Posted in Whathaveyou on January 12th, 2021 by JJ Koczan
http://www.city-living.de/?online-mba-no-dissertation Papers Online - Stop Worrying about Your Dissertation. A thesis paper is a voluminous piece of writing based on the student's ideas and the research they conduct as a part of a college degree. It's a time and energy-consuming assignment that requires: Great writing skills; Creative approach to writing; Research skills Plankton Wat, aka Our website is No. 1 in Academic Writing Service & Custom http://bmatovu.com/persuasive-essay-on-military-service . Feel free to hire us for your academic needs. We are the perfect Dewey We take the time to listen to their needs in order to provide them with Professional http://jval.ch/trig-homework-help/. Click here to see more Mahood, formerly of Enjoy professional writing options offered at our http://www.chance-quereinstieg.de/?woodlands-junior-homework 24/7. Order your paper now or use one of the samples offered for free. Eternal Tapestry, has been putting out solo psychedelic instrumental offerings for the better part of 20 years, and noting that is my clever, ears-to-the-ground-always-on-the-ball-never-miss-a-thing way of telling you his work is new to me. The umpteenth Whether you want a doctoral Source or nursing dissertation help, we wont burden you with heavy charges. And last, we always give what we claim i.e. quality services. Even if you hire us in an emergency deadline, you will never find the quality missing from our services. If youre a student and looking for dissertation help in Dubai, Abu Dhabi, Sharjah, Ajman Plankton Wat LP, dubbed Brown University Dissertation in UAE. Product/Service . Community See All. 86 people like this. 88 people follow this. About See All +971 56 596 3112 Future Times, is set to release on Feb. 26 through Go Here services from writers who know how to annotate sources | Now you can live your life as you want, and we will do the rest! Thrill Jockey, and if the advance-posted track “Nightfall” (at the bottom of the post) doesn’t hit you immediately, don’t fret and don’t give up on it. Give it another go. It might take that second time for the vibe to really set in, but there’s a soothing aspect to it that, once it comes through, is righteously affecting. I dig it, so I’m posting about it.
Preorders are up if you’re the type to get stuff done in advance. And if so, cheers on that. Some of us are always playing catchup.
From the PR wire:
Contemporary psych explorer Plankton Wat (Dewey Mahood, ex-Eternal Tapestry) announces new album Future Times due out February 26th, 2021
essays about history Phd Thesis On Military Strategy doctoral dissertation assistance in musicology my algebra solver Future Times elevates Mahood’s psychedelic instrumentals to higher planes, finding hope in the turbulent events of 2020 and drawing strength from the natural world
One of the most prolific and inventive guitarists in the contemporary psychedelic underground, Portland multi-instrumentalist Dewey Mahood has announced his latest solo album as Plankton Wat, Future Times, due out February 26th. First single “Nightfall” sees Mahood sculpt a cinematic, new psychedelic and beautiful pastorale, building from distorted guitar figures and smouldering synthesizer drones to peaks of lysergic bliss.
Mahood’s music exists in constant communion with nature. From acclaimed albums with heavy-psych mainstays Eternal Tapestry to his prolific solo excursions, Mahood’s work has always been defined by his restless exploratory spirit and reverence for the environment. As Plankton Wat, his expressionist compositions exude a supernatural grace and patience, reflecting the resplendent beauty and mythical energy of the West Coast’s wild places. Mahood’s masterful and distinct guitarwork consistently blurs the confines of the instrument, at once texturally and melodically rich. Future Times elevates Mahood’s psychedelic instrumentals to new planes, encompass both the wild, seeking energy of free-improvisation and the deliberate arrangements of more traditional composition.
Plankton Wat – Future Times tracklist 1. The Burning World 2. Nightfall 3. Modern Ruins 4. Dark Cities 5. Teenage Daydream 6. Sanctuary 7. Future Times 8. Defund The Police 9. Wind Mountain
Obviously part of revisiting any album is listening to it, but with Are you looking for more online? With writing essay help at EssayWritingInCa you will get your personal essay helper to get done quality papers Murder the Mountains (review here), it almost seems unnecessary because the songs are so memorable. “Wires.” “Into the Eye.” “Number Thirteen” — which I’ll put forward as a candidate for the best song school uniforms research paper blog link Online phd research proposal data mining homework help in geography Red Fang have ever written. And even if you don’t remember “Hank is Dead” or “Throw Up” by their title alone, if you heard the Portland, Oregon, band’s second full-length when it was released in 2011 as their first LP for Need follow sites? Our highly qualified professionals can polish your papers to perfection! Student-friendly prices and high-quality results are Relapse Records, chances are within the first five seconds it’ll come back. 10 tracks, 41 minutes. It’s not a flawless album by any means, but even its warts become a strength and a part of the band’s overarching personality.
