Just five years after its release and about 18 months since the Brooklyn outfit called it a day, it’s probably early yet to start enshrining Hull‘s second album, 2011’s Beyond the Lightless Sky (review here), but I think it was safe to say even when they were still together that Hull was among the most underrated metal bands New York ever produced. I mean that, and especially if you listen to this record it holds up. Their 2009 debut, Sole Lord, felt insular in its production and dense narrative, but by the time they got around to this consuming 57-minute offering it was clear they’d learned valuable lessons in the two-year interim.

Released through The End Records, Beyond the Lightless Sky was stunning in its complexity and reach and structure, bringing together ambience and intense, fierce drive in a way that few bands could or would dare to try, sounding aggressive but not necessarily angry, desperate for knowledge in that way Neurosis sometimes seems to be, but only using post-metal as one among many stylistic influences — that is to say, Beyond the Lightless Sky was no more post-metal than it was thrash or doom or sludge.

In the end, it was one of those records you just kind of had to tag as “progressive” and leave it at that, both because it was a legitimate progression from where they’d been before and because nothing else quite captured the scope of what they accomplished even in 11-minute opener and longest track “Earth from Water,” let alone in songs like “Fire Vein,” “False Priest” or the title cut.

And when it came to the response, I think maybe it was the broadness of Hull‘s songwriting that held some listeners back from fully appreciating the entirety of the record. As I recall, Beyond the Lightless Sky was well reviewed and the response generally positive, but I never thought it got quite as huge as it should’ve.

I mean, here comes a band who basically offer up the next stage of what Mastodon should have become. They toured to support it multiple times on multiple continents, but maybe were too aggro for bigger labels — though where Relapse was on picking them up, I couldn’t say — and always resided somewhere between a heavy rock/sludge scene that embraced them initially and the wider spectrum of metal, which had too easy a time casting them in the light of being a stoner act, which I really don’t think they ever were, on Sole Lord or the Viking Funeral demo that preceded.

I kind of keep my fingers crossed that they will just announce one day they have a new record done and mastered and ready to launch, but I think even in the best case scenario, we have a ways to go before we get there, and the further we move in time from Beyond the Lightless Sky — which I still feel like I get something new from every time I hear it — the clearer it becomes just how special a document Hull left behind before they went their separate ways.

As always, I hope you enjoy.

—

Had this one on my mind after reviewing the Phantom Glue record earlier this week and being reminded of how awesome the drums sounded on it. Figured all the better to close out with it since between that and High Fighter‘s Scars and Crosses (review here), it was pretty metal around here this week, though the Nathanael Larochette on Tuesday and King Buffalo record today provided some counterbalance, which I like. A little of this, a little of that. In any case, thanks for reading.

Have you gotten your tickets yet for The Obelisk All-Dayer, Aug. 20 at Saint Vitus Bar??? They’re going. Get them here.

No, really. Do it.

I don’t mind telling you that last week was one of the worst I’ve ever had. I might write about it at some point, I might not, but yeah. Truly abysmal on a life-altering scale. It’s been a tough time, particularly for the last month — though starting a new job has been a largely positive experience — but I’m feeling better this week than I was last week and I’ll get through whatever I need to get through. I feel fortunate to have things like this site and The Obelisk All-Dayer in my life, both to provide distraction and to provide support when I need one or the other. And of course thank you to my wife, The Patient Mrs., for her boundless wisdom and love.

Next week? Let me check the notes…

Okay, gonna review the Bonehawk/King Nomad split from Ripple and hopefully Beelzefuzz if no other streams come through (there are a couple that might), but I’ve got a track stream and review planned for Church of the Cosmic Skull, who are kind of a new band who do a very lush classic prog, super-harmonized in the vocals with organ to match. Very cool sound. That’ll be up next Thursday, so look out for it. Also videos from Howling Giant and Lava Moth, which features former members of 500 ft. of Pipe, all the news that’s fit to cut, paste and put in blue typeface, and anything else I can think of along the way.

Headed to the beach this weekend, and though it’s raining today, I’m looking forward to watching the drops fall on the water and don’t at all mind a lack of pre-August overwhelming sun-assault. The Patient Mrs. and I have some friends coming north from Maryland, and I expect great times and great vibes to abound. I hope whatever you’ve got planned, you have a great and safe weekend.

Please check out the All-Dayer, the forum and the radio stream.

