They were kids having fun, and they sound like it. Before you dive into the stream above of Greenleaf‘s 2000 self-titled debut EP, you should note that the version above is the 2015 remaster by Karl Daniel Lidén, who played drums on the original 10″ and was also in Demon Cleaner at the time. His since-then production/mixing credits at his own Tri-Lamb Studios and elsewhere are myriad: Switchblade, Dozer, yes, Greenleaf, Yodok, Draconian, A Swarm of the Sun, Crippled Black Phoenix, Katatonia, Lowrider, on and on and on. While it was bassist Bengt Bäcke who originally engineered, one could hardly think of someone more appropriate to handle the updated version.

I put up a brag post to this effect the other day, but this record has been a holy grail release for me to own on vinyl; I said as much as recently as last month when I reviewed Greenleaf‘s new album, Echoes From a Mass (review here). It exists, you can chase it down, but only 500 copies of the original pressing were made through Molten Universe, and especially one in good shape is should-be-in-a-museum-under-glass-surrounded-by-lasers kind of stuff. I was gifted a copy by a good friend who told it was from his collection. I have my doubts, but welled up with tears just the same at the gesture of someone-who-actually-knows-you affection.

Timeline-wise, Greenleaf‘s Greenleaf is contemporary to Dozer‘s 2000 debut, In the Tail of a Comet (featured here; discussed here), which came out through Man’s Ruin Records, and considering the way founding guitarist and lone-remaining original member Tommi Holappa talked about the origins of the group in the video interview that went up earlier this week — I know, lots of Greenleaf around here lately; please address all complaints to my butt — where he said it was a side-project, kind of a toss-off without being a toss-off, a way to pay tribute to the heavy ’70s, that vibe comes across more in the five songs/24 minutes of the 10″ than even in the band’s subsequent 2001 debut album, Revolution Rock (discussed here).

With Holappa on guitar, Bäcke on bass, and Lidén drumming, vocals were handled by Lowrider‘s Peder Bergstrand and Dozer‘s own Fredrik Nordin, the latter joining Bergstrand on second cut “Sold My Lady (Out the Back of an Oldsmobile)” and fronting side B opener “Smell the Green” on his own. The influences of Sweden’s November and bands like Leaf Hound are rampant through the swinging “Kvinna Du Ger Mig Ingen Kärlek” (on which Bergstrand also plays guitar and bass) and the more brash opener “Get Your Love Outta Here,” which sounds like they wrote it on the spot even 21 years after the fact. And I wouldn’t doubt it. It’s a righteous jam and a two-minute speedster, and while I’m not about to defend the sexual politics of the record — dudes writin’ about ladies on side A, even in Swedish — side B, with “Smell the Green,” the seven-minute highlight “Land of Lincoln” and the half-psych, more Queens of the Stone Age than Budgie “Status: Hallucinogenic” show that even in their infancy, Greenleaf showed sonic aspirations beyond homage, or at very least a take of their own on what they were putting into their ears.

By their own admission, Greenleaf had no idea what they were setting in motion with this EP, but it says a lot about the nature of their work that even as their lineup would continue to shift for a decade and a half afterward, they maintained a consistent quality of songwriting and managed to push forward, gradually making their way toward prominence as more than a side-project, as the main vehicle for Holappa‘s songwriting, and as one of Swedish heavy’s foremost purveyors. It says something that listening to Greenleaf, one song into the next, produces that kind of vague nostalgia and carefree sense that the photo on the cover art has as well, though that picture could’ve been decades old at the time. Greenleaf, in trying to capture that spirit on their own, now convey that same feeling these decades later. Simpler times.

Greenleaf would operate opposite Dozer for the better part of 10 years after this. Their first LP showed up the same year as Dozer‘s second, and even as Dozer hit the road as a full-on touring band, Greenleaf produced albums on the semi-regular, with 2003’s Secret Alphabets (discussed here) following behind Revolution Rock and beginning an alliance with Small Stone Records that would see Greenleaf through their next three LPs: 2007’s Agents of Ahriman (vinyl reissue review here), 2012’s Nest of Vipers (review here) and 2014’s Trails and Passes (review here), the first two of which were fronted by Oskar Cedermalm of Truckfighters and the latter which introduced Arvid Hällagård on vocals.

