Judas Knife Set Sept. 24 Release for Death is the Thing with Feathers

Posted in Whathaveyou on June 15th, 2021 by JJ Koczan

the judas knife

Not gonna claim any great knowledge of the pedigree here, but I dig what follow link Judas Knife are doing on their debut album, Death is the Thing with Feathers, a lot. Yeah, of course I’ve heard Get the Legal Essay Writing you need for MBA application success. Into Another — their Birthday Writing Paper. A dissertation is quite a substantial piece of academic writing! It consists of a number of chapters and has to present the research on a certain issue. The problem is that students often face a number of difficulties with this project. Basically, a vast majority of students actually don’t know how to deal with this kind of writing challenge. Custom dissertation writing service can become a perfect solution to this sort of problem. Seemless full-length was required reading at the Academy — and George Of Mice And Men Caring. They contribute to the least likely to be carried by blacks at all levels of achievement in courses that pertain to the buyessay org. Youth of Today, but mostly I’m appreciating these songs on their own merits, whether that’s the An excellent biography should be written professionally. We have experienced and highly trained biography writers. Seek our http://www.aat-biogas.at/?writing-mba-thesiss Cave In-but-mixed melodic post-hardcore of the earlier cuts or the purposefully Contact our Do My Current Events Homework help service even now! We are available at all hours, we have 24/7/365 support center and are always online and glad to answer any questions you might have! We guarantee quick feedback on any problem you have. Being one of the best essay writing services we do care about our customers. Your Rights Are Protected . Your privacy is guaranteed and we do not disclose your Lennon-styled piano of “New York’s Not My Home.”

Skills in composing compelling proposals for Horizon 2020 and other Interested in our http://eiko-kids.net/unsw-phd-thesis/ for your Horizon 2020 proposal or Translation Loss has the album out in September, and I’ve put in to do a review with a premiere — not sure I’m cool enough, to be honest — but you can read more about the two-piece and the record they’ve made below courtesy of the PR wire. I don’t always go in for this kind of thing but this one hit a nerve. Songwriting is songwriting, at the end of the day.

Preorders are up and all that whatnot:

Judas Knife Death is the Thing with Feathers


JUDAS KNIFE, featuring members of YOUTH OF TODAY, INTO ANOTHER, GARRISON, GAY FOR JOHNNY DEPP, and more will deliver the bands debut album, Death Is The Thing With Feathers, on September 24, 2021 via Translation Loss Records. The NY duo features Sid Jagger (Joseph Grillo) on vocals, guitars, bass, and keys, and Drew Thomas on drums and percussion. Death Is The Thing With Feathers also features guest guitar contributions from Kurt Ballou (CONVERGE, GodCity Studios) and piano/keys from Justin Williams.

JUDAS KNIFE have unveiled the first single from Death Is The Thing With Feathers titled, “Lumbering Giant”. The spacey and dynamic track is streaming now.

With Death Is The Thing With Feathers, post-hardcore veterans JUDAS KNIFE fuse grungy space-rock and emotive alchemy with dynamically catchy and moody cerebral psychedelia that digs deep into the scars of loss, abandonment, addiction, desperation, and loneliness. Dreamy, shoegazy textures and soaring vocals build the platform for the stories to shine through as personal anthems of recovery.

About the new album, vocalist Sid Jagger (Joseph Grillo) comments: “Half the reason I make records these days is to catch up and spend time with old friends, exchanging stories of the present and the past and remembering to check myself against some of the people I have respected for long periods of time. This time was no different. The intention for “Death Is The Thing With Feathers” was to make an LP where you could enjoy it if you chose to pay attention or not. something that feels cool and sexy, winding around your throat like a snake and something that can be considered if you have the time and the inclination.”

JUDAS KNIFE will release Death Is The Thing With Feathers on LP and digital on Translation Loss Records on September 24th. Two vinyl variants are available. Pre-order now HERE: https://translationloss.com/products/death-is-the-thing-with-feathers

Track Listing:
1. Lumbering Giant
2. Don’t Know Me
3. Hit It and Hit It and Hit It
4. Dance In The Pale Glow
5. Warm Hands, Cold Heart
6. The Years Go By Like Broken Records
7. A Moment Of Clarity
8. Circus Circus
9. New York’s Not My Home
10. Her Feathers

Album Details:
Recorded and mixed by Kurt Ballou in February of 2021 at GodCity Studio, Salem, MA.
Mastered by Magnus Lindberg at Redmount Studios.

