Posted in Whathaveyou on July 31st, 2023 by JJ Koczan
Following up on a video for the track “Blankets” that was unveiled in June with the first word of Blood Lightning‘s self-titled debut, Ripple Music has confirmed an Oct. 20 release for that album. The metal-leaning heavy project from members of — yes I’m doing the list; it’s a fun list — Gozu, We’re all Gonna Die, Sam Black Church and Worshipper (among others) got their start as a live one-off and, whoops, I guess somebody started writing songs. Then recording them. They’ve been trickling out singles since late 2021 with “The Dying Starts,” and that track will open the album, so that’s two out of five originals already public. A not-insubstantial sampling for a record that’s still the better part of three months out. And yeah, I’d be up for hearing them take on Black Sabbath‘s “Disturbing the Priest.” Of course.
Blood Lightning join a busy Fall for Ripple. In addition to the new LP from Blood Lightning‘s fellow Bostonians Kind out Aug. 11, recent announcements have been made for albums from Moon Coven (Aug. 25), Fire Down Below (Sept. 8), Dead Feathers (Sept. 22), La Chinga (Oct. 6) and Appalooza, who share Blood Lightning‘s release date of Oct. 20. It’s to the label’s credit that none of these releases steps too hard on the toes of the others sound-wise, and if you don’t think we’re living in a guilded age for heavy music, well, think about a leading label putting out stuff basically every other week from now until mid-Fall with more maybe to come before the end of the year, and then get back to me.
The PR wire has it like this:
Boston heavy metal supergroup BLOOD LIGHTNING to release debut album on Ripple Music this fall; watch new video “Blankets” now!
Boston-based heavy metal supergroup BLOOD LIGHTNING (with members of GOZU, Sam Black Church, Worshipper, We’re All Gonna Die) team up with US powerhouse Ripple Music for the release of their self-titled debut this October 13th. Watch their brand new video for “Blankets” now!
Watch Blood Lightning’s fire it up on new “Blankets” video Single available now on all digital streaming services
Formed in December 2020, Blood Lightning brings together the talents of vocalist Jim Healey (We’re All Gonna Die), guitarist Doug Sherman (GOZU), bassist Bob Maloney (Worshipper) and drummer J.R. Roach (Sam Black Church). What began as a 2019 Halloween show playing the entire Black Sabbath “Born Again” album just for fun has culminated in the release of original material by four veterans of the Boston metal/hardcore community.
Blood Lightning was formed with one thing in mind: get back to the real essence of heavy metal. No pretense. No subgenres to fit into. Only badass, straightforward, hard-hitting heavy metal with a nod to old school NWOBHM with contemporary firepower. They teamed up with award-winning producer and engineer Benny Grotto (Rolling Stones, Aerosmith), and mastering legend Alan Douches (Motörhead, Mastodon, High On Fire) to record five original songs and one Black Sabbath cover over the course of 2021 and 2022.
They were also honored to be nominated in 2021 and 2022 for Metal Artist of the Year by the Boston Music Awards. The band recently signed with acclaimed Stoner/Doom/Metal label, Ripple Music, and is excited to take the next step in that partnership to bring some new music to the masses.
BLOOD LIGHTNING “Blood Lightning” Out October 20th on Ripple Music
TRACKLIST: 1. The Dying Starts 2. Hitting The Wall 3. Bananaconda 4. Face Eater 5. Blankets 6. Disturbing The Priest
BLOOD LIGHTNING is Jim Healey – Vocals Doug Sherman – Guitars Bob Maloney – Bass J.R. Roach – Drums
Posted in Questionnaire on July 13th, 2023 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: Scott O’Dowd from Cortez
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How do you define what you do and how did you come to do it?
First and foremost, I’m a music fan. I have a voracious appetite when it comes to music, I can never get enough. Ever since I was a little kid, I have been fascinated by music. I think that it has to do with how it makes me feel. I associate songs with different memories and feelings that I have experienced. Somewhere along the way, this love of music led me to want to play an instrument, which ended up being the guitar. Playing guitar sort of naturally led to writing songs. 35-40 years later, I’m still at it.
Describe your first musical memory.