Following in the significant footsteps of Bergstrand, Nordin, and Cedermalm is no easy task, but now with four records under his belt, Hällagård is the longest-tenured Greenleaf singer and has brought his own melodic stamp to the band. That’s not to take away from the others, of course, but from Trails and Passes on through 2016’s Rise Above the Meadow (review here), 2018’s Hear the Rivers (review here) and last month’s Echoes From a Mass, one can follow a clear progression of his collaboration with Holappa, and the two have as much chemistry together as, say, Holappa and Nordin ever did in Dozer to-date. Understand, that is not a statement I make lightly.

But of course, all of that would be years and adulthoods away from the band Greenleaf were when they made this EP, and I consider myself not only fortunate to have the vinyl and the chance to hear it as it was first pressed, but on a more basic level the excuse to revisit it in the context of who and what Greenleaf have become. These songs are loose, unbridled, charming in their way and crafted feeling almost in spite of themselves. It’s the kind of collection that, were you to hear it now for the first time, might sound like a band that had some potential to make cool things happen. Go figure.

As always, I hope you enjoy.

—

I’m apparently a mess today, which, you know, fair enough. Desertfest London doing their lineup announcement kind of threw me off — knew it was coming but forgot at the same time because I exist in a semi-conscious haze of permanent distraction brought on by lack of sleep, toddler motion and feeling overwhelmed by tasks basic and complex — and then the whole thing yesterday with Will Mecum from Karma to Burn having died and then not, because the internet and social media and someone said he was dead and then I’m still seeing posts that he’s dead but as of me writing this, 9:12AM on Friday, April 30, I have it on good authority he’s still on life support. But yeah, that whole thing took off — no thanks to me, I shared a RIP post from Instagram as well, soon enough took it down — and I feel like I’ve been thrown ever since.

My email is brutal. I have so much shit I need to get back to people on. I’m sorry if that’s you. I’ve been pretty burnt the last couple weeks. I guess I got thrown off this week too earlier on, because the Cool Thing that I said was gonna happen this past Monday did, but I was forbidden from discussing same. And the band’s rationale makes sense. I’ll post about it probably later in June, and that’s a while to sit on a Cool Thing, but in context it’s reasonable. I’m not about to be a dick and undercut someone’s promo plan because I’m excited about a thing. Professionalism is a joke, but that’s just being an asshole.

See? I just put up the Wax Mekanix questionnaire and got pulled away from sharing it by a new At the Gates single. This is my life.

Sounds pretty good.

I wonder if I can go shower and get back in time to put up the Severant premiere that needs posting at 10AM. Gives me about half an hour. I bet I can do it.

Made it, plenty of time. Not sure if that’s gonna make the ultimate difference one way or the other on my day, but it never hurts to get cleaned up. I’ve got a pretty decent nearly-every-day streak going, which is much better than where I was a year ago at this time when it was “if I get in the shower this kid is gonna stab me I better just sit on the couch and be afraid to leave the house.”

Whatever. I could go on. I won’t. New Gimme show at 5PM. Please listen. Please like the tracks. Tell them I’m good. Thanks.

Great and safe weekend. Hydrate. Watch your head. Stay safe. Get some time outside if you can. Back Monday.

FRM.

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Today marks the release of Severant‘s first two-songer EP, Closure, through Lay Bare Recordings. Based in Eindhoven, the Netherlands, the four-piece posted up the 12-minute “Sunyata” late in 2019 and seem to have taken the bulk of 2020 to get themselves together — not much else to do, really — ahead of making this debut. Their sound brims with moody psychedelia, warm in tone, but earning the grayscale of their press photo above with a kind of overarching downer feel, brought to bear with a balance between clarity and natural tone by the esteemed Pieter Kloos, who produced at The Void Studio. Both “Soulsplit” (6:42) and the subsequent “Candles” (10:52) are exploratory and patient without being overly self-indulgent, the former making its resonance felt early in hypnotic guitar even as the second cut, which is ultimately the “jammier” of the two, gallops out of the gate.