“Her Feathers” features Kurt Ballou on guitar.

Album artwork and promotional photos by Nathaniel Shannon.


Judas Knife, Death is the Thing with Feathers (2021)

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Live Review: Sun Voyager at Rushing Duck Brewing in Chester, NY, 06.05.21

Posted in Reviews on June 7th, 2021 by JJ Koczan

Sun Voyager (Photo by JJ Koczan)

Things were markedly less tense at  get link. Essay writing is the most common practice for college students. It helps students to express their awareness regards problems and Rushing Duck Brewing Co. than when I was fortunate enough to see  So not only do you get the http://www.thurnundtaxis.de/?biology-homework-help-free and excellent quality but you can be sure of the timeliness and The Laustan Service Sun Voyager play there (review here) exactly nine months prior. The sign outside said if you’re vaxxed you can take off your mask or do whatever makes you comfortable at the bar, and outside there were more tables than there had been and there wasn’t a question of waiting in line to get in on a one-out-one-in basis like there had been. It was much more akin to showing up to a place to catch a gig. Hard not to appreciate that.

And all the more worth appreciating in such an idyllic setting. Across the way, hills as a backdrop for farmland. When we — The Patient Mrs. accompanying — pulled in, people were in the field picking-their-own something or other, and a tractor rolled by while  Academized are proud to present the best custom paper writers. We write papers at any level: high school, college and university – all the way up Sun Voyager played “Some Strange” in the second of their two sets. The usually-a-trio were joined for the evening on second guitar by Do Not Confuse Horrid Henry Horrid Homework with Cheap Quality. There are some writing companies out there whose cheapest prices may be better than ours. But, if you think carefully about this, you will understand that those prices mean they are not using qualified writers. Our cheap essays are at the lowest possible price, while still being produced by qualified professionals. How We Price our Essays Seth Applebaum of Any student who is looking for the best in Critical Thinking In Business writing has no need to look any further than Pro Custom Writing for the help they need. Ghost Funk Orchestra who filled out the spaces beneath  Homework Help Earn Money - Learn everything you need to know about custom writing Let specialists accomplish their tasks: receive the required task Carlos Francisco‘s leads while offering further psychedelic flourish of his own. I don’t know if they’re thinking of that as a permanent lineup change, but you could see where over time he would fit well into the band. Already they grew more fluid as they went on.

The show started at 5PM, or thereabouts, and it was warm in the shady spot off to the side as The Patient Mrs. sampled a couple of  Read the most trustful essay writing services reviews and get your discounts! Entrust your Writing Service Report assignment to the best Rushing Duck‘s offerings — she dug the Saison-style, as she will — and the band got going with a mix of new material and old. I don’t know how much info about their next record is public yet, but “Feeling Alright” made a righteous leadoff for the first set, and “To Hell We Ride,” the aforementioned “Some Strange” and the extended, now-two-parter “God is Dead” fit well alongside cuts from their 2018 debut,  Seismic Vibes (review here), like “Trip” — which was a suitably raucous complement to “Feeling Alright” in opening the second set — as well as “Open Road,” “Harebrained,” “Stellar Winds,” “Psychic Lords” and “Caves of Steel,” which finished out, as well as earlier works like “Space Queen,” “Be Here Now” and “Desert Dweller.”

Francisco, Applebaum, bassist/backing vocalist Stefan Mersch and drummer Kyle Beach careened and propulsed. They were motorik and winding and full of classic biker rock thrust and post-pandemic dustoff. It was fun to watch them. In the long-long ago, Sun Voyager operated as a four-piece, and while they’ve hardly felt like they were missing some essential component of their sound in the meantime, their psychedelia only reached broader and their jammier stretches came through all the more relaxed, with the space to space out, for having Applebaum there on guitar. The fact that he and Beach are also bandmates in Ghost Funk Orchestra no doubt cut through some of the new-guy-in-the-group awkwardness, and while I wouldn’t doubt that Sun Voyager would be more locked in as a unit after, say, three or four weeks on the road playing every night, so would everybody.

There were friends and family there, adults and kids and infants, and the vibe was heavy-hippie relaxed and rockin’. Perfect for the sunshine that mercifully offered up more shadow as time went on. Wrapping their first set with “Space Queen” — a song that’s coming up on eight years old and shows roughly none of that age in how they deliver it; it is a standard of live sets and rightfully so — they took a break to get a drink, sell some shirts to myself and others, and catch their breath before diving back in with “Trip.” The diversity of their approach at this point, especially as they move toward their second long-player, is a significant asset for them in terms of structuring a setlist for a live performance, and they would seem to know it.

