Monolith on the Mesa: Yawning Man, Fatso Jetson, Wo Fat, Earthride, Magic Castles & Great Electric Quest Added

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

Monolith on the Mesa, which kind of came out of the gate in full-fledged upstart fashion this year and put Taos, New Mexico, on the map as a destination for heavyheads from all over, continues to announce acts for its follow-up edition in 2020. The fest is set for May 28-30 at Taos Mesa Brewing, same spot it was held this Spring, and is $99 for the weekend, which doesn’t sound cheap, but uh, is, considering what you get. Not exactly slumming it as regards the whole experience of the thing. To wit, the photo below looks like something I would most definitely shell out a hundred bucks to stand in front of for three days and have my ass handed to me by awesome bands. If you disagree, I suggest you take the next few months to reassess your priorities.

But speaking of awesome bands, a bunch more have just joined the lineup, including Maryland’s favorite sons Earthride. They’ll make the trip west and give a bit of East Coast representation out in the desert that I can only imagine will go over like groove-rolling gangbusters. That alone would be worth the $99 in my book, let alone the likes of Yawning Man (always great) and Fatso Jetson (always great) and Wo Fat (always great), who, for those of you who don’t read parentheticals (why not?) are always great, as well as Magic Castles and Great Electric Quest, whom I’ve not yet seen, but whose sounds are most certainly readily diggable.

Cool fest, man. These guys got something going out there in the desert.

From the PR wire:

monolith on the mesa 2019 (Photo by Mike Goodwin)

Monolith On The Mesa prepares for second year bands include Yawning Man, Fatso Jetson, Earthride, Sons of Otis, Ruby the Hatchet, Mondo Generator, Year of the Cobra and more

MONOLITH ON THE MESA OFFERS A “HIGH” DESERT EXPERIENCE THAT DRAWS ROCK FANS FROM ACROSS THE NATION

THE MUSIC FESTIVAL PREPARES FOR ITS SECOND YEAR AND ANNOUNCES SIX MORE BANDS IN THE LINE-UP: Yawning Man, Fatso Jetson, Earthride, Wo Fat, Magic Castles, Great Electric Quest

300 early bird tickets on sale now through Black Friday

May 28-30, 2020 at Taos Mesa Brewing

Monolith on the Mesa, a “High” Desert Experience, is an independent three-day festival entering its second year in 2020. The festival takes place at the Taos Mesa Brewing Mothership, and on the grounds of Hotel Luna Mystica, just outside of Taos, New Mexico. The festival is focused on heavy riff-rock acts from across multiple sub-genres including stoner rock, heavy psych, doom metal, sludge, drone, and retro rock. The festival includes interactive art installations and visual projections throughout the grounds to compliment the mind bending sounds of the bands. Festival capacity is limited to 1,500 to provide an intimate experience. Bands perform on the club-style indoor stage, and the scenic “earthship” outdoor amphitheater stage.

A total of 35 bands will play over three days from May 28-30, 2020. Festival promoters Dano Sanchez and Roman Barham are excited to reveal the names of five more bands today including Yawning Man; Fatso Jetson; Earthride; Wo Fat; Magic Castles; Great Electric Quest. The thirteen bands already made public online include: Sons of Otis; Ruby the Hatchet; Mondo Generator; Duel; Mark Deutrom; Year of the Cobra; Mountain of Smoke; Destroyer of Light; Love Gang; Black Maria; Prism Bitch and Sun Dog. Tickets cost $150 for three-day passes. A limited release of 300 early bird tickets for $99.99 are on sale now through Black Friday (midnight on November 29, 2019).

Dano Sanchez says “We are inspired to continue on our path with Monolith II. We want fans to come to Taos and let go of technology and constraints of urban living for three days. Let your soul breathe! What we offer is unique but still linked musically to festivals like Psycho Las Vegas, Levitation and Stoned and Dusted. We think festival goers will appreciate what we are doing here.”

Monolith on the Mesa is produced as a “destination” festival offering attendees music as well as the unique and mystical Taos experience which includes crisp, clean air on the high desert mesa, surrounded by unobstructed views of the Sangre de Christo Mountains. The festival is located adjacent to the Rio Grande del Norte National Monument. This enables festival goers to enjoy activities such as hiking, river rafting, bike trails, natural and resort hot springs — all making for an immersive experience unlike any other music festival.

DATES AND TIMES:
Box office opens at 9 a.m. Thursday, Friday and Saturday.
May 28th doors at 4 pm til 1:30 am
May 29th doors at 12 noon; outside stage til midnight; indoor stage til 1:30 am
May 30th doors at 12 noon; outdoor stage til midnight; indoor stage til 1:30 am

VENUE INFORMATION:
Taos Mesa Brewing: The Mothership
20 ABC Mesa Rd.
El Prado, New Mexico 89529
https://www.taosmesabrewing.com/

TICKET INFORMATION:
Rain or shine event! No refunds!
https://tickets.holdmyticket.com/tickets/344140

https://www.monolithonthemesa.com
https://www.facebook.com/monolithonthemesa
https://www.instagram.com/monolithonthemesa

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Quarterly Review: Pelican, Swan Valley Heights, Mark Deutrom, Greenbeard, Mount Soma, Nibiru, Cable, Reino Ermitaño, Cardinals Folly & Lucifer’s Fall, Temple of the Fuzz Witch

Posted in Reviews on July 8th, 2019 by JJ Koczan

quarterly-review

More computer bullshit this morning. I lost about 45 minutes because my graphics driver and Windows 10 apparently hate each other and before I could disable the former, the machine decided the best it could do for me was to load a blank screen. Hard to find the Pelican record on my desktop when I can’t see my desktop. The Patient Mrs. woke up while I was trying to fix it and suggested HDMIing it to the tv. When I did that, it didn’t project as was hoped, but the display came on — because go figure — and I was able to shut off the driver, the only real advantage of which is it lets me use the night light feature so it’s easier on my eyes. That’s nice, but I’d rather have the laptop function. Not really working on a level of “give me soft red light or give me death!” at this point. I may yet get there in my life.