The Obelisk All-Dayer

The Obelisk Forum

The Obelisk Radio

Pretty quick turnaround from Denver doomers Khemmis, both in terms of having just begun their recording process in May and setting a fall release as well as issuing their second album, the title of which has been revealed to be Hunted, just a year after the arrival of their debut, Absolution (review here). The new full-length had them returning to the studio to work with Dave Otero (Cephalic Carnage) and it once again features artwork from Sam Turner, who gives a kind of wizardly, classic fantasy-art style to follow-up on the Absolution cover, which used color similarly on a somewhat different theme.

20 Buck Spin has the release. The PR wire brings tour dates and info and more, so dig in:

KHEMMIS: Colorado Doom Quartet Issues Details On Second Album, Hunted, Due This Fall Via 20 Buck Spin; Tour To Migration Fest Looms

Denver, Colorado-based powerful doom metal quartet KHEMMIS has completed their second full-length album, and is preparing the mighty Hunted for Autumn release through 20 Buck Spin, this week unveiling the cover art, track listing, and other details. The news comes as the band prepares to tour the Western half of the country in transit to their performance at the first annual Migration Festival the second weekend of August.

Using the same team as their lauded debut, Hunted was recorded at Flatline Audio with Dave Otero (Cobalt, Nightbringer, Cephalic Carnage) and features artwork by Sam Turner (3 Inches Of Blood, Black Breath, TRVE Brewing). Hunted is undoubtedly an album that will solidify KHEMMIS’ place at the vanguard of doom’s most notable modern manifestations, in large part because they transcend the label itself. They’ve seamlessly blended their influences into an extraordinarily listenable album worthy of countless spins. With such a glut of music released nowadays, Hunted stands apart, rewarding repeat listens with songs seared straight into the heart.

20 Buck Spin will issue Hunted on CD and digital formats on Friday, October 21st, with the vinyl to follow in November. Audio samples and further info will be announced shortly.

Hunted Track Listing:
1. Above The Water
2. Candlelight
3. Three Gates
4. Beyond The Door
5. Hunted

KHEMMIS’ upcoming West Coast tour will begin in their hometown of Denver on August 4th, with Salt Lake City, Las Vegas, Phoenix, Los Angeles, Oakland, Sacramento, and Portland on the itinerary leading up to the band’s performance on August 12th at Migration Fest in Olympia. The festival also features the slated first live collaborative performance by The Body and Krieg, the first live public performance by Panopticon, a set by Australian funeral doom behemoths Mournful Congregation, and sets by Auroch, Christian Mistress, Full Of Hell, Krallice, Magic Circle, Nightfell, Obsequiae, Vastum, Vhol, and others.

KHEMMIS Tour Dates:
8/04/2016 HiDive – Denver, CO
8/05/2016 The Metro – Salt Lake City, UT
8/06/2016 OMD Theatre – Las Vegas, NV
8/07/2016 The Rogue – Phoenix, AZ
8/08/2016 The Griffin – Los Angeles, CA
8/09/2016 Golden Bull – Oakland, CA
8/10/2016 Starlite Lounge – Sacramento, CA
8/11/2016 Ash St. Saloon – Portland, OR
8/12/2016 Migration Fest – Olympia, WA

Hunted comes just over a year after the release of KHEMMIS’ stunning Absolution debut, which caught the doom world by complete surprise, and set the band up as one of the scene’s favorite new artists. The album slowly but surely steamrolled all that came in contact with its unforgettable heaviness and classic melodicism.

Now their follow-up album, Hunted, reveals a KHEMMIS fortified in its purpose and vision, forging an unrivaled synthesis between immense doom riffs and ‘Maiden-esque harmony. Overall song length has increased yielding more expansively arranged and dramatic storms of elegance and melancholy. And yet the band’s members are not content to plod through a sea of tears; they are always a rock band first, in service to the movement of the song, even approaching a High On Fire-like pace to open the pummeling “Three Gates.” The lauded singing of vocalist Phil Pendergast reaches ascendant new heights on tracks like “Candlelight” and “Beyond The Door,” while the tasteful use of harsh vocals remains, providing a dark foreboding contrast. The thirteen-minute title track once again closes the album with an epic stunner.

http://www.facebook.com/khemmisdoom
http://khemmis.bandcamp.com
http://twitter.com/khemmisdoom
http://www.20buckspin.com
http://www.facebook.com/20buckspin
http://twitter.com/20buckspinlabel

Khemmis, Absolution (2015)

[Click play above to stream King Buffalo’s debut LP, Orion, in its entirety. Album is out officially on Aug. 5 and King Buffalo play The Obelisk All-Dayer (tickets here) on Aug. 20 at Saint Vitus Bar in Brooklyn.]

