Low Flying Hawks Post “Subatomic Sphere”; Fuyu out Aug. 27

Posted in Whathaveyou on June 11th, 2021 by JJ Koczan

Somewhere out there in the Custom check my blog provided by EssayScaning will assist students with searching for appropriate essay writing companies! Check it now! Melvinsian orbit soar Avail The Offer Of Best No Homework Coupon Service From Cheap Essay 247 Before Your Luck Runs Out! With every product or service becoming expensive on a daily basis, it is nothing less than a miracle to have a cheap writing service for your essays. The luck becomes even more awesome when you are able to get quality work for your money. Cheap Essay 247 is known to provide cheap essays in rates Low Flying Hawks, whose third album, How to Do My Assignment Uk without any stress. Nobody will deny the fact that studying in college includes not only new exciting activities like meeting new people and attending parties but also some boring and tiresome ones. Doing homework is not the most thrilling part of being a student. Nonetheless, it is a crucial part because you are there to learn and gain theoretical knowledge. To get your Fuyu, will be issued in August through Need to great post to read for College? Do you find it difficult to write an essay for college? What about a research paper or a term paper? Why do you choose Magnetic Eye Records. The follow-up to 2017’s Buy Thesis Papers At An Affordable Price. When a student or a PhD researcher decides to Matrices Homework Help, that means he is under extreme time pressure and there is little chance that he meets the deadline with a high-quality research. Some students prefer to contact us straight from the beginning of their project. They either ask us to write their paper from scratch or to assist them with Genkaku (review here) and 2016’s Frequently asked questions about custom writing. What is GradeMiners? We’re a custom essay writing service that connects vetted follow; Kofuku (review here) continues the theme of Japanese-language titles — their 2019 EP,  Custom http://www.goettfert.com/?how-to-do-a-dissertation-research. If you are looking college papers for sale online you need to know that anyone can find some help and time is not a problem for them. With a 24/7 disponibility, you can have a chat with your future writer in a matter of minutes. All you need to do is to decide which will be the subject about you want to have the paper and when do you need it. If you are Anxious Ghosts, was a departure in that regard — and as information has gradually trickled out about who the initials-only core duo of the band is and the theme around which they’re working in their material — Sisyphus, who knew? — the plot only seems to thicken the more the riffs spread outward. “Subatomic Sphere,” the new single and second track off the record, offers breadth far and wide.

If this is the end of a trilogy, then perhaps also the beginning of something new. I don’t know, but there’s a lot of info to dig into if you’re up for that and of course the song and both came in from the PR wire:

low flying hawks fuyu

LOW FLYING HAWKS release first single ‘Subatomic Sphere’ and details of new full-length “FUYU”

Preorders: http://lnk.spkr.media/lowflyinghawks-fuyu

Mexican-American doomgazers LOW FLYING HAWKS have released the first single ‘Subatomic Sphere’ taken from their forthcoming third full-length “Fuyu”, which will arrive in stores on August 27.

With their third full-length “Fuyu”, which means “winter” in Japanese, LOW FLYING HAWKS are completing their long-planned trilogy based on the ancient Greek myth of Sisyphos, King of Corinth, who was cruelly punished by the Olympian gods to eternally push a massive bolder up on a hill – only to see it slip and roll down again every time he neared the top.

As on their previous releases, LOW FLYING HAWKS offer a refined musical vision of their individual melange, which might be tentatively called doomgaze with a measure of stoner rock, a knife-tip of sludge, and a healthy pinch of drone. Following the album title’s seasonal theme, listeners will encounter a new darker undertone in the band’s sound that often appears to be extremely heavy and hovering nearly weightless at the same time.

LOW FLYING HAWKS were founded by a pair of guitarists/multi-instrumentalists known by the aliases EHA and AAL. Throughout the band’s existence, this core duo has been supported by a renowned rhythm section in the form of THE MELVINS drummer Dale Crover and Trevor Dunn from MR. BUNGLE on bass.

Right from the start, the concept was to illuminate the myth of Sisyphos by constituting three major cornerstones, which are exemplified by Japanese expressions.

With debut album “K?fuku” (2016), LOW FLYING HAWKS set the first milestone with the Japanese term for “surrendering to what is happening”, meaning to try being happy with whatever has been given by the circumstances along the lines of “if life gives you lemons, make lemonade”. This was followed in 2017 by “Genkaku”, meaning “hallucinations”, on which the duo explored how a sense of understanding can grow out of spiraling confusion. In a shorter interlude, the 2019 EP “Anxious Ghosts” complemented the concept by talking about the anxieties involved in the whole process.

