Posted in Whathaveyou on March 21st, 2025 by JJ Koczan
So here’s a moment where I’m just going to be honest with you. I’m pretty sure this lineup has been announced for a bit. If you’ve been to Legalize Lex and you accordingly keep up with the Lexington, Kentucky-based two-dayer set for April 18-19 on social media, maybe you’ve seen that the likes of Horseburner, Lo-Pan, Temple of the Fuzz Witch and Hashtronaut are making the trip. Fine. So maybe it’s not ‘breaking news,’ as much as anything in the heavy underground short of Bobby Liebling memes could hope to be. I haven’t posted the lineup here yet, so even if it’s not new to you, it’s new to me. Thanks for indulging my late-to-the-party ass once again.
Crop are the affiliated act here, and they seem to be setting up the fest as a regional nexus, pulling bands from all cardinal directions to solidify what’s turned out to be a pretty banger bill. Reminds me of an old Emissions lineup, and not just because Rebreather are there, but also in some of the stoner-sludge later down the poster. The day-split is out — you can see the Saturday is more packed than the Friday, as it should be, but the first night is by no means lacking — and the lineups are rad. I won’t be there to see it, but if you get to go, I’d expect it to be a party as much as a festival. Certainly that’s the vibe I’m getting from the poster.
The day-split came down the PR wire as follows:
LEGALIZE Announces Full Lineup and Set Times for its 2nd Annual Festival in Lexington KY!
Posted in Reviews on October 9th, 2024 by JJ Koczan
I have to stop and think about what day it is, so we must be at least ankle-deep in the Quarterly Review. After a couple days, it all starts to bleed together. Wednesday and Thursday just become Tenrecordsperday and every day is Tenrecordsperday. I got to relax for about an hour yesterday though, and that doesn’t always happen during a Quarterly Review week. I barely knew where to put myself. I took a shower, which was the right call.
As to whether I’ll have capacity for basic grooming and/or other food/water-type needs-meeting while busting out these reviews, it’s time to find out.
Quarterly Review #21-30:
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Vibravoid, We Cannot Awake
Of course, the 20-minute title-track head rock epic “We Cannot Awake” is going to be a focal point, but even as it veers into the far-out reaches of candy-colored space rock, Vibravoid‘s extended B-side still doesn’t encompass everything offered by the album that shares its name. Early cuts “Get to You” and “On Empty Streets” and “The End of the Game” seem to regard the world with cynicism that’s well enough earned on the world’s part, but if Vibravoid are a band out of time and should’ve been going in the 1960s, they’ve made a pretty decent run of it despite their somewhat anachronistic existence. “We Cannot Awake” is for sure an epic, and the five shorter tracks on side A are a reminder of the distinguished songwriting of Vibravoid more than 30 years on from their start, and as it’s a little less explicitly garage-rooted than their turn-of-the-century work, it further demonstrates just how much the band have brought to the form over time, with ‘form’ being relative there for a style that’s so molten. Some day this band will get their due. They were there ahead of the stoners, the vintage rockers, the neopsych freaks, and they’ll probably still be there after, acid-coating dystopia as, oh wait, they already are.
Taking influence from the earlier-Mastodon style of twist-and-gallop riffing, adding in vocal harmonies and their own progressive twists, West Virginia’s Horseburner declare themselves with their third album, Voice of Storms, establishing a sound based on immediacy and impact alike, but that gives the listener respite in the series of interludes begun by the building intro “Summer’s Bride” — there’s also the initially-acoustic-based “The Fawn,” which delivers the album’s title-line before basking in Alice in Chains-circa Jar of Flies vibes, and the dream-into-crunch of the penultimate “Silver Arrow,” which is how you kill Ganon — that have the effect of spacing out some of the more dizzying fare like “Hidden Bridges” and “Heaven’s Eye” or letting “Diana” and closer “Widow” each have some breathing room to as to not overwhelm the audience in the record’s later plunge. Because once they get going, as “The Gift” picks up from “Summer’s Bride” and sets them at speed, the trio dare you to keep pace if you can.
