Love Gang Release Debut LP Dead Man’s Game Today

Posted in Whathaveyou on September 13th, 2019 by JJ Koczan

love gang

Working with such classic themes as getting wasted and playing metal, Love Gang‘s first album, Dead Man’s Game, is out today through the band’s own Colfax Records imprint. and it’s a banger in the classic tradition thereof. Actually, it’s kind of a lot of things in the classic tradition. The flute shows up — whew — early and often, and does so amid killer riffs, gravel-throat vocals and an abiding sense that these dudes recorded in between getting off one stage and getting on another, which is just how it should be. Comprised of nine tracks with names like “Addiction” and “Heavy Metal Thunder” and “The Nightwalker,” it’s next-generation metallic rock that wants to be the kind of album you tell your friends about. So friends, I’m telling you. It’s out today.

They’re touring out west next month, including dates with Mothership, which I think once you listen to the record you’ll agree is a sick-ass pairing.

Have at you:

love gang dead mans game

Love Gang debut LP release

Love Gang self-release our debut LP ‘Dead Man’s Game’ Friday 9/13 via Colfax Records on all streaming platforms, and there will be 300 caramel vinyl. Vinyl sales start 9/13 and all order will ship by early October. Recorded by Ben Thompson, mastered by Dennis Pleckham (Comatose Studios, Bongripper).

Formed in 2015, Love Gang is a high-energy rock ‘n roll band based out of Denver, Colorado. Influenced by the obscure and underground rock of the 70s, Love Gang is a throwback to the golden days of rock when amps were loud, hair was long, and the drugs were cheap.

Focusing on concise songwriting and an energetic live show, Love Gang is a rock ‘n roll band at its’ core with bits of psychedelia thrown in for good measure. Propelled by wailing guitars and overdriven organ, Love Gang holds nothing back, each song going full-speed ahead full of blues boogie and hard-hitting rock ‘n roll.

Love Gang toured with Wolfmother as direct support on their most recent US dates last fall and have an upcoming tour, half of which will be supporting Mothership:

Love Gang tour dates:
10/09 Albany, CA @ Ivy Room
10/10 Santa Cruz, CA @ Poet and Patriot Irish Pub
10/11 Oceanside, CA @ Black Plague Brewery
10/12 Los Angeles, CA @ The Monty
10/13 Las Vegas, NV @ Bunkhouse Saloon*
10/14 Mesa, AZ @ Club Red*
10/16 Colorado Springs, CO @ Black Sheep*
10/17 Denver, CO @ Streets of London*
*w/ Mothership

Love Gang is:
Kameron Wentworth: guitar, vox
Leo Muñoz: organ, flute, saxophone
Grady O’Donnell: bass guitar
Shaun Goodwin: drums

http://www.facebook.com/lovegangco
https://www.instagram.com/lovegangco/
https://lovegangco.bandcamp.com/

Love Gang, Dead Man’s Game (2019)

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Khemmis Announce December West Coast Dates with Un

Posted in Whathaveyou on August 22nd, 2019 by JJ Koczan

khemmis

The mighty force of metallic melancholy known as Khemmis will finish out 2019 with a nine-day run down the West Coast, the band taking unto themselves the potentially arduous task of driving through the Rockies in wintertime in order to get from their home in Denver through Utah and Idaho before hitting the more temperate coastline and circling south, ending up where they began with a hometown show at Bluebird Theater on Dec. 14. They’re joined in the endeavor by Un from Seattle, and I can’t help but wonder if this might tie into news of a new album coming next year, either in February, when the music industry returns to life after its winter hibernation, or sometime in Spring. Depends on when they record, duh, but as I haven’t seen news one way or the other about that — doesn’t mean it hasn’t been out there, just that it’s a thing I don’t know — I obviously can’t speak to it. One way or the other, I’d categorize a new LP from them in 2020 as “likely.”

But if “definite” is more your thing, they’re definitely touring. Here are the dates:

khemmis un poster

KHEMMIS Announce West Coast Desolation Tour 2019!

Denver, Colorado based doomed heavy metal quartet KHEMMIS are proud to announce their West Coast Desolation Tour 2019. The 9-date tour will kick-off on December 16th in Salt Lake City and conclude in Denver, Colorado on December 14th. Joining the band on the tour is Seattle funeral doom warlocks UN.

KHEMMIS comments, “After the success of the first leg of the North American Desolation Tour we are thrilled to announce the West Coast Desolation Tour a nine-date headlining trek with support from Seattle funeral doom warlocks UN. We will conclude the outing with a very special hometown show–our only one this year–featuring a rare local appearance by black metal hellions WAYFARER. Tickets for all shows will go on sale this Friday, we’ll see all of you on the road this winter!”

Tickets will be available for purchase on Friday, August 23 at 10AM PST. For more information visit: www.khemmisdoom.com

Confirmed dates for the KHEMMIS West Coast Desolation Tour 2019 with special guests UN are:
12/06/2019 Salt Lake City UT • Soundwell
12/07/2019 Boise ID • Neurolux
12/08/2019 Seattle WA • The Highline
12/09/2019 Portland OR • Doug Fir Lounge
12/10/2019. Oakland CA • Starline Social Club
12/11/2019 Los Angeles CA • The Echo
12/12/2019 San Diego CA • Brick By Brick
12/13/2019 Phoenix AZ • Club Red
12/14/2019 Denver CO • Bluebird Theater (w/ Wayfarer)

Khemmis are:
Phil Pendergast // guitar, vocals
Ben Hutcherson // guitar, vocals
Daniel Beiers // bass
Zach Coleman // drums

http://www.facebook.com/khemmisdoom
http://khemmis.bandcamp.com
www.nuclearblast.de/
https://www.facebook.com/nuclearblastusa

Khemmis, “Isolation” official video

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Quarterly Review: Torche, Spillage, Pharlee, Dali’s Llama, Speedealer, Mt. Echo, Monocluster, Picaporters, Beaten by Hippies, Luna Sol

Posted in Reviews on July 3rd, 2019 by JJ Koczan

quarterly-review

We meet again. The Summer 2019 Quarterly Review. It’s four in the morning and I’m getting ready to start the day. I haven’t even managed to pour myself coffee yet, which even as I type it out feels like a crime against humanity, such as it is. I’ll get there though.