I don’t have one specific memory per se. I have lots of memories of being, like four years old and hearing The Beatles and Beach Boys around the house. Also, lots of FM radio hits of the day. A few songs that I really remember being drawn to for whatever reason were “Dream Weaver” by Gary Wright, “Evil Woman” by ELO, and “Miracles” by Jefferson Starship.
Describe your best musical memory to date.
I don’t know if there is a ‘best’ musical memory, but a fun one is being on tour with our Belgian friends Solenoid, and our brothers in We’re All Gonna Die. We were pulling into a rest stop somewhere, we had all of the van windows open and were blasting ‘Balls To The Wall’ by Accept. It got to the part where it breaks down to just drums and bass, everyone spontaneously started singing the ‘Ah-ah- ah-ah-ah-ah-ah-ah-ah’ chanting part at the top of their lungs. We all burst out into hysterical laughter afterwards.
When was a time when a firmly held belief was tested?
The belief that anything is guaranteed. Over the last year, I have been dealing with serious back issues, which at times have made it almost impossible for me to walk. Sometimes I wonder if the physical limits of my own body may force me to stop playing music. Which is an absolutely unbearable thought.
Where do you feel artistic progression leads?
True artistic progression will ultimately lead to the next set of challenges. Whether they be external or internal. I’d like to think that the ultimate end would be a sense of satisfaction and accomplishment, but I think there is always the drive to eclipse, or expand on the previous song, album, or performance.
How do you define success?
I define success as doing what you want, and being happy.
What is something you have seen that you wish you hadn’t?
My mother’s battle with Alzheimer’s disease. It is the most horrific thing I have ever had to endure.
Describe something you haven’t created yet that you’d like to create.
The next song.
What do you believe is the most essential function of art?
I think that the most essential function of art is to make you think. Whether it’s just getting your synapses firing, and experiencing different emotions, or really making you question things on a deeper level.
Something non-musical that you’re looking forward to?
Posted in Questionnaire on June 19th, 2023 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: Tom Corino of Kind
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How do you define what you do and how did you come to do it?
I’ve spent the majority of my life playing bass in bands. Before I even owned an instrument I had agreed to be in a band so my skills on the bass took some time to catch up with my first skill which was being a bandmate. I’ve been lucky enough to develop my own style of playing over the years and I’ve also been to be surrounded by musicians who gave me the platform do my own thing in one form or another.
Describe your first musical memory.
The first time I heard music and it really clicked for me was being exposed to Black Sabbath in high school. A friend of mine got the Reunion live album as a gift and lent it to me for a trip to Shea Stadium to watch the Mets lose. I popped it in my walkman and it’s been all downhill from there.
Describe your best musical memory to date.
Honestly it’s pretty hard to choose. I’ve been really fortunate that music has afforded me so many opportunities over the years. I’ve gotten to see most of the US and met some of my absolute heroes thanks to playing music (Opening for Slayer with Rozamov comes to mind).
That said, playing Desertfest London with Kind was a total trip. The reaction we got from that audience was just unreal. I also got to share the experience with my wife and explore the city for a bit which is not something that happens very often as anyone who has done any touring will tell you.
When was a time when a firmly held belief was tested?
Having a child completely dismantled most of my firmly held beliefs. It changed everything and it’s hard to explain to people who haven’t experienced it themselves. Certain things I used to take so seriously are now completely trivial and things I once took for granted are now of utmost importance. Frankly, I look back at my former self in pity at how ignorant and self involved I was.
Where do you feel artistic progression leads?
I think everyone’s progression is different, and the journey is way more important than wherever it “leads” to. I’m not really sure it leads anywhere, artistic progression should never end if you’re doing it right.
How do you define success?
Success is enjoying the process.
What is something you have seen that you wish you hadn’t?
Watching loved ones deal with serious mental health hurdles is the most debilitating thing ever and I wouldn’t wish it on my worst enemy.
Describe something you haven’t created yet that you’d like to create.
I’ve always wanted to run a studio or venue of some kind. I have exactly none of the expertise needed for either venture but hey… maybe someday we’ll do it.
What do you believe is the most essential function of art?
To allow the artist and audience to lose themselves collectively and have a respite from the outside world for some stretch of time, however brief.
Something non-musical that you’re looking forward to?
