Posted in Whathaveyou on July 31st, 2018 by JJ Koczan
I don’t know much about the impending debut album from Denver, Colorado, rock traditionalists Love Gang beyond the generalities. It’s their first record. They hit a friend’s home studio to begin the recording process this past weekend and got the basic tracks done. As to particulars in terms of what the album’s called, when it will be out, who’s doing the releasing — i.e. the band themselves or a label — I don’t know. So if you’re wondering why I’d post about something with such an utter lack of news to go on, it’s because there’s a song up. And music is always more important.
The track is called “Break Free” and it’s a five-minute classically-styled riffer recorded presumably live at the four-piece’s practice space. More so than on their 2016 self-titled EP (review here), one can hear metallic roots in the riffing and the gruff vocals, kind of tapping into that moment circa 1975-1977 when heavy rock started to become heavy metal and the NWOBHM began to bubble under the surface. It’s raw — it’s a practice space recording, so duh — but has an appeal through that as well, so seemed well worth sharing, not the least for the shredding solo.
I’ll keep you posted when I hopefully hear more about Love Gang‘s full-length debut coming out. Could be a while, could be next week, but I’m at least glad to know it’s happening and progress is being made. Whenever they arrive, the results will be welcome.
Posted in Whathaveyou on July 31st, 2018 by JJ Koczan
Oh, New York noise rock. You are timeless. You are crunchy. And you are mad, pretty much about being from New York. Don’t get me wrong, I get it. The rent’s too damn high and what used to be your favorite Chinese takeout place is now an artisanal meatball shop for cats. Such is the way of things, all carefully planned out to serve our capitalist rentier class overlords, so what’re you gonna do but plug in the instruments that you paid hard cash money for and make a lot of noise. Noise rock is like New York’s recourse to itself.
So maybe that’s where HAAN are getting the aggro vibes from. I’d say it’s in the water, but it’s in everything. Their album, By the Grace of Blood and Guts, will be out on Aqualamb Records in August in the label’s traditional format of the 100-page artbook, and the band will play the release show for it at the Saint Vitus Bar on Aug. 17 as the first night of a tour that goes to Aug. 25 in Detroit.
The PR wire puts it like this:
One great peril in hard rock genre-hopping is that an inept band can simply end up diluting all of its sources of inspiration which, let’s be honest, is what happens more often than not. To synthesize something genuinely exciting, adept musicians need to obliterate the lines between genres rather than merely straddling them.
New York City’s HAAN understands this perfectly.
Initially founded as the quintet No Way in 2012, the group’s core trio of guitarist Jordan Melkin, bassist Dave Maffei, and drummer Chris Enriquez (now Andrew Gottlieb) explored a noisy post-punk inspired by the guitar daredevilry of Drive Like Jehu before embracing the crushing riffage of their bludgeon-rock forebears like Unsane and Deadguy. Dirgy psychedelia found its way into the mix as well, and there are even traces of southern-fried swamp rock grooves in their sound —and all of this is buttressed by a spine forged from the heaviest of metal.
Adding singer Chuck Berrett and adopting the name HAAN from a complex Korean term signifying collective feelings of isolation, injustice, melancholy, and insurmountable oppression, they announced their existence to the world in 2014 with the brutal and amazing cassette E.P. “Sing Praises.” In a mere four tracks, the band issued a remarkably clear statement of purpose-it’s a piledriver of an E.P.; dark, dirty, punishing, but richly complex, sharp-sounding, and utterly riveting. The cassette sold out quickly, but Finland’s notorious purveyors of noisy rock, the Kaos Kontrol label, released a vinyl edition that remains in print.
HAAN’s new album, “By the Grace of Blood and Guts,” ” is due in August on Aqualambrecords, a label that’s distinguished itself by releasing albums accompanied by 100-page art books, but BTGOBAG will also be released on gorgeous limited edition clear black smoke vinyl. Fans of “Sing Praises” will rejoice to hear that the full-length delivers the same kicks —Maffei and drummer Enriquez deftly manage the twin tasks of battery and fluidity while Melkin punctuates savage riffing with noisy passages that recall the mind-bending guitar needling of Daughters. Berrett channels a range of effective vocal stylings from that recall everything from the brawny expressiveness of Iron Maiden’s Paul Di’Anno all the way to the rhythmic incantations of Clutch’s Neil Fallon, and his way with a turn of phrase is undeniable as he conjures HAAN’s fight songs for the apocalypse.