Wednesday in the Quarterly Review marks the halfway point of the week, and as we’ll hit 30 reviews at the end, it’s half of the total 60 as well, so yeah. Feeling alright so far. As always, good music helps. I’ve added a couple things for consideration to my ongoing best-of-the-year list for December, so that’s something. And I think I’ll probably be doing so again today, so let’s get to it.

Quarterly Review #21-30:

Torche, Admission

torche admission

15 years later and Torche‘s sound is still expanding. To that point, it’s never sounded quite as expansive as it does on Admission, their fifth album and second for Relapse behind 2015’s Restarter (review here). There are still plenty of straight-ahead heavy riffs on cuts like “Reminder” or “Slide” or the bomb-tone-laden “Infierno,” but in the title-track, in “Times Missing,” the closer “Changes Come,” “Slide” and even the 1:30-long “What Was,” there’s a sense of spaciousness and float to the guitars to contrast all that crunch, and it effectively takes the place of some of the manic feel of their earlier work. It’s consistent with the brightness of their melodies in songs like “Extremes of Consciousness” and the early pusher “Submission,” and it adds to their style rather than takes away, building on the mid-paced feel of the last album in such a way as to demonstrate the band’s continued growth long after they’d be well within their rights to rest on their laurels. Sharp, consistent in its level of songwriting, mature and engaging across its 36-minute entirety, Admission is everything one might ask of Torche‘s fifth album.

Torche on Thee Facebooks

Relapse Records website

 

Spillage, Blood of Angels

spillage blood of angels

If you, like me, believe doom to be the guardian style of classic heavy metal — you could also argue power metal there, but that’s why it’s an argument — Chicago’s Spillage might be the band to help make your case. With their own Ronnie James Dio in Elvin Rodriguez (not a comparison I make lightly) and a connection to the Trouble family tree via founding guitarist Tony Spillman, who also played in Earthen Grave, the band unfurl trad-metal poise throughout their 53-minute second album, Blood of Angels, hitting touchstones like Sabbath, Priest, and indeed Trouble on a chugger like “Free Man,” a liberal dose of organ on “Rough Grooved Surface” adding to the classic feel — Rainbow, maybe? — and even the grandiose ballad “Voice of Reason” that appears before the closing Sabbath cover “Dirty Women” staying loyal to the cause. I can’t and won’t fault them for that, as in both their originals and in the cover, their hearts are obviously in it all the way and the sound is right on, the sleek swing in the second half of “Evil Doers” punctuated by squealing guitar just as it should be. Mark it a win for the forces of metal, maybe less so for the angels.

Spillage on Thee Facebooks

Qumran Records on Thee Facebooks

 

Pharlee, Pharlee

pharlee pharlee

San Diego strikes again with Pharlee‘s self-titled debut on Tee Pee Records, a 29-minute boogie rock shove that’s marked out by the significant pipes of Macarena Rivera up front, the shuffling snare work of Zach Oakley (also guitar in JOY and Volcano) and the organ work of Garret Lekas throughout, winding around and accentuating the riffs of Justin “Figgy” Figueroa and the air-push bass of Dylan Donovan. It’s a proven formula by now, but Pharlee‘s Pharlee is like the band who comes on stage in the middle of the festival and surprises everyone and reminds them why they’re there in the first place. The energy of “Darkest Hour” is infectious, and the bluesier take on Freddie King‘s “Going Down” highlights a stoner shred in Figueroa‘s guitar that fits superbly ahead of the fuzz freakout, all-go closer “Sunward,” and whatever stylistic elements (and personnel, for that matter) might be consistent with their hometown’s well-populated underground, Pharlee take that radness and make it their own.

Pharlee on Thee Facebooks

Tee Pee Records website

 

Dali’s Llama, Mercury Sea

dalis llama mercury sea

Long-running desert rockers Dali’s Llama return with Mercury Sea, their first release since 2017’s The Blossom EP (review here) and their first full-length since 2016’s Dying in the Sun (review here), sounding reinvigorated in rockers like opener “Weary” and the subsequent grunge-vibing “Choking on the Same,” “When Ember Laughs” and the garage-style “She’s Not Here.” Persistently underappreciated, their albums always have a distinct feel, and Mercury Sea is no different, finding a place for itself between the laid-back desert blues and punkier fare on a cut like “Someday, Someday,” even delving into psychedelic folk for a while in the 6:54 longest track “Goblin Fruit,” and a bit of lead guitar scorch bringing it all together on closer “All My Fault,” highlighting the theme of love that’s been playing out all the while. The sincerity behind that and everything Dali’s Llama does is palpable as ever in these 11 tracks, an more than 25 years on from their inception, they continue to deliver memorable songs in wholly unpretentious fashion. That’s just what they do.

Dali’s Llama on Thee Facebooks

Dali’s Llama on Bandcamp

 

Speedealer, Blue Days Black Nights

speedealer blue days black nights

Speedealer ride again! And just about at top speed, too. The Dallas, Texas, outfit were last heard from circa 2003, and their turnabout is marked with the self-release of Blue Days Black Nights, a fury-driven 10-tracker that takes the best of their heavy-rock-via-punk delivery and beefs up tones to suit another decade and a half’s worth of hard living and accumulated disaffection. The Dallas four-piece blaze through songs like “Never Knew,” the hardcore-punk “Losing My Shit,” the more metallic “Nothing Left to Say,” and the careening aggro-swagger of “Rheumatism,” but there’s still some variety to be had throughout, as highlight “Sold Out,” “War Nicht Genung” and “Shut Up” find the band no less effective working at a somewhat scaled-back pace. However fast they’re going, though the attitude remains much the same, and it’s “fuck you fuck this” fuckall all the way. Those familiar with their past work would expect no less, and time has clearly not repaired the chip on Speedealer‘s shoulder. Their anger is our gain.