Some pressure on Dune-themed Montreal heavy rockers Sons of Arrakis as they follow-up their well-received 20222 debut, Volume I (review here) with the 10-track/33-minute Volume II. The metal-rooted riff rockers have tightened the songwriting and expanded the progressive reach and variety of the material, a song like “High Handed Enemy” drawing from an Elder-style shimmer and setting it to a pop-minded structure. Smooth in production and rife with melody, Volume II isn’t without its edge as shown early on by “Beyond the Screen of Illusion,” and after the thoughtful melodicism of “Metamorphosis,” the burst of energy in “Blood for Blood” prefaces the blowout in “Burn Into Blaze” before the outro “Caladan” closes on an atmospheric note. No want of dynamic or purpose whatsoever. I’ve seen less hype on the interwebs about Volume II than I did its predecessor, and that’s just one of the very many things to enjoy about it.
Classic heavy metal is fortunate to have the likes of Crypt Sermon flying its flag. The Philadelphia-based outfit continue on The Stygian Rose to stake their claim somewhere between NWOBHM and doom in terms of style — there are parts of the album that feel specifically Hellhound Records, the likes of “Down in the Hollow” is more modern, at least in its ending — but five years on from their second LP, 2019’s The Ruins of Fading Light (review here), the band come across with all the more of a grasp of their sound, so that when “Heavy is the Crown of Bone” lays out its riff, everybody knows what they’re going for is Candlemass circa ’86, but that becomes the basis from which they build out, and from thrash to ’80s-style keyboard dramaturge in “Scrying Orb” ahead of the sweeping 11-minute closing title-track, which is so endearingly full-on in its later roll that it’s hard to keep from headbanging as I type. Alas.
The kind of undulating riffy largesse Eyes of the Oak proffer on their second full-length, Neolithic Flint Dagger, puts them in line with Swedish countrymen like Domkraft and Cities of Mars, but the former are more noise rock and the latter aren’t a band anymore, so actually it’s a pretty decent niche to be in. The Sörmland four-piece use the room in their mix to veer between more straight-ahead vocal command and layered chants like those in the nine-minute “Offering to the Gods,” the chorus of which is quietly reprised in the 35-second closing title-track. Not to be understated is the work the immediate chug of “Cold Alchemy” and the marching nodder “Way Home” do in setting the tone for a nuanced sound, so that the pockets of sound that will come to be filled by another layer of vocals, or a guitar lead, or an effect or whatever it is are laid out and then the band proceeds to dance around that central point and find more and more room for flourish as they go. Bonus points for the soul in “The Burning of Rome,” but they honestly don’t need bonus points.
A kind of artful post-hardcore that’s outright combustible in “Concrete,” Mast Year‘s sound still has room to grow as they offer their first long-player in the 25-minute Point of View on respected Marylander imprint Grimoire Records, but part of that impression comes from how open the songs feel generally. That’s not to say the nine-minute “Figure of Speech” doesn’t have its crushing side to account for or that “Teignmouth Electron” before it isn’t gnashing in its later moments, but it’s the band’s willingness to go where the material is leading that seems to get them to places like the foreboding drone of “Love Note” and deconstructing intensity of “Erocide,” just as they’re able to lean between math metal and sludge, which is like the opposite of math, Mast Year cover a lot of ground in their extremes. The minor in creeper noisemaking — “Love Note,” closer “Timelessness” — shouldn’t be neglected for adding to the mood. Mast Year have plenty of ways to pummel, though, and an apparent interest in pushing their own limits.
In the span of about 20 minutes, Wizard Tattoo‘s Living Just for Dying EP, which finds project-founder Bram the Bard once again working mostly solo, save for guest vocals by Djinnifer on “The Wizard Who Loved Me” and Fausto Aurelias, who complements the extreme metal surge and charred-rock verse of “Tomorrow Dies” with a suitably guttural take; think Satyricon more than Mayhem, maybe some Darkthrone. Considering the four-tracker opens with the acoustic “Living Just for Dying” and caps with similar balladeering in “Sanity’s Eclipse,” the EP pretty efficiently conveys Wizard Tattoo‘s go-anywhereism and genre-line transgression at least in terms of the ethic of playing to different sounds and seeing how they rest alongside each other. To that end, detailed transitions between “The Wizard Who Loved Me” and “Tomorrow Dies,” between “Tomorrow Dies” and “Sanity’s Ecilpse,” etc., make for a carefully guided listening process, which feels short and complete and like a form that suits Bram the Bard well.