Today’s the last day of this beast, wrapping up the last of the 60 reviews, and I’m already in the hole for the better part of an hour thanks to this technical issue, the second of the week. Been an adventure, this one. Let’s close it out.

Quarterly Review #51-60:

Pelican, Nighttime Stories

pelican nighttime stories

Split into two LPs each with its own three-minute mood-setter — those being “WST” and “It Stared at Me,” respectively — Pelican‘s Nighttime Stories (on Southern Lord) carries the foreboding sensibility of its title into an aggressive push throughout the album, which deals from the outset with the pain of loss. The lead single “Midnight and Mescaline” represents this well in directly following “WST,” with shades of more extreme sounds in the sharp-turning guitar interplay and tense drums, but it carries through the blastbeats of “Abyssal Plain” and the bombastic crashes of presumed side B closer “Cold Hope” as well, which flow via a last tonal wash toward the melancholy “It Stared at Me” and the even-more-aggro title-track, the consuming “Arteries of Blacktop” and the eight-minute “Full Moon, Black Water,” which offers a build of maddening chug — a Pelican hallmark — before resolving in melodic serenity, moving, perhaps, forward with and through its grief. It’s been six years since Pelican‘s last LP, Forever Becoming (review here), and they’ve responded to that time differential with the hardest-hitting record they’ve ever done.

Pelican on Thee Facebooks

Southern Lord Recordings website

 

Swan Valley Heights, The Heavy Seed

swan valley heights the heavy seed

Though the peaceful beginning of 13-minute opener and longest track (immediate points) “The Heavy Seed,” for which the five-song album is named, reminds of Swan Valley Heights‘ Munich compatriots in Colour Haze, the ultimate impression the band make on their Fuzzorama Records debut and second album overall behind a 2016 self-titled (review here) is more varied in its execution, with cuts like “Vaporizer Woman” and the centerpiece “Take a Swim in God’s Washing Machine” manifesting ebbs and flows and rolling out a fuzzy largesse to lead into dream-toned ethereality and layered vocals that immediately call to mind Elephant Tree. There’s a propensity for jamming, but they’re not a jam band, and seem always to have a direction in mind. That’s true even on the three-minute instrumental “My First Knife Fight,” which unfurls around a nod riff and simple drum progression to bridge into closer “Teeth and Waves,” a bookend to The Heavy Seed‘s title-track that revives that initial grace and uses it as a stepping stone for the crunch to come. It’s a balance that works and should be well received.

Swan Valley Heights on Thee Facebooks

Fuzzorama Records on Bandcamp

 

Mark Deutrom, The Blue Bird

Mark Deutrom The Blue Bird

Released in the wee hours of 2019, Mark Deutrom‘s The Blue Bird marks the first new solo release from the prolific Austin-based songwriter/producer/multi-instrumentalist through Season of Mist, and it’s a 50-minute run of genre-spanning outsider art, bringing ’70s folk vibes to the weepy guitar echoes of “Radiant Gravity” right before “O Ye of Little Faith” dooms out for six of its seven minutes and “Our Revels Now Are Ended” basks in 77 seconds of experimentalist winding guitar. It goes like that. Vocals are intermittent enough to not necessarily be expected, but not entirely absent through the midsection of “Hell is a City,” “Somnambulist” and “Maximum Hemingway,” and if there’s traditionalism at play anywhere, it might be in “They Have Won” and “The Happiness Machine,” which, toward the back end of the album, bring a sax-laden melancholy vibe and a straightforward heavy rock feel, respectively, ahead of the closer “Nothing out There,” which ties them together, somehow accounting for the 1:34 “On Fathers Day” as well in its sweetness. Don’t go into The Blue Bird asking it to make sense on any level other than its own and you should be fine. It’s not a minor undertaking at 50 minutes, and not without its indulgences, but even the briefest of pieces helps develop the character of the whole, which of course is essential to any good story.

Mark Deutrom website

Season of Mist website

 

Greenbeard, Onward, Pillager

greenbeard onward pillager

Austin bringers of hard-boogie Greenbeard reportedly issued the three-song Onward, Pillager as a precursor to their next full-length — even the name hints toward it being something of a stopgap — but its tracks stand well on their own, whether it’s the keyboard-laced “Contact High II,” which is presumably a sequel to another track on the forthcoming record, or the chunkier roll of “WCCQ” and the catchy finisher “Kill to Love Yourself,” with its overlaid guitar solo adding to a dramatic ending. It hasn’t been that long since 2017’s Lödarödböl (review here), but clearly these guys are committed to moving forward in neo-stoner rock fashion, and their emergence as songwriters is highlighted particularly throughout “WCCQ” and “Kill to Love Yourself,” while “Contact High II” is more of an intro or a would-be interlude on the full-length. It may only be pieces of a larger, to-be-revealed picture, but Onward, Pillager shows three different sides of what Greenbeard have on offer, and the promise of more to come is one that will hopefully be kept sooner rather than later.

Greenbeard on Thee Facebooks

Sailor Records on Bandcamp

 

Mount Soma, Nirodha

mount_soma_nirodha

Each of the three songs on Mount Soma‘s densely-weighted, live-recorded self-released Nirodha EP makes some mention of suffering in its lyrics, and indeed, that seems to be the theme drawing together “Dark Sun Destroyer” (7:40), “Emerge the Wolf” (5:50) and “Resurfacing” (9:14): a quest for transcendence perhaps in part due to the volume of the music and the act itself of creating it. Whatever gets them there, the trajectory of Nirodha is such that by the time they hit into the YOB-style galloping toward the end of “Resurfacing,” the gruff shouts of “rebirth!” feel more celebratory than ambitious. Based in Dublin, the four-piece bring a fair sense of space to their otherwise crush-minded approach, and though the EP is rough — it is their second short release following 2016’s Origins — they seem to have found a way to tie together outer and inner cosmos with an earthbound sense of gravity and heft, and with the more intense shove of “Emerge the Wolf” between the two longer tracks, they prove themselves capable of bringing a noisy charge amid all that roar and crash. They did the first EP live as well. I wonder if they’d do the same for a full-length.