A debut long-player from King Buffalo has been eagerly anticipated since the Rochester pastoralists issued their initial demo in 2013 (review here). That short release found guitarist/vocalist Sean McVay and bassist Dan Reynolds, both from Abandoned Buildings Club, and guitarist/vocalist Randall Coon and drummer/backing vocalist Scott Donaldson, both formerly of Velvet Elvis digging into landscape-infused heavy psych riffing; jams that seemed to spread out as they grew. It was an encouraging start to say the least. Having lost Coon to a move to Philadelphia, King Buffalo tested the waters as a trio both live and on their 2015 split LP with now-defunct Swedes Lé Betre on STB Records (review here), and with more touring under their collective belt, they make their full-length debut under the banner of Orion, offering immediate invocation of big constellations spread across even bigger nighttime skies that perfectly mirrors the ambience and seamless flow of the album itself.

Though their delivery has a vitality doubtless born from their not-inconsiderable time on stage together, and seems to have been captured in the studio with that in mind, it is the languid, serene-but-not-necessarily-peaceful ease with which they execute the eight songs/47 minutes that stands out even more. McVay and Reynolds‘ tones are geared toward the organic, and Donaldson‘s ability to give even the most subdued stretches and circular jams a sense of forward motion, as on the opening title-track (also streamed here) or the rolling nod of “Kerosene,” resides among King Buffalo‘s greatest strengths.

They’ve been compared on more than one occasion to Nashville’s All Them Witches — a band with whom they’re closely linked, having toured together more than once and brought aboard bassist Michael Parks to fill in for Reynolds at shows as recently as this summer — and that’s fair enough for some of the jammy feel and Americana flourish, but if Orion does anything at all, it establishes King Buffalo as an entity on their own wavelength. Even those aspects of what they do that might come across as familiar have been shaped into something new here, and the songs set a dynamic range that is wildly open and populates a world with its own characters and settings, be it in “She Sleeps on a Vine,” “Goliath,” “Drinking from the River Rising” or “Orion” itself, which begins the album that carries its name with a graceful unfolding, stretching out with guitar and bass for its first minute-plus before Donaldson comes in on drums. Right away, they’re taking their time — patient, fluid, lightly hypnotic — but nothing about Orion comes across as lazy, and it’s worth noting that where they could’ve easily gone with an intro track before the start of the opener, they built their introduction from the song itself and took a more natural, less pretentious route.

A driving swing emerges in the second half of “Orion,” the first of several righteous thrusts the record has on offer, and amps fade into the quiet lines that open “Monolith,” joined soon by McVay‘s vocals. It’s a not dissimilar start, but “Monolith” goes in a different direction, setting a more active jangly guitar shuffle punctuated by toms and held together by Reynolds‘ bass. McVay takes a swirling solo late and the transition into “She Sleeps on a Vine” is direct, the song at 7:31 second only to “Drinking from the River Rising” in length and with the foundation again in the low end, hits into a highlight jam, smooth flowing, right in its pace and building vibe, and still catchy enough to be one of Orion‘s most memorable impressions. It’s pretty raucous by the finish, and that momentum carries into the upbeat start of “Kerosene,” the six-minute roundout to side A that has its footing in just about everything King Buffalo have thus far had on offer and offers a hook of its own that stands up to “She Sleeps on a Vine” easily in its midsection before breaking to drums and bass and sparse guitar noise to set the bed for a riff-driven concluding push that gloriously builds and pulls itself apart as it leaves stratosphere behind.

Side B immediately expands the context of the album overall by bringing acoustic guitar forward with a gentle vocal from McVay, who soon layers in accent notes of electric slide or pedal steel. Bass and kick drum join in seamlessly but the spirit stays quiet, contemplative, sweet and almost melancholy, and even when Donaldson brings in the hi-hat and snare in the second half, they hold that firm, and rightly so to lead into the immediate spaciousness of “Goliath” — by title alone it should be the heaviest song on the record but I don’t think King Buffalo use standard measurement principles; all the better — which moves from that stretch into another forward push, this one marked out further by its fuzz-toned guitar and rhythmic verses.

