Orange Goblin Confirm UK Shows, Fests and More for 2019

Posted in Whathaveyou on November 21st, 2018 by JJ Koczan

orange goblin (Photo by Alex Francis)

London heavylords Orange (fuckin’) Goblin (baby!) haven’t really announced and massive-stretch tours for 2019, and my understanding is they might do a few weeks here and there at some point and leave it at that. They say they have more to come and I have no trouble believing it.

I don’t need to tell you that if Orange Goblin are in a place and there’s a stage then that’s where you want to be. I mean, if they’re out to dinner or something, you can probably leave them alone, but given the stage, then yeah. Go fucking see Orange Goblin.

Their three UK shows for Jan.-Feb. are newly-announced, and among the list of dates, expect more festivals to come and take particular note of the HRH Doom v. Stoner fest in Sheffield next September. If you get a chance, chase down the full lineup of that thing, because it’s monstrous. Orange Goblin sit atop it as headliners, which is precisely where they should be.

Here’s what’s currently confirmed:

orange goblin UK shows poster

Tickets for our 3 UK shows in January and February are now on sale, as are tickets for all other 2019 shows that have been announced so far. Here is a recap of what we have coming up next year and there is a lot more still to come! This weekend we play our last show of 2018 when we headline the Dome of Rock Festival in Salzburg, Austria.

26.01 – Brudenell Social Club, Leeds, UK
08.02 – KK Steelmill, Wolverhampton, UK
09.02 – o2 Academy 2, Liverpool, UK
21.03 – Tapper Club, Tallinn, Estonia
22.03 – Serdce, St. Petersburg, Russia
23.03 – Aglomerat, Moscow, Russia
06.04 – Faster & Louder Fest, Eindhoven, Netherlands
11.05 – HRH Road Trip, Ibiza, Spain
18.11 – Manorfest, Keighley, UK
23.06 – Graspop Metal Meeting, Dessel, Belgium
29.06 – Full Force Festival, Ferropolis, Germany
05.07 – Oltrasuoni Festival, Dro, Italy
06.07 – Traffic Club, Rome, Italy
07.07 – Cueva Club, Cagliari, Sardinia
28.09 – HRH Doom V Stoner IV, Sheffield, UK

…..plus more to come!

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Orange Goblin, “Burn the Ships” and “Acid Trial” live Oct. 26, 2018

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Elephant Tree to Enter Studio Jan. 5

Posted in Whathaveyou on November 19th, 2018 by JJ Koczan

Once upon a whenever it was, a certain Elephant Tree bassist/vocalist — one Peter Holland — bestowed on my unworthy head what I think is one of the highest compliments an Englishman can give an American when he said, “You understand our humour.” And yes, he pronounced the ‘u.’ I therefore feel justified at the chuckle I got in reading the line in their gonna-make-a-new-album announcement below that notes it’ll be “that same old Elephant Tree magic but this time imagine it different.” And oh, by the way, they’re a four-piece now. Good fun.

Actually, they’ve been playing as a four-piece here and there for a while now, and they recorded their 2014 first EP, Theia (review here) as one before paring down to a trio for 2016’s triumphant self-titled debut full-length (review here), but I guess bringing John Slattery into the studio makes that more or less official. Riley MacIntyre, who was the fourth on that EP and worked on the LP alongside the aforementioned Holland, guitarist/vocalist Jack Townley and drummer Sam Hart, will once again be at the helm as producer. If it ain’t broke.

And indeed, it ain’t. After the self-titled, an initial US incursion at Psycho Las Vegas in 2017, slated involvement in the forthcoming Planet of Doom animated film project, and multiple European tours including an extensive one this Fall with Mothership and Stoned Jesus, it seems to me momentum is well on Elephant Tree‘s side heading into their second record, and while I rarely say this kind of thing, in light of the fact that they’re looking for a new label, I fail to see what would stop someone like Napalm Records from picking them up. Releasing through Magnetic Eye again would be great, but if they’re looking for a new outlet, fine. They’ve proven themselves on stage and in the studio. Their social media and promotional presence is dead-on. They tour hard, and they’ve found a sound that is distinct in its personality and execution while remaining rooted in automatically familiar song structures and genre tropes bent to their will. They’re poised in the next couple years to stand as forerunners of the next generation of London’s heavy scene. What more would a record label want in a prospective band?

