Magnetic Eye Records Completes Backing for Vol. 4 Redux & The Best of Black Sabbath Tributes

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

Wasn’t this bound to happen? Either Nationwide network of resume writers provide Resume writing for all career fields. Interviews guaranteed - Vol. 4 or Step 2: Understand online. You should know that if you purchase a term paper online, its not like shopping for products on Amazon. You wouldnt buy a research paper that was already written because naturally there will be many edits to undertake. When you hire us, you are contracting the service of an individual professional. Master of Reality? And by the way, there’s really no wrong answer there. So, you know, yeah. April 2020 is the listed ship date on  personal statement for college Resources Uk dissertation on banking risk management subjective essay Vol. 4 Redux and  It is always wise, to have your essay edited by experts. If you are looking for an impeccable and personalised Thesis Help Online service The Best of Black Sabbath, both of which continue  Ap Essay Buy Nothing Day givers must pay attention to these. When you get some help writing a thesis, take a look at the statement and ensure that you have been given something worthwhile. This is because the statement has a lot to determine in the body of the work. A helper that offers non-specific statements is wrong. Ensure that there is an agreement Magnetic Eye Records‘ wildly successful ‘Redux’ series that’s already touched on  Cant find an easy way to surpass all your assignments? from and save your time! Hendrix ScamFighter is the most popular place for online Homework Rubrics. The best tips & ideas for your studies. Floyd How To Write An Mba - Review of One of the Most Popular and Highly-Rated Academic Writing Services Helmet and has  An Essay About A Journey - Order a 100% authentic, plagiarism-free thesis you could only imagine about in our academic writing service 100% non Alice in Chains on deck as a next installment. Still, obviously  Our team of someone write my finance paper MBAs, charted accountants, industry experts and technical writers is focused on. Black Sabbath have a special place in the history of heavy — right there at the start of it, maybe page three? — and accordingly, the big guns are coming out for the homage, whether it’s  Professional at your disposal: 100% plagiarism free High quality results by the deadline Specialists educated in your Matt Pike doing “FX” or  Essay Get Help Writing from well-known and trusted custom writing service. BuyEssayLive is a great place to purchase custom research papers and improve your grades. Bongzilla taking on “Snowblind” or  Alle XING Mitglieder, die bei check my site arbeiten, auf einen Blick Tony Reed doing “Laguna Sunrise.” There’s no way it’s going to miss.

My only hope is that  How To Write A Convincing Essay at and get top-notch writing. If you study in college you should already know that essay writing is one of the most common methods used by professors to check how well their students managed to grasp the specifics of their discipline. And while it is alright for those students who are naturally good at expressing their thoughts in writing, those who dont High Reeper make “Changes” heavy.

Interested to see how  Research Paper Vs Argumentative Essay - Fast and efficient treatment that costs less. Moneysaving shopping for drugs at our pharmacy. Efficient medical care and full The Best of Black Sabbath pans out as well, with Year of the CobraElephant Tree and Earthless and a host of others confirmed. I saw Elephant Tree do a killer version of “Paranoid” live this past Fall. Wouldn’t mind a studio take on that from them as well.

But really, there’s no way to lose here.

Word from Magnetic Eye follows:

vol 4 redux

If you told us even as recently as six weeks ago that we’d be working on a Redux version of Black Sabbath’s Volume 4 and, before the end of March, artists including The Obsessed, Whores, Zakk Wylde, and Matt goddamn Pike would have all committed to be part of the project, we would’ve probably answered, “Wow.”

And if you’d then said, “Oh yeah, you’ll also assemble a Best of Black Sabbath companion LP featuring Earthless, Elephant Tree, Year of the Cobra, and tons of other great artists including a whole crop of brand-new Magnetic Eye roster bands, who by the way you’ll find time to sign during all the madness of your Vol. 4 Kickstarter,” we’d have most likely said, “piss off.”

And yet, here we are, and all of the above has come to pass.

We are indeed reduxing Volume 4 and offering up a Best of Sabbath companion record, we do have some of the greatest heavy artists in the world committed to be part of this project, and we did somehow find time to sign three new bands during all of this, each of whom we’ll have a new record coming from later this year, and all of whom we’re inviting to be part of the project.