“By the Grace of Blood and Guts” was engineered at Spaceman Sound in Brooklyn by Tom Tierney & Alex Mead-Fox (A Place to Bury Strangers, Kid Millions), and mastered by Chicago’s Carl Saff (Fu Manchu, Child Bite, Unsane). The INTENSE illustrations for the vinyl sleeve and art book were executed by vocalist Berrett.
TRACK LISTING
1. Thy Tongues 3:56 2. Hyena Moan 3:05 3. It Smells Like Gas 2:01 4. Zero Day 7:03 5. The Woke 4:42 6. Hangdog 4:07 7. Diminuendo 3:02 8. Funeral Song 5:52
HAAN: Chuck Berrett – Vocals Dave Maffei – Bass Jordan Melkin – Guitar Andrew Gottleib – Drums
HAAN will be touring with Finnish noise rockers Throat this August.
SUMMER TOUR DATES With Throat (Finland) 8/17 – Brooklyn, NY (record release) – Saint Vitus with Netherlands and Couch Slut 8/18 – Philadelphia, PA – The Barbary with Faking and Body Spray 8/19 – Baltimore, MD – Ottobar with Birth (Defects) + TBA 8/20 – Cleveland, OH – Happy Dog at Euclid Tavern + TBA 8/21 – Madison, WI – Art Inn with Coordinated Suicides + TBA 8/22 – Minneapolis, MN – Hexagon Bar with Tongue Party and Buildings 8/23 – Chicago, IL – The Burlington with War Brides and Salvation 8/24 – Milwaukee, WI – Cactus Club – Triple Eye Festival 3 with Them Teeth, Knaaves and Dead is Dead 8/25 – Detroit, MI – Cellarman’s Brewery with Them Teeth and Those Hounds
[Click play above to stream Psilocibina’s self-titled debut in its entirety. Album is out in August on Abraxas Records and Electric Magic Records.]
Scorching leads, a popping snare and the kind of bass that’s funky enough to make you go all bobble-head — the self-titled debut album from Brazilian three-piece Psilocibina has it all if by “all” you mean a truckload of classic psych-tinged heavy rock boogie. And of course you do, because duh.
The instrumentalist power trio of guitarist Alex Sheeny, bassist Rodrigo Toscano and drummer Lucas Loureiro gave an initial showing in the early hours of 2018 with an initial single LSD / Acid Jam, and with backing from Abraxas Records and Electric Magic Records, they’ve made a quick turnaround on an initial long-play offering of seven tracks in a crisp, manageable 36 minutes, covering classic 12″ length and asking nothing more of their audience than some companionship as they shuffle their way out of the atmosphere. From the already-going movement that begins opener and longest track (immediate points) “2069” through the outer reaches of past-asteroid belt side B in “Trópicos” and the reappearing “LSD,” which rounds out, Psilocibina hold true to right-on momentum and a sense of direction that’s heavy ’70s in brand but comes streamed through a filter of frenetic modern interpretation à la Radio Moscow. That ultra-boogie. It’s there in the seven-minutes of “2069,” and that sense of danger flows from the opener through everything that follows. It may be Psilocibina‘s debut, but the band make it clear quickly they know what they’re doing.
Tempo shifts abound and are fluid and guitar leads take the place of vocals not necessarily in “singing” out the lines of verses, but in leading the forward charge of jams that sound vibrant and energetic to their very core. From the start, Toscano‘s bass is a must-hear for anyone prone to grooving on heavy bottom end, and Loureiro is adaptable to the turns happening to the point of being no less molten than Sheeny‘s guitar. I don’t know when the album was actually recorded, but it sounds like it was a hot day in Rio, and as “2069” struts to its finish, the guitar dropping out and the bass and drums continuing to hold the progression for another measure or two until they too let it go, “Galho” picks up with a noise-laden wash that hits high and low as the drums thud out behind. At 6:07, it’s the second longest song on Psilocibina (double points? why not?) and it steps easily into a sleek groove after its introduction — still vital but not rushed. Sheeny starts into a solo and then rejoins Toscano and Loureiro on a classically progressive descent before noodling his way outward again. He’s dug in his heels by the time they’re passing the halfway point, and a change just before the four-minute mark brings not only more highlight basslines but a quicker tempo, a guitar solo that’s nigh on surf rock in its intricacy, and builds in its electricity as it plays out the rest of the song.
