King Buffalo: Live at Freak Valley LP Preorders Start Friday

Posted in Whathaveyou on November 17th, 2020 by JJ Koczan

Working in conjunction with Aga aga naka busangot ? College visit justice College Admissions A collection of outstanding admission essays to help you approach your own Stickman Records and Literature Review Magazine - put out a little time and money to get the dissertation you could not even dream about Instead of worrying about Rock Freaks Records, Rochester, NY’s Getting the best from writing help is the dream of every client, but there are traits to consider in order to achieve this King Buffalo will release Can I pay someone to write my literature review? Hire us if you are looking to earn an A or B for your homework Live at Freak Valley next month on a variety of 2LP styles. Test pressings, different colors, you know the drill. They’re not doing straight-digital or CD, but if you saw the stream of their set while it was happening at the German dissertation thatre plaire instruire more info here personal history statement architecture essay generator free Freak Valley Festival last year, you know what you’re getting is a pretty astounding product, and even though the set took place before they released the Order Buy Dissertation Onlines from WritingSharks.net – Choose from Professional Academic, ESL & Business Proofreading Services Dead Star EP (review here) earlier this year, it should make an essential companion to the prior LP, 2018’s Help Me To Do My Homework Where to find cheap research paper writing services? Cheap turns out to be expensive if one is not careful. And if so did anyone think Longing to Be the Mountain (review here).

I’d have more to say, but hopefully I’ll be able to review the thing when the time is right.

From the PR wire:

KING BUFFALO LIVE AT FREAK VALLEY

KING BUFFALO – LIVE AT FREAK VALLEY Preorders start THIS FRIDAY 11/20/20 at 12pm EST.

King Buffalo is proud to announce our first ‘Live Album’ will be self-released on 12/11/20 throughout North America and see European issue via Stickman Records and Rock Freaks.

This a One-Time ONLY Pressing. It has been completely remixed and mastered for vinyl, and pressed to a double LP! Live at Freak Valley is a VINLY ONLY release. It will not be available as a CD or digitally (except for the download code that accompanies the vinyl).

“My favorite records have always been Live Albums. There’s something about the vibe that allows musicians to feed off the energy from the crowd and take things to another level. To have one of my favorite performances as a band remixed and mastered and pressed to vinyl is bucket list type stuff. I can’t wait for people to hear it and feel some Live Music again.” – Scott Donaldson (King Buffalo)

PREORDERS: https://kingbuffalo.bigcartel.com/

Live at FV Test Presses – Available this Friday at 12pm EST. Limited to 25, hand numbered, and ship immediately! They include a download code, poly bag, a signed “thank you” from the band, a hand numbered insert, and an exclusive alt art poster.

Live at FV Deluxe Edition – Limited to 250 units and pressed to 12″ Black and Gold Vinyl. The Deluxe Edition includes a polybag, a hand numbered tour poster, tour laminate and a download code. They’ll be shipped mid December.

Live at FV Standard Edition – Limited to 750 units and pressed to 12″ Green Splatter Vinyl. They include a polybag and download code. They’ll be shipped mid December.

kingbuffalo.com
facebook.com/kingbuffaloband
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kingbuffalo.bandcamp.com
stickman-records.com
facebook.com/Stickman-Records-1522369868033940
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http://www.rockfreaks.de/

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Shadow Witch Premiere “Spearfinger” Video

Posted in Bootleg Theater on October 28th, 2020 by JJ Koczan

shadow witch spearfinger

Just by way of a refresher, New York dark heavy rockers  Take My Online Class helps with online class, homework and assignment help for students. Thesis Phd Online? If this is your question, we Shadow Witch released their latest album,  Connecting professional level students with over 1000+ professional level writers at Edusson.com I want http://jobs.samariterstiftung.de/idx.php?757. Under the Shadow of a Witch (review here), this year. That’s right. This year. 2020. It was Feb. 14, for Valentine’s Day. Except of course people were less concerned with the love in the air than the looming threat of a global pandemic that in the ensuing eight months has gone on to claim the lives of over 225,000 Americans, because…. freedom? But yeah. This year. I swear to you, in all honesty I thought it was October 2019.