Melody is key to each piece of the 17-minute sampler Severant are giving of their approach, but they’re not without rhythmic weight either. “Sousplit” works its way fluidly into a swinging second half with the drums pushing a classic-feeling drive forward as a bed for the two guitars working in plotted and winding leads — a nod that’s fun to follow with the stops along the way accessible and building to a depth of fuzz that’s not quite over the nostrils but far enough for one to get the idea of the rampant immersion the band might undertake on a subsequent full-length. Following the thrust at the beginning of “Candles,” the proceedings drop to a distinctly Floydian drift, the vocals inhabiting the space willfully created by more subdued instrumentation. The sway as they move toward the midsection solo called to mind The Devil and the Almighty Blues‘ tendency to hold a groove just to where it feels like it might fall apart before pulling it back under control, and as the bass takes hold circa seven minutes in, Severant seem to be setting up Closure for a final push, but they’re not.

In fact, they drop to quiet again and end by renewing that sway, capping “Candles” with an altogether classier and more restrained spirit. That is to say, it would’ve been easy for them to let the song simply carry itself out. That they didn’t speaks to an underlying thoughtfulness of their process that, thinking in terms of what they might do from here, bodes well.

I’m pretty sure that by the time this post goes live, both of these tracks will have been made public anyway, but whatever. I’m happy enough to feature Closure on its release day one way or the other. You’ll find “Candles” in the embed below, and “Soulsplit” on the Bandcamp player at the bottom of this post, below the release info from Lay Bare.

However you go, please enjoy:

SEVERANT, a new and talented four piece from The Netherlands, brings to life righteous psychedelic sounds by combining their love for the late 60’s and early 70’s fused with their attraction to the dark. They take influences from musical adventures such as Pink Floyd and The Devil’s Blood. Expect beautiful melodies and harmonies floating on a deep groove, contrasted with heavy guitar parts. Produced by Pieter Kloos.

Order: https://laybarerecordings.com/release/closure-lbr033

S E V E R A N T – Dark Psychedelic Rock – from The Netherlands

DEBUT EP – CLOSURE – comes in:
– 250pcs of black wax
– 10inch debut
– 350gsm Custom Die Cut Sleeve
– 250gsm Printed Innerbag
– Produced and engineered by Pieter Kloos | The Void Studio
– Cover artwork by Manuel Tinnemans | Comaworx
– Lay Out by Pieter Hendriks

Severant is:
Erik van Liempd – Vocals & Guitar
Loet Braamkolk – Guitar
Riccardo Subasi – Bass
Koen Steendijk – Drums

Severant, Closure (2021)

Severant on Thee Facebooks

Severant on Instagram

Severant on Bandcamp

Lay Bare Recordings on Thee Facebooks

Lay Bare Recordings on Instagram

Lay Bare Recordings website

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Wax Mekanix

—

How do you define what you do and how did you come to do it?

I’m a shameless songwriter, singer, guitarist, drummer, producer, engineer, and percussionist. I basically do two different things musically.

I’m primarily a solo rock artist with a current hankerin’ for heavy guitars, bass, drums, and vocals. But that may change depending on whatever creative breeze hits me. If you listen closely to what I do, you’ll hear hints of pop, folk, country, and blues. I’m an American born in the 20th century, so my musical DNA is infused with all of the influences that implies.

In general, my recent work is considered heavy rock exhibiting some contemporary and some classic qualities. Specifically, I create, what I like to call, high-velocity folk music. This does not necessarily mean it’s acoustic. My new album from Electric Talon Records is called Mobocracy. It’s a focused, strident, snarling, slamming, howling stew that’s being described as edgy, atypical, three-dimensional, groovy, literate, and of and for its time.

I was trying to create a set of contemporary songs with connective tissue made of my decades of history, experience, and influences. My open-minded, brave, and adventurous audience knows to be prepared for some sonic and thematic swerves, depending on what is influencing me when I make records. So, although “Mobocracy” sounds like it does, my next record is shaping up to sound unlike it. This is exciting for me and keeps me creatively healthy, inspired, and looking toward the musical horizon. In the final analysis, I trust my instincts that this is what anyone wants from me that is interested in what I do.

