Cali psychedelic space traders Carlton Melton hereby announce their new long-player, Resemble Ensemble, will arrive on earthly terrain Feb. 17, 2023, in cosmic alliance with Agitated Records. “Prescribed Skies” is both the opener and longest track (immediate points) from the offering, which finds the krautrock-informed, drone-prone instrumentalist trio working as a foursome after welcoming aboard guitarist/producer Anthony Taibi of the likewise undervalued White Manna, and to put it plainly, that’s a match that works. Pushed outside atmospheric confines by Andy Duvall‘s drums, “Prescribed Skies” is nonetheless meditative in a way that feels exploratory while sure of its own heading even if the listener ends up who the hell knows where and, indeed, who the hell knows when, how or why.

But some things you just don’t need to know, or maybe shouldn’t, and the jams throughout Resemble Ensemble are nigh philosophical in their acceptance of their own mystery. “Elsewhere (Need to Be)” defies its titular urgency with drumless guitar explorations and “So the Story Grows” builds atop a central drone with far-back percussion like the ground below, while “High Alert” strips it all down for a keyboard-infused getdown, hard funk and a crafted solo feeling like a snippet of a larger adventure that just so happened to work as an outlier among outliers, while “Route Thirteen,” definitive in place and a terrestrial return, plays off classic rock influences in its ramble, swelling in volume behind its second half burner of a guitar solo before capping with a fittingly organic comedown. A moment in the room with the band, offered with a purity of purpose manifest in its own creation.

What more would you ask? Spoiled, perhaps. There’s razzle and there’s dazzle, but the mood-altering effects of Resemble Ensemble are to chill, so do that as you dig into the substantial leadoff premiering below, a herald of what’s to come that doesn’t necessarily speak for the entirety even if it does in not doing so. Be confused. That’s part of the fun.

Album announcement follows. Go on. Make friends:

Carlton Melton, “Prescribed Skies” track premiere

Carlton Melton, from Northern California, are now a practising fourpiece in the arts of melted-minds psychedelia.

With the added kraut-oomph and sike-flutter of fellow Californian Anthony Taibi (whom you may know as being a member of White Manna, and DDT with Andy), Rich Millman, Andy Duvall, and Clint Golden have now embellished the Carlton Melton sound.

Pushing forward as a fourpiece, the band recorded Resemble Ensemble in July 2021 (just before Andy moved back over East!) at Anthony’s home studio, 3D Light in Freshwater, CA. Anthony did all the recording and mixing. The Melton Magick Karpet settled, and our favourite contemporary sikedelic warlords plugged in, amped up and let it flow…and flow it does. From the krautrock fuelled pszych-raga of Prescribed Skies, to the fluid dronescape of Elsewhere that welcomes you into its arms with a warming tone, almost a missing Spacemen 3 demo at the feast here… So The Story Grows has the drone scraping through a murk of dazzling feedback and pummel, with the fuller sounding Melton giving the genre a proper wobble, hold on to your brains people…

High Alert… whas this? Synth and guitar interplay jambusting, this is the Melton wigging out and almost interweaving 70s high table rock with some odd and downright perverse synthfunkpunk rhythms… get weird… or get wired… or both… easily done here. Closing out the album with Route Thirteen is the road trip home…they’ve been, they’ve massaged and mangled your synapses, plug in the satnav and take the higher-route home…if you get our drift.

Carlton Melton, starting 2023 in a better place than most, soaring high on their synaptic-dazzling magick karpet.

Once again mastered by John McBain (legend).

300 on White Splatter vinyl, called “corneal exposure mix”.
300 on Black vinyl, also available with a nice poster of the front cover.
500 Compact Disc, in sturdy card sleeve.