It would be almost too easy to tag Psilocibina as a guitar band and move on. And surely, Sheeny has a propensity for tearing into a lead — he’s a spontaneous player and I’ve known a few on stage who seem to step into the half-stack itself as though it’s the portal to another dimension — but that’s only part of the dynamic the band is working with, and such a designation undercuts the contributions of Loureiro and Toscano both, which are considerable throughout and on the side A closer “Supernova 3333” in particular, in which the bass and steady snare act as an anchor for the guitar to let it wander in the sky above for a while as if to say, “No sweat, we got this. You go have fun.” In in that getting-of-this, the rhythm section utterly shines. This is a showing of chemistry no less classic than the aesthetic it’s being used to harness, but of course the one feeds into the other when it comes to the style and substance of what Psilocibina is, and through the finish of “Supernova 3333,” with its bouncing course and deceptively tight ending, the vibe is set. By the time they get there, it’s easy to trust the band. They’ve done nothing to that point but deliver.
That routine continues throughout the longer side B portion of their self-titled, which also opens with its longest track (triple points?) in the 6:02 “Na Selva Densa,” a fervent gallop riding outward in the bass while blues licks lay over top and the drums punctuate with what seems to be an extra layer of percussion added for good measure. If this is to be the personality Psilocibina set about developing as they move forward, that’s only a win for those who’d take them on, as the performance aspect of “Na Selva Densa” is so crucial. The drums and percussion take the fore late in the track and solo toward a finish that that the eponymous “Psilocibina” enters from silence with its pastoral guitar intro. The first two minutes or so build on that progression, sweetly melodic and classic in structure, but soon enough the bassline comes forward to drive the turn to speedier fare. It’s back to the boogie from there, and they jam it till the wheels fall off, which is fair enough. With “Trópicos” following just behind — the shortest inclusion at just over two minutes and an absolute brain-winder — there’s just about no other way to go.
“Trópicos” digs back to the momentum of the opener, but delivers it in an even tighter way. It feeds into “LSD” as though stopping for a measure and picking back up on the beat, and Psilocibina give one last manic go at softshoe-worthy heavy, crashing and ringing out with amp noise behind to once more underscore the live feel that’s been so much of a presence throughout the album. That is essential to the success of Psilocibina and its component tracks, as the rawness of their presentation — raw, not under-produced or under-recorded — only seems to bolster the energy with which the material so readily shines. They are brash, they are forward, and they sound utterly on fire on what one has to keep reminding oneself is their first record. Can’t help but look forward to more after such a promising first round.
I have to think there are a decent number of Clutch fans having crab cakes this week. Certainly ever since the Maryland lords of groove unveiled their new single last Friday I’ve had the notion in my head. If you haven’t seen it, the track in question, “Hot Bottom Feeder,” comes from the four-piece’s impending album, Book of Bad Decisions, which is out Sept. 7 on Weathermaker Music, and the lyrics, as shown in the video at the bottom of this post, are a recipe for crab cakes. In the clip, vocalist Neil Fallon takes the audience cooking-show-style through the process and after he serves the results to guitarist Tim Sult, bassist Dan Maines and drummer Jean-Paul Gaster, the ending is actually a recipe card for what’s described in the verses. I decided to try it out.
Now, I’m an individual of particular taste when it comes to any number of things, food among them, but I’ve had a few Maryland crab cakes in my time. They’re a regional delicacy of the Chesapeake watershed and if I’m in the area and feeling flush with cash, I usually try to pick a few up frozen to bring home back north. Hasn’t happened in a while though. And a crab cake recipe from Clutch? It couldn’t be any more Maryland if it was a Baltimore Ravens bumper sticker. I hit the local fancy-ish grocer — not the super-fancy grocer, but the pretty fancy grocer — to see if they had any genuine Maryland crab meat. As the first words in the song go, “Never mind that stuff they sell from Vietnam/Get it from the Chesapeake but never from a can.”
The track recommends Backfin, but as Fallon notes, “There’s nothing wrong with Special.” I grabbed a container of what I thought was from Maryland because that was the address on back of the package, but found out after I brought it home it said “Product of India” on the top of the lid. I know I’m old because I suck at reading packages now. Used to have that down. So not a great start, but one presses on. I assembled ingredients: Some whole wheat bread crumbs because I have food issues and authenticity is a myth so keep the 4C. Ground mustard. Mayo. Butter. A raw egg. Some fresh chopped parsley. I’m not huge on parsley and was going to get it dried, but remembered in the video the shot of Fallon chopping it. I’ve trusted Clutch on way more serious issues than garnish herbs, so I rolled accordingly. The idea, after all, was to follow directions.
