God. Damn. Quite a lineup, quite a poster. I’ll give credit to Hollow Leg‘s Brent Lynch who first brought my attention to the poster for his band’s March 26 gig at St. Vitus Bar in Brooklyn. The evening, on which Kings Destroy (fresh off their West Coast tour) headlines with Hollow Leg, Holly Hunt, Clamfight and The Scimitar supporting, is a benefit for Aaron Edge, the Seattle-based graphic designer and former Roareth (etc.) guitarist, whose struggle with multiple sclerosis led to the creation last year of Lumbar‘s The First and Last Days of Unwelcome (review here) and whose medical bills continue to accumulate.

True to oblivious form, I actually wasn’t aware The Obelisk was sponsoring the show or I’d have been plugging it much sooner. There were some discussions earlier on and I had thought it just kind of petered out as these things sometimes do, but I’m honored to have the name of this site associated with such a lineup, with War Crime Recordings who released Kings Destroy‘s A Time of Hunting last year, and of course with St. Vitus Bar, whose reputation at this point spreads well beyond the bounds of Brooklyn. I won’t be sorry to catch Hollow Leg and Holly Hunt when they come through Boston with Ichabod and Balam, but no doubt this is something special, and the poster, by Searing Limb‘s Connor Anderson, certainly lives up to the occasion.

Behold:

Click the image to enlarge for a more detailed look (click it again to remove). For more on the Anderson‘s work, this show, the Holly Hunt/Hollow Leg tour dates and how you can contribute to Edge‘s continuing fight, check the links below.

Searing Limb on Thee Facebooks

Kings Destroy on Thee Facebooks

Lumbar on Thee Facebooks

Hollow Leg/Holly Hunt tour

Floridian sludgers Hollow Leg are getting ready later this month to head out on a run up and back down the East Coast with Holly Hunt, and even as they prepare to do so supporting an Argonauta Records reissue of their 2010 first album, Instinct, they’ve posted audio for a new single called “God-Eater” (munch munch munch) that turns their previous two outings — Instinct and its 2013 follow-up, Abysmal (review here) — somewhat on their heads.

I say “somewhat” because, let’s face it, Hollow Leg haven’t gone polka-thrash or anything like that. They’re still working well within a heavy realm, but a lot of the ultra-slamming sludge of Abysmal seems absent from “God-Eater” in favor of a more laid-back, fuzzed-out approach. Maybe I’m splitting hairs here — the track is still called “God-Eater” — but the feel is less aggressive overall, and vocalist Scott Angelacos has shifted his vocals to match, finding roots in more of a Southern heavy rock vein than the screams of prior outings.

Again, in the grand scheme of life and what Neil DeGrasse Tyson tells me (and only me; we talk on the phone sometimes) is an endlessly expanding universe, it’s not a massive shift, but there’s been some reordering of the balance of elements at work in Hollow Leg‘s sound, and it makes me look forward all the more to seeing them on tour with Holly Hunt later this month.

Dig it:

Hollow Leg, “God-Eater”

Ready to start for a U.S. Spring tour and while promoting the reissue of their album “Instinct” on Argonauta Records, Florida sludge masters HOLLOW LEG just released a new song: “God Eater”, as single track, encompasses the next direction for the band, sonically, visually and lyrically. The song works as a prelude to album number three and all within the band are excited to summon more new material. “God Eater” can be streamed via the Argonauta Records YouTube channel: http://youtu.be/ffO5M2ynjSw

Hollow Leg on Thee Facebooks

Hollow Leg on Bandcamp

Next month, Floridian compatriots Holly Hunt and Hollow Leg will embark on an East Coast run together. For Hollow Leg, they’ll be out supporting the Argonauta Records reissue of 2010’s Instinct (info here) as well as their Summer 2013 full-length, Abysmal (review here), while Holly Hunt will arrive fresh off appearances at the International Noise Conference (video below), and gigs alongside Jucifer and Darsombra while toting copies of their 2010 2LP, Year One.

Both bands were kind enough to offer some comments on the tour, and you’ll find those with the tour dates below:

Says Hollow Leg:

Hollow Leg have been fortunate to be comrades with the Unholy Miami Trinity of Volume — Shroud Eater, Orbweaver, Holly Hunt — and the upcoming dates of live sonic excess will further solidify our bond with one of the Masters. Holly Hunt exercise the power of guitar and drums that was the same foundation at the inception of Hollow Leg and both bands love nothing more than to crush all into a blissful nothing. This tour is a further testament to all that is heavy from Florida as we creep up the East Coast: good friends, good tunes, and good fun.