Single: https://meltoncarlton.bandcamp.com/track/prescribed-skies
Album: https://meltoncarlton.bandcamp.com/album/resemble-ensemble

TRACKLISTING
1. Prescribed Skies
2. Elsewhere (Need To Be)
3. So The Story Grows
4. High Alert
5. Route Thirteen

Carlton Melton is:
Andy Duvall (drums, guitar)
Clint Golden (bass)
Rich Millman (guitar, synths)
Anthony Taibi (guitar)

https://www.facebook.com/Carlton-Melton-band-page-142609689122268/
https://meltoncarlton.bandcamp.com/
http://www.carltonmeltonmusic.com/

https://www.facebook.com/AGITATEDRECORDS/
http://agitatedrecords.com/

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: Kelly Schilling of Dreadnought, BleakHeart and Morningstar Delirium

—

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

I’m a musician, composer and performer. I was introduced to music at a young age, piano lessons, music in school etc., and latched onto metal as a young teen. I was inspired and impressed by the massivity and culture of heavy music and eventually gravitated towards playing guitar. Going to shows was always so inspiring, I knew that music would be my forever home.

Describe your first musical memory.

My earliest musical memories are of listening to early ’90s “boy bands” and “girl bands”. I remember making up dance routines with my friends to the Spice Girls and Britney Spears for example. Christina Aguilera was the first concert I went to, I don’t remember what age, but I was very young. Aside from that, I remember taking piano lessons as a kid and hating practicing, which is funny to think about now.

Describe your best musical memory to date.

It is tough to pick one musical memory, but some of my best memories are from going to concerts when I was a young teen. My friend and I would wait in line for hours prior to the show in order to solidify a spot front and center. I remember everyone on stage feeling so giant and otherworldly and I loved rocking out during their performance. It definitely led to what I do today.

Years of touring have also brought me a plethora of wonderful memories and I’m incredibly grateful to be able to travel and perform with my bandmates.

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

I think there are many instances of being tested throughout life. I feel as if every time I get frustrated I am being tested on my kindness and patience, towards myself and others. I try my best to give others the benefit of the doubt and try to not draw conclusions too quickly.

Where do you feel artistic progression leads?

Artistic progression can lead to a greater understanding of oneself, to an understanding of personal strengths and weaknesses and how to best use ones strengths and improve upon weakness, or when to ask for help. It can lead to a deeper connection with the world and people around us, and a deeper connection with oneself.

How do you define success?

My relationship with success has taken different forms throughout my life. Success has often meant the completion of a goal, of something that has not yet been obtained and then acquired. But I also think success is having gratitude for what one has already accomplished. I think there is a balance between chasing goals and having gratitude for the present. Otherwise success can become a carrot one is always chasing. I still fall into this trap, but try my best to not get lost in wanting more.

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

In the grand scheme of the world I wish I didn’t have to see so much hate and suffering. I wish we could rise above the dark sides of our human form and build an existence that allows everyone to flourish.

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

I really love sad ambient piano music and would like to explore more with writing in that realm. I always have ideas for solo work, but that will come when time allows. Hopefully more work with Morningstar Delirium in the future too. I’d love to take classes on various crafts, such as jewelry making, painting, and ceramics, so when time allows I’ll explore some new creative paths.

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

I think the most essential function of art is connecting to people and building community. Visual art and music for example are a language in itself that can connect people beyond words, by doing so it bridges language gaps, allowing many around the world to connect who otherwise would not be able to speak. It reminds me that we are all connected, experiencing many of the same emotions despite our different circumstances.

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

Autumn time with my partner, halloween, crisp air, the color changes and all that comes with this magical time of the year.

http://www.facebook.com/dreadnoughtband/
http://www.instagram.com/dreadnoughtdenver
https://dreadnoughtdenver.bandcamp.com/
http://dreadnoughtband.bigcartel.com/
http://dreadnoughtdenver.com/

http://facebook.com/bleakheartband
https://www.instagram.com/bleakheartband/
https://bleakheart.bandcamp.com/

https://www.instagram.com/morningstardelirium/
https://morningstardelirium.bandcamp.com/

Dreadnought, The Endless (2022)

BleakHeart, Dream Griever (2020)

Morningstar Delirium, Morningstar Delirium (2021)

Drawing on material from this year’s Pāyān (review here), 2018’s Vatan (review here), 2016’s Dakota (review here), and 2012’s Soul Invictus, Berlin-based heavy rock three-piece Samavayo — led by Iranian-born guitarist/vocalist Behrang Alavi — have released Songs for the Iranian People, a benefit compilation put together in support of the protests in Iran in the wake of the state killing of 22-year-old Mahsa Amini, whose alleged crime was wearing her hijab improperly.

