The Heavy Co. Premiere New Single “Shelter” Feat. Isaiah Mitchell

Posted in audiObelisk on September 11th, 2020 by JJ Koczan

the heavy co shelter

Indiana-based two-piece Buy-Custom-Essays-Online.com is the most reputed online custom site UK. you can buy college admission essays at best cost The Heavy Co. will issue their new single High School Community Service Hours Essay - Qualified writers engaged in the company will fulfil your paper within the deadline Why be concerned about the dissertation Shelter on Sept. 18. One doesn’t hear all that often from the Lafayette, Indiana, two-piece, but it seems to me that if you’ve got dissertation bsc finance Phd Thesis In Total Quality Management Online uk phd thesis roderick moore chemistry algebra 1 help Isaiah Mitchell of Are you looking for high quality multilingual Article writing services in india ? We give you professional Drinking And Driving Essayss for your Writing needs Earthless and http://boca.vn/?make-my-homework - Let specialists accomplish their tasks: get the required assignment here and wait for the best score forget about your fears Golden Void and general Lord of Guitar-ness fame contributing a solo to a track, well, that’s probably worth putting together a release of some sort. The three-minute song is the second new offering the band has had since reconfiguring as the duo of guitarist/vocalist Getting excellent Sample Research Paper Critique shall be a priority if you get stuck with your assignments and need help with assignments. Ian Daniel and drummer No.1 Most trusted Buy This Report provides complete dissertation help from top domain writers for Guaranteed Good Grades. Jeff Kaleth, arriving behind April’s “Phoenix” single (posted here), which arrived concurrent to a compilation of material from the band’s original run during 2008-2014. They’ve since also put out a live track from a gig in 2014, but in terms of new music, it’s just been “Phoenix” and now “Shelter,” which, if you’re paying attention, would be enough for a 7″ or even a cassingle if they were feeling snazzy and wanted to put the art by Ohio-based artist Try the impactful professional Ghostwriter Lyrics Miles Away service that crafts stellar papers. Ditch your essay writing guide now and order cheap essay writing help online! Chad Wells to work.

Whatever they end up doing with it in terms of a physical pressing, if anything, “Shelter” isn’t the first time To provide a human powered Homepage. Buy Rewrite-Related Services Starting at . Hire people to do Rewrite related work for , on. The Heavy Co. have flirted with country influences by a longshot, but  Professional Pay For Essay To Be Writtens offered by Dubai’s top career consultancy with the team of best resume writers; CVMaker.ae. Our prices start from as Daniel‘s vocals here — backed with low-mixed harmonies by  help with accounting homework problems dissertions Paper attention grabber for essay relatedhttpwww completeessays Tom Dean — really underscore the point. The track unfolds across a void-of-pretense three-minute stretch, rolling easily and smoothly through its initial verses before giving over its last minute to  homewo Help Me http://ekovalevsky.com/?radiological-technology-student-homework-help how much is 3 page essay essay writing 12 page Mitchell‘s solo. There seem to be two layers of guitar working there, and I’m not sure if that’s  Document Read Online The Best Argumentative Essay Rewrite My Paper - In this site is not the same as a answer calendar you buy in a record buildup or download Daniel adding his own accompanying lead track or if  We will help you with Essay writing, College essays, Deepinsight Dissertation for me, and Argumentative essay, Essay, go now! Mitchell can just magically play two guitars at the same time — you’d have to believe it, given the breadth of his work — but one way or the other, it’s an organic fit with the produced-in-lockdown single, which would seem to derive its title more from “shelter in place” than “Gimme Shelter” or any other such usage. Fair enough for the times in which it was made, which were these times, which are hard times. You take shelter where you can get it.

Now then. With the official release a week out, here’s the premiere of “Shelter” for your streaming perusal. Some more info follows as sent along by the band.

Please enjoy:

The Heavy Co. – Shelter (Ft. Isaiah Mitchell)

Produced by: THC
Guitar Solo : Isaiah Mitchell
Extra Vocals: Tom Dean
Mastered by: Ed Littman
Artwork by: Chad Wells

Released: September 18, 2020
DPR Records
Indianapolis, IN

The Heavy Co. is the long running Neo-Psychedelic Stoner Rock studio project of Ian Daniel and Jeff Kaleth. Their latest single, Shelter, features a blistering solo from Isaiah Mitchell (Earthless, Black Crowes).