Boston’s Kind will release their third album, Close Encounters, this August through Ripple Music. The band — comprised of guitarist Darryl Shepard (ex-Milligram, The Long Wait, Blackwolfgoat, Hackman, etc.), bassist Tom Corino (Rozamov), drummer Matt Couto (ex-Elder) and vocalist Craig Riggs (Roadsaw, also drums for Sasquatch, etc.) — are about as heavy on riffs as they are on pedigree, and having been fortunate enough to have heard the full album at this point I’ll tell you two things about it. First, it’s their best work to-date. Second, if you’re the end-of-year-best-of-list type, you’re going to want to save room. I’ll review the record down the line, but just a heads up. It’s one to keep an ear out for.
Lucky enough, you don’t have to keep that ear out for it for very long since the first single is premiering below. “Burn Scar” doesn’t account for every move the band make on the Alec Rodriguez-recorded offering, which hits hard and stretches out over some pretty vast distances as well, but it’s enough to give you a basic idea of where they’re at in terms of tone and melody, though if you caught 2020’s Mental Nudge (review here) you know they’re not shy about changing things up as they make their way through a collection. I’ll reiterate, Close Encounters is their best record yet, and please know that I wouldn’t say that if I didn’t genuinely believe it. The rest we can handle later.
One note and I’ll let you go. This is the first single from Close Encounters, but it’s not the first track to be released. “Favorite One,” track two of nine, was featured on the Nebula Ripples benefit compilation to support Nebula bassist Tom Davies in his struggle against cancer (on Bandcamp here). Put the two together and you’ve got almost a third of the record to go on already. Not too shabby. That track is also streaming at the bottom of the post, along with a full live set (same show from which the picture above seems to have been taken) from New Hampshire this past December that also has some new material. Because MAXIMALISM.
For now, enjoy “Burn Scar.” Preorder links and PR wire info follow below:
Close Encounters is the third KIND full length, following their debut Rocket Science (2015) and sophomore album Mental Nudge (2020), all released on venerable underground heavy rock label Ripple Music. Once again, KIND recorded with engineer Alec Rodriguez at Mad Oak Studios, and the eye-catching cover art was created by renowned artist Alexander Von Wieding in his lair in Germany. Close Encounters contains nine songs of heavy stoner/doom/psych rock with some additional elements, furthering the scope of KIND’s musical vision. Prog-rock leaning opener “Burn Scar”, the almost-but-not-quite pop of “Snag” and the Krautrock inspired closer “Pacino” bring some variety to the proceedings, with additional percussion, Mellotron and synth blended into the mix.
The locked-in rhythm section of drummer Matt Couto and bassist Tom Corino and the heavy-as-bricks riffing of guitarist Darryl Shepard are topped off with the powerful and melodic vocals of Craig Riggs throughout, creating a cohesive sound regardless of where the band ventures musically. KIND never stray from their mission, which is to write and perform top-shelf heavy rock. Mental Nudge ended up on several year-end best-of lists and topped the Doom Charts in September of 2020. Close Encounters ups the ante in several ways, showing the versatility of these four seasoned musicians who have performed with KIND and previous bands at festivals such as Roadburn, Hellfest, Desertfest and many more. But as the saying goes, “writing about music is like dancing about architecture”. The best thing to do is to throw on a copy of Close Encounters and turn the volume way up.
About the album, guitarist Darryl Shepard says: “When we started recording Close Encounters the pandemic was still going on, and then Russia started bombing Ukraine the week before, so the war was just starting and nobody knew what the hell was going to happen with that. Was it going to turn into World War III or something? Nobody knew at that time. And I remember just feeling that everything going on was very heavy and we were in the studio recording while Russia was invading another country and nuclear facilities in Ukraine were burning. All of that definitely seeped into my playing on this album. It was absolutely on my mind, and Alec and I were talking about it while setting up to record. It was definitely a heavy period and I think some of that is in this record.