The West — which is mostly to say white people in Europe and the US — has made its don’t-give-a-shit feelings plain. While protesters are slaughtered by an oppressive government and a generation struggles bravely to make its voice heard, people who look like me sit on ass, shake head and say oh isn’t that a shame. Even the generally liberal-minded seem willing to forget at a moment’s non-notice that this is happening. One hates to think that’s because it’s all too common.

Proceeds from this release go to support Iranian women. History tells us time and again that if you want to improve the quality of life in a place — and no, that does not mean “Westernize” it — the way to do it is educate and support women. So, fucking throw a little support. No one’s asking the universe here, and wherever you land on the political spectrum, hopefully at least we can agree that a government assassinating its own populace is a thing to rally against.

From Samavayo:

SAMAVAYO – Songs for the Iranian People

The people in Iran are fighting for their freedom and a normal life, like we know in western democracies. The women in Iran are fighting for their equality and against the brutal treatment by the Mullah regime.

It’s important to show solidarity around the globe, to hear their voices and do whatever possible to support this movement.

We are collecting money to donate it to an organization supporting women. All revenues from our digital release “Songs for the Iranian People” are donated. These songs are about freedom, the end of the bad, the hope for the good and the rebuild of one’s home!

1. Payan (LP PAYAN, 2022)
2. Talagh (LP PAYAN, 2022)
3. Vatan (LP VATAN, 2018)
4. Arezooye Bahar (LP DAKOTA 2016)
5. Roozhaye Roshan (LP Soul Invictus 2012)

These Persian songs from our various albums are dedicated to the Iranian People standing up and fighting for their freedom! “Women! Life! Freedom!”

All the revenues from this digital album will be donated to “Women’s E-Learning in Leadership, WELL”

www.paypal.com/paypalme/Iranianwomen

Samavayo is:
Stephan Voland (Drums, Vocals)
Andreas Voland (Bass, Vocals)
Behrang Alavi (Vocals, Guitar)

https://www.facebook.com/samavayo/
https://www.instagram.com/samavayo/
https://www.samavayo.com/
https://www.youtube.com/user/samavayo

http://www.noisolution.de/
https://www.facebook.com/noisolution
https://www.instagram.com/noisolution/

Samavayo, Songs for the Iranian People (2022)

Post-metallic scathebringers Gavran release their second full-length, Indistinct Beacon, this Friday Dec. 2 through Dunk!records. The Rotterdam-based trio of vocalist/drummer Jamie Kobić, guitarist Freek van Rooyen and bassist Ritsaart Vetter debuted in 2020 with Still Unavailing, and the return appearance brings an additional song with five longform tracks instead of four and an accompanying expansion of atmosphere. Crush-tone guitar and bass meet with floating melodic vocal drone and throatripping screams as aspects of black metal, sludge, post-metal and more besides come together in an identity that is abidingly dark but not totally void of hope. It is a sound that, given proper volume, will surround the listener on all sides with its heft, and that even in the somewhat inevitable-feeling ambient breaks, maintains its grim viewpoint.