Maybe that’s because it was around this time last year that my feed on thee social medias started getting flooded with pics of the Kingston-based outfit in blacklight regalia, playing a couple special gigs with the due color effects to match the onstage theatrics of frontman  How good is it for you to Importance Of Law And Order Essay only after you are fully satisfied with it? Our professionals will in addition teach you how to write a Earl Walker Lundy, who’s joined in  Get online http://www.glarus24.ch/?buy-college-application-essays-diversity service for college students in US to score high grades. Instant Essay Writing provide best academic solution from professional Shadow Witch by bassist The process of buy an essay online students will decide that it’s better not to bother somebody and just skip writing and download or review David Pannullo, guitarist Need to Submit Homework? Relax...Get Assignment Help from Top more in UK,US & AUS with 100% satisfaction guarantee. Jeremy Hall and drummer Need pay http://oranltd.com/legal-essays-online/ for me? Find out suitable service to write my assignment in Australia from professionals on GradeScout Justin Zipperle. They did it as a Halloween-time thing, and since obviously the same won’t be happening this weekend for that most Reese’s-minded of pagan harvest festivals, they’ve gone ahead and put together a likewise neon-burst video for the track “Spearfinger” from the — again, wow — 2020 full-length. At three minutes, it’s a rush but it’s got one of the record’s best hooks, and since they can’t get out and do the shows, the reminder is welcome.

Fun fact: when I worked at KB Toys Store #1051 in Morris Plains, NJ — about two minutes from where I now live, if you hit the red light; it’s right by where they whacked Phil Leotardo on The Sopranos — we sold blacklights and I used my employee discount to do my whole 18-year-old bedroom in them. It was fun but mostly it just showed all the lint on my t-shirts.  'Can you http://www.timewinder.dk/?how-to-write-a-literature-review-for-dummies?' Have you ever asked this question? Do you know how to do this task on your own with the interest? Get to know! Shadow Witch are way better at it than I ever was.

So with that, think back to the Before Time and the shows that might’ve been, and get ready to have this one stuck in your head for the rest of your day. Also don’t go into the forest.

Enjoy the clip:

Shadow Witch, “Spearfinger” official video premiere

Since we were unable to do our usual season of (HALLOWS) blacklight gigs, we wanted to make a celebrational video for the Holy(holi)Day. We invited a friend Esther Gin, she’s a real drag, to have a go at lip-syncing to the song. We wanted to make something fun, trippy, and colorful, and I think we’ve accomplished that. Happy Halloween & Samhain Blessings !

Shadow Witch, Under the Shadow of a Witch (2020)

Shadow Witch on Thee Facebooks

Shadow Witch on Instagram

Shadow Witch on Bandcamp

Argonauta Records website

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Live Review: Sun Voyager at Rushing Duck Brewing in Chester, NY, 09.05.20

Posted in Reviews on September 7th, 2020 by JJ Koczan

Sun Voyager (Photo by JJ Koczan)

My whole question coming into this was how much of a show it was going to be. Outdoors, masks on, early start, limited capacity, at a brewery celebrating its eighth (I think) anniversary. Do I need earplugs? Do I bring my camera? Should I be worried about a crowd?

The last time I went to a show was January, and I know the last couple years have seen me out and about less than, say, the decade prior, but I’m still pretty sure that January to September is the longest stretch I’ve had without a gig since before my then-girlfriend/now-wife got her drivers license. Before the turn of the century, let’s say.

But bassist Stefan Mersch of Orange County, NY, psych rockers Sun Voyager posted yesterday on Thee Facebooks that they were playing a private event and to message him for info. I did and it seemed doable.

So how much of a show was it? More when Sun Voyager started playing, for sure.

Earplugs, yes. Mask, outside, and all the rest of it as (not) advertised. I’d have to set up a complicated series of charts to determine how much of a show it was, but Sun Voyager played two sets. Vocalist/guitarist Carlos Francisco, Mersch and drummer Kyle Beach were roped off in their own kind of triangle in the gravel parking lot, and the socially-distant gathering of people, some there for music, some for dinner and beer, were seated at tables probably farther apart from each other than they were last summer. It was more show than I’ve been to in eight months, I’ll tell you that.

