Ripple Music Announce 10-Year Anniversary Party in San Francisco

Posted in Whathaveyou on March 5th, 2020 by JJ Koczan

ripple music 10th anniversary party banner

10 years of Ripple Music is nothing to sneeze at. I could rattle off a list of albums they’ve issued over that time, but frankly, I think you’re probably already doing that in your head. Bands like Mos Generator, Mothership, Wo Fat, from Stubb to Salem’s Bend, Ape Machine to Zed, they’ve shown a rare consistency of mission and quality that’s helped establish them as the standard bearers of straight-ahead heavy.

They’ll do it up in grand fashion in San Francisco at Brick and Mortar for two nights on June 12 and 13. It’s the release show for the new Wino album, the original lineup of Mos Generator is reuniting to play Nomads, The Watchers are celebrating an upcoming live release, and Mothership and Wo Fat are both rolling in from Texas to headline the second night. That’s a goddamn party, is what it is. And of course there’s more, but if you’re not gonna be there, I wouldn’t want to make you sad by continuing on.

Here’s everything:

ripple music 10th anniversary party

A Decade of Doom: Ripple Music Ten Year Anniversary Party – June 12 & 13

Brick & Mortar Music Hall – 1710 Mission St, San Francisco, California

Ripple Music is celebrating a full Decade of some of the best Stoner, Doom and Heavy Psych on the planet and you’re invited! There’s so much going on here it’s hard to put it all into words, but how’s:

1) The reunion of the original Mos Generator to play their Ripple release “Nomads” in its entirety
2) Wino album release party for the legend’s new acoustic LP
3) The Watchers release party for their new Live recording, High and Live
4) Some of Ripple’s best and heaviest bands
5) Exclusive sneak peek of a clip from the upcoming animated full-length Planet of Doom movie, with a meet and greet with the creators
6) Entire event MC’d by Chasta from 107.7 The Bone!
7) Exclusive Ripple, Band, and Planet of Doom merch
8) Charity auctions of signed drumheads,
9) special VIP entry (only 10 per night) which includes attendance at sound check, 2 posters and exclusive merch, and tons more planned!

FREE Limited Edition 10- ear anniversary compilation CD given to every ticket holder at the door!

A once in a lifetime event.

Friday
Mos Generator (Nomads album in it’s entirety)
Wino (album release show)
Ape Machine
The Watchers (album release show)
Blackwulf
The Ghost Next Door

Saturday
Mothership (exclusive California Appearance)
Wo Fat (exclusive California Appearance)
ZED
Salem’s Bend
Lowcaster
Plainride (from Germany)

Both nights will feature the world-premiere clip from the upcoming, full length animated feature film Planet of Doom. Meet the creators.

TICKETS INCLUDING SPECIAL VIP PASSES AVAILABLE AT: https://www.ticketweb.com/event/a-decade-of-doom-ripple-brick-and-mortar-music-hall-tickets/10489655?pl=brickmortarshp

https://www.facebook.com/theripplemusic/
ripplemusic.bandcamp.com
http://www.ripple-music.com/

Mos Generator, Nomads (2012)

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The Electric Highway 2020: Full Lineup & Pre-Party Announced

Posted in Whathaveyou on February 12th, 2020 by JJ Koczan

the electric highway poster

Last time, when The Electric Highway 2020 called out its preliminary lineup, I decided to roll with calling it the inaugural-ish edition of the Calgary-based festival, as it’s grown out of the 420 Music & Arts Festival of years prior, but still, there’s no question they’re doing it up for the occasion of the new name and presentation. Poster art by none other than David Paul Seymour has been unveiled, Mothership have joined on with Sasquatch, Wo Fat and Duel near the top of a Texas-dominant lineup — Sasquatch being the outlier geographically — and a pre-show has been announced with Seattle’s Year of the Cobra crossing the border to headline. These updates would seem to complete the proceedings as they’ll proceed, but of course April’s still a couple months out and you know, subject to change and all that. Still, it looks like a pretty badass time if you can make it.

Info came down the PR wire:

Festival Line-Up Announced! All Roads Lead To The Electric Highway In Calgary, AB, Canada!

Buckle up for The Electric Highway Festival, two days of killer bands, rad artists and fuzzy vibes April 17 & 18, 2020 at the historic Royal Canadian Legion #1 in downtown Calgary, Alberta, Canada.

The Electric Highway Festival has completed its lineup with the addition of the mighty Mothership from Dallas, Texas. The Supersonic Intergalactic Heavy Rock trio’s goal from the beginning has been to carry on the tradition of the classic rock style of the ’70s, updated and amped up for the modern-day. Mothership have created a unique sound that satisfies like a steaming hot stew of UFO and Iron Maiden, blended with the southern swagger of Molly Hatchet and ZZ Top, paired with a deadly chalice of Black Sabbath. Do not miss this chance to hop on board and join Mothership as they tear across the Universal Cosmos!

The Electric Highway Festival has also added Vancouver’s Empress to the lineup. Both Mothership and Empress will be performing at the festival on Saturday, April 18, 2020. That brings the total number of bands performing during the festival to 22.

The Electric Highway Festival is excited to release its official artwork created by the renowned dark surreal artist David Paul Seymour. David Paul Seymour is an internationally known illustrator based in Minneapolis, MN who has created artwork for Municipal Waste, Conan, Mastodon as well as Shadow Weaver and Wo Fat who are both performing at The Electric Highway Festival in 2020. David Paul Seymour is also a driving force behind The Planet of Doom, an Animated Tale of Metal and Art and the creator of the Kumasan comic series.

The rest of the 2020 lineup brings an electric offering of North American bands featuring headliners Sasquatch and Wo Fat laying down their brand of fuzzy, kick-ass Desert Rock & Heavy Psych. Duel from Austin, Texas will be playing Canada for the 1st time at The Electric Highway Festival along with Hippie Death Cult & LáGoon both from Portland, Oregon. Festival favorites La Chinga return from Vancouver for their 4th appearance and Calgary’s Gone Cosmic & Buzzard from Victoria, BC are just a few more of the wicked bands that will be playing on two stages over the two days of The Electric Highway Festival, the full lineup below.