Virginian trio Üga Büga — guitarist/vocalist Calloway Jones, bassist/backing vocalist Niko Cvetanovich and drummer/backing vocalist Jimmy Czywczynski — don’t have to go far to find despondent sludgy grooves, but they range nonetheless as their debut full-length, Year of the Hog unfolds, “Skingrafter” marrying a crooning vocal in contrast to some of the surrounding rasp and burl to a build of crunching heavy riff. The album is bombastic as a defining feature — songs like “Change My Name” and “Rape of the Poor” come to mind — but there’s a perspective being cast in the material as well, a point of view to the lyrics, that comes through as clearly as the thrashy plunder of “Supreme Truth” later on, and I’m not sure what’s being said, but I am pretty sure “Mockingbird” knows it’s doing Phantom of the Opera, and that’s not nothing. They round out Year of the Hog with its eight-minute title-track, and finish with a duly metallic push, leaning into the aggressive aspects that have been malleably balanced all along.
Ultimately, The Moon is Flat‘s methodology on their third album, A Distant Point of Light, isn’t so radically different from how their second LP, All the Pretty Colors, worked in 2021, with longer-form jamming interspliced with structured craft, songs that may or may not open up to broader reaches, but that are definitively songs rather than open-ended or whittled-down jams (nothing against that approach either, mind you). The difference between the two is that A Distant Point of Light‘s six tracks and 52 minutes feel like they’ve learned much from the prior outing, so “Sound the Alarm” starts off bringing the two sides together before “Awestruck” departs into dream-QOTSA and progadelic vibery, and “I Saw Something” and its five-minute counterpart, closer “Where All Ends Meet” sandwich the 11-minutes each “Meanwhile” and “A Distant Point of Light,” The Moon is Flat digging in dynamically through mostly languid tempos and fluid, progressive builds of volume. But when they go, they go. Watch out for that title-track.
Chronicle II: Hypergenesis continues the thread that London instrumentalists began with their debut 2020’s Chronicle I: The Truthseseker and continued on the prequel EP, 2021’s Chronicle: Prologue, exploring heavy progressive conceptualism in evocative post-heavy pieces like opener “Daybreak,” which resolves in a riotous breakdown, or “The Archivist,” which is more angular when it wants to be but feels like a next-generation’s celebration of riffy chicanery in a way that I can only think of as encouraging for how seriously it seems not to take itself. The post-rocking side of what they do is well reinforced throughout — so is the crush — whether it’s “Dead Language” or “Into the Hazel Woods,” but there’s nothing on Chronicle II: Hypergenesis more consuming than the crescendo of the closing “Hypergenesis,” and the band very clearly know it; it’s a part so good even the band with no singer has to put some voice to it. That last groove is defining, but much of Chronicle II: Hypergenesis actively works against that sort of genre rigidity, and much to the album’s greater benefit.
Posted in Whathaveyou on April 16th, 2024 by JJ Koczan
Yeah, I’m late on this news from last week. I talked about it on Friday; only so many hours in the day and a lot a lot a lot of music coming down the line in the next few months. Horseburner‘s Voice of Storms will be their fourth full-length upon its arrival as June makes ready to give over to July’s swelter, and I’d say their urgency, melody, and progressive angularity will make a fitting accompaniment to that time of year’s sweating-while-doing-nothing sunscorch, even if it’s not themed around the climate crisis.
Actually, as regards theme, I’m curious how much the narrative described below — girl slays oppressors, in shorty-short — frames the songs, and how the album came together around the central story. With a ‘concept record’ of any sort, I always tend to want to know whether the idea was first or the music, but I guess there’s time for digging in between now and June. The single/video, “The Gift,” can be found at the bottom of this post, and for anyone who dug on 2019’s Ripple-issued The Thief (review here), it well lives up to its title. If you watch the clip, it looks like they had a good time in the studio.
The Brian Mercer cover art — dude nails it, as he will — album details and live dates follow, courtesy of the PR wire:
US progressive sludge unit HORSEBURNER to release new album “Voice of Storms” on Blues Funeral Recordings; stream new single “The Gift”!
West Virginia progressive sludge stalwarts HORSEBURNER have signed to Blues Funeral Recordings for the release of their new album “Voice of Storms” this June 21st, with the roaring first single “The Gift” streaming on all platforms now. The band also announced a string of US live shows in support of the release.
Blasting out loud and surgical riffs, driving grooves and fire-driven vocal harmonies, HORSEBURNER’s new single “The Gift” is a massive-sounding heavy rock rager that perfectly encapsulates the West Virginia foursome’s knack for uncompromisingly technical yet strikingly melodic anthems.