The first element introduced on opener “Dvorac” (9:50) is the guitar, and the drums join soon after, setting up the burst to full volume soon enough to take place. An undulating riff takes hold that becomes the central nod of the piece, and before they’re two minutes in, the verse is underway, clean vocals echoing out their first impression from suitably deep in the mix, the bass-fueled largesse making the human presence seem that much smaller in this dark otherworld. Screams aren’t far behind, but one wouldn’t call Gavran impatient in their presentation. It is a methodical unfolding, not hurried. This too becomes one of the main aural themes of Indistinct Beacon; a fluidity that carries across from one part, one song to the next, and though they’re prone to interrupting themselves — who isn’t? — there’s a consciousness underlying their craft such that the midsection break in “Dvorac” conveys its temporariness outright. They know they’re coming back hard, you know it, and when it hits, it’s no less satisfying for that, an admirably-throated scream leading the way once more unto the rolling morass.

“Talas” (10:06) is only 16 seconds longer than the leadoff, but feels purposefully placed in the tracklisting for symmetry as Gavran alternate between nine-minute and 10-plus-minute tracks; three of the former, two of the latter. In any case, it is a substantial lurch. The vocals take a somewhat Jesu-ian tack, and come through as emotive despite the fury of the screams that complement/swallow-whole (depending on how you look at it) with the accompanying riff a march almost in spite of itself. They seem to push deeper shortly before three minutes in, but the pace is still purposeful and emphasizes each strum, thud, rumble. The snap to sparse and soft guitar (at 3:23) isn’t telegraphed, which is a bonus, and it functions as the bottom of a build that comes all the way back just before the song hits its eighth minute. This is the pattern, the back and forth, but some standout shimmer-guitar in the final moments of “Talas” as they head toward Indistinct Beacon‘s centerpiece “Dim” (9:18) lets the listener know Gavran still haven’t necessarily played their full hand, and the speedier push that ensues, definitively post-metallic, manifests a sense of controlled chaos that feels like what “Talas” was working all along to set up.

So be it. “Dim” takes a structural sidestep from “Dvorac” and “Talas” in pushing its quiet part deeper into the procession, but it’s still there, and particularly as compared to “Talas,” it feels like the threat of the reprisal invariably to follow is never gone. Gavran, obviously schooled in European post-metal, take those tenets unto their own, and it is the bending of stylistic tropes to their will that distinguishes them, as well as the fluidity of their overarching groove and the not-nascent-but-developing dynamic of clean and harsh vocals. Some tremolo hints at black metal near “Dim”‘s midpoint, but they ride their momentum well into the brief respite before, in righteous doom fashion, coming back slower and sounding that much heavier for it, vocals taking on a likewise nasty form. In this way, the quiet start of the penultimate “Duhovi” (11:05) is even more an example of how Indistinct Beacon is purposefully laid out, since the subdued start and buildup feels very much like it’s meant to follow the ending of “Dim” before, each song having its own presence but clearly intended to bolster each other; a classic method put to use well in service to Gavran‘s declarations.

“Duhovi” is a highlight and holds back its screams until the ending, a kind of restraint that the band haven’t yet shown that results in more of a heavygaze vibe, though in the context of its surroundings it’s not necessarily a departure in atmosphere so much as a lean toward a different side of the approach they’ve already been using. Still, it works well across Indistinct Beacon‘s longest inclusion, and allows for a flow that’s a standout and all the more hypnotic in its repetitions of riff, feeling both like a conscious choice and something of a developmental milestone for Gavran; perhaps a harbinger of things to come. It is in only in the last 30 seconds of the song that a measure or two is scream-topped, and as closer “Pesak” (9:22) offers its first lighter strums before everybody clicks on their pedals, the flash of the visceral is a prime transition. With “Pesak,” the call is to summarize and wrap up, the pointed sub-shove culminating in layers of harsh and clean vocals together at last, after the requisite break resumes in duly consuming fashion for a whole-record finale, after which they cap with a momentary epilogue of quiet guitar. This too, passing.

As we move into what used to pass for winter around where I live, I find the gray skies and dry-skin-cracking on my knuckles a fitting setting to welcome Indistinct Beacon. It’s a cliché to call post-metal cold-feeling, but the manner in which Gavran create space throughout this sophomore LP can almost certainly see its own breath, and if I note its darkness again, it’s only because the material is dark enough that it bears repeating. Nonetheless, the considered, thoughtful nature of composition on the trio’s part comes through the rawness of even their most turbulent stretches, and they sound most of all like a band who know what they want to bring forth from themselves and their expressive, often punishing take. To say it plainly, they are of microgenre and finding ways to push those boundaries where one ends and another starts, turning that process into identity as they go. Indistinct Beacon, then, is both somber and brutal.