Speedealer on Thee Facebooks

Speedealer webstore

 

Mt. Echo, Cirrus

mt echo cirrus

Based in Nijmegen, the Netherlands, the instrumentalist four-piece Mt. Echo present a somewhat noisier take on Russian Circles-style heavy post-rock with their nine-song/46-minute debut, Cirrus. Not at all shy about incorporating a noise rock riff or a more weighted groove, the dual-guitar outfit nonetheless spend significant time patiently engaged in the work of atmosphere-building, so that their material develops a genuine ebb and flow as songs tie one into the next to give the entire affair a whole-album feel. It is their first outing, but all the more striking for that in terms of how much of a grip they seem to have on their approach and what they want to be doing in a song like “Lighthouse at the End of Time” with airy lead and chugging rhythm guitars intertwining and meeting head-on for post-YOB crashes and an eventual turn into a harder-pushing progression. Ambience comes (mostly) to the fore in the seven-minute “Monsters and the Men Who Made Them,” but wherever they go on Cirrus, Mt. Echo bring that atmospheric density along with them. The proverbial ‘band to watch.’

Mt. Echo on Thee Facebooks

Mt. Echo on Bandcamp

 

Monocluster, Ocean

Monocluster Ocean

Over the course of five longform tracks on Ocean, Germany’s Monocluster build fluidly on the accomplishments of their 2015 self-titled debut (review here), greatly expanding on the heft and general reach of their sound while, as opener “Ocean in Our Bones” demonstrates, still holding onto the ability to affect a killer hook when they need one. Ocean is not a minor undertaking at 56 minutes, but it dedicates its time to constructing a world in cuts like “Leviathan” and “A Place Beyond,” the giant wall of fuzzed low end becoming the backdrop for the three-part story being told that ends with the 11:43 “Home” standing alone, as graceful and progressive as it is brash and noisy — a mirror in that regard to the nine-minute centerpiece “Guns and Greed” and a fitting summation of Ocean‘s course. They keep this up for very long and people are going to start to notice. The album is a marked step forward from where Monocluster were a few years ago, and sets up the expectation of continued growth their next time out while keeping a focus on the essential elements of songwriting as well. If we’re looking for highlights, I’d pick “Leviathan,” but honestly, it’s anyone’s game.

Monocluster on Thee Facebooks

Monocluster on Bandcamp

 

Picaporters, XXIII

picaporters xxiii

The third full-length from Argentine trio Picaporters marks another level of achievement for them as a band. XXIII arrives three years after El Horror Oculto (review here) and is unquestionably their broadest-cast spectrum to-date. The album comes bookended by eight-minute opener “La Soga de los Muertos” and “M.I.,” an 18-minute finale jam that would give a Deep Purple live record reason to blush. Soulful guitar stretches out over a vast rhythmic landscape, and all this after “Jinetes del Universo” motorpunks out and “Vencida” pulls together Floydian melo-prog, “Numero 5” precedes the closer with acoustic interplay and the early “Despertar” offers a little bit of everything and a lot of what-the-hell-just-happened. These guys started out on solid footing with their 2013 debut, Elefantes (review here), but neither that nor El Horror Oculto really hinted at the scope they’d make sound so natural throughout XXIII, which is the kind of record that leaves you no choice but to call it progressive.

Picaporters on Thee Facebooks

Picaporters on Bandcamp

 

Beaten by Hippies, Beaten by Hippies

beaten by hippies beaten by hippies

As their moniker hints, there’s some edge of danger to Belgium’s Beaten by Hippies‘ self-titled debut (on Polderrecords), but the album ultimately resolves itself more toward songwriting and hooks in the spirit of a meaner-sounding Queens of the Stone Age in songs like “Space Tail” and “More is More,” finding common ground with the energy of Truckfighters though never quite delving so far into fuzzy tones. That’s not at all to the band’s detriment — rather, it helps the four-piece begin to cast their identity as they do in this material, whether that’s happening in the volatile sudden volume trades in “Dust” or the mission statement “Rock ‘n’ Roll,” which feels geared a bit to the anthemic but would probably work just as well in whatever pub they happen to be terrorizing on a given evening. Their delivery skirts the line between heavy and hard rock as only that vaguely commercially viable European-style can, but the songs are right there waiting to take the stage at whatever festival is this weekend and blow the roof — or the sky, I guess, if it’s outdoors — off the place.

Beaten by Hippies on Thee Facebooks

Polderrecords website

 

Luna Sol, Below the Deep

luna sol below the deep

Guitarist/vocalist Dave Angstrom may be best known in heavy rock circles for his work alongside John Garcia in Hermano, but in leading the four-piece Luna Sol through their 12-song/50-minute sophomore outing, Below the Deep (on Slush Fund Recordings), he proves a capable frontman as well as songwriter. Sharing vocal duties with bassist Shannon Fahnestock while David Burke handles guitar and Justin Baier drums, Angstrom is a steady presence at the fore through the well-constructed ’90s-flavored heavy rock of “Below the Deep” and “Along the Road” early, the later “Garden of the Gods” playing toward a more complex arrangement after the strutting “The Dying Conglomerate” paints a suitably grim State of the Union and ahead of the fuzz-rich ending in “Home,” which keeps its melodic purpose even as it crashes out to its languid finish. Whether it’s the charged “Man’s Worth Killin'” or the winding fuzz of “Mammoth Cave,” one can definitely hear some Hermano at work, but Luna Sol distinguish themselves just the same.

Luna Sol on Thee Facebooks

Slush Fund Recordings webstore

 

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Luna Sol Announce New Album Below the Deep out June 21

Posted in Whathaveyou on May 28th, 2019 by JJ Koczan

luna sol

From out of the mountains of Colorado come Luna Sol, who are set to issue their second album, Below the Deep, on June 21 through Slush Fund Recordings. Riff heads will note that the band features guitarist Dave Angstrom, whose songcraft is a long-since proven quantity owing to his time in Hermano and Supafuzz. Given that pedigree, it’s not entirely surprising to find some basic discussion of desert rock around the band — having John Garcia on the first record will inevitably help that too — but one would hardly consider them bound by ecosystem in their work. It’s like rock, but you know, heavy. They should really come up with a name for that.