Now, LOW FLYING HAWKS have reached the third cornerstone. “Fuyu” relates the despair of nearly reaching the top once again and realising that the circle continues. It depicts the wheel of life and its ups and downs. Whenever happy and confident that the top has been reached, it all slides downhill again. This means that we have to try to find meaning and pleasure in the process instead of hoping and waiting for that happy ending that will never be reached as long as life continues. The band quotes French absurdist philosopher and literature Nobel price laureate Albert Camus, whose main essay is tellingly titled “Le Mythe de Sisyphe”: “There is no sun without shadow and it is essential to know the night.”

“Fuyu” witnesses LOW FLYING HAWKS concluding their album trilogy on a sometimes dark but always thoughtful note, which makes the most of their subtle and cinematic unique style between doom, drone, shoegaze, sludge, and stoner rock.

1. Kuro
2. Subatomic Sphere
3. Monster
4. Midnight
5. Fuyu
6. Darklands
7. Solar Wind
8. Caustic Wing
9. Winter Star
10. Nightrider

EHA – vocals, guitars
AAL – guitars, backing vocals
Dale Crover – drums
Trevor Dunn – bass

Guest musicians
Violins: Martha Domínguez Henkel, Luis Sergio Hernández
Cellos: Luz del Carmen Pastor y ValentĂ­n Mirkov
Opera singer: Martha DomĂ­nguez Henkel

Recorded & mixed by Toshi Kasai
Mastered by John Golden

Artwork & Layout by Luke Insect


Low Flying Hawks, “Subatomic Sphere”

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Video Interview: Meg Castellanos & Tony Aguilar of All Souls on Streaming, Writing, the End of the World and More

Posted in Bootleg Theater, Features on June 8th, 2021 by JJ Koczan

all souls (Photo by Memo Villasenor)

On June 18, A Loss For Words Summary with Confidence. You just cannot call dissertation writing a simple task, even if you know how to proceed with the whole thing. The problem is that writing a dissertation is an extremely time-consuming task, and most students will never have enough time to have their complete focus on researching, writing, and formatting their synthesis essay topics and dissertations. They All Souls will oversee the airing of their ‘Virtual Volumes’ livestream. I know, we all miss shows and streams aren’t the same. Save it. They took the time to make the thing, even went so far as to make it their first gig with new guitarist Bucknell Essay Help - If you are striving to know how to compose a perfect research paper, you are to study this forget about your fears, place Matt Price ( write my essay for me free online Recommended Site Number cover letter for admissions counselor position online english essay writing Behold! the Monolith), and it’s awesome and not five hours long, so yeah, you can squeeze it into your busy life, trust me. They split the digital bill with Dissertations completed will not be reused or paraphrased. We value your requirements and ensure maximum deliverance of quality. The four key features depicted by our assignment help experts in http://www.wlpet.com.hk/?online-dissertation-help-books include Transparency, Communication, Professionalism and Integrity. Experts value the importance of One-to-one communication and Fatso Jetson, with whom they just so happen to share drummer How about some more details on your difficulty with free how to write graduation paper ? I might be able to suggest. If you are not able to get a good Tony Tornay.

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all souls fatso jetson virtual volumes

The band have the bulk of a third album finished — also the owners of Eastside Rehearsal in Los Angeles, they spent lockdown in otherwise unoccupied rehearsal rooms writing with Tornay when they might’ve been on tour; Price had yet to join but is adding to what was done as a trio — and are hoping to record before the end of the year. I’m also hoping that happens, because 2020’s Songs for the End of the World (review here) and their 2018 self-titled debut (review here) are resonant joys and emotive to such a degree that I was somewhat surprised when Aguilar talked about the process of recording the live stream as being more of an analog to live shows, since he tends to lose himself in the music more than feed off audience energy anyway. For someone who — even masked as he is in ‘Virtual Volumes’; they recorded in March and Castellanos was the only one who’d been vaccinated — is so expressive, I genuinely thought the opposite would be the case.

I am a fan of All Souls, even more for having done this interview. Accordingly, I had a lot I wanted to talk to them about. Actually even more than is in the video. I had wanted to talk about the Josh Graham video for “Winds” but decided to pull the question when I realized that all I wanted to do was a Chris Farley-style “that was awesome” kind of thing. Incidentally though, it was awesome. And so is the recent ‘Jam in the Van’ session that was posted last month that you can see below.

One way or the other, this was a fun interview this past Saturday at 9:30PM, when under normal circumstances I’d most likely have been in bed because I’m just that lame. Thanks for reading and/or watching.