Between their two sets, most of 2018’s Seismic Vibes (review here) was aired, songs like “Trip,” “Open Road,” “Harebrained,” “Stellar Winds” and “God is Dead” peppered throughout, some running into each other, some interspersed with older material like “Gypsy,” “Be Here Now” and “Space Queen” from their earlier EPs, and what I’ll assume were newer songs in “Some Strange,” “I’ve Got a Feeling” (not a cover), “Feeling Alright” and an extended, speedier push added to “God is Dead” that led well into “Caves of Steel” to close out the night. They noted that it was maybe the third time they’d played together since before lockdown started in the New York area, leaving open the implication that they were shaking off some rust. Well shit dudes, me too. Also, everyone.

Please know I’m not exaggerating when I liken sitting in a folding chair and watching Sun Voyager play “Space Queen” to a kind of communion experience. It was during the second of the two sets — there had been a short break in between and I saw Anthony DiBlasi (ex-Witchkiss, currently Triggered and a new band called Inherus he was talking about that sounded pretty cool), and some local friends of Sun Voyager‘s; there is a certain kind of young-ish white guy who is pretty certain he invented subtle sarcasm, alas, I’ve yet to meet one who did — and I managed to kind of relax my shoulders a little bit, slow my breathing behind my mask, close my eyes and roll with what the band were playing. It had been so long. It sounds silly, and felt that way too, sitting out in the daylight instead of being hidden away in some dark, probably-cramped-enough-to-give-you-anxiety-dreams venue, but it was real and it happened. I’d be dishonest if I didn’t note that feeling.

Their new songs bordered on motorik and it was fun trying to figure out on first listen whether they were outright refusing to cross over to full-Hawkwindian kosmiche in a defiance of genre or if they’re just too punk, in which case they’d be playing to a different genre in an off-hand way. Yes, I mean the word “fun” that sentence. Sun Voyager were that. Francisco‘s between-song commentary loosened up as the sun started to go down, and the place generally seemed more comfortable, or maybe that’s just me projecting. Either way, with Mersch‘s bass tone properly classified as “statistically significant,” Beach‘s propulsive swing behind and a due course of wah in each solo torn into, there was just no way I wasn’t going to enjoy myself, looming threat of plague or no.

Francisco said at one point they’d been working on an album throughout these long months, and that’s something Mersch discussed this Spring as well, but of course I’ve no indication of when a new release might surface and, really, why on earth would you hurry to put something out between now and, say, next March? What, are you gonna on tour? Gonna open up a bunch of shows in NYC? Gonna have a big release party? There you go. Live streams and lyric videos are all well and good — I won’t complain about either — but there’s a reason people have been saying all this time that there’s no substitute for live music, and it’s because it’s true. Sun Voyager tossing “Be Here Now” into the second set only seemed more poignant in this context.

I’m not going to try to make it more than it was. Frankly, I don’t think I need to. It was an unmitigated pleasure to get on the New York Thruway, see that pre-Catskills scenery as I headed basically the straight shot north for just under an hour, then arrive at Rushing Duck and be able to watch Sun Voyager play. It felt rejuvenating in a way I’d missed even more than I think I realized, and while it was a world apart from last time I saw them in the cramped side-room space at The Well in Brooklyn (now gone) just last April at Desertfest New York (review here), it was, as DiBlasi put it, “proof of life.” It happened.

Stars were coming out by the time they were finishing. I might’ve stayed and checked out that sky for a bit, but I knew I’d need to be up early in the morning and the day behind was weighing as much as the day ahead, so I split out on the quick and headed back south. The progression: 87 to 287, 287 to 80, 80 to 202. Numbers all familiar, all feeling to some degree like home, as did the show I’d just left.

Thanks for reading.

Sun Voyager, “Some Strange” live at Rushing Duck Brewery, Sept. 5, 2020

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Endless Boogie Releasing The Gathered and Scattered 4LP Box Sept. 24

Posted in Whathaveyou on July 14th, 2020 by JJ Koczan

You know, I wouldn’t necessarily have thought so, but Endless Boogie put it all on the line when they say “you most certainly need this thing,” and I think they might be right. The Gathered and Scattered is the New York jammers’ upcoming collection of rehearsal improvisations. It reportedly runs three hours long and spans four 12″ records. It is limited to 1,000 copies.

Am I ever going to have three hours solid to sit and listen to four Endless Boogie LPs in a row, back to back, for that stretch of time? Given what my life is as of today, I can’t think of any way it would happen in at least probably the next 15 years. Just doesn’t seem feasible. But maybe stretched out over time, an LP here, an LP there, I could make my way through, and maybe that’d be an alright way to go. The preorders are up and they’re $58, so that ain’t nothing, but it’s about $3.41 per jam, and certainly seems like a fair ask on the band’s part.

