Devil to Pay to Release Forever, Never or Whenever Nov. 8; New Song Streaming

Posted in Whathaveyou on September 30th, 2019 by JJ Koczan

devil to pay

Once. Exactly one time. That’s how long it took me to hear the chorus of the new Devil to Pay song before it got stuck in my head. The track is called “Heave Ho” and it comes from their new album, Forever, Never or Whenever, which will be released on Nov. 8 through Ripple Music as the follow-up to 2016’s A Bend Through Space and Time (review here). It is their sixth album overall in a tenure that goes back some 17 years, and “Heave Ho” opens.

What that tells you is the band are putting their emphasis right where it belongs, which is on their songwriting. They’ve never been a crazy hyper-stylized kind of outfit, and they’ve never put anything in their approach ahead of the craft of memorable combinations of rhythm, melody and personality in their work. Based in Indianapolis and sharing guitarist/vocalist Steve Janiak with Apostle of Solitude for the last seven years, they’ve gradually garnered broad respect for shining through a sonic realm that’s as immediately familiar as it is their own.

Preorders for Forever, Never or Whenever are up now, and I’ll hope to have more to come before the release date.

For now, the PR wire:

devil to pay forever now or whenever

Midwest heavy rock pillars DEVIL TO PAY unleash first track off new album ‘Forever, Never or Whenever’, out November 8th on Ripple Music

Indianapolis relentless heavy rock unit DEVIL TO PAY are set to issue their sixth full-length ‘Forever, Never or Whenever’ this November 8th on Ripple Music. Stream a badass first track now!

Few bands embody the essence of heavy rock like DEVIL TO PAY. These four mercenaries and all-round brilliant songwriters have crafted one air-tight record after another, and sixth studio album ‘Forever, Never or Whenever’ can be easily considered their watermark statement.

Steve Janiak’s powerful gritty vocals take the listener to new heights, while dark, doom-tinged atmospheres are masterfully intertwined with a heavy metal stampede of meaty riffs, for an overall end-of-world feeling. It won’t take long until ‘Forever, Never or Whenever’ drags you to the other side and becomes your new dark heavy rock favorite.

DEVIL TO PAY guitarist and vocalist Steve Janiak experienced life-after-death visions during a hospitalization and deals with this incredible story in his writing. A mystical approach that enshrouds this new album and makes the band sound deeper and darker than ever.

DEVIL TO PAY “Forever, Never or Whenever”
Out November 8th on Ripple Music
Preorders available here

TRACK LISTING:
1. Heave Ho
2. The Devil’s Barking Up Your Tree
3. The Cautionary Tale of Yen Sid
4. Get On Down
5. Tap Dancing On Your Grave
6. Imminent Demise
7. 37 Trillion
8. Light Sentence
9. The Pendulum
10. Anti-Gravity Depravity

DEVIL TO PAY are
Steve Janiak – Vocals & Guitar
Chad Prifogle – Drums
Matt Stokes – Bass
Rob Hough – Guitar

https://www.facebook.com/deviltopay
https://www.instagram.com/deviltopay_band/
https://deviltopay.bandcamp.com/
http://deviltopay.net/
https://www.facebook.com/theripplemusic/
https://www.instagram.com/ripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

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Quarterly Review: Monkey3, Asthma Castle, The Giraffes, Bask, Faerie Ring, Desert Sands, Cavalcade, Restless Spirit, Children of the Sün, Void King

Posted in Reviews on September 30th, 2019 by JJ Koczan

quarterly review

Call two friends and tell them to tell two friends to tell two friends, because the Quarterly Review has returned. This time around, it’s 50 records front to back for Fall 2019 and there are some big names and some smaller names and a whole lot of in between which is just how I like it. Between today and Friday, each day 10 album reviews will be posted in a single batch like this one, and although by Wednesday this always means I’m totally out of my mind, it’s always, always, always worth it to be able to write about so much cool stuff. So sit tight, because there’s a lot to get through and, as ever, time’s at a premium.

Thanks in advance for keeping up, and I hope you find something you dig.

Quarterly Review #1-10:

Monkey3, Sphere

monkey3 sphere

It’s a full-on Keanu Reeves “whoa” when opening track “Spirals” kicks in on Monkey3‘s sixth album, Sphere (released by Napalm), and that’s by no means the last one on the cinematic six-tracker. The long-running Swiss mostly-instrumentalists have been consistently, persistently underappreciated throughout their career, but whether it’s the aural scope of guitar and keys in “Axis” or the swaps between intensity and sprawl in 14-minute closer “Ellipsis,” their latest work is consuming in its sense of triumph. Even the four-minute “Ida,” which seems at first like it’s barely going to be more than an interlude, finds a thread of majestic cosmic groove and rides it for the duration, while the proggy immersion of “Prism” and the harder drive of “Mass” — not to mention that shredding solo — make the middle of the record anything but a post-hypnosis dip. I won’t pretend to know if Sphere is the record that finally gets the Lausanne four-piece the respect they’ve already well deserved, but if it was, one could only say it was for good reason. Blends of heft, progressive craft, and breadth are rarely so resonant.