All Souls Interview with Meg Castellanos & Tony Aguilar, June 5, 2021

All Souls‘ ‘Virtual Volumes’ stream from Total Annihilation Studios in Los Angeles airs June 18. Tix and merch at Livefrom.events. Songs for the End of the World has been waiting for you since its release last Fall. That and the ‘Jam in the Van’ performance discussed above are right here for your convenience.

All Souls, Orange Jam/Jam in the Van

All Souls, Songs for the End of the World (2020)

All Souls on Facebook

All Souls on Twitter

All Souls on Instagram

All Souls on Bandcamp

All Souls website

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Solar Haze to Release The Solar Age EP July 16

Posted in Whathaveyou on June 4th, 2021 by JJ Koczan

The new EP from Los Angeles heavy rock and rollers Solar Haze takes its name from the opening track, but the implication of arrival is prevalent just the same. Then a four-piece, the band debuted in 2019 with a self-titled full-length, and though guitarist/vocalist Stephen Falla (now also bass), guitarist Ross Cowan and drummer Ryan Michael Falla have since parted ways with bassist Jason Hernandez, one expects no less energy than could be found on that release to be showcased on the new one given the rawness of sound and underlying current of punk and classic metal in their riffs. I haven’t heard anything off the 17-minute outing as yet, but neither am I complaining about getting switched on to the self-titled.

Actually, right out of the go-figure file, the EP just came into my email while I’m writing this. Can confirm vitality, and the production’s got a good balance too. I’m gonna look forward to getting to know this better.

You’ll find the older release streaming below. The first song from the EP shows up June 18, as the PR wire tells it:

solar haze the solar age

SOLAR HAZE Announce Release Details for ‘The Solar Age’ EP

Out July 16, 2021 on Metal Assault Records. Pre-Orders launch and music video for title track premieres June 18th

The end is near, The Solar Age is here! Southern California heavy rock / metal trio SOLAR HAZE will release their eagerly awaited EP, The Solar Age on July 16, 2021 via Metal Assault Records. Pre-orders for The Solar Age will begin on June 18th along with the premiere of their official music video for the single and EP lead off track, “The Solar Age.” The three-track, 18-minute extended play was produced by Eddie Vasquez (of San Diego based band Tzimani). In just 17 minutes and 47 seconds, The Solar Age takes its listeners through an intriguing and entertaining thrill ride through heavy fuzz coated sludge rock ladled with elements of punk and stoner metal. Prepare to experience mind altering mood swings that range from slow and steadfast low-end grooves all the way to heightened states of psychedelic mania complete with fast-paced riffs, and deliciously rebellious punk tinged vocals.

When questioned about the makings and meanings of The Solar Age, the band described their new offering with the following statement “The content within The Solar Age is not recommended for those with underlying heart conditions or easily suggestible temperaments. The subjects breached within contain themes of death, destruction, human sacrifice, and the engagement in pagan/satanic ritual; all subjects which may or may not incite feelings of terror, paranoid delusion, or religious sedition in the listener. Once you step forward you cannot go back.”

The Solar Age track listing:
1. The Solar Age (4:57)
2. Fortress Will Fall (3:50)
3. Terror Of The Deep (9:00)
Total Runtime: 17:47

In celebration of their forthcoming release, SOLAR HAZE will perform at “Blunt Force Trauma Fest,” a virtual mini festival experience presented by Ebony Jeanette PR & Metal Assault Records streaming July 16th via Youtube.com/ebonyjeanette. More information about the Blunt Force Trauma Fest can be found via Facebook.

Guitar/Vocals/Bass Guitar: Stephen Falla
Guitar: Ross Cowan
Drums/Percussion: Ryan Michael Falla


Solar Haze, Solar Haze (2019)

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Big Scenic Nowhere Premiere New Single “Lavender Bleu”

Posted in audiObelisk on June 4th, 2021 by JJ Koczan

big scenic nowhere

Hard to talk about Big Scenic Nowhere and not use the term ‘supergroup.’ The band, which made their first release through Blues Funeral Recordings‘ ‘PostWax’ subscription series and followed that 2019 proof-of-concept Dying on the Mountain EP (discussed here) quickly by signing to Heavy Psych Sounds to issue a debut album, Vision Beyond Horizon (review here) and a subsequent EP, Lavender Blues (review here), both in 2020. Founded with the collaboration between guitarists Gary Arce (Yawning Man) and Bob Balch (Fu Manchu) at its core, the band quickly came to include Tony Reed (Mos Generator) on vocals, bass and various keys, drummer Bill Stinson (Yawning Man), and a range of guests that has continued to expand even as the lineup solidified.