Watch Horseburner’s brand new video “The Gift” + listen to the official single at this location:https://lnkfi.re/thegift
HORSEBURNER blasted onto the scene in 2009 amid comparisons to Mastodon and Baroness, with an iteration of high-energy sludge metal informed by their Appalachian industrial background and elevated conceptual themes. And, from the impact of galloping full-length “Dead Seeds, Barren Soil” to their growth into a tremendous live force to the watershed leap of 2019’s acclaimed “The Thief”, Horseburner have not only endured, they have progressed.
HORSEBURNER distinguish themselves from their stoner-psych contemporaries with staggering musicianship. Gear-shifting from hard-charging to restrained to urgent and angular, these musical flexes find Horseburner invoking a broader range of tools to craft their driving, soaring, obliterating mini-epics than a lot of bands have in their bags. Never concerned with proving what they can do, they sweep us up in the ease of their brilliance and go places a lot of heavy rock doesn’t.
Their new album “Voice of Storms” is an allegorical commentary on the mistreatment of women across history. It’s the story of a girl being sold into child marriage who is imbued with the spirit of ancient Greek hunt goddess Diana, unleashed and wreaking havoc on a society that regards females as objects or currency. Sonically, the record is a sludge-prog triumph, ready to grab listeners by the throat and immerse them in a fluid amalgam of blistering tempos, fearless hooks and burly crush, like a more brutal Torche or a more adept High on Fire. This is HORSEBURNER blazing into sonic territory that few bands ever reach, pushing forward, challenging their abilities and always progressing as far as their ambition can take them.
The album was recorded and engineered by Neil Tuuri at Amish Electric Chair Studio, and mastered by Billy Joe Bowers. Artwork by Brian Mercer with a layout by Jacob Dunn.
New album “Voice of Storms” Out June 21 on Blues Funeral Recordings (LP/CD/digital)
This year’s Maryland Doom Fest has already begun. It started last night and will continue through Sunday, packing as much volume as possible between the first switched on amplifier and the final, inevitable broom swept across the floor afterward at Cafe 611 in Frederick, MD, where the fest is held. These shows are jammed. They start early. They go late. There’s nothing else quite like Maryland Doom Fest out there, and when you go, you’re made welcome whether you’re a regular or not. It’s too intimate a space and too cool a crowd for bullshit attitudes to survive. Relax and enjoy the tunes.
I’m sad to say I’m not there this year — let’s call it “family stuff” and leave it there — but the lineup is incredible and I wanted to do at least some tiny measure of tribute to that, so here we are. Some of these bands are MDDF veterans — Apostle of Solitude, Zed, Foghound, Faith in Jane, Caustic Casanova, etc. — but some are new to the event as well — Coven, Great Electric Quest, Formula 400, and others — so it’s a good mix, and you know I’m a sucker for ending epic, so The Age of Truth seemed perfect for that. They’re gonna kill it this weekend playing songs from Resolute and everyone there will know it long before they go on and they’ll still kill it. That’s just how it goes down there. You’re gonna have a good time.
Thanks if you listen, thanks if you’re reading. Thanks in general. And if you’re at the fest this weekend, enjoy it.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.
Full playlist:
The Obelisk Show – 06.24.22 (VT = voice track)
Coven
Wicked Woman
Witchcraft Destroys Minds & Reaps Souls
Zed
Chingus
Volume
Apostle of Solitude
Apathy in Isolation
Until the Darkness Goes
VT
Problem With Dragons
Live by the Sword
Accelerationist
Horseburner
A Joyless King
The Thief
Thunderbird Divine
Qualified
Magnasonic
Heavy Temple
A Desert Through the Trees
Lupi Amoris
Great Electric Quest
Seeker of the Flame
Chapter II – Of Earth
Formula 400
Ridin’ Easy
Heathens
Horehound
Hiraeth
Collapse
VT
Shadow Witch
Witches of Aendor
Under the Shadow of a Witch
Faces of Bayon
Ethereality
Heart of the Fire
Ol’ Time Moonshine
Raven vs. Hawk
The Apocalypse Trilogies
Caustic Casanova
Truth Syrup
God How I Envy the Deaf
Foghound
Known Wolves
Awaken to Destroy
Orodruin
Into the Light of the Sun
Ruins of Eternity
Faith in Jane
Gone Are the Days
Mother to Earth
Alms
The Offering
Act One
Guhts
The Mirror
Blood Feather
VT
The Age of Truth
Return to the Ships
Resolute
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is July 8 (subject to change). Thanks for listening if you do.