The Electric Highway Official Lineup:
Sasquatch (Los Angeles, CA)
Wo Fat (Dallas, TX)
Mothership (Dallas, TX)
Duel (Austin, TX)
La Chinga (Vancouver, BC)
Gone Cosmic (Calgary, AB)
Hippie Death Cult (Portland, OR)
LáGoon (Portland, OR)
Buzzard (Victoria, BC)
Chunkasaurus (Victoria, BC)
Bazaraba (Calgary, AB)
Shadow Weaver (Calgary, AB)
Father Moon (Calgary, AB)
Set & Stoned (Crossfield, AB)
Row of Giants (Calgary, AB)
Hemptress (Kamloops, BC)
Pink Cocoon (Montreal, QC)
The Sleeping Legion (Winnipeg, MB)
The Basement Paintings (Saskatoon, SK)
Empress (Vancouver, BC)
Locutus (Calgary, AB)
The Worst (Calgary, AB)

The Electric Highway Festival is also getting the whole thing started with a Kick-Off Party on Thursday, April 16th, 2020 at The Palomino Smokehouse & Social Club. This killer line up features Seattle powerhouse psychedelic doom duo Year of the Cobra as they return to Calgary. They will be joined by Calgary’s Bloated Pig, Outlaws of Ravenhurst, and newcomers Falcotron along with Red Deer’s Smoothsayer.

2 Day Festival Pass holders can pick up their wristbands a day early at The Electric Highway Festival Kick-Off Party. This event will be free for festival pass holders or $13 at the door for non-pass holders. (Space is limited so make sure to get their early!) Pre-order merch sales will also be available for pick up at this event too. Beat the lineup and come for some bands, beer & BBQ at the Pal!

The Electric Highway 2020 —> www.facebook.com/events/1346173098884903/
The Electric Highway Kickoff Party—> www.facebook.com/events/809469542830729/
The Electric Highway Pinball Tournament —> www.facebook.com/events/2408742202725992/
The Electric Highway Arts Expo & Market —> www.facebook.com/events/476224713238363/

“All Roads Lead to the Electric Highway”

www.facebook.com/ElectricHighwayFestival/
www.instagram.com/TheElectricHighway
www.TheElectricHighway.ca

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Psycho Las Vegas Announces Complete 2020 Lineup; Danzig, Mercyful Fate & Emperor Headlining

Posted in Whathaveyou on January 30th, 2020 by JJ Koczan

Psycho Las Vegas 2020 banner style

Danzig doing the Lucifuge record, plus Emperor and Mercyful Fate on US exclusives. In the age of spectacle, Psycho Las Vegas stands apart from its otherwise-might-be peers. There’s a method to all this madness. A plan in action. These people aren’t stupid — this isn’t a stupid lineup, unless you mean “stupid” in an emphatic sense. That’s what Psycho Las Vegas is: emphasis realized. The chaos is the mission. How could there be a more suitable complement to this year, this moment in human history? This is happening at a fucking casino. In Las Vegas. Do you understand what I’m telling you? Do you understand you surreal that is? Repulsion are playing a god damned casino. On a bill with The Flaming Lips and Katatonia. This is your brain on… fire, I guess?

A couple weeks ago — days ago? hours? I have no idea what day it is or why I should be expected to know; I’ve actually set an alarm to post this at the right time in an effort not to screw it up which I probably will anyhow — I happened to have some quick email correspondence with the souls behind the genre-consuming beast of a festival that is Psycho Las Vegas 2020 and I made my BIG PITCH for coverage. Want to know what it was? What it basically boiled down to was, “How about you guys bring me out to the festival and put me up for four days, I take a bunch of mushrooms, maybe go see some bands and write whatever the hell I want?”

Their answer was yes, so that’s my plan. I think Psycho deserves nothing less than me ranting about I don’t know probably cultural decay, self-hate manifest as pretentious judgmentalism, and not eating for four days? Yeah, that sounds good. I’ll go with that.

The schedule isn’t out yet, but it’s clearly a choose-your-adventure festival. For those seeing HOT TIPS from an internet influencer, you’re on the wrong goddamn site. I’m the guy who spent half his morning cleaning up animal piss at his mom’s house. I’ll say though that along with the gargantuan proportion of the headliners — come on, Danzig doing Danzig II is brilliant and you know it — and all the indie, emo and post-hardcore stuff that, yeah okay, I get it, the aughts were a thing for some people (not for me; was too drunk to remember any of it), it’s righteous to see such a huge event in addition to telling Coachella to suck its ass continuing to commit to the heavy underground. My chosen adventure will include but not be limited to placing priority on Lord Buffalo, Blackwater Holylight, Fatso Jetson (of course), Mothership (the context is too good to pass up), Hippie Death Cult and… yes… Katatonia. Because they’re the wintriest band ever and it’ll be 100 degrees. The most Psycho move ever would be to put them on the pool stage. Keeping my fingers crossed that’s how it works out. Shit, put Mayhem out there while we’re at it.

That’s all provided I’m not too out of my mind to leave the hotel room.

