Posted in Whathaveyou on September 19th, 2017 by JJ Koczan
Earlier this year, NYC-based heavy classic progressive rockers Mirror Queen issued a seven-inch single Starliner (premiered here) that came prior to their summer tour with Tee Pee Records labelmates The Atomic Bitchwax. The song was a first glimpse at the follow-up to 2015’s Scaffolds of the Sky (review here), which has now been announced with the title Verdigris and an Oct. 27 release date. If you didn’t hear it at the time, I’ve embedded the track below for convenience’s sake, and whether or not it’s the same recording at that which will appear on the six-long LP next month, it speaks well of Mirror Queen‘s particular and longstanding meld between driving ’70s rock and more nuanced and progressive impulses.
Curious to hear what Swans guitarist Norman Westberg adds to that mix on Verdigris, as well as to hear the album in general. Led as always by guitarist/vocalist Kenny Sehgal — aka Kenny Kreisor in honor of the outfit from which Mirror Queen evolved prior to their debut in 2011 — Mirror Queen remain a secret kept too well by NYC’s heavy underground.
Album art and details from the PR wire, which gets extra credit in my book for using the phrase “street level” to describe part of Mirror Queen‘s sound. Nicely done there:
Mirror Queen to Release New Album, ‘Verdigris’. October 27
NYC volume dealers MIRROR QUEEN will release their new album, Verdigris, on October 27 via Tee Pee Records. A masterclass of riff-driven melodic hard rock, the LP is the follow-up to the band’s 2015’s LP, Scaffolds of the Sky.
Combining edgy, street-level rock ‘n’ roll with more cerebral elements of poetry and literature, MIRROR QUEEN rides hard and loud, kicking out the jams at every opportunity. Here the songs are expansive and lush in their textures, with ethereal songwriting full of crossing guitar lines and an insistent, demanding rhythmic throb. Featuring additional guitars from SWANS six-stringer Norman Westberg, Verdigris is a rock monolith, all dark delight and sinister pleasure, that demands headbanging and fists raised to the sky.
A mainstay in the NYC hard rock scene, MIRROR QUEEN has shared the stage with heavyweight peers such as Earthless and The Shrine and toured Europe with legends such as Uli Jon Roth and UFO. The group’s driving music accelerates at the distinct point where NWOBHM and heavy Prog Rock intersect; a direct and definite delineation of an era when urgent metallic sound was the order of the day.
Track listing:
1.) Poignard 2.) Flying Eyes 3.) Sorrow’s End / Dark Kiss of the Sun 4.) Starliner 5.) Verdigris 6.) Curse the Night
MIRROR QUEEN features Kenny Kreisor (guitar, vocals), Jeremy O’Brien (drums), Morgan McDaniel (guitar) and James Corallo (bass).
Posted in Reviews on September 19th, 2017 by JJ Koczan
If you’re going to push your listeners out into a churning realm of bright-feeling psychedelic noise wash, it helps to start with a hook. Wild Rocket clearly know this, and so their sophomore album, Disassociation Mechanics (on Art for Blind), begins with “Caught in the Triangle Again,” a song that finds the Dublin four-piece playing lumber and blast directly off each other, finding a line between heavy and space rock. That niche, which on paper seems so obvious it might as well be a punch in the face — and in the case of some of the freakouts on the ensuing five-song offering, it kind of feels like one — is deceptively individualized in the care of Niallo, Moose, Jon and Bres, and while there persists a strong current of Hawkwind blowing through “Caught in the Triangle Again,” the band neglects nothing in their songwriting, returning after eliciting this massive nine-minutes-plus sprawl to the chorus as if to let their listeners know how in control they actually are as artists.
They complement this broad-reaching vibe with a tonality that feels as geared toward altitude as the mix of the record is toward depth, and while only the 15-minute penultimate “The Future Echoes” will match and surpass “Caught in the Triangle Again” for runtime, Wild Rocket nonetheless stretch themselves down to the molecules as they plow through “Infinite Reconnaissance Hanger,” the centerpiece “Into the Black Hole” and closer “The Edges of Reality,” the last of which in particular presents a mirror-universe chorus to complement “Caught in the Triangle Again” and give a sense of the journey’s destination being perhaps not so distant after all from its starting point, at least the way the limited human mind perceives the spaces between one thing and the other. Still, you might lose time as the 43-minute LP unfolds, and that’s cool. Check under your seat for a flotation device. Also headphones. You’ll want both.