Mount Soma on Thee Facebooks

Mount Soma on Bandcamp

 

Nibiru, Salbrox

nibiru salbrox

One might get lost in the unmanageable 64-minute wash of Nibiru‘s fifth full-length (first for Ritual Productions), Salbrox, but the opaque nature of the proceedings is part of the point. The Italian ritualists bring forth a chaotic depth of noise and harsh semi-spoken rasps of vocals reportedly in the Enochian language, and from 14-minute opener “EHNB” — also the longest track (immediate points) — through the morass that follows in “Exarp,” “Hcoma,” “Nanta” and so on, the album is a willful slog that challenges the listener on nearly every level. This is par for the course for Nibiru, whose last outing was 2017’s Qaal Babalon (review here), and they seem to revel in the slow-churning gruel of their distortion, turning from it only to break to minimalism in the second half of the album with “Abalpt” and “Bitom” before 13-minute closer “Rziorn” storms in like a tsunami of spiritually desolate plunge. It is vicious and difficult to hear, and again, that is exactly what it’s intended to be.

Nibiru on Thee Facebooks

Ritual Productions website

 

Cable, Take the Stairs to Hell

Cable Take the Stairs to Hell

The gift of Cable was to take typically raw Northeastern disaffection and channel it into a noise rock that wasn’t quite as post-this-or-that as Isis, but still had a cerebral edge that more primitive fare lacked. They were methodical, and 10 years after their last record, the Hartford, Connecticut, outfit return with the nine-song/30-minute Take the Stairs to Hell (on Translation Loss), which brings them back into the modern sphere with a sound that is no less relevant than it was bouncing between This Dark Reign, Hydra Head and Translation Loss between 2001 and 2004. They were underrated then and may continue to be now, but the combination of melody and bite in “Black Medicine” and the gutty crunch of “Eyes Rolled Back,” the post-Southern heavy of the title-track and the lumbering pummel of “Rivers of Old” before it remind of how much of a standout Cable was in the past, reinforcing that not only were they ahead of their time then, but that they still have plenty to offer going forward. They may continue to be underrated as they always were, but their return is significant and welcome.

Cable on Instagram

Translation Loss Records webstore

 

Reino Ermitaño, Reino Ermitaño

Reino Ermitano Reino Ermitano

Originally released in 2003, the self-titled debut from Lima, Peru’s Reino Ermitaño was a beacon and landmark in Latin American doom, with a sound derived from the genre’s traditions — Sabbath, Trouble, etc. — and melded with not only Spanish-language lyrics, but elements of South American folk and stylizations. Reissued on vinyl some 16 years later, it maintains its power through the outside-time level of its craft, sliding into that unplaceable realm of doom that could be from any point from about 1985 onward, while the melodies in the guitar of Henry Guevara and the vocals of Tania Duarte hold sway over the central groove of bassist Marcos Coifman and drummer Julio “Ñaka” Almeida. Those who were turned onto the band at the time will likely know they’ve released five LPs to-date, with the latest one from 2014, but the Necio Records version marks the first time the debut has been pressed to vinyl, and so is of extra interest apart from the standard putting-it-out-there-again reissue. Collectors and a new generation of doomers alike would be well advised on an educational level, and of course the appeal of the album itself far exceeds that.

Reino Ermitaño on Thee Facebooks

Necio Records on Bandcamp

 

Cardinals Folly & Lucifer’s Fall, Split

cardinals folly lucifers fall split

Though one hails from Helsinki, Finland, and the other from Adelaide, Australia, Cardinals Folly and Lucifer’s Fall could hardly be better suited to share the six-song Cruz Del Sur split LP that they do, which checks in at 35 minutes of trad doom riffing and dirtier fare. The former is provided by Cardinals Folly, who bring a Reverend Bizarre-style stateliness to “Spiritual North” and “Walvater Proclaimed!” before betraying their extreme metal roots on “Sworn Through Odin’s and Satan’s Blood,” while the Oz contingent throw down Saint Vitus-esque punk-born fuckall through “Die Witch Die,” the crawling “Call of the Wild” and the particularly brash and speedier “The Gates of Hell.” The uniting thread of course is homage to doom itself, but each band brings enough of their own take to complement each other without either contradicting or making one or the other of them feel redundant, and rather, the split works out to be a rampaging, deeply-drunk, pagan-feeling celebration of what doom is and how it has been internalized by each of these groups. Doom over the world? Yeah, something like that.

Cardinals Folly on Thee Facebooks

Lucifer’s Fall on Thee Facebooks

Cruz Del Sur Music website

 

Temple of the Fuzz Witch, Temple of the Fuzz Witch

Temple of the Fuzz Witch Temple of the Fuzz Witch

A strong current of Electric Wizard runs through the self-titled debut full-length from Detroit’s Temple of the Fuzz Witch (on Seeing Red Records), but even to that, the outfit led by guitarist/vocalist Noah Bruner bring a nascent measure of individuality, droning into and through “Death Hails” after opening with “Bathsheba” and ahead of unveiling a harmonized vocal on “The Glowing of Satan” that suits the low end distortion surprisingly well. They continue to offer surprises throughout, whether it’s the spaciousness of centerpiece “329” and “Infidel,” which follows, or the offsetting of minimalism and crush on “The Fuzz Witch” and the creeper noise in the ending of “Servants of the Sun,” and though there are certainly familiar elements at play, Temple of the Fuzz Witch come across with an intent to take what’s been done before and make it theirs. In that regard, they would seem to be on the right track, and in their 41 minutes, they find footing in a murky aesthetic and are able to convey a sense of songwriting without sounding heavy-handed. There’s nothing else I’d ask of their first album.