A complement to the opener, “Orion Subsiding” seems to be an answer more in vibe than what’s actually being played, reenacting the liquefied motion that the band seems to conjure at will, subtly moving toward louder riffing and more fervent crash in the back end but shifting before they’re done once more to the languid lines of guitar and bass that ultimately define the cut along with McVay‘s vocals, which underline their importance to the mood and hue of the album with the folk-blues inflection that begins “Drinking from the River Rising,” calling to mind David Eugene Edwards as much as the aforementioned Parks, and carrying the first two minutes of the 10-minute closer easily before the central guitar and basslines and drum progression take hold. From there, King Buffalo set quickly about winding their way through one more expanse, gradually, again patiently, making their way toward the apex of the album, and in that doing well to reinforce the chemistry and dynamic between the three of them, as seen in the midsection flourish of bass from Reynolds and the far-no-farther-out guitars from McVay that complement over Donaldson‘s drums.

At 6:20, McVay asks, “Where will you go when the well runs dry?” and the final build begins in earnest, thudding, chugging and all. The remainder of “Drinking from the River Rising” is given to a molten, heavy jam that, yes, brings Orion to its peak, but also emphasizes one more time the live feel that has remained throughout, no matter how many layers are in play at any given moment. That may be finally where King Buffalo are defined — on stage — but they’re not there yet either way, and they benefit greatly from the open creativity on display in Orion‘s tracks and from that sense of exploration of their sound and their dynamic. It would be a great third LP, but factoring in that this is their first, Orion is even more impressive for the cohesion that so clearly rests beneath all that exploration and the skill with which the band walks the line between the two. No question it will stand among the best debuts of 2016.

Orion LP preorder

Orion CD preorder

King Buffalo BigCartel store

King Buffalo website

King Buffalo on Thee Facebooks

Indianapolis doomers Wretch will make their self-titled debut in less than a month’s time via Bad Omen Records. The trio formed by former The Gates of Slumber guitarist/vocalist Karl Simon after the demise of that band and subsequent death of bassist Jason McCash have been playing shows steadily for the last couple years — I was fortunate enough to catch them at Vultures of Volume II — and as Simon is joined by bassist Bryce Clarke and drummer Christopher Gordon, the vibe is as heavy in spirit as it is classic in tone, at least if the new track “Rest in Peace” is anything to go by. You’ll pardon me if I assume it is.

The album art and background follows, courtesy of Bad Omen, which has Wretch available now for preorder ahead of its official Aug. 26 release:

Wretch – Self-Titled – Released August 26th, 2016

Lest we forget, doom metal stands for much more than merely a collection of Sabbathian riffs, funereal tempos and enormous amp-stacks. It’s a form of music that issues forth from the heart, the soul, and the gut. It can be an alchemical force that functions as a process of catharsis in times of need. What’s more, few know more about the power of this music than Karl Simon, formerly of the titanic and much-respected The Gates Of Slumber, and now of Wretch, whose debut carries on valiantly with the mission he began some eighteen years ago.

The making of this self-titled album marked both a renaissance and a crucial tonic for Simon himself – in the wake of the death of his close friend and The Gates Of Slumber bandmate Jason McCash, he was forced to make sense of a profound loss, and the making of this debut formed a crucial part of this process,

The new power-trio he formed with drummer Chris Gordon and bassist Bryce Clarke rose above their circumstances to issue forth a fearsome salvo of cast-iron riffage and heartfelt traditional metal heraldry, shot through with a steely conviction instilled by the experiences of recent days. “It is a new beginning, but I am what I am. I don’t set out to write a style of music.” notes Simon, “This is what happens when I pick up a guitar”

“Making this record has been the hardest thing I’ve ever done” he adds. “Jason and I met just out of school and instantly became best friends. All of my memories as an adult feature him. All of the songs on this record are about him, about me, about our drug use and his death. I’m not close to getting over the grief. In a lot of ways I’ve lost my mind. I hope that people are touched by the record – I am often on the verge of tears while playing..It’s tough reliving those moments”

Heavy in sincerity and emotion rather than in pitch and tone, these gritty yet grandiose songs may follow in the lineage and spirit of classic crusaders like Saint Vitus, The Obsessed and Cirith Ungol, yet the eerily thundering ‘Running Out Of Days’ and the downcast yet groove-laden ‘Icebound’ reach pinnacles of soulful intensity and emotional resonance. Meanwhile, a heroic essaying of Judas Priest’s early classic ‘Winter’ sees Simon & Co. connect with Heavy Metal’s most gnarled and vital roots. Defiant against all adversity, this debut stands proud as a fiery testimony to an indomitable spirit, one finding its way with grace and honesty through the trials and travails of the everyday.