My A&R musings aside, it’s safe to say Elephant Tree‘s sophomore outing is high on my list of most anticipated records for 2019. From the couple songs I was fortunate enough to see live in October at Høstsabbat (review here), only more so.

They play their last live show of the year this weekend in Manchester. Info on that and their recording announcement follow:

elephant tree studio

AN IRISHMAN, A CANADIAN AND THREE ENGLISHMEN WALK INTO A STUDIO….

SHOCK HORROR; ELEPHANT TREE MEMBERS TO SPEND MORE TIME INDOORS!

That’s right. It’s finally time for us to announce that we have finally committed to ink our intention to enter the studio once again.

Starting 5th of January we will be headed back into the dark depths of the studio to work on our as-yet-unnamed album. With practices in full swing, and songs coming together like a quality macaroni cheese pie, there will soon be a thunderous call from over the horizon. We are still looking for an avenue of release as of yet and haven’t confirmed anything on that front (despite what the rumour mill may churn out…) and can’t offer up any scope of a release date yet, but we are open to all offers!

Returning to produce melody out of madness, Riley MacIntyre is back in the saddle. Not satisfied with having only two nationalities, John Slattery will be tackling Synths and extra guitar duties, as the latest addition to the line-up. Expect more of that same old Elephant Tree magic but this time imagine it different…

We’ll be posting regular updates from writing all the way through to mastering so keep an eye out for any official news here, more of which to follow tomorrow…!

Elephant Tree live:
Nov. 25 Sophie Lancaster Festival Manchester UK
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Elephant Tree, “Dawn” live at Blue Moon Festival, Nov. 2017

Elephant Tree, Elephant Tree (2016)

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Jesus Tapdancing Christ. Uncle Acid and Graveyard are Touring Together.

Posted in Whathaveyou on October 24th, 2018 by JJ Koczan

Uncle Acid and the Deadbeats (Photo by Ester Segarra)
graveyard

God damn. I mean, come on. Really? Isn’t there some kind of quota for awesome that this violates? When is it too much for one show?

March 2019. Uncle Acid and Graveyard. North American tour. Co-headline. Come on. I can’t even write the words. You gotta be kidding me.

I don’t know who the fuck sat down and was, okay America, you get Uncle Acid and Graveyard on the road together now. Have fun with that. Like the UN of Doom decided to do us a favor or something. God damn.

Blah blah blah Uncle Acid supporting Wasteland (review here), blah blah blah Graveyard supporting Peace (review here). Are you still reading this? Just go look at the fucking dates and get your ticket already. Think these shows won’t sell out? Come on.

From the PR wire:

uncle acid graveyard tour

UNCLE ACID & THE DEADBEATS and GRAVEYARD Announce “Peace Across the Wasteland” Co-Headlining North American Tour

UNCLE ACID & THE DEADBEATS and GRAVEYARD are teaming up next March for the “Peace Across the Wasteland” co-headlining North American Tour. The tour kicks off March 6th in Philadelphia, PA and runs through March 30th in Toronto, ON. Twin Temple will provide support through the March 16th date in San Francisco, CA. On March 18th, Demob Happy will join the tour for the rest of the run. A complete list of dates can be found below. Pre-sales start this Wednesday October 24th and the official public on-sale is this Friday October 26th

Revered Swedish heavy rock band Graveyard is touring in support of their critically heralded 5th album, “Peace”, which is available now from Nuclear Blast. The band’s latest chapter in a celebrated catalog, guides the listener through an ever-changing musical landscape filled with their trademark take on classic rock. From the opening track’s blistering declaration that ‘It Ain’t Over Yet’ to the final note of heart beating bass on the epic and moody rocker ‘Low (I Wouldn’t Mind)’ the band manages to squeeze out every last creative drop of what there is to know, hear and love about the band.

“It’s time to let Peace roll out across the Wasteland. Graveyard and Uncle Acid and the Deadbeats will co headline a tour of North America in march 2019. This will be the first time the bands tour together and were both bringing tons of new music. This one is going to leave no mind unblown,” says Graveyard of the upcoming run.

The brainchild of singer and guitarist Kevin Starrs, Uncle Acid &The Deadbeats have been making extraordinary music since 2009. After the succesful reissue of “Vol 1” in 2017, they have now returned in support of their widely acclaimed fifth album, “Wasteland” The record is 47 minutes of vital, audacious and frequently bewildering heavy psychedelia, and is instantly recognizable as Starrs’ most immersive and evocative body of work yet.