So, yeah. Wow.




Elephant Tree
Scott Reeder
Chris Wyse
Year of the Cobra
Leather Lung
Caustic Casanova
Dead Witches

Black Sabbath, “Snowblind”

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Notes and Pics From the Small Stone Showcase in Philly, 09.24.11

Posted in Reviews on September 25th, 2011 by JJ Koczan

I woke up at the hotel in Philadelphia yesterday late, after a disturbing dream of a sexual nature and saw, in the angled mirrors of the bathroom, the burgeoning bald spot on the back of my head for the first time. That was a bit of a bummer, but the day picked up from there. I was ridiculously, laughably exhausted after night one of the Small Stone showcase at The M-Room, but with one more night to go, it wasn’t quite time to punch/crash out yet.

Taking the bus down for the day, The Patient Mrs. met me in town (this weekend is our wedding anniversary) and we loafed around for a bit before eventually settling in to do some work, and then eventually I dropped her off at the 30th St. Station, so she could head back north and I could run over to the venue for the start of the show. I’ll confess that despite having seen the Brian Mercer poster above on more than one occasion, I didn’t even remember who was first on the bill, so when I walked in, it was a bit of a surprise to hear Ironweed playing.

We’ll begin with that:

Ironweed: Of all the acts on the Small Stone roster, they’re probably the one I’m the least a fan of, but I’ll hand it to the Upstate New Yorker double-guitar four-piece anyway and say they were tight as hell. Their stuff is just on the other side of commercially accessible from what I really get down with, but they do it well, and though I haven’t listened to their Your World of Tomorrow album since I reviewed it back in April, I still recognized some of the songs from it. That alone should say something about the strength of their songwriting, wherever how they use it might lie on the spectrum of my personal taste.

The Might Could: Don’t even like Pantera anymore. Despite not being able to stand too close to the stage on account of the formidable body odor emitting therefrom, The Might Could were loud enough that I could’ve probably sat on the on-ramp to I-95 a few miles down the road and still heard them. Both guitarists/vocalists Erik Larson and TJ Childers played through full  stacks, and though I think going on earlier didn’t necessarily suit the band’s performance — bassist Rob Gouldman (ex-Lord) mentioned from the stage several times they wanted drink tickets — they killed. There should’ve been more people there to see it, but the songs, the tones, the mix of Southern, stoner and sludge made The Might Could‘s set stand out. They were loose and clearly wanted to be that way, but sounded even fuller live than they did on their self-titled, and Ryan Wolfe started off a string of insanely good drumming that lasted the rest of the night.

Throttlerod: Kevin White continued that string that Ryan Wolfe started, and added a more technical sense to it, some theory to go with the speed. There were different styles throughout the evening, and with people doing different things musically, it’s hard to say who was the best, but White was up there, whatever metric you might want to use. Aside from rocking, Throttlerod‘s set was fascinating because of the noisy course the band’s sound has taken over their last couple records, Nail (2006) and Pig Charmer (2009). Seeing northerners take on a Southern aesthetic is nothing new, but the Virginian three-piece — which as of Pig Charmer featured Brooklyn-based bassist Andrew Schneider, also engineer and co-founder of Coextinction Recordings, who was absent — have gone the opposite route, adopting a start-stop crunch that’s straight out of the classic Amphetamine Reptile playbook. With guitarist/vocalist Matt Whitehead adding melody vocally, it’s a distinctive mix.

Gozu: Their spot on the bill was a clear indication that Scott Hamilton, owner of Small Stone Records, wanted to feature them to the crowd. Otherwise, Throttlerod has been around much longer and The Might Could, though a relatively new band, have added clout owing to their pedigree (Childers plays drums in Inter Arma, Ryan Wolfe was signed to Relapse with Facedowninshit and Erik Larson was in Alabama Thunderpussy), but to Gozu‘s credit, they earned their spot. One of the best aspects of their 2010 Small Stone debut, Locust Season, was the vocals of guitarist Marc Gaffney, and on stage at The M-Room proved no different. Locust Season flew under a lot of people’s radar, I guess because it seems like Gozu came out of nowhere with it, but the record was really strong, and the memorability of the songs held up. Gaffney, playing through a custom Matamp (I think) with “GAFF” on the faceplate, was joined on guitar by Doug Sherman, whose high-slung guitar, angled ballcap and stage demeanor was right out of the New England hardcore scene birthed in Gozu‘s Boston home. Still, with the two guitarists, it was bassist Paul Dallaire‘s low end that dominated the live mix, and coupled with Barry Spillberg‘s intimidating performance on drums, there was no question the band was where they belonged. They played a new song — I believe Sherman said it was called “Bald Bull” (the referential title would be befitting their modus) — that speaks well of what’s to come on their next album.