Says Holly Hunt:

We’ve loved Hollow Leg since the very first time we saw them at Churchill’s playing with our friends Shroud Eater. Their brutal heaviness combined with excellent song writing make them a absolute must see band. We’ve been able to get to know them and hang out with them often in the last few years. We are thrilled to be able to go raging with them up the East Coast and back… we cannot wait!

March 21-29 Hollow Leg/Holly Hunt tour:
03/21 Mars Pub, Gainesville, FL w/ Gaul, Thunderclap
03/22 Hippo Records, Greensboro NC w/ Irata
03/23 The Dougout, Washington D.C. w/ Public Suicide, Paranoid Minds
03/24 Kung Fu Necktie, Philadelphia, PA w/ Clamfight, Sunburster
03/25 O’Brien’s Pub, Allston, MA w/ Ichabod, Balam
03/26 St. Vitus Bar, Brooklyn, NY w/ Clamfight, Kings Destroy, The Scimitar
03/27 Rogers, Va Beach VA w/ The Pestilence Choir, Kombat Wombat
03/28 Reggie’s, Wilmington, NC w/ Hadea, Kohmats, Toke
03/29 529, Atlanta, GA w/ Dasher, Motherfucker, Roman Gabriel Todd

Hollow Leg, “Abysmal” Live at House of Blues, Jan. 27, 2014

Holly Hunt, Live in Miami, 2014

Hollow Leg on Thee Facebooks

Holly Hunt on Thee Facebooks

Hollow Leg/Holly Hunt tour event page

Floridian sludge metallers Hollow Leg have announced they’ll reissue their 2010 full-length debut, Instinct, through Argonauta Records. The CD of the four-piece’s first outing has been gone for some time, and with the release earlier this year of the follow-up, Abysmal (review here), Hollow Leg showed a penchant for atmosphere that stomped in time with their crushing tones.Instinctwas a bit simpler in its intent — not surprising for a debut –but positively vicious nonetheless, as the stream of the album below can testify.

Cool to see the album coming out again and glad to have an excuse to post it for anyone who may have missed it up to this point. Hollow Leg get down with some heavy shit. Third track “The Return” is a particular favorite off this one, if you’re looking for a place to start. Nothing quite like a solid bit of death boogie:

Hollow Leg to re-release ‘Instinct’ on Argonauta Records!

U.S. sludge monsters HOLLOW LEG will have a worldwide re-release of their album “Instinct” under the flag of ARGONAUTA Records. The band, a duo now quartet, is an enormously toned groove engine hailing from the highways between Deland and Jacksonville, Florida. Their first full length, Instinct, as a duo of guitar and drums from late 2010 and released independently (now completely sold-out), was an action blown forth by their inherent and creative strengths housed within its lyrics and riffs. Since their incarnation as a duo, Hollow Leg has held live performances akin to Sleep and Eyehategod cooperatively steering a runaway freight train through the center of a volcano. Instinct will be again available February 2014 for a full new life thanks to the exclusive digi-sleeve packaging by the label and the worldwide release. Just wait for a massive assault of slow head-banging music!

https://www.facebook.com/pages/Hollow-Leg/128288623854274
www.facebook.com/argonautarecords
www.argonautarecords.com

Hollow Leg, Instinct (2010)

Though in the minds of many listeners there’s no doubt that Southern sludge is an aesthetic with set associations. Bands playing or even dabbling in the style are hard-pressed to emerge without being saddled with the inevitable Eyehategod comparison, and to their credit, Floridian four-piece Hollow Leg work in a more nuanced approach than most. Their second full-length, Abysmal, finds them working within and beyond the usual stylistic constraints, here and there touching on Sourvein-style nod while offsetting that with Earthride‘s rolling stoner-doom groove. The riffs of guitarist/backing vocalist Brent Lynch are a driving force, as one might imagine, but Abysmal (released on Last Anthem Records) showcases a songwriting acumen that goes beyond focusing on any single member of the band and is most effective when Lynch, bassist Tom Crowther, drummer Tim Creter and vocalist Scott Angelacos are all pushing in the same direction. Moreover, with the strength of several landmark choruses behind it — namely those of “Blissful Nothing,” “Ride to Ruin,” “Lord Annihilation” and closer “Cry Havoc” — Abysmal also tests out the boundaries of melody. While Angelacos‘ vocals are largely unipolar in their throaty, shouting approach, Lynch provides suitable accompaniment and also works in some flourish on guitar, making the material across the album’s eight tracks/35 minutes that much more complex. What on first listen sounds like it might be “another sludge record” gradually emerges as a display of character that, while utilizing some familiar elements, ultimately shows Hollow Leg as having more to them than Take as Needed for Pain rehash and/or derivative antiestablishmentism.

