia, PA-Kung Fu Necktie w/ Tombs
5/14 Pittsburgh, PA-Roboto Project w/ Tombs
5/15 Detroit, MI-EL Club w/ Tombs
5/16 Chicago, IL-Chop Shop w/ Tombs
5/26 Baltimore, MD-Metro Gallery w/ The Body & Krieg
6/9 Lindenwold, NJ-The Sex Dungeon*
6/10 Allentown, PA-Alternative Gallery*
6/11 Pittsburgh, PA-The Smiling Moose*
6/12 Dayton, OH-Blind Bob’s w/ Choking
6/13 Cincinnati, OH-Junker’s Tavern w/ Choking
6/14-Indianaplos, IN-State Street Pub w/ Choking
6/15-Louisville, KY-Modern Cult Records w/ Choking
6/16-Nashville, TN-The East Room w/Choking
6/17-Birmingham, AL-TBA w/ Choking
6/18-Chattanooga, TN-JJ’s Bohemia w/ Choking
6/19-Atlanta, GA-The Earl w/ Set and Setting
6/20-Jacksonville, FL-Burro Bar w/ Set and Setting
6/21-Orlando, FL-The Space Station w/ Set and Setting
6/22-Miami, FL-Churchill’s Pub w/ Set and Setting
6/23-Tampa, FL-New World Brewery w/ Set and Setting
6/24-Savannah, GA-The Jinx w/ Set and Setting
6/25-Columbia, SC-New Brookland Tavern*
6/26-Wilmington, NC-TBA*
6/27-Charlotte, NC-The Station*
6/28-Raleigh, NC-Slim’s*
6/29-Richmond, VA-Strange Matter*
6/30-Harrisonburg, VA-Golden Pony*
7/1-Baltimore, MD-The Sidebar*
7/2-Egg Harbor City, NJ-Friendship Mountain*
7/3-Philadelphia, PA-Homecoming show at Kung Fu Necktie*

hivelords.com
hivelords.bandcamp.com
facebook.com/hivelords
anthropicrecordsphiladelphia.com
facebook.com/anthropicrecordsphiladelphia
twitter.com/#!/anthropicrecord
anthropicrecords.bandcamp.com

Hivelords, Tapered Limbs of a Human Star (2015)

On my first listen through of The Western Mystics‘ new live release, The Last Western (Live at Treefort 2016), all I had to go by was the waveform. I didn’t know the names of the songs they played, or where one started and one stopped, and while I’ve since been able to garner that information, I think the other way has a certain appeal as well. Not knowing where one piece ends and the next begins, The Last Western flows as a single entirety, and I’ve no doubt that’s exactly how it was presented at Treefort Music Fest 2016 last month in the band’s native Boise, Idaho, lush and psychedelic in some places, showcasing encouraging depth of ambience in quiet stretches with vocals as much as keys and/or baritone guitars, and taking off on flights of classically-styled progressive rock. In short, this is a band capturing the process of finding their sound on stage, live, as it happened.

That’s a pretty bold move for a group who, to-date, hasn’t yet released a studio outing of any form, but neither is it The Western Mystics‘ first time putting out a “bootleg” where a demo might otherwise appear. Then working as the trio of drummer/vocalist Brent Joel and baritone guitarists Travis X. Abbott (rhythm) and Nik Kososik (lead; also of Sun Blood Stories), they made their debut last fall with Once upon a Time in the Cosmos (discussed here), establishing a space-and-Western thematic blend that continues however many months later into the Treefort performance, which also introduces keyboardist/vocalist Riley Anne Johnson. Her work here is not to be understated in refining the textures of this material. The richness keys bring alongside the depth of tone from Abbott and Kososik is evident throughout, whether that’s organ keeping up with the guitars in “Running from the Living,” the opening movement, or Rhodes-style note droplets bolstering the drones of the penultimate “Sea that has Become Known.”

At this point, I could tell you where exactly where each track starts and ends between “Running from the Living” and “Running from the Dying,” which closes with an apex of Magma-style progressive bounce, but I honestly think you’re better off like I was, making your way through the entirety of The Last Western (Live at Treefort 2016) without knowing and then hitting up The Western Mystics‘ Bandcamp to find the runtimes and how it all divides up as the band work their way closer to where they want to be sound-wise and stylistically through this material. It’s only been a few months since Once upon a Time in the Cosmos (on which “Running from the Living” also appeared), and that leads one to hope it won’t be much longer before a studio recording of one sort or another surfaces from The Western Mystics, who even on stage show themselves as being able to pull elements from various genres — prog rock, heavy psych, post-rock, drone, etc. — in order to service an individualized intent. I look forward, in other words, to nerding out over their debut. Whenever it might arrive.