Monkey3 on Thee Facebooks

Napalm Records website

 

Asthma Castle, Mount Crushmore

Asthma Castle Mount Crushmore

When you call your record Mount Crushmore, you need to bring it, and much to their credit, Baltimorean sludge-rocking five-piece Asthma Castle do precisely that on their debut full-length. Issued through Hellmistress Records, the 37-minute/six-track outing is a wordplay-laced pummeler that shows as much persona in its riffing and massive groove as it does in titles like “The Incline of Western Civilization” and “The Book of Duderonomy.” Trades between early-Mastodonic twists and lumbering sludge crash add a frenetic and unpredictable feel to pieces like the title-track, while “Methlehem” trades its plod for dual-guitar antics punctuated by metallic double-kick, all the while the vocals trade back and forth between growls, shouts, cleaner shouts, the odd scream, etc., because basically if you can keep up with it, Asthma Castle wouldn’t be doing their job. One shudders to think of the amount of Natty Bo consumed during its making, but Mount Crushmore is a wild and cacophonous enough time to live up to the outright righteousness of its title. If I graded reviews, it would get a “Fuckin’ A+,” with emphasis on “fuckin’ a.”

Asthma Castle on Thee Facebooks

Hellmistress Records website

 

The Giraffes, Flower of the Cosmos

the giraffes flower of the cosmos

Some day the world will wake up and realize the rock and roll powerhouse it had in Brooklyn’s The Giraffes, but by then it’ll be too late. The apocalypse will have happened long ago, and it’ll be Burgess Meredith putting on a vinyl of Flower of the Cosmos in the New York Library as “FAKS” echoes out through the stacks of now-meaningless tomes and the dust of nuclear winter falls like snow outside the windows. The band’s tumultuous history is mirrored in the energy of their output, and yet to hear the melody and gentle fuzz at the outset of “Golden Door,” there’s something soothing about their work as well that, admittedly, “Raising Kids in the End Times” is gleeful in undercutting. Cute as well they pair that one with “Dorito Dreams” on this, their seventh record in a 20-plus-year run, which has now seen them find their footing, lose it, find it again, and in this record and songs like the masterfully frenetic “Fill up Glass” and the air-tight-tense “Like Hate” and “Romance,” weave a document every bit worthy of Mr. Meredith’s attention as he mourns for the potential of this godforsaken wasteland. Oh, what we’ll leave behind. Such pretty ruins.

The Giraffes website

The Giraffes on Bandcamp

 

Bask, III

bask iii

In the fine tradition of heavy rock as grown-up punk, North Carolina’s Bask bring progressive edge and rolling-Appalachian atmospherics to the underlying energy of III, their aptly-titled and Season of Mist-issued third album. Their foot is in any number of styles, from Baroness-style noodling to a hard twang that shows up throughout and features prominently on the penultimate “Noble Daughters II – The Bow,” but the great triumph of III, and really the reason it works at all, is because the band find cohesion in this swath of influences. They’re a band who obviously put thought into what they do, making it all the more appropriate to think of them as prog, but as “Three White Feet” and “New Dominion” show at the outset, they don’t serve any aesthetic master so much as the song itself. Closing with banjo and harmonies and a build of crash cymbal on “Maiden Mother Crone” nails the point home in a not-understated way, but at no point does III come across as hyper-theatrical so as to undercut the value of what Bask are doing. It’s a more patient album than it at first seems, but given time to breathe, III indeed comes to life.

Bask on Thee Facebooks

Season of Mist on Bandcamp

 

Faerie Ring, The Clearing

fairie ring the clearing

Listening to the weighty rollout of opening cut “Bite the Ash” on Faerie Ring‘s debut album, The Clearing (on King Volume Records), one is reminded of the energy that once-upon-a-time came out of Houston’s Venomous Maximus. There’s a similar feeling of dark energy surging through the riffs and echoing vocals, but the Evansville, Indiana, four-piece wind up on a different trip. Their take is more distinctly Sabbathian on “Lost Wind” and even the swinging “Heavy Trip” lives up to its stated purpose ahead of the chugging largesse of finisher “Heaven’s End.” They find brash ground on “The Ring” and the slower march of “Somnium,” but there’s metal beneath the lumbering and it comes out on “Miracle” in a way that the drums late in “Lost Wind” seem to hint toward on subsequent listens. It’s a mix of riff-led elements that should be readily familiar to many listeners, but the sheer size and clarity of presentation Faerie Ring make throughout The Clearing makes me think they’ll look to distinguish themselves going forward, and so their first record holds all the more potential for that.