Here’s a poster and words in blue. See you there, sort of:

PSYCHO LAS VEGAS 2020 – COMPLETE LINEUP

DANZIG (Celebrating 30 years of “Lucifuge”)
MERCYFUL FATE (2020 USA Exclusive)
EMPEROR (2020 USA Exclusive)
THE FLAMING LIPS
BLUE OYSTER CULT
DOWN (Celebrating 25 years of “Nola”)
BLACK REBEL MOTORCYCLE CLUB
TY SEGALL
WARPAINT
MAYHEM
SATYRICON
WATAIN
BLONDE REDHEAD
HEALTH
OBITUARY
ULVER (2020 USA Exclusive)
KATATONIA
AT THE GATES
POISON THE WELL
TSOL
CROWBAR
EXHORDER
WOLVES IN THE THRONE ROOM
THURSDAY
PINBACK
ZOLA JESUS
DRAB MAJESTY
BORIS
KING DUDE
PAUL CAUTHEN
AMIGO THE DEVIL
EYEHATEGOD
PIG DESTROYER
REPULSION
IMMOLATION
MIDNIGHT
MGLA
WINDHAND
CURSIVE
BRUTUS
PROFANATICA
LOWER DENS
BLACK JOE LEWIS
INTRONAUT
BOYSETSFIRE
DEATH BY STEREO
CURL UP AND DIE
ADAMANTIUM
THIS WILL DESTROY YOU
KHEMMIS
MOTHERSHIP
GUANTANAMO BAYWATCH
DENGUE FEVER
KAELAN MIKLA
BLACKWATER HOLYLIGHT
FATSO JETSON
WINO (ACOUSTIC)
CREEPING DEATH
MEPHISTOFELES
FRANKIE AND THE WITCH FINGERS
TOKE
FOIE GRAS
FLAVOR CRYSTALS
SILVERTOMB
LORD BUFFALO
WARISH
ALMS
BOMBERS
GLACIAL TOMB
RELAXER
HIPPIE DEATH CULT
VAELMYST
MOTHER MERCURY
DJ SCOTT SELTZER

Psycho Entertainment & MGM Entertainment present PSYCHO SWIM

Lineup:
OLD MAN GLOOM
ELDER
THE SKULL
DEATH VALLEY GIRLS
BLACKWATER HOLYLIGHT
HERE LIES MAN
POLYRHYTHMICS
DJ SCOTT SELTZER

Tickets for PSYCHO LAS VEGAS as well as the PSYCHO SWIM pre-party, which requires a separate ticket from the main festival pass, are on sale now!

Tickets for all PSYCHO LAS VEGAS events can be purchased at VivaPsycho.com or AXS.com.

https://www.facebook.com/events/3255628101138593/
http://www.vivapsycho.com
http://www.facebook.com/psychoLasVegas
http://www.instagram.com/psycholasvegas

Danzig, Danzig II: Lucifuge (1990)

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The Obelisk Show on Gimme Radio Recap: Episode 19 (Maryland Doom Fest Special)

Posted in Radio on July 22nd, 2019 by JJ Koczan

the obelisk show banner

Yeah, I know, Maryland Doom Fest 2019 was like a month ago. Quit livin’ in the past and all that. Well, this show was supposed to air July 5, so whatever. It got pushed back because apparently July 4 is some kind of holiday now — what.ever. — and it was kicked down the line to two weeks later with re-runs on in the interim. Did anyone notice? Did anyone care? I did. But I’m glad to have had the chance to pay homage to MDDF one way or the other, since it was such a killer time and boasted a lineup of so many good bands.

Of course I had to lead off with Beelzefuzz and Foghound, two staples of the Frederick diet, and the show unfolds from there with new stuff from Zed and Lo-Pan and Kings Destroy amid the likes of Devil to Pay and Earthride and Backwoods Payback and Greenbeard. I made sure to put Solace and Freedom Hawk and Horehound and Toke and Witchkiss in here because their sets were particularly righteous — not to mention Year of the Cobra! — and in addition to representing the headliners in Conan, Mothership and Earthride, I had to include WarHorse since their reunion set was something so particularly special and such a huge part of the festival.

For those who didn’t hear the show, Gimme Radio runs the ‘Gimme Brigade’ which you can sign up for. I think it’s $5 a month or something like that, but you get access to their full archive and help them with hosting costs, etc., so fair enough. If you got to hear this one, thanks. If not, the basic point of the thing was that Maryland Doom Fest 2019 kicked ass, which I sincerely hope also came across in the reviews.

Here’s the full playlist:

The Obelisk Show – 07.19.19

Beelzefuzz All the Feeling Returns Beelzefuzz (2013)
Foghound Known Wolves Awaken to Destroy (2018)
Zed Chingus Volume*
Lo-Pan Savage Heart Subtle*
BREAK
Devil to Pay Ten Lizardmen and One Pocketknife Fate is Your Muse (2013)
Kings Destroy Yonkers Ceiling Collapse Fantasma Nera*
Earthride Vampire Circus Vampire Circus (2005)
Witchkiss Seer The Austere Curtains of Our Eyes (2018)
Year of the Cobra Cold Burn Your Dead (2017)
BREAK
Solace Khan (World of Fire) The Black Black (2007)
Backwoods Payback Whatever Future Slum (2018)
Toke Blackened Orange (2017)
Greenbeard WCCQ Onward, Pillager (2018)
Conan Battle in the Swamp Monnos (2012)
Apostle of Solitude Ruination Be Thy Name From Gold to Ash (2018)
The Age of Truth Come Back a God Threshold (2017)
BREAK
Horehound Dier’s Dirge Holocene (2018)
Freedom Hawk Danger Beast Remains (2018)
Mothership Midnight Express High Strangeness (2017)
Warhorse Lysergic Communion As Heaven Turns to Ash (2001)

The Obelisk Show on Gimme Radio airs every other Friday at 1PM Eastern, with replays every Sunday at 7PM Eastern. Next show is Aug. 2. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

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Live Review: Maryland Doom Fest 2019 Night One, 06.21.19

Posted in Reviews on June 22nd, 2019 by JJ Koczan

maryland doom fest 2019 night one

I shudder to think of the poor bastard who, when this weekend is over, will have to mop up all the melted eardrums from the floor of the Cafe 611. With the expansion this year to four days — because again, the pre-fest yesterday was essentially a full night of the festival; 2020 pre-party on Wednesday? — Maryland Doom Fest enters a whole new echelon of being physically overwhelming. By the time Mothership went on last night, I was feeling it. Hard. Mostly in my back. And granted, they ran late and had some technical trouble getting set up, but I have the feeling that even had they been on time, I still would’ve been dragging my keester like the anchor it is.

