Posted in Whathaveyou on December 31st, 2021 by JJ Koczan
As suspected, the lineup announcement for the 2022 Maryland Doom Fest is relatively short on fluff. No flowery descriptions of the acts involved, no hype about how important it is to get together in these times of plague and support the community, the underground, whatever it is. That’s all true enough, but as ever, Maryland Doom Fest is putting the name out there for you to see, and if you know, you know. If you’re a part of that family down there in Frederick, you’ve already got your calendar marked. This is who’ll be at the reunion.
And to that, with bands like Horehound, Thunderbird Divine, Caustic Casanova, fest-organizer JB Matson‘s own Bloodshot, Faith in Jane, ZED, Helgamite, Shadow Witch, The Age of Truth, Apostle of Solitude, Horseburner, Dead East Garden, Strange Highways and Foghound on the bill, this one will no doubt feel like a reunion in no small part. These acts and some of the others as well have shared MDDF bills in the past, and indeed, some were included in the announcement for January’s Doom Hawg Day as well, as was speculated. Still cool to see some of those returning coming across the country to do it, though, be it ZED or Formula 400.
Set for June 23-26 at Cafe 611 and Olde Mother Brewing in Frederick, MD, and of course subject to some changes between now and June, the lineup for Maryland Doom Fest 2022 is as follows:
Maryland Doom Fest 2022 Lineup
Black Road Dust Prophet Ol’ Time Moonshine High Priestess Wrath of Typhon Alms Black Lung Thunderbird Divine Atomic Motel Byrgan Faces of Bayon Grief Collector Crystal Spiders Helgamite Shadow Witch The Age of Truth Heavy Temple Problem with Dragons Strange Highways Fellowcraft Formula 400 Tines Indus Valley Kings The Stone Eye Crow Hunter Caustic Casanova Coma Hole Wizzerd Mythosphere Horehound Bloodshot NobleSoul Coven ZED Faith in Jane Future Projektor Apostle of Solitude Orodruin Dead East Garden Ritual Earth Grave Next Door Black Sabbitch Lost Breed Horseburner Foghound Hot Ram Flummox
Posted in Bootleg Theater on December 31st, 2021 by JJ Koczan
If you know this one, you already know. If you don’t, take a breath before you get introduced. Then take another. And another. Be aware of those breaths.
The meditative nature of the sounds is writ large across Montibus Communitas‘ The Pilgrim to the Absolute, the 2014 second-ish-and-what-do-numbers-matter-when-we-have-the-cosmos-as-our-playground full-length from the Lima, Peru, exploratory collective. It’s a record of multiple paths. You can be the pilgrim, decked out in travel gear, walking stick and headphones, making your way every step through the six-song/43-minute progression, from “The Pilgrim Under Stars” at the outset to “The Pilgrim to the Absolute” itself at the finish, the ‘Absolute’ itself providing both the pilgrim’s destination and the next path you can take. You can be the absolute. You can leave the details to the details, revel in the nighttime crickets and moving percussion of “The Pilgrim at the Shrine,” violin and drums reverbed out in distant what-did-I-take-and-how-much fashion as the music begins to shift about three minutes in, and spread mind-presence like pouring water in the memories of “The Pilgrim to the Source of Love and Life” and the droning resolution in “The Pilgrim and the Light Masters” and the concluding title-track. Closed eyes, you don’t have to see your steps because you know it doesn’t matter, if you slip you’ll just fly.
Or I guess you can be you, and that’s also fine.
There aren’t lyrics — so don’t expect any — but to call The Pilgrim to the Absolute anything but narrative does it an injustice. The titles, with “…Under Stars,” “…to the Woods,” “…at the Shrine,” and so on providing clear stages of the pilgrim’s journey toward what seems to be some kind of resonant oneness. And whether you listen like you’re the one doing the going or like you’re the destination, or even like you’re one of the light masters in “The Pilgrim to the Light Masters,” what ultimately matters is your willingness to give The Pilgrim to the Absolute the attention it deserves. It is not always easy. Somewhat ironically, this is not driving music. It’s very definitely an on-foot pilgrimage, sonically speaking.
But it’s also a ceremony in itself, and you can hear that in the experimentalism, the realization of “The Pilgrim to the Source of Love and Life” and the ethereality that ties the entire album together, one piece into the next. There’s gorgeous melodic shimmer, but it’s always in interaction with sounds from the natural world, and of all the dream-acid music one might encounter using birdsong to its atmospheric advantage, I’ve never heard a group do it with the same kind of character as Montibus Communitas do here, or come out with the same kind of moment-capture in the end result.