Faerie Ring on Thee Facebooks

King Volume Records on Bandcamp

 

Desert Sands, The Ascent EP

Desert Sands The Ascent

Begun as the solo-project of London-based multi-instrumentalist/vocalist Mark Walker and presently a trio including Louis Kinder and Jonathan Walker as well, Desert Sands make their recorded debut through A Records with the three-song/half-hour The Ascent EP, a work of psychedelic existentialism that conveys its cosmic questioning even before the lyrics start, with an opening riff and rhythmic lurch to “Are You There” that seems to throw its central query into a void that either will or won’t answer. Does it? The hell should I know, but The Ascent proves duly transcendent in its pulsations as “Head Towards the Light” and 11:45 closer “Yahweh” — yeah, I guess we get there — bring drifting, languid enlightenment to these spiritual musings. The finale is, of course, a jam in excelsis and if drop-acid-find-god is the narrative we’re working with, then Desert Sands are off to a hell of a start as a project. Regardless of how one might ultimately come down (and it is, by my estimation at least, a comedown) on the question of human spirituality, there’s no denying the power and ethereal force of the kind of creativity on display in The Ascent. One will wait impatiently to see what comes next.

Desert Sands on Thee Facebooks

A Recordings on Thee Facebooks

 

Cavalcade, Sonic Euthanasia

Cavalcade Sonic Euthanasia

Say what you want about New Orleans or North Carolina or wherever the hell else, Midwestern sludge is another level of filth. To wit, the Carcass-style vocals that slice through the raw, dense riffing on “Aspirate on Aspirations” feel like the very embodiment of modern disillusion, and there’s some flourish of melodic guitar pluck there, but that only seems to give the ensuing crunch more impact, and likewise the far-back char of “Freezing in Fire” as it relates to the subsequent “Dead Idles,” as Cavalcade refute the trappings of genre in tempo while still seeming to burrow a hole for themselves in the skull of the converted. “Noose Tie” and “We Dig Our Own Graves” tell the story, but while the recording itself is barebones, Cavalcade aren’t now and never really have been so simple as to be a one-trick band. For more than a decade, they’ve provided a multifaceted and trickily complex downer extremity, and Sonic Euthanasia does this as well, bringing their sound to new places and new levels of abrasion along its punishing way. Easy listening? Shit. You see that eye on the cover? That’s the lizard people staring back at you. Have fun with that.

Cavalcade on Thee Facebooks

Cavalcade on Bandcamp

 

Restless Spirit, Lord of the New Depression

restless spirit lord of the new depression

Long Island chug-rockers Restless Spirit would seem to have been developing the material for their self-released debut album, Lord of the New Depression, over the last couple years on a series of short releases, but the songs still sound fresh and electrified in their vitality. If this was 1992 or ’93, they’d be signed already to RoadRacer Records and put on tour with Life of Agony, whose River Runs Red would seem to be a key influence in the vocals of the nine-track/39-minute offering, but even on their own, the metal-tinged five-piece seem to do just fine. Their tracks are atmospheric and aggressive and kind, and sincere in their roll, capturing the spirit of a band like Down with somewhat drawn-back chestbeating, “Dominion” aside. They seem to be challenging themselves to push outside those confines though in “Deep Fathom Hours,” the longest track at 7:35 with more complexity in the melody of the vocals and guitar, and that suits them remarkably well as they dig into this doomly take on LOA and Type O Negative and others from the early ’90s NYC underground — they seem to pass on Biohazard, which is fine — made legendary with the passage of time. As a gentleman of a certain age, I find it exceptionally easy to get on board.