But if that’s the case, it’s only true because the day was so goddamn good. Apart from not being allowed into Guido’s to see Benthic Realm because I didn’t have ID — my driver’s license got lost, I have no idea where or when or how, just looked in my wallet a couple weeks back and it was gone and the new one hasn’t arrived yet — and I guess the male pattern baldness, gray hair, wrinkles under my eyes and stiff, loping movements weren’t enough to confirm my age. “Sorry sir, you’re right. I’m actually three 16-year-olds in disguise as one old dude.” I respect the diligence, and the dude was just doing his job, so after a “seriously?” that was 100 percent genuinely asking if he was being serious, I wasn’t gonna make a stink, but that was a surprise.

It was a bummer though. Krista from the band I think had on an Obelisk t-shirt yesterday, and Dan‘s a really good guy all the time and being as I won’t be in Massachusetts anymore, let alone Worcester where they’re from, it would’ve been cool to see them. Nobody’s evening is made or broken by my showing up, but I wish I had caught their set. That’s all. It’s been a while since I got carded. Doubly so because I don’t drink.

That was the only snafu though, and otherwise, it was a have-my-cake-while-eating-my-cake-and-your-cake-golly-cake-is-good kind of evening as MDDF19 launched in earnest. It was a 6PM start, but the bill was stacked, so let me not waste time with tales of my own foibles.

Maryland Doom Fest 2019 night one:

False Gods

False Gods (Photo by JJ Koczan)

Oh they were mad. An angry start to the day to be sure. I give New York-based ultra-aggro five-piece crushers False Gods credit for coming up with the most excellent tagline, “If it’s too slow, you’re too young,” which is great, but for the most part, they actually moved at a pretty solid clip, taking aspects of post-hardcore and post-metallic intensity and putting them through a ringer of sludge riffs and tones, growls and screams cutting through. They’ve got a new two-song EP out called The Serpent and the Ladder, featuring, yes, “The Serpent” and “The Ladder,” and as frontman Mike Stack paced back and forth at the front of the Cafe 611 stage, his screams sometimes backed by growls from drummer Paulie Stack (let’s assume they’re related), the bass of Johnny Geirak offered density to underpin the more atmospheric elements of Greg March and Nick Luisi‘s guitars. A mid-set spaceout was welcome, but otherwise the chestbeating felt sincere and the impact of their sound was like a shock to the system. There would be no easing into the day, clearly. Welcome back to Maryland Doom Fest 2019. Now be pummeled.

The Druids

The Druids (Photo by JJ Koczan)

There’s another Druids, who are from Iowa and signed to The Company and who put an album out this year and made a bit of a splash with it. That’s not this The Druids, who are from here in Maryland and not signed to The Company but did put a record out in February called Totem (review here) that’s fully diggable in its blend of space and heavy rocks, a blend put to semi-psychedelic use in a we’re-actually-stoned stoner mindset. I had been looking forward to seeing them — not the least because Gary Isom (Spirit Caravan, last night with Weed is Weed, etc.) plays drums — and felt justified in that. Isom‘s pedigree notwithstanding, they’re young. And they sounded like it, guitarist/vocalists Eli Watson and Danny Alger and bassist Jeremy Dinges bringing a fresh energy to the material that, while not stylistically revolutionary, still benefited it greatly. Dave Davidson, who has worked the sound for every Maryland Doom Fest that I’ve been to, kept reminding them between songs how much time they had left, as though if he didn’t, they might get high and wander into a jam, never to return. Not great for keeping to a schedule, but I wouldn’t mind hearing that, either.

Kingsnake

Kingsnake (Photo by JJ Koczan)

Pro-shop, and I’m not honestly sure how much else needs to be said. Philadelphia’s Kingsnake kicked off a Pennsylvania threepeat on the Cafe 611 stage, and they did so with hard-edged, Southern-tinged heavy that seemed to roll out the funk of Clutch into a more forward drive. Hooks? They got hooks. Riffs? They got those too. And they deliver. I’ll always remember them for their roots in Sugar Daddie, but that was like 14 years ago now, so it’s safe to say in that time Kingsnake have come into their own, and what they bring is down-home heavy vibes, for the distinguished working gentleperson who, whether they’re sipping IPA or living the High Life, knows exactly what they want out of the experience. They marked the beginning of schedule collision between Cafe 611 and Guido’s Speakeasy, the second venue about 150 feet right on the next block (easy walk, nice to get a bit of non-doomfart air), but I caught both the beginning and the end of their set, and they killed it to a high standard. Their got-it-togetherness was well on display, and reportedly they’ve had new songs in the works for a while to follow 2016’s Resonance, so hopefully something comes out soon.

Spiral Grave

Spiral Grave (Photo by JJ Koczan)

I’ve been tracking the emergence of Spiral Grave since the band announced their existence in the earliest moments of this year, and my first opportunity to see them live wasn’t one I was about to pass up. I walked right into Guido’s no problem this time — also part of what made it such a surprise later — as Spiral Grave were still setting up, but by the time they went on, that room would be completely packed. Not that that’s saying much — the space is intimate, to put it mildly — but still. They opened with their first single, “Nothing” (premiered here) and proceeded to give the assembled a preview of things to come as they move toward their in-progress debut album. The amalgam of Iron Man and Lord — quintessential Maryland doom meets oft-experimentalist Virginian noise chaos — works. Guitarist Willy Rivera (the Lord contingent) has beefed up his riffing style to suit the grooves of bassist Louis Strachan and drummer Jason “Mot” Waldmann, and the underlying metallic sharpness in his work suits the vocals of Dee Calhoun well. They’ve been in my “look forward to more” category for a while. Only more the case after seeing them play. I wouldn’t be surprised if they were back here next year after the album release. Nor would I complain.