I’m glad to be able to host the full album stream below. You’ll find it followed by more PR wire background on the band, in blue as always.

Thanks and enjoy:

Gavran was conceived in the fall of 2017, during a time when we (guitarist Freek van Rooyen and drummer/vocalist Jamie Kobić) were desperately looking for something to hold on to. With Ritsaart Vetter joining on bass in October 2018 our first significant line-up was formed.

Their debut album “Still Unavailing” was released in March 2020 and was well received. Drawing inspiration from bands like Neurosis, YOB and Amenra and being mixed/produced by Tim de Gieter (Amenra, Doodseskader) the album sounds massive, heavy and emotive. Being released during covid times the record was the perfect soundtrack for living in isolation. “Still Unavailing” was also nominated for album of the year in their homecity Rotterdam.

After their hard hitting debut “Still Unavailing” Gavran now returns with “Indistinct Beacon”. Again working with Tim de Gieter (Amenra, Doodseskader) and with a finishing touch from Jack Shirley (Deafheaven, Oathbreaker,…), the band shows a more melodic side on their second full length without losing the impact of their first record. Drawing from many related genres, seamlessly combining elements from doom, sludge, shoegaze and post-rock.

Gavran on Facebook

Gavran on Instagram

Gavran on Bandcamp

Gavran store

Dunk!records website

Dunk!records on Facebook

Dunk!records on Instagram

Pretty straightforward narrative here: Band didn’t exist, then did. Band write album, signed to label, will release album. Single’s up, and if you’re looking to inform your audience of the general point of view with which you’re approaching your craft, calling the track in question “I Hate You” is likewise unsubtle and effective. Of course, the title of this cut from French trio Azken Auzi‘s self-titled debut album due out Jan. 13 through Argonauta Records puts one immediately in mind of Electric Wizard‘s own “We Hate You,” despite the singular first-person pronoun usage. The song itself is burlier than that UK outfit ever really had interest in being, and the fuzz has a density in its low end conjurations that makes me think the focus across the impending long-player will be more on thickness than lazy stoner groove. So be it. Sludge on, sludgers.

Incidentally, I also hate me. Basically all the time, every day. So I get where they’re coming from here.

In some of the higher guitar frequencies I can hear just a teensy-tiny shade of Type O Negative. I think I hear it there mostly because I want to hear it, but maybe you’ll hear it too. Listen close. Track is at the bottom of this post.

From the PR wire:

French Doom Sludgers AZKEN AUZI sign with ARGONAUTA Records; new single I HATE YOU now streaming

Hailing from Toulon, France, Sludge Doom force AZKEN AUZI announces the signing with Italian powerhouse label Argonauta Records.

It was in the Spring of 2021 that Ludo, Laurent and Fred decided to explore an even darker and more tormented side to their understanding of music, emerging out of the remnants of MANIAC (death metal) and TOM IS FAT (noisy rock), AZKEN AUZI combines doom/sludge but also more atmospheric passages.

Rapidly things took form, one composition and concert after another, until it was decided to record a first demo single “I Hate You” which received a very positive feedback.

It was just a matter of time before the band should decide to studio record their first album.

Noticed by several record labels, AZKEN AUZI decide to sign with Argonauta Rec. in June 2022.

Their first single I HATE YOU (album version) is streaming here.