Album credits: All songs written & arranged by KIND, copyright 2023 (BMI) All lyrics by Craig Riggs Synths – Craig and Darryl Additional percussion – Craig Piano – Darryl
Produced by KIND & Alec Rodriguez Recorded & mixed by Alec Rodriguez Recorded at Mad Oak Studios, Allston, MA between March and July of 2022 Mixed thereafter by Alec Rodriguez Mastered by Magnus Lindberg at Redmount Studios
Artwork, layout & logo by Alexander von Wieding, zeichentier.com
KIND lineup: Tom Corino – Bass Matt Couto – Drums Craig Riggs – Vocals Darryl Shepard – Guitars
Posted in Whathaveyou on June 6th, 2023 by JJ Koczan
As tempting as it might be to liken Blood Lightning to fellow Bostonian unit Kind in terms of being a band comprised of dudes from other bands — in Blood Lightning‘s case, that’s Gozu, Black Thai, We’re all Gonna Die, Sam Black Church and Worshipper — but that and having standalone frontmen able to belt out hooks with the best of ’em is about where the similarities end. Blood Lightning signed to Ripple Music early last month and the intention toward a self-titled debut full-length was announced with that, and with their new video for “Blankets,” they offer the first audio to come from the album. Unsurprisingly, it’s a banger.
The band cast themselves as metal, and maybe they are, but “Blankets” isn’t hyper-aggressive in its groove or melody, but you can hear everyone pushing. Not struggling to keep up with the song, because it’s not like they’re trying to thrash or anything, but pushing themselves to hit harder, play and sing with impact in mind, and while they’re still led by riffs and they’re still produced by Benny Grotto at Mad Oak — the only one of their other bands I’m not sure he’s recorded before is Sam Black Church, and maybe Worshipper now that I think of it? — there’s a twist in the intention that comes through in “Blankets,” which was also released audio-only as a single last summer.
Now it comes accompanied by a video recorded this past Spring in Cambridge that you can see at the bottom of this post. I haven’t seen a solid release date for Blood Lightning‘s Blood Lightning yet, but Ripple‘s Todd Severin had some comment on the video from social media, and if he’s stoked on it, that’s usually a good sign, even if he is the guy running the label:
The video for Blood Lightning’s “Blankets” was shot live at ZuZu in Cambridge MA on April 19th, 2023 by Frank Pino and Shawn Reilly of Doghouse East.
The song is the first release from our debut record on Ripple Music.
We are excited to share this tune and video and can’t wait for you to hear the rest of the album! (Due in October 2023)
Come catch Blood Lightning live at the Middle East Upstairs in Cambridge MA on Friday June 23, 2023 with Catching Hell and Scissorfight.
We are incredibly excited to be part of the Ripple Music family and are stoked to share this video with you!
Says Ripple Music’s Todd Severin: Damn, am I excited about this project. Blood Lightning, a Boston supergroup featuring members of Gozu, Worshipper, Sam Black Church, Black Thai, and others. They’ve already been nominated for several Boston Music awards, and here’s why. Proud to present to you the new video for Blankets, a song off their forthcoming Ripple Music debut.
BLOOD LIGHTNING are: Jim Healey – Vocals Doug Sherman – Guitars Bob Maloney – Bass J.R. Roach – Drums
The first 10 seconds of “Tom Cruise Control” are pretty telling in that they remind the listener just how little Gozu actually need to make a hook. It’s just the guitar, then the bass and drums pick up and are swept along with the immediate momentum garnered. This has been Gozu‘s method for seven years now, to take the tones, grooves and, particularly in the vocals of guitarist Marc “Gaff” Gaffney, the soul of heavy rock and recontextualize them with a force of impact born of heavy metal. As the Boston four-piece offer the nine songs and 48 minutes of Remedy as their first studio LP since 2018’s Equilibrium (review here), they not only welcome drummer Seth Botos to the lineup alongside Gaffney, lead guitarist Doug Sherman and bassist Joe Grotto, but they reaffirm and refine the aesthetic stance they initially took on Equilibrium‘s predecessor, 2016’s Revival (review here).
That record, issued in a stopover through Ripple Music before they were picked up by Metal Blade imprint Blacklight Media, first united Gozu with producer Dean Baltulonis at Wild Arctic Studios in Portsmouth, New Hampshire. None of their work before that — 2013’s The Fury of a Patient Man (review here), 2010’s Locust Season (discussed here; review here), or their 2008 self-titled demo — had the same purposeful, directed punch. Make no mistake, Gozu always hit hard, but rounded edges turned into sharp corners right around the middle of the last decade and they’ve been riding those crisp orange lines ever since. Their collaboration with Baltulonis — who has produced records for Primitive Weapons, Sick of it All, Hatebreed, and it’s safe to say is no stranger to the aurally aggro — is part of what lets them so quickly establish themselves on Remedy. They are as sure in their method of delivery as they are in their songwriting, and they’re not wrong about either one.