Temple of the Fuzz Witch on Thee Facebooks

Seeing Red Records on Bandcamp

 

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Mark Deutrom Sets Jan. 4 Release for The Blue Bird; Streaming “The Happiness Machine”

Posted in Whathaveyou on October 25th, 2018 by JJ Koczan

mark deutrom

You know, I could go on about Mark Deutrom‘s career, his history as a solo artist, that time he played bass when the Melvins were good, or the stuff he did in Clown Alley, or with Bellringer — the latter of which is being reissued — but the bottom line is pretty simple: He does good work, you should listen to it. Okay. Fair enough.

His upcoming LP on Season of Mist is called The Blue Bird, and the details for it are out now as well as the streaming song “The Happiness Machine.” I haven’t had the pleasure of digging into the full record yet, but the art deco cover is killing me and the leadoff single — also the penultimate track on the album — is right in line with what Deutrom does best: foster traditionalist songcraft with just an edge of the weird running alongside. If you have the chance, it’s well worth your time.

The cover is by Jennifer Deutrom and the info came down the PR wire. Preorders are up now:

Mark Deutrom The Blue Bird

MARK DEUTROM (ex MELVINS bassist) will release his highly anticipated new album ‘The Blue Bird’ on January 4, 2019. The first work under the Texan’s own name in almost six years, ‘The Blue Bird’ is a full album listening experience; it explores melody, space, nuance, and volume as it flows from track-to-track like a prismatic audio storybook. From the classic unconventional heaviness of tracks such as “The Happiness Machine”, to the fever dream haziness of the “Somnambulist”, through the moody “The Day Has Come”, Deutrom moves from strength to strength without ever letting his foot off the gas. ‘The Blue Bird’ is rock grandeur, oozing poise and purpose, and has all the Deutrom hallmarks to be an abiding piece of heavy rock history.

DEUTROM is sharing the first new track from ‘The Blue Bird’ titled “The Happiness Machine” now.

Regarding the track and album unveiling, MARK DEUTROM comments, “Happiness is defined as the following: pleasure, contentment, satisfaction, cheerfulness, merriment, gaiety, joy, joyfulness, joviality, jollity, glee, delight, good spirits, lightheartedness, well-being, enjoyment; exuberance, exhilaration, elation, ecstasy, jubilation, rapture, bliss, blissfulness, euphoria, transports of delight; Hollywood ending”

He continues,

“An observation of the machinery at work, and possibly the ghost in that machine. Happiness, always being pursued is perpetually ethereal and elusive.

” in the air, on the web,
on the chain in your head”

The album is about the nature of happiness…or is it?”

‘The Blue Bird’ will release January 4, 2019. Pre-orders for the album are available here.

The artwork, created by Mark’s wife Jennifer Deutrom, and track list for ‘The Blue Bird’ can be found below:

Track List:
1. No Space Holds the Weight
2. Futurist Manifesto
3. Radiant Gravity
4. O Ye of Little Faith
5. Our Revels Now are Ended
6. Hell is a City
7. Somnambulist
8. Maximum Hemingway
9. Through the Ringing Cedars
10. They Have Won
11. On Father’s Day
12. The Happiness Machine
13. Nothing Out There

DEUTROM recently announced the reissue of “Bellringer”, the last in the series of reissues via Season of Mist. The prolific musician’s forward-thinking album titled ‘Bellringer’ will be available again worldwide on November 30. Pre-orders for ‘Bellringer’ are available here.

https://www.facebook.com/markdeutrom/
https://markdeutrom.bandcamp.com/
https://www.facebook.com/seasonofmistofficial
https://www.twitter.com/seasonofmist

Mark Deutrom, “The Happiness Machine”

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Mark Deutrom to Reissue The Value of Decay April 6

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

mark deutrom

Originally released in 2011, The Value of Decay is the second reissue from Mark Deutrom to come down the line this year via Season of Mist. The first was 2001’s The Silent Treatment, his solo debut, so in essence we’re fast forwarding a decade. During that stretch, Deutrom had a couple self-presses out but so far as I can tell not an actual album under his own name, so that 10-year leap might actually put him at his second outing, which, you know, would make sense being the second reissue and all. Yeah, that’s me, doing the hard math. You’re welcome.

Of course, one still awaits word of Deutrom‘s next studio offering, which would follow 2013’s Brief Sensuality and Western Violence (review here), as well as news from his band Bellringer, whose 2016 debut full-length, Jettison (review here), was rife with weirdo joys, but presumably we’ll get there sooner or later. Plenty to chew on in the meantime.

The PR wire has info on The Value of Decay, which you can also stream at the bottom of this post:

mark deutrom the value of decay

MARK DEUTROM announces “The Value of Decay” reissue

MARK DEUTROM, former MELVINS bassist and prolific musician from Texas has announced the second in the series of reissues coming this year. The reissue, for ‘Value of Decay’ (2011) will be released worldwide on April 6 as an expanded edition featuring a bonus track. ‘The Value of Decay’ is available for pre-order here. The album is streaming here.

The cover art and track list for ‘The Value of Decay’ can be found below.

Track list:
1. From the Deepest Well
2. Darksider
3. Dim Candle
4. Au Printemps
5. Love Story Pt. 1
6. Making a Killing
7. Love Story Pt. 2
8. Buried in the Jewel
9. Victor’s Closet
10. Love Story Pt. 3
11. Cities of Gold
12. Blood Fairies
13. Perish the Thought
14. Curtains
15. Love Story Pt. 4
16. Empire Sands

MARK DEUTROM just released ‘The Silent Treatment’. The critically acclaimed album is available as an expanded edition, featuring artwork and a bonus track. ‘The Silent Treatment’ is available now at the Season of Mist E-Shop.