“We’re looking forward to travelling across the wasteland and destroying minds with Graveyard in 2019. This will be our first North American tour in three years so it feels long overdue. See you down the front!” says Uncle Acid frontman Kevin Starrs.

“Peace Across The Wasteland Tour”
3/6: Philadelphia, PA @ Union Transfer*
3/7: Baltimore, MD @ Rams Head Live!*
3/8: Asheville, NC @ The Orange Peel*
3/9: Atlanta, GA @ The Masquerade*
3/11: Houston, TX @ White Oak Music Hall*
3/12: Dallas, TX @ Gas Monkey Live!*
3/14: Phoenix, AZ @ The Van Buren*
3/15: Los Angeles, CA @ The Wiltern*
3/16: San Francisco, CA @ The Warfield*
3/18: Seattle, WA @ The Showbox#
3/19: Vancouver, BC @ Commodore Ballroom#
3/20: Portland, OR @ Roseland Theater#
3/22: Salt Lake City, UT @ Metro Music Hall#
3/23: Denver, CO @ Ogden Theatre#
3/25: Minneapolis, MN @ First Avenue#
3/26: Chicago, IL @ Metro#
3/28: Brooklyn, NY @ Brooklyn Steel#
3/29: Montreal, QC @ Corona Theatre#
3/30: Toronto, ON @ The Danforth Music Hall#

*Twin Temple Supports
#Demob Happy Supports

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www.facebook.com/graveyardofficial
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Uncle Acid and the Deadbeats, “Shockwave City” official video

Graveyard, “Please Don’t” official video

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11PARANOIAS Announce Early 2019 Release for Asterismal

Posted in Whathaveyou on October 18th, 2018 by JJ Koczan

Interesting to think of 11PARANOIAS‘ last couple records as part of a series, and even more interesting to think that the series is about to conclude with the issue of their latest album, Asterismal. Due early next year through Ritual Productions, the album was recorded across two sessions spanning last Fall and this past Spring, and though they haven’t yet unveiled the cover art, let alone any audio, they have a live clip they’re sharing of the new song “Loss Portal,” which will feature on the release, which is said to be more focused on the guitar and more focused overall. It’s easy to get lost in the overarching muck of 11PARANOIAS‘ sound, but there’s always nuance and ritualism to their assault, and one expects nothing less this time either. I’ll hope to have more to come on it as we get closer to the release.

The PR wire sent info on the album accordingly:

11paranoias (Photo by Al Overdrive)

11PARANOIAS ANNOUNCE NEW RITE, ASTERISMAL, INCOMING EARLY 2019 ON RITUAL PRODUCTIONS

Ritual Productions shall commence 2019 by re-opening the paranoid realms, courtesy of a new rite from the masters of psych-doom-noise experimentation, 11PARANOIAS.

Asterismal is undoubtedly the band’s most exciting yet challenging release to date, coalescing experimental noise elements with pure psychedelia and a devastating deluge of doom and drone. The rite channels unprecedented extra-terrestrial terrain for the band, opening thresholds of esoteric mysticism, immersive euphoria and alluring darkness, subsequently conjuring an overwhelmingly intense rapture for the subconscious and its dormant senses. More propulsive, potent and powerful than its predecessors, bassist/vocalist Adam Richardson explains:

“Asterismal is of the stars, our fifth album. In alchemical terms the sonic content is equal parts Albedo (Psych/Space), Nigredo (Total Doom), Rubido (Noise/Experimental) – never before have we so clearly delineated these genres on one record. This marks the final installment of a trilogy of albums (Stealing Fire From Heaven had lead drums, Reliquary For A Dreamed Of World had lead bass and Asterismal now hones in on the lead guitar). Our most focused release yet, this rite even saw some prior preparation and writing before taking it to the studio!”

Keen purveyors of 11PARANOIAS’ live rituals will recognise the opening track, ‘Loss Portal’, which has been included in the band’s 2018 setlists. Preview this track below, taken from the band’s spellbinding summer solstice ritual with Oranssi Pazuzu.