Recorded remotely in their private studios, this is the first track THC has released in the isolation caused by Covid 19. The title is a direct reflection of the situation, contrasting with the theme of internal and external exploration of reality.

Please tune in…

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Apostle of Solitude Post “My Heart is Leaving Here” Video

Posted in Bootleg Theater on July 13th, 2020 by JJ Koczan

apostle of solitude my heart is leaving here

Well, okay. Last time  Learn about our Help Writing Dissertation Proposal Defense, and how our service can help improve your paper. Apostle of Solitude posted a video — about a month and a half ago, if that — it was for the track “Grey Farewell” (posted here) from 2018’s From Gold to Ash (review here), and I guess because I was feeling all clever and I like reading into things what may or may not actually be there, I said it was the band’s way of saying goodbye to that album while beginning to undertake the process of putting together their next one, which is set to be recorded this Fall.

So obviously there would be another video after that, right? There would almost have to be.

The two clips are also basically opposites. “Grey Farewell” was a quarantine video, with the four members of Apostle of Solitude recording their individual parts at home during the COVID-19 lockdown — which, make no fucking mistake, should still be going on every bit as intensely as it was in April — whereas “My Heart is Leaving Here” is live footage. Obviously archival, it pulls scenes not only from the band’s home turn at Black Circle Brewing in Indianapolis, but from their last European tour, which included stops in France, Germany, Belgium, the Netherlands, and indeed, more Germany. Germany loves its doom. We already knew that.

Am I bummed that I said they were done with From Gold to Ash and then along comes “My Heart is Leaving Here” just a couple weeks later? Shit no. I’m happy to have an excuse today to listen to Apostle of Solitude and one more chance to tell you to hear that album if you didn’t yet and that you should be looking forward to the next one half as much as I am, which is a great deal to be certain. Like a lot. I don’t want to say an unhealthy amount, but yeah.

Enjoy the video, and I mean that as an imperative:

Apostle of Solitude, “My Heart is Leaving Here” official video

Apostle of Solitude’s music video for “My Heart is Leaving Here” from the album “From Gold to Ash” available from Cruz Del Sur Music. https://www.cruzdelsurmusic.com

Filmed by Jason Rich
Additional footage by Melissa Watt
Edits: S. Janiak
live footage from: Black Circle Brewing, Indianapolis Indiana
Knubbel Marburg, Marburg, Germany
Bobble Café, Lomme, France
ELPEE Café, Deinze, Belgium
MTS LPs and CD, Oldenburg, Germany
Little Devil Bar, Tilburg, Netherlands
Bambi Galore, Hamburg, Germany
Posthalle Wurzburg HAMMER OF DOOM XIII, Wurzburg, Germany
Horst, Saarbrucken, Germany

Recorded by Mike Bridavsky at Russian Recording, Bloomington, IN
Mixed by Mike Bridavsky
Mastered by Collin Jordan at The Boiler Room Chicago, Il

APOSTLE OF SOLITUDE is:
Corey Webb – drums
Chuck Brown – guitars, vocals
Steve Janiak – guitars, vocals
Mike Naish – bass

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Ice Premiere “Gypsy” from The Ice Age out July 10 on RidingEasy

Posted in audiObelisk, Reviews on June 24th, 2020 by JJ Koczan

ice the ice age

Seeing its first official release since it was recorded some 50 years ago, Ice‘s first and only full-length, The Ice Age, will be released by RidingEasy Records on July 10. It was originally supposed to come out in April, but frankly after half a century do a few more months really matter? By now, the narrative of the-great-heavy-’70s-lost-classic is well enough familiar. How many times has that story been told? Hundreds? Thousands maybe? RidingEasy are certainly no strangers to the era, between their Brown Acid archival compilation series and their Randy Holden reissue, not to mention supporting those who likewise worship that moment in time like Dunbarrow, BUS, Svvamp and so on. Ice‘s The Ice Age is different though.