At their core, Hollow Leg are riotously heavy. Recorded by Jeff McAlear at High Five Audio in Deland, FL, and mastered by Collin Jordan, the album’s mix leans toward the metallic, but stays true to a sludgy nature by not sacrificing tonal weight in the name of speed or showy play. That Hollow Leg would turn out to be crafters of memorable songs should be less of a surprise to those who caught the not so subtle hints on their 2010 full-length debut, Instinct — also recorded by McAlear  — but it’s a distinguishing factor on their second album and the growth they show proves demonstrative of their progress overall. Abysmal creeps to a start with the fade in of its title-track, a song that shows little of the breadth that comes across over time, but establishes several key factors in Hollow Leg‘s approach all the same, from the fluid rhythms proffered by Crowther and Creter, to the weighted chug of Lynch‘s guitar and vicious rasp from Angelacos at the forefront. Angelacos seems at first to be very much in the T-Roy Medlin spirit of screamers, and “Abysmal” suits that form, though deviations emerge both in the chorus layering and in his tradeoffs with Lynch, and as the slower, more subdued “8 Dead (in a Mobile Home)” takes hold, Hollow Leg immediately build on the straightforward thrust of the album’s beginning to toy with heavy/soft dynamics, the guitars adding melody at the end to hint at some more of what’s to come. Between the two songs, a good portion of Abysmal‘s course is set, but I’d argue that the most resonant hooks are still to come, and “Blissful Nothing” settles into an easy groove with a dually-layered vocal in the chorus, shout-along ready, essentially proving the argument.

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Click Here to Download

 

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With no slowdown in the music coming out as we move into the fall, it’s time for another audiObelisk podcast. Like last month, the idea here was to keep it super-simple, not go too long or get lost too much in including stuff just for the hell of it. Whether it’s a big band or someone you’ve never heard of in this tracklist, it’s all quality, and most of it is new. A couple of these albums haven’t even come out yet.

Things get pretty dark in the second of the two hours, but I figured what the hell? It starts off rockin’ with Sasquatch and The Freeks and so on, so it seemed there was room to doom out for a while, and once I threw in The Body, there was nothing to do but plummet even further. As it winds down, there’s some transition back to more rocking fare though with Earthless, so it’s not like it gets totally lost and drowns in the mire of dark tones and sonic abrasion. I know you were worried. I was too.

Like last time, it clocks in at just under two hours long. I hope you download and enjoy the tracks. Here’s the full rundown of what’s included:

First Hour:

Sasquatch, “The Message” from IV (2013)
Monster Magnet, “Mindless Ones” from Last Patrol (2013)
The Freeks, “The Secret Pathway” from Full On (2013)
Red Fang, “Blood Like Cream” from Whales and Leeches (2013)
Pyramido, “Tiden är Kommen” from Saga (2013)
Hollow Leg, “Ride to Ruin” from Abysmal (2013)
YOB, “Ether” from Catharsis (2013 Reissue)
Seremonia, “Suuri Valkeus” from Ihminen (2013)
Aqua Nebula Oscillator, “Human Toad” from Spiritus Mundi (2013)
Jesu, “Everyday” from Everyday I Get Closer to the Light from Which I Came (2013)
Ayahuasca Dark Trip, “To the Holy Mountain” from Mind Journey (2013 Reissue)

Second Hour:

All Them Witches, “Born under a Bad Sign” (2013)
The Body, “Prayers Unanswered” from Christs, Redeemers (2013)
Primitive Man, “Antietam” from Scorn (2013)
Windhand, “Cassock” from Soma (2013)
Atlantis, “Omen” from Omens (2013)
Earthless, “Violence of the Red Sea” from From the Ages (2013)

Total running time: 1:59:33

Hope you dig it. Thanks for listening.

Download audiObelisk Transmission 030

 

If you’re anything like me — and let’s just hope for your sake you’re not — then you’re sitting in front of your laptop staring at a calendar telling you it’s August wondering what the hell happened to June and July. Last time I turned around, it was barely summer, and now it’s starting to get cold at night.