Enjoy heavy rock:

luna sol below the deep

Luna Sol to Release New LP, ‘Below the Deep’, June 21

Denver Rock Group Featuring Former Hermano Guitarist Readies Electric Sophomore Album

Colorado heavy rock hypnotists Luna Sol, which features in its ranks guitarist / vocalist Dave Angstrom, formerly of Kyuss vocalist John Garcia’s early aughts band Hermano and Lexington, Kentucky’s Supafuzz, will release its new LP, ‘Below the Deep’, on June 21 via Slush Fund Recordings / Cargo Records.

Luna Sol (Latin for “moon soil”), plays self-described “high mountain rock”, delivering riff-centric music in the “desert rock” tradition while incorporating more variety. Deceptively tuneful, the band delivers an intoxicating collection of hazy, leaden R’N’R that blends volcanic riffage with an earthquaking crunch while crooning vocals float over the songs like ghostly echoes. Luna Sol’s robotic boogie is catchy in a way that doesn’t so much announce itself as creep up behind you. ‘Below the Deep’ is the follow-up to the group’s 2015 debut, ‘Blood Moon’, an album which featured guest spots from John Garcia, Guns N’ Roses’ Dizzy Reed and Nick Oliveri.

Ominous cover art by Amplified Design (Pallbearer, Brant Bjork) lends a foreboding visual air to the record, which Angstrom says was the plan all along. The clearly troubled personal lyrics of the album create a tension that we can all empathetically relate to. With messages of pain, praise, sorrow, death, rejoicing, revolution and honest apologies, ‘Below the Deep’ takes us on a fairground ride of riffs, hooks and emotions.

“We wanted ‘Below the Deep’ to look and feel like worn out Steven King novel, with artwork that will scare children,” he says. It might. A clothed young woman submerged in a lake at the foothills of the Colorado Mountains is creepy. But Angstrom thrives in the darkness. He was married at the Standley Hotel in Estes Park, the haunted mansion that inspired King’s classic “The Shining.”

“This may be the best record I’ve ever made,” says Angstrom. “Below the Deep is a lyrical confession, served with a fist. It’s a dark cohesive album. Hangings, suffering, pain, recovery, family, life; it all seems to make sense when I’m playing and singing about it. We had a goal to create a straight up, guitar oriented, fist-in-the-air classic rock record. I’m extremely proud of this one.”

Track listing:

1.) Black Cloud
2.) Below the Deep
3.) Along the Road
4.) Man’s Worth Killin’
5.) Sometimes We Get It Right
6.) The Dying Conglomerate
7.) Garden of the Gods
8.) Hallelujah
9.) Mammoth Cave
10.) Wait For It

Pre-order ‘Below the Deep’ at this location

In addition to Dave Angstrom, Luna Sol features David Burke (guitar), Shannon Fahnestock (bass, vocals) and Justin Baier (drums).

https://www.facebook.com/Lunasolmusic/
https://squareup.com/store/slush-fund/.

Luna Sol, Below the Deep album trailer

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Friday Full-Length: 16 Horsepower, Folklore

Posted in Bootleg Theater on April 19th, 2019 by JJ Koczan

16 Horsepower, Folklore (2002)

I suppose the first question when it comes to 16 Horsepower‘s fourth and final long-player, Folklore, is whether it’s an album, since less than half of it is original material from the band. Based in Denver, Colorado, the band got their start in 1992 and would release Folklore a decade later through Glitterhouse and Jetset Records, even as frontman/principal songwriter David Eugene Edwards had already begun his next project, Wovenhand. With Folklore, Edwards and the original trio lineup of the band — drummer Jean-Yves Tola and bassist Pascal Humbert — came together to work seemingly in direct defiance to their preceding full-length, 2000’s Secret South, which had adopted a more modern style to what’s been lazily dubbed “alt country” but is really a much richer sonic pastiche, drawing from Americana, goth, folk, indeed country, rock and gospel. One might see Folklore as 16 Horsepower reclaiming their central influences in taking on traditional songs as well as Hank Williams‘ “Alone and Forsaken” and The Carter Family‘s rousing “Single Girl,” but they never fail to make any of this starting material their own, and their sound is one of such character and depth of arrangement that their take still remains original, whether it’s the accusatory “Sinnerman” late in the record or the stirring narrative of “Outlaw Song” earlier.

Of the 10 tracks, opener “Hutterite Mile,” “Blessed Persistence,” “Beyond the Pale” and the penultimate “Flutter” are 16 Horsepower compositions, credited to the band and Edwards specifically. “Outlaw Song,” “Sinnerman” and the French-language closer “La Robe a Parasol” are folk songs, and the other two inclusions are as noted above. What keeps Folklore from being an EP packed with covers, basically, is that the originals are spread across the two sides, with “Hutterite Mile” beginning the album with a deep sense of foreboding and downtrodden heart, while “Blessed Persistence” uses snare drum for tension amid strings later while its early moment jabs in jazzy fashion behind Edwards‘ vocals, keys, harmonies and so on fleshing out an arrangement that sounds minimal and isn’t at all. Elements come and go throughout — the organ on “Hutterite Mile,” the telltale banjo of “Outlaw Song,” the consuming cello in the chorus of “Alone and Forsaken,” and the chorus of voices on “Single Girl” on side A, piano and backward cymbals on “Beyond the Pale,” string drones on “Horse Head Fiddle,” acoustic guitar in “Sinnerman,” piano and strings on “Flutter” and accordion on “La Robe a Parasol” on side B — but the entire spirit of Folklore is about nothing so much as the songs themselves. That is, though Edwards is a significant presence on guitar, banjo, vocals, and so on, even he seems to approach this material with a sense of reverence. And fair 16 horsepower folkloreenough, since that goes back to 16 Horsepower returning to their roots, but the care and craft put into making these tracks still can’t be called anything other than progressive in the final result, whatever other genre tags with which one might want to saddle them. There are many that would apply, if incompletely.