Posted in Whathaveyou on June 10th, 2022 by JJ Koczan
I’ll tell you the truth: I was put off from listening to Horseburner at first because of their name. Call me crazy, but setting a horse on fire sounds particularly reprehensible. I conquered this by concocting a scenario in which the horse is already dead but the band or the character their moniker is embodying has so much respect for the honor of the creature they’ve built a funeral pyre. Is it true? Probably not, but between that and the fact that they kick ass it was enough for me to come around.
The West Virginian four-piece are at work writing for their next album, and they’ve just done some top secret can’t-talk-about-it-type recording, so while one awaits news of that, that they’re headed out on tour surrounding their appearances at Ripplefest Texas and Ohio Doomed and Stoned should suffice, and if it doesn’t, the added pull of shows with Howling Giant and Restless Spirit is sure to do the trick.
Or maybe you’re just dead. Or disinterested? Why would you even read this if that’s the case?
From them socials:
Awww heck, we’re hitting the open road again next month!
We’re trekkin’ down to Austin for RippleFest Texas and we’re playing with two of our favorite bands Howling Giant and Restless Spirit along the way!
Appearances with Weedeater and at Doomed and Stoned Ohio on the journey. Won’t you join us?
Flyer by Jimbo Valentine
07.15 The Union Athens OH w/ Weedeater 07.16 Nightshop Bloomington IL ^# 07.17 Reggies Chicago IL ^ 07.19 Portal at FifteenTwelve Louisville KY ^# 07.20 The 5 Spot Nashville TN ^ 07.21 Hi Tone Memphis TN ^# 07.22 Freetown Boom Boom Room Lafayette LA ^# 07.23 Ripplefest Texas Far Out Lounge Austin TX # 07.24 Division Brewing Arlington TX 07.25 Whittier Bar Tulsa OK 07.26 Replay Lounge Lawrence KS 07.28 Raccoon Motel Davenport IA 07.29 Black Circle Brewing Indianapolis IN 07.30 Ohio Doomed and Stoned Buzzbin Canton OH ^ dates with Restless Spirit # dates with Howling Giant
Horseburner: Adam Nohe – Drums/Vocals Jack Thomas – Guitar/Vocals Matt Strobel – Guitar Ryan Aliff – Bass
Posted in Whathaveyou on March 22nd, 2022 by JJ Koczan
Back for its second year and with a fourth day in tow, Ripplefest Texas 2022 confirms its full lineup, a total beast of legends and newcomers. Really, I don’t even know what to say here except that if you’re lucky enough to go, it’s probably the kind of thing you’re going to remember for a long gosh-darn time, and it’s the kind of lineup that serves as lording-over fodder on the part of those who were there to those who weren’t. Well, at least it would if the heavy underground weren’t too cool to each other for that kind of gatekeeping nonsense. In any case, this looks like a massive undertaking to put on, and the roster of assembled acts gets a hearty ‘fucking a’ from my corner of the universe.
Tickets for all four days will run you $150, but I feel like the festival earns that on both quality and quantity of product.
Here’s the announcement, info and links:
RIPPLE FEST TEXAS – The Far Out Lounge – July 21-24
4-day passes available now!
RippleFest Texas 2022 is back and the lineup is as big and hot as Texas itself! 4 days of blistering hot music at Austin’s premier music venue The Far Out Lounge. There will be everything from crushing heavy riffs, to acoustic and banjo picking, to improvisation jam sessions and puppet shows! So many legends and great music that this will be a 4 day weekend you will not want to miss!
FULL LINEUP: Eagles of Death Metal, The Sword, Crowbar, Mothership, Big Business, The Obsessed, Stöner, Spirit Adrift, The Heavy Eyes, Sasquatch, REZN, Fatso Jetson, Heavy Temple, J.D. Pinkus, Lord Buffalo, Lo-Pan, Wino, El Perro, Void Vator, Hippie Death Cult, Howling Giant, Doctor Smoke, Nick Oliveri, High Desert Queen, Destroyer of Light, Ape Machine, High Priestess, Dryheat, Rubber Snake Charmers, Sun Crow, Holy Death Trio, Bone Church, Horseburner, Spirit Mother, Thunder Horse, Mother Iron Horse, The Age of Truth, Salem’s Bend, Las Cruces, All Souls, Kind, Fostermother, The Absurd, Godeye, Ole English, Mr. Plow, Snake Mountain Revival, Blue Heron, Grail, Formula 400, Rickshaw Billie’s Burger Patrol, Eagle Claw, Bridge Farmers.