On the other hand I’m a founding member of American cult rock quartet, Nitro. Not the L.A. glam hairband that graced the MTV airwaves in the late ’80s. Dana, John, Brad, and I formed Nitro in 1980.

By deliberate design, the scope of all of the Nitro records (Lethal, Lethal + II, Volatile Activity, etc.) is sonically and thematically concentrated to result in high intensity, aggressive, loud, shameless songs that take in our four different sets of skill and influences. We then filter it through those personal lenses and throw it back and forth at each other with the tools we each are expected to swing. When we do that, rinse, and repeat enough times, we hit an equilibrium that our four very different perspectives agree on. It really does feel a lot like trying to break a horse by democracy.

Although I’m a bit puzzled by it, I’m grateful that our cult-like records are held in such high regard. At the risk of making more out of it than it really is, we have a unique, modest pedigree because of the fact that Nitro was on the tip of the spear as part of America’s answer to the first cries of the New Wave of British Heavy Metal. So I’m thankful for that.

When I work on solo stuff like “Mobocracy”, it’s more of a dictatorship. The huge difference is that I don’t have to be diplomatic or forge some kind of sympathetic compromise to get to where I’m going with my records.

When I step outside of Nitro, I don’t have a static lineup to my band, so it depends on what/where I’m playing. There are so many inspiring creative people in the world to discover, so this is the appeal of flying solo in the way that I do it.

The goal of Mobocracy was directly tied to the times I found myself in when I was writing the songs. America was radically transforming right before my eyes. History shows us that artists will not let this kind of tectonic shift in American life pass without comment. I’m just commenting now. I wanted to design something that felt and read like the aggression, anger, and dark turmoil that most of America, and probably the world, was feeling.

Describe your first musical memory.

1966. I was not yet four years old and was holding my mother’s hand as we walked through the five-and-dime store of our town. In the distance, across the aisles, coming from the record department, were the strains of a new release, “Yellow Submarine” by The Beatles. It was joyous, funny, and a perfect sing-song moment, custom made for a toddler. I was captivated and thrilled. I skipped along beside my mom, and instantly was singing, “we all live in a yellow submarine!” Less than three minutes of priceless bliss.

Describe your best musical memory to date.

Certain gigs or recording sessions come to mind, but honestly, it’s the rebirth of creativity just about every time I write new music. It’s an evergreen thing. It wonderful that there is always something new, different, and exciting on the horizon. This is a glorious gift that I have been given.

When was a time when a firmly held belief was tested?

January 6th, 2021. I consider myself a typical American citizen. I’m a pragmatic moderate realist with both conservative and liberal views. Until this date, I assumed that the majority of thoughtful American citizens, regardless of political leanings, would not do anything that would put at risk, the wellbeing of the foundation of our rare , albeit imperfect, democratic system of government. I was wrong and have been forever recalibrated. Some Americans, if given the opportunity, will use any and all means to achieve whatever political ends they desire. They will act regardless of the harm to the nation and/or fellow citizens. Unfortunately, the proverbial genie is out of the bottle and a paradigm shift has occurred, and precedent established, for better or worse.

Where do you feel artistic progression leads?

In my opinion, at the core, creative expression and artistic pursuits are a trip. An open-ended journey through life. Sometimes it takes the form of temporary transient satisfaction of writing a cool riff or lyric. Other times it is just about the possibility of creating something new, fresh, and uncharted. The fact that I have the opportunity to be creative. I can’t imagine my life without this possibility. I go long stretches without creating but always know that the chance of revisiting it is there. That’s a powerful comfort for me. Both aspects have always been cathartic for me and make me who I am. At the risk of being excessively dramatic, I feel really fortunate to have it in my life.

How do you define success?

Musical/creative success to me can be summed up simply. Self-sustaining. If the activity (writing, recording, and/or performing) generates resources sufficient to perpetuate it, then I’m happy. Independent of fame or fortune, the work is the point for me and was/is always in my crosshairs.

What is something you have seen that you wish you hadn’t?