I’ll readily admit that my opinion of Wild Rocket and the work they do in fuzz-echo-tripping their way through “Infinite Reconnaissance Hanger” and the rest of the tracks here is affected by having recently seen the band perform at the inaugural and Obelisk co-sponsored Emerald Haze fest in their hometown (review here). I’m not sure why that would be an issue, especially with the energy the foursome put into their thrust being so in kind with their live show, but it feels like it’s worth mentioning all the same in a full-disclosure kind of way, and also because I feel like seeing the band on stage before and after having experienced Disassociation Mechanics was helpful in giving a fuller sense of the heavy psychedelic blend they for which they are shooting in these tracks.
Having seen them bring it to life, it’s a blend I’d argue they achieve on the CD (LP release impending), much aided by an almost constant fullness of sound brought on through the use of synth and keys that adds wash to “Caught in the Triangle Again” and “Infinite Reconnaissance Hanger” while giving the opening of “Into the Black Hole” a sense of more straightforward keyboard drama before the shouted echoes of the first verse bring the centerpiece to one of the album’s most singularly intense moments. For a release like this to work at all, it is essential that it be fluid in its transitions within and between its tracks and dynamic in how it presents its style, and Disassociation Mechanics is both of these things, to be sure. Taken as a whole in linear form — CD or digital — it brims with immersion and offers standout moments whether it’s the aforementioned repeated choruses of “Caught in the Triangle Again” and “The Edges of Reality” or the bounce and delivery of the title line in “Into the Black Hole,” or even just the sprawl of “The Future Echoes,” which invariably feels like and is a significant landing/launch point for Wild Rocket as they careen through the cosmos, remaining structurally intact all the while.
It is that factor, ultimately, that makes Disassociation Mechanics work so well. Yes, Wild Rocket beef up space rock impulses and present their material with nuance, vitality and flow. None of that is to be understated in how crucial it is. None of it. But it’s the underlying structural integrity of the work that gives it the legs on which to stand and lets it convey its resonant and exploratory sensibility without getting lost in its own wash of noise. Even “The Future Echoes” holds itself together as effects and backwards swirl top a temporary slowdown two minutes in before the push resumes — a thrill as much of pace as tone, and not by any means the last on offer. Indeed, they shift through that time warp again and hold the gruel even longer the second time around, a space-doom march emerging that holds firm and lumbers “The Future Echoes” just about to its midpoint before impulse power is restored.
At that point, the outward course is set and Wild Rocket engage with due fervency an instrumental kosmiche shove that will consume the rest of “The Future Echoes,” drums varying in snare punctuation even as they’re responsible for holding together the fluidity emanating from the righteous bass and guitar tones, no less elemental than the keys to the overall spirit of the piece. There’s a somewhat expected devolution that starts at about 14 minutes in as “The Future Echoes” blows itself out, and by its final minute, the instruments have crashed and only slow-fading static noise remains. This makes the side B companion “The Edges of Reality” something of an epilogue, but again, its purpose seems to lie as much in hearkening back to the opener as following-up “The Future Echoes,” and it does that well, taking off patiently with faded-in drums over an intro of synth with an emphasis on space rock rhythm. The repeated line, “Pushing at the edges of reality,” gives an initial foothold in an early verse, and will be repeated twice more as the finale moves further and further into phase-shifted, pulsating drift, including during the last fadeout, where it provides a telling moment of humanity at the core of what might otherwise come across as cold and void of life.
Ultimately, Disassociation Mechanics is anything but, and in answering the tonal and aesthetic promise of their 2014 debut, Geomagnetic Hallucinations, Wild Rocket further establish themselves through a cohesive and forceful execution of a brand of space rock that, wielded less capably, would simply unwind into a sonic mess. This speaks to a progressive edge in their craft that may or may not continue to take hold as they move forward from these tracks toward their inevitable next release, but whatever direction they take over the longer term — and they’re by no means limited to choosing one path over another; clearly capable as they are of adopting multiple stylistic facets as suits their purpose in a given song — their second album brings them to a dimension of color and warmth, and it is an utter joy for the listener to join them there.