We’re well past the halfway mark on 2013, and I know for some the year’s best picks are already set in mind, but there’s a ton of cool releases still to come before 2014 hits, and I figured now’s as good a time as any for a rundown of a few picks that seem to be sure to arrive prior to December 31. As much as anything’s ever “sure,” anyway. Subject to change, and all that.

With the gracious suggestions/assistance of those checking in on the forum (see that thread for many more picks) taken into consideration, here are 15 suggestions to be on a lookout for starting in September. Some of these I’ve heard, some I haven’t, but take it as a sampling of what I’m looking forward to, if nothing else.

And because I know nothing says “I know how to have a good time” like a list in order of release date, here goes nothing:

Vista Chino, Peace (Sept. 3)

It took me a couple listens to come around to Vista Chino‘s Peace (review here), but once I got to that point, there was no turning back. The much-anticipated Napalm Records debut from the four-piece birthed out of Kyuss Lives!, Peace ultimately moves forward as much as it looks back, and though much of the lyrics center around the lawsuit that forced Kyuss Lives! to change their name, the songs themselves do arrive at a certain place of acceptance by the end of the record, so that in the end it lives up to its title. Some won’t be able to make the leap over their expectations for what an album with Brant Bjork, John Garcia and Nick Oliveri on it should sound like, but most importantly, Vista Chino are pressing on and I hope this isn’t the last record they make together, even if Oliveri is already out of the band’s touring lineup.

Larman Clamor, Alligator Heart (Sept. 10)

The solo-outfit of graphic artist Alexander von Wieding, Larman Clamor has been pumping out quality swamp boogie for the last two years at a more than prolific clip. Last year, von Wieding made his debut on Small Stone with Frogs (review here), and while the forthcoming Alligator Heart (out through the same label) strips the approach down somewhat — as you can hear on the single “Banshee w’Me” — the murkedelic blues spirit remains supreme at the center of the project’s approach. Larman Clamor has flown relatively under the radar so far into its run, but showing a little bit of a poppier side on Alligator Heart‘s tracks might gain it some more attention. Von Wieding‘s songwriting continues to be worth the price of admission to the bizarre carnival he creates.

Windhand, Soma (Sept. 17)

Richmond-based cult sludgers Windhand made their debut on Relapse earlier this year on a split release with Cough — with whom they share a bassist and a hometown — and will follow that next month with Soma, their second LP behind their 2012 self-titled debut full-length. The band have only gotten darker and meaner since adding Cough‘s Parker Chandler on bass, and with that split heralding its coming, Soma should arrive with a fittingly devastating impact. Windhand have also put in no shortage of time on the road, and even as the new one comes out, they’ll be embroiled in a coast-to-coast US tour, so keep an eye out — and that goes for Europe too. I wouldn’t be surprised if a full tour with Inter Arma got announced around their joint Roadburn appearances next spring.

Sasquatch, IV (Sept. 24)

Sasquatch bloody Sasquatch. If you’ve got a face, these dudes’ll rock it right off. With IV (Small Stone) their first full-length since 2010’s III (review here), L.A. trio Sasquatch very casually offer a reminder that those who talk about how rock and roll needs to be “saved” don’t have a clue what’s really up, that rock and roll never went anywhere and that its awesomeness continues unabated. Need testimony? Check out the track stream for “The Message.” Classic grooves, class-y showoff solos, catchy tunes and later in the album even a foray into psychedelic jamming — let there be no doubt that Sasquatch have nailed down right where they want to be sound-wise and are ready to make the most of the good times they’re rolling out as they continue to lay their own railroad, grand and funky as it is. Soundgarden wishes they had this kind of edge.

Iron Man, South of the Earth (Sept. 30)

You’d pretty much have to be a jerk not to feel good about the fact that long-running, long-underappreciated Maryland doom stalwarts Iron Man are getting their due in the form of a Rise Above Records release for their new album, South of the Earth. I know that’s not the most impartial statement in the world, but seriously, who deserves Lee Dorrian-endorsed doom cred more than Iron Man? The names are few and far between. South of the Earth already had me on the hook for being their first full-length with frontman Dee Calhoun on board alongside guitarist “Iron” Al Morris III, bassist Louis Strachan and drummer Jason “Mot” Waldmann, but with the hopefully increased profile of issue on Rise Above, who knows what could be in store for them once it’s out?