Restless Spirit on Thee Facebooks

Restless Spirit on Bandcamp

 

Children of the Sün, Flowers

Children of the Sun Flowers

An eight-piece outfit based in Arvika, Sweden, which is far enough west to be closer to Oslo than Stockholm, Children of the Sün blend the classic heavy rock stylizations of MaidaVale, first-LP Blues Pills and others with a decidedly folkish bent. Including an intro, their The Sign Records debut album, Flowers, is eight track and 34 minutes interweaving organ and guitar, upbeat vibes and bluesier melodies, taking cues from choral-style vocals on “Emmy” in such a way as to remind of Church of the Cosmic Skull, though the aesthetic here is more hippie than cult. The singing on “Sunschild” soars in that fashion as well, epitomizing the lush melody found across Flowers as the keys, guitar, bass and drums work to match in energy and presence. For a highlight, I’d pick the more subdued title-track, which still has its sense of movement thanks to percussion deep in the mix but comes arguably closest to the flower-child folk Children of the Sün seem to be claiming for their own, though the subsequent closing duo of “Like a Sound” and “Beyond the Sun” aren’t far off either. They’re onto something. One hopes they continue to explore in such sünshiny fashion.

Children of the Sün on Thee Facebooks

The Sign Records on Thee Facebooks

 

Void King, Barren Dominion

void king barren dominion

Having made their debut with 2016’s There is Nothing (discussed here), Indianapolis downtrodden heavy rock four-piece Void King come back for a second go with Barren Dominion (on Off the Record Label), a title of similar theme that finds them doom riffing through massive tonality on “Burnt at Both Ends,” asking what if Soundgarden played atmospheric doom rock on “Crippled Chameleon” — uh, it would be awesome? yup — and opening each side with its longest track (double immediate points) in a clearly intended vinyl structure hell bent on immersing the listener as much as possible in the lumber and weight the band emit. Frontman Jason Kindred adds extra burl to his already-plenty-dudely approach on “Crippled Chameleon” and closer “The Longest Winter,” the latter with some harmonies to mirror those of opener “A Lucid Omega,” and the band around him — bassist Chris Carroll, drummer Derek Felix and guitarist Tommy Miller — seem to have no trouble whatsoever in keeping up, there or anywhere else on the eight-song/46-minute outing. Topped with striking cover art from Diogo SoaresBarren Dominion is deceptively nuanced and full-sounding. Not at all empty.

Void King on Thee Facebooks

Off the Record Label BigCartel store

 

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Void King to Release Barren Dominion Sept. 13; Stream “The Longest Winter”

Posted in Whathaveyou on August 7th, 2019 by JJ Koczan

void king

Last I heard from Indianapolis’ Void King, they were taking off for Europe to support their first album, There is Nothing (discussed here), alongside Louisiana’s Boudain. Good company. The four-piece will present their second record through Off the Record Label on Sept. 13 and they’re streaming the with-burl-to-spare closing track “The Longest Winter” from it now, showcasing a somewhat darker take on the heavy vibes of the prior offering. They opted to have Bongripper‘s guitarist master the thing, which will no doubt account for some of the inherent volume involved, but one way or the other, it’s a pretty fierce groove they’ve locked in. I haven’t had the chance yet to dig into the full release, but certainly what “The Longest Winter” has to offer is an encouraging argument to do so.

The PR wire brings art, gets informative, rocks out, like this:

void king barren dominion

U.S. Stoner Doom and Roll Practitioners VOID KING Releasing ‘Barren Dominion’ September 13 on Off The Record

Stoner Doom and Roll practitioners VOID KING are proud to announce the forthcoming release of sophomore album Barren Dominion on Off The Record. On Barren Dominion, the band has harnessed raw emotion and embraced a darker, heavier sound to express three years of personal and group struggles and victories.

Barren Dominion will be available for mass consumption on September 13 via voidking.bandcamp.com/ and all major digital platforms, as well as on CD. A vinyl release is planned to follow at a later date.

“At the heart of it, this record is who we are. Jason and I have been through some pretty trying times in the last couple of years and managed to rise above it all”, says guitar player Tommy Miller. “I wouldn’t go so far to call this a concept record, but there is a theme running through the entire thing.”

Barren Dominion was recorded with Bloomington, IN artist Niko Albanese, and mastered by Dennis Pleckham of Comatose studios and guitarist for the band BONGRIPPER. “We needed people working on this record that understood not just the sound that we were going for, but also the vibe that we wanted to hit. Dennis and Niko really hit that perfectly on both fronts”, says drummer of VOID KING, Derek Felix. “We talked a lot about making sure that this record was massive. Between recording the drums in an empty warehouse and having the guitar player from BONGRIPPER master the record, I would say that this album is exactly what we were looking for.”