It was a big deal when bassist/vocalist Our Example For Business Plans also ensure that every single completed paper is of great quality and delivered on time. Our experts will also offer you a bit of advice to help with your work or any other type of paper. Aaron Beam, guitarist/vocalist Order Online Best Travel Essays at EssayErudite.com. Here at EssayErudite we try to distribute ourselves as one of the most cost-effective methods of Maurice Bryan Giles, guitarist The http://www.handwerk-uhn.de/?10-per-page-paper-writers service was among the top student sites last year. Students come in searching for dependable, quality-minded homework solutions. Students leave with smartly crafted papers which live up to US educational standards. Upload a paper to Turnitin if an instructor asks. Let them see your document is authentic and contains no plagiarism. Let a tutor ascertain all the quotes in your David Sullivan and drummer Time to Get http://www.reinsfeld.de/?university-of-oregon-creative-writing Online! Writing a dissertation is a tough thing to do, isnt it? But what to do if you cannot cope with it, and still you John Sherman signed to Relapse. Their 2009 self-titled (discussed here) had come out through Sargent House and received mass attention owing to the proto-virality of the video for “Prehistoric Dog,” which was kind of a Black SabbathBlack Sabbath-declarative moment for Pacific Northwest heavy and/or what might’ve been called “party doom” but was really just heavy rock made by a next generation of grown up punks and metallers. That Red Fang had both — punks and metallers, that is — made them all the more a standout.
It was also a big deal when they recorded Murder the Mountains with Chris Funk of The Decemberists, thereby forcing a legion of soon-to-be-beardos to find out who The Decemberists were and maybe, just maybe, listen to a song or two. Funk played some guitar on the album too, and there were guests on organ and percussion, etc., but what still comes through in revisiting these years later is the strength of the songs themselves. Red Fang‘s deceptively clever vocal swaps between Giles and Beam would become a signature element of their work, but the clarity with which the former’s caveman grunts announce the band’s arrival after the intro crashes of opener “Malverde” are still an effective slap from a band said to be working in a pop sphere. That they’d back that song with the ultra-catchy, uptempo swing of “Wires,” led vocally by Beam‘s more melodic approach, gives the yet-unconverted listener a more complete picture of what Red Fang have to offer throughout, while at the same time essentially shoving that same listener deeper into the album, as the shorter “Hank is Dead” careens into “Dirt Wizard”‘s brash punk and the side A-capping chug of “Throw Up” with post-Queens of the Stone Age solo fuzz answering “Hank is Dead” at the outset even as the midtempo stomp speaks of heavier intentions ahead of the chorus, infectious to the last.
“Painted Parade” is about as close as the band comes to pure heavy punk, and that’s plenty close, and Beam leads that charge much as Giles fronted “Malverde” — the band finding ways to do something different without veering too far from their central purpose in terms of songwriting. Like “Wires” answered “Malverde,” “Number Thirteen” backs “Painted Parade” with a call and response in its chorus with Beam and Giles back and forth, but the marching verse is as much a hook, and the later touch of harmony on the third verse is nothing less than a defining moment. For me, it’s the whole key to the album. They shift into the speedier break with Giles taking the lead vocally and move through the guitar solo, surge back into a winding progression and build it to a head, and then it’s not some huge riff that puts “Number Thirteen” over the top, it’s the melody. Gorgeously mixed by Vance Powell, the energy of that movement is a showcase for just how graceful Red Fang are at their best; and just to drive the point home, they finish with another chorus.
Momentum, so much a strength throughout Murder the Mountains, is maintained through “Into the Eye,” and “The Undertow” not only highlights the bass tone that’s added weight all along to the barrage of righteous riffs, but broadens the scope of the record with a more languid tempo and melody; never doomed, but a purposeful comedown, and well placed ahead of the finale with effects noise bringing a few hypnotic seconds before “Human Herd” smacks its way in. A grungy verse into a surge of a chorus that only gets more surging feels like and is a victory lap on the band’s part, and though subsequent reissues (like the one streaming above) of Murder the Mountains have included bonus tracks “Over the Edge,” “Through” and “Pawn Everything,” I tend to prefer the original ending, the subtle touch of tambourine in the chorus of “Human Herd,” the way Beam‘s reach in those last lines, then the cold cut to silence. It all brings into near-perfect summary just how efficient Red Fang‘s work has been the whole time.