I was surprised there was no call for Old Bay Seasoning, but again, not my recipe. I resisted all kinds of temptation to embellish. Maybe some jalapeno pesto in there instead of mayo? Maybe some paprika and red pepper flakes to give it a kick? Nope. Keep it simple. This is folk food. It’s not meant to be elaborate. It’s meant to be something you make for your friends and/or family on a Monday afternoon. And yes, with The Patient Mrs. looking on — she doesn’t eat anything with a face, so I knew that was out — I did let The Pecan sample some crab meat as I made my way through the preparation.
Separating said Product of India in my fingers was probably the most time-consuming part, but there wasn’t much shell to find, so that was okay. I threw my ingredients all together in a mixing bowl and got a 1/2 cup measuring cup to shape the actual cakes. In the song, Fallon uses a biscuit cutter. I looked for one at the store, but no dice, so I made do with what I had. They turned out to be a pretty good shape, so as instructed, I stuck them “in the reefer” for a while to cool off, then browned some butter in a pan — also substitution, since “Hot Bottom Feeder” calls for a cast iron skillet; well, all my skillets are in another state, so again, I made do — put the baby on my shoulders and began to fry them on each side.
I didn’t cook a full pound of crab meat, because that’s an awful lot for basically me, but I wound up with three good-sized crab cakes that were awesome. And for all my doubting, I think the fresh parsley actually made a huge difference. Making them made me think about some of the other crab cakes I’ve had, and the difference that some of the “to taste” balances make — some with too much mayo, some with too much mustard, too much breadcrumbs, etc. On the whole, I was pleased. I had two for lunch, without my favorite beverage because time’s always a press these days and I wasn’t exactly eating to relax, and was kind of sitting on the third until I decided to call my mother and have her over for the third. She said it was delicious. Nice to have that support.
“Hot Bottom Feeder” is maddeningly catchy and I hope Clutch like it because it’s the kind of song that’s going to feature in live sets for years to come. I’d never made my own crab cakes before, but the chance to dig into this recipe was too good to pass up, and I sincerely doubt this will be the last time I make it. This week. My particular taste? Well satisfied.
Posted in Whathaveyou on July 31st, 2018 by JJ Koczan
Let’s face it, August pretty much belongs to Psycho Las Vegas. There’s other stuff going on, as there always is, but the festival is something of an epicenter around which the rest of the month revolves, and an awful lot of tour routings, album releases, etc., are geared toward supporting what’s happening there. For good reason. What’s happening is arguably the biggest heavy underground fest in the States, and accordingly it’s all the more fitting that bands like Howling Giant should get out and tour as a part of making the trip. The Nashville progressive heavy rockers also toured up the East Coast earlier this year supporting their 2017 EP, Black Hole Space Wizard: Part 2 (review here), and they’re streaming now their contribution to Magnetic Eye Records‘ impending two-part Pink Floyd tribute compilation.
The PR wire invites you to dig it:
Psych-Metal Road Dogs HOWLING GIANT to Tour Southwest En Route to August Psycho Las Vegas Appearance
Nashville trio preps for a quick string of blistering dates before and after their set at the massive Vegas festival next month, also leads off the upcoming Best of Pink Floyd release from Magnetic Eye Records.
Interplanetary riff-rockin’ powerhouse HOWLING GIANT hits the road again this August for a run of shows leading them to and from a coveted slot at that annual maelstrom of stoner/doom/psych bliss, Psycho Las Vegas.
Their “Arcane Ritual” tour includes the following stops: Aug 15: Wichita Falls, TX – Iron Horse Pub Aug 16: El Paso, TX – RCBG Aug 17-19: Psycho Las Vegas Aug 20: Scottsdale, AZ – Rogue Bar Aug 21: Albuquerque, NM – Launch Pad Aug 22: Las Cruces, NM – The Warehouse Aug 23: San Antonio – The Mix Aug 24: Lafayette, LA – Freetown Boom Boom Room Aug 25: New Orleans, LA – Santos Aug 26: Birmingham, AL – The Nick 42nd Street Tavern Howling Giant are also confirmed as the album-opener to the much-awaited Best of Pink Floyd LP, Magnetic Eye Records’ companion album to its massively-anticipated The Wall [Redux] release. Both albums land this November and can be pre-ordered here.