They posted some of this material on Bandcamp back in March, and you’ll find it below, along with the info for the box set, which I expect will sell out on preorders long before I get up the nerve to pull the trigger and get it myself. Such is Mango.

Dig:

endless boogie the gathered and scattered

Endless Boogie – The Gathered and Scattered

Lord have mercy! 4xLP boxset of archival crude EB rehearsal jams from 1999-2012?!? Strictly NoFi! You most certainly need this thing. Preorder today at:

https://endlessboogie.bandcamp.com/album/the-gathered-and-scattered

**Digital album releases August 1st**

“Since the pandemic has made it impossible for the Endless Boogie gentlemen to gather in order to finally finish their new studio album they thought this an appropriate time to dig through the basement for some ancient fierce jams for you to relish and devour.

These recordings were made mostly during the first decade of this century and it’s mostly entirely improvised rehearsal recordings, a couple of 3am jams after falling out of the bar, and hints of aborted and despairing recording sessions. Besides the core line-up of Gray/Druzd, Eklow, Major and Mark O during this era we get glimmers of double Sweeneys (both Matt and Spencer), as well as Tim Evans, and, whoop dee, Andrew WK?!

This collection of unrelenting Pre-Music comprise some selections previously only available on limited edition CDRs, almost half is entirely previously unreleased and NONE of the tracks in this box have ever appeared on vinyl before. 4 LPs, 3 hours of CRUDE TRUTH. It’s a one-time vinyl-only edition of 1,000 copies.”

1. Life and Legend
2. Basement Jam Ritual III
3. Cretan Miniatures
4. Crude Truth
5. Bob Murphy Control
6. Surplus to Requirements
7. Ruin Art
8. Basement Jam Ritual V
9. Hadrian’s Fall
10. Magic Square
11. Red Cloaks, Stained Shields
12. Fat Man Loop ?
13. Rattlesnake Shake
14. Electioneering
15. Basement Jam Ritual I
16. Mother Fury
17. Reconstruction

https://www.facebook.com/EndlessBoogie/
https://endlessboogie.bandcamp.com/

Endless Boogie, Basement Jam Ritual (2020)

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Human Impact Release New Two-Songer Transist / Subversion

Posted in Whathaveyou on June 29th, 2020 by JJ Koczan

human impact

Terminology hasn’t really caught up yet with modern the two-song release. The tradition, obviously, comes from a single’s A and B sides, and very often, that tradition is upheld, and a band releases a single as a 7″. As both songs on Human Impact‘s new foray, Transist / Subversion, run near/at six and a half minutes, they’re a little long to fit on a 7″, and unless they’re feeling cheeky and want to do an 8″ — they wouldn’t be first — and if they’re just leaving it digital, it is what it is. When it comes to this kind of thing, I like “two-songer.” Says what it is, gives the B-side a bit of validity, and lets the audience know they’re getting more than just a “single.” If you have to specify, you might as well be specific.

So hey, Human Impact have a new two-songer. It’s not an EP. It’s not just a single — the second track, “Subversion” is a noise wash but lacks nothing for substance in that — but for those who dug the band’s 2020 self-titled debut (review here), it’s an appreciated check-in from the corporeal-chaos noisemakers.

It’s pick-your-apocalypse these days, so we might as well take joy as it comes, huh? Here you go:

human impact transist subversion

HUMAN IMPACT SHARE TWO STANDALONE SINGLES; “TRANSIST” AND “SUBVERSION”

To find out more, visit: https://lnk.to/HumanImpact

Following the release of their debut self-titled album, Human Impact have been releasing brand new material, including the recent single, “Contact” which was written and recorded shortly before the outbreak of Covid-19. The band share two further standalone singles “Transist” and “Subversion.”

About these latest singles the band remark, “Transist” was from a group of songs that we recorded and mixed just prior to the current pandemic. The song is a reflection on what the world looks like as things fall apart. Our broken ideals, the unstable foundations of our civilization, our trusting dependence on technology and our subservience to the ruling governments/corporations. The shining object held up by society that will never be realized. All creating a pressing need for change.”