Precious few seconds are wasted throughout, and yet the band’s abiding personality is dudes-having-a-good-time. Songs are heavy but lighthearted and now and then bright-toned, guzzling PBR but executing with a clearheaded class. It was an album that set the band on tour for years and established them as the leaders of a wave of Portland/PNW heavy that’s abated some the last two years or so but still provides reliable listens on the regular. Red Fang themselves, as noted, hit the road hard, touring with Saint Vitus in 2011 (review here) and going to Europe in 2012. In 2013, they released Whales and Leeches (review here), toured toured toured, did a few other short releases, a Scion A/V EP (remember those?), toured toured toured, a one-off here and there, fests and whatnot into 2016’s Only Ghosts (review here), which remains their latest full-length. They of course toured toured toured to support it, and periodic singles have followed since — the latest, “Stereo Nucleosis” (posted here), came out in July 2020 — but a stretch coming on five years between LPs is easily the longest of their career.
Whatever may come or not from Red Fang in the next couple years, they’ve become statesmen of Portland heavy and of American heavy rock in general, and their contributions in craft and attitude alike continue to resonate, influencing style and substance alike. This album sounds no less vital today than it did nearly a decade ago when it was first released.
As always, I hope you enjoy. Thanks for reading.
—
Oh hi. Didn’t see you there. It’s 6:30 in the morning. The Pecan’s been sleeping past 7 (!) or at least not really getting out bed until then — he’s already stirring — so I let myself sleep until 5, which has felt like a gift the last couple days. I got up yesterday and managed to put together all of today’s posts — this one aside — before even getting him for breakfast. A boon in these days when preschool remains virtual. Which is, by the way, a fucking disaster.
He stayed with his aunt and grandmother on The Patient Mrs.’ side for an overnight last week. The Patient Mrs. and I, of course, spent the entire day sitting on the couch watching Star Trek. I shit you not, and it was glorious. You think I’m just not mentioning the sex, but no. No sex, just Trek. A pure and necessary headfirst dive into restorative boredom. I might, might have showered. I can’t remember just now. But anyway, in trying to convince The Pecan to lay down and go to sleep and then watching as he held out and sat up until, at last, he literally toppled over into unconsciousness, The Patient Mrs.’ sister sent a text remarking on his “astonishing willpower.” That has become a kind of running joke this week as regards behavioral issues.
Astonishing willpower as he continues to bite himself when asked to color his school calendar. Yes, we’re consulting with a behaviorist. With occupational therapy, with speech therapy (he’s boomed in language, but some of his frustrations are language-related; plus it’s a way to get him more socialization so we take whatever services we can get). Coordinating with the school — he’s in early pre-K to do this work. But yes, astonishing willpower.
An ambulance just went by in the dark, one blinking light, obviously keeping it quiet. Wonder if they’re cutting through the neighborhood or making a stop here. 4,000 people died yesterday. Knew we were creeping up on that. I keep an eye.
And hey, angry white people tried to overthrow the US government this week in a move that everyone saw coming including the police, who let it happen. Made for good tv. Gotta give that to whatshisname.
Well, kid’s up. I should go get him. Breakfast, grocery shopping, then virtual school, then I have a tele-health appointment with a psychiatrist to talk about my meds, which I am nervous about I guess. Like do I need to get on Zoom and perform depression for you? Must I manifest my diagnosis to legitimize it, sit on my back legs to beg for pills so I can go a day without thinking of obliterating myself? Yeah let’s do that. Sweet.
We’ll see how it goes. If I can make it through without being confrontational, I’ll call that a win.
New Gimme show today, 5PM. The Pecan does a guest spot in the voice track. Look out for it. He has fun.
Next week is booked front-to-back. Couple good reviews, couple premieres, all that stuff. Trying to set up a video interview with Kadavar. We’ll see how that goes too.
Great and safe weekend. Don’t forget to hydrate. Wear your mask over your nose. All that stuff.