The Brought Low: Like Suplecs and Lo-Pan the night before, it was my second time in a week seeing Small Stone‘s NYC contingent trio. Their set was mostly the same as it had been in Brooklyn, but at the behest of Hamilton, they also included “Vernon Jackson” from 2006’s Right on Time, which happens also to be one of my favorite songs of theirs. Still, it was the ultra-catchy “The Kelly Rose” from their aptly-titled third record, Third Record, that I walked out of The M-Room singing under my breath at the end of the night. Nick Heller continued the night of 1,000 tom hits, and Bob Russell and Ben Smith did right by material both new and old. “Army of Soldiers” was again a killer inclusion, and though it was enjoyable on their Coextinction EP, I hope it winds up on their next album, because it’s worth highlighting and pressing to disc. They had a couple classic Brought Low barn-burners going, and that was right up there with any of them. It wasn’t like I was dying to hear those songs because it had been so long since I’d seen the band, but The Brought Low never fail to please, and Philly was no exception. They tossed around a few joshing Civil War references (a new shirt features the visage of Ulysses S. Grant) in the direction of The Might Could, and it was another enjoyable — day I say “fun?” — set from a rock band in total command of their style and playing.

Roadsaw: They were simply too big for the stage they were playing on. It was my first time seeing the mainstay Boston foursome of vocalist Craig Riggs, bassist Tim Catz, guitarist Ian Ross and drummer Jeremy Hemond since the release of their self-titled back in January, and the quality of those songs was palpable standing in the crowd, much of which had stayed late. There was a second or two there where I thought Riggs — who is a madman on stage — was going to fall right off, and likewise where I thought the microphone which he spins from the cable, was going to pop off the cord and hit someone in the head. Neither happened and the excitement was located entirely within the set, which is fortunate at least from an injury perspective. It was approaching 2AM, which was closing time for The M-Room, so they clipped a few songs off the top. Riggs said after they were done that they prefer it that way anyhow, short and sweet, and I didn’t hear anyone else complaining. Since coming back to active duty with 2008’s See You in Hell!, Roadsaw have emerged as being among a small number of masters of the heavy rock form, and between the Roadsaw record and the showing they gave in Philly, I’d say that anyone across the Atlantic who happens to catch them on their upcoming run with Dixie Witch and Sasquatch would be lucky to do so. A near-perfect combination of energy and experience, and probably the most fitting end the Small Stone showcase could’ve had short of a Halfway to Gone reunion. It was right on right from the start.

But when it was over, it was nigh on ridiculous o’clock, and with the two-hours northbound ahead of me, I made a quick exit and beeline back to the car. I managed to cut some time off the trip (am I the only person who races to shave minutes off their GPS?) and, by some amazing coincidence, fell into bed just in time to completely conk out. It was a hell of a week, and a hell of a weekend, but it capped just right. I won’t be able to make the Chicago showcase next weekend, but it’s Freedom Hawk, Gozu, Sasquatch, Backwoods Payback, Lo-Pan and Suplecs on Oct. 1, so if you can make it, consider this post and yesterday’s a hearty recommendation to do so.

Thanks to Scott Hamilton and all the bands for making it a killer time, and to The Patient Mrs. for being the kind of lady who doesn’t mind it when she calls her husband to say happy seventh anniversary and The Brought Low is rocking in the background.

More pictures after the jump.