The artwork – soon to be revealed – comes courtesy of Toby Ziegler: “11PARANOIAS are thrilled to be working with Toby Ziegler after being friends for so long. We are proud to be continuing our forced and unsolicited art history lessons for all and any fans of the band!”, says Richardson. Those who have held onto their Multi-Dimensional Paranoid Vision (MPV) keys – which come with the band’s 2016 rite, Reliquary For A Dreamed Of World – shall be rewarded in the visual realm too…

Asterismal was recorded and mixed by Wayne Adams at Bear Bites Horse Studio, London in September 2017 and May 2018, respectively. Additional recording and mastering undertaken by Dan Miller and Adam Richardson at XL Recordings Studio, London during July 2018.

Asterismal will see release on LP, CD and digital download in early 2019. Further information, exclusive material and limited-edition packages shall be unveiled in the coming months.

In the meantime, 11PARANOIAS perform a ritual at Bristol’s ‘Dread Haze Weekender’ this Saturday 20th October @ Exchange.

11PARANOIAS IS:
Adam Richardson – bass/vocals
Mike Vest – guitar
Nathan Perrier – drums

11paranoias.bandcamp.com
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11PARANOIAS, “Loss Portal” live in London

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Giveaway & Video Premiere: Chubby Thunderous Bad Kush Masters, “Döner Trump”

Posted in Bootleg Theater, Features on October 17th, 2018 by JJ Koczan

chubby thunderous bad kush masters

[Enter the contest to win one of two vinyl merch goodie packs from Chubby Thunderous Bad Kush Masters by leaving a comment on this post. Make sure your email address is in the form provided so I can contact you if you win. That’s it.]

There are two facts you should know going into the video below. First, Chubby Thunderous Bad Kush Masters are fucking awesome, though if you don’t know that, you will soon enough. Second, döner is Turkish street meat. Sometimes gross Turkish street meat. It’s sold in London and elsewhere in small shops with rotating slabs of wrong-looking product from which the meat is cut off in slices and served in pita in styrofoam trays. It is not the kind of thing one should or would eat while sober. It is the kind of thing you might regret later regardless of your level of lucidity. It’s like a gyro, but not a gyro the way Chinese dumplings aren’t ravioli. Okay.

But not to stray too far from the first point, Chubby Thunderous Bad Kush Masters — who are right up there with the finest executions of the UK’s silly-long-names-for-really-good-bands program — made their awaited full-length debut over the summer through Riff Rock Records with the charmingly titled Come and Chutney, a collection of eight blazed-out rockers fueled by sludge fuckall, tight grooves like those of “Cojones Feos” or the flatulence-laden “Gutlads” and an underlying current of punk and filthy thrash in cuts like “Krones of the Kiln” and “Döner Trump” that set up the sprawling stoner exploration of the finale “Psychedelic Hallucinogenic Vagrancy.” Opening with nasty intentions quickly on “Doggy Bad of Slurry,” it’s an album willfully crass that nonetheless makes its case via songwriting and the grit of its tones. Comprised of guitarist/vocalist Owen Carty, bassist Will Hart and drummer Mark Buckwell, Chubby Thunderous slush and stomp their way through all manner of much and bodily fluids in order to make their point, but there’s no questioning they do precisely that. Building on the accomplishments of their 2015 debut EP, Earth Hog (review here), and their 2017 split with Ten Foot Wizard (review here), the three-piece arrive at their first long-player with a firm sense of who they are as a band and exactly the kind of sonic mayhem they want to cause.

chubby thunderous bad kush masters come and chutneyOne of the best debuts of 2018? Absolutely. Because while the outward aesthetic may be one of destructive disaffection, the foundation from which Chubby Thunderous Bad Kush Masters execute that is more than solid enough to sustain them. They’re not a sloppy band, as the tense, drum-led rhythm and low-end air-push of “Gawdless” shows,” and though Carty‘s vocals are a harsh, bad-drug sneer throughout, they’re not completely void of melody either, even when they might otherwise be, on the nod-inducing “Glue Ear” or the thrust of the aforementioned “Döner Trump,” which seems to bask in multi-tiered disgust at its subject matter. Further, when they arrive at “Psychedelic Hallucinogenic Vagrancy,” its departure isn’t completely without preface thanks to the subdued launch of “Doggy Bad of Slurry,” though where it heads from there, with the Mellotron and guest appearances from Vodun‘s Chantal Brown, Ten Foot Wizard‘s Gary Harkin and Thom Carter of Riddles, is most definitely in a sphere of its own as regards the rest of the record, pulling back on tempo and passing the 10-minute mark with an open vibe and pervasive swirl of wah. Given the aggression of so much of what surrounds, it’s hard to believe at first, but by the time Brown‘s operatics arrive circa four minutes in, yeah, it’s for real. While we’re talking highlights, the subsequent verse Brown carries is a gem, and the instrumental buildup that follows, with the keys/synth adding to the wash along with the vocals cutting through, is a fitting end both to the track and the record as a whole. I’m not gonna say Chubby Thunderous aren’t fucking around on Come and Chutney. They are, to be sure. That doesn’t change the quality of the results.