Posted in Whathaveyou on December 16th, 2020 by JJ Koczan
I’ve barely begun to dig into Charley No Face‘s debut album, The Green Man. Just barely. And yet here I am posting about it, for a couple different reasons. One, the vinyl’s out Sunday, so there’s a time crunch — though I’ve certainly done after-the-fact, out-now kinds of stuff before as news, so not that much of a crunch. Second, and more importantly, Charley No Face remind me of Comet Control in their blend of drift, space and f-u-z-z, and among compliments I don’t give out lightly, that one’s significant.
Bits of Dead Meadow, bits of other slow-rolling distortion-drenched semi-psych awesomeness, and yeah, I’m in. This rules. Plus the album intro is in “Pts. I-IV” and only 40 seconds long and the CD’s in a jewel case. That last one feels pretty rare these days.
At heart I’m really a simple creature.
Dig the PR wire:
CHARLEY NO FACE Announces Long-Awaited Vinyl Release of Debut Album The Green Man
Vinyl out Dec. 20 via Forbidden Place Records; CD & Cassette Now Available
Portland psychedelic fuzz rockers CHARLEY NO FACE are proud to announce the impending vinyl release of their debut album The Green Man, out Dec. 20 via Forbidden Place Records.
An ode to Pennsylvanian urban legend Raymond Robinson, known to locals as The Green Man and Charley No-Face, the band’s debut features nine permeating tracks that contort a various range of influences from psychedelia and prog rock to doom metal and proto-punk.
Recorded by Cameron Spies (Blackwater Holylight) and mastered by Mike Nolte, this severely slept-on debut will be cherished by anyone into old-school production, entrancing melodies, and heavy-ass guitar straight from the garage. CHARLEY NO FACE was formed in 2019 when Nick Wulforst (Crook and the Bluff) joined forces with Brad Larson after becoming neighbors in Portland, Oregon. Both obsessed with vintage gear and all things bluesy and heavy, they started writing songs together in an effort to create a new breed of grunge-inspired psych-rock. The duo soon enlisted drummer Tim Abel and guitarist Stephen Cameron (the latter eventually replaced by keyboardist Carina Hartley) to round out the thick wall of sound, when the drugs began to take hold—so tune in, turn up, and drop out.
Posted in audiObelisk on December 15th, 2020 by JJ Koczan
Guided by multi-instrumentalist/vocalist Elliott Miskovicz, Portland, Oregon’s A Stick and a Stone will release Versatile on Jan. 15 through Anima Recordings with vinyl reportedly to follow the tape/DL edition via Blast First Petite. Also stylized all-lowercase — versatile — it is the fourth full-length from Miskovicz and various assembled company, and if you’d like a quick lesson in urgency of expression, I’ll direct you to the quote below wherein Miskovicz describes the process of playing album opener “Husband of Wind” (also premiering below) live. Consider hitting a bass drum with one hand and playing organ with the other while singing in harmony with someone also playing viola. Rhythm, melody and purpose collide in this way all throughout Versatile, across 11 songs and 47 minutes exploring themes of love, nature, queer experience, and identity in songs striking in their human presence and ethereal atmospheres alike.
From the tense unfolding of “Husband of Wind,” “Horsetail” finds lighter resonance in its second half melody while cello adds Americana severity to “Monster Men” and “Hunter” makes a background drone from what sounds like the howling of wolves. The narrative of Miskovicz as trans living off-grid in rural (presumably) Oregon is powerful in terms of both escape and confrontation, but there is an engagement with totality the comes through in the breadth of arrangements on Versatile even as the record stays unified and in no small part defined by Miskovicz‘s vocals. The relative minimalism in the first half of “Meridians,” for example, uses open space as effectively as “Husband of Wind” casts its wash of melody, and that makes the wrenching second half of the later track all the more agonized and jarring, which it’s every bit intended to be.
Marimba percussion adds a counterpoint to more cello in the centerpiece “Timelapse” as Miskovicz asks, “What makes you so different from the red blooded ones?” in gaunt, throaty fashion, but “Timelapse” finishes on a gentler note with solo vocal. That brings about the 6:18 “Languages Unspoken,” the longest cut on Versatile, with distorted pedal harp and wood flute amid harmonized voices, backing drone, what seems to be a manipulated sample of a siren or something, and an almost scratchy melody line later that might be kalimba and might not — ultimately I suppose what matters more is it’s gorgeous.