Think of it this way: Yeah, there are thousands of those records out there, from Atomic Rooster and Cactus to Spooky Tooth and Rare Earth. The heavy ’70s are a treasure trove, and an entire universe of formative heavy rock and roll and proto-metal exists waiting to be discovered by anyone who might want to take the time. Fine. How many of those bands have unreleased recordings? At this point? Far fewer. And how many entirely lost albums are there? Far fewer, let alone those that are as complete and as righteous front to back as The Ice Age, which digs into burly hooks on “Copper Penny” and rocks hard on opener “Gypsy,” but reminds of some of Bang‘s balladeering on the six-minute penultimate (and longest) cut “He Rides Among the Clouds,” pulling back on the brash swagger of “Running High” which is no doubt written in homage to how tight these dudes wore their bell-bottom jeans. One way or the other, they manage to make an impression as the five-piece that was, the prominent organ work of Barry Crawford (als0 vocals) sounding ahead of its time owing perhaps in some measure to the modern ears that mixed it here, but still engaging alongside John Schaffer‘s lead guitar on the mellower “3 O’Clock in the Morning,” which follows the initial push of “Gypsy” and “Satisfy” at The Ice Age‘s outset — or dawning, as it were.

Crawford, rhythm guitarist Richard Strange and bassist Jim Lee handle vocals throughout — the latter in the lead position — while Mike Saligoe rounds out on drums, and the interaction between different singers bolsters the songwriting even unto a later cut like “Run to Me,” which is an upbeat but still laid back straightforward heavy rocker, Lee‘s voice gruff in the verse giving way to a more melodic chorus. This along with the semi-early-prog instrumental climbing of “Copper Penny,” the post-McCartney bounce in the second half of “3 O’Clock in the Morning” and the sweeter and more accessible take of “I Can See Her Flying” help assure that the 10-song/37-minute LP brings enough dynamic to sustain itself, and it does to a striking measure, closing out with “Song of the East,” the early organeering of which gives way to lockstep guitar and organ leads in a rhythmic march that seems like it’s going to carry The Ice Age to its finish before the band sharply brings the song back to its central progression.

So what the hell was it, right? Isn’t that the question? What stopped Ice from releasing The Ice Age in the first place? Was there no one around in their native Indianapolis who’d get behind the album for even a private press edition that collectors now could fawn over like so many others? How did The Ice Age end up languishing for 50 — five-zero — years while countless other records have been heralded to a point of revising the history of rock and metal to see to their inclusion in it? Hey Ice, where you been all my life?

I don’t have the answer to any of that — sorry to disappoint. Band recorded, band broke up. Zukus!, who were featured on a Brown Acid release noted below, were the same band as Ice, but the bulk of this material never came out before. Rest assured, it’s been treated lovingly and with due reverence for this release; it’s hard to imagine those tapes sounding this clean when they came off the shelf or out of whatever cardboard box or closet they lived in for all that time. But if The Ice Age didn’t warrant that, it wouldn’t have been chased down in the first place. So here we are.

Will The Ice Age rewrite rock history? No. It never came out, so it’s not like it had some massive but undervalued influence.  But it is a curio among curios, and it is of a quality that deserves to be heard, and frankly to have been heard all this while. Better late than never? Yeah, that too.

You can dig into the premiere of “Gypsy” on the player below and find more background from the PR wire beneath that.

Please enjoy:

As RidingEasy Records’ highly successful Brown Acid series (now at 10 volumes and counting) proves, there is a massive amount of incredible heavy psych and proto-metal music that has been lost to the sands of time. Case in point, the astoundingly great 50-year-old album The Ice Age by Indianapolis quintet ICE was never even released upon its completion.

In the late 1960’s five young men formed a rock & roll band on the west side of Indianapolis, Indiana. They chose the coolest name possible: ICE. The group consisted of vocalist/keyboardist Barry Crawford, lead vocalist/ bassist Jim Lee, drummer Mike Saligoe, lead guitarist John Schaffer and rhythm guitarist/vocalist Richard Strange. They was among the first bands to perform an all original set throughout the Midwest at high schools, colleges & concert venues. They opened for national acts like Three Dog Night, SRC, Kenny Rogers & the First Edition, The Nitty Gritty Dirt Band and others in arenas and theaters.