The three longer-form chapters, or stages, or levels, or whatever you might want to call them, help give The Pilgrim to the Absolute its shape. And they’re arranged shortest-to-longest in themselves. That’s the aforementioned opener, “The Pilgrim Under Stars” (8:22), the vinyl side-A closer “The Pilgrim at the Shrine” (10:14), and the side B finale “The Pilgrim to the Absolute” (13:46). They are the stops along the way, though it’s noteworthy that the last of them is “…to the Absolute” rather than “at” it, which would seem to imply another journey being undertaken.
To that end, there’s a fair amount about Montibus Communitas and The Pilgrim to the Absolute that’s still not really out there to know. For example, why they never made a follow-up to this record. And also who they were. I know there was some common membership between Montibus Communitas and the multi-national collective We Here Now, who put their The Chikipunk Years (discussed here) album in 2019 through Elektrohasch, but that’s about as much as I have to go on. The Pilgrim to the Absolute didn’t come out of nowhere, of course — it was issued through Beyond Beyond is Beyond after being self-released by the band — and it’s certainly not a thing I “discovered” in some kind of aesthetic colonialist fashion. All of the work the band did (that I know of) was between 2011 and 2014 — kind of hard to know where studio releases end and live ones begin, but again, whatever — and so far as I know, The Pilgrim to the Absolute is the last of it.
You can insert your own story here about the band having transcended to the plane of existence portrayed in their music if you want — say what you (I) will about echo and reverb and dreams and alternate dimensions, there’s a constant human presence in these songs — but one way or another, they’re not the first or last to make their way into something really special sound-wise and then not be heard from again in the same form. Sometimes that makes a record like this more special for the time it captures in the first place.
As always, I hope you enjoy. Thanks for reading.
—
The day isn’t really over, huh? Maryland Doom Fest is set to announce its lineup at 8PM, and I’ve still got to get that post ready as well as some other stuff that I hope to have up before this. We’ll see if that happens.
I was away for part of this week, Tuesday into yesterday evening, house/dog-sitting for The Patient Mrs.’ mother and sister in Connecticut. I probably wouldn’t have gone to Clutch at Starland Ballroom anyway, what with the amount of people who’d be there, but it was convenient to have another valid excuse to give myself, if parenting an unvaccinated kid wasn’t enough of one. Someday they’ll have a shot for the under-five set. I hope he’s not seven by the time they get there.
But who cares, right? I hear omicron isn’t that bad, and so what if it’s like half a mil cases per day. Haven’t you ever heard of a bad cold season? Mask this, big government!
Quite an age we live in.
On that note, Happy New Year 2022. The Patient Mrs. and I discussed last night how we would ring it in and it was mutually decided we’d watch Star Trek on the couch and then go to bed, probably before 9PM. With the bulk of the day ahead of me, I’ll say I’m looking very much forward to it.
Whatever you’re up to, be safe and have fun. On Monday the poll results will go up. Tuesday I think is a premiere? I gotta look. I’m going to try to review the new Earthless though after that, or whenever the next open day is. I’ll check the notes and get back to you, or, more likely, not get back to you and just post what I can when I can, because these days that’s about as much time as I have. To wit, I’m writing this now on my phone while The Pecan paints rocks from a craft kit he just got. Week later he’s still getting Xmas payout. Pretty impressive.
In any case, don’t forget to hydrate and watch your head. I’ll be back with more on Monday and so on into the great unknown of January.
Thanks again for reading. Please buy a t-shirt and/or some sweatpants so I can invariably spend the money on whoever is closing out next week’s Bandcamp. Ha.
Posted in Whathaveyou on December 31st, 2021 by JJ Koczan
I mean, yeah, that’s a teaser. There’s not quite 30 seconds of music included and you just get a brief glimpse of what I’m going to assume is the Steven Yoyoda‘s cover art. And if you’re wondering what Monterrey, Mexico’s 3 Wheeler Band are doing it for, clearly they’re doing it In the Name of the Holy Riff.