But of course, there’s more to any Gozu record than just the shove, though it’s somewhat comforting to know that five years and two drummers after their last record the shove is still ready to go. Second cut “CLDZ” takes its name from a cannabis-infused beverage company part-owned by Baltulonis, so one imagines the recording was a good time, but it’s also the longest inclusion save for nine-minute closer “The Handler,” its two halves split by a solo united by a richly layered melodic chorus from Gaffney, a casually shredded solo from Sherman providing the transition as Grotto — who would be a secret weapon were it not for the consuming thickness of the bass running alongside the guitars; not a new aspect of Gozu‘s sound but universally effective — blends intricacy and fluidity to complement the riffy core of the material, there and in the dare-you-rockers-to-mosh procession of the subsequent “Rambo 2” and side B’s penultimate “Ash,” the latter a declarative stomp that can’t help but feel like Boston hardcore.
Between those two songs, a forward sprint like the three-minute “Joe Don Baker” or even the verses of “Tom Cruise Control,” the spirit of Remedy is charged and metallic, but that isn’t all it is. In doubling as the first single, “Tom Cruise Control” and its standout chorus did more than hint at a career performance vocally from Gaffney, and the rest of the album bears that out in striking fashion. A scream sneaks into the end of the verse in “Rambo 2.” The effects-laced layers backing “The Magnificent Muraco” add to the confident and soulful presence of the can-sing-lead-singerism happening at the forefront — that Gaffney holds it down live while playing rhythm guitar is not a minor achievement, either — which gives over to falsetto soon enough. And amid the open strumming of “The Handler,” which crushes with repetition in a way that reminds of The Fury of a Patient Man capper “The Ceaseless Thunder of Surf,” Gaffney goes there again as the lumbering nod moves through its middle.
Even in the dual-personality of “Ben Gazzara Loves No One,” with a penetrating build of feedback at its start, a thud of kickdrum and a dust-covered tone of riff that reminds of Author & Punisher more than Fu Manchu that turns very much toward boogie after three minutes into its total five and a half, Gaffney is there to emphasize the dance after Sherman‘s solo reorients the song to its second movement. One could just as easily cite the way “Ash” opens up from its crunch in the verse and sweeps through its own chorus, or any number of other examples in the material to make the point. The overarching message there applies to the band as a whole as well. Some 15 years past their first release, Gozu sound comfortable in their skin as a group, like they know who they are and what they want their sound to be, but have not given up pushing themselves creatively, or — as comes across in the brash start of “CLDZ,” the intensity of “Joe Don Baker” imagining what would happen if ‘thrash rock’ existed, or the largesse in the rollout of “Ben Gazzara Loves No One” — physically.
Part of that might be due to the shift in dynamic that comes from bringing in Botos on drums, but Gozu have been delving further into kinetic surge for the last decade or more. And while Remedy can be read as the deepest they’ve gone in that regard, it might just as easily be noted for the hypnotic melody and nod at the end of “CLDZ” or the dreamy fade in “Rambo 2,” “The Magnificent Muraco,” or even the ‘ooh-aah’ stretch in “Ben Gazzara Loves No One,” or the consuming atmospherics of the last stretch in “The Handler.” The truth is that Gozu are a more complex group than can be summarized through one person, performance, or song, and Remedy is a reminder of the greater strength that arises as the sum of its parts.
It is not a revolution in sound for them, but it is theirs entirely — one does not hear it and mistake it for somebody else — and if they’re offering it as a cure either for modern ills, a statement that the band itself is the cure for the members, or something else related to either the pandemic years or whathaveyou, their catharsis is easy (and fun!) to internalize as a listener. That roll at the end of “The Handler” sure feels like a big exhale, and that’s suitable after some of the clenched-teeth surges that Remedy has presented. If one wants to extrapolate from that to the rest of what surrounds, then the album title makes sense. The song titles, well, that’s always been a thing for Gozu and if you can’t Google the references or don’t care or think the songs are a joke because they’re named that way, maybe you’re the one with the problem. Sorry. If you want to talk about it, I’m available and have been where you are.