“The days of swords and sorcery are pretty much over for me” notes Karl”. “No more giant spiders or Iceworms, There are real horrors that occupy my mind these days.”

Vinyl Pressing info:
White Vinyl – 80 units exclusive to Bad Omen webstore
“Bone” Vinyl
Black Vinyl

https://bad-omen.backstreetmerch.com/artist/wretch
https://www.facebook.com/Wretch-469537983166326/
http://wretch.bad-omen-records.com/

I feel like you don’t even know. Unless you’ve already seen Death Alley, I’m not sure it’s possible to fully appreciate the momentous occasion that their arrival in the US for their first shows on the North American continent represents. They come supporting their 2015 Tee Pee Records debut album, Black Magick Boogieland (review here), and having seen them twice at Roadburn, I can tell their live show is a righteous next step for classic heavy rock, as punk as it is metal and delivered with nigh-on-unmatched vitality that proves so completely essential to the good time the material winds up conveying. Also every now and then they get weird, and that’s awesome too.

That’s what “Black Magick Boogieland” is all about — bringing these pieces together. I could not, could not, could not be more thrilled to have Death Alley in the lineup as part of The Obelisk All-Dayer, Aug. 20 at Saint Vitus Bar in Brooklyn (JUST BUY YOUR FUCKING TICKETS ALREADY), and if the fact that they’re doing more dates besides — including Psycho Las Vegas — means more heads will catch on, then all the better. I cannot imagine being in the same building while they play and not being swallowed up by their energy. It’s going to be completely over the top in completely the best way possible. I fucking mean it.

They’ve got a new video for the aforementioned “Black Magick Boogieland” that you can dig into below. Clip info and tour itinerary follow:

Death Alley, “Black Magick Boogieland” official video

Video by: Boitelle & Grygierczyk Audio Visual Rock Productions

Title track from debut album Black Magick Boogieland. Out on Tee Pee records.

See you punks at one of these!
8/19 – Philadelphia – Kung Fu Necktie
8/20 – New York City – Saint Vitus (Obelisk Alldayer)
8/21 – New York City – Cake Shop
8/27 – Las Vegas – Hard Rock Hotel (Psycho Las Vegas festival)
8/31 – San Francisco – Elbow Room
9/01 – Los Angeles – Viper Room
9/02 – San Diego – Til Two Club
9/03 – San Diego – Til Two Club

The Obelisk All-Dayer tickets

Death Alley on Thee Facebooks

Death Alley BigCartel Store

Tee Pee Records website

News you can use? Damn right. Reactivated Swedish trio Asteroid have finished their new album, III, and sent it off to the press. Release date isn’t yet announced but is impending through Fuzzorama Records and if you don’t yet have it on your wishlist for the remainder of 2016, put it there now. Go on — I’ll wait.

Got it? Hope so, because while it’s been five years since the fuzz-boogie mavens unveiled the progressive jamidelica of II (review here), the time away seems not to have dulled their chemistry in the slightest, or at least it appears that way looking at the live video from their recent show in Athens, which you can see below, and which, yes, does indeed feature new material.

Easily one of my most anticipated records for the rest of the year. I’ll keep you posted on further details when I hear them. In the meantime, the band posted that the record was done and they’ll be out on tour with Limestone Whale in September/October, and you can find that info and those dates below:

Hello everybody!
We haven’t forgotten about you, we’ve just taken a little vacation.

The album is all done, including the artwork, and has been sent to the printing plant. We are sooo proud of how it turned out!

As of today we have no news about release dates, but you will want to come and check out a show or two on the upcoming tour, that much we can say.

We have a couple of gigs in Sweden booked as well, so if you have the chanse you should really stop by!

That’s all for now…

Asteroid with Limestone Whale
This tour is booked in cooperation with MAGNIFICENT MUSIC!
22-09 (D) HAMBURG AstraStube
23-09 (D) BERLIN BassyClub
24-09 (D) SIEGEN Vortex * (w/ Yawning Man)
25-09 tba
26-09 (D) FREIBURG i.B WhiteRabbit
27-09 tba
29-09 (AT) WIEN ViperRoom
30-09 (AT) LINZ Stadtwerkstatt
01-10 tba
03-10 (PL) WARSAW Chmury
04-10 (PL) GDYNIA Ucho
05-10 (PL) POZNAN u Bazyla
06-10 (D) HALLE Hühnermanhatten
07-10 (D) WÜRZBURG Immerhin
08-10 (D) JENA Kulturbahnhof
*ASTEROID only

https://www.facebook.com/Asteroidband/
http://www.fuzzoramastore.com/en/bands/asteroid/

Asteroid, Live in Athens, GR 02.27.16

Back in May, Seattle trio Mother Crone were confirmed to take part in the Erosion Festival in Montana this October (info here), and it seems they’ll test the waters in August on a quick run through the Midwest and West Coast still supporting last year’s Awakening (review here) debut full-length that recently got them picked up by DHU Records for the release of their next album.