That is one more reason I’ll say this feels like a particularly exciting moment to see Sun Voyager play live. They’re a better band than they know, maybe about to add a new member to the group on at least a semi-permanent basis, with a record on the way that takes their approach to an entirely new level. It’s finished and my understanding is they’re doing the shopping-it-around thing. I can think of three or four imprints off the top of my head on whose rosters they’d be a fit and whose audiences would welcome them. Maybe five. But wherever they end up — inevitably somewhere — the quality of their work remains worthy of being heard even as their potential is still expansive. I was a fan of Seismic Vibes. Hell, I was a fan of Mecca (review here) in 2013. In terms of growing as a band, as players and songwriters, they have not at all wasted their time in the years since, even if they haven’t put out more than the one full-length to this point.

I hope to see them again soon, and that’s about as deep an insight as I’m going to offer here. Once more, I don’t know if, when that happens, the band will comprise three or four players, but I’m glad to take what I can get from these guys. Here’s hoping their record is out before the end of the year. If not, next year’s list it is. I’ll spare you the wax poetry about live music in the pandemic era — it’s all been said and I’m enough of a hack without indulging. I was grateful to be able to go to a place with my wife and see good music. I didn’t take video because I was concentrating on enjoying myself. The band killed. On another planet, that kind of thing happens all the time.

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King Buffalo Post “Silverfish” Video From The Burden of Restlessness

Posted in Bootleg Theater on May 28th, 2021 by JJ Koczan

king buffalo (Photo by Mike Turzanski)

We’re inching inexorably closer to the June 4 release of King Buffalo‘s third album, The Burden of Restlessness (review here). “Silverfish” is the second and likely final single to come ahead of the record itself, and it brings out some of the moodier atmospherics that perpetuate throughout the release, the feeling of internalizing covid-era isolation as a state of being, almost Kafka-esque in the lyric complementing its multi-legged tension of riff. It’s short at under three minutes, and of course in the video you don’t get a sense of how it ties into the songs around it, either “Locusts” before or “Grifter” after — both also documents of the time of their making and emblematic of the album’s overall progressive crux.

But still, it’s another slice of the whole, and all the more satisfying with the visual effects in Mike Turzanski‘s accompanying video here, turning the cracks duly inward while also emphasizing the interpersonal connection between players in the band perhaps as a means of reaching out from one human being to another. As the band has announced their first round of touring for 2021 — and there are more dates to come — and news to be told of the second of their three intended albums for 2020, things would seem to be proceeding according to plan for King Buffalo, which, you know, is nice that it’s going that way for anybody at this point.

Is The Burden of Restlessness album of the year? I won’t pretend to know. I’ve got two more King Buffalo LPs to listen to before I’ll be willing to make that determination, let alone anything anyone else puts out. You know I keep a running list though, and it’s certainly right on there. We’ll see how the rest of 2021 shakes out.

Enjoy the video:

King Buffalo, “Silverfish” official video

From the new album, ‘The Burden of Restlessness’ available June 4th. Pre-order now: https://kingbuffalo.com/get-it-now

Directed by Mike Turzanski

The Burden of Restlessness was written and recorded by King Buffalo in Rochester, NY at the Main Street Armory in December of 2020 & January 2021. Produced, engineered & mixed by Sean McVay, and mastered by Bernie Matthews. The artwork was created by Zdzislaw Beksinski with cover fonts by Mike Turzanski and album layout by Scott Donaldson.

2021 Tour Dates (Tickets on sale NOW at kingbuffalo.com)
9/10 Denver, CO @ Larimer Lounge
9/11 Denver, CO @ Larimer Lounge
9/14 Los Angeles, CA @ Moroccan Lounge
9/15 San Francisco, CA @ Bottom of the Hill
9/17 Seattle, WA @ Barboza
9/18 Vancouver, BC @ Fox Cabaret
9/19 Portland, OR @ Lola’s Room
11/5 Philadelphia, PA @ Johnny Brenda’s
11/6 New York, NY @ Mercury Lounge
11/11 Pittsburgh, PA @ Club Café
11/12 Detroit, MI @ Loving Touch
11/13 Indianapolis, IN @ HI-FI
11/14 St. Louis, MO @ Off Broadway
11/16 Madison, WI @ The Bur Oak
11/17 Minneapolis, MN @ 7th St. Entry
11/18 Milwaukee, WI @ Colectivo
11/19 Chicago, IL @ Lincoln Hall
11/20 Cleveland, OH @ Beachland Ballroom