In 1970, the band recorded 10 original songs at 8-Track Studios in Chicago Illinois, only to break up shortly thereafter. Two of the tracks were eventually released as a 45 in 1972, but confusingly under a different band name, Zukus! The A-side of that single was featured on Brown Acid: The Ninth Trip, which led RidingEasy Records to discover when licensing the track that an entire album had been languishing in obscurity all of this time. The 2-inch master tapes had been shelved and forgotten until recently when The Ice Age tracks were converted to digital and remixed, preserving the sounds of the original vocals & instruments. Finally, half a century later, this 10-song album of radio-ready rock will finally see light of day.

The Ice Age will be available on LP, CD and download on July 10th, 2020 via RidingEasy Records.

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Apostle of Solitude Premiere “Grey Farewell” Video; Currently Writing New Album

Posted in Bootleg Theater on May 27th, 2020 by JJ Koczan

Apostle of Solitude

Fitting that the new Apostle of Solitude video should be for the closing track from their 2018 full-length, From Gold to Ash (review here), since “Grey Farewell” would seem essentially to be how the Indianapolis-based outfit are saying goodbye to that record as they move onto the next one. It is a quarantine video — four dudes in four boxes — but I’m glad for the excuse to revisit the record and to get the check-in from the band that informs they’ll enter the studio in September (outbreaks pending, one assumes) with a batch of new songs for a 2021 release on Cruz Del Sur.

2018 was an exceptionally good year for doom, with offerings from The Skull, Witch Mountain, Windhand, Pale Divine, and hosts of others alongside Apostle of Solitude in subsets traditional and otherwise. From Gold to Ash was my pick of the bunch though, and two years later, I stand by that completely. The combination of sonic force and emotional resonance the band brought to this particular group of tracks, the way their dynamic came together not just between guitarist/vocalists Chuck Brown and Steve Janiak — both now also in the reignited The Gates of Slumber and the latter also of Devil to Pay — but also with drummer Corey Webb and bassist Mike Naish made for a to-date high point in their catalog, and there’s no reason whatsoever to think they’ll backstep on the next one. I’ll happily call it highly anticipated.

Some things to watch for in the video: Action figures, R2-D2 and Devil to Pay cover art in Janiak‘s box; the same camera angle Webb used on that “Under the Sun” cover posted the other day; Brown‘s US flags that have shown up in rehearsal clips and Apostle of Solitude promo photos for years now; and Naish pretty clearly wanting to go for it and headbang the whole time. All that plus the song makes for a quality quarantine-era clip if e’er I saw one, and I’ve seen a few by now.

Dudes be like:

Apostle of Solitude, “Grey Farewell” official video

Apostle of Solitude’s music video for “Grey Farewell” from the album “From Gold to Ash” available from Cruz Del Sur Music.

Edits: S. Janiak

Recorded by Mike Bridavsky at Russian Recording, Bloomington, IN
Mixed by Mike Bridavsky
Mastered by Collin Jordan at The Boiler Room Chicago, Il

Apostle of Solitude are completing writing and song arrangements for their fifth full length album, due to be released in early 2021; their third album on Italy’s Cruz Del Sur Music label. The band is scheduled to record the album within the familiar confines of Russian Recording in Bloomington Indiana in September, with album artwork designed by German artist Rebecca Waek.

The band’s last two albums were supported by both US and European tours, and the band hopes to do the same for this release, hopefully in 2021 assuming the current pandemic does not prohibit such plans.