Posted in Bootleg Theater on September 19th, 2017 by JJ Koczan
You’d probably never know it from how often I seem to repeat myself or get stuck on certain phrases, images, etc., but just about anything that turns a well-worn cliché on its head gets some automatic points in my book. Thus, if you’re looking at the title of the lyric video premiering below for Gothenburg, Sweden, heavy rockers Honeymoon Disease and thinking to yourself, “Really? Another lady-as-motor song? Does the world really need that?” I’ll ask you to take into account the following consideration: It’s not John Garcia, or Bon Scott, or Ian Gillan talking about “their woman” as a car or car part. It’s guitarist/vocalist Jenna Disease, and instead of objectification, the image becomes one of righteous declaration: “I’m a four stroke woman/A knucklehead, a devil in chains!”
It’s hard to overstate the importance of that distinction. Jenna — joined in the band by guitarist Acid Disease, drummer Jimi Disease (ex-Mamont) and bassist Cedric — takes ownership of the image, uses it across the subject/object divide, and so it becomes something closer to empowering. One could still argue that relating one’s existence to automotive repair is inherently dehumanizing, and I think there are arguments to be made on either side of adopting the tropes of discrimination as a means for empowerment in general — this happens in race as well as gender and economics as well — but there’s a big difference between saying you’re a huge fucking motor about to run someone over so let’s kick some ass and have a good time, and saying “my woman is a car and I’m going to drive her with my dude-parts.” I don’t care how you look at it, there’s a line there, and given that we’re bringing the lyrics directly into focus with a video in which they essentially star, it seems fair to point it out.
Did I mention the song rocks? Probably should emphasize that point as well. “Four Stroke Woman” comes from Honeymoon Disease‘s second full-length and first for The Sign Records, Part Human, Mostly Beast, which is set to release on Oct. 27. The follow-up to the 2015 debut long-player, The Transcendence (discussed here), which was released by Napalm, it finds the band digging into prime boogie thrust without getting too lost in vintage-minded chicanery. You can hear a classic feel in “Four Stroke Woman” to be sure, but consider the clarity with which the song’s bassline comes through — friendly as hell, that one is — amid the forward push of the guitar, and you know which decade you’re in, one way or the other.
The band has some comment about the song and the album below, and more info follows along with preorder linkery from the PR wire.
Please enjoy:
Honeymoon Disease, “Four Stroke Woman” lyric video premiere
Honeymoon Disease on “Four Stroke Woman”:
“We live and breathe the motor culture, especially muscle cars and choppers. Acid rides motorcycles and our logo is a charger-68. Together with our action rock we create music that the motor community can relate to and ‘Four Stroke Woman’ is a salute to all bikers out there, female in particular, who dare to live the lifestyle that they desire without limits. Fast cars, furious bikes and rock ‘n’ roll, that is what’s it’s all about. And with a twist of avangarde mindset.”
Honeymoon Disease unleashes their new album “Part Human, Mostly Beast” the 27th of October on The Sign Records. The Swedish rock quartet’s second album is filled with high voltage pulse, colorful sounds and lots of groovy soul. Well acclaimed for their intense and high energetic stage performances the band have been one of the raising stars on the European rock stages, something the band have brought into the studio and recording the album live. Honeymoon Disease have worked with producer Ola Ersfjord (Imperial State Electric, Primordial, Tribulation, Dead Lord) since the recording of their last album “The Transcendence” (Napalm Records), something that led up to a recording session with better crafted songs, a more luxuries production and a lot of focus on the vocal arrangements.
Jimi Disease: “We wanted this album to have a more rough and lively feeling, as we are on stage. You should really hear the sweat from the jeans vest dripping out from the speakers.”
Tracklist: 1 – Doin’ it Again 2 – Only Thing Alive 3 – Tail Twister 4 – Rymdvals 5 – Needle In Your Eye 6 – Fly Bird, Fly High 7 – Calling You 8 – Four Stroke Woman 9 – Night By Night 10 – It’s Alright 11 – Coal Burnin’ 12 – Electric Eel
The album is released on CD & Vinyl and as a bundle together with wunderbaum, bumpersticker and metal pin.