King Buffalo is:
Sean McVay – Guitar, Vocals, & Synth
Dan Reynolds – Bass & Synth
Scott Donaldson – Drums & Percussion

King Buffalo, The Burden of Restlessness (2021)

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Mama Doom Premiere “Oh, Lucifer” Video; Ash Bone Skin ‘n’ Stone out July 23

Posted in Bootleg Theater on May 26th, 2021 by JJ Koczan

mama doom

The hook line of Mama Doom‘s new single is, ‘I’m having a black mass and nobody came.’ Consider me hooked. I certainly know that every black mass/soirĂ©e/childhood-birthday-party I’ve ever thrown has gone unattended, by Satan or otherwise, so yeah, I can relate to “Oh, Lucifer” for sure. The Newburgh, New York-based three-piece caught my eye earlier this year when they were announces as the first US band to sign with Majestic Mountain Records, and “Oh, Lucifer” is the catchy preface to their upcoming album, Ash Bone Skin ‘n’ Stone, which the same label will release on July 23. Preorders — if you’re the type who likes to get a jump on such things — are available now.

I’m almost universally a sucker for charm, and “Oh, Lucifer” has that working in its favor to be sure, but its cultish aspects — and being a sendup of same still counts, if that’s what’s playing out across the LP; mama doom ash bone skin n stonehaven’t heard it, don’t know — still mark a turn from the more straightforward blues rocking aspects of the prior 2018 offering, From Blue to Bone. I’d have called it an EP. The PR wire calls it their debut album. Take your pick. In any case, the trio of keyboardist/vocalist D.Lolli, bassist Chuckie Rumbles and drummer Smak have been rolling for well over half a decade, and “Oh, Lucifer” would seem not to be their first foray into a darker thematic, but it’s telling that it’s also the first thing they’re putting out from the full-length to come. And as to what’s taken so long to put out a record? Shut up. Good food takes time.

As one might expect/hope, the video is a wild time, with witchy this-and-that, some stuff filmed out in the woods, and the devil showing up to make it right. You get the sense that, despite the apparent cold discussed below, they had a good time making it, and as I can’t help but say the title of the song in sitcom-mom voice — “oh, Lucifer!” followed immediately in my head by canned laughter on WPIX from a black and white box tv set — that would seem to be in the spirit of things.

More to come on the record, but for now, enjoy:

Mama Doom, “Oh, Lucifer” official video premiere

Mama Doom on “Oh, Lucifer”:

“‘Oh Lucifer’ is a love song between a woman and Lucifer. Lucifer represent one’s power to believe in themselves and not worry about what everyone else thinks or expects of them. Go against the grain and love yourself. The video concept was all from the minds of Anne and Dave from Gratuitous Productions. They wanted to create a short film about a girl summoning Lucifer who was followed by a deranged man with prejudice due to her beliefs. He torments her until something unusual happens; he mysteriously falls to his death. Lucifer arrives to save the day of course! We had two full days of shooting. Day 1 was at our rehearsal spot and Day 2 was outside in the woods above a cemetery.

“COVID didn’t really stop us filming but the snow did as we had to wait over a month to film the outside stuff because everything was covered. Once the snow eventually melted, we were set but it was freezing! Gratuitous Productions said there was so much great footage to choose from and some comical stuff. We are hoping a blooper reel eventually shows up. We will be working with them in the future since they not only did an amazing job with this video but because they have more ideas on other tracks from the album. Interestingly too, there will be a lunar eclipse on Wednesday (Blood Moon), so it really is a perfect day for the video release!”

Majestic Mountain Records – Sweden’s leading proponents of hard-hitting psych, rock and heavy metal – is thrilled to announce the release of Ash Bone Skin N Stone; the sophomore album by haunting hard-rockers, Mama Doom.

Formed in Newburgh, New York in 2016, last year the trio become the first US band signed to the Swedish, joining the ever-growing ranks of impressive acts like Grand Cadaver, Saint Karloff, and Electric Hydra.

With the release of their exceptional 2018 debut, From Blue to Bone, Mama Doom traded guitars in for keyboards and ethereal vocals, and by so drove deep grooves into the dominion below. Forming a perfect union with crushing bass and drums, their sound is at once familiar to fans of doom, but at the same time offers a strangely unfamiliar and unique tone, given its impressive component parts.