APOSTLE OF SOLITUDE is:
Corey Webb – drums
Chuck Brown – guitars, vocals
Steve Janiak – guitars, vocals
Mike Naish – bass

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Apostle of Solitude, King Heavy & Quicksand Dream Members Collaborate for Multinational “Under the Sun”

Posted in Bootleg Theater on May 25th, 2020 by JJ Koczan

under the sun jam

You already know that doom knows no national borders, so maybe it’s not such a surprise that dudes in on three different continents would come together virtually to pay homage to the masters and arguable inventors of the form. Frontman Göran Jacobson of Sweden’s Quicksand Dream, guitarist MatĂ­as Aguirre and bassist Daniel Perez Saa of Chile’s King Heavy and drummer Corey Webb of Apostle of Solitude have done precisely that, collaborating on a cover of Black Sabbath‘s “Under the Sun” that falls into an emerging lockdown-era genre of Zoom collaborations, some of which have managed to go viral in that have-media-company-marketing-backing kind of way. It’s a sad state of affairs that bands can’t get together and jam in person, in a room, but maybe this is some kind of consolation, and in the before-times — the long-long ago — this kind of thing probably wouldn’t have happened nearly as often as it’s happening now, so not only is it a marker of the time, it’s something positive to come out of a worldwide plague. Those seem to be pretty rare.

I’ll assume if you’re here you know the original. “Under the Sun” closed Black Sabbath‘s 1972 outing, Vol. 4, which is about as landmark as a doom record gets without being Master of Reality. Yes, the song is a treasure, and yes, they give it its due. If you’ve never had the pleasure of seeing Corey Webb play drums in a live setting, I won’t call this an outright replacement for that experience — particularly as he takes such relish in slower tempos and “Under the Sun” swings pretty quick — but it’s a nice reminder of why one shows up for such a thing when the opportunity presents itself. I miss shows. Volume. Oof.

Anyway, I have no idea how these dudes know each other — some fest? — but the video is cool and if you need a reminder that good things are still happening as you watch the death toll creep up here and there around the world (USA! USA!), it should more than serve to give at least a few minutes respite.

Enjoy:

MatĂ­as Aguirre, Göran Jacobson, Daniel Perez Saa & Corey Webb, “Under the Sun”

Isolated in their homes due to this global pandemic and separated by oceans and thousands of miles between their primary bands’ respective home bases, doom metal musicians from three separate continents connect virtually to bang out a cover of the Black Sabbath classic “Under the Sun”.

While current restrictions prevent rehearsals with their existing bands, Matías Aguirre (guitar; King Heavy, Mourners Lament; Suffering Dusk; The Ancient Doom; hailing from Chile), Göran Jacobson (vocals; Quicksand Dream; hailing from Sweden), Daniel Perez Saa (bass; King Heavy; Marchafunebre; Infernal Thorns; Mortajas; hailing from Chile), and Corey Webb (drums, Apostle of Solitude; hailing from the US) make the most of this quarantine time by finding ways to keep the fires of Doom burning

Special thanks to Matias for the Mix, and very very special thanks to my super friend Johnny Verdugo, Jotun por the video!!!

IN DOOM WE TRUST!!!

TAKE CARE

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Days of Rona: Kyle Hulgus of Faerie Ring

Posted in Features on May 20th, 2020 by JJ Koczan

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

Faerie ring Kyle Hulgus

Days of Rona: Kyle Hulgus of Faerie Ring (Evansville, Indiana)

How have you been you dealing with this crisis as a band? As an individual? What effect has it had on your plans or creative processes?

We axed practices pretty early on, a few weeks before Indiana went on soft lockdown. It’s going on nine weeks since we’ve jammed together when we’re used to doing it every Monday. There weren’t any stringent orders put in place, just a lot of “Please don’t go outside…..well unless you need to….or you’re bored.” Admittedly, I didn’t accept the whole scope of how serious this was right off the bat. We were right in the middle of booking a tour through Canada, which would’ve been several of ours first time outside the country, and Covid-19 was threatening that. I just didn’t want to believe it. My roommate, who’s a paramedic, quickly whipped my ass into shape and the gravity of the situation really started to materialize in front of me. Without him, my dumb ass would probably be on a respirator.

Aside from all that, we’re still riffin’. Sending each other sound clips of potential songs and all that. We were about 70-ish percent done with the new album before all this started and I’m feeling good that we’ll be able to churn out the rest once we start getting back together, whenever that will be. At home, I’ve probably changed the strings and set up my guitars two times over. I’m in a lot of gear-swap groups on Facebook and have re-done my pedal board top to bottom. I’m wearin’ thin, JJ. If all this continues I might finally cave and start practicing playing in hopes of one day having passable skill.