Formed by self-proclaimed nerds, Howling Giant is a perfect marriage between pulpy sci-fi themes and blistering riff-psych. Fans of Mastodon’s Crack the Skye, early Baroness, Summoner and The Sword will immediately latch onto Howling Giant’s spaced-out, cosmically-informed songcraft and lyrics that span sea voyages to space flight to androids with a bloodlust for camels.
Posted in Whathaveyou on July 30th, 2018 by JJ Koczan
Floridian word-mashers Beerwolf released their Planetfall album last October on their own, and next month they’ll issue a physical pressing via Ripple Music, whose proven model of snagging bands with successful runs on Bandcamp would seem once more to be paying riffy dividends. The vested three-piece made their debut with Oracle Prophecy in 2015 and bring together spacious leadwork and classic heavy rolling groove with just an edge of elder metal on the eight-minute “Hunters of Night” while the penultimate “Magic Warbird” has a well-punctuated strut that’s straight-up ’70s vinyl fodder. You can hear it yourself in streaming the record in full via the player at the bottom of this post — wonderful future we live in, apart from all the horror — and the PR wire updates with the latest release details and background, as the PR wire will.
Dig this cover art. I feel like I wanna give bonus points for a smoke-whale-in-space. I don’t think I’ve seen one before, and if you have, I’d love to know where:
BEERWOLF: Floridian blues doom trio to release Planetfall album on Ripple Music
Planetfall by Beerwolf is officially released worldwide on 24th August through Ripple Music
Ripple Music is thrilled to announce the official worldwide release of Planetfall, the sophomore album by Floridian blues doom trio, Beerwolf.
Originally self-released last October, the album quickly came to Ripple Music’s attention, largely via cult commendations from fans, players and followers alike across the online community. Throbbing with doom-laden and imposing compositions like, ‘Serpentine Fiend’ and ‘Haze Arcane’, along with phased riffs and pulsating rhythms, for the Tampa Bay trio Planetfall marks a huge step up from their 2015 debut, Oracle Prophecy.
For those that already au fait with the old school aesthetics of 70’s hard and classic rock, gnarly and gnarled desert fuzz and swirling guitar solos, Beerwolf were practically raised to hunt you down. And now, thanks to the solid appreciation of those at Ripple Music they will have that rare second chance to make a killer first impression, on a grander stage and to a wider audience when the album gets its official worldwide release next month.
Planetfall by Beerwolf is officially released worldwide on 24th August through Ripple Music. Stream and share the album in full here and pre-order from Ripple Music here.
I hadn’t yet had occasion to visit Brooklyn Steel, nestled in among a bunch of still-warehouses in East Williamsburg, and if there was ever to be an occasion, Sleep rolling through supporting their first new album in 15 years, The Sciences (review here), was probably it. It was the second of two nights in New York for the California-based rifftree growers on a run of select dates, and with support from Earth founder and drone-guitar innovator Dylan Carlson, the trip was all the more essential. I got there about 45 minutes before doors, it was lightly raining, and the line was building outside the door. I and my umbrella and my cosmic backpack joined the growing sea of black t-shirts, many of them with Sleep logos on front. Given that they’ve been playing the borough since eight years ago (review here) when their then-fledgling reunion was just getting started, seems fair enough they’d have sold some merch along the way. The line was certainly long enough for just about the entirety of this show to run out of the night’s stock in wearables.
The due sacrifices to Apollo and whichever of the old gods is in charge of such things had been made en route from New Jersey to Brooklyn, and they were merciful, so Brooklyn Steel had a photo pit. I was right in there as Carlson — and only Carlson — took stage playing through two small amps in front of Sleep‘s massive setup. In a vest and cowboy-ish hat, he looked every bit the American folk troubadour, and though later in his set there would be blues and greens, he started out playing under twin sunset-shaded orange lights that perfectly suited his spacious guitar evocations. His new album, Conquistador, was one of those lost on my old laptop, but he played several songs from it, among them the sprawling Westernisms of the title-track and “Reaching the Gulf,” which he dedicated to someone from the stage and temporarily re-titled “Roll Tide.” Fair enough, especially for the “roll” aspect of it, hills drawing out from each note in a manner astounding when one considers how vividly Carlson and Coleman Grey were able to call to mind British folk pastoralia with 2016’s Falling with a Thousand Stars and Other Wonders from the House of Albion.