Traversing a spectrum that spans traditional blues, heavy doom, and ego-death metal and fronted by the supremely gifted High Priestess, D. Lolli, make no mistake that Mama Doom are a serious force to be reckoned with.

Ash Bone Skin N Stone will be released on Friday 23rd July 2021 and can be pre-ordered here – https://majesticmountainrecords.bigcartel.com/product/mama-doom

Track Listing
1. Batshit Crazy
2. Vodka
3. Blood Moon
4. Indigo
5. Oh, Lucifer
6. Werewolf
7. Slither
8. Cherry

Mama Doom is:
D.Lolli – Vocals & Keys
Chuckie Rumbles – Bass
Smak – Drums

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Majestic Mountain Records webstore

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Album Review: King Buffalo, The Burden of Restlessness

Posted in Reviews on May 11th, 2021 by JJ Koczan

king buffalo the burden of restlessness

From the time Rochester, New York, trio King Buffalo announced in March that they’d be releasing three full-lengths over the course of the next 12 months — #3recordsin2021; a challenge as much about logistics in pressing and distributing schedules, if not more so, as about recording the material itself — with each one recorded in a different circumstance, anticipation has justly run high. The first of them, which is both part-one-of-three and the band’s third standalone long-player in its own right — a pivotal arrival for any act — is The Burden of Restlessness, which collects seven tracks across 40 minutes of existence plainly derailed. That is to say, had 2020 not played out as it did in times of pandemic and sociopolitical unrest, King Buffalo‘s third LP would invariably be a much different outing.

The Burden of Restlessness captures the tension of paranoia and fear in its sharp guitar chugs, the notion of things going wrong but proceeding apace in its odd time signatures, churning and roiling grooves and the melancholy and languishing brought on by lockdown and lack of direction in its lyrics, as well as the inward and outward frustration brought on by the decaying of American political norms, the country nearly confronting its troubled history with racism in the wake of the murder of George Floyd and the ensuing protests, as well as the right wing anti-progress cacophony that eventually manifested in the (arguably successful) terrorist putsch on the US Capitol in January.

These things are real and brought to life throughout The Burden of Restlessness, which tightens some of the more open, jammier spirit King Buffalo has brought to bear across prior releases — they put out an EP, Dead Star (review here), last year to coincide with subsequently canceled tours; Live at Freak Valley (review here) followed months later, presenting their 2019 set at the German festival of the same name, then supporting their 2018 sophomore album, Longing to Be the Mountain (review here) — into a concise progressive aggression, at times reminiscent of earlier Tool, as with some of the lead work on “Locusts” or the thudding culmination of the penultimate “The Knocks,” but one way or the other a streamlining of purpose and expression on the part of the band, as ever comprised of guitarist/vocalist Sean McVay, bassist Dan Reynolds and drummer Scott Donaldson.

While the overarching three-album storyline remains untold, there is nothing that feels incomplete about The Burden of Restlessness. The darker themes are telegraphed by the album cover courtesy of Zdzislaw Beksinski and the band — McVay also helmed the recording and mixed — extend the thoughtfulness of their presentation to the material, telling of confusion without becoming confused in the telling. The synths that came to prominence in Dead Star and seemed to foreshadow where King Buffalo might have been headed with their next long-player are shouldered out of the foreground by the intensity of “Burning,” as the album’s opening line, “I turn my head from the stars,” feels like a direct and willful contrast to the title-track of their debut, 2016’s Orion (review here), which began with the call to the constellation, “Orion can you hear me?” The ensuing chorus, “Another year lost in the wasteland/Another day drowns in dust/Another one dead in the wasteland,” picks apart the passage of time in pandemic quarantine, familiar surroundings made ominous with a looming specter of death outside. Perhaps it’s a processing of trauma happening throughout The Burden of Restlessness, but the perspective is individual.

King Buffalo

On a thematic level, King Buffalo are no strangers to lonelier or more depressive fare, but as the third verse of “Hebetation” finds McVay narrating, “Every night I close my eyes/I lie awake and try to pacify a listless mind/Nothing’s changed at 35/Still every night I dream a million different ways for me to die,” and the later “Silverfish” talks of “slithering away, from everything, and everyone,” the images are striking and real. In terms of point of view, the metaphor-laced approach holds consistent in what might be considered the more outward-facing “Locusts” and “Grifter,” which seem to speak to police brutality — “Hand of the shield/Suppressing the field” — and the cult of personality surrounding the American right wing’s descent into fascism — “He promises deliverance, day after day/Releasing only pestilence, and festering decay” — respectively.