Each half of Folklore ends in joy. “Single Girl” arrives after the gorgeous and sad “Alone and Forsaken” and takes the country strum of the Carter Family original and layers Edwards‘ vocals on top for a loyalist chorus effect that begs singing along. Likewise, “La Robe a Parasol” appears after arguably the darkest stretch of material 16 Horsepower ever produced in “Beyond the Pale,” “Horse Head Fiddle,” “Sinnerman” and “Flutter.” Certainly there’s a groove underlying “Horse Head Fiddle” and “Flutter,” but the emotional and atmospheric weight with which they’re executed is crushing, and “La Robe a Parasol” offers 2:15 of escapist snare-brush shuffle and accordion, drunkard’s French and backing woops and hollers to underscore the at-the-fair feel. Side A undergoes a similar shift, to be sure, as it heads toward “Single Girl,” but “Hutterite Mile” — the lines, “It’s only misery/It’s only ankle-deep,” some of the most efficient lyric-writing I’ve ever heard — and “Outlaw Song” and “Blessed Persistence” and even “Alone and Forsaken” aren’t as dark as what the second half of Folklore has on offer. It’s a question of ambience in some respect, but side B simply pushes further into whatever unseen reaches of the American plains the band are traveling. “Horse Head Fiddle” is perhaps the most experimentalist moment on Folklore, with flute, string drones, layers of noise and vocals all too obscure to be readily discernible, and by comparison, “Sinnerman”‘s interwoven dual-track verses are resoundingly straightforward. The underlying structure of Folklore, though, is a tapestry. Of originals and choice covers and folk songs all brought into a singular context the likes of which 16 Horsepower had never built before and never would again. My understanding is that when it came out, response was mixed, but of all the work 16 Horsepower did during their time together, Folklore has arguably held up best — though I won’t take away from Secret South or 1997’s Low Estate or ’95’s Sackcloth ‘n’ Ashes either, frankly — perhaps as a result of seeming so out of its own time in the first place.

As mentioned, it’s the band’s final studio outing. They would follow it with a compilation titled Olden the next year, but by then, Edwards already had two Wovenhand releases out in the 2002 self-titled debut (discussed here) and 2003’s Blush Music, and that band would ultimately take priority, going on to issue 10 albums moving in an increasingly heavy direction from their neo-folk beginnings. The latest of those albums, 2016’s Star Treatment (review here), is the most outwardly heavy work they’ve done, but it still retains a tie both to their earlier material and to 16 Horsepower‘s roots as shown on Folklore, with Edwards‘ inimitable style as a driving force. 16 Horsepower have had periodic releases out post-breakup, with two DVDs in the mid-aughts, as well as the excellent Live March 2001 collection in 2008 and a 2CD comp of greatest hits and rare tracks, respectively, titled Yours Truly in 2011. That latter would seem to be a true signoff on the part of the band, which is fair enough, but especially listening to Folklore, it’s clear that there was still so much exploring of these ideas to do when they called it quits, even if that creative growth was taken in different directions in the years since.

I love this record.

As always, I hope you enjoy.

It’s about five-thirty in the morning. I’ve already put up two posts of the six slated for today — yesterday wound up being seven, which is a lot — and I’m still getting caught up on stuff post-Roadburn. Man, what a trip that was. So good. Every year. So good.

It happens once or twice a year that in the span of a day or two you wind up getting what you immediately know will be some of the year’s best records. For my own future reference, I’d like to note that this week albums from Slough Feg, Sun Blood Stories, Kandodo3, Slomatics, Beastwars, Zaum and Yawning Man came in for future coverage. I’m not sure I’ve ever had a week where I’ve ended up so happy to check my email.

Ah, the baby’s getting up.

Okay, I’ll keep it short then. Notes for next week, cut and paste right from the document. Next week rules:

MON 04/22 LOS MUNDOS ALBUM STREAM/GETAWAY VAN VIDEO PREMIERE

TUE 04/23 ALTAR OF OBLIVION ALBUM STREAM

WED 04/24 WORSHIPPER TRACK PREMIERE

THU 04/25 STONE MACHINE ELECTRIC REVIEW/FULL STREAM

FRI 04/26 THE WELL VIDEO PREMIERE/REVIEW

As you can see, I have no set format for these things. I just put them in all caps and hope to remember them when the time comes. Being a one-man operation has its ups and downs. Doing the Weirdo Canyon Dispatch daily fanzine at Roadburn always brings those into relief, though I will note that this year particularly made me miss having a writing staff. I don’t think I could take one on here, but yeah. That’s a good bunch of people over there and I’m fortunate to work with them.

Looks like a permanent move back to New Jersey may be in the cards for this summer. I’ll keep you posted.

More on that later, I’m sure, but for now let me go grab this poor kid and start the day. I hope you have a great and safe weekend. Please don’t forget there’s merch at Dropout, and please don’t forget the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

The Obelisk shirts & hoodies

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Dreadnought Release Emergence May 10; Tour Dates Announced

Posted in Whathaveyou on April 4th, 2019 by JJ Koczan

dreadnought

I was lucky enough to have occasion to see Colorado’s Dreadnought last year at Psycho Las Vegas (review here) as they supported their earlier-2018 third album, A Wake in Sacred Waves (review here). To be honest, I thought it could go either way. They’re an interesting band. Stylistically, they’re incredibly nuanced, and their progressive method of songcraft on the third album found them mashing together subgenres like a mile high hadron collider, but doing that in the studio and doing it live are two very different things. Fortunately for me and everyone else at Psycho to witness it, they underscored their creative scope with an intensity of delivery that only built on the impact of their studio presence. It was a thing to behold.

They have a few dates scheduled for the Spring — a stop at the Psycho Smokeout follows up on the Vegas appearance — and in summer, they head out on a tour that will bring them to the East Coast as they spread the good word of their new album, Emergence, which is out May 10 on Profound Lore. They have a song from it streaming now that you can and should check out at the bottom of this post, particularly if you’re one of those people who argue nobody’s doing anything anymore to push boundaries and wish to be proven wrong.

From the PR wire:

dreadnought emergence

DREADNOUGHT: Progressive Doom Bringers Announce US Summer Tour Including Dates With Big|Brave; Emergence Full-Length To See Release Via Profound Lore

Denver progressive doom bringers DREADNOUGHT have confirmed a stretch of US live dates to kick off the summer season. Set to commence on June 21st and run through July 7th, the trek includes eight shows supporting Montreal’s Big|Brave, and follows several previously-announced performances this spring including an appearance at Psycho Smokeout in Los Angeles, California alongside Elder, Monolord, Belzebong, Amenra, Uada, and more. See all confirmed dates below.