As Bob Balch talked about in his interview here last month, the four-piece got together in Nov. 2019 for a few days of jamming and they’re still going through the resultant material to piece together songs. Their second album, The Long Morrow, is set to see release this Fall through Heavy Psych Sounds, and its big scenic nowhere the long morrowsongs are being issued piecemeal, one at a time, ahead of the full LP’s arrival. Premiering today, “Lavender Bleu” is the third cut to make its way to public ears behind the more straightforward driving “LeDĂĽ” and the weighted-riff-into-harmonies-and-dream-build of “Murder Klipp,” and like each of the preceding songs, it finds Big Scenic Nowhere with a different look. Across just over five minutes, it centers around trademark Arce noodling and the more grounded impulses of Balch setting a path for Stinson‘s drums, while Reed‘s vocals enter gentle, not quite foreshadowing the pickup to come at around 1:40 in.

Though “Lavender Bleu” — which reworks themes from the prior EP as Balch explains below — gets heavier, it never pushes too far away from the classic prog rock spirit one finds at its beginning, and instead trades back and forth before a Mellotron-inclusive ending offers duly resonant culmination. It is prog-of-old filtered through desert ambience with a heavy rock underpinning, and for many bands, this song would be more than enough of a stylistic blueprint to serve as a career arc. That is to say, there are bands who put out albums less rich than this one track and do just fine. Yet one would not call “Lavender Bleu” overbaked or overthought. Sculpted around improvisation, it nonetheless retains that air of spontaneity no matter how many layers are situated atop the basic tracks.

It’s fascinating on a process level to hear Balch talk about how the material for The Long Morrow is coming together — if you didn’t watch that interview, your loss — but “Lavender Bleu” brings more fluidity than the sum of the parts making it, and the textures it speaks to only herald further depth of exploration still to come. I can’t wait to hear this record.

Each member of Big Scenic Nowhere offers some comment below, I think in a manner that represents personae well. Arce talks about the improv, Balch the chord progression, Stinson the overall vibe of the finished product and Reed the reference point from which the lyrics emerged and the melody of the vocals. You can also stream the other two songs near the bottom of this post.

Enjoy the track and stay tuned for more on The Long Morrow:

Big Scenic Nowhere, “Lavender Bleu” official track premiere

LAVENDER BLEU is the new BIG SCENIC NOWHERE single. The track is taken from the band’s upcoming new album THE LONG MORROW, to be released this fall on Heavy Psych Sounds.

Bob Balch on “Lavender Bleu”:

“Lavender Bleu” is actually a combination of two songs from our “Lavender Blues” EP. When we recorded back in November of 2019, we would play two riffs a few times back and forth and then just jam out on one of the riffs. Think
(riff A, riff B, riff A, riff B, jam out on riff A)
(riff A, riff B, riff A, riff B, jam out on riff B)
So the jams became “Lavender Blues” and “Labyrinths Fade” from our last EP. Now with “Lavender Bleu” you get to hear how those are actually sections of the same song.
I really like how this tune turned out. Can’t really think of another band that sounds like this. Everybody killed it on this one.

Tony Reed on “Lavender Bleu”:

“Lavender Bleu” was the first song I worked on after the November 2019 recording sessions. I had Dan (Joeright) set up a microphone during the sessions so I could sing Ideas that were happening when we were recording the jams. I think this was the only song where the vocal melody came to me as we were recording. This is my favorite song of all the material we’ve done together. I’m a huge fan of melody and this has tons of it. It has a melancholy / romantic feel that I find pleasing as well. “Bleu” is spelled this way after one of my all time favorite songs. A song called “Butterfly Bleu” by Iron Butterfly. The lyrics seem to be about taking a harder path. Making sacrifices in life to follow passion and calling rather than falling into a routine where, as you get older, you’re constantly saying “I wish I….”

Gary Arce on “Lavender Bleu”:

“Lavender Bleu” started with a mellow riff I was messing with for a awhile. We had been been jamming for a few hours and I wanted to slow it down and do something more open and spacious. So I started playing the main riff and everyone just kinda fell into place quietly and patiently. The second heavier part just happened naturally during the jam. It’s one of my favorite songs we’ve done so far. Tony kills it on vocals on this song.

Bill Stinson on “Lavender Bleu”:

This song really pulls you in different directions… melancholy and weaving a story through the music.