Track Listing:
1. A Lucid Omega
2. Leftover Savages
3. Burnt At Both Ends
4. of Whip And Steed
5. Temples Made of Bone
6. Learning From The Ashes
7. Crippled Chameleon
8. The Longest Winter

Album Credits:
Recorded/Mixed – Niko Albanese
Mastering – Comatose Studios
Album Art – Soares Artwork

VOID KING is:
Derek Felix – Percussion
Chris Carroll – Bass
Jason Kindred – Vocals
Tommy Miller – Guitar

http://voidking.bandcamp.com/
https://www.facebook.com/voidkingband/
https://www.offtherecordshop.nl/

Void King, “The Longest Winter”

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Wolftooth Set June 21 Release for Self-Titled Reissue; Bonus Track Included

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

wolftooth

Indiana’s Wolftooth released their self-titled debut (review here) in 2018 through Cursed Tongue Records and Blackseed Records, and the four-piece have now signed to Ripple Music for a CD reissue that will include the yet-unheard bonus track “Withered Trees.” That represents the latest recording the band have done, though it’s not exactly like so much time has passed since the album that one would expect any great leaps in sound. Still, I’d be curious to hear what they’ve been up to, and I’ll be likewise curious to see if Ripple holds onto them for the inevitable next record. Seems like there’s plenty of competition for them.

The PR wire offers the following:

wolftooth wolftooth

WOLFTOOTH Reissue Debut Album this June via Ripple Music, Including Exclusive New Song

Determined to raise the bar of the almighty riff, Wolftooth combine influences from 70’s riff-rock and NWOBHM with Bay Area Thrash and stoner-doom riffery. Their self-titled debut album is full of crisp changes, muscular tones and blues-drenched solos, crowned with soaring vocals and addictive hooks.

Loosely channeling The Sword and a less-angular Baroness, the band found its footing less than a year after its formation, though comprised entirely of veteran players who’ve been churning out heaviness for over two decades.

Ironically, with this band, they weren’t actively seeking success or even public consumption. All the members, having been in many bands before, had put to rest any expectations and were simply making music for themselves in Wolftooth, but the dynamic musicianship and confident songwriting garnered them an initial record deal after they’d shopped their album to exactly zero labels.

Now, following a year which saw a gamut of press accolades and gushing fan enthusiasm, the band have joined the Ripple Music stable to offer up a re-issue of the album with an exclusive new track added on.

“The Wolftooth camp is extremely proud and excited to be working with Ripple Music to be re-releasing our self-titled debut worldwide,” says the band. “The bonus track ‘Withered Trees’ is a song we wrote around the same time as ‘Frost Lord.’ It wasn’t quite ready for release at the time, but we’ve tweaked some riffs and arrangements to bring forth a new song we are really proud of.”

WOLFTOOTH releases on June 21st, 2019 through Ripple Music on CD and worldwide digital.

https://www.facebook.com/wolftoothmetal/
https://twitter.com/wolftoothmetal
https://www.instagram.com/wolftooth_metal/
https://www.facebook.com/theripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

Wolftooth, Wolftooth (2018)

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The Gates of Slumber: Karl Simon Talks Reuniting the Band, Future Plans and More

Posted in Features on May 3rd, 2019 by JJ Koczan

the gates of slumber

It’s only too fitting that The Gates of Slumber‘s reunion after five years of inactivity should focus on their 2004 debut, …The Awakening. Founded in 1997 in Indianapolis as The Keep by guitarist/vocalist Karl Simon, the band would go on to release five full-lengths between ’04 and 2011, as well as a slew of splits and EPs, thereby spearheading an American traditionalist doom outside the geographic confines of Maryland’s scene. Their sound embraced epic metal on Conqueror (2008) and 2009’s Hymns of Blood and Thunder (review here), but never wavered from its core purpose in doom, and their final LP, 2011’s The Wretch (review here), was a gloriously downtrodden exploration of drunken regret set to riffage that used the open spaces of the recording to create an even more oppressive sphere.

When bassist Jason McCash left the band in Sept. 2013Simon said, “I always said I’d never go on doing TGoS without Jason, I don’t think anyone ever really believed it, but yeah, it’s done.” Soon enough, Simon would go on to found Wretch as a continuation of The Gates of Slumber‘s cathartic outlet, and their self-titled debut LP (review here) showed up in 2016, followed the next year by an EP, Bastards Born (discussed here), as the new unit began to find its own direction within the sphere of doom. The legacy of The Gates of Slumber and McCash, who passed away in 2014, loomed large, but Simon was always upfront about what he wanted the band to be and Wretch went so far as to play select The Gates of Slumber songs live. You don’t name your new band after your old band’s last album if you’re trying to distance yourself from what you’ve done in the past. Wretch worked and continues to work as a project precisely because of its direct engagement and honesty about its origins.