Frankly, nothing. Some things are hard to see, but I don’t regret seeing anything since it all has served to shape me in some way. Deliberate or serendipitous experiences make us who we are and how we interact with each other, so I try to see value in them all.

Describe something you haven’t created yet that you’d like to create.

Creatively, this is the essence of why I do what I do. It’s all about the horizon for me. Specifically, as a musicians, it’s exciting to know that there is the possibility of magnificent amazing new music that can be created in the future if I want to pursue it. This evergreen nature of art is one of the most intoxicating aspects, and great forces that drives me to continue to do it. Sometimes I dream about music that I have yet to create and I wake reinvigorated, refreshed, and excited about the possibilities ahead.

What do you believe is the most essential function of art?

I have two answers that are related. 1. All that my work has to do is satisfy me. This not meant to be a cliché or some kind of ego trip. My thinking is, if I satisfy myself, then any audience that is interested in my work, will understand and appreciate it on some level. 2. I have always seen my responsibility as artist being to make the ordinary extraordinary and the ordinary extraordinary, using the skills and tools of my trade.

Something non-musical that you’re looking forward to?

In these odd sideways times of Covid, and on a macro level, I am eager for the tribal social experiences of restaurants, sporting events, concerts, parks, public travel, beaches, etc. One a personal and micro level, I am looking forward to again being physically close to those I care about without being concerned for their health. Specifically, hugging people.

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Wax Mekanix, “Black” official video

I’m trying to break my own rules a little bit. Every now and again, it’s a decent exercise to try to change things up. I kind of did the same last ep, by starting out with a bunch of classic doom. There’s still a lot of new music here — the Snail is out today, and that and The Black Heart Death Cult and Howling Giant are all new too, as well as the Conclave, Papir, Witchrot and, relatively speaking, Dopelord. So yeah, plenty of new stuff there.

But there were a couple other things I wanted to talk about — PostWax is one, Maryland Doom Fest is another. So you get Dopelord for that, as they were recently announced for PostWax, and SubRosa, whose offshoot The Otolith will also feature in the vinyl subscription service. And in addition to Howling Giant, there’s the block that starts with Conclave you can see in the playlist — Yatra, Molasses Barge, Horseburner and Sasquatch — all of whom have been confirmed for MDDF this Halloween weekend. Sadly not Papir, though that would also rule.

And between those, I guess I just had Goatsnake and Truckfighters on my mind and decided to throw them in. Who’s gonna argue? I suppose I’ll find out in the Gimme chat later on.

Thanks for listening and/or reading. As always, I hope you enjoy.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at http://gimmemetal.com

Full playlist:

The Obelisk Show – 04.30.21

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is May 14 (subject to change). Thanks for listening if you do.

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It’s good to see you again, Desertfest London. The 2022 lineup of the esteemed British edition of Desertfest brings some returning presences who were to have been at the 2020 edition, then the 2021 — both of course gone the way of corona. But we see Electric Wizard, Shellac and Witchcraft in headlining spots, while Corrosion of Conformity will bring their delayed 25th anniversary of Deliverance to Camden Town, and returning kingpins Orange Goblin will play, along with YOB, Truckfighters, Earthless, My Sleeping Karma, Mos Generator, Conan, The Obsessed, the reunited Josiah, Lowrider come for a Refractions victory lap well earned, along with Elephant Tree, Elder, Steak, Deathrite and a ton from the UK’s own ever-blossoming underground scene — Blind Monarch, The Brothers Keg, King Witch, the more established Alunah and Trippy Wicked, and so on and so many.

Note Slomosa. Note Wolftooth. I would expect both to be touring Europe around this time. Green Lung too, for that matter.

There’s no way this isn’t going to be one to remember and it is my sincere hope to be there for it. Maybe I’ll see you there. Maybe we can hug.

Kudos and thanks to the Desertscene crew — Sarika, Jake and Reece — on and for a job well done.