DREADNOUGHT will release their anticipated new full-length, Emergence, on May 10th via Profound Lore. For their fourth long player, DREADNOUGHT follows up their 2017 A Wake In Sacred Waves acclamation with an album that takes their singular multiplex and pictorial sound to new sonic realms even more heavily textile, complex, and vastly designed. Emergence sees the four-piece – vocalist/guitarist/flute player Kelly Schilling, drummer/saxophone player Jordan Clancy, keyboardist/vocalist Lauren Vieira, and bassist/mandolin player Kevin Handlon – delving more into heavier and darker sonic territory as well, an aspect that was evident with A Wake… but has become fully realized with Emergence.

Engineered and mixed by Andy Patterson (Subrosa) and mastered by James Plotkin (Khanate), with art and design by Mark Facey, Emergence will be released on CD, LP, and digital formats via Profound Lore with preorders to be available in the weeks to come.

DREADNOUGHT Live:
4/17/2019 Hi-Dive – Denver, CO w/ UADA, Cloak, Wormwitch
4/20/2019 Psycho Smokeout @ Catch One – Los Angeles, CA
4/21/2019 Club Red Mesa – Mesa, AZ w/ Monolord
4/22/2019 Sister – Albuquerque, NM w/ Monolord
5/26/2019 The Bluebird Theater – Denver, CO w/ Alien Weaponry
6/21/2019 Triple Nickel – Colorado Springs, CO *
6/22/2019 Hi-Dive – Denver, CO *
6/24/2019 Cactus Club – Milwaukee, WI *
6/25/2019 Subterranean Downstairs – Chicago, IL *
6/26/2019 Sanctuary – Detroit, MI *
6/27/2019 Hong Kong – Boston, MA *
6/28/2019 Kingsland – Brooklyn, NY *
6/29/2019 Geno’s – Portland, ME *
7/01/2019 Cafe Nine – New Haven, CT
7/02/2019 Kung Fu Necktie – Philadelphia, PA
7/03/2019 Metro Gallery – Baltimore, MD
7/04/2019 Wonderland – Richmond, VA
7/05/2019 Cosmic Charlie’s – Lexington, KY
7/06/2019 Fubar – Saint Louis, MO
7/07/2019 Riot Room – Kansas City, MO
* w/ Big|Brave

“Emergence” track listing:
1. Besieged
2. Still
3. Pestilent
4. Tempered
5. The Waking Realm

DREADNOUGHT are:
Kelly Schilling – Guitar, Flute, Clean and Harsh Vocals
Jordan Clancy – Drums, Alto/Tenor Saxophone
Kevin Handlon – Bass, Mandolin, Lyrics
Lauren Vieira – Keys, Clean Vocals

http://www.facebook.com/dreadnoughtband/
http://www.instagram.com/dreadnoughtdenver
http://www.profoundlorerecords.com
https://www.facebook.com/profoundlorerecords
http://www.instagram.com/profoundlorerecords
http://www.twitter.com/profound_lore

Dreadnought, “Beseiged”

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Khemmis Announce July East Coast & Midwest Tour Dates

Posted in Whathaveyou on April 2nd, 2019 by JJ Koczan

khemmis

Colorado’s Khemmis, recently signed to Nuclear Blast, will head out on tour once again in July, doing shows up and down the Eastern Seaboard before hitting into Canada and sweeping back through the Upper Midwest. They go supporting last year’s Desolation (review here), and if you’re on the West Coast and feeling left out of the party, rest easy. There’s still plenty of 2019 left, and somehow I seriously doubt they’ve forgotten California exists. Give it time, is what I’m saying. Fall, maybe, if they don’t go to Europe, or even winter. They’re bound to show up sooner or later.

And in the meantime, they’ll be joined for the upcoming trip by Cloak from Georgia, and the dates follow here, courtesy of the PR wire:

khemmis tour

KHEMMIS Announce North American Desolation 2019 Tour!

Denver, Colorado based doomed heavy metal quartet KHEMMIS are proud to announce their North American Desolation 2019 tour. The 16-date tour will kick-off on July 11th at Growlers in Memphis, Tennessee. The trek will make stops in Richmond, Philadelphia, and Detroit before concluding on July 28th at Nightspot in Bloomington, Illinois. Joining the band on the tour is Atlanta, Georgia’s metal quartet CLOAK. Prior to the main run. KHEMMIS will play a stand alone show on June 14th at Hodi’s Half Note in Fort Collins Colorado.

KHEMMIS comments, “We’re excited to hit the road for our first proper headlining tour in support of ‘Desolation.’ This trek features our first Southeastern shows as well as dates in some of our favorite cities/venues, including Saint Vitus in Brooklyn and Reggies in Chicago. If that wasn’t enough, we’re bringing black ‘n’ roll maniacs CLOAK with us! Make sure you grab your tickets early, since these are our only eastern US and Canadian shows for 2019. Brush up on the lyrics, practice your air guitar moves, and catch us on tour this summer!”