Different styles, sure, but still incredible what Carlson can do with essentially the same method: him and a guitar. Parts of his set did seem to reference some of Earth‘s groundbreaking dives into Americana, but the effect of his being alone on that stage isn’t to be understated either. Brooklyn Steel is not a small room, and it was getting more and more packed with the sold-out crowd as he played. He’s not light on years served, but even if what he’s doing now isn’t revolutionary for him in terms of aesthetics, the methodology is new and the explorations are fresh. Watching him from upstairs, I couldn’t help but think of the enduring boldness in his craft. I’ve had the pleasure of interviewing him a few times over the years, and he’s always humble and thoughtful and reserved, and his stage persona is much the same, but there’s a bravery beneath that which underscores everything he does and which, one imagines, has played no small part in his will toward sonic pioneering, in Earth and out. It was a pleasure to watch him bring these sounds to life, even if the crowd murmur got louder as the set went on.
It was a little after 10PM when Sleep went on, and the crowd seemed good and greased. Friday night, riffs, beers, a cool new space with good sound — hell of a way to spend an evening. As is my wont, I’d set up shop in the back of the room, shaped somewhat like a stretched out Irving Plaza with a balcony in back and around the sides and two sets of stairs, one reserved for those with VIP passes, but I made my way up for pictures and it was absolutely jammed. One could leave the main space and go to the hallway for easier back and forth, but between bands, the outside bar, food area and merch space was also packed-house. Fair enough. A recording of what seemed to be astronauts talking to mission control from orbit — one of them kept saying “rodge” instead of “roger” — played as the band’s extended introduction, and bassist/vocalist Al Cisneros, guitarist Matt Pike and drummer Jason Roeder eventually came out to the delight of all parties, feedbacking their way into “Marijuanaut’s Theme” from the new album.
The Scienceswould feature prominently in the set, and rightly so. Not to put too fine a point on it, but I was there to see them play the new stuff. I’ll never, ever, complain about watching Sleep do cuts from 1993’s classic and hugely influential Sleep’s Holy Mountain (reissue review here), and it’s a thrill every time they dig into pieces of the no-less-landmark Dopesmoker (discussed here) — they wouldn’t this time, but reportedly had the night before — but The Sciences is the first longer-form presentation of who Sleep are today, and that’s what I was there for. They played their 2014 single “The Clarity” (review here), which fit right in the set alongside “Marijunaut’s Theme,” the later jam on “The Botanist” and “Giza Butler,” which in terms of sheer riffing might’ve been the highlight of the show. Its bouncing progression is peak-stoner on the record, and it was fun to watch Cisneros actually bounce while playing it, and as Roeder rolled out groove after groove after groove, not only tapping the snare on older songs like “Holy Mountain” and “From Beyond” and “Aquarian” from Sleep’s Holy Mountainin the spirit of original drummer Chris Hakius, but showcasing his own style as well there and in the cymbal and tom work of the new material, Pike made each solo an epic, leaning back with the stage presence of a gritty veteran, still a rousing complement to Cisneros‘ shamanic aura. As with any of history’s best power trios, the drums are the anchor.
I won’t debate the impact of Sleep‘s riffing, Sleep‘s volume, Sleep‘s stage chemistry or — just to keep the thing going with possessives — Sleep’s Holy Mountain, but it’s worth noting that as the set lumbered into its second hour, their quiet moments seemed to have as much to do with the overall vibe as the loud. The dip in “Holy Mountain” early, and certainly righteous plunge of the post-The Sciences surprise single “Leagues Beneath” (discussed here) provided subdued and/or exploratory stretches, and these brought a sense of atmosphere to the proceedings, not necessarily to offset the distorted barrage from the mass of speaker cabinets assembled on stage — Cisneros‘ four Ampeg 8x10s lined up in a row with a head on each, Pike‘s Orange cabs built up like a pyramid behind him, heads peppered about — but to add to it in much the same way that the band members’ individual stage presences complement each other. As they made their way through “The Botanist” toward “From Beyond” at the end of the regular set, the dynamic only grew, and when they came back out for “Dragonaut” as an encore, though they were coming up against midnight, the crowd, many of whom were also on their second show in two nights, was still more than willing to be astounded one more time. And so they were.