One assumes that the ‘holy riff,’ like the holy grail, is a thing to be pursued into perpetuity — the search for the perfect expression of the thing. Hard to imagine that, if such a riff were to exist, Tony Iommi or Matt Pike didn’t already write it, to say nothing of Leif Edling, but hell’s bells, wading through the work of those three is the stuff of riff-archaeology adventures supreme, and I don’t know about you, but I would watch that movie regardless of who they got to put on the Indiana Jones hat or the Lara Croft shorty-shorts. Or, more likely, both. And in that case, it would probably be The Rock.
Wait. Did I just start a screenplay?
No word on an exact release date for In the Name of the Holy Riff — the album, not the film; that’ll be out by May with an even-grittier reboot penciled in for Thanksgiving — but the band’s thus-far-reveal-ready details and that teaser follow here:
3 Wheeler Band – New album teaser
3 Wheeler Band is working on final details of their third full album titled In the Name of the Holy Riff. It contains 10 new tracks full of heavy riffs and is being recorded at Madera Studios by our dear friend Abraham Madera in Monterrey, Mexico.
The artwork for the cover has been completed by the awesome stoner rock artist Steven Yoyada and our plan is to release the new album in 2022.
Attached you’ll find the teaser video for the album with a sound clip of the title track In the Name of the Holy Riff. This clip is a rough mix still and the sound is direct from the sound source of our instruments, no full mix, no master, no tweaks, just rock n roll straight to your skull.
Posted in Whathaveyou on December 31st, 2021 by JJ Koczan
I like how normalized this kind of thing is. Yeah, a bunch of dudes who play death metal, turns out they like the ol’-style heavy rock and roll? Well that’s not so weird, right? In the US and Europe alike, it’s been the case that a fair number of players known for extreme bludgeonry come together around a more rocking sound. Firebird, Mannhei, and half the rock bands in Norway come to mind immediately, though they’re by no means the only examples.
And in the first streaming teaser from Umbilicus, you can hear some of that purposeful releasing of precision of death metal in favor of more languid, classically inspired grooves. It’s not about just playing fast or slow or nodding instead of a windmill headbang. You can hear a different technique taking shape here.
Plus I like it when metal goes rock since that’s kind of the path I followed as well. Ask me about it sometime. I’m happy to run my mouth.
Album out sometime in 2022. From the PR wire:
CANNIBAL CORPSE, INHUMAN CONDITION members team up for 70’s rock band UMBILICUS; teaser available
While the abundance of death metal is a plus in 2021, there is still plenty of room for some rock and roll. Today, UMBILICUS is introduced to the world. Featuring drummer and lyricist of CANNIBAL CORPSE, Paul Mazurkiewicz on drums, Taylor Nordberg (INHUMAN CONDITION, THE ABSENCE, FORE) on guitar, Vernon Blake (ANARCHUS, NAPALM DEATH [live]) on bass, and vocalist Brian Stephenson (FORE, OLD JAMES), the quartet has turned down the violence and gore, and turned up the peace and love.
Mazurkiewicz says: “UMBILICUS was formed in the summer of 2020 and driven by our love of rock and roll from the late 60’s, 70’s and early 80’s. I’ve been listening to well-known bands like Grand Funk, Bad Company and Steppenwolf and not-so-well-known bands like Sir Lord Baltimore and Lucifer’s Friend for the last 20 years or so now. The more I listened to these bands the more I wanted to play music like this. It is just so much fun to sit back and groove out and play by complete feel without beating my body down. To just play some pure hard rock! We composed 10 very cool songs throughout 2020 but the one piece of the puzzle was missing: an awesome voice to tie it all together. Enter Brian Stephenson! An amazing vocalist and lyricist that completed the lineup! I am so proud of what we have written and I can’t wait for the world to hear what we have to offer!”
The band is currently finishing up their debut album, yet-untitled, to be released in 2022. More details regarding track-listing, artwork, and release date will be announced soon. A teaser video is available below which features a short demo mix of a new song.
UMBILICUS is: Brian Stephenson – vocals Paul Mazurkiewicz – drums Vernon Blake – bass Taylor Nordberg – guitar
Posted in Whathaveyou on December 31st, 2021 by JJ Koczan
Sweden’s Deville will enter the studio to record their sixth album in January. Their fifth LP, Pigs With Gods (review here), was released through Fuzzorama in 2018, and going by the new single it would seem that the band’s course toward more aggressive fare is proceeding apace, driven by chunkier riffing and harder-edged rhythms. It’s a departure from where they started out, certainly, but you if you were to listen to their records in order, you can make sense from where they were to where they are, and a consistency of songwriting is at their core, now as ever.