For those of us who haven’t had the pleasure of seeing the band on stage, they have a new live video for “Döner Trump” filmed at The Black Heart in Camden Town, which, so far as I know, hasn’t changed its policy about letting even well-supervised babies hang out at the bar downstairs. So it goes. Still a great place to see a show, and from the looks of things, Chubby Thunderous Bad Kush Masters put on a hell of a one. If you find yourself at any point going “eww” as regards their general sound, that’s the idea, but I suspect that if you haven’t encountered them before — and you probably have by now, I know; but just in case — the energy with which they bring “Döner Trump” to bear is no less infectious than the song itself. And these dudes certainly do seem to be infected.

If you want the vinyl — and you do — leave a comment on this post to get it and I’ll hit you up if you win. No, I’m not gonna keep your email address and blah blah blah all that shit. Either way, please enjoy:

Chubby Thunderous Bad Kush Masters, “Döner Trump” official live video premiere

Two copies of this one going out with tees, stickers and whatnot:

chubby thunderous bad kush masters come and chutney vinyl

[Enter the contest to win one of two vinyl merch goodie packs from Chubby Thunderous Bad Kush Masters by leaving a comment on this post. Make sure your email address is in the form provided so I can contact you if you win. That’s it.]

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Uncle Acid and the Deadbeats, Wasteland: Living in It

Posted in Reviews on October 11th, 2018 by JJ Koczan

uncle acid and the deadbeats wasteland

Along with the stylistic innovation of their general aesthetic, the creepy harmonies and melodic centrality of guitar and vocals, raw fuzz of their tones, their information-age mystique earlier in their career and their classic-but-obscure sound overall, Uncle Acid and the Deadbeats‘ work has never been without a corresponding sense of nuance. As they move into album number five, Wasteland — released, as ever, by Rise Above Records — the fine sonic details of their work seem to come through the recording regardless of where an individual goes structurally. The flourish of keys in “Stranger Tonight,” the organ in the ultra-hooky “Bedouin” later in the record, the mellotron and faded-in-drums of the title-track, the VHS-style sampled intro to opener “I See Through You” that set up the arrival of further samples later in “No Return,” after the bell-chord-laden marching plod of that nine-minute track has receded into a long, fog-covered fadeout, and so on.

All of these things become part of the world created at the behest of guitarist/vocalist/ringleader Kevin R. Starrs, and brought to bear with the production of Geoff Neal at Sunset Sound in Los Angeles, there’s a balance created between Uncle Acid‘s long established wash of filthy fuzz grit and the melodies that are no less central to who they are as a band. Recording in the same studio where The Beach Boys tracked Pet Sounds and The Doors did Strange Days is something of a direct departure from  2015’s The Night Creeper (review here), which Starrs recorded himself and was the barest-sounding offering since their 2010 debut, Vol. 1 (reissue review here), and they flourish in the grander setting while holding to the eerie, sneaking-around-the-corner vibe that’s always been prevalent and has only helped their influence spread as it has over the better part of the last decade. With eight tracks and 47 minutes, Wasteland is the shortest offering Uncle Acid have made 2011’s world-breaking Blood Lust (discussed here), as both 2013’s Mind Control (review here) and The Night Creeper topped 50 minutes, and in addition to that, there seems to be some shift in how the band are using that time.

Consider for a moment the circumstances of Wasteland‘s release. On a more general level, between Brexit and anti-immigration populism in their native UK and an ever-present sense of disheartening political chaos in Europe and the US — the band’s two central markets — could easily justify the title alone, but when it comes to the actual songs and the album’s arrival, it’s being released at the Desert Daze festival in Los Angeles, and long before any details about Uncle Acid‘s fifth LP were made public, tour dates in Europe and the UK were announced for late-2018/early-2019.