Big Scenic Nowhere, The Long Morrow (2021)

Big Scenic Nowhere on Facebook

Big Scenic Nowhere on Instagram

Big Scenic Nowhere on Bandcamp

Heavy Psych Sounds on Facebook

Heavy Psych Sounds website

Heavy Psych Sounds on Bandcamp

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King Woman Release Celestial Blues July 30

Posted in Whathaveyou on June 3rd, 2021 by JJ Koczan

king woman (Photo by Nedda Afsari)

I missed out on King Woman‘s debut, Created in the Image of Suffering, which Relapse released in 2017, but if the new video for “Morning Star” underscores anything, it’s the urgency of not making the same mistake twice and letting the new album, Celestial Blues, likewise slip. I don’t support or condone smoking cigarettes — that shit’ll kill you — but the song’s got atmospheric depth like it’s tossing you in the basement pit and telling you it puts the lotion on its skin, and all the while it still maintains a melodic presence through Kris Esfandiari‘s vocals. Guess I’ll dig back to the first record ahead of the second one. That takes care of my afternoon, and that’ll do nicely, thank you very much.

Preorders are up and all that stuff, and there are some live dates of varying vagueness below, all courtesy of the PR wire:

king woman celestial blues


PRE-ORDER: bit.ly/kingwomancb



King Woman, the outfit featuring songwriter, producer, vocalist Kris Esfandiari, return with their eagerly-awaited sophomore album, Celestial Blues (July 30, Relapse Records).

News of the album arrives with a raw, one-take performance “Morning Star” (https://youtu.be/tk-rxh1xmKs), which was directed by Muted Widows.

“Creating this album has brought me great peace and closure,” says Esfandiari of Celestial Blues. “Grateful to finally share it with all of you.”

Celestial Blues was recorded in Oakland, California by GRAMMY-nominated engineer Jack Shirley (Deafheaven, Amenra, Oathbreaker). The band is rounded out by drummer Joseph Raygoza and guitar player Peter Arensdorf. Visual collaborations featured in the album packaging were created by Nedda Afsari, Collin Fletcher, and Jamie Parkhurst.

Album pre-orders, including limited-edition vinyl and merch, are available now. Physical pre-orders are available via Relapse’s webstore (bit.ly/kingwomancb), while digital downloads and streaming links can be found here: (orcd.co/kingwomancb).

Celestial Blues tracklist:
Celestial Blues
Morning Star
Psychic Wound
Paradise Lost

King Woman has confirmed a series of performances in support of the new album. Tickets and VIP Fan Club passes are on-sale this Friday, June 4 at 10 am pacific.

July 30 Los Angeles, CA Lodge Room
July 31 Los Angeles, CA Lodge Room

October 15 Brooklyn, NY TBA
October 16 Brooklyn, NY TBA
October 17 Brooklyn, NY TBA

October 29 Oakland, CA Starline
October 30 Oakland, CA Starline
October 31 Oakland, CA Starline (covers show)


King Woman, “Morning Star” official video

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Hour of 13 to Release Black Magick Rites on Shadow Kingdom

Posted in Whathaveyou on June 1st, 2021 by JJ Koczan

Last September, Hour of 13 founding multi-instrumentalist and spearhead Chad Davis let slip the info that the band’s fourth record would be released through Shadow Kingdom Records and titled Black Magick Rites. The new song “His Majesty of the Wood” also went up at that point. That announcement apparently was preface to a 24-hour limited digital release of the album on Nov. 1 — shame on me for missing it — and it seems likely that it’ll be Sept. 2021 before the album sees broader release, as Davis said, through Shadow Kingdom. Or maybe they’ll wait for Halloween. Why the hell not? It’s been nine years since 2012’s 333 (discussed here). You mean to tell me they’re gonna rush it now?

In addition to the LP sneak-peak, Davis also released the Deathly Nights EP under the Hour of 13 moniker last Fall. You can stream that as well as “His Majesty of the Wood” below, following this info from the PR wire:

hour of 13

HOUR OF 13 sign with SHADOW KINGDOM for long-awaited new album

Shadow Kingdom Records announces the signing of the legendary Hour of 13 for the release of their long-awaited fourth album, Black Magick Rites, on CD, vinyl LP, and cassette tape formats.

By now, Hour of 13 should require little introduction. For the better part of two decades, mainman Chad Davis has pursued a unique and intensely personal iteration of traditional doom metal. Along the way and over the course of three albums and numerous EPs, Hour of 13 have built a formidable discography that’s amassed a fanatic following awaiting each spooky ‘n’ somber offering Davis and his rotating cast of cohorts creates. And while he’s released records for a variety of labels over the years, in between a couple breakups, Davis brings Hour of 13 back to Shadow Kingdom, who released the band’s self-titled debut album in 2007 long before the hype started.