Posted in Whathaveyou on September 19th, 2017 by JJ Koczan
A new jam from Greek trio Naxatras has yet to not find welcome around these parts. Ahead of launching a massive European tour in a couple days and coinciding with a first vinyl release today of their 2016 sophomore album, II (review here), the Thessaloniki-based naturalist psych rockers/analog recording enthusiasts have unveiled the new single “All the Stars Collide into a Single Ray.” It’s a nine-minute gentle nudge into the ethereal that even as it gets heavier stays low key and laid back, the subdued intro holding sway for the duration despite a swinging verse taking hold.
Note the rising bassline from John Vagenas. Also note the lead that starts around 3:50 from guitarist John Delias. Also note the classically classy drumming from Kostas Harizanis. And while you’re noting these things as the band makes its way into and out of organic psych drift, put them all together in your mind for a better understanding and quick summation of just what it is about Naxatras that’s allowed them to grab such a fervent place in the Greek underground in such a relatively brief amount of time. The dynamic of their style is so fluid and their grooves so warm — they just hit the mark in a way that makes it sound like anyone could do it. Of course, if that were true, everyone would. I have a hard time believing Elektrohasch or El Paraiso haven’t come knocking at this point to hook up with them for releases, or maybe they have and the band are just keeping secrets. Look at me, spreading intrigue while knowing absolutely nothing for sure either way. In any case, self-release or whatever form it might take, hopefully it’s not too long before word of a third full-length surfaces.
In the interim, I’ll happily engage the quick-dip immersion of “All the Stars Collide into a Single Ray,” the cover art for which you can see above and the audio for which you can hear below. I’ve also included the Naxatras tour dates that start the day after tomorrow (shows are presented by Total Volume Agency) and pics of the II vinyl that come courtesy of the band. You should keep in mind that if you want a green one, they’re limited to 100 copies. I don’t think Naxatras have done a physical pressing of anything to-date that hasn’t completely sold out, so yeah, heads up on that.
Here’s the latest:
‘II’ VINYL INFO: High-quality vinyl with an analog cutting from the original master tapes by Jesus I. Agnew at Magnetic Fidelity, in a lovely gatefold with black sleeves. Artwork by Chris RW. Green version limited to 100 pieces. Available here: https://naxatras.bandcamp.com/album/ii
“ALL THE STARS COLLIDE INTO A SINGLE RAY” SONG INFO: This is a full-analog, live recording at Magnetic Fidelity, engineered by Jesus I. Agnew. Artwork by Chris RW. This song will not be included in our next album.
Naxatras live: 21/09 – Novi Sad (RS) @ Quarter 22/09 – Timisoara (RO) @ Daos Club 23/09 – Cluj-Napoca (RO) @ The Shelter 24/09 – Budapest (HU) @ Durer Kert 26/09 – Salzburg (AT) @ Rockhouse 28/09 – Vienna (AT) @ Viper Room 30/09 – Jena (DE) @ Kulturbahnhof 01/10 – Dresden (DE) @ Roter Baum 02/10 – Leipzig (DE) @ Black Label 04/10 – Prague (CZ) @ Klubovna 05/10 – Poznan (PL) @ u Bazyla 06/10 – Krakow (PL) @ Soulstone Gathering 07/10 – Warsaw (PL) @ Smoke over Warsaw 08/10 – Berlin (DE) @ Zukunft am Ostkreuz 10/10 – Trier (DE) @ Frankenturm 11/10 – Lille (FR) @ La Malterie 12/10 – Portsmouth (UK) @ Wave Maiden 13/10 – Brighton (UK) @ The Hope and Ruin 14/10 – Leeds (UK) @ Wharf Chambers 15/10 – London (UK) @ The Brewhouse 17/10 – Poitiers (FR) @ Cluricaume 18/10 – Nantes (FR) @ Scène Michelet 19/10 – Paris (FR) @ Gibus Live 20/10 – Lucerne (CH) @ Bruch Brothers 21/10 – Munich (DE) @ Keep it Low 22/10 – Ostfildern (DE) @ Zentrum Zinsholz 24/10 – Graz (AT) @ Music House 25/10 – Zagreb (HR) @ Klub Studenata Elektrotehnike 26/10 – Nis (RS) @ Feedback 27/10 – Sofia (BG) @ Live n Loud
Naxatras is: John Delias – Guitar Kostas Harizanis – Drums John Vagenas – Bass & Vocals
Posted in Whathaveyou on September 19th, 2017 by JJ Koczan
Italian heavy four-piece My Home on Trees are set to take part next month in the Swiss fest Up in Smoke 2017 alongside Saint Vitus, Orange Goblin, Brant Bjork, Graveyard and a formidable slew of others. That appearance will be part of a five-date string of shows serving as the wrap-up for the touring cycle for their debut, How I Reached Home (review here), released in 2015 via Heavy Psych Sounds. The plan? Go back and make another record, it would seem. My Home on Trees have an eye toward a 2018 release for what will be their second full-length, but as regards much more than that, they’re playing it pretty close to the chest. That is, no word of where they’re at in terms of writing or whatnot.