We had “the Wasteland tour” before we knew what Wasteland was. For an act of Uncle Acid‘s profile — and at this point it’s safe to call them one of underground heavy’s most essential bands in terms of influence and their general audience reach — that they’d have a well coordinated release isn’t a surprise, but it’s all the more worth noting because so much of the focus throughout Wasteland seems to be on playing live. Of course it’s a two-sided LP and it splits more or less evenly into half with four tracks on each side. Fine. But to take the totality of the tracklisting as a linear whole from “I See Through You” to the militaristic-snare-into-empty-wind (blowing, no doubt, over the titular wasteland) finish of “Exodus,” the entire album seems to be geared toward playing live. It feels like a live set.

It launches with two immediate, standout, catchy hard rockers in “I See Though You” — a firm reminder to the audience of who Uncle Acid are and what they do — and “Shockwave City,” which comes across as something Scorpions might’ve conjured as filtered through Starrs‘ secrets-in-the-basement ideology of sound with scorching guitar work and a tightness of structure and central riff that stands tall among their finest singles. Momentum is built and slashed as “No Return” takes hold with a quiet and tense but slower progression and unfolds its nodding roll over an extended stretch replete with wailing vocals and a wash they’ve not yet brought to bear. It’s telling that at about six and a half minutes in, “No Return” drops to atmospheria, a kind of residual drone taking hold as the samples arrive. This ostensibly isn’t the end of side A — unless I’m way off as regards the placement of the songs on the vinyl; possible — but it does bring to a close the first of three movements happening throughout Wasteland.

Uncle Acid and the Deadbeats (Photo by Ester Segarra)

Think of it this way: two rockers up front, longer song, two more rockers, longer song, and the finale duo of “Bedouin” and “Exodus” to end out. Three tracks, three tracks, two tracks.

This dynamic throughout the album, apart from considerations of physical format, makes Wasteland seem all the more built to be played live. “Blood Runner” and “Stranger Tonight,” like “Shockwave City” before them, barely top four minutes, and as the former taps some surprising NWOBHM gallop, the latter seems to be composed as the quintessential Uncle Acid track, from its threat of violence in the lyrics — it’s noteworthy that Wasteland is unmistakably the band’s album that’s least about killing ladies; perhaps a sign of Starrs having an ear to the ground as to the moment — to the sweep of its hook that only seems to grow more infectious with multiple listens. These in turn lead to “Wasteland” itself, which is unmistakably a forward step in the creative growth of the band.

They’re not strangers to using acoustics or turns to mellower fare, but across its nearly eight minutes, “Wasteland” takes what songs like “13 Candles” and “Black Motorcade” have done in the past to offset more raucous material directly bridges the gap between the two sides. For a band who’ve always, always, been about songwriting, it’s a new level of achievement in that. From the swaying early verses, effectively arranged with the aforementioned mellotron and harmonized vocals, other keys, guitar, bass flourish, etc., to the build that takes hold with the arrival of the drums at the halfway point and moves into an absolute apex for the album as a whole, it’s as gorgeous it is covered in grime, and its relatively quick fade seems to cut short what could’ve easily been a longer section. No mystery how it got to be the title-track; it’s the whole point. “Bedouin” fades in even more quickly than “Wasteland” went out, and begins the last of the three salvos, which works to bring the other two together somewhat.

It’s shorter than the opener at 5:41, but “Bedouin” nonetheless makes its impact with a strutting chorus and the organ in its verses, as well as highlight lead guitar work that recalls “Shockwave City” earlier but is more tripped-out with effects in its ending. But it’s a rager, and as it gives way to the slower-swinging “Exodus” — residing that rhythmic pocket that so many in the garage doom set try to capture but can’t quite do in the same way that comes so naturally to Uncle Acid — there’s a palpable sense of an encore happening. The closer lands squarely between the shorter and longer cuts, but moreover, it has a sense of finality to it that speaks to the band’s ever-cinematic sphere of influences. That is to say, roll credits.