The lyrics are essential here, of course, with McVay and Donaldson collaborating throughout, but it’s in the pairing of the final two tracks, “The Knocks” and “Loam,” that the full storyline of The Burden of Restlessness finds its self-contained resolution, regardless of what’s to come on King Buffalo‘s intended fourth and fifth long-players. “The Knocks” pushes as close to bottom as the band gets, “As I press my ear against the floor/A knocking beckons from the barricade on the door/I can hear it pounding more and more/Don’t think that I can take no more, don’t think I wanna live no more,” and “Loam” complements with an earned hopeful feeling, bringing the title-line in the context of, “I’m shedding the burden of restlessness/To rise from the loam of the nothingness,” the last lyrics and a far cry from the turning-eyes-from-the-sky setting out in “Burning.”

McVay in the position of producer/engineer is nothing new for King Buffalo, as he also helmed 2018’s Repeater EP (review here), Orion and Dead Star, but in addition to bringing lyrics into focus in new, pointed ways, The Burden of Restlessness is all the more complete for the manner in which the lyrics and instrumental progressions play off each other. To listen to Reynolds‘ bassline — he remains the secret weapon in King Buffalo‘s arsenal; low-key, keeping it all together as the drums push inextricably forward and the guitar stretches out — beneath the soaring lead of “Locusts,” or to chart the build of “The Knocks” or find the synth balanced into the midsection of “Loam” for melodic emphasis is to understand the individualized dynamic that King Buffalo have honed over the last seven years, and in encapsulating that as they have, The Burden of Restlessness fulfills its apparent promise in portraying the troubled time of its creation.

It is both a culmination of horrors and the initial steps beyond them, and the turn it makes in sound is no less full than anything they’ve done before; they are adjusting the balance of elements that have worked in their favor all along. I at this point have precious little insight as to how The Burden of Restlessness will play into the next King Buffalo full-length, or if it is intended to at all. Will that album pick up from this one, move into a different aspect of their style, readjust the balance again, and so on? Unknown. But not knowing doesn’t make the band’s overarching project any less exciting, and in making them a less predictable outfit as it does, The Burden of Restlessness can only be considered a success. It not only realizes a bridge between progressive heavy rock and psychedelia in a manner that is their own, but perhaps serves just as an initial stretch in an even wider blossoming of sound and craft. No matter what the next one or the one after brings, The Burden of Restlessness is one of 2021’s best and a fittingly otherworldly document of this surreal era.

King Buffalo, The Burden of Restlessness (2021)

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Geezer Release 17-Minute “Solstice” Jam

Posted in Whathaveyou on May 7th, 2021 by JJ Koczan

Who among you will complain at 17 minutes of Kingston, NY, trio Geezer jamming out? Who, I ask! Stand up and be counted. Or better yet, pull your head out of your ass and find something better to complain about. The three-piece are no strangers to improv-ing it up, and they’ve taken this tasty morsel of spontaneity, topped it with a bit of synth to make it extra classy, and put it up for all of one US dollar for Bandcamp Friday.

Apparently today’s the last Bandcamp Friday? I saw that somewhere on the internet. So I guess that website got vaccinated? That’s how it works, right? Whatever. If they keep up the smooth PR or not, it’s good to get while the getting’s good, and that means today. So get on it.

While you’re there, you can check out Geezer‘s take on “Mississippi Queen” that was released in homage to Leslie West of Mountain — hard to imagine some label or other isn’t working on a heavy rock tribute to him — as well as their 2020 album, Groovy (review here), which hell yes most certainly was that.

Don’t go into this thinking you’re getting an album-style production. It’s a rehearsal room jam. But do go into it ready to spend a buck. I actually bought it twice this morning.

Release info:

Geezer Solstice

Geezer – Solstice

We came together on the winter solstice of 2020 to have our final jam session of the year. We were happy to finally, if not symbolically, put the year behind us and we looked forward to better days. As always, we just plugged in, turned on the amps and pressed record. This is the music that found us.


Released May 7, 2021.

Improvised jam from the Geezer rehearsal space that occurred on 12/21/2020. The synth tracks were added later.