Stream The Last Western (Live at Treefort 2016) in full below. You’ll find more info on the release beneath the player.

Please enjoy:

The Western Mystics on The Last Western:

As far as our plans go, we are constantly writing new material, especially due to our newest member, Riley Johnson, on the keys. We are going to play some out of town dates in Washington and Oregon this summer with other Treefort Alumni and hope to keep pushing out new material.

We as a band are definitely fans of improvisation and writing on the fly so we can guarantee our next batch of songs won’t be anything like the previous.

Recorded Live at Neurolux for Treefort Music Fest V on 03/23/2016

1. Running from the Living
2. See You In Space
3. The Scary Can Be A Psyche Place
4. Intramolecular Summit
5. Sea That Has Become Known
6. Running from the Dying

All songs written by Brent Joel, Riley Anne Johnson, Nik Kososik & Travis X. Abbott

Brent Joel – Drums, Vocals
Riley Anne Johnson – Keys, Vocals
Nik Kososik – Lead Baritone
Travis X. Abbott – Rhythm Baritone

Live mix by Eric Penney & Lawrence Van Bishop at Neurolux. Mastered by Travis X. Abbott. Special thanks to: Tyler Walker (lights & visual effects). Photo credit: Cameron Andreas.

The Western Mystics on Thee Facebooks

The Western Mystics on Bandcamp

Congratulations to Boston heavy rockers Worshipper on signing to Tee Pee Records for the release of their debut album, Shadow Hymns, this August. The hard-driving four-piece have impressed over the course of two 2015 singles — Place Beyond the Light (discussed here) and the preceding Black Corridor (review here) — as well as in a live setting so much that they’ve already picked up a Boston Music Award and, more recently, won the Rock and Roll Rumble competition of local acts. Boston loves its own, to be sure, but even so, that’s a considerable response for a band who hasn’t yet put a record out.

I asked guitarist/vocalist John Brookhouse to comment on the signing and he had this to say:

“Holy shit! I listen to my copy of the first Graveyard record constantly and to flip it over and see ‘Tee Pee’ on the back, the label that is putting out OUR first record, blows my mind. We’re all really proud of how it came out, sonically and visually. Bob did an amazing job with the artwork, so we’re excited for people to see it in person as well as to hear it.”

Worshipper release Shadow Hymns on Tee Pee Records on Aug. 28. The PR wire makes it official:

WORSHIPPER Sign With Tee Pee Records

Award-Winning Massachusetts Metal Band To Unleash Full-length Debut, ‘Shadow Hymns’, this Summer

Boston-based metal band WORSHIPPER has signed to NYC’s Tee Pee Records, the independent record label known for releasing landmark albums from acts such as High on Fire, Graveyard, Earthless and Sleep. With a sound described as “darkly epic”, WORSHIPPER has earned consistent accolades since its formation, being named the “Metal Artist of the Year” at the 2015 Boston Music Awards and, most recently, being chosen over 23 other participating bands as champions of the 2016 “Rock and Roll Rumble”, a competition hailed as “The World Series of Boston Rock” that has taken place annually since 1979.

WORSHIPPER will release its full-length debut, Shadow Hymns, on August 28. The record was recorded at Q Division, Mad Oak, and Converse Rubber Tracks Studios with producers Benny Grotto (Aerosmith, Orange Goblin) and David Minehan (The Replacements) and showcases WORSHIPPER’s melodically thunderous sound. Through its unique mix of contemporary and classic influences, WORSHIPPER prove that the horn-throwing soul of melodic heavy music’s past still burns brightly.

“We couldn’t be more pleased to be welcomed to the Tee Pee family,” comments guitarist Alejandro Necochea. “We think it’s a perfect fit and we are immensely proud to have our music released by the same label that put out some of our favorite records of the past couple decades.”

In addition to Necochea, WORSHIPPER features John Brookhouse (vocals / guitar), Dave Jarvis (drums) and Bob Maloney (vocals, bass).

https://www.facebook.com/worshipperband/
http://worshipper.bandcamp.com/
http://teepeerecords.com/products/

Worshipper, Place Beyond the Light / Step Behind (2015)