Backwoods Payback

Backwoods Payback (Photo by JJ Koczan)

Sometimes life is pretty sweet, like when Backwoods Payback plays. The West Chester, PA/Richmond, VA trio were here last year heralding the arrival of their Summer 2018 LP, Future Slum (review here), and it was only more of a pleasure to see them this time around because, you know, the more the merrier. Guitarist/vocalist Mike Cummings, bassist Jessica Baker and drummer Erik Larson have a reputation that precedes them here, and I don’t know if it was people who saw them at the last Maryland Doom Fest or who heard the record or what, but they packed the room out and had people singing along. Or maybe that was just me. Either way, they made highlights out of Future Slum cuts like “Pirate Smile” and “Whatever,” “Generals” and “Lines,” which closed out with its tense build, as well as what I’d swear was some even-newer stuff but was too ass-kicked afterwards to ask. If you’ve never seen them, their style is as much grown-up punk as it is ’90s-weird-kid, but it’s delivered with heft and heart that are second to no one, and they’re the kind of band who win people over. They didn’t have to do that at Cafe 611 — the room was on their side to start with — but the converted were plenty happy to hear them preach. There are very few bands I so much enjoy watching play.

The Age of Truth

The Age of Truth (Photo by JJ Koczan)

No easy feat to be sandwiched on a bill between Backwoods Payback and Year of the Cobra with Lo-Pan still to follow, but Philly’s The Age of Truth wrapped up the Keystone triad with an unequivocal mastery of West Coast-style heavy rock meeting Northeastern noise crunch and aggression. Also repeat offenders from last year (review here), they remain entrenched in their righteous 2017 debut, Threshold (review here), starting with the immediate lock-in nodder “Come Back a God” — which still reminds me of Dozer, in the best way — as frontman Kevin McNamara pointed up to the sky, or at least the ceiling, and guitarist Mike DiDonato, bassist Bill Miller and drummer Scott Fressetto behind him were in go-mode from the start. For a band who haven’t spent months on the road — they’ve done plenty of shows, but not really full-on toured, and I don’t know if they want to or not — they rose to the occasion in such a way as to make me wonder how that might tie into their next record, if the tightness of their live presentation will be mirrored in their songwriting or captured output. Whatever they might have planned in that regard, they sounded ready to move forward, and in what, again, was a difficult spot, they shone, indulging a bit of drank in the process.

Year of the Cobra

Year of the Cobra (Photo by JJ Koczan)

Looking at their setlist after they played, I felt way better about how few of Year of the Cobra‘s songs I recognized while they were on stage. The Seattle two-piece will release their second album later this year as their debut through Prophecy Productions — I’m not saying I’m holding a spot on my best-of-the-year list for it, but basically I am — and though they’ve toured hard to support 2016’s …In the Shadows Below (review here) and the subsequent 2017 EP, Burn Your Dead (review here), including just recently with Lord Dying, I’m embarrassed to say I’d never seen them before. That fact has been gnawing at me, so I was relieved when they went on, and all the more so when they absolutely leveled Cafe 611. They played “Cold” from the EP and “White Wizard” from the first record as well as the title-track of their first short release, 2015’s The Black Sun (review here), but everything else seemed to be new, titles like “Ash and Dust,” “The Divine” and “Into the Fray” scribbled out to represent a barrage of low-end tone, wash of crash and increasingly nuanced vocal melodicism from Amy Tung Barrysmith. With Jon Barrysmith on drums, they were a nation-of-two duo whose time on the road was obvious in their we-do-this-all-the-time vibe, and my only regret of the evening was not buying a shirt. That’s something I’ll rectify next time, and yes, there will be a next time.

Lo-Pan

Lo-Pan (Photo by JJ Koczan)

Come on, Lo-Pan. You know that scene in that one episode of The Simpsons from the ’90s where Homer joins not-Lollapalooza and Sonic Youth are there and they steal Peter Frampton’s watermelon? That’s like Lo-Pan stealing all the awesome and keeping it for themselves. As they absolutely tore exclusively into cuts from their new record, Subtle (review here), it was as though they were standing next to an empty cooler going, “Come on, Mr. Frampton! You’re not gonna eat all that watermelon!” It was my first time seeing them since they added guitarist Chris Thompson, which was a couple years ago now — look, I can’t make excuses; sometimes it’s hard being a human being, let alone leaving the house — and with their lightbars on the sides of his and bassist Scott Thompson‘s cabs, singer Jeff Martin in back giving a clinic in vocal dynamics and drummer Jesse Bartz bashing away up front, they did what Lo-Pan do: they destroyed. I don’t think I’ve seen them at any point in the last decade and not come out of it unable to name a more powerful American heavy rock band. I’ll catch them again in a couple months as they tour with C.O.C. and Crowbar — they’re doing a one-off in Teaneck, NJ; fuck yes — and I’m already looking forward to that. This is a band to treasure.

Pale Divine

Pale Divine (Photo by JJ Koczan)

So here’s the thing: Pale Divine just put out a record. Not this week, but last November they released their self-titled LP (review here), and as it was their first outing in six years, it’s totally unreasonable to think they might do another one anytime soon. Pale Divine doesn’t owe anyone anything. You know how the pre-fest was all the Stoner Hands of Doom bands? Well, okay. Pale Divine played that fest seven times, including the first one 20 years ago. But on the other hand… since the album came out, guitarist/vocalist Greg Diener, bassist/backing vocalist Ron “Fezz” McGinnis and drummer Darin McCloskey added Dana Ortt — who’ll also play his last show with Beelzefuzz this weekend — on guitar and vocals, and they’re just at another level for having done so. You could hear the harmonies between Diener and Ortt on vocals throughout their set, and the interplay on guitar was no less glorious. So yeah, Pale Divine, you don’t have to put out another record right this moment. Don’t feel obligated. But if you wanted to make that happen sometime in the less-than-six-years-from-now near future, I think it would really be for the best all the way around. The wax is barely dry on Pale Divine, so it’s not even fair to ask, but I’m asking anyway. Or at least a live record as a stopgap. I’d take a 7″. A demo tape. Something. Anything.