For me to sit here and call Sleep legends says nothing. Far more respected sources have said the same for years, and likely more eloquently/efficiently than I could. Whatever. The more important thing, particularly as regards this show, is how fluidly Sleep have transitioned from a reunion band to a working one. Their reunion started nine years ago, so it’s not exactly a surprise to see at this point, but the context has changed now that they’re supporting a new album, not just playing songs from a back catalog. The new material fit seamlessly with the old, and the band was both comfortable and actively enjoying playing it, and the audience was as dug into “Giza Butler” — though really, who wouldn’t be if you’re there? — as they were into “Aquarian” just before. Sleep weren’t exactly lacking in relevance before, but it was a welcome opportunity to watch them arrive at new heights in that, and after they released what’s arguably 2018’s most crucial heavy album, to see the force with which they manifest it on stage made one feel lucky to be alive.
Special thanks to Damon Kelly and Tim Bugbee and Suze Wright for making this one happen. More Sleep pics after the jump. Thanks for reading.
Posted in Whathaveyou on July 30th, 2018 by JJ Koczan
If you’re up for such things, Spirit Division‘s third album, Forgotten Planet, is available now to preorder through their Bandcamp page. Set for issue on Aug. 31, it’s the third album from the Indianapolis doomers, who are streaming the track “River Rising” now to herald the impending. Those who heard either 2016’s No Rapture or their 2015 self-titled debut (review here) will find the three-piece’s doom rock modus intact, with an undercurrent of traditional metal suited to their Midwestern home. They cite The Gates of Slumber as an influence, but while both acts fall broadly under a trad-doom umbrella, the riffing of “River Rising” seems to be drawing from other sources as well. I haven’t heard the record yet, but the third of the nine total inclusions makes a suitable introduction to anyone unfamiliar, and finds them sans-pretense in style and delivery.
The PR wire has album details, and you can find the track streaming at the bottom. Dig it:
SPIRIT DIVISION Reveals Details On Third Full-length ‘FORGOTTEN PLANET’; Pre-order Available Now, Album Releases August 31st
Spirit Division is pleased to announce the completion of their third album, Forgotten Planet, with the full-length offering set for release on August 31, 2018.
Forgotten Planet represents a bold change in direction for the Indianapolis doom trio. The nine-track composition includes longer, more elaborate song structures, the band braiding the sonic cord from an array of deeper influence than before. The lyrics are also the darkest and most nihilistic that Spirit Division has ever written. Much of this can be attributed to the recruitment of Andy Bowerman (guitarist/vocalist), whose energetic style and intense approach has well integrated with Jace Epple’s intricate drumming patterns, as well as founding member (vocalist/bassist) Chris Latta’s melodic sensibility.
Bowerman also provided the striking artwork for Forgotten Planet and helmed much of the recording process. Drum recording and overall mixing were done at The Swollen Goat by Jeff Kaleth (of fellow Hoosier group Astral Mass), with mastering handled by Collin Jordan at The Boiler Room LLC.
Forgotten Planet – Track List:
1. Forgotten Planet 2. Nothing To Be Missed 3. River Rising 4. The Light That Shines (When All Must Die) 5. Seeking The Crow Witch 6. Behemoth 7. Half-Hearted 8. Solitude 9. King Of Scars
Some words from Spirit Division about the creation of Forgotten Planet:
“Forgotten Planet is easily the most experimental album Spirit Division has recorded. The songs are longer and more complex, but also very emotional in places. I had a feeling we would be going in a direction like this when Jace and I first started arranging new songs after No Rapture, but Andy brought an aggressive edge when he joined. He really pushed us to explore different sounds that we wouldn’t have otherwise. It’s truly a testament of how far we’ve come as a band” – Chris Latta (vocals/bass)
“Forgotten Planet felt like a raw exposure of the shadow self, that part of humanity most people don’t like to talk about” – Jace Epple (drums)
The first single “River Rising” is available for streaming on Spirit Division’s Bandcamp page.
Upcoming Live Dates: Aug 25 – Louisville, KY @ Highlands Tap Room (w/ Majutsu, Batwizard) Sep 29 – Indianapolis, IN @ Black Circle Brewing (w/ Destroyer Of Light, Thorr-Axe, Drude)
SPIRIT DIVISION is (left to right): Chris Latta: Vocals, Bass Jace Epple: Drums Andy Bowerman: Guitar, Vocals