News came down earlier this week that The Gates of Slumber would reunite for Hell Over Hammaburg in Hamburg, Germany, next year, playing alongside NifelheimArgusHauntBellrope and a slew more not yet announced. The new lineup of the band features Steve Janiak of Devil to Pay and Apostle of Solitude on bass and Chuck Brown of Apostle of Solitude on drums. The latter is also a veteran of The Gates of Slumber, having played on …The Awakening before being ousted and starting his own band. Together, the new trio will embark on the trip to Germany in 2020 and then…? It’s up in the air. Simon notes below they’re willing to take it as far as people want without affecting anyone’s work in other bands, including his own, and of course one recalls that at the time of their breakup, The Gates of Slumber were slated to do nearly three weeks on the road supporting Church of Misery the next month. I don’t think they’ll pickup right where they left off, but perhaps there’s some sense of work still to be done on the part of one of this millennium’s most essential US doom purveyors.

So, with Germany ahead and Wretch on tour now (playing New England Stoner & Doom Fest in CT this weekend), behold The Gates of Slumber‘s reawakening. Thanks to Simon for taking the time to talk about it on short notice, and to you for reading.

The Gates of Slumber Interview with Karl Simon

First things first: How did the reunion come about? Did Hell Over Hammaburg bring the idea to you? What made you think this was the time to bring back The Gates of Slumber?

Well, Wolf [Mühlmann] from HOH asked me a while back about TGoS playing, and I was not in a place to really deal with it. My mother had just passed after a long illness and Wretch was on hold due to drama in the band, so I said something non-committal about the whole thing and left it at that. I basically took a chunk of time and quit thinking about bands. I learned a bunch of songs arranged for an acoustic and just kind of played for myself. Last year I asked Dustin Boltjes formerly of Skeletonwitch, The Dream is Dead, Demiricous and all around raging dude to take the throne and we started working on songs for the next Wretch record. In the middle of that, I tore my Achilles and had to take months off. And Oli [Richling] from Church Within contacted me asking about The Awakening, I’d been trying to pitch the live LP from the The Wretch tour forever, and we got a deal worked out for the Live record, The Awakening AND Like a Plague Upon the Land — the last recorded stuff with that lineup. Chuck had come by a bit during my downtime and we’d been talking a lot. We had this deal where our records were going to come back out and the way I saw it it would be a dumb thing to not at least play a few shows to support it. Jason would have done it in a minute…. and it gave me an excuse to play those songs with Chuck again and just hang out with an old friend. And that’s that.

How did the the lineup end up being you, Chuck and Steve? Was the fact that Chuck had been in Gates before a factor? Obviously they’re both in Apostle of Solitude now, but how did that all come together?

We both wanted to take this chance for sure, TGoS had a decent profile and we wanted to ride the goddamn snake, but we did not want any stress. It’s all super laid back for a change. Steve fell right in because he could commit right away and he was into it. His gear was at Chuck‘s where we practice and we just went with it. It’s all been very chill and easy. Which is how we want it.

It’s been nearly six years since the band first broke up. How do you feel about what The Gates of Slumber accomplished during its initial run? I know Wretch has played some Gates songs in the past, but how do you feel looking back on that material now that the band is going again? Has your appreciation for it changed at all?

We’ve been relearning songs from that era that basically stopped when we fired Chuck in ’05… it’s been fun and in a dippy sense healing. We realized how destructive we were to each other back then and how insecure we were as people and players, at least I have been. As far as what Wretch will do, basically the only song from TGoS we do is the namesake, I see that as a rallying point for Wretch… the other songs are going to stay with TGoS… I mean maybe someday we’ll trot out “Scovrge of Drvnkeness” or something, but in Wretch we are focused on writing new songs.

Do you have any idea of what you’ll play live yet?

We’ll be focusing exclusively on songs from The Awakening era. Sorry if you’re a fan of the later stuff. This is going back to the beginning and we plan to play at least an hour and 20 min, focusing mostly on songs that never got played live. You’ll hear “The Leach” for the first time, “The Burial” will be back, along with “Dweller in the Deep” and a bunch of other stuff.

It goes without saying that Jason’s legacy looms large in all things concerning The Gates of Slumber. The band initially quit when he left. How much is he in your mind when you think about what makes The Gates of Slumber what it was and is?

He’s there constantly, you know. His shadow looms over TGoS and Wretch a lot. I’ve had a lot of time with death. And grief never goes away. It’s softens… it’s like, Wretch just played our first show in two years on his birthday. His widow and son were there. It’s a family thing.

How far will this reunion go? Will you play other shows besides Hell Over Hammaburg? How will it affect Wretch, Apostle of Solitude and Devil to Pay? Will there ever be another Gates record?