Mothership

Mothership (Photo by JJ Koczan)

You know why I like Mothership? They play both kinds of music: rock and roll. How are you gonna be dead on your feet when Mothership are playing? The Dallas power trio manifest the best of Texas’ heavy legacy and offer it up in kinetic fashion. Already this year they’ve toured with Death Angel, done a spot on the Heavy Psych Sounds Fest out on the West Coast, and been on the road with C.O.C. (review here), and that’s after doing Europe last Fall on a by-now-legendary stint with Elephant Tree and Stoned Jesus, so yeah, Mothership are basically on fire and after a late start owing to some non-intentional feedback and other technical whathaveyou, they played like it. They’ve basically been go-go-go since before the arrival of their 2017 third full-length, High Strangeness (review here), and their “Midnight Express” shows no signs of slowing. They’ve made themselves ambassadors for ’70s heavy without ever really dipping into retroism, and more than just ape what classic bands did before them, they take those lessons and push them forward onto new ground. I honestly don’t know when they would’ve had time to write a new LP or anything like that, but they seem to have a keen sense of how to keep their momentum going — spoiler: it’s by busting their collective ass — so I have to think they’ll get there sooner or later, if they can manage to stop long enough to hit record. Hard to imagine the tour offers stopping, frankly. I’ll admit I didn’t stay for the whole set, but even with the hiccup at the outset, there was no question they owned that room.

I guess it was like 2AM when I got back to the AirBNB? Something like that. I crashed quickly, even before pictures were done being transferred from my memory card, and slept until eight this morning. Saw nine bands on Thursday, 10 bands on Friday. Today’s Saturday and there are 11 at the Cafe 611 alone — more if I can manage to con my way back into the good graces of Guido’s — and that’s the busiest day of the thing. I am beat but upright, and very much in need of a shower. At least I got a toothbrush yesterday. Today’s need is Advil.

Good times, y’all. Thanks for reading. More pics after the jump.

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Corrosion of Conformity Announce Summer Tour with Crowbar, Lo-Pan & Quaker City Night Hawks

Posted in Whathaveyou on April 24th, 2019 by JJ Koczan

corrosion of conformity (Photo by JJ Koczan)

If it ain’t broke, don’t fix it. I can think of fewer tour pairings less broken than Corrosion of Conformity and Crowbar, who were out together co-headlining earlier this year on what turned out to be the first leg of a tour that will continue this July. Of particular note is the addition of Lo-Pan this time around, who’ll be out supporting their new record, Subtle. That record is a beast and they’ll no doubt bring an infusion of energy to the run as they provide support and Quaker City Night Hawks open. Starland Ballroom, you say? That’ll be just about the most Jersey shit ever, methinks. See you there.

Though I wouldn’t mind catching C.O.C. at the Psycho Swim party in Vegas either. Really I’ll take what I can get.

Dates follow from the pr IWRE:

corrosion of conformity crowbar lo pan tour

CORROSION OF CONFORMITY Announces North American Summer Headlining Tour With Crowbar + Band To Headline Psycho Las Vegas Pre-Party And More!

CORROSION OF CONFORMITY will kick off the second leg of their North American headlining tour this July. The A Quest To Believe, A Call To The Void II Tour will commence on July 26th in Poughkeepsie, New York and run through August 25th in Providence, Rhode Island. Support will be provided by their comrades in Crowbar as well as Lo-Pan and Quaker City Night Hawks. Tickets go on sale this Friday at all local ticket outlets.

CORROSION OF CONFORMITY will also play a special one-off show with country singer Cody Jinks next month in addition to festival appearances at Rocklahoma, Heavy MTL, KISW’s Pain In The Grass, and a headlining performance at Psycho Swim, Psycho Las Vegas’ annual pool-bound kick-off party where the band will be joined by Lucifer, Danava, ASG, Primitive Man, and more. In October, CORROSION OF CONFORMITY will appear on the inaugural MegaCruise alongside Megadeth, Anthrax, Testament, Overkill, and so many others with more shows to be announced in the months to come. See all confirmed dates below.

No Cross No Crown is available on CD, digital, vinyl, and cassette formats. Various order bundles are available at nuclearblast.com/coc-nocrossnocrown.

CORROSION OF CONFORMITY:
5/09/2019 Coyote Joe’s – Charlotte, NC w/ Cody Jinks
5/24/2019 Rocklahoma – Pryor, OK

w/ Crowbar, Lo-Pan, Quaker City Night Hawks:
7/26/2019 The Chance – Poughkeepsie, NY
7/27/2019 Westcott Theater – Syracuse, NY
7/28/2019 Heavy MTL – Montreal, QC *
7/29/2019 Dallas Nightclub – Kitchener, ON
7/31/2019 Mercury Ballroom – Louisville, KY
8/01/2019 Elevation – Grand Rapids, MI
8/02/2019 The Rave II – Milwaukee, WI
8/03/2019 KISW’s Pain In The Grass @ White River Amphitheatre – Auburn, WA *
8/05/2019 Deluxe @ Old National Centre – Indianapolis, IN
8/06/2019 Pop’s – Sauget, IL
8/07/2019 Slowdown – Omaha, NE
8/10/2019 Fox Theatre – Boulder, CO
8/11/2019 Mesa Theater – Grand Junction, CO
8/13/2019 Knitting Factory Concert House – Boise, ID
8/14/2019 The Complex – Salt Lake City, UT
8/15/2019 Psycho Swim @ Daylight Beach Club – Las Vegas, NV *
8/16/2019 Encore – Tucson, AZ
8/17/2019 Sunshine Theater – Albuquerque, NM
8/19/2019 Come And Take It Live – Austin, TX
8/21/2019 1904 Music Hall – Jacksonville, FL
8/22/2019 The Tarheel – Jacksonville, NC
8/23/2019 Elevation 27 – Virginia Beach, VA
8/24/2019 Starland Ballroom – Sayreville, NJ
8/25/2019 Fete Music Hall – Providence, RI
10/13/2019 MegaCruise 2019 – Los Angeles, CA *
* COC only

http://www.coc.com
http://www.facebook.com/corrosionofconformity
http://www.twitter.com/coccabal
http://www.nuclearblast.com
http://www.facebook.com/nuclearblastusa