Trippy Wicked and the Cosmic Children of the Knight, Underground EP (Sept.)

Trippy Wicked caught me off guard last year with the heavier and more metal side that showed up on their Going Home long-player (review here), but this time I’m ready. I’ve readjusted my expectations for what the UK trio might unleash on the new Underground EP — set phasers to who-the-hell-knows — and after the quick mastery of the metallurgical arts they showed the last time out, I’m happy to follow wherever their creative whims might take them. I know this is a list of albums and technically an EP isn’t a full album, but screw it, I dig these guys and am fascinated enough by their progression that it’s worth including even the smaller release here. If the art for Underground (due out through Superhot Records) is anything to go by — and I don’t yet know that it is — we could be in for a pretty wild ride.

Earthless, From the Ages (Oct. 8)

San Diego instrumentalists Earthless are looking to make an epic return on From the Ages (Tee Pee Records), which is their first studio full-length in six years. Though they’ve had a steady stream of live releases, limited splits and the like, and guitarist Isaiah Mitchell released a debut album with the heavy psych outfit Golden Void last year, nothing’s quite the same as Earthless‘ righteous jams and extended progressions. Look out for the 31-minute title-track (one of four on the album; more info here) as Earthless step into the limelight and reap the momentum they’ve built through steady years of touring and critical acclaim. From the Ages might just prove one for the ages.

Monster Magnet, Last Patrol (Oct. 15)

My only question when it comes to Monster Magnet‘s second album for Napalm Records — touted by frontman Dave Wyndorf as a return to their psychedelic beginnings — is how literally we’re supposed to take the title Last Patrol and if indeed this is going to be the final go for the long-running and hugely influential New Jersey outfit. If so, they draw their circle as complete as they possibly could, and whether it’s “The Duke (of Supernature),” which has received nearly 23,000 plays since being premiered here on July 23, or the driving churn of “End of Time,” Monster Magnet tap into the spirit that propelled 1995’s Dopes to Infinity and readjust the balance of their influence in a way fans have been clamoring for for years now. The more I hear it, the more I need to hear it.

Pelican, Forever Becoming (Oct. 15)

A new Pelican album is an interesting enough proposition at this point — it’s been four years since the Chicago instrumental outfit released What We all Come to Need (review here) — but Forever Becoming (Southern Lord) has an added level of intrigue for being Pelican‘s first album without guitarist Laurent Schroeder-Lebec. Stepping in to fill the second guitar spot is Dallas Thomas of The Swan King, and it should be interesting to hear how the band’s approach has shifted after almost half a decade and what Thomas brings to the well-established chemistry between bassist Bryan Herweg, drummer Larry Herweg and guitarist Trevor de Brauw. If the first track is anything to go by, Pelican still sounds like Pelican, and I’m not going to complain about that.

Corrections House, Last City Zero (Oct. 29)

Probably the bigger surprise would’ve been if the super-type group Corrections House didn’t make their full-length debut on Neurot, but still, word was welcome when it came down a couple weeks back that the conjoined efforts of Scott Kelly (Neurosis), Mike IX Williams (EyeHateGod), Bruce Lamont (Yakuza) and Sanford Parker (Buried at Sea, Minsk and the guy you want to record your album) were resulting in an actual album to follow up on their initial single and tour earlier this year. Whether the entirety of the record works in the kind of industrial, post-Godflesh noise crunch they brought to the stage on that tour (review here), we’ll just have to wait and see. But I’m damn interested to find out.

Red Fang, Whales and Leeches (Oct.)

Those who heard Red Fang‘s 2011 boot-to-the-ass second album, Murder the Mountains (review here), will probably find Whales and Leeches (named for a track off their 2008 self-titled debut) a reasonable follow-up. The Portland forerunners’ second offering through Relapse finds bassist/vocalist Aaron Beam even more front and center with clean vocals, and ultra-catchy songs like “Blood Like Cream” and “No Hope” seem to pick up right where Red Fang left off last time, offsetting Beam‘s poppier style with guitarist/vocalist Bryan Giles‘ throaty grit . Watch out for much more to come on this one. Between the record itself and their formidable road ethic, you’re probably going to be hearing a lot about it.