Tickets will be available for purchase on Friday, April 5th at 10AM local time. For more information visit: www.khemmisdoom.com

Confirmed dates for the North American Desolation 2019 tour are:
06/14/2019 Hodi’s Half Note – Fort Collins, CO*
07/11/2019 Growlers – Memphis, TN
07/12/2019 Masquerade – Atlanta, GA
07/13/2019 Clairvoyance Fest – Lexington, KY
07/14/2019 The End – Nashville, TN
07/16/2019 The Maywood – Raleigh, NC
07/17/2019 The Camel – Richmond, VA
07/18/2019 Songbyrd – Washington, DC
07/19/2019 Saint Vitus – Brooklyn, NY
07/20/2019 Underground Arts – Philadelphia, PA
07/21/2019 Great Scott – Boston, MA
07/23/2019 Bar Le Ritz – Montreal, QC
07/24/2019 Velvet Underground – Toronto, ON
07/25/2019 The Sanctuary – Detroit, MI
07/26/2019 Reggies – Chicago, IL
07/27/2019 7th Street Entry – Minneapolis, MN
07/28/2019 Nightshop – Bloomington, IL
*=no cloak

Khemmis are:
Phil Pendergast // guitar, vocals
Ben Hutcherson // guitar, vocals
Daniel Beiers // bass
Zach Coleman // drums

http://www.facebook.com/khemmisdoom
http://khemmis.bandcamp.com
http://twitter.com/khemmisdoom
www.nuclearblast.de/
https://www.facebook.com/nuclearblastusa

Khemmis, “Isolation” official video

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Quarterly Review: JOY Feat. Dr. Space, Rosetta, Pendejo, Lightsabres, Witch Hazel, CBBJ, Seedium, Vorrh, Lost Relics, Deadly Sin (Sloth)

Posted in Reviews on March 22nd, 2019 by JJ Koczan

quarterly-review-spring-2019

Day Five. What would traditionally be the end of the Quarterly Review if going to six wasn’t the new going to 11. Whatever, I can hack it. The amount of good stuff included in these batches really helps. I’m not saying there are days that are a flat-out bummer, but I feel like the proportion of times in this Quarterly Review I’ve gone, “Wow, this is pretty awesome,” has seen a definite spike this time around. I won’t complain about that. Makes the whole thing fun.

Today will be no exception, and then we finish up on Monday with the last 10. Thanks for reading if you do.

Quarterly Review #41-50:

JOY Feat. Dr. Space, Live at Roadburn 2018

joy feat dr space live at roadburn 2018

Brought together as part of the ‘San Diego Takeover’ at Roadburn 2018 that featured a host of that city’s acts performing in an even broader host of contexts, JOY and Scott “Dr. Space” Heller of Øresund Space Collective took the stage at the tiny Cul de Sac near the very end of the festival. It was how I closed out my Roadburn (review here). Dr. Space did a short spoken introduction and then they were off and they didn’t look back. The centerpiece of the limited LP is an extended jam simply titled “Jam.” It’s edited on the platter, but the digital version has the full 54 minutes, and the more the merrier. They round out with takes on Road‘s “Spaceship Earth” and JOY‘s “Miles Away,” and those are cool too, but the real highlight is about halfway through the longer “Jam” when the drums kick into the next gear and you suddenly snap out of your trance to realize how far you’ve already come. And you’re still only at the midpoint. I don’t know. Maybe you had to be there. So be there.

Øresund Space Collective on Thee Facebooks

JOY on Thee Facebooks

JOY Feat. Dr. Space at Øresund Space Collective Bandcamp

 

Rosetta, Sower of Wind

rosetta sower of wind

Philadelphia-based post-whatever-you-got outfit Rosetta continue to set their own terms with Sower of Wind, a self-recorded four-track/half-hour offering that’s something of an outgrowth of their most recent album, Utopioid. Broken into four tracks each assembled from ideas and layers churning throughout the four sections of that record, it brings out the ambient side of the band as guitarist/keyboardist/bassist Matt Weed serves as engineer for “East,” “South,” “West” and “North” as he, guitarist/keyboardist Eric Jernigan and vocalist Mike Armine — who here just adds samples and noise — construct fluid soundscapes that can either build to a head, as on “East” or offer a sense of foreboding like “West” and “North,” depending solely on the band’s will. It’s intended as an exploration, and it sounds like one, but if that wasn’t the point, Sower of Wind probably wouldn’t have been released in the first place. It’s not at all their first ambient release, but this modus continues to be viable for them creatively.

Rosetta on Thee Facebooks

Pelagic Records webstore

 

¡Pendejo!, Sin Vergüenza

pendejo sin verguenza

Whatever your current working definition might be for “over the top,” chances are Pendejo — also stylized as the exclamatory ¡Pendejo! — will make short work of it. Sin Vergüenza, their third long-player, sees release through their own Chancho Records imprint, and it’s not through opener “Don Gernàn” before the Amsterdam-based outfit break out the horns. Fronted by El Pastuso, who supplies the trumpet, the band roll through dense toned heavy rock in a crisply-executed, high-energy 10 tracks and 40 minutes that, even when you think they’re letting up, on the later “El Espejo,” they still manage to burst out a massive riff and groove in the second half. It’s the kind of record that’s breathtaking in the sense of you’re trying to run to keep up with its energy. That, however, should not be seen as undercutting the value of the band’s songwriting, which comes through regardless of language, and whether it’s the start-stops of “La Mala de la Tele” or the gleeful weirdo push of “Bulla,” Pendejo have their sonic terrain well staked out and know how to own it. They sound like a band who destroy live.

Pendejo on Thee Facebooks

Pendejo webstore

 

Lightsabres, A Shortcut to Insanity

LIGHTSABRES A SHORTCUT TO INSANITY

It’s rare for an artist to grow less predictable over time, but Lightsabres mastermind and multi-instrumentalist John Strömshed hits that standard with his former one-man outfit. Joined by session drummer Anton Nyström, Strömshed brings forth 11 tracks of genre-bending songcraft, melding fuzz and progressive folk, downer rock and thoughtful psych, garage push with punker edge, and seemingly whatever else seems to serve the best interests of the song at hand. On “Born Screaming,” that’s a turn to classical guitar plucking sandwiched on either side by massive riffs and vocals, like that of “Tangled in Barbed Wire,” remind of a fuzz-accompanied take on Life of Agony. At just 36 minutes, A Shortcut to Insanity isn’t long by any means, but it’s not an easy album to keep up with either, as Strömshed seems to dare his listenership to hold pace with his shifts through “Cave In,” rolling opener and longest track (immediate points) “From the Demon’s Mouth” and the sweetly melodic finale “Dying on the Couch,” which is perhaps cruelest of all for leaving the listener waiting for the other shoe to drop and letting that tension hang when it’s done.