Corrosion of Conformity, “Wolf Named Crow” official video

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Heavy Psych Sounds Fest USA Tour Announced with Red Fang, Yawning Man, Mothership, Fatso Jetson, Wo Fat, Duel and More

Posted in Whathaveyou on February 26th, 2019 by JJ Koczan

heavy psych sounds logo

I should’ve seen this one coming when Heavy Psych Sounds announced multiple venues for its Heavy Psych Sounds Fest this month in Europe — was it this weekend? — playing in three different cities with a changing lineup. Should’ve guessed this was going to be the direction it took. Even if I did though, I don’t think I’d have called a lineup badass enough to bring together Duel, Fatso JetsonNebulaGreenbeardHeavy TempleMothership and The Freeks. Among others. Heavy Psych Sounds has become a powerhouse in Europe, promoting bands through the label, booking tours, hosting its fest, whatever it might be. A US package tour under the banner of Heavy Psych Sounds Fest isn’t a small step, but it’s a natural one for an imprint that’s doing such crucial work.

I hope it all goes off without a hitch and they do it on the regular.

From the PR wire:

heavy psych sounds fest usa tour

Red Fang, Yawning Man, Mothership and more team up for inaugural HEAVY PSYCH SOUNDS FEST tour in the United States!

Influential heavy rock label HEAVY PSYCH SOUNDS expands its sphere into North America, with live shows in Los Angeles, San Francisco, Dallas and Austin.

Respected underground rock record label Heavy Psych Sounds is proud to announce the inaugural U.S. iteration of its ‘Heavy Psych Sounds Fest’ series. Set to kick off this May in Los Angeles (May 3), San Francisco (May 4-5), Dallas (May 10) and Austin, TX (May 11), the label tour will feature four separate mini-festivals in the four cities, each spotlighting an exclusive selection of Heavy Psych Sounds’ blue-chip roster, including live sets from trailblazing acts Fatso Jetson, Nebula and Yawning Man, as well as special guests Red Fang and more.

Headquartered in Rome, Italy, Heavy Psych Sounds specializes in presenting the best artists in the global heavy psych, doom, fuzz blues and space rock realms, and the Heavy Psych Sounds Fest series will be no exception, spotlighting the ever-growing label’s dedication to its craft. While the first HPS fests were held in Italy, the label has since extended its live reach into the UK, Belgium and the Netherlands with festivals in those territories. Now, Heavy Psych Sounds is set to bring the ROCK to the U.S. with the just-announced special shows. Each stop of the traveling festival tour will feature diverse lineups including both genre leaders and fast-rising acts, all ready to prove their place among the world’s best.

“Being able to finally launch the U.S. version of Heavy Psych Sounds Fest is a dream true,”says label owner Gabriele Fiori. “We’ve been working for a long time to properly break into the U.S. market and this is a clear sign that the hard work is paying off. We have so many great U.S. based bands on our roster that we needed this to happen for all of us. This tour run is a celebration of our growing U.S. presence, which we hope will keep continue to grow. We’re also very happy to have Red Fang as guests, headlining in two of the cities. We hope music fans will come out, support and enjoy these very special shows!”

HEAVY PSYCH SOUNDS FEST U.S. tour dates:

May 3 – Los Angeles, CA at The House of Machines
Red Fang (special guest) + Nebula + Yawning Man + Duel + Fatso Jetson + House Of Broken Promises

May 4 – San Francisco, CA @ Bottom of the Hill
Red Fang (special guest) + Yawning Man + Duel + The Freeks + Glitter Wizard

May 5 – San Francisco, CA @ Bottom of the Hill
Nebula + Hot Lunch + Fatso Jetson + Banquet + Turn Me On Dead Man

May 10 – Dallas, TX at Lola’s
Mothership + Duel + Ecstatic Vision + Crypt Trip + Wo Fat + Heavy Temple

May 11 – Austin, TX at The Lost Well
Duel + Ecstatic Vision + Mothership + Crypt Trip + Greenbeard + Wo Fat + Heavy Temple

Tickets for the Heavy Psych Sounds Fest shows in Los Angeles, Dallas and Austin are on sale now.
Tickets for the San Francisco HPS event will go on sale February 28.

https://www.facebook.com/HEAVYPSYCHSOUNDS
http://www.heavypsychsounds.com
https://heavypsychsoundsrecords.bandcamp.com

Nebula, “Giant” live at SonicBlast Moledo 2018

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Live Review: Corrosion of Conformity, Crowbar, The Obsessed & Mothership in Boston, 02.16.19

Posted in Reviews on February 18th, 2019 by JJ Koczan

Corrosion of Conformity (Photo by JJ Koczan)

Not every venue in the Boston metro area has been turned into yuppie-fuckbox condos as yet, and so it was with what felt like due urgency I crawled out of my hole in the frozen New England ground and headed to town to catch Corrosion of Conformity headlining on a four-band bill shared with Crowbar, The Obsessed and Mothership. That urgency would smash face-first into a hurry-up-and-wait half-hour of driving around the block of the Brighton Music Hall looking for a place to park, but I still made it in time to be there moments after doors opened. It was going to be a good night. The show was sold out, and rightly so.

The C.O.C. crowd is always an interesting mix. Metallers, rockers, stoners, boozers: mostly but not entirely dudes. As I leaned on the barrier waiting for the show to start, a father was telling his son about the bands playing. So one way or another, there were multiple demographics at play. The lineup would serve that well.