That’ll come with time. It doesn’t seem unreasonable to think they might have the record done by Spring 2018 and out sometime over the summer, though of course that depends as well on label schedule, if they’ll be with Heavy Psych Sounds again, comets smashing into earth and numerous other unforeseeable potential contingencies. In any case, drummer Marcello Modica offers an update below, which you’ll see is joined by the live dates.
Goes like this:
“The Italian female fronted My Home on Trees will come back in october for a small tour around Germany and Switzerland, playing the last 4 shows in Europe before to enter in studio to record their second lenght. The stoner-doom band from Milano had a first album realeased by Heavy Psych Sounds Records in september 2015, when they started this 42 shows tour with a release party in Milano with Karma To Burn and they’ll finish on next month at Up in Smoke Festival in Pratteln, Switzerland, sharing the stage with Saint Vitus, Orange Goblin, Church of Misery, Windhand and many more. No news about the new album yet, except they’ll start to record at the begin of new year. They won’t be around for some time so don’t miss the chance to see one of these last shows.” — Marcello Modica
My Home on Trees live: 10.04 Keller Klub Stuttgart DE 10.05 Huhnermanhattan Club Halle DE 10.06 MTS Oldenburg DE 10.07 Up in Smoke Fest Pratteln CH 10.08 Immerhin Wurzburg DE
Posted in Whathaveyou on September 18th, 2017 by JJ Koczan
So here’s the deal: I’ve heard the new Year of the Cobra EP, Burn Your Dead, which as the headline above says is out Oct. 27 on Magnetic Eye Records. It’s got five tracks on it and each one gives a different look at a new place the Seattle two-piece of Amy Tung and Jon Barrysmith are going with their sound coming off their 2016 debut, …In the Shadows Below (review here). That’s a pretty impressive feat it itself, but you should note that while a given song might be more leaning toward punk or ambient fare, whatever it is, it’s still all tied together through a sense of sonic weight and so the progression from the LP makes sense. It’s like they took a cue from “Temple of Apollo” on the record, which toyed with poppishness in a particularly brave way, and decided they could do whatever the hell they wanted with their sound and it would be fine.
I’ll have a proper review up sooner or later, but that’s the gist of it. Bottom line is it bodes really well for their next full-length in terms of showcasing genuine growth on the part of the band.
You might recall Year of the Cobra did the first leg of a tour this past summer when the initial hints of the EP release were dropped. Well, the second leg starts Sept. 28. Dates are below.
Here’s a press release I wrote, as circled back through the PR wire:
YEAR OF THE COBRA Put the Past Behind Them; New EP ‘Burn Your Dead’ out Oct. 27
Year of the Cobra (Amy Tung and Jon Barrysmith) are moving forward. Unmitigated, unhindered, unrestrained. The Seattle bass and drum two-piece boldly tackle new styles and new substance on new EP, Burn Your Dead.
Produced like their 2016 STB Records debut full-length, …In the Shadows Below, by Billy Anderson (Sleep, Neurosis, the Melvins, etc.) at The Type Foundry in Portland, Oregon, Burn Your Dead still offers plenty of tonal largesse to go with its striking Joshua M. Wilkinson cover art.
But its five tracks also showcase new avenues of exploration for Year of the Cobra, whether it’s the ambience and creepy sampling worked into opener “Cold,” the progressive atmospheric rock of “The Howl” and centerpiece “The Descent,” reaching new heights of melodic accomplishment in Tung’s vocals, or the uptempo punker thrust of the gang-shouting title-track and the finale “And They Sang.”