For the rest, Gozu‘s steady growth along their charted path should serve as comfort enough, let alone the character of these songs, which can be propulsive or meditative without losing either their expressive intent or underlying structures and are drawn together as a group through tone without leaning on that same tone as a stylistic crutch. They are, in concept and execution, all in. On Remedy, Gozu come across like they’re holding nothing back, like each song, each part, each contribution is there for a reason in service to the LP as a whole and the individual pieces, and like they’re putting everything they have into these tracks and recordings. That’s not really anything new for them either, but five records deep, the dedication to the cause feels all the more noteworthy for the lack of stagnation that accompanies.
Arriving as veterans, they use their fifth album to reaffirm the progression they’ve taken on over their time and to demonstrate clearly their commitment to it as an ongoing factor in their makeup. That Remedy is an utter triumph for them in this should be no surprise to those who’ve heard them before, and for new listeners, these songs should serve as prime immersion. All these guys do, have ever done, is kick ass. Kudos to them on the consistency here.
Posted in Whathaveyou on May 3rd, 2023 by JJ Koczan
Cheers to Blood Lightning and Ripple Music on joining forces for the greater good of heavy rock and roll. The Boston-based pretty-gosh-darn-super-group came about in 2020 and thus far have posted two singles in “The Dying Starts” (posted here) and “Blankets” (posted here), and they’ll release their helmed-by-Benny–Grotto (who’s also pretty super) self-titled debut this October.
So who’s in the band? Check out Jim Healey and Doug Sherman, respectively known for their work in We’re All Gonna Die (also Black Thai, Set Fire, Shatner, solo, etc.) and Gozu (whose new record stands among 2023’s best and is out this month) collaborating. That’s a marquee match up from Boston in itself, but neither drummer J.R. Roach (Sam Black Church) nor bassist Bob Maloney (Worshipper) have anything to prove in my mind. It’s a band of dudes from other bands. You’ve been down this road before. But, in addition to the aggro vibes they’ve shown this far, there’s not a doubt in my mind they’ve got some tricks up their collective sleeve for the LP, and I’ll be completely honest and tell you that any album Healey is belting it out on is one I want to hear. Seriously. Dude could be singing over a 40-minute sample of the T running late and make it sound good. Throw Sherman‘s shred on there, Maloney‘s bass, Roach‘s drums, and, well, you get the idea.
More to come, is what I’m saying.
Ripple posted the following on socials:
Ripple is extremely proud to welcome to our family, the Boston supergroup, Blood Lightning!
Formed in December 2020, Blood Lightning brings together the talents of Jim Healey (We’re All Gonna Die), vocals; Doug Sherman (GOZU), guitar; Bob Maloney (Worshipper), bass; and J.R. Roach (Sam Black Church).
During Covid lockdown. The guys decided to riff around remotely, eventually coming together to flesh out their ideas into songs.
Blood Lightning was formed with one thing in mind: Get back to the real essence of heavy metal. That’s it. Nothing fancy. No pretense. No subgenres to fit into. Just badass, straightforward, hard-hitting heavy metal with a nod to old school NWOBHM, with a bunch of contemporary firepower.
Award-winning producer/engineer, Benny Grotto (Rolling Stones, Aerosmith) and mastering legend, Alan Douches (Motörhead, Mastodon, High On Fire), recorded/mixed and mastered their self-titled debut.
Album release, vinyl, CD, and digital hitting you worldwide this October
Please give them a big waverider welcome!
BLOOD LIGHTNING are: Jim Healey – Vocals Doug Sherman – Guitars Bob Maloney – Bass J.R. Roach – Drums
Posted in Whathaveyou on March 22nd, 2023 by JJ Koczan
Would it be funny if I said I didn’t get the reference in ‘Tom Cruise Control?’ Probably not. “What’s a ‘danger zone’?,” and so on. Meh.