Geezer are:
Pat Harrington – Guitar/Vocals
Richie Touseull – Bass
Steve Markota – Drums/Percussion


Geezer, “Solstice”

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Video Interview: Hamilton Jordan & Michael Sochynsky of Genghis Tron on Dream Weapon and More

Posted in Bootleg Theater, Features on April 23rd, 2021 by JJ Koczan

genghis tron

It’s pretty clear Genghis Tron have been doing some interviews. They mention it a couple times in the chat below, that they’ve been asked a lot about the change in sound they’ve undergone with their new album, Dream Weapon (review here). Hey, fair enough, right? Not only did their third album arrive last month some 13 years after their last one, 2008’s Board Up the House (discussed here) — both are on Relapse, which also issued their 2006 debut, Dead Mountain Mouth — but it also saw the founding duo of Michael Sochynsky and Hamilton Jordan surrounded by half a new band, including vocalist Tony Wolski and Sumac/Baptists drummer Nic Yacyshyn. Then on top of that, you add the fact that their new work brings synthesizer and vocal melody to the fore in a progressive, almost psychedelic-New-Wave vision of electronics-inclusive rock, moving beyond the “spazzcore” or “cybergrind” of their earlier outings and into a newfound hypnotic ether of enduring swirl, and yes, absolutely you’re going to get some questions about it.

I honestly haven’t seen much of the response to Dream Weapon in terms of reviews, but I know for sure I dig the record, so the chance to talk to Jordan and Sochynsky about it was something I welcomed. It took some scheduling, but we genghis tron dream weapon art by trevor naudmanaged to nail down a 9AM time earlier this week and as I finished off my morning coffee — Jordan noted he’s also an early riser — the two main songwriters in Genghis Tron talked through the process of writing largely pre-pandemic but still remotely, as well as restructuring their band both in personnel and sound. I didn’t get to ask about working with Kurt Ballou after such a long break, but you’ll note that Jordan credits the GodCity producer with making the connection both to Yacyshyn and Wolski, so one way or another, he’s definitely had a significant impact on who and what Genghis Tron are in 2021, and that’s before you get to recording the album. And in any case, I’m sure there are other interviews you can find out there that ask the question what it was like to be back with Ballou with the passing of so much time. I was happy to talk about the building of melodies and songs coming together pieces at a time, the birth of Dream Weapon around what became its de facto centerpiece in “Alone in the Heart of the Light,” and so on.

Before you dive in, if you stick around the video long enough, you’ll find Sochynsky and Jordan giving the “breaking news” — they laugh when they say it — that they’re starting writing again already, and are planning to get together next weekend in-person in order to hash out material toward new songs and, one assumes, an eventual fourth long-player. Something to look forward to there, but as you’ll see, there’s plenty to talk about with Dream Weapon in the meantime.

Enjoy and thanks for reading/watching.

Genghis Tron, Dream Weapon Interview, April 20, 2021

Genghis Tron‘s Dream Weapon is out now on Relapse Records. The album can be streamed in below via Bandcamp and more info on vinyl editions, etc., is at the links.

Genghis Tron, Dream Weapon (2021)

Genghis Tron on Thee Facebooks

Genghis Tron on Instagram

Genghis Tron on Twitter

Genghis Tron on Bandcamp

Relapse Records website

Relapse Records on Bandcamp

Relapse Records on Thee Facebooks

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Album Review: Genghis Tron, Dream Weapon

Posted in Reviews on April 5th, 2021 by JJ Koczan

genghis tron dream weapon art by trevor naud

The essential narrative of Dream Weapon, that Poughkeepsie, New York’s Genghis Tron have returned from over a decade of hiatus to issue a new album, hardly tells the whole story either of the band or the record. Picking up where they left off in some ways — Kurt Ballou at GodCity producing (also Ben Chisholm and JJ Heath, and Heba Kadry mastered), Relapse Records handling release duties — guitarist/keyboardist Hamilton Jordan and keyboardist Michael Sochynsky have revitalized the band with new vocalist Tony Wolski (The Armed) and drummer Nic Yacyshyn (Baptists/Sumac), the latter of whom is the first non-machine drummer the band has ever had, whatever doubts his work in the culmination of the title-track might raise about that whole “not a machine” thing.

Coinciding with the new personnel is a shift in sound. In 2008, when Genghis Tron — even their moniker ringing out with aughts-era indie irreverence — released their second full-length, Board Up the House (discussed here), they had already grown beyond the let’s-play-grindcore-with-electronic-dance-parts that made their 2005 Cloak of Love EP and 2006’s Dead Mountain Mouth debut long-player such a challenge to no-fun metallic convention. Those elements were still there, to be sure, but the band had worked to unify the varying sides of their sound into something even more their own. Dream Weapon is another 13 years’ worth of progressed. Comprised of eight songs running a tidy 45 minutes, it draws readily from extreme fare when it so chooses — the mathy chug of “Single Black Point,” for example — but is more akin to heavy prog or kraut metal or some such ultra-specific microgenre than it is to grind-plus-EDM.