How do you feel about the public response to the outbreak where you are? From the government response to the people around you, what have you seen and heard from others?

Indiana, along with much of the Midwest, against all odds, were quick to act. They closed schools before we even stopped practicing. Bars and sit-down restaurants soon after that.

I’m lucky enough to still be employed, so the mental anguish set upon some isn’t a card I have to pull. I sling pizza, so I’m in contact with 40-50 extra people a day and get to peek in to their situations. Some are in full hazmat, some are drunk and mad, some walk right up breathing in your mouth like a pandemic is ravaging the entire Earth. Out the door lines at Home Depot and Lowe’s (why are you even open?). Cars wrapped around fast-food restaurants. I drove through a makeshift tennis court in the middle of a neighborhood road last week and I got the stink eye from them! It’s mind boggling to me how crystal clear both ends of the spectrum are.

What do you think of how the music community specifically has responded? How do you feel during this time? Are you inspired? Discouraged? Bored? Any and all of it?

This can be said for many subcultures, but the underground Hard-Rock/Doom/Stoner community is one of the most supportive groups of people I’ve ever witnessed. In the middle of all this, we’ve had a new roll out of merch and a repress of our album that we’ve been sandbagging since winter. Since the Canada trip was canned and all our shows through June were canned, we were hit with it. “Are we dicks if we release this stuff?” People are struggling. Burning through their savings just to pay rent, and we expect them to buy our crappy album on top of that? Well, we did and to our utter surprise, they did too. We’ve had people supporting us since Day 1 that are still kicking us around and it’s outstanding, inspiring, unbelievable and all other things sports movies make you feel. Bandcamp doing the multiple fee waiving days is just icing on the cake that is the music community. All that being said, if your band is selling masks, know that every normal person thinks you’re corny.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything? What is your new normal? What have you learned from this experience, about yourself, your band, or anything?

Man, that’s a loaded question. I’ve realized stupid stuff. Like….I can just buy a new toothbrush whenever I want. I don’t have to wait till it’s nasty or…..that’s it’s ok to have more than one phone charger and I don’t have to bring it room to room. But on a more serious note, I’ve witnessed personality en masse to each extreme. One thing this pandemic has done has turned whatever type of person you are to 11. It’s like how you see someone treat a Server or a Dog and you get a glance into their soul. You’re now getting that experience at Walmart in line from some lady with 256 rolls of Charmin and she’s tailgating you with no goddamn mask on. I think Feb 29th was the last show I saw. Om in Louisville. There was one man in the crowd in a N-95 respirator. He had a Miller Lite , cracked and uncovered, and he kept lifting his mask to drink. I had been ripping doobies all night entranced by this magical man. It was both the funniest and wildest thing I could’ve seen. If blissful ignorance had a mascot, it’d be my boy here.

As for the band, we’ll get right back out there. As EVERYBODY is, we’re rescheduling. I think it’s gonna whip ass to see if the crowds pack. People who wouldn’t normally show, might show. I’m excited for the future. The first month back after everyone is comfortable is going to make this all worth it.

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Devil to Pay Premiere “The Cautionary Tale of Yen Sid” Video

Posted in Bootleg Theater on May 12th, 2020 by JJ Koczan

devil to pay (Photo by Joey DiMartini)

Okay, I’ll bite: who’s Yen Sid? The quickest of googlings uncovers the answer that Yen Sid is a stand-in wizard character in the Disney universe. Originally meant to represent at least physically Walt Disney himself — the name Yen Sid is Disney backwards — he’s kind of taken on a severe persona and made a bunch of appearances as a character of that sort will. So there you go. Mystery solved.

As to the cautionary portion of the tale, it’s a message about self-actualization and acceptance being put forth in the five-minute track, which stems from the veritable hook-fest that was Devil to Pay‘s late-2019 offering, Forever, Never or Whenever (review here), and its somewhat subdued melody is suited both to the lyrics and the thoughtful message they’re carrying. And while I’ve done a number of Devil to Pay premieres in the past, I’ll note further that “The Cautionary Tale of Yen Sid” — though obviously not written with current scenarios in mind — is inevitably a video for our times, as more than half of the footage was captured by the band last month during the COVID-19 lockdown. They appear, each playing their part, on a four-way split-screen.