They continue, ““Subversion” emerged from a 30 minute intro from our last live show (on March 14). We started that show with a 30 minute improv noise/ambient set. All members of the band have varied histories in soundtrack work and scoring music to picture. We look forward to getting back to live shows and expanding on this more.”

HUMAN IMPACT is
Chris Spencer (Unsane, UXO): Vocals/Guitar
Jim Coleman (Cop Shoot Cop): Electonics
Chris Pravdica (Swans, Xiu Xiu): Bass
Phil Puleo (Cop Shoot Cop, Swans): Drums

https://www.facebook.com/humanimpactband/
https://www.instagram.com/humanimpactband/
https://humanimpact.bandcamp.com/
https://www.humanimpactband.com/
https://www.facebook.com/ipecac/
http://ipecac.com/
https://blixtmerchandise.shop/ipecac-music-store

Human Impact, Transist / Subversion (2020)

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King Buffalo Postpone Tours; Writing New Material

Posted in Whathaveyou on June 25th, 2020 by JJ Koczan

Is it surprising that King Buffalo have pushed their 2020 tours off until next year? No. The US broke a new record in COVID-19 cases yesterday, hitting nearly 37,000 new reported in a single. fucking. day. Aside from being disgraceful, that just means that traveling in this country right now is taking your life in your hands. Maybe you’ll be fine, maybe not. True, we roll the dice every time we leave the house anyway — never know when that piano’s gonna fall on your head — but there are factors of relative dangers to take into account. States will be relocked-down by the time the band would hit the road anyway. That seems inevitable, though the staggering amount of irresponsibility displayed thus far in terms of the governmental response makes anything possible, I suppose.

Mostly fucking death is what it makes possible.

King Buffalo released their righteously forward-thinking Dead Star EP (review here) earlier this Spring, and made the most of their time in lockdown with their four Quarantine Sessions videos, all of which I’ve posted below, because if you take the rest of your day and watch King Buffalo jam out, that’s probably a good way to spend that time.

Here’s the latest from the band:

King Buffalo

Hey Friends,

We wanted to give everyone an update on what’s happening. As many of you might have guessed, it’s looking likely we will be postponing the majority of our shows until 2021. In this scenario shows would start up in January and continue from there. As soon as we have more details we will let you know. If your situation allows, please hold onto your tickets.

Since we recorded the Quarantine Sessions, we’ve been writing A LOT. We actually had to stop ourselves because we amassed almost 24 hours of jam sessions. Suffice to say, we will have material for multiple LPs in the coming future.

You’ve been keeping us busy by buying merch from our big cartel and bandcamp. We can’t thank you enough for your support! This will go to good use for future releases. We’ll be announcing something in the next couple months.

Lastly what ideas/comments do you guys have? Besides new material what would guys like to see? Let us know! Please take care of each other and stay safe. We will have more news for you soon.

-KB

kingbuffalo.com
facebook.com/kingbuffaloband
instagram.com/kingbuffaloband
kingbuffalo.bandcamp.com
stickman-records.com
facebook.com/Stickman-Records-1522369868033940

King Buffalo, Dead Star (Quarantine Sessions)

King Buffalo, Longing to Be the Mountain (Quarantine Sessions)

King Buffalo, Repeater (Quarantine Sessions)

King Buffalo, Orion (Quarantine Sessions)

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Album Review: Göden, Beyond Darkness

Posted in Reviews on May 29th, 2020 by JJ Koczan

goden beyond darkness

Beyond Darkness is built and tailored to be opaque. In many ways, its title sets the goal: Göden are going beyond darkness. Whether that means to something lighter and more hopeful or something that the band’s Svart Records-released debut album engages directly in a linear narrative across its consuming 19 tracks and 72-minute runtime, but the title is also a reference to the band’s own past, particularly that of guitarist Stephan Flam and keyboardist/narrator Tony Pinnisi in forever-underrated New York death-doom pioneer Winter, whose lone-but-pivotal full-length, Into Darkness (discussed here), was released in 1990. Göden as a unit is intended as a progression and a next step from what Winter were, hence the “beyond.” And the new trio, completed by lead vocalist Vas Kallas — best known for her work in industrialists Hanzel und Gretyl — are indeed more complex. While rooted in the extreme end of doom, Beyond Darkness uses its core narrative of the “coming of the age of Göden” (pronounced “god-in”) to unfold in a back and forth of lurching volume swells of charred riffing and ambient spoken pieces.