The Far Out Lounge is located at 8504 South Congress. Winner of Best New Venue at the Austin Music Awards 2020.
Posted in Whathaveyou on February 17th, 2022 by JJ Koczan
Nearly two years ago, Descendants of Crom IV did a full unveiling of its lineup for a fest set to take place that October. You know the story from there. That’s the bad news. Good news is that many of the acts announced for that lineup are carrying over to this one. And as that includes the likes of Rebreather, Heavy Temple, Horseburner, Horehound (yeah that’s right; I know it’s her festival; I actually think her band is good), Orodruin and Evoken, the news is even better. The roster of acts was announced the other day, but the schedule is new info — I happen to be somebody who appreciates a good timetable — and tickets are on sale as of right… now.
Hey, you know what? You go right ahead and you have yourself a great day. Maybe that means buying tickets for a thing? Don’t you kind of want to get it all in as quickly as possible before the next variant hits and we’re huddled down again, desperately hoping Costco has the Scott back in stock while trying not to breathe or to inhale from the side of our mouth that that person is standing way too close on? I do. Spend that fucking money.
The fourth annual Descendants of Crom, A Gathering of the Heavy Underground, will be held again this year in Pittsburgh, Pennsylvania on both floors of Cattivo Nightclub. The events begin early Friday evening and are followed by an all-dayer Saturday.
The underground scene of heavy music is healthy and Pittsburgh is the perfect location to host such an event. We’re feeding great regional bands to a hungry crowd and utilizing legendary, international fan-favorites to entice music fans in the door with the support of our amazing local artists. Descendants of Crom began in 2017 and has been a strong contender among other established underground music festivals. We aspire to become the premier music event of the Northeast and I invite you to become part of the 2022 event! After all, we are all Descendants of Crom.
This event is 21+, ID Required Your commitment now helps us prepare better so, mark your calendars and get your tickets today!
LOCATION Cattivo 146 44th St, Pittsburgh, PA 15201
DATE & TIME June 3, 2022, 6:30 PM – June 4, 2022 – 11:30 PM
Posted in Whathaveyou on February 7th, 2022 by JJ Koczan
West Virginian heavy progressive rockers Horseburner will tour the Midwest alongside Maryland’s Yatra starting March 4. That’s less than a month away, if you’re keeping count — and if you are, please tell me how. The pairing of bands here is particularly nifty, as each comes at heavy from their own angle — Yatra the more extreme, deathly side, Horseburner a more winding and modern-prog approach — but neither leaves any question as to their intent toward kicking your ass. With appearances slated at the Gravitoyd Heavy Music Fest, Heavy Spring Fest and familiar stops like Black Circle Brewing in Indy, Freetown Boom Boom Room in Lafayette, LA, and Space Bar in Columbus, Ohio, it’s a solid trek through the Midwest with some dates still TBA as the two tours intertwine and eventually go their separate ways.
If you can help with a date, do that. If you can’t help with a date but know someone who can, it seems only reasonable to put the bands in touch with that person. Looks like Kansas to Oklahoma is the biggest stretch with nothing on. Two nights can make a big difference to a band, both in terms of their experience of the tour and getting paid or fed. You can change someone’s life here, and see a good show. Seems worth going for it to me.
From the PR wire:
HORSEBURNER March 2022 Tour
3-4: Indianapolis, IN – Black Circle Brewing* 3-5: Bloomington, IL – Nightshop* 3-6: Lawrence, KS – Replay Lounge* 3-7: TBA* 3-8: TBA* 3-9: Tulsa, OK – Whittier Bar* 3-10: Dallas, TX – Double Wide Bar* 3-11: Austin, TX – Far Out Lounge – Heavy Spring Fest 3-12: Austin, TX – Independence Brewing Co – Gravitoyd Heavy Music Festival* 3-13: Houston, TX – Eighteen Ten Ojeman* 3-14: Lafayette, LA – Freetown Boom Boom Room 3-15: New Orleans, LA – Santos Bar 3-16: TBA 3-17: Nashville, TN – Springwater Supper Club 3-18: Huntington, WV – The Loud 3-19: Columbus, OH – Space Bar *with Yatra
Horseburner are: Guitar/Vocals – Jack Thomas Drums/Vocals – Adam Nohe Guitar – Matt Strobel Bass – Seth Bostick