But those shots come spliced with live snippets from last year in Indianapolis that features the group — guitarist/vocalist Steve Janiak, guitarist Rob Hough bassist Matt Stokes and drummer Chad Prifogle — on stage together. What a novelty that seems to be now. So even as the lyrics to “The Cautionary Tale of Yen Sid” provide a kind of existentialist pep-talk at a moment where such a thing is very much needed, they offer a reminder of what waits on the other end of this entire, generation-traumatizing experience in the ability to be with friends and loved ones and, yes, even bandmates again. To be able to go to shows. To experience art in-person. Don’t you miss that?

Devil to Pay are slated to be back at the venue where that show was filmed — Radio Radio, in their native Indianapolis — on June 5, and hey, who knows what the situation will be by then. Maybe it’ll happen.

But in the meantime, some poignant editing, a welcome message and a catchy chorus. I dare you to ask for more than that from where we are.

Enjoy the clip below:

Devil to Pay, “The Cautionary Tale of Yen Sid” official video

Devil to Pay’s music video for “the Cautionary Tale of Yen Sid”

from the album “Forever, Never or Whenever” on the Ripple Music label http://www.ripple-music.com

Home quarantine shots filmed April 2020. Live shots filmed at Radio Radio, Indianapolis, IN in November 2019.

Edited by S Janiak.

Recorded & Mixed by Mike Bridavsky at Russian Recording, Bloomington IN 2019.
Mastered by T. Dallas Reed at HeavyHead Recording Co.

Devil to Pay is:
Steve Janiak – guitars/vocals
Matt Stokes – bass
Chad Prifogle – drums
Rob Hough – guitars

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The Heavy Co. Release New Single “Phoenix” & Please Tune In… (2008-2014) Compilation

Posted in Whathaveyou on April 20th, 2020 by JJ Koczan

Oh hey there, The Heavy Co. It’s been a while. Let’s see. The Uno Dose tape (review here) came out in 2014, so there’s that, and though last year, the Indianapolis-based jammers issued the demo collection, Psychedelamigo Sessions, that along with all their past releases would seem to have disappeared from their Bandcamp page, leaving instead the new compilation Please Tune In… (2008-2014) to summarize their initial run in its entirety.

As the title of the new comp. has served as a slogan for the band for at least as long as I can remember, it’s only appropriate as a title even though it was also the name of their debut EP (review here) in 2011, and while I’m sad to see offerings like Uno Dose and 2013’s Midwest Electric full-length (review here) go, the arrival of the mellow-flowing new single “Phoenix” is welcome, as the reignited-as-a-studio-band two-piece of Ian Daniel and Jeff Kaleth are fuzzing out and clearly exploring some trippy terrain in the process. Dudes sound like they’ve got it down. I’d happily take an EP or album of that stuff, should such a thing be in the offing.

The song is out as of today, as is the comp, so by all means, tune in accordingly, and enjoy:

the heavy co phoenix

Indianapolis neo-psychedelic stoner rockers The Heavy Co. are pleasantly thrilled to announce the release of their first single, Phoenix, in over half a decade.

After calling it quits in 2014, original members Ian Daniel and Jeff Kaleth have reformed and streamlined their record making process as an in-house production duo. Phoenix is a giant step forward in fidelity while retaining the hypnotic riffs and swirling, fuzz driven, seat of your pants, jamming style THC is known for.

Coinciding with the 4/20 release, THC has also compacted their back catalog into their 6 dopest hits and have re-released them as “Please Tune In… (2008 – 2014)”.

The compendium comprises of five previously released, mostly instrumental, tracks and one demo from the abandoned Psychedelamigo recording sessions.

Phoenix will be released on April 20, 2020 via THC’s Bandcamp will be available for streaming through the major platforms subsequently.

Please tune in…

https://www.facebook.com/theheavyco/
http://theheavycompany.bandcamp.com

The Heavy Co., “Phoenix”

The Heavy Co., Please Tune In… (2008-2014) (2020)

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