As for the story, each member of the band has their role to play, whether it’s Flam setting the core instrumental backdrop as ‘Spacewinds,’ Pinnisi accompanying there on keys and speaking as ‘The Prophet of Göden’ during the series of interludes titled as “Manifestation” between longer tracks — between the songs, as it were — or Kallas with her growling rasp as ‘Nyxta,’ representing darkness. And the storyline that plays out through the bulk of the material — I’m not sure where “Komm Susser Tod” (“come sweet death”) or the closing take on Winter‘s “Winter” fit in the plot — is written out in the liner for the CD and the 2LP, but comes through in the narration as well, moving from the nine-minute instrumental opener “Glowing Red Sun” through “Twilight” and “Cosmic Blood” split by “Manifestation I: Tolling Death Bells” along the way to “Komm Susser Tod” and the catchy-in-spite of itself “Genesis Rise” with two more “Manifestation” interspersed.

To say it’s a lot to take in is something of an understatement. Considering Winter‘s last studio outing was 1994’s Eternal Frost — which Svart has reissued, along with Into Darkness — one might think Flam has been sculpting the storyline and breadth of Göden over the last 26 years, but it’s been at least five since Winter‘s on-stage reunion came apart and he proceeded on to the new project, bringing in Kallas and Pinnisi as well as a host of drummers, guest guitarists, a violinist, etc., culminating in the massive work that is Beyond Darkness. Perhaps the album’s greatest triumph is that despite the varying contributors along the way around the core trio and despite the back-and-forth nature of the proceedings between interludes and fits of extreme doom metal, it manages to remain cohesive and indeed only seems to become more so as it proceeds. It might be that as Göden plunge ever deeper into the miasma of their own making, they enact a kind of Stockholm syndrome on the listener, but I put it up to world-creating. The album crafts its own setting, plot and characters, and it tells its own story. Therefore, as you listen, you take it on as you would take on a novella.

And sure, some of the language in pieces like “Manifestation III: The Spawn of Malevolence” and “Manifestation V: The Epoch of Göden” and the later “Manifestation VII: Gaia Rejuvenated” is over the top, but that grandiosity becomes an essential facet of the presentation. Like Triptykon before them, Göden use a theatrical posture in darkness as part of an overarching sense of their command of their songwriting and, in this case, dramatic storytelling. And cuts like “Dark Nebula” — on which church organ and the splash of Scott Wojno‘s drums resound behind Kallas in a striking midsection — and the reinvention of Black Sabbath‘s “Black Sabbath” that is “Ego Eimie Gy” are highlights unto themselves, standing up to scrutiny even when removed from the context of the record as a whole. One couldn’t necessarily say the same for individual “Manifestation” pieces — though certainly all eight of them together would work — but they’re not meant to be experienced in that way in the first place, so it’s moot.

As at last Beyond Darkness arrives at “Night,” which isn’t the finale but comes ahead of the epilogues-of-a-sort “Manifestation VIII: A New Age” and “Thundering Silence” — plus the “Winter” cover that rounds out — the proceedings feel perhaps more grueling than ever, and the lineage from Winter to Göden is laid bare for the listener to behold. And yet, even around that raw, plodding riff, there is evidence of the new outfit’s mission: the keyboards that surround, Kallas‘ language- and mythology-swapping lyrical invocations and the underlying focus on atmosphere that ultimately is what draws Beyond Darkness together as an entire work no less overwhelming than it intends. It’s not supposed to be accessible. It’s not supposed to be for everyone. It’s supposed to be for those willing to meet it on its own, uncompromised terms.

The howls of the last “Manifestation” give way to the creeping guitar and drone, and, finally, nothingness of “Thundering Silence” and when the telltale chug of “Winter” takes hold, its reinterpretation is something of an afterthought given just how much the album prior has worked to get the message across that Göden are to be considered as distinct but grown out of the band that was. Will there be another Göden album? Can there be? I don’t know. Between the ground that Beyond Darkness covers aesthetically and in its plot and characterizations — not to mention the fact that the story is finished at the end of the record — one would have to think a follow-up would entail some reimagining of how the band functions. Maybe even a permanent drummer. As it stands, however, Beyond Darkness is a testament to brutality as artistry. It harnesses bleak visions of the world that is and reshapes it along stark lines of blackened aural decay that more than lives up to the task it sets itself in its name.