I assume “Speaking in Tongues” will be on the next record, and I was also thinking this version of it, but I guess with the main recording to take place in the coming weeks, anything is possible. Sixteentimes Music will have the new release.
From the PR wire:
DEVILLE New single out!
We will enter the studio in January next year and record our sixth studio album. It will once again be recorded in Sunnanå Studios and will be engineered by Tobias Ekqvist. Mixing will be taken care of by Richard Larsson (Soilwork etc). It will be released fall 2022 through Sixteentimes Music and a European tour will follow. #sixteentimesmusic #sixtm
When it all came together in 2004 Deville was born after some years of searching. Through a haze of rock, metal and stoner the members have found a way to do something that feels… The line-up was complete when Åkesson came back from Australia and Hambitzer gave up soulless pop and joined the duo, Andy and Markus. Since the 2004 line-up there have been over 400 gigs and festivals in all over Europe and in the U.S and joined bands on tours like Red Fang, Torche, Mustasch and Truckfighters among other great acts.
It all started when Daredevil Records released a double feature cd lp with Deville at the end of 2005.Deville later signed to Buzzville Records in 2007 and the first full length album with material recorded during the period -06 and -07 “Come Heavy Sleep” was released in Europe and the US in the beginning of 2008. “Hail the Black Sky” followed in june 2009 again through Buzzville in Europe and in the US and the touring in Europe continued.
During 2011 and 2012 the album “Hydra” was created and Jan Persson joined the forces on guitar when Martin left after recording the album.This new album was the most intense and elborate so far and received great reviews. In march 2013 “Hydra” was released on Small Stone Records. During the summer Andreas Wulkan (Death Ray Boot etc.) replaced Janne on lead guitar.
Touring continued through 2013 and 2014 in the US and Europe. The work on a new record began and the album “Make It Belong To Us” was recorded summer 2015 again at Sunnanå Studios and produced and mixed by drummer Markus Nilsson. It became a more progressive and metal influenced record but still with the significant hooks and melodies that the band is known for.Released in November 2015 on swedish label Fuzzorama Records.
In 2016 Markus Nilsson and Markus Åkesson decided to leave the band and the new lineup, announced in august, was complete with Martin Nobel on bass, known from bands as Bad Barber, and Martin Fässberg on drums, known from Quit your dayjob, Suma a.o.
Deville are: Andreas Bengtsson – Vocals, Guitars Michael Ödegården– Drums Andreas Wulkan – Lead Guitar,Vocals Martin Nobel – Bass
Posted in Questionnaire on December 31st, 2021 by JJ Koczan
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: Keenan Kinnear of Acid Magus
—
How do you define what you do and how did you come to do it?
I am assuming this question is aimed at my music, right? In that case, I would define what I do as bringing life to the incessant melodies and riffs meandering through my mind 24/7. If the question is aimed at what I do for a living, then the answer would be: Accountant.
I came to be an accountant because where I come from, university degrees and lifeless corporate placements are valued far more than the arts. At least as far as ‘successful career’ choices go. I was dead set on studying English Literature and Journalism when I matriculated (graduated from High School) but the world had other plans for me. Be that as it may, it is what it is and here I am, wracked by debt and anxiety, living the dream some might say. Brutal.
Enter music. My soul’s saviour!! After borrowing a drum kit at age 15 and basically giving my neighbours a daily crash course in the ‘Grohl method’ encompassing the entire Nirvana discography the bug bit and I was sold down a road of countless gear purchases, trial and error, and most importantly, the number 42.
Soon after drums, I picked up the guitar, then messed around with keyboards and other instruments. No formal training ever, just the dire and unending need to melt faces! The eureka moment came when I discovered audio interfaces, DAWs and mixing. This was the turning point in me taking my music seriously and working towards recording ‘the good shit’. After many years of even more trial and error in that area of the game, I find myself here, still wracked by debt and anxiety, living the dream some might say. Brutal.
Describe your first musical memory.
Driving around in my mother’s old Fiat as a kid headbanging and singing to some choice cuts from bands like AC/DC, Fine Young Cannibals and (this one is cringe AF but is a super important memory for me so back off) Modern Talking. I actually bought that Modern Talking LP a couple years back. Sometimes I get in the mood for a little “Brother Louie” when a couple beers have gone in.