About that album: Mother Crone put word out not too long ago that they’re looking for a second guitarist, maybe guitarist/vocalist, so if you’re in the Seattle area, can tour, and get down on stuff that’s ridiculously heavy and well constructed, it might be worth hitting them up. Their post and the tour dates follow here, as seen on the social medias:

Hey dudes and dames, we here in the doom thrash band Mother Crone are seeking a second guitar player for both rhythm and leads. Our current record was written for two guitars and we are in the midst of getting the next record ready to record and would like to expand. We would also like the tunes to live up to their fullest live. If you can sing, that’s a huge plus! Hit us up if you’re interested. Please note, we tour quite a bit, but will have some down time as we get ready for the next record.

Two weeks! Stoked to go out and reacquaint ourselves the likes of Chicago and Minneapolis as well as meet y’all in Omaha and Kansas City!

This whole thing ends at Marymoor Park here in WA for HEMP FEST 2016!!

Stoked!!

Mother Crone on tour:
08/09 Missoula MT VFW
08/10 Billings MT Muleskinner
08/12 Minneapolis MN The Hexagon
08/13 Chicago IL Livewire Lounge
08/15 Kansas City MO MiniBar
08/16 Omaha NE Dr. JacksDrinker
08/18 Boise ID The Shredder
08/19 Seattle WA Nuemo’s
08/20 Portland OR High Water Mark
08/21 Seattle WA HempFest

Mother Crone:
Jeremy Schulz (AKA Walrusdrummer) – Drums,
Joshua Hashman – Bass/Vox,
Joseph Frothingham – Guitar/Vox

https://www.facebook.com/MotherCroneMusic/
https://www.instagram.com/mothercronemusic/
https://mothercrone.bandcamp.com/
https://www.facebook.com/DHURecords/
http://darkhedonisticunionrecords.bigcartel.com/

Mother Crone, Awakening (2015)

“Dirge” is the first audio to be made public from Backwoods Payback‘s upcoming third album, Fire Not Reason. I’m not sure when the record is being released, but the timing coincides with what’s sure to be a landmark weekender the Pennsylvania/Virginia trio have coming up with Scissorfight and Gozu over the next couple nights, playing Brooklyn and Philly together after Backwoods also journey through the wilds of Wallingford, CT, to meet up with Buzzard Canyon and others at Cherry St. Station tonight. Either way, I’ll take what I can get when it comes to this band, and I think “Dirge” does a good job of showing why.

Like a lot of Fire Not Reason, which whenever it arrives will be half a decade removed from Backwoods Payback‘s last outing, 2011’s Momantha (review here), it offers an unexpected twist in method that, along with its kind of unassuming central melody, brings an air of the extreme to the proceedings. Some parts are more fire than reason, you might say. They’re not always tossing in screams throughout the record, but there are pieces that feel so honest and true to who and what the band is that every whim they follow seems to have a purpose in reinforcing that.

I hope to have more on Fire Not Reason and Backwoods Payback — now comprised of guitarist/vocalist Mike Cummings, bassist Jessica Baker and drummer Erik Larson (ex-Alabama Thunderpussy) — as we get closer to the release date. Stay tuned.

And enjoy:

Backwoods Payback, “Dirge” official video

From the 2016 Album, Fire Not Reason

Starting Line-Up: Jessica Baker, Mike Cummings, Erik Larson

Shot & Directed by John Keefer & Chris Johnson, Edited by Chris Johnson. A 51 DEEP production.

Backwoods Payback live:
-Thurs 7/28 w/ Buzzard Canyon, Dirt Wizard, & Pussywolf @ Cherry Street Station Wallingford, CT
-Fri 7/29 w/ Scissorfight, Gozu & Black Black Black @ Lucky 13 Brooklyn, NY (tickets)
-Sat 7/30 w/ Scissorfight, Gozu & Worth @ Kung Fu Necktie Philadelphia, PA (tickets)

Backwoods Payback on Thee Facebooks

Backwoods Payback on Bandcamp

51 Deep website