But, more to the occasion, it’s the grand finale of the live set that is Wasteland as a whole, and though there’s nothing lacking by the time it’s done, the fact that the two prior salvos are three songs and the last one is only two seems to tip-hat to the notion of leaving the audience wanting more. Hence the sudden cut at the end of “Exodus” itself and the shorter overall runtime. It works. The danger coming into Wasteland was whether or not Uncle Acid and the Deadbeats would be seen to have run their stylistic course. Could they make their sound do something new? They haven’t yet made their Sgt. Pepper — or, if they were after my own heart, their Rubber Soul — and they may not have interest in doing so, but what Wasteland does is to bring a refreshed vitality to their approach while willfully tightening the songcraft at the same time they push forward into new ground. There will be a lot that’s familiar to established listeners, but as always with Starrs‘ work, the deeper you dig, the more you find, and Wasteland more than earns such excavation. It’d be a show to remember.

Uncle Acid and the Deadbeats, “Stranger Tonight”

Uncle Acid and the Deadbeats website

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Crawling for Carrion Premiere Townes Van Zandt Cover “Rake”; Debut EP Rake and Roads out Nov. 9

Posted in audiObelisk, Whathaveyou on September 27th, 2018 by JJ Koczan

Crawling for Carrion

Go ahead and take the title of Crawling for Carrion‘s debut EP, Rake and Roads, literally. It’s comprised of two songs, one is “Rake” and the other is “Roads.” Both are covers — of Townes Van Zandt and Portishead, respectively — and both are given a heavy treatment intended to mirror the emotional and atmospheric weight already embedded in them. The rearrangement of “Rake” is premiering now at the bottom of this post, and preorders for the release are up through Giganto Records ahead of its Nov. 9 arrival.

I suppose when you feature in as many bands as Chris WestTrippy Wicked and the Cosmic Children of the Knight (who were way ahead of the UK underground’s silly-moniker arms race), Stubb, Landskap, Named by the Sun, Groan for a hot minute, Glanville, etc. — you make a few friends along the way, and as he handles guitar and bass and directs the arrangements, West is joined by members of Stubb, Wight and Vodun, as well as former(?) Trippy Wicked bandmate Peter Holland, now also of Elephant Tree. On “Rake,” it’s Grave Lines‘ Jake Harding on vocals and Thomas Kurek of Wight on drums, and the groove elicited from the Townes Van Zandt original — which should also be well familiar to Scott Kelly and/or Wino fans — gives a new angle from which to view its lyrical narrative.

Giganto Records is West‘s own label, and he by and large records his own work, so there’s really nothing stopping this new project from fleshing out in any number of directions. Blondie by way of doom? Could happen.

Art, info, links and audio follow:

Crawling for Carrion Rake and Roads

Rake and Roads is the first in a series of releases from Crawling for Carrion. The UK-based project is spearheaded by multi-instrumentalist Chris West (Landskap, Trippy Wicked, etc.), and reinterprets “Rake” by Townes Van Zandt and “Roads” by Portishead with an eye toward bringing out an inner heaviness that’s been there all along.

Releasing through his own Giganto Records and handling production, bass and guitar, West is joined by a rotating cast in Crawling for Carrion. Jake Harding (Grave Lines) handles vocals and Thomas Kurek (Wight) drums for “Rake,” while drums on “Roads” were played by Pete Holland (Elephant Tree), and vocals helmed by Chantal Brown (Vodun) and lead guitar by Tom Hobson (Stubb). Rake and Roads will be issued as individual lathe cut 10” records and only available on a preorder basis. The sleeves will be individually printed and numbered by artist Emmett Casley from a linocut.

Chris West launched Giganto Records in 2017 as a platform to release music that he writes and records himself under various names. Best known for playing in Stubb and Trippy Wicked & the Cosmic Children of the Knight, in recent years he has also played with Landskap, Glanville and Named by the Sun.

https://www.facebook.com/crawlingforcarrion/
https://twitter.com/christhewest
https://www.instagram.com/christhewest
https://show.co/3B0Clsk
https://www.gigantorecords.com
https://gigantorecords.bandcamp.com/
https://www.facebook.com/gigantorecords

Crawling for Carrion, “Rake” official track premiere

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Desertfest London 2019 First Announcement: Earthless, All Them Witches, Colour Haze, Kadavar, Witch, We Hunt Buffalo & DVNE Join Lineup

Posted in Whathaveyou on September 21st, 2018 by JJ Koczan

desertfest london 2019 banner

What’s more exciting than a killer first festival announcement? Not much. So many possibilities, and with its first lineup additions, Desertfest London 2019 throws the door wide open with some massive names. Earthless, All Them Witches, Colour Haze and Kadavar? Hell, I’d take any of them as a headliner, and you can pretty much throw Witch in there too. That’s five acts right out of the gate, any of whom could sell out a show on their own in London, plus the just-reviewed We Hunt Buffalo and Edinburgh’s DVNE, whom I had the pleasure of seeing at Psycho Las Vegas for their US live debut, rounding out an initial seven that’s absolutely massive.