Here’s looking forward:

DESERTFEST LONDON ANNOUNCE FULL LINE-UP FOR 2022 ·

A DECADE IN THE DESERT
CELEBRATING TEN YEARS WITH THE BIGGEST & MOST DIVERSE LINEUP YET

EXCLUSIVE UK PERFORMANCES FROM
WITCHCRAFT
(FIRST UK SHOW IN OVER A DECADE)
and
SHELLAC

As the home for all the things truly heavy, leading independent UK festival Desertfest have announced their full line up for 2022, which will take place in Camden, London from Friday 29th April – Sunday 1st May.

Celebrating their tenth year, next year’s festival promises to be their biggest and most diverse yet. Covering six venues across the heart of Camden and now including a full line up at The Roundhouse on both Saturday 30thApril and Sunday 1st May.

Founding owner of Desertfest Reece Tee comments, “Desertfest is 10 years old! I’m so proud that our independent festival has stood the test of time. What we have created is special, a decade of great bands, great friends and amazing memories. This year’s line up is a true reflection of how diverse Desertfest has become and with such a loyal audience, Desertfest can champion the underground for decades more to come.”

Headlining the Friday will be Swedish heavy rock masters Witchcraft, with a UK exclusive performance and their first UK show in over a decade.
Saturday’s headliners are none other than Chicago’s Shellac, who in another UK exclusive will be bringing their experimental post-hardcore sound to the Roundhouse. Fronted by the iconic Steve Albini, Shellac are one of those bands we all need to experience live, at least once. Whilst closing the festival on Sunday will be UK doom legends Electric Wizard, whose heavy sound encompasses the spirit of Desertfest.

Other acts confirmed include the likes of Corrosion Of Conformity, Orange Goblin and Truckfighters who all played the festival in its debut year in 2012 and there are further UK exclusive performances from hardcore-punks Integrity and the Ukrainian psych space rock trio Somali Yacht Club.

The festival will also see desert legends Brant Bjork and Nick Oliveri’s new band Stoner, who will be playing the Electric Ballroom and doomed heavy metallers Khemmis making their UK debut at The Underworld.

Please see below for the full Desertfest 2022 line up / stage splits.
Tickets are on sale now and are available at www.desertfest.co.uk

NEW TICKETS FOR 2022
Weekend Ticket (all venues) – £132 +fees
Friday Day Ticket (all venues) – £45 +fees
Saturday Day Ticket (all venues) – £50 +fees
Sunday Day Ticket (all venues) – £50 +fees
Saturday Roundhouse only – £35 +fees
Existing ticket holders from 2020’s postponed event have a number of options as the festival is now larger, with an added Roundhouse line-up on Saturday 30th April & Sunday 1st May.

EXISTING WEEKEND + DAY TICKET HOLDERS OPTIONS
Full refund
Weekend roll-over to 2022 without Roundhouse upgrade (access only to Electric Ballroom, Underworld, Black Heart & The Dev)
Weekend roll-over to 2022 with Roundhouse upgrade – £15 +fees
Day ticket holders can upgrade to a full weekend ticket – £92 + fees – or will be issued a refund. Upgrade options only available until May 7th ’21.
For any ticketing enquiries please contact sarika@desertscene.co.uk

Desertfest 2022’s artwork is hand drawn by legendary artist Arik Roper who has created illustrations for the likes of Sleep, Earth, Sunn O))), High on Fire, Kvelertak, Windhand and many more. As always, posters and other merch will be available to buy at the festival.

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Electric Wizard, Live at Desertfest London 2016

You might recall Crippled Black Phoenix‘s 2020 album, Ellengæst (review here), featured a host of guest singers in place of a permanent male vocalist. It worked, in no small part, because the band’s overarching sound is so consistently and singularly affecting. The UK-based downer rockers have found a new singer in Stockholm, Sweden’s Joel Segerstedt, and will press on with the new two-songer, Painful Reminder / Dead is Dead, this July on Season of Mist.

Segerstedt‘s other band, post-punk rockers The Open Up and Bleeds released a full-length last year titled Exit Lights and Holy Death, and I’ve included that stream below, which I think gives a sense of how Crippled Black Phoenix might’ve heard him sing and thought it would work, and you can hear Segerstedt in the video below for “Painful Reminder,” which is a cover of SNFU, whose frontman Chi Pig passed away last summer.