Hour of 13’s first full-length offering in over eight years, Black Magick Rites was available digitally on November 1st, 2020 for only 24 hours. Just as uniquely, Black Magick Rites also marks the first Hour of 13 album where he handles not only all instruments, but also all vocals. Indeed, Davis’ vocals evoke an ancient nostalgia, of doom metal before it was “doom metal” – of the days when bands like Black Sabbath, Pagan Altar, and Witchfinder General simply followed their respective muses wherever it took them. And for Davis, Black Magick Rites sees him taking his Hour of 13 muse toward a rougher, more rock ‘n’ roll expression and yet tinged with an emotive melancholy that resonates deeply within the soul. No, no flavor-of-the-week “occult rock” cliches here, for Davis still prizes blue-collared authenticity in his doom, but he likewise never lets it hamper his immediately recognizable songwriting, which here ever so subtly inches closer to classic deathrock territory (think the likes of early Christian Death and Voodoo Church). Naturally, with a title like Black Magick Rites, an indulgence in occultism is expected, and you can literally feel the fingers of the black beyond reaching out to you across every electric minute of this 44-minute monolith.

Despite those isolated breakups, Hour of 13 continue to get better with age. Perfectly titled as any record in their enviable discography, Black Magick Rites is the sweet sound of salvation…through damnation.

Release date, cover art, tracklisting, and preorder info to be announced shortly. For more info, consult the links below.


Hour of 13, “His Majesty of the Wood”

Hour of 13, Deathly Nights (2020)

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Yawning Man: Rock Formations Reissue Preorder Available

Posted in Whathaveyou on May 31st, 2021 by JJ Koczan

yawning man

Imagine taking nearly 20 years to put out your debut album and still being ahead of your time. As Yawning Man have steadily grown into a touring and recording act over the last 15 years, the trio-sometimes-more have gradually come to be recognized for their work among the progenitors of desert rock. At the time they first released Rock Formations (discussed here) in 2005 through Alone Records, that was hardly the case. The album was a soundscaping curio, marked out by the guitar tone of Gary Arce and defining pieces like “Perpetual Oyster” and its title-track, but still not really received with the due respect it deserved. One expects a forthcoming LP reissue through Ripple Music will work to change that.

Yawning Man working with Ripple is notable. The band had been and may still be for all I know signed to Heavy Psych Sounds, but it was Ripple that put out the Arce-inclusive Yawning Sons album this year, so following up with a Yawning Man reissue may be a precursor to working a next studio full-length or it may not. Either way, as I said, notable.

And as far as the record goes, at this point it’s inarguable. Reissue it every week until the entire planet has a copy. It’s the ‘Bright Side of the Sun’ of desert rock.

From the PR wire:

yawning man rock formations ripple issue

Ripple Music to reissue YAWNING MAN’s cornerstone debut ‘Rock Formations’ on vinyl this August 6th; preorder available now!

Ripple Music teams up desert rock godfathers YAWNING MAN to reissue their long sold-out cornerstone debut album ‘Rock Formations’ on vinyl this summer. It will be available on black vinyl and limited colored vinyl on August 6th, 2021, with preorder up now!

Ripple Music presents the much-demanded re-release of the first album from the legendary Palm Desert band YAWNING MAN, once known as the favorite band of Brant Bjork and among the biggest influences on Kyuss. Although formed in 1986 by Mario Lalli on bass, Gary Arce on guitar, Alfredo Hernandez on drums, the band only released their debut full-length in 2005 on Alone Records. ‘Rock Formations’ has been called “a melancholic mix of acoustic space rock with elements of surf music as well as middle eastern guitar style,” and it represents the primordial statement from one of the most important bands ever to emerge from the California desert.

YAWNING MAN bassist Mario Lalli declares: “This album truly reflects a point in our evolution as musicians where we touched on a sound that resonated with us to this day, while the band has been together since 1986 this album was essential to our growth and is very dear to us, we are very excited to be working with Ripple Music on this reissue.”

‘Rock Formations’ will be reissued on August 6th via Ripple Music, and available to preorder on:
– Limited Edition Gatefold LP (200 copies pressed on pure white and royal blue color-in-color vinyl with gold splatter + 8-page art book included)
– Worldwide Edition Gatefold LP (black vinyl + 8-page art book included)

YAWNING MAN ‘Rock Formations’ reissue
Out August 6th on Ripple Music –
PREORDER: https://ripplemusic.bandcamp.com/album/rock-formations

1. Rock Formations
2. Perpetual Oyster
3. Stoney Lonesome
4. Split Tooth Thunder
5. Sonny Bono Memorial Freeway
6. Airport Boulevard
7. Advanced Darkness
8. She Scares Me
9. Crater Lake
10. Buffalo Chips

Gary Arce – guitar
Mario Lalli – bass
Bill Stinson – drums


Yawning Man, Rock Formations (2005)

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Friday Full-Length: Shrinebuilder, Shrinebuilder

Posted in Bootleg Theater on May 21st, 2021 by JJ Koczan

Likewise inevitable and impossible. You take some of the most formidable players of their generation — Scott Kelly of Neurosis, Al Cisneros of Om and Sleep, Scott “Wino” Weinrich of The Obsessed (etc.) and Dale Crover of the Melvins — and put them in a band together. As groups go, that’s pretty super. It didn’t last.