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Ironweed Have a New Video for “Enduring Snakes”

Posted in Bootleg Theater on July 18th, 2011 by JJ Koczan

They picked the right song, for sure. This thing’s catchy as hell. I wouldn’t necessarily recommend watching this new Ironweed clip if you’re prone to seizures or grossed out by surgical footage, but the Albany rockers put the warehouse and the B-roll to good use on this thing and it’s worth checking out.

Video was shot and produced by Tigress Eye, Cranman and Ironweed.

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The Ironweed of Tomorrow, Today!

Posted in Reviews on April 7th, 2011 by JJ Koczan

They’ve undergone a few lineup changes since the release of their 2009 Small Stone debut, Indian Ladder, but Albany, New York’s Ironweed have managed to maintain the tightness and the heaviness of that first album and even develop it some on the follow-up, Your World of Tomorrow. A rallying cry against the post-modern dystopia in which we live, the nine-cut, 40-minute full-length is rife with crisp songwriting, clear presentation and an overall straightforward style that the four-piece is well suited to. As per the Small Stone norm, tracking and mixing was handled by Benny Grotto at Mad Oak Studios in Massachusetts, and as per his norm, there’s no sacrifice of the band’s formidable live energy in the name of getting a professional sound. Your World of Tomorrow is heavy rock for heavy rockers, and I know there are plenty out there who will find satisfaction in the aggression and payoff these songs have to offer.

Ironweed trace their roots back to Albany outfit Greatdayforup, of which guitarist Mike Vitali and bassist Brendan Slater were members. I wasn’t a huge fan of either Greatdayforup or the first Ironweed record, and even Your World of Tomorrow has a couple moments on it that feel contrived: the commercial balladry in the opening section of “And the New Slaves” and the ‘80s metal chorus of centerpiece track “Awaken” come most immediately to mind. Yet, for every down, there’s an equal and opposite up: The swagger of “Messenger” is a heavy and unmistakable highlight of the album, and the earlier, faster-paced “The Lucky Ones” features Your World of Tomorrow’s best scorching guitar lead and chorus alike. “Heavy Crowns,” which pops up later, finds vocalist/guitarist Jeff Andrews playing up the considerable Solace influence in his singing to great effect, as does opener “Now Stronger,” but there’s something decidedly nü-metal in the chorus riff of that song (it can be a fine like sometimes), and it’s just one of the tradeoffs I find myself making while listening to Ironweed’s latest. The band – rounded out by the hefty drum work of newcomer Dan Dinsmore — is solid on a songwriting level, and it’s easy to appreciate what they’re going for on Your World of Tomorrow, but there are some misfires to go along with the hits as the album plays out.

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News from Small Stone: Sasquatch Vinyl, Lo-Pan Reissue and More

Posted in Whathaveyou on September 17th, 2010 by JJ Koczan

Detroit rock kingpins Small Stone Records — who are the subject of this month’s podcast in honor of their two-day label showcase in Philadelphia next weekend — issued an update this week via the PR wire giving everyone the skinny on the label’s recent doings. Behold the report in its informative entirety:

First off, the new album from Denver’s Black Sleep of Kali, Our Slow Decay is now available at a better record store near you. If you can’t find it, feel free to get it from us.

The long awaited new album from Cleveland’s Red Giant, titled Dysfunctional Majesty rolls out to stores on the 28th of this month, but you can get it a little early right here on the Small Stone Online Store.

On the recording front, the new albums from both Suplecs and Roadsaw are almost finished (they just need to get mixed and mastered), and will both get released sometime between January and March of 2011. Also, the boys in Ironweed are still plugging away on their follow-up to Indian Ladder. Lo-Pan are scheduled to hit Mad Oak to record their follow up to Sasquanaut, and we will also be reissuing a new version of the Sasquanaut album that will be completely remixed by Benny Grotto and remastered by Mr. Goosman. This Winter both Dixie Witch and Sun Gods in Exile are scheduled to hit Mad Oak to record new albums for us as well.

You asked for it, so we are going to give it to you… Sasquatch’s III will be coming out on vinyl very shortly via Small Stone… That’s right folks, we are going to finally take the plunge into the vinyl game. We are currently getting the art together, and having the album remastered for the pressing plant.

Finally, we hope to see many of you in Philly next week… We have two rather kickass night of rock music all laid out for you at the Philadelphia Film and Music Festival.

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