Watch out for their killer self-titled album to be released by January 13th, with many more news to follow soon!

https://www.facebook.com/azkenauzi
https://www.instagram.com/azken_auzi/

www.instagram.com/argonautarecords
www.facebook.com/argonuatarecords
www.argonautarecords.com/shop

Azken Auzi, “I Hate You”

What is a Yawning Balch? It’s a bit Yawning and a bit Balch, I suppose. The former is desert rock progenitor trio Yawning Man, working as the three-piece of founding guitarist Gary Arce with bassist Billy Cordell — Mario Lalli being busy touring his Mario Lalli and the Rubber Snake Charmers collaboration with vocalist Sean Wheeler and the dudes from Stöner — and drummer Bill Stinson, and the latter is Bob Balch, best known for the shred that accompanies all that fuzz in Fu Manchu.

The two parties apparently had a pre-Thanksgiving get-down and there’s an album — perhaps one, perhaps more — to be dug out of the jams. Neato, right?

It doesn’t sound like such a different process from that of Big Scenic Nowhere, which involves Arce, Balch and Stinson, along with a host of bassists and Mos Generator‘s Tony Reed. That band also got together out in the desert, recorded a ton of whatnot and then sent Balch home to start carving it into songs. They’ve gotten two records and two EPs out of those sessions so far, so I look forward to hearing what might emerge from Yawning Balch, though I’m not sure if that’s a name for a project or just the album title. At this point, it’s all pretty nebulous either way. They could end up calling it something completely different by the time it comes out, if it comes out.

And when might that be? Well I don’t know that either, but Balch shared a quickie clip of the recording on the ol’ sociables, so here’s that along with his brief announcement. When/if I hear more, I’ll post more:

I jammed with Yawning Man last weekend. Here is a small un-mixed/un-mastered clip in the bottom picture. We are calling the album YAWNING BALCH. I’m so honored to have my name involved with this band. Can’t wait for you to hear the album. We are sitting on three hours of jams. Might be a double record. Stay tuned!

Band photo by @gatostrail

https://www.facebook.com/yawningmanofficial/
https://yawningman.bandcamp.com
http://www.yawningman.com/

https://www.facebook.com/bigscenicnowhere/
https://www.instagram.com/bigscenicnowhere/
https://bigscenicnowhere.bandcamp.com/releases
https://bigscenicnowherestore.bigcartel.com/

https://www.facebook.com/FuManchuBand
https://www.instagram.com/fumanchuband
https://twitter.com/fumanchuband

https://www.playthisriff.com/
https://www.facebook.com/PlayThisRiff/
https://www.instagram.com/playthisriff/

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: Jeff Morgan of Rwake, Deadbird, The Lights Inside the Woods, Madman Morgan, The Ominous Warning, Ash of Cedars

—

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

As far as musically, I search the cosmic depths for paths that lead me to melodies and rhythms that I can manifest into this universe. Then I take those sounds and build them into music that can hopefully take others to the same place.
I started this journey in my early teens with the tools I learned from my parents, who were both heavily immersed in metaphysics at that time.

Describe your first musical memory.

Hard to pinpoint the actual “first”, but one of the earliest is when my biological father was blasting Marty Robbins “Don’t Worry About Me” and was in my face yelling at me about how cool the distorted bass sounded on the huge home stereo we had. I was probably four or five years old. I later found out it’s actually a lap steel, not a bass.

Describe your best musical memory to date.

When Rwake played Maryland Deathfest in 2012, we played “Was Only a Dream” off of Rest. During the last section, I felt the whole crowd come together as one and almost everyone in the room were all of one mind for several minutes. It was a very magic moment for sure.

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

Having kids really tested my belief that my sole purpose in life was to create and play music on a full time scale. It was very hard at first to stop touring and stay home with the family. Over time I have learned how to balance my commitment to being a super-dad with my obsession to create and perform gloomy music.

Where do you feel artistic progression leads?

For me, the progression leads to a lifetime’s worth of massive volumes of music that will mostly be undiscovered til my eventual death.

For the world, the progression is so rapid and awe-inspiring, it’s hard to even imagine where It will lead. Every day I hear new music that exceeds what I thought possible. That’s the beauty of art.

How do you define success?