Listening back to Shrinebuilder‘s 2009 self-titled debut (review here), released through Neurot Recordings with cover art by Josh Graham (who probably should’ve been in the band too), the novelty of the idea is still hard to overcome. Maybe if Shrinebuilder had become a real working band — that is, one that took priority over everyone else’s other projects; no minor ask in this case — and had put out two or three more records by now, it would be easier to divorce the five songs of the 39-minute offering from the people behind them, but I remember when this album came in the mail, and the premise remains exciting, bringing these artists together and seeing what comes out.

Driven mostly by the riffs of Kelly and Weinrich, Shrinebuilder nonetheless gave everyone their space. In album opener “Solar Benediction,” the two guitarists trade verses early, with Kelly‘s gruff delivery playing off Wino‘s wizened sneer, before an e-bow topped break, hypnotic in its layered stretch, builds back up to a crawling final crush, and it’s not until the subsequent “Pyramid of the Moon” that Cisneros arrives on mic. He does so in the fashion of a wandering mystic. The foundation on which the changes from one riff to another and one apparent songwriter to another could hardly be more solid than to have Dale Crover on drums. Find me someone more used to going wherever the hell the song is going to go who already happens to be friends with all of these others. And he holds “Pyramid of the Moon” together through volume ebbs and flows, Kelly‘s vocal subdued early as they move toward a kind of vocal-drone chanting midsection and, with a few cymbal hits, into Cisneros‘ first verse of the record and the second lyrical mention of Jericho in the span of two songs.

That itself is emblematic of what’s largely been lost in Shrinebuilder‘s Shrinebuilder and certainly was at the time. Its songs are loaded with nuance. The subtle layer of guitar effects bolstering the atmosphere behind the second verse of “Pyramid of the Moon” — could be more e-bow, could be something else — or the acoustic guitar layered into the back end of “Solar Benediction.” As much as that leadoff track and the entire LP that follows is typified by that first moment when Kelly arrives to declare, “We stand burning before you/Returning wisdom with blood,” even the interplay between bass and drums as that ambient buildup takes place moving into the second half of the song is worth the headphone listen.

And Shrinebuilder continues to offer depth all across its span, whether its the vocals harmonizing with Kelly in the first half of centerpiece “Blind for All to See” — is that Crover? — or the march in that final riff as theshrinebuilder shrinebuilder song seems to just kind of come apart into a psychedelic ether, moving into “The Architect,” which feels Wino-driven in its guitar progression early, that twisting style, only to give way to Kelly again — and maybe Crover too, or Cisneros, it’s hard to tell even now — in a thicker movement that caps the shortest song on the record and what might’ve been at least a partial working model for the band had they opted to go forward, lacking the turns of “Solar Benediction” or the nine-minute closer “Science of Anger” that immediately follows, but a basic structure from which they might’ve pushed ahead. So it goes.

Shred comes early in “Science of Anger” and hits over at least two layers of rhythm guitar before the first verse — if you want to guess who wrote that lead-style riff, I’d put even money on Kelly or Wino — but the energetic feel from that first solo is mirrored in the drums and carries over to a feeling of spaciousness as guitars to twist and intertwine between the next two verses. Vocals are again layered without ceremony to which they’d be well entitled, and as Kelly‘s guttural voice rises to consume seemingly everything in its path, consider the layered-in echo of the words “twisted formations” at 3:33 as further evidence of Shrinebuilder‘s orientation toward detail. They didn’t just throw these songs together with parts by one person or the other. They could’ve. But even in the progression of the album as a whole, they saved both Wino joining Kelly in that heavier part and a mic-return from Cisneros for last. They built an album.

The transition to Cisneros, prefaced by a turn toward more of an Om-style march, is somewhat awkward, or at least rhythmically counterintuitive as to when he actually starts singing at 5:28, but it all starts to make its own kind of sense as the track gradually builds toward its earthen-psychedelic finish, a suitable payoff but a relatively gentle touch for a record that’s been nothing if not liberal in throwing its weight around, tonally-speaking.