Something that has carried over is Genghis Tron‘s ability to maximize the impact of a riff, to create tension and then open wide and allow for a release thereof. The payoff in 10-minute advance single “Ritual Circle” is an example of this but by no means the only one. The earlier “Pyrocene” arrives after the intro “Exit Perfect Mind” and (re-)establishes that pattern as well as the more melodic, used-to-enhance-atmosphere, echoing, willfully mellow wash-over of Wolski‘s vocals that becomes another theme throughout Dream Weapon and a defining aspect of Genghis Tron circa 2021. The addition of Yacyshyn‘s live drums isn’t to be understated either, particularly as the album’s title-track follows “Pyrocene” with a still-melody-topped percussive thrust that is gorgeous, rolling and consuming. By the time “Dream Weapon” chills, a little past its midpoint, the steady beat becomes accompanied by is-that-a-second-layer tom hits and keyboard flourish that provides the record with a standout moment. It feels a bit as though Genghis Tron wrote three or four more LPs over the 13 years since their last one and didn’t tell anybody but kept growing all the while.

genghis tron

The ambient instrumental piece “Desert Stairs” provides a breath of serene drone before the seven-minute “Alone in the Heart of the Light” shifts Dream Weapon into its next and even-more-immersive stage, hypnotic keyboard lines intertwining atop an insistent but not unwelcome snare before the vocals recede for a time, return in barely more than a whisper over more far-out-directed synth melody. As a foreshadow of “Ritual Circle,” which follows, and “Great Mother,” which closes following the penultimate semi-return-to-ground “Single Black Point” in between, “Alone in the Heart of the Light” probably ends side A of the vinyl but is effectively a bridge to the second half of the album, rife with melodic wash and individual intent.

“Ritual Circle” begins mellow and swells and comes in waves and — in a way Genghis Tron have never done so effectively — is patient in how it unfolds. True, it hits its crescendo by the time it’s at its halfway point, with Wolski‘s vocals layered in a call and response, subtle but there, as the drums crash behind and the keys and guitar lead the way into the motorik thrust that defines the song from shortly before the six-minute mark onward. Bouncing but entrancing, if there’s a ritual dance to be done anywhere, it’s there, but the drums drop out early and intertwined layers of beats and keys finish, leading directly into the more forceful chug of “Single Black Point,” the band choosing to let the end of the song prior be its own moment of reflection, peace, or maybe just recovery.

Because it is staggering. “Single Black Point” is instrumental, and like the song before, it ends with keys, giving way to the more foreboding, lower notes of “Great Mother” to finish out, but its purpose is more than simple movement as well. It sets up the arrival of “Great Mother” — one assumes that’s Earth itself — which features a not so disparate payoff from that of “Ritual Circle,” but does it twice, with more forward guitar, and feels more like a summary of Dream Weapon as a whole for that. There are vocals and keys at the end, but by that point Genghis Tron can close however they want — they’ve made it abundantly clear they’re working on their own terms, outside of the band they were but still evolved from it in a way that can only be called organic despite the alleged irony of so many electronic aspects to their style.

One might liken Genghis Tron‘s return to that of Florida’s Cynic. When that once-death-metal band reemerged in 2008 after some 15 years with a more progressive sound, it felt similarly natural for them to go in that direction as it does for Genghis Tron to go or to have gone in this one. I won’t decry the band’s past work, but to call Dream Weapon anything less than one of the year’s best LPs would be underselling it. It’s not just that they’ve changed their style or gotten more melodic with a new singer — the impact of this material also comes from a creative use of rhythm that might’ve been possible before but certainly wouldn’t have been likely. At the same time, as much as Wolski and Yacyshyn bring to the band — and that’s plenty — the songwriting at work between Jordan and Sochynsky feels very much like the foundation from which the pieces are built out into the whole album. That is a task for which one is thankful they set themselves, and if this is a point from which they might pick up and continue forward, it should be all the more counted as essential.

Genghis Tron, Dream Weapon (2021)

Genghis Tron on Thee Facebooks

Genghis Tron on Instagram

Genghis Tron on Twitter

Genghis Tron on Bandcamp

Relapse Records website

Relapse Records on Bandcamp

Relapse Records on Thee Facebooks

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