While we’re talking about what matters, Miskovicz, who is by no means alone throughout Versatile despite the sometimes solitary feel in the songs themselves, does not simply use these varied arrangements for niche-hunting. Four albums into A Stick and a Stone‘s tenure, this is not I’m-going-to-put-a-wood-flute-on-my-record-and-then-I’ll-sound-like-me novelty, and it’s not spaghetti-at-wall experimentalism either. The abiding notion here is purpose, and while each piece throughout Versatile might seem to bring another element or side of the delivery, there’s a reason these things are there, and they serve the songs throughout, even unto the 82-second guitar-and-voice interlude “Oslo in Snow” and the taped nighttime-crickets and a pitch-shifted alouatta sounding like dog barks that back the subsequent “Heart of a Whale,” viola, violin and layers of harmonized vocals emerging like ghosts en route to the penultimate “Sullivan,” a somewhat back to ground emotive, stately piece on which one can hear what might’ve made Miskovicz approach Amber Asylum‘s Kris Force for mastering.
That leaves “Homewrecker” to close out with lever harp and a surge of threat that is mirrored by strings and shouts in the midsection of its brief run, the melody building behind and taking over to slowly fade out as the last notes are struck. Beautiful, sad, immersive, challenging — Versatile, sure enough, is all of these things, and it still finds its core in Miskovicz‘s performance throughout as the compositional center around which the songs are collaboratively built.
It’s the nature of a release working in this way that no single song will really be able to sum it up, but in terms of ambience and melodic reach the opener seems a fitting enough place to start. Accordingly, you’ll find the premiere of “Husband of Wind” below — note the contradiction in opening with “Husband of Wind” and ending with “Homewrecker” — followed by the aforementioned quote from Miskovicz and more background from the PR wire.
Please enjoy:
Elliott Miskovicz on “Husband of Wind”:
“As a song about the element of air, I really wanted to record ‘Husband of Wind’ on the pump organ, an instrument that really breathes with its whole body. After searching for almost a year, I finally found a church that would let me record on theirs with no one around. I wrote this song during a time when I was dealing with relentless panic attacks, and when becoming more conscious of breathing was a constant process. This song is one of the most challenging to play on tour, because I play organ with one hand and bass drum with the other while singing harmonies with Billy Ray. Meanwhile, Billy Ray sings the vocal harmony while simultaneously playing their viola part which harmonizes with Myles and Stelleaux’s string parts. In this recorded version, I appreciate how much fuller David’s drumming sounds, along with the deep undertones of the pump organ.”
Formed in 2007 by transgender vocalist/composer Elliott Miskovicz, A Stick And A Stone crafts dark, minimalist, choral-ridden song-spells laced with ambient field recordings and poetic imagery. After a decade of Miskovicz touring the underground circuit as a solo artist while recording with a steady flow of guest musicians, A Stick And A Stone expanded in 2015 to include core collaborators Billy Ray Boyer (Aradia), Stella Peach (Sweeping Exits), Myles Donovan (Disemballerina), and Sei Harris (Mind Parade). Performing as an openly trans and disabled artist, Miskovicz’s work sheds light on the unseen and unheard, calling out to mysterious forces with vital inquiries into surviving and restoring our often fractured world.
Versatile, the upcoming fourth album by A Stick And A Stone, explores the versatility of queer love with songs for friends and freedom fighters, woodlands and waterways, trans ancestors and survivors. Diverging from the heavy doom-shaded opus of their previous release, Versatile is a vivid experimental album home-recorded in remote forested hideouts. While the thread of A Stick And A Stone’s lush, ethereal vocals and minor-key fervency endures, off-kilter compositions of harp, layered strings, pump organ, found sounds, and crystal glass breathe new organic life into the band’s distinctive sound.
Written after Miskovicz’s relocation to living off-grid in the woods after a lifetime in the dense Philadelphia area, these 11 songs follow the journey of the sacrifices we make in the name of solace. When multiple health conditions began exacerbating in urban environments, it became imminently necessary for him to relocate to quieter landscapes. Although rural life was not always easy as a transgender gay male, his songwriting there evolved from a tool for coping with chaos into an expression of reverence for the ecosystems surrounding him.
Mastered by Kris Force of Amber Asylum, with evocative cover art by renowned queer metal artist Stephen Wilson, Versatile comes January 15th on cassette and digitally via Anima Recordings. Blast First Petite (UK) will issue the vinyls when the peak of the plague passes, and everything becomes viable again.