As noted, Shrinebuilder didn’t last. I was fortunate enough to interview Al Cisneros for the album (I don’t think I’m cool enough to get that interview these days, so I’m proud of that one), and to see the band in New York in Nov. 2009 (review here). I was drunk and uncomfortable at Le Poisson Rouge, out of my league in its New York-ness. I don’t remember much about the show, to be honest, other than they was awesome. That was one of a few tours Shrinebuilder did; they’d also hit the West Coast and Europe before everyone went their own way again. In 2011, they put a 13-minute version of “Science of Anger” out as a single (discussed here) through Coextinction Recordings — the idea of a digital-only label was also a novelty at the time — and they’d follow with Live in Europe 2010 (discussed here) that year as well, releasing on vinyl through My Proud Mountain.

I’m not sure if more Shrinebuilder would be worth trading the last decade of material from these players — Kelly‘s records with Neurosis, Corrections House, and solo, as well as the Sleep reunion, Wino‘s ill-fated regroup with Saint Vitus before reviving Spirit Caravan and The Obsessed in succession, or even Crover‘s ongoing Melvins-being-Melvins — but since it didn’t happen the point is moot. Everyone is still alive, so never say never, but as it stands, this self-titled is a moment that’s passed and doesn’t look likely to come again. Fair enough. Particularly in terms of how well it’s stood up to the last 12 years, still delivering something new on a random revisit on a random week, one couldn’t ask for more than they gave.

As always, I hope you enjoy.

In New Jersey, where I live, the office of child welfare is called Child Protective Services. When I was a kid, it was called DYFS, the Division of Youth and Family Services, or some such. My mother used to say DYFS was gonna come and take me away if I didn’t behave. Fair enough.

CPS came to the house this past weekend because The Pecan broke his leg and it’s his second significant fracture in about two months’ time, following of course his cracking his skull falling on the basement floor in March. I think it’s largely because we’re white and living in suburban comfort in a nice, relatively clean house (I could stand to vacuum), that they didn’t allege significant abuse, but they definitely asked. “Hey, you ever spank your kid?” I said I swat his butt to get him to go up the stairs — not with a broken leg, obviously — but never in a disciplining manner so much as playful.

I guess a toddler — worse, this toddler — with a spiral-fractured tibia is what I get for calling out one of my parenting nightmares last Friday in noting that he’d pooped in the tub. This is life, people.

He was going down the twisty slide with The Patient Mrs. after tee-ball, juked when he should’ve jived, and snapped it. He and I had gone down the same slide in the same way just minutes before. A fluke thing. In our postgame analysis of the event, The Patient Mrs. and I examined both whether he needs more calcium in his diet — he doesn’t drink milk but his doctor has never remarked on significant lacks in his bloodwork — and whether we’re terrible parents. I’m pretty much convinced of my own awfulness, and The Pecan himself is unilaterally mommy-centered enough to articulate his confirmation of same, but neither this nor his fall a couple months back were really anyone’s fault. I blame myself for both, but that’s just parenting shit (or, in my case, shit parenting; I failed even before I started). It’s unfortunate timing.

Which is basically what we said to not-DYFS. They were supposed to send a follow-up later in the week and no one came. Fine.

He can walk with help at this point. A little more movement every day. No school this week, which has meant I get up early to work. He goes for follow-up imaging today and a second orthopedist appointment on Monday. At urgent care last Saturday right after it happened, they scared The Patient Mrs. with talk of surgery — some residual trauma factoring in from our hospital stay post-skull fracture there, I should think — but it doesn’t look like he’ll need any rods or anything as of now. He’s in a boot. Might need a cast. We’ll see on Monday. His entire being stinks. Hasn’t had a bath in more than a week. I’ve been wiping him down every day, but he’s “cheesy,” as we often joke. “Ya cheesy,” he says.

That’s been the week. That and maintain, and both have been a challenge. It has brought into light how fortunate we are to live minutes from my family — a support system we simply didn’t have when we were living in Massachusetts — for not the first time, but that is especially vivid after vaccination. We are lucky to be where we are, in this house. I have hard times. A lot. In my head. A lot. Every day I speak to myself in Bad Voice. I should like to actively work more on being thankful than being a miserable bastard like my own father. It is an aspiration. A challenge. I fail more often.

The kid’s up and has been for a while — we’ve been joking this week about “loafing” in bed — and it’s quarter-to-eight, so I’m gonna head upstairs and help him get down, get breakfast going. Thanks for reading and have a great and safe weekend. Watch your head, hydrate, all that stuff.


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