Musically, I define success by the amount of pride I feel when I listen to the musical projects I’m involved with. Also, I am constantly humbled by all the love for the music I’ve been a part of, and I cherish all the friendships made along the way.

Personally I define success by the smiles on my kids’ faces, and watching them grow up. When my family is happy, I’m happy.

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

When Rwake was a young new band, we thought it would be a good idea to bring a bloated dead possum to the show and cook it in an electric skillet during our set. I wish I would have never seen all the bugs running out of it when I dumped it out of the trash bag into the skillet.

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

I’m in the process of creating a live full band version of a gloomy dark acoustic project that I have called The Lights Inside the Woods. I’ve always wanted to be a part of something more quiet and clean, yet still dark and trance inducing. I can’t wait to see how it progresses.

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

Communication. Sharing the results of the quest together. Art is all about the ritual for me. It’s is an endless quest to find the deepest darkest unheard energies and give them a voice.

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

We are returning to Iceland later this month to hike Landmannalaugar in the Highlands. Iceland is such a magical place and I can’t wait to return.

https://www.facebook.com/RwakeBand
https://rwake.bandcamp.com/

https://www.facebook.com/Deadbird1332
https://deadbirddoom.bandcamp.com/

https://www.facebook.com/thelightsinsidethewoods/
https://lightsinsidethewoods.bandcamp.com/

Rwake, Rest (2011)

Deadbird, “Alexandria”

The Lights Inside the Woods, II (2019)

Raise some money, give it away, rock and roll. With assorted players from likewise assorted bands, the ‘Something I Learned Today’ tribute to Hüsker Dü on Dec. 10 at Union Pool in Brooklyn will benefit the community-response charity New York Cares, which has its volunteer hands in a pretty vast swath of programs across the boroughs of New York, kind of going where and when it’s needed to do what’s needed. In December, in addition to whatever else they’ve got going, they run a program giving out toys. They do SAT prep. All kinds of stuff that if capitalism were dismantled probably wouldn’t be necessary in the first place. Nonetheless.

This is one show, happening one night, and it’s for a decent cause, but it’s probably not the kind of thing I’d usually write about. Just being honest. Benefit shows happen a lot. If I covered all of them, I wouldn’t have time for anything else. What’s different here is primarily that Ben Smith from The Brought Low is involved — anytime that dude picks up a guitar is a positive for the world — and he’s joined by the likes of Erica Stolz of Sanhedrin and Jason Alexander Byers of Disengage/Black Black Black, among the various others you can see below. Smith will be part of a backing trio with Jeff Kaplan and Aaron Pagdon, who also play together in the hockey-themed six-piece Two Man Advantage.

Maybe that gets you out of the house and maybe not, but it sounds like a cool night to me and you can’t argue with the cause or the tunes. Info follows here, as snagged from the Facebook event page (also linked):

Something I Learned Today: An All-Star Tribute To Hüsker Dü to benefit New York Cares

Dead Flowers Productions proudly presents Something I Learned Today: An All-Star Tribute To Hüsker Dü to benefit New York Cares.

Guest singers include Mick Collins (The Dirtbombs), Erica Stolz (Sanhedrin), Joey Plunket (Country Westerns), Anthony Roman (Radio 4), Eric Davidson (New Bomb Turks), Kevin Egan (Beyond), Sohrab Habibion (Obits/Savak), Michael Jaworski (Savak), Leah Beth Fishman (PMS & The Mood Swings/Habibi), Jason Byers (Disengage), Zach Lipez (Publicist UK), Zohra Atash (Azar Swan), Vinny Carriero (Action Park), and others TBA.

The band: Jeff Kaplan (Two Man Advantage/Too Many Voices), Aaron Pagdon (Two Man Advantage/Action Park/Federale) and Benjamin Howard Smith (The Brought Low/Sweet Diesel).

Plus: Moral Panic and DJ TomDash (WFMU)!

All profits to benefit New York Cares.

Event page: https://fb.me/e/2ZZUkgAZH

Hüsker Dü, “Something I Learned Today”