Whatever comes next, even if nothing does, Beyond Darkness remains, and will remain. In that most of all, it is the essential answer to what Winter accomplished those years ago.

Göden, Beyond Darkness (2020)

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Svart Records website

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Interview & Full Album Stream: Pat Harrington of Geezer on Groovy and More

Posted in audiObelisk, Features on May 27th, 2020 by JJ Koczan

geezer

Shifting dynamics, readjusting priorities, moving forward, getting high and playing trippy shit. The way founding guitarist/vocalist Pat Harrington talks about Geezer making their latest full-length, Groovy (review here) — also their debut on Heavy Psych Sounds; out digitally on Friday with physical to follow June 12; preorders here — it is as much purposeful and casual as the album itself. Tightened craft delivering immersive fuzz and languid heavy blues grooves, the record is nothing if not aptly named.

I was asked over the winter to write the bio for the album, and it was clear from the first listen both that it would be a highlight of 2020 — I think pushing back the release date as they have due to COVID-19 helps in that regard — and that Geezer had arrived at a special moment for the band, which is Harrinton alongside bassist Richie Touseull and drummer Steve Markota. I did end up writing that bio, which I’ll probably post around here at some point, but as I’ve already reviewed it and I’m too busy being honored with the chance to do the full-LP stream in addition to posting this interview, I’ll spare you this time around and just say that Groovy is what happens when a band starts out with an idea of what they want to do and then are willing to be guided by their own impulses into becoming what they’re meant to be. There’s a letting go and a holding on alike as a part of that process, but the results are inarguable. And, yes, groovy.

Please enjoy the album stream and the interview. Thanks for reading and thanks to Harrington for taking the time.

Geezer, Groovy Interview with Pat Harrington

So the record is Groovy and the lead track is “Dig.” How much was the intention to strip things down to their essentials this time around?

I guess it wasn’t really the intention, it may be more of a side-effect. The song “Dig” has been around for a few years. Dig and a few other songs on the album pre-date most of the material on the Spiral Fires EP. Somewhere along the way, we made the decision to put all the trippy weird stuff on the EP, which kind of set the more direct tone of Groovy, almost by accident.

Geezer has gotten progressively jammier on each release to this point, and Groovy seems to pull back from that a bit. Tell me about the songwriting this time around, your goals for the material and ideas you had coming off of Spiral Fires?

In addition to the reasons above, I think another big reason for the change is our drummer Steve. Unlike our previous drummers, who are very much into improvisation, Steve approaches writing and arranging in a much more deliberate manner. As we spent time developing ideas, this became part of our process. I think it’s fair to say that we brought each other a little out of our comfort zones. Richie and I kept pushing Steve into jammier territory that I don’t think he really explored before. At the same time, he made us more structured in how we put the songs together. There is still room for experimentation, but overall the songs took on a more defined feel.

Unlike other albums, we also had a concept together before all the songs were written. Once the Spiral Fires masters were handed in, we started to look at the songs we had, other ideas that were being developed, etc. Then one day it all clicked. We decided that we were going to focus on songs that were groovy as opposed to the heavier or trippy stuff. So then we should call the album Groovy, right? After that, everything kind of fell right into place.

Talk about your time in the studio for the album. At what point did you know you wanted keys on “Awake” and the title-track? Is that something you think you might explore more going forward?

The real story actually is about the time we spent BEFORE going into the studio. As we’ve already talked about, these songs are much more defined compared to most of our past work. The reason for that is we spent a long time developing the ideas and arrangements. We played most of the songs live. We gave the songs time to grow. We were very disciplined when it came to rehearsals. Everyone worked very hard at developing their parts. Richie and Steve worked especially hard to get all the grooves locked in, they became a machine! I cannot stress this enough, being in a band is HARD WORK and if you don’t take it seriously, it shows.

We spent two days recording most of the “basics”. We did it at Darkworld Studio, where we recorded the Spiral Fires EP. We had the same production team that we’ve pretty much had since the beginning. Everyone came prepared and acted professionally. That doesn’t mean it wasn’t fun as fuck, but all the preparation paid off. We recorded all these songs together. Standing in the same room. Feeling the kick drum. Connecting to each other. All the drums, bass, rhythm guitars and solos recorded at the same time (more or less). I’m proud to say, not every band can pull that off… we can.