That final track not only conveys the rawness of Year of the Cobra’s live show but – bolstered by the mastering work of Justin Weis at Trakworx in San Francisco – also the growth they’ve been able to enact through such relentless road work since their 2015 debut EP, The Black Sun, which has seen them quickly become coast-to-coast veterans, hit Europe for the first time and appear at Psycho Las Vegas and other festivals around the country, never failing to leave a trail of blown minds in their wake.
Look for Year of the Cobra to continue their refinement in live performances as they keep their momentum toward the future with Burn Your Dead. More tours, more fests, more trips abroad – and most of all – more evolution, because as YOTC put …In the Shadows Below behind them, they answer that album’s massive, rolling groove with a boldness of stylistic expanse that on Burn Your Dead serves as a funereal procession for the expectations of anyone who thought they knew what they were getting from the band. Pure, multifaceted fire.
Tracklisting: 1. Cold 2. The Descent 3. Burn Your Dead 4. The Howl 5. And They Sang…
On Tour: Thu Sep 28 – Bozeman MT – The Filling Station Fri Sep 29 – Black Hills Vinyl – Rapid City SD Sat Sep 30 – Stoned Meadow of Doom – Sioux Falls SD Sun Oct 1 – Kansas City – TBA Mon Oct 2 – Highland’s Taproom Metal Monday – Louisville KY Tue Oct 3 – Frequency – Madison WI Wed Oct 4 – Reggie’s Music Joint – Chicago IL Thu Oct 5 – Green Bay WI – TBA Friday Oct 6 – Doomed and Stoned – Indianapolis IN Saturday Oct 7 – Doomed and Stoned – Indianapolis IN Sunday Oct 8 – Des Moines IA – TBA Monday Oct 9 – Denver CO – TBA Tuesday Oct 10 – Salt Lake City UT – Beehive Social Club Wednesday Oct 11- Bottom of the Hill – San Francisco CA Thursday Oct 12 – Bunk Bar – Portland, OR Friday Oct 13 – Manette Saloon – Bremerton WA Saturday Oct 14 – Eugene OR – The Black Forest
Posted in Bootleg Theater on September 18th, 2017 by JJ Koczan
Executions of heavy rock as straightforward and yet as thoroughly satisfying in their melody and craft as that of Fireball Ministry are not easy to come by. On the West Coast of the US, maybe only Mos Generator would stand up to the standard of songwriting and I’m not sure even that Washington trio has the longevity factor working for them as does founding guitarist/vocalist Jim Rota‘s Los Angeles-based outfit. As Rota, guitarist/backing vocalist Emily Burton, drummer John Oreshnick and the noteworthy addition of bassist Scott Reeder prepare to release the new album, Remember the Story, on Oct. 6 via Cleopatra Records, they’ve posted a video for the track “The Answer” that only draws out some of the best elements the record has to offer.
Those elements? The hook, for one. Fireball Ministry have never been short on chorus quality, and Remember the Story certainly hits that mark as well. There’s also an overarching sense of professionalism at play in “The Answer” and in the video for it that comes through clear. Think “production quality” as a theme bringing together the aural and visual representation of the material The album was helmed by Paul Fig, who’s worked with Alice in Chains and others you can see listed below, and in addition to Rota‘s own video work, the band has partnered with director Brandon Trost for the clip, which seems to portray a narrative of betrayal, with a gutshot protagonist who meets his death in the most righteous and headbanging fashion possible.
Easy to dig for its melody, for the clarity of its performances and the multi-tiered appeal in general, there’s just about no way “The Answer” isn’t four and a half minutes well spent, and if you haven’t heard any of Remember the Story yet, it’s a resounding argument for why you should be looking forward to the release date. And make no mistake, you shoud be.
Video and PR wire info follows, as well as upcoming tour dates on the West Coast that include a stop at Cal Jam ’17.
Please enjoy:
Fireball Ministry, “The Answer” official video
With only a month to go until the release of their long-awaited, 5th studio album, Southern California’s reverends of rock ‘n’ roll Fireball Ministry unveil the video for their new single “The Answer.” The rock anthem is featured on Remember The Story, which debuts on October 6th via Cleopatra Records. Pre-order the album now at iTunes and BandCamp.