MARK DEUTROM will release his 6th solo album via Season of Mist. More information about this new album will be available in the weeks and months to come.

https://www.facebook.com/markdeutrom
https://www.instagram.com/markdeutrom/
http://www.markdeutrom.com/
http://smarturl.it/MDeutromSilent
https://shopusa.season-of-mist.com/band/mark-deutrom
https://www.facebook.com/seasonofmistofficial
https://www.instagram.com/seasonofmistofficial/

Mark Deutrom, The Value of Decay (2011/2018)

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Mark Deutrom to Reissue The Silent Treatment in February

Posted in Whathaveyou on December 13th, 2017 by JJ Koczan

Well, when Mark Deutrom signed to Season of Mist back toward the end of this summer, in addition to a forthcoming new album set for a tentative Fall 2018 release, there was some discussion of reissues in the works. I guess there’s no place to start like the beginning when it comes to that kind of thing, so off we go with a catalog revisit that by the time it arrives in February will look back 17 years to 2001’s The Silent Treatment, which was Deutrom‘s debut solo offering.

I’ll admit to having missed it the first time around, so as far as I’m concerned this is a cool chance to catch up to Deutrom‘s back catalog, and as someone who’s very much dug his recent work with Bellringer, that’s something I’ll look forward to. Feb. 9 is the release date, and Season of Mist is streaming the track “The Hobnail Paisley” ahead of that now. One can hear some shades of what Masters of Reality were doing around that time in some of the all-growed-up heavy/desert style, but of course Deutrom, even then, had a sonic personality of his own.

From the PR wire:

mark deutrom the silent treatment

MARK DEUTROM announce ‘The Silent Treatment’ reissues

MARK DEUTROM, the prolific musician from Texas and former MELVINS member has announced a reissue of his debut album ‘The Silent Treatment’. The critically acclaimed album will be reissued worldwide on February 9, 2018 as an expanded edition, featuring artwork and a bonus track. Pre-orders for the album are available now at the Season of Mist E-Shop.

MARK DEUTROM is streaming a track off the multi-faceted ‘The Silent Treatment’. The track, a blues-inspired rock song titled “The Hobnail Paisley” is streaming now, here.

The cover art and track list for ‘The Silent Treatment’ can be found below.
Track list
1. Toshiro Mifune
2. The Hobnail Paisley
3. El Morocco
4. One Thousand Delights
5. Chihuahua
6. Coffinmaker’s Complaint
7. Fat Hamlet
8. The Hottentot Venus
9. Borehole
10. Your Necklace
11. Revelator
12. A Catastrophe
13. Honey Drop
14. Gateau d’Amour
15. Van Diemen’s Land
16. Candlelight and Wisteria
17. OKC (Bonus Track)

MARK DEUTROM will release his 6th solo album via Season of Mist. More information about this new album will be available in the weeks and months to come.

https://www.facebook.com/markdeutrom
https://www.instagram.com/markdeutrom/
http://www.markdeutrom.com/
https://som.lnk.to/MarkDeutromSilentTreatment
https://shopusa.season-of-mist.com/band/mark-deutrom
https://www.facebook.com/seasonofmistofficial
https://www.instagram.com/seasonofmistofficial/

Mark Deutrom, “The Hobnail Paisley”

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Mark Deutrom Signs to Season of Mist; New Album Due this Winter

Posted in Whathaveyou on August 2nd, 2017 by JJ Koczan

Hearty congratulations to Mark Deutrom on inking a deal to release his next solo album through Season of Mist. The Austin-based producer, solo artist, Clown Alley and Bellringer founder and peak-era Melvins (yeah, that’s right — I said it) bassist seems to have made a multi-tiered pact with the increasingly broad-minded and deeply respected purveyor imprint, and one can’t help but wonder if in addition to reissuing at least some of his back catalog — likely including Bellringer‘s 2016 debut full-length, Jettison (review here) — the next couple years won’t find Deutrom behind the board tracking other Season of Mist-related acts. I don’t know that you’d ever pry them away from Steve Albini at this point, but how cool would a Deutrom-helmed Weedeater album be? Or Crippled Black Phoenix?

There’s no word about anything of the sort, of course, but cool to know Deutrom, who’s been a pretty steady presence around here the last couple years, has more new stuff in the works and will be taking his audience reach to an entirely different level with this new affiliation. Right on.

From the PR wire:

mark deutrom

MARK DEUTROM signs to Season of Mist

Season of Mist are proud to announce the signing of MARK DEUTROM. The prolific musician from Texas and former MELVINS member will not only release his next album via Season of Mist, but will also reissue his solo-material, and albums published under the BELLRINGER banner.

Regarding the signing, Mark comments: “I am delighted to be working with Season of Mist, and to be a part of their diverse and accomplished cabal. I’m also looking forward to a new chapter for my back catalog, as well as exploring new and uncharted sonic landscapes.”

MARK DEUTROM is a renowned guitarist, composer, songwriter, and producer. Mark studied composition at California Institute of the Arts in Valencia, USA. There he attended seminars with such composers as John Cage, Lou Harrison, Morton Feldman, Aaron Copland, and Morton Subotnick.

In 1986, MARK DEUTROM co-founded Alchemy Records in San Francisco, CA. During his time at the label he produced a record for his own band, CLOWN ALLEY, as well as records for scene stalwarts SACRILEGE, MELVINS, RKL, and NEUROSIS. Mark also released records for bands such as POISON IDEA, VIRULENCE, and more.

MARK DEUTROM was invited to play bass in the MELVINS in 1993. He joined the same year and remained in the band until 1998. Mark contributed material to the albums ‘Prick’, ‘Stoner Witch’, ‘Stag’, ‘Honky’, and additional releases. During his time with MELVINS, they toured with TOOL, NIRVANA, NINE INCH NAILS, KISS, and RUSH among others.

In 2006, MARK DEUTROM was invited to collaborate with SUNNO))) on various live dates in the USA and Europe.

Mark has released various solo projects and continues to produce for other bands.

Deutrom’s band BELLRINGER has served as the main live vehicle for his music and also collaborations with other musicians. BELLRINGER released their latest album ‘Jettison’ in 2016.