The key part of the announcement below, though? It’s where it says “we’re aiming for our biggest bill to date.” Desertfest London has only grown huger each year, more forward-thinking and broader in its reach. The Desertscene crew have their work cut out for them in topping 2018, but if this is a taste of the scale to come, they might just get there.

From the PR wire:

desertfest london 2019 poster

DESERTFEST LONDON 2019

Friday, May 3, 2019 – Sunday, May 5, 2019

It begins! Desertfest is returning to Camden for our eighth edition over the Bank Holiday weekend of 3rd to 5th May, and as ever we’re bringing you the finest stoner, doom, sludge and psych bands from around the world. Over the next few months, we’ll be revealing our lineup of dozens of the heaviest bands around, so without further ado, here’s the first seven names for Desertfest 2019.

Over the last half-decade, Nashville’s All Them Witches have made themselves indispensable with a sound that has never stopped evolving, with their roots in heavy blues and psychedelia flourishing over time into an approach that is undeniably their own. The Tennessee four-piece arrive at Desertfest with a reputation that precedes them for jammy explorations and a kind of heavy that, while regularly imitated, has yet to be reproduced by anyone else.

Joining them on the bill are Kadavar, who make their long awaited Desertfest return with their fur-coated, barreling riot of a set at the Jazz Cafe in 2013 as fresh in our minds as ever. There are very few who perform the retro-rockin’, ’70s proto-metal revival with the power, prestige and passion of our favourite Berlin trio. The boogie train that is Kadavar won’t be making any emergency stops as it ploughs through Camden this May.

Vermont spell-casters Witch will be enrapturing Desertfest with their stoner rock incantations in 2019. Combining psychedelic rock, Sabbath-ian doom, and Black Flag sludge-punk, stoner aficionados who were around for the noughties boom will fondly remember Witch for releasing some of the hookiest albums of the decade. After a stint lurking in the shadows, Witch are hitting up Desertfest to make magic once again.

Even after seven mammoth editions of Desertfest, there are bands we’ve been chomping at the bit to get over to Camden to grace our stages; finally, we’ve grabbed us the hardest jamming band in the universe, Earthless, are touching down to shred our corner of London to the ground. The epitome of psyched-out Hendrixian-krautrock from day one, San Diego’s ultimate power trio will melt your entire body this May.

Colour Haze make their return to the Desertfest stage in 2019 after six long years. The German trio, in whose image modern heavy psychedelia is in large part cast, have affirmed their position as unflinching masters of the form in their absence, finding a new niche between heavy riffs and expansive arrangements. The Colour Haze that return to Desertfest are, somehow, even better than the one we saw in 2013.

Vancouver trio We Hunt Buffalo‘s brand of prog-minded fuzz rock has been stampeding out of amps and trampling audiences since 2010. Professing a love of all things stoner and psych and citing influences from all genres of rock, all underpinned with driving fuzz lines, We Hunt Buffalo will be just the ticket to a sore neck at Desertfest.

Last but not least in our first batch of bands are Edinburgh’s DVNE who play their own unique brand of night sky-gazing melodic sludge. Early-period Mastodon fans should take note, as the progressive changes and all-conquering vocals conjure up scenes of destruction, desolation and absolution in their epic soundscapes of post-metal ebb and flow.

So there you have it, our first seven bands. With dozens more names to come, including all three headliners, we’re aiming for our biggest bill to date. Weekend tickets are on sale now at the link below, so be sure to book your place at the heaviest lineup in town; Desertfest 2019!

http://www.desertfest.co.uk/
https://www.facebook.com/DesertfestLondon
https://www.instagram.com/desertfest_london/
https://twitter.com/DesertFest

All Them Witches, ATW (2018)

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