Info and preorder link and other sundry whatnot came down the PR wire:

CRIPPLED BLACK PHOENIX Announces New EP, Reveals First Single

Progressive rock collective CRIPPLED BLACK PHOENIX will be releasing a new EP, ‘Painful Reminder / Dead is Dead’ on July 16 via Season of Mist! The cover art and track list can be found below. In celebration of the EP, CRIPPLED BLACK PHOENIX has now shared the first single, which is a cover of SNFU’s “Painful Reminder,” along with a music video accompaniment.

In further news, CRIPPLED BLACK PHOENIX is welcoming vocalist/lyricist Joel Segerstedt to the lineup. The band comments:

“The first thing we’re doing after ‘Ellengæst’ is a special single. A cover version of the classic SNFU song ‘Painful Reminder.’ And it features new vocalist/lyricist Joel Segerstedt. He joins the band to be the male voice and the contrast to Belinda Kordic in the female/male dynamic which is now an integral part of the CBP sound. Being a Stockholm resident, it seems all the more serendipitous that we find each other. And after hearing his vocal talent in his other band The Open Up And Bleeds, we knew Joel could be the missing piece of the jigsaw.

“This release is a way of introducing Joel to our crowd while at the same time, paying tribute to the SNFU vocalist Mr Chi Pig. The song was already on the shortlist of cover song ideas Justin (Greaves) keeps in his pocket, but now was the time to do it because of the sad passing of Chi Pig in 2020. It seemed the right thing to pay our respects to a talented and underrated singer/lyricist and unique character in the punk rock world.”

The EP is available now for pre-orders HERE: https://shopusa.season-of-mist.com/band/crippled-black-phoenix

Track-list
1. Painful Reminder (6:18)
2. Dead is Dead (7:40)
Total:13:58

Line-up
Justin Greaves : Guitars, Drums, Bass, Samples, Saw
Belinda Kordic : Vocals, Percussions
Helen Stanley : Grand Piano, Synthesisers, Monochord, Trumpet
Andy Taylor : Guitar, Baritone Guitar, 12 String Guitar
Joel Segerstedt: Vocals, Guitar

https://www.facebook.com/CBP444/
https://www.instagram.com/cbp_444/
https://crippledblackphoenixsom.bandcamp.com/
https://shopusa.season-of-mist.com/band/crippled-black-phoenix/

Crippled Black Phoenix, “Painful Reminder (SNFU Cover)” official video

The Open Up and Bleeds, Exit Lights and Holy Death (2020)

This is an in-person event. Feels weird even saying that, but also refreshing in a way. Set for Aug. 7 at the Texas Ski Ranch in New Braunfels — between San Antonio and Austin, if you’re looking to fly in — the upcoming RippleFest Texas 2021 purports to be the first in an ongoing annual series, and that’s a hell of a time to make a debut. Early, but I have no doubt they’ll get people out for it. Shit, I’d go.

The first lineup announcement — more to come, reportedly — brings Void Vator, Bone Church, Witchcryer, Holy Death Trio, Thunder Horse and Switchblade Jesus to the bill, and leaves plenty of room for speculation on others. Of course, Texas is awash in bands, now as ever. Would Mothership headline in a triumphant return? What about the more recent offshoot of that band and Destroyer of Light, Temple of Love who premiered a Deep Purple cover here not so long ago? That’d be a cool first gig, even if they’re not signed to Ripple (yet).

Like I said, lots of room for speculation. One way or another, though, I know a party when I see one, and this looks like a party. Not sure I’d bring a swimsuit — pandemic beach body? that’s a hard pass — but I’d definitely bring earplugs enough to share.

Lick of My Spoon Productions, which is co-hosting, put up the announcement that follows. Tickets are available now:

FIRST LIST OF BANDS ANNOUNCED FOR THE 1ST ANNUAL RIPPLEFEST TEXAS!!!

Void Vator, Bone Church, Witchcryer, Holy Death Trio, Thunder Horse, and Switchblade Jesus!!!

This is only the first announcement and MANY more bands to be announced soon. Bring a swimsuit and swim on the beach at Texas Ski Ranch while listening to music from the hottest label in the business: Ripple Music!