The news is still good, as Boston heavy rockers Gozu send first word of their upcoming album, Remedy, which will be out May 19 through Blacklight Media. It is their second full-length for the label — which is an imprint of Metal Blade Records — behind 2018’s Equilibrium (review here), as well as their third to be recorded with Dean Baltulonis, who also helmed 2016’s Revival (review here). The PR wire has it as their fifth long-player overall, and my count is six, but I guess it depends on how you situate their 2008 self-titled. Well, I just checked the band’s Bandcamp and they call it a demo, so there you go. Remedy is number five.
In case you’re looking at the tracklisting and curious, I looked up “CLDZ” and it’s a cannabis-infused drink company — whose beverages look lovely — owned in part by Baltulonis. I bet that’s a good-ass song. Sadly, I haven’t heard the record yet to confirm for myself. There’s time.
And until then, the four-piece have a video up for Remedy‘s first single, the aforementioned “Tom Cruise Control,” and it’s a riffer for all seasons, topped with a career performance from Marc Gaffney on vocals. The chorus hits with harmonies that are a technology I don’t understand and so can only think of as magic, the kick is heavy and aggro in the verses, and Doug‘s fuck-it noise shred is on point, while Joe Grotto joegrottos it on bass, holding the nod as they build toward the finish past the four-minute mark. Hot shit. It’s a fuckin’ burner. Sign me up.
Today started out pretty rough. This made it better:
GOZU ANNOUNCE FIFTH ALBUM ‘REMEDY’ OUT MAY 19 BLACK LIGHT MEDIA/METAL BLADE
BAND SHARES “TOM CRUISE CONTROL” VIDEO
Boston’s GOZU — Marc Gaffney (vocals and guitar); Joseph Grotto (bass); Doug Sherman (lead guitar); and Seth Botos (drums) — return riffing and screaming with their fifth full-length Remedy.
Today, the band has shared the video for “Tom Cruise Control.” Watch it here.
“‘Tom Cruise Control’ will take you riding into the danger zone,” the band shares. “It will take you right into the danger zone! Turn ‘n Burn.”
The record was engineered, mixed, and mastered by Dean Baltulonis (Death Ray Vision, The Hope Conspiracy) at Wild Arctic studios in Portsmouth, New Hampshire. The album will be available via Digital/Streaming, CD, and vinyl. The U.S. vinyl variant will be Blue/White Melt, while the European vinyl variant will be Red/Black Melt.
About the album Gozu says, “A wise man said, ‘To rock is human, to roll is divine. Gozu’s Remedy should be cranked at full volume, all the time.”
REMEDY TRACK LISTING: “Tom Cruise Control” “CLDZ” “Rambo 2” “Joe Don Baker” “Pillow Talk” “The Magnificent Muraco” “Ben Gazzara Loves No One” “Ash” “The Handler”
Gozu will also hit the road this May. “On May 19, Gozu hit the road with some serious BGVs. Get ready to stop, drop, and open up shop! See you all at a club near you. Woooo.”
GOZU ON TOUR: 5/19 — Brooklyn, NY — Saint Vitus 5/20 — Philadelphia, PA — Kung Fu Necktie 5/21 — Pittsburgh, PA — Green Beacon Gallery 5/23 — Indianapolis, IN — Black Circle * 5/24 — Columbus, OH — Ace of Cups * 5/25 — Newport, KY — Southgate House/Revival Room * 5/26 — Chicago, IL — Reggies / Music Joint * 5/27 — Lincoln, NE — Cosmic Eye Brewery 5/28 — Denver, CO —The Crypt 5/30 — Houston, TX — Black Magic Social Club 5/31 — Austin, TX — The Lost Well 6/1 — Arlington, TX — Division 6/2 — New Orleans, LA — Gasa Gasa 6/3 — Nashville, TN — Springwater * 6/4 — Atlanta, GA — Boggs Social & Supply * 6/5 — West Columbia, SC — New Brookland Tavern * 6/7 — Raleigh, NC — The Pour House * *With Ancient Days
VIDEO CREDITS: Director, Editor, Animation & VFX: Shawn Reilly PunchDance Studios Studio Manager- Frank Pino JR Grip: Alex Fiorentino
GOZU is: Marc Gaffney – guitar and vocals Joe Grotto – bass Doug Sherman – lead guitar Seth Botos – drums