MARK DEUTROM will release his 6th solo album via Season of Mist in the coming winter.

www.markdeutrom.com
www.bellringeratx.com
www.facebook.com/BellringerTX
http://www.season-of-mist.com/
https://www.facebook.com/seasonofmistofficial
https://www.twitter.com/seasonofmist

Bellringer, Jettison (2016)

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Quarterly Review: Crippled Black Phoenix, Zed, Mark Deutrom & Dead, Ol’ Time Moonshine, Ufosonic Generator, Mother Mooch, The Asound, Book of Wyrms, Oxblood Forge, The Heavy Crawls

Posted in Reviews on January 2nd, 2017 by JJ Koczan

the obelisk winter quarterly review

Now having spanned multiple years since starting way back in 2016, this Quarterly Review ends today with writeups 51-60 of the total 60. I’ve said I don’t know how many times that I could go longer, but the fact of the matter is it would hit a point where it stopped being a pleasant experience on my end and I’d rather keep things fun as much as possible rather than just try to cram in every single release that ever came my way. Make sense? It might or it might not. I can’t really decide either. From the bottom of my heart though, as I stare down the final batch of records for this edition of the Quarterly Review, I thank you for reading. Let’s dive in.

Quarterly Review #51-60:

Crippled Black Phoenix, Bronze

crippled black phoenix bronze

Nine albums and just about 10 years on from their 2007 debut, A Love of Shared Disasters, the UK’s Crippled Black Phoenix arrive on Season of Mist with the full-length Bronze and remain as complex, moody and sonically resolute as ever. If we’re lucky, they’ll be the band that teaches a generation of heavy tone purveyors how to express emotion in songwriting without giving up the impact of their material, but the truth is that “Champions of Disturbance (Pt. 1 & 2),” “Deviant Burials,” “Scared and Alone” and take-your-pick-from-the-others are about so much more depth than even the blend of “heavy and moody” conveys. To wit, the spacious post-rock gaze of “Goodbye Then” gives a glimpse of what Radiohead might’ve turned into had they managed to keep their collective head out of their collective ass, and the penultimate “Winning a Losing Battle” pushes through initial melancholia into gurgling, obtuse-but-hypnotic drone before making a miraculous return in its finish – then closer “We are the Darkeners” gets heavy. Multi-instrumentalist, founder and chief songwriter Justin Greaves is nothing shy of a visionary, and Bronze is the latest manifestation of that vision. One doubts it will be the last.

Crippled Black Phoenix on Thee Facebooks

Season of Mist website

 

Zed, Trouble in Eden

zed trouble in eden

Nothing shy about Trouble in Eden, the third full-length from San Jose heavy rockers Zed and second for Ripple Music. From its hey-look-guys-it’s-a-naked-chick cover to the raw vocal push from Pete Sattari –which delves into more melodic fare early on “The Only True Thing” and in rolling closer “The Mountain,” but keeps mostly to gruff grown-up-punker delivery throughout – the 10-tracker makes its bones in cuts like “Blood of the Fallen” and the resonant hook of “Save You from Yourself,” which are straightforward in intent, brash in execution and which thrive on a purported “rock the way it should be” mentality. Well, I don’t know how rock should be, but ZedSattari, guitarist Greg Lopez, bassist Mark Aceves and drummer Rich Harris – play to classic structures and seem to bring innate groove with them wherever they go on the album, be it the one-two punch of “High Indeed” and “So Low” or the Clutch-style bounce in the first half of “Today Not Tomorrow,” which leaves one of Trouble in Eden’s most memorable impressions both as a song and as a summary of their apparent general point of view.

Zed on Thee Facebooks

Ripple Music website

 

Mark Deutrom & Dead, Collective Fictions Split LP

mark deutrom dead collective fictions

Limited to just 200 copies on We Empty Rooms and Gotta Groove Records, the Collective Fictions split 180g LP between Melbourne noise duo Dead and Mark Deutrom (Bellringer, Clown Alley, ex-Melvins) is a genuine vinyl-only release. No digital version. That in itself gives it something of a brazen experimentalism, never mind the fact that one can barely tell where one track ends and the next track starts. Purposeful obscurity? Maybe. It’s reportedly one of a series of four LPs Dead are working on for the next year-plus, and they present two cuts in “Masonry” and “In the Car,” moving through percussion and mid-range drone to build a tense jazz on the former as drummer Jem and bassist Jace make room for the keys and noise of BJ Morriszonkle, which continue to play a prominent role in “In the Car” as well, which is also the only inclusion on Collective Fictions to feature vocals, shortly before it rumbles and long-fades snare hits to close out Dead’s side of the LP, leaving Deutrom – working here completely solo – thoroughly dared to get as weird as he’d like. An opportunity of which he takes full advantage. Over the course of four tracks, he unfurls instrumentalist drone of various stripes, from the nighttime soundscaping of “The Gargoyle Protocol,” which seems to answer the percussive beginning of Dead, through the spacier reverb loneliness of “Presence of an Absence,” like a most pastoral, less obtuse Earth, dreamy but sad in a way that denotes self-awareness on the part of the title, or at very least effective evocation thereof. Likewise, “Bring the Fatted Calf,” with its gong hits, Master Musicians of Bukkake-style jingling and minimalist volume swells, is duly ritualistic, which makes one wonder what the prog-style keys at the open of “View from the Threshold” are looking at. Deutrom moves through that side-closer patiently but fluidly and ends at a drone, tying up Collective Fictions as something of a curio in intent and execution. By that I mean what seems to have brought the two parties together was a “Hey, wanna get weird?” impulse, but each act makes their own level and then works on it, so hell yes, by all means, get weird.