As far as folks want it to, if there is a demand we’ll play… it’s not going to effect Apostle of Solitude or Wretch or Devil to Pay. For me Wretch is number one. We actually leave for tour tomorrow May 2. So, dear reader, if you’re trying to ask some questions about this you’d best see me at the merch table, get it? Got it? Good.

See you all soon!

Karl

The Gates of Slumber on Thee Facebooks

The Gates of Slumber on Twitter

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Faerie Ring to Release The Clearing June 7; Streaming “Lost Wind”

Posted in Whathaveyou on May 3rd, 2019 by JJ Koczan

fairie ring

Sometimes I get on kind of a high-horse around here and talk about bands like they’re shifting paradigms for all eternity and hyperbole this and that and whatever. I know it. I get excited. It’s part of the thing, if the thing is being passionate about music. And I try to curb it when I can. But something comes along like the streaming Faerie Ring track “Lost Wind” and it’s a reminder of what it’s really all about. It’s not furthering some grand aesthetic vision or whatever. It’s having a good time. And I don’t mean that like whoa-brah party rock like it’s cool-kids thing and you’re not invited if your Instagram brand isn’t super-hot right now. I mean like it’s about getting together with friends, creating something that, yes, is art, but that is also a personal expression of where you’re at and, occasionally — just occasionally — can also be a lot of fun. I hear “Lost Wind” in its unabashed appreciation of volume and tonal weight and think, not about it changing the universe, but about how much fun that shit must be to play on a stage in front of some friends and whoever else has shown up. I like that thought. I like this song.

That’s it.

Album is out June 7. It’s their first, and called The Clearing. King Volume has the release, and their taste is reliable. Preorders are up, as per the PR wire:

fairie ring the clearing

FAERIE RING: Indiana Fuzz Rock Alchemists To Release The Clearing Debut Via King Volume Records June 7th; New Track Streaming + Preorders Available

Evansville, Indiana-based fuzz rock alchemists FAERIE RING will release their debut full-length, The Clearing, June 7th via King Volume Records.

Recorded and mixed at Hickory Sound Recording by Aaron Travis and mastered at Cauliflower Audio, over the course of seven tracks, FAERIE RING effortlessly combines various influences from the pantheons of stoner rock into a singular vision. Expanding on the green haze of Sleep and the rocking, desert grooves of Kyuss, FAERIE RING is clearly rooted in the art of riff worship. Still, there exists the freshness of spring and new growth within their psalms; the mushrooms on the forest floor bursting forth and reaching towards the light above. Here we see the boldness of youth and passion re-visioning the perceived limits of the genre. Coalescing all that is heavy and psychedelic into a single breathing ecosystem, FAERIE RING’s compositions evoke a sense of wonder, like wandering through a towering forest displaced from time; being present and respectful towards the old growth and rejoicing in the new life that is teeming below the surface.

In advance of the release of The Clearing, FAERIE RING is pleased to unveil “Lost Wind” for public feasting. Issues the band simply, “‘Lost Wind’ is the slow sonic immersion into the psychic depths of the FAERIE RING sound.”

The Clearing will be released on digital and vinyl formats via King Volume Records. For preorders, visit the King Volume Bandcamp page at THIS LOCATION.

FAERIE RING will bring their riffs to the stage at the Buzz/Cut Queer Music Fest in Indianapolis this September with additional live dates to be announced in the weeks to come.

FAERIE RING:
9/07/2019 Buzz/Cut Queer Music Fest – Indianapolis, IN

The Clearing Track Listing:
1. Bite The Ash
2. Lost Wind
3. The Ring
4. Somnium
5. Miracle
6. Heavy Trip
7. Heaven’s End

What started out as an after-work jam in 2016 between guitarist Kyle Hulgus and drummer Joey Rhew quickly bloomed into a full-fledged project with the addition of guitarist/vocalist James Wallwork and bassist Alex Henderson. Shortly thereafter, FAERIE RING employed the help of local recording savant Aaron Travis to pick up what was recorded in a small room and make it sound like it was being blasted out of the Earth itself. There are no gimmicks involved in what FAERIE RING manifest; no need to fly to some rustic cathedral in a far away land for recording aesthetic. The band simply put big amps in a tiny room with linoleum floors and drop ceilings and hit the “Record” button. Tune in; drop out.

http://www.facebook.com/FaerieRingBand/
http://www.instagram.com/faerie_ring
http://www.faeriering.bandcamp.com/
http://www.facebook.com/kingvolumerecords
http://www.kingvolumerecords.bandcamp.com
http://www.kingvolumerecords.limitedrun.com