My mother influenced my life in every way, but most importantly, her taste in music is probably the reason I make the music I make right now.
Describe your best musical memory to date.
Real talk. I’ve been skirting the local music scene for the last decade or so, either helping others out or attempting small projects myself to no avail etc. With Acid Magus, I put my mind to it and ended up releasing an album. That’s been a dream of mine for a long time, so I have to say that putting out my debut is my best musical memory to date. It is a personal achievement above all else and one that gives me immense joy.
When was a time when a firmly held belief was tested?
I am NOT a ‘covers’ guy, especially not when it comes to Acid Magus. Chris, our vocalist, regularly brings up the idea of covering some songs and it shakes me to the damn core every time! Chris, if you are reading this, NO!
Where do you feel artistic progression leads?
Hopefully to Nirvana? Not the band of course, rather spiritual enlightenment. I mean, all the general ideas such as progression leads to growth and new, fresher art, etc. aside, music is a spiritual journey for me, it is the one thing that informs my awareness, it is the accelerator in my psyche. Every bar that awakes from within me and finds its place on a track on the DAW in front of me brings me closer to Nirvana. I’m not a Buddhist though… still just a boring accountant. Brutal.
How do you define success?
Society, and more specifically, ‘the haves’ have been telling us ‘have nots’ that success should be measured by relative happiness, not money and other material objects. I don’t know if it’s that simple. The best I can do is critically process the idea of success and for me personally, and I’m sure many other people out there too, money plays a big role man! Do I wish to be Jeff Bezos? No. Do I wish to have financial security? Yes. Will being a full-time musician get me that? Unlikely. We roll the dice every day, let’s rather focus on loving those we can count on with all that we are, the rest is moot.
What is something you have seen that you wish you hadn’t?
Game of Thrones Season 8… god…
Describe something you haven’t created yet that you’d like to create.
A human being. For the longest time becoming a father has been the furthest thing from my mind, while right now it’s pretty much all I can think about it. Holding thumbs… my wife is going to hate me for putting this out there haha but maybe putting the intention out there in the universe will work in our favour?
What do you believe is the most essential function of art?
The promotion of critical thinking. We are dumbed down and placated by reality television and social media. Art should challenge convention and get people to ask questions of themselves, the universe and everything in between.
Something non-musical that you’re looking forward to?
I am typing these answers out at the office, I am about to save and log off. I am very much looking forward to going home to my wife and cat. I guess it’s not that brutal after all…
Posted in Whathaveyou on December 31st, 2021 by JJ Koczan
No time like the present, one supposes, for Maryland Doom Fest to lay out its plans for 2022. The lineup for the festival proper — which was held this year over the course of Halloween weekend and, much to its credit, didn’t seem to be a super-spreader event — will be announced later today, as a kind of New Year’s piss-off-2021/celebrate-2022, hopeful-future-despite-so-much-dystopia riff-led daydream, or at very least a long list of bands and probably a poster. As preface for that, organizer JB Matson has put out word of a return of the all-dayer Doom Hawg Day for next month as well.
To be held Jan. 22, which is a Saturday, Doom Hawg Day 2022 boasts no fewer than nine bands in its lineup — and it starts at 5PM! — and recognizable headliners in Mangog and The Age of Truth, the former from Baltimore, the latter imports from Philadelphia but certainly well at home in Frederick, Maryland, too. Both are veterans of the Maryland Doom Fest, and along with a solo set from Dee Calhoun (Spiral Grave, etc.), Doom Hawg Day will welcome Future Projektor, Atomic Motel, Bloodshot, Gallowglas, High Noon Kahuna and 2 Screws Loose.
Groundhog Day itself, of course, is Feb. 2, and while I doubt Cafe 611 has any celebrations in the works for that particular asinine ritual, Doom Hawg Day has been going for a few years now. I wouldn’t be surprised to have some of these acts show up in the Maryland Doom Fest announcement either, which of course one is looking forward to, and I wouldn’t be surprised if that lineup reveal looked a lot like this one, only with a longer list of bands. Maryland Doom Fest has never been one to skirt around the point of the thing.
Unlike some of us, I guess.
The thing:
THE MARYLAND DOOM FEST presents: DOOM HAWG DAY 2022
January 22 at Cafe 611, Frederick Md!!!!