“We’re really excited to be teaming up again with director Brandon Trost for “The Answer” video. Brandon most recently worked with [Fireball Ministry vocalist] Jim [Rota] on the latest two Foo Fighters videos as Director of Photography and he has a visionary way of telling stories set to music.” – Fireball Ministry
“The Answer” is Fireball Ministry’s latest track from Remember The Story, and follow up to the previously released song “Back On Earth.” The band’s first album in nearly seven years delivers their tried and true signature stomp and fuzzy swing with an even broader scope and deeper emotional range. The album mines the depths of loss, pain, and confusion, exorcising demons with the spirited uplift this kind of music best delivers.
The record was produced/mixed by Paul Fig, the engineer behind records from Alice In Chains, Ghost, Deftones and Stone Sour. Sabbath soaked rhythms, Priest worshipping melodies, and no-nonsense Thin Lizzy mayhem collide in the Hollywood, California band, a group that has humbly but confidently flown the flag for rock authenticity since the hard-partying year of 1999.
Fireball Ministry will be performing with Foo Fighters, Queens of the Stone Age and more at the Cal Jam 17 Festival on October 7th at Glen Helen Amphitheater and Festival Grounds in San Bernardino, CA. Tickets are available at https://www.caljamfest.com/. The band has also announced a handful of Southwest dates with Red Fang, including a hometown show at the Troubadour, in Los Angeles on October 28th. Buy tickets at http://fireballministry.com/.
Fireball Ministry Tour Dates: Oct 7 – San Bernardino, CA – Cal Jam 17 Festival @ Glen Helen Amphitheater Oct 25 – Long Beach, CA – Alex’s Bar Oct 26 – Phoenix, AZ – Crescent Ballroom Oct 27 – Las Vegas, NV – Beauty Bar Oct 28 – Los Angeles, CA – Troubadour
Posted in Whathaveyou on September 18th, 2017 by JJ Koczan
Oh my, yes. That’ll do nicely. High-order freak folk would seem to be the course set by Massachusetts-based weirdo troupe Bong Wish, who, led by vocalist/guitarist Mariam Saleh, will release their self-titled debut EP Oct. 27 via Brooklyn imprint Beyond Beyond is Beyond. Much to my chagrin, I haven’t heard it in its entirety as yet, but I’ve been through the two-and-a-half-minute leadoff cut “My Luv” about six times, and with its classic-sounding flourish of strings, lightly-strummed liquefied guitar work, molten flow and forward voice from Saleh and whoever among the EP’s numerous other contributors that might be backing her, I’m definitely looking forward to doing so. Seriously. The track is at the bottom of this post. It’s gorgeous and bizarre and it flat-out rules. Do yourself a favor and check it out.
Beyond Beyond is Beyond is pressing up 100 copies on tape, which are up for preorder now, as the PR wire informs:
Introducing Mariam Saleh’s BONG WISH
Mariam Saleh began performing under the heady moniker of BONG WISH in the Massachusetts of yesteryear. Drawing from British folk, Ween, and fantasy, Bong Wish skews to the far out lyrically, encouraging universal love and inner peace. The debut EP presents a patchouli-scented fantasia of pure, unsolicited rage. Mostly home-recorded, the eponymous EP sees Mariam and her mystical cohorts explore different moods, styles and vibes across four tracks, ranging from lush string arrangements and exotic flutes to shimmering guitars and earthy percussion. And Beyond Beyond is Beyond is quite overjoyed to share the Bong Wish majesty with you. Come along…
**releases October 27, 2017** **check out “My Luv” now and pre-order on cassette or digi**
Tracklisting: 1. My Luv 2. Saturn Spells 3. Conversation With Business People 4. In The Sun
Tour dates: 10/6 Jamaica Plain, MA Jeanie Johnston 10/7 Northampton, MA The Basement 10/8 Portland, ME Apohadion Theater 10/10 Burlington, VT Monkeyhouse 10/11 Providence, RI TBD 10/12 Hamden, CT Best Video 10/13 Baltimore, MD Wind-Up Space 10/14 Washington, DC Safari 10/15 Brooklyn, NY The Gateway