Faerie Ring, The Clearing (2019)

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The Gates of Slumber Reunite for Hell over Hammaburg 2020; Post Rehearsal Footage

Posted in Bootleg Theater on April 30th, 2019 by JJ Koczan

the gates of slumber

Bands come and go all the time. All the time. They come, then go, then come again, then go again. But if you and I were to sit down and have a chat — doesn’t that sound nice? — about bands who’ve come and gone and were unlikely to return, I’d probably have put The Gates of Slumber on that list. When the Indianapolis three-piece forerunners of doom traditionalism disbanded in 2013, then yeah, okay, maybe they’d have gotten back together, but then a few months later when bassist Jason McCash passed away, and guitarist/vocalist Karl Simon moved on to form Wretch, it just didn’t seem like the kind of thing that was ever going to happen. Then Germany called.

The Gates of Slumber will play a special set for Hell Over Hammaburg 2020. Of course the idea will be to focus on the band’s history and pay homage to McCash and the legacy of what they created in their original run. The new lineup is comprised of Simon, bassist Steve Janiak (also guitarist/vocalist of Devil to Pay and Apostle of Solitude) and drummer Chuck Brown (also guitarist/vocalist in Apostle of Solitude and drummer in an earlier incarnation of The Gates of Slumber as well), and they’ve posted a clip of some rehearsal footage on Thee Facebooks in order to get word out of the revitalization of the band.

There are always people who naysay reunions, and reunions with a new lineup as well. Whatever. The Gates of Slumber went out on the heels of their best work yet in 2011’s The Wretch (review here) — technically they also had the Stormcrow EP (review here) before they were done, but stay with me — and I think the fact that Simon went on to form Wretch is clear indication there was still more to be said there. I don’t know if they’ve even thought of working on new material, but my understanding is this is a special kind of one-off thing, they might do some dates around the festival, but basically it’s something unique for Hell Over Hammaburg next year, and that’s where it stands now. Of course we know plans can change. There wouldn’t be a reunion in the first place if that wasn’t true.

Check out the rehearsal footage below. There may also be some reissues in the works and the long-supposed live album might happen as well. I’ll hope for more to come all around.

Enjoy:

Just Announced: The Gates of Slumber to reunite for Hell Over Hammaburg 2020. More details to follow…

The Gates of Slumber on Thee Facebooks

Hell Over Hammaburg website

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Wretch Announce First Shows in Two Years; Playing New England Stoner & Doom Fest and More

Posted in Whathaveyou on April 8th, 2019 by JJ Koczan

wretch

Been a minute since Indianapolis doomers Wretch poked their head up from the depressive mire in which they would otherwise seem to dwell, and by “a minute” I mean two years. In 2017, the three-piece issued their Bastards Born EP (discussed here) as the follow-up to their self-titled debut LP (review here), and as that short release was comprised of recordings done during the Euro/UK run that also saw the band stop at Roadburn (review here), everything seemed to be tying together in terms of building a little momentum behind the band’s slow-crawl doomly traditionalism. So of course it’s been two years since the last time they played a gig. Because it’s doom.

I’d have sworn they announced they were done at some point, and even if they did, that doesn’t necessarily preclude the fact that they’re back doing shows. They were announced first for the New England Stoner and Doom Fest II in Connecticut, and before they embark on a week-plus of tour dates around that, they’ll have a hometown show on April 19 at Black Circle Brewing with Castle and Apostle of Solitude, which you obviously don’t need me to tell you is a frickin’ awesome bill. I haven’t heard word one about new material or anything like that, and it’s not an impossibility, but for now it seems right to just be glad they’re doing shows and take the rest as it comes or doesn’t. Because it’s doom.

Dates follow, as presented by Tone Deaf Touring and posted by the band:

wretch tour dates

The days can go on with regularity over and over, one day indistinguishable from the next. A long continuous chain. Then suddenly, there is a change.

See you in Spring!

04.19 Indianapolis IN Black Circle Brewing w/ Castle & Apostle of Solitude
05.02 Chicago IL Subterranean
05.03 Pittsburgh PA Gooski’s
05.04 Jewett City CT New England Stoner & Doom Festival
05.05 Brooklyn NY Kingsland
05.07 Chapel Hill NC Local 506
05.08 Raleigh NC Pour House w/ Thor
05.10 Chattanooga TN Music Box Ziggy’s

https://www.facebook.com/Wretch-469537983166326/
https://wretchdoom.bandcamp.com/
https://badomenrecords.bandcamp.com/

Wretch, Bastards Born EP (2017)

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