Mangog The Age of Truth Future Projektor Atomic Motel Bloodshot Gallowglas High Noon Kahuna Screaming Mad Dee 2 Screws Loose
Crewe, UK, trio The King’s Pistol will release their third EP, I Am the King sometime in 2022 through Majestic Mountain Records. Do I know when? Nope. Brave new world, kids. Preorders will reportedly start sometime in the next month or two. Beyond that, I got nothing.
So if I go into the rest of this review with a special kind of arrogant saunter, I hope you’ll know it’s not because I have information I’m not sharing, but rather because “arrogant saunter” is a crucial component of The King’s Pistol‘s music itself. To wit, the Rolling Stones-y guitar on “Disco Queen” and backing vocals on “Firewater,” the garage-style strum of “Don’t Even Think About It” and “I Am the King” and the acknowledged over-the-top nature of the declarations being made in the latter cut by guitarist Julian Casewell. The sheer fact that they called one of the six tracks on the EP “Snowblind” and that it’s not a cover. Ballsy. The King’s Pistol play the kind of rock and roll that wants you to sweat as much as the dudes playing it. It is a physical thing. Getting up, moving. A good beat and you can dance to it. It’s like they want you to think that as soon as they get off-stage they’re gonna hit on your girlfriend, but they’re not. They’re just having a good time.
And with a now-trilogy of EPs suitably dubbed ‘The Wild Night,’ The King’s Pistol seem to be interested in exactly the kind of energetic burst they offer here. The good time, unhindered. Freed from the expectations of another full-length album — it would be their third, and at some point they’d probably have to pull back on momentum or something or shitbird critics like me would call them too samey — they’re able to rip and tear into the modern-because-it-sounds-so-classic “Blood Moon Highway” with desert-conscious aplomb, building on the fuzz that emerges in the back end of “Snowblind” without ever really tipping over all the way into the tropes of heavier fare.
In that regard, I Am the King is bound to surprise some heads coming out through Majestic Mountain, which has a tendency to lean toward thicker tones and more nod-ready grooves, but rock and roll comes in many forms with many ideologies, and if The King’s Pistol wrap this series with a trip down the highway, some booze and the king meeting a queen and they’ve got a Chris Fielding (Conan) recording to back them up, well, that’s fairly enough earned, I should think. One has to wonder if the label might press up the other two EPs in the series as well, but let’s not overthink it. Whether you’ve heard 2019’s Vice and 2020’s Rip it Up or not, the barriers to entry here are pretty low. Songwriting, performance, energy, all from a band actively and unpretentiously looking to snag the fickle attentions of their audience for a bit time and a bit of chicanery. So it goes.
As the great Mel Brooks once intoned, “It’s good to be the king.”
Hold onto your socks. Track and PR wire info follow:
The King’s Pistol’s third ep, ‘I Am The King’ is an a no nonsense, balls to the wall Molotov cocktail of down right filthy rock and roll.
Pre-sale for this eclectically electric and raucously rowdy Ep starts soon from Majestic Mountain Records.
The lead single ‘Snow Blind’ is out now with a video by Witch Doctor General (Devil’s Witches)
Dripping with equal parts soul and sleaze, The King’s Pistol has taken their already salaciously clever songwriting and unflappably tight musicianship to the next level and beyond with their third EP release, ‘I Am The King’ which boasts a boisterously addictive collection of tracks fit to soundtrack the most debauched of celebrations or a simply misanthropic, table-flipping fisticuffs down at the local pub.
Brilliantly brash with lashings of psychedelic wonder and grimy disco fever, Pistol’s satiny, lyrical pomposity and chunky riffing, stomping Hendrixian interludes and blasting beats right on the money from drummer James Farmer, Andy Shardlow’s bombastic bass stylings tying this rousingly volatile little hand grenade into something akin to a giant, ticking time bomb of intoxicatingly thrilling, rollicking rock and roll revelry.
‘I Am The King’ Is coming for you, turn it up and get twisted with The King’s Pistol!
Tracklisting: 1. Don’t Even Think About It 2. Snowblind 3. Blood Moon Highway 4. Firewater 5. I Am the King 6. Disco Queen
‘I Am The King’ Recorded at Foel Studios Engineered by: Chris Fielding Mixed and mastered by: James Farmer Jnr
The King’s Pistol are: Julian Casewell – Vocals and Guitar Andy Shardlow – Bass James Farmer Jnr – Drums