Lightsabres on Thee Facebooks

DHU Records webstore

 

Witch Hazel, Otherworldly

Witch Hazel Otherworldly

Classic-style doom rockers Witch Hazel shift back and forth between early metal and heavy rock on their second full-length, Otherworldly, and the York, Pennsylvania, four-piece of vocalist Nate Tyson, guitarist Andy Craven, bassist Seibert Lowe and drummer Nicholas Zinn keep plenty of company in so doing, enlisting guest performances of organ and other keys throughout opener “Ghost & the Fly” and “Midnight Mist” and finding room for an entire horn section as they round out 11-minute closer “Devastator.” Elsewhere, “Meat for the Beast” and “Drinking for a Living” marry original-era heavy prog with more weighted impact, and “Zombie Flower Bloom” plays out like what might’ve happened if mid-’80s Ozzy had somehow invented stoner rock. So, you know, pretty awesome. The strut and shuffle of “Bled Dry” adds a bit of attitude late, but it’s really in cuts like the title-track and the aforementioned “Midnight Mist” earlier on that Witch Hazel showcase their formidable persona as a group.

Witch Hazel on Thee Facebooks

Witch Hazel on Bandcamp

 

CBBJ, 2018 Demo

CBBJ 2018 Demo

To a certain extent, what you see is what you get with CBBJ‘s 2018 Demo, right down to the wood paneling on the cover art. The band’s name — also written as CB/BJ — would seem to be taken from its members, Cox (that being Bryan Cox, founding drummer of Alabama Thunderpussy), Ball, Bone, and Jarvis, and as they look toward a Southern Thin Lizzy on demo finale “The Point of it All,” there’s something of a realization in what they’re putting together. It’s four tracks total, and finds some thrust in “Wreck You,” but keeps it wits there as well as in the sleazier nod of “The Climb” that precedes it as the opener and even in the penultimate “Can’t Go Home,” which gives booziest, earliest AC/DC a treatment of righteous bass. They’re apparently in the studio again now, or they just were, or will, or won’t, or up, or down, but whatever. Point is it’ll be worth keeping an ear out for when whatever comes next lands.

CBBJ on Thee Facebooks

CBBJ on Bandcamp

 

Seedium, Awake

seedium awake

Go on and get lost in the depths of Seedium‘s debut three-songer, Awake. The Polish outfit might be taking some cues as regards thickness from their countrymen in Dopelord or Spaceslug, but their instrumental tack on “Mist Haulers,” “Brain Eclipse” and “Ruina Cordis” oozes out of the speakers with right-on viscosity and comes across as infinitely stoned. The centerpiece tops 11 minutes and seems to indicate very little reason they couldn’t have pushed it another 10 had they so desired, and through “Ruina Cordis” is shorter at a paltry 7:08, its blasted sensibility and ending blend of spaciousness and swirl portends good things to come. With the murky first impression of “Mist Haulers” calling like a prayer bell to the riff-worshiping converted, Seedium very clearly know what they’re going for, and what remains to be seen is how their character and individual spin on that develops going forward. Still, for its tones alone, this first offering is a stunner.

Seedium on Thee Facebooks

Seedium on Bandcamp

 

Vorrh, Nomads of the Infinite Wild

vorrh nomads of the infinite wild

Programmed drumming gives Nomads of the Infinite Wild, the debut release from the Baltimore duo of Zinoosh Farbod and John Glennon an edge of dub, but the guitar work of songs like “Mercurial,” looped back on itself with leads layered overtop and Farbod‘s echoing vocals, remains broad, and the expansive of atmosphere puts them in a kind of meditative post-doom feel. Opener “Myths” strikes as a statement of purpose, and as “Morning Star” shows some Earth influence in the spaces left by Glennon‘s guitar, the band immediately uses that nuance to craft an individual identity. “Flood Plane” saunters through its instrumental trance before getting noisy briefly at the finish, only to let “These Eyes” work more effectively through a similar structure with Farbod on keys, seeming to set up the piano-foundation of “Ancient Divide,” which closes. This is a band who will benefit greatly from the fact that they record themselves, because they’ll have every opportunity to continue to experiment in the studio, which is exactly what they should be doing. In the meantime, Nomads of the Infinite Wild effectively heralds their potential for aesthetic innovation.

Vorrh on Thee Facebooks

Vorrh on Bandcamp

 

Lost Relics, 1st

lost relics 1st

Well, they didn’t call it 1st because it’s their eighth album. Denver noise rock trio Lost Relics debut with the aptly-titled 18-minute four-songer, bringing Neurosis-style vocal gutturalism to riffy crunch more reminiscent at times of Helmet‘s discordant heyday. Dense tonality and aggression pervade “Dead Men Don’t Need Silver,” “Scars,” the gets-raucous-later “Whip Rag” and closer “Face Grass,” which somehow brings a Clutch influence into this mix, and even more somehow makes it work, and then even more somehow indulges a bit of punk rock. The vocals and sense of tonal lumber tie it all together, but Lost Relics set a pretty wide base for themselves in these tracks, leaving one to wonder how the various elements at work might play out over the course of a longer release. As far as a debut EP goes, then, that’s the whole point of the thing, but something seems to be saying Lost Relics have more tricks up their sleeve than they’re showing here. One looks forward to finding out if that’s the case.

Lost Relics on Thee Facebooks

Lost Relics on Bandcamp

 

Deadly Sin (Sloth), VII: Sin Seven

deadly sin sloth vii sin seven

Deadly Sin (Sloth) play the kind of sludge that knows how well and truly fucked we are. The kind of sludge that doesn’t care who’s president because either way the chicken dinner you’re cooking is packed full of hormones. The kind of sludge that well earns its Scott Stearns tape artwork. VII: Sin Seven is not at all void of melody or purpose, as “Ripping Your Flesh” and the Danziggy “Glory Bound Grave” grimly demonstrate, but even in those moments, its intent is abrasion, and even the slower march of “Icarus” seems to scathe as much as the raw gutterpunk in “F One” and opener “Exit Ramp”‘s harshest screams. Not easy listening. Not for everybody. Not really for people. It’s a malevolent bludgeoning that even in the revivalism of “Blood Bought Church” seems only to be biding its time until the next strike. It does not wait all that long.

Deadly Sin (Sloth) on Thee Facebooks

Deadly Sin (Sloth) on Bandcamp

 

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