Tickets are available through the link on the FB page. Tickets: www.outhousetickets.com/Event/m17387-Ripplefest_Texas

Get yours now as more bands will be announced because it WILL SELL OUT!

https://www.facebook.com/events/293941965680685
https://www.facebook.com/LOMSProductions/
https://www.facebook.com/theripplemusic/
https://www.instagram.com/ripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

Thunder Horse, Chosen One (2021)

With a by-now-signature blend of raw sludge and post-hardcore-style melodicism, West Texas’ Red Beard Wall signs to Desert Records for the forthcoming album 3, set to release on July 2. The follow-up to 2019’s The Fight Needs Us All (discussed here) pushes band mastermind/multi-instrumentalist Aaron Wall further along the particular course of purposeful and expressive songwriting — the first line of post-intro opener “Move Forth” is “Oh my god what the fuck have we done?” — and finds him bringing the melodic side of his vocal approach to new prominence in the band’s sound. Effective layering with throaty rasps make for an engaging and malleable dynamic, and even a later cut like “Leave Me Be,” which plays one off the other in verse/chorus fashion, does so fluidly with the crunch of ’90s noise in its riff and enough sludge tonality to be joyous in its harshness.

The ultimately positive nature of Wall‘s lyrics — even “Move Forth” is an encouraging statement, let alone “Keep Fighting” later on — is a distinguishing factor, and feels as much self-directed as outward. This record has been in the works for a while, but no doubt events of the last year played a role as well, and to find “My Brothers” at the center ahead of the first single “Liberate” (premiering below) speaks to the intensity of messaging throughout 3: “You’re a person/We care about what happens to you.” Where this melding of scathe and melody ultimately brings Red Beard Wall is “Home,” which wraps the nine-song/37-minute outing with a mosh-ready apex that feels like it’s just waiting to emanate at full volume from some stage, anywhere, at any time. Fingers crossed that might get to happen ever.

July, huh? That feels like a long time away, but it isn’t. 3 is the most complex and accomplished collection Red Beard Wall have yet done, and as you can see in the announcement below, label and artist alike are pretty thrilled to have come together to make it happen.

Dig:

RED BEARD WALL 3

Two years after the critically acclaimed sophomore effort “The Fight Needs Us All,” and touring incessantly to support it… the mighty Red Beard Wall are BACK!

“Welcome mutha-fuckin’ Red Beard Wall to the ever-growing Desert Records artist roster!” says label head Brad Frye. “This was a no-brainer right here. I’ve known Aaron for years through Red Mesa. He has the fire and passion that is nearly unparalleled in the heavy underground. His positive attitude and energy is contagious. I can’t wait for folks to hear this album… dig the first single, ‘Liberate!'”

The highly anticipated and aptly titled new album “3” has arrived in all its gnarly, yet beautiful amalgamation of heavy! “3” is the band’s most urgently emotional and honest collection of songs to date. Heavier than ever, gnarlier than ever, more passionate than ever, and on the flipside, more lush and beautiful than ever. Riff salad with a healthy side of groove soup.

“We are beyond honored to team up with the amazing and hella fast-rising Desert Records for RBW3!” echoes Red Beard Wall’s Aaron Wall. “Brad is our brother, so that makes it even more special. We’re focused on growing the band, the label, and our friendship. This is more than a collab… this is family. This is home. We can’t wait for you to hear and see what we do together! Gargantuan guaranteed!” Mad love, gratitude, and respect always!! ALL HAIL!!!”

Joining forces with the impeccable and cutting edge Desert Records for vinyl, digital, and cd release, scheduled for July 2, 2021. For fans of Floor, Torche, Helmet, and Snapcase. ALL HAIL Red Beard Wall!!!

Tracklisting:
1. Tap
2. Move Forth
3. Contrarian
4. Waste
5. My Brothers
6. Liberate
7. Leave Me Be
8. Keep Fighting
9. Home

https://www.facebook.com/redbeardwall/
https://www.instagram.com/redbeardwall/
https://redbeardwall.bandcamp.com/
https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/