The Melvins, Tres Cabrones (Nov. 5)

If you were to ask me how many records the Melvins have out in 2013, I’d go, “Uh… I dunno… six?” and the mere fact that that doesn’t seem like a ridiculous answer should be indicative of the frankly absurd pace at which the long-enduring Washington outfit add to their already insurmountable catalog. What makes Tres Cabrones (Ipecac) different? Reportedly, it’s a semi-reunion of the band’s 1983 lineup — as close as they were willing to get, was how Buzz Osbourne put it in the press release — that finds Dale Crover playing bass to make room for drummer Mike Dillard. The Melvins released the collection Mangled Demos from 1983 in 2005, but Tres Cabrones will be entirely new material. You never know quite where the Melvins are headed next, and if anyone could find a way to go forward even as they go backward, it’d be them.

Sandrider, Godhead (Date TBA)

So in case you couldn’t tell by the “TBA” above, this one’s a bit of wishful thinking on my part. I don’t actually know that Sandrider (members of Akimbo and The Ruby Doe) will issue a follow-up to their 2011 self-titled Good to Die Records debut (review here) before the end of 2013, but golly, I hope they do. The band said on July 11 via their Thee Facebooks that they’d finished mastering the album, titled Godhead, for a Fall release, so I guess we’ll just have to wait and see once it’s pressed and ready to go. The sooner the better, since that first record was a smoker and nothing says “autumn” like some noise crunch bombast. At least that’s what I have embroidered on my doilies…

Snail, Feral (TBA)

Not sure on the release date for West Coast riffers Snail‘s fourth album and third since reactivating in 2009 with Blood, but the recording’s reportedly done, so hopefully it’s not too long before they get it out. The band recently announced the departure of guitarist Eric Clausen, so they’re down to the original trio of guitarist/vocalist Mark Johnson, bassist Matt Lynch and drummer Marty Dodson, and how that will affect their sound on the follow-up to last year’s metallized self-release, Terminus (review here), remains to be seen, but if there’s any chance Snail might be able to get more road time in support of Feral, whenever it arrives, than no doubt it will have been worth the tumult in the meantime. And even if not, the album’s still one to watch for.

The Wounded Kings, Consolamentum (TBA)

Another one with no exact date, but according to producer Chris Fielding, it’ll be out before 2013’s over. Either way, when it lands, Consolamentum will serve as the Candlelight Records debut. It’s their fourth outing overall, and the second to be produced by Fielding and to feature frontwoman Sharie Neyland, whose work on 2011’s In the Chapel of the Black Hand (review here) made that album one of the year’s most satisfyingly bizarre and dreary doom offerings. Along with founding guitarist Steve Mills, Neyland returns for Consolamentum and whether it hits in 2013 or 2014, look for the band to progress from the last time out. Mills (interview here) is a relentlessly forward-thinking songwriter and his penchant for creating atmospheric and crushingly dark sonic spaces is not to be underestimated.

—

Whew. These things always take so much longer than I think they’re going to when I start writing names on Post-It notes.

Of course, this is just a sampling of what’s to come over the next few months. Borracho‘s new one is supposed to get a vinyl release, and A Storm of Light have a new record, plus I heard rumors of new Slough Feg (they have a new single that would seem to back that up) and a much-awaited Brothers of the Sonic Cloth full-length coming before the end of the year — I also, right now, quite literally this second, just got news of a new Diesto on Eolian Empire — so please don’t assume that if it’s not here it’s never coming or whatever. There’s so much out there, I always feel like I’m leaving out something big and/or awesome.

Thanks for reading.

Floridian outfits Hollow Leg and Orbweaver have teamed up for a long weekender from Aug. 2-5. Playing four nights in their native state, both bands will be supporting new releases — in the case of Hollow Leg, it’s their new full-length collection Abysmal, which is out on Last Anthem Records on July 30. For Orbweaver, the Strange Transmissions from the Neuralnomicon EP will mark their studio debut with a release on Primitive Violence.

Taking from the titles of both, the Abysmal Transmissions tour runs from Orbweaver‘s home in Miami to Hollow Leg‘s in Jacksonville. The poster below has specifics:

Hollow Leg & Orbweaver – Abysmal Transmissions Tour 2013

Hollow Leg & Orbweaver tour dates:
Aug. 2 Churchills Pub, Miami, FL
Aug. 3 Will’s Pub, Orlando, FL
Aug. 4 Bowman Motorcycles, St. Petersburg, FL
Aug. 5 Burro Bar, Jacksonville, FL

Hollow Leg on Thee Facebooks

Orbweaver on Thee Facebooks