I was back and forth while the night played out, but even when I was standing off to the side of the stage in the kind of hallway to back bar, the sound was full and the production, lights, etc., were dead on. The short version is it was a joy to witness and I felt stupid lucky to be there, but of course there was more to it than that. Here’s how it went:

Mothership

Mothership (Photo by JJ Koczan)

Before Dallas trio Mothership went on at 7:30PM to launch the night, I overheard a guy telling his friend he knew nothing about the band. I didn’t look back after the band started to see, but no doubt he like the rest of the place had his ass blown out of the room by the classic rocking three-piece. Kelley Juett is a ’70s-style madman shredder on guitar, and his energy quickly became a catalyst for the crowd. With Kyle Juett holding down primary vocal duties and bass and Judge Smith behind on drums, Mothership were way less an “opening” band and way less of a “support” act than they were a warmup for the rest of the show to come. There was not a head in the room that was not into it by the time they were wrapping up “Angel of Death” from their 2012 self-titled debut (review here), and as it was their second time touring with C.O.C., they were pro-shop all the way through. Though this was my first experience seeing them live — something for which I’ve long been overdue — the impression I’ve gotten from all their work to-date has been they’re a live band, and they brought that to to the stage at the Brighton Music Hall. They’ve put in significant road time over the last half-decade-plus, and it showed. With Kelley and Kyle headbanging away and Smith twirling a drum stick every now and again, they were a reminder that rock and roll doesn’t have to be a joke to be a good time. Short set, but killer set. Killer band. Will see again as they headline the first night of this year’s Maryland Doom Fest.

The Obsessed

The Obsessed (Photo by JJ Koczan)

Theoretically, The Obsessed are touring behind their 2017 return album, Sacred (review here), which was their first record in more than two decades, but really, it feels like anytime you get to see The Obsessed, it’s less about any single album than the sheer groove that holds sway for however long their set might be. With the inimitable — not for others’ lack of trying — Scott “Wino” Weinrich as the founding principal on vocals and guitar, Brian Constantino on drums and Reid Raley (also Rwake) slow-headbanging on bass, The Obsessed came across way less as a reunion band than a working one. This was their first night of the tour — I’d thought they’d joined earlier, but nope — but if there was rust being shook off or anything like that, it didn’t show. Theirs was a different kind of presence from Mothership to coincide with the doom-infused sound, but songs like “Streetside” and “Neatz Brigade” are nothing short of landmarks and a significant chunk of the foundation of what one generally thinks of as “traditional doom,” so yes, I was glad to be there to bear witness. Standing by Raley‘s side of the stage, the floor shook from the low end, and each pulse of Constantino‘s kickdrum was easy to feel in the chest. Topped off with Wino‘s signature tone and blues-drenched solo style, it was less of an assault of volume than a celebration of it, and The Obsessed‘s legacy — coming up on 40 years since their first demo — remains utterly vital to the landscape of modern doom.

Crowbar

Crowbar (Photo by JJ Koczan)

Right down to business with “All I Had I Gave” opening the set, which was enough to get a heartfelt “fucking a” out of me. Founding guitarist/vocalist Kirk Windstein, as ever, introduced them by saying they were Crowbar from New Orleans, Louisiana, and as far as the room was concerned, there was no more explanation necessary. There was barely space to stand but somehow the crowd parted for a mosh, and the four-piece sludge progenitors ate it up, drummer Tommy Buckley making a bid for being the hardest-hitting of the evening through “To Build a Mountain” and “The Cemetery Angels,” which found him, Windstein, guitarist Matt Buckley and bassist Shane Wesley all locked into a massive, build-up-into-slowdown chug that had heads nodding front to back. They played nothing from 2016’s The Serpent Only Lies (review here), going only so far as “Walk with Knowledge Wisely” from 2014’s Symmetry in Black, but with “Planets Collide” and “Like Broken Glass” tucked together as a grand finale, I’m not sure there was anything more I’d have asked of them anyhow. As Crowbar celebrate 30 years, their history remains someplace between metal, sludge and even hardcore, but whatever genre elements one might want to tag, they are an act unto themselves, and with Windstein as the central figure, they pummeled and pounded Boston to a pulp of local sports logos, blown eardrums and sticky dried beer. This was the best I’d seen them in a while, and for being so perennially downtrodden, their spirits seemed awfully high.

Corrosion of Conformity

Corrosion of Conformity (Photo by JJ Koczan)

There wasn’t one act on this bill I wouldn’t call veteran, even if the degree to which that applies might vary. Still, there’s an unmistakable presence when C.O.C. takes the stage. It’s not just Pepper Keenan, either. From Woody Weatherman on one side of the stage to Mike Dean on the other, Corrosion of Conformity were unquestionably the headliners of what had already been a great night. They came on with “Stonebreaker” from 2005’s In the Arms of God and with Eric Hernandez on drums in place of Reed Mullin, they stomped and stormed through “Wiseblood” and the newer “Wolf Named Crow” from last year’s No Cross No Crown (review here) before making highlights of “Diablo Blvd.” from 2000’s undervalued America’s Volume Dealer and “Seven Days” from 1994’s ultra-landmark, Deliverance (discussed here), the 25th anniversary of which they’ll be celebrating later this year at least in Europe and probably also the US — they’ve already been announced for Freak Valley in Germany and one suspects more will come. “Vote with a Bullet,” even for being the first song Keenan fronted the band, seemed a little past its date in light of a culture of mass shootings, but it’s still catchy, and “Seven Days” reined in some of that vibe, while “Paranoid Opioid” reminded of the band’s punk roots and of course the final salvo of “Albatross” and “Clean My Wounds” served as reinforcement of the heavy Southern groove that’s helped make C.O.C. an institution for the last however many decades. After all the righteousness that preceded them, it was their show without question, and they delivered on any level of expectation and then some.

Special thanks to Liz Ciavarella-Brenner for hooking this one up, and thanks to you for reading. Many more pics after the jump.

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