Mark Deutrom website

Dead website

 

Ol’ Time Moonshine, The Apocalypse Trilogies

ol time moonshine the apocalypse trilogies

Any record that starts with a narration beginning, “In the not too distant future…” is going to find favor with my MST3K-loving heart. So begins The Apocalypse Trilogies: Spacewolf and Other Dark Tales, the cumbersomely-named but nonetheless engaging Salt of the Earth Records debut full-length from Toronto’s Ol’ Time Moonshine, whose 2013 The Demon Haunted World EP (review here) also found favor. The burl-coated outing is presented across three chapters, each beginning with its own narration and comprising three subsequent tracks – trilogies – tying into its theme as represented in the cover art by vocalist/guitarist Bill Kole, joined in the band by guitarist Chris Coleiro, bassist John Kendrick and drummer Brett Savory. They shift into some more complex fare on the instrumental “Lady of Light” before the final chapter, but at its core The Apocalypse Trilogies remains a (very) heavy rock album with an undercurrent of metal, and whatever else Ol’ Time Moonshine bring to it in plotline, they hold fast to songwriting as the most crucial element of their approach.

Ol’ Time Moonshine on Thee Facebooks

Salt of the Earth Records webstore

 

Ufosonic Generator, The Evil Smoke Possession

ufosonic generator the evil smoke possession

Italian four-piece Ufosonic Generator (also stylized as one word: UfosonicGenerator) make themselves at home straddling the line between doom and classic boogie rock on what seems to be their debut album, the eight-track The Evil Smoke Possession, released through Minotauro Records. Marked out by the soaring and adaptable vocals of Gojira – yup – the band offer proto-metal shuffle on shorter early cuts “A Sinful Portrait” and the rolling nod of “At Witches’ Bell,” but it’s the longer pairing of “Meridian Daemon” (7:47) and “Silver Bell Meadows” (6:53) on which one finds their brew at highest potency, sending an evil eye Cathedral’s way without forgetting the Sabbathian riffery that started it all or the Iron Maiden-gallop it inspired. They cap with the suitable lumber of their title-track and pick up toward the finish as if to underscore the dueling vibes with which they’ve been working all along. Ultimately, the meld isn’t necessarily revolutionary, but it does pay homage fluidly across The Evil Smoke Possession’s span, and as a debut, it sets Ufosonic Generator forward with a solid foundation on which to progress.

Ufosonic Generator on Thee Facebooks

Minotauro Records on Bandcamp

 

Mother Mooch, Nocturnes

mother mooch nocturnes

Issued digitally in late-2015 and subsequently snagged for a 2016 vinyl issue through Krauted Mind, Nocturnes is the debut full-length from Dublin five-piece Mother Mooch, and in its eight tracks, they set their footing in a genre-spanning aesthetic, pulling from slow-motion grunge, weighted heavy rock, psychedelic flourish and even a bit of punk on the shorter, upbeat “My Song 21” and “L.H.O.O.Q.” Those two tracks prove crucial departures in breaking up the proceedings and speak well of a penchant on the part of vocalist Chloë Ní Dhúada, guitarists Sid Daly (also backing vocals) and Farl, bassist Barry Hayden and drummer Danni Nolan toward sonic diversity. They bring a similar sensibility to the closing Lead Belly cover “Out on the Western Plain” as well, whereas cuts like opener “This Tempest,” “Into the Water” and “Misery Hill” work effectively to find a middle ground between the stylistic range at play. That impulse, seemingly innate to their songraft, is what will allow them to continue to develop their personality as a band and is not to be understated in how pivotal it is to this first LP.

Mother Mooch on Thee Facebooks

Krauted Mind Records website

 

The Asound, The Asound

the asound self titled

To my knowledge, this only-70-pressed five-song tape release is the second self-titled EP from off-kilter North Carolina heavy rockers The Asound following a three-songer back in 2011 (review here). Offered by Tsuguri Records, the new The Asound starts with its longest track (immediate points) in the 6:54 “Moss Man” and touches on earliest, most righteous High on Fire-style brash, but holds to its own notions about what that that blend of groove and gallop should do. Through splits with Flat Tires (review here), Magma Rise (review here), Lenoir Swingers Club (review here) and Mark Deutrom (review here), the trio of Guitarist/vocalist Chad Wyrick, bassist Jon Cox and drummer Michael Crump have always had an element of the unpredictable to their sound, and that’s true as centerpiece “Human for Human” revives the thrust of the opener coming off “Controller”’s less marauding rhythm, but the sludgy rollout and later airy lead-work of “Pseudo Vain” and chugging nod of closer “Throne of Compulsion” speaks to the consciousness at play beneath the unhinged vibes that’s been there all along. They’ve sounded ready for a while to make a full-length debut. They still sound that way.

The Asound on Thee Facebooks

Tsuguri Records website

 

Book of Wyrms, Sci-Fi/Fantasy

book of wyrms sci-fi fantasy

Immediate bonus points to Richmond, Virginia’s Book of Wyrms for titling a track on their full-length debut “Infinite Walrus,” but with the Garrett Morris-recorded tones they proffer with the seven-song/53-minute Sci-Fi/Fantasy (on Twin Earth Records), they don’t really need bonus points. The five-piece of vocalist Sarah Moore Lindsey, six-stringers Kyle Lewis and Ben Coudriet, bassist Jay Lindsey and drummer Chris DeHaven mostly avoid the sounding-like-Windhand trap through stretches of upbeat tempo, theremin and other noise flourish, and harmonies on guitar, but they’re never far from an undercurrent of doom, as opener “Leatherwing Bat” establishes and the long ambient midsection and subsequent nod of centerpiece “Nightbong” is only too happy to reinforce. “All Hallows Eve” gets a little cliché with its samples, but the dueling leads on 11-minute closer “Sourwolf” and included keyboard noise ensure proper distinction and mark Book of Wyrms as having come into their first long-player with a definite plan of action, which finds them doing well as a showcase of potential and plenty immersive in the here and now.