The experimentation mostly came in after the fact. Steve spent weeks developing the percussion tracks (we threw tambourines around like we were AC/DC!). I also stretched out a bit with ambient guitar stuff, synth noise and acoustic guitar tracks. As you mentioned, our friend Jeff Mercel contributed keys to “Awake” and “Groovy: (Jeff also played on “Long Dull Knife” a few years back). We knew right away that we wanted some Hammond B3 type stuff on Groovy, it’s just that type of song. “Awake” has a very tight, syncopated feel to it and I thought some keys could add a softer melodic vibe to it. I was listening to a lot of Nebula at the time, I think I actually sent Jeff the song “So Low” as a reference, I think he nailed it! He really did go above and beyond and his contribution to the songs and album was immense… next level shit.

Some of the songs on Groovy have an almost escapist vibe, and then there are pieces like “Dead Soul Scroll” and “Drowning on Empty.” How comfortable are you with presenting an emotional side in lyrics in a way that’s kind of apart from the blues?

At this point, I think I’ve stripped away most insecurities I’ve had when it comes to songwriting. It took me a long time to figure out, but vulnerability in music is one of the things that people connect to the most. It’s about saying the things that people can’t (or won’t) say themselves. It gives them something to latch on to, a way to express or connect to feelings that they otherwise weren’t able to. The lyrics to both those songs are, in fact, about real personal things. I try and relay them in a way that is open to interpretation, tap into feelings without assigning them to situations. That way, people can relate them to whatever they themselves are going through. To me, that is what music is all about.

How did the Heavy Psych Sounds deal come about? What does it mean to you to be labelmates with acts like Brant Bjork and Nebula and Yawning Man?

The deal came about very fast actually. I’ve been a fan of the label for many years and I had somewhat of an internet friendship with Gabe. With the exception of the first record, this is the first time we’ve “shopped” a record and HPS was very much at the top of our list. I can’t remember how long he had the album, but I followed up with Gabe on a Thursday and by that Monday he was sending contracts. Above all else, I wanted to be on a label that treated us like a priority. Since day one, Gabe and his team have done that and continue to do so. For that, we are extremely grateful.

I am in no way trying to equate myself with these cats, but the fact is, my musical journey was very similar to the bands that were a part of the first generation of stoner rock (or whatever you want to call it). I’m the same age as a lot of these guys, our musical references are all very similar. I grew up on metal and hardcore, felt boxed in by the rules that inevitably popped up around those genres, just like those dudes. Iommi, Page and Hendrix were gods to me… so was Mike Dean and Jello Biafra… so was Chuck D and Duane Allman. Somehow when you distill all this down, a lot of us ended up just wanting to get high and play heavy trippy shit without all the hassle that mainstream music seems to impose.

Because of this, I look up to people like Brant Bjork, Nick Oliveri, Eddie Glass and Mario Lalli. Not only do I love their music, they helped a lot of us figure out a way to express ourselves without having to worry about all the genre politics of the time. To be on the same label as these bands, as well as bands like Black Rainbows, Duel, Gorilla and Ecstatic Vision, is an honor and a challenge. It’s an honor to be here, but we gotta prove that we belong. That is the challenge.

Will you return to Europe to tour for the album? Any other plans or closing words you want to mention?

There were all kinds of plans. This past weekend was supposed to HPS Fest in NYC which has been postponed indefinitely. We had quite a few shows set up for this summer to promote the record, they have all been postponed indefinitely as well. In addition, we were well on our way to booking a European Tour for the late fall and that too is no more. It’s a total bummer for sure, but in the grand scheme of things, these are mild inconveniences compared to the suffering that many are going through right now, so I do my best to try and stay positive.

On that note, there is some good news here in NY. Much of the state has been moved into “Phase 1” of re-opening and our region is on schedule to enter Phase 1 this week. There is still a long way to go, but after a seemingly endless stream of bad news over the last few months, these are all very welcoming signs. Stay strong everybody, take care of yourselves and each other and we may actually make it through this thing. It will still be a while before live music returns. When it does, we’ll be there. I got a new fuzz pedal for fuck sake, I need to crank that shit and rip a hole in the sky! Ya dig?

Geezer, Groovy (2020)

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