Book of Wyrms on Thee Facebooks

Twin Earth Records on Bandcamp

 

Oxblood Forge, Oxblood Forge

oxblood forge self-titled

Despite the sort of cross-cultural ritualism of its cover art, Oxblood Forge’s self-titled debut EP has only the firmest of ideas where it’s coming from. The Whitman, Massachusetts-based five-piece boasts former Ichabod vocalist Ken MacKay as well as bassist Greg Dellaria from that band, and guitarist Robb Lioy (also in Four Speed Fury with MacKay) alongside guitarist Josh Howard and drummer Chris Capen, and in a coherent, vigilantly straightforward five-tracker they touch on aggressive fare in “Lashed to the Mast” as their Northeastern regionalism would warrant – we’re all very angry here; it’s the weather – and demonstrate a knack for hooks in “Inferno” and “Sister Midnight,” the latter blending screams and almost Torche-style melodies over clam chowder riffing before closer “Storm of Crows” opens foreboding with Dellaria’s bass and moves into the short release’s nastiest fare, MacKay sticking to harsher vocals as on the earlier “Night Crawler,” but in a darker instrumental context. They set a range here, and might be feeling things out in terms of working together as this band, but given the personnel involved and their prior familiarity with each other, it’s hard to imagine that if a follow-up is in the offing it’ll be all that long before it arrives. Consider notice served.

Oxblood Forge on Thee Facebooks

Oxblood Forge on Bandcamp

 

The Heavy Crawls, The Heavy Crawls

the heavy crawls self-titled

Ukrainian trio The Heavy Crawls set out as a duo called just The Crawls and released a self-titled debut in 2013 that was picked up in 2015 by ultra-respected German imprint Nasoni Records. Under the new moniker, they get another stab at a first album with the 10-track/42-minute classic rocker The Heavy Crawls, the three-piece of founding guitarist/bassist/keyboardist/vocalist Max Tovstyi, drummer Inessa Joger and keyboardist/vocalist/percussionist Iryna Malyshevska evoking spirited boogie and comfortable groove on “She Said I Had to Wait” and the handclap-stomping “Girl from America.” Elements of garage rock show up on “Too Much Rock ‘n’ Roll” and the soul-swinging “I Had to Get Away,” but The Heavy Crawls are more interested in establishing a flow than being showy or brash, and the payoff for that comes in eight-minute closer “Burns Me from Inside,” which stretches out the jamming sensibility that earlier pieces like the organ-laced “One of a Kind” and the staccato “Friday, 13th” seem to be driving toward. Some growing to undertake, but the pop aspect in The Heavy Crawls’ songcraft provides intrigue, and their (second) debut shows a righteous commitment to form without losing its identity to it.

The Heavy Crawls website

The Heavy Crawls on Bandcamp

 

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Bellringer Release Jettison in August

Posted in Whathaveyou on June 24th, 2016 by JJ Koczan

As announced last month, Austin’s Bellringer will make their full-length debut this summer. In addition to that release on Rock is Hell, Bellringer mainman Mark Deutrom will have a vinyl split with Australia’s Dead tomorrow. So what’s new? Well the title of that Bellringer offering is Jettison — presumably calling it “release” would’ve been too straightforward — and two Melvins records that Deutrom played bass on, Stag and Stoner Witch, will be reissued tomorrow on Third Man Records. And that’s enough for me.

The PR wire has it like this:

bellringer

BELLRINGER: Texas Act Formed By Ex-Melvins/Clown Alley Guitarist Mark Deutrom To Issue Jettison LP Via Rock Is Hell In August

Austin, Texas-based BELLRINGER, founded by guitarist/vocalist Mark Deutrom, has completed the brand new Jettison LP, and is preparing for it to strike this August through Rock Is Hell.

The live vehicle for the music of Deutrom – formerly of West Coast hardcore punk outfit, Clown Alley, and Prick/Stoner Witch/Stag/Honky-era Melvins, and others – BELLRINGER currently also embodies the contributions of musicians James Flores, Aaron Lack, Monique Ortiz, and Brian Ramirez. Recorded in Austin earlier this year, the outfit’s swanky new Jettison album was fully written and produced by Deutrom. The six expansive tracks traverse an immense volume of genre territory with nearly forty minutes of action, fusing elements of psychedelic and exploratory rock with bluesy and jazzy jam elements, all coalescing in the signature Mark D style. Outer-cosmos radioactive dust cloud soundscapes go head-to-head with lush, organic, earthling grooves, while a quirky edge stimulates hallucinations of animated characters colonizing psychedelic parallel existences.

Partnering once again with trusty label counterpart Rock Is Hell, who also released Deutrom’s Brief Sensuality & Western Violence LP+7″, Ruckus Juice 12″, The Value Of Decay 2xLP, as well as titles from his wife Jennifer Deutrom, Burmese, Bulbul, Shit & Shine, and others, BELLRINGER’s Jettison LP will see release am an offset/hand-screened limited edition LP and digital download on August 1st. Stand by for the cover art, audio samples, a video trailer, an official video, preorders, and more as the LP nears release in the coming weeks.

In related news, Mark Deutromhas a split LP with Australian outfit DEAD which sees release on WeEmptyRooms Records this Friday, June 24th, the release limited to 250 copies on 180g vinyl with a hand-screened cover. This will be a vinyl only release, with no digital available in any form. A promo video is available HERE, and is the only way to hear any audio from the release online. The preorder is up HERE for USA customers, and HERE for Australia/Oceania customers.

Additionally, this Friday, June 24th, Third Man Records is reissuing the classic Melvins titles, Houdini, Stoner Witch, and Stag, the latter two of which Deutrom performed on, which sees any of these albums being pressed on vinyl for the first time in over two decades; preoreders are live HERE.

BELLRINGER Live:
7/22/2016 Andy’s Bar – Denton, TX
8/19/2016 Curtain Club – Dallas, TX
9/03/2016 Bang Bang Bar – San Antonio, TX

http://markdeutrom.com
http://markdeutrom.bandcamp.com
http://soundcloud.com/mark-deutrom
http://rockishell.bigcartel.com

Mark Deutrom & Dead, Split LP teaser

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