Album Credits: Elliott Miskovicz – Vocals, Composition, Pump Organ, Piano, Marimba, Kalimba, Classical Guitar, Wood Flute, Percussive Branches, Bass Drum, Found Sound Excavation, Home Recording, Production.
Billy Ray Boyer – Viola Stelleaux Peach – Violin, Cello Myles Donovan – Viola, Lever Harp, Crystal Glass Sei Harris – Cello Darian Scatton – Pedal Harp, Harp Recording David Fylstra – Mixing, Tape Manipulation, Percussion, Percussion Recording Kris Force – Mastering Stephen Wilson: Cover Art
Posted in Whathaveyou on December 15th, 2020 by JJ Koczan
Blackwater Holylight have a new record in the can, and if you’ve spent the better part of your day, week, month, etc., doomscrolling various endtimes scenarios of escalating culture-war-as-actual-war, climate crisis, rampant plague, and so on, this might just be enough to hang your hat on for a little bit. 2019’S Veils of Winter (review here) was easily among the most repeat-listenable offerings of that so-long-ago-now year, and the fact that the Portland-based heavy psych rockers have returned to work with engineer Dylan White bodes well, even as they also brought in A.L.N. of Mizmor to produce.
What the hell, something to look forward to. I’m still pretty bitter about not getting to catch Blackwater Holylight for what would’ve been the first time in my beloved Garden State on their game-called-on-account-of-pandemic tour with All Them Witches, but at least it’s good to know they were writing songs this year. You may also likely note in the studio picture below that synthesist Sarah Mckenna is very, very pregnant. The band noted in an earlier post she’s at nine months, so cheers on that and here’s hoping the studio had someplace comfortable to sit.
Obviously I haven’t seen a release plan or even a title for what will be Blackwater Holylight‘s third album, presumably for RidingEasy Records, but when I do I’ll let you know. In the meantime, if you want to take the opportunity to pay Veils of Winter a revisit, it’s as good a time as any and the Bandcamp stream follows here.
The band’s Instagram post was short and sweet and went like this:
That’s a wrap! Was such a pleasure working with @whollydoomedblackmetal and @glasswavs… fucking dream team, dream family, we are bursting! Excited to share with you all soon.
Posted in Whathaveyou on December 8th, 2020 by JJ Koczan
Eight Bells have completed the recording process for their next full-length. Their third, and reportedly titled Legacy of Ruin, it will see release in 2021 through Prophecy Productions, which puts the Portland, Oregon, outfit in the company of Alcest, Amber Asylum, Antimatter, and a whole league of badass groups and artists whose monikers start with other letters of the alphabet. By the time it arrives, the new Eight Bells will follow five years after the band’s prior outing, Landless (review here), which was issued by Profound Lore. And in case that’s not good enough company to keep, the new record — like the one preceding — was engineered by Billy Anderson. So there.
The band’s own Melynda Marie Jackson posted the following on thee social medias:
What a relief! Eight Bells has finished the recording and mixing of our 3rd album for release on Prophecy Productions and we are excited to share it. I should say finished but still needs mastering.
I know I have been saying “It’s coming It’s coming” for a couple of years now and that was not a lie — but timing was not with us. We managed to complete production after postponing tracking twice; the most recent postponement related to a GLOBAL FUCKING PANDEMIC. Large amounts of Oregon and California burned bringing dangerous air and electricity outages affecting both vocal tracking and mixing.
I won’t even go into the general feeling of doom….but good things happen too and I am so crazy thankful to my friend Billy Anderson for the patience, support, help, production, tracking, mixing, joking, and silliness throughout the process. It helps to laugh especially when times are as bleak as they are right now.
Also thanks very much to my amazing bandmates Matt Solis and Brian Burke for their tenacity in the face of it all- could not have been done without you. Then there’s also contributions from Melynda Marie Amann and Andrea Morgan to enjoy!…
Posted in Whathaveyou on November 24th, 2020 by JJ Koczan
So, uh, this rules. I hadn’t heard Phog‘s Whole Horse Both Barrels before this signing announcement came in from Desert Records, but I kind of dig the crap out of it. Hailing not from Albuquerque, where the label is based, but from Portland, Oregon, via South Dakota, they nonetheless remind me some of defunct Albu-quirkies Leeches of Lore in their lo-fi heavy-meets-psych-country blend. For Phog though, that comes paired with a psychedelic sprawl that feels all the more niche for the lap steel guitar included. Americana and heavy have been stylistic buds for going on 15-plus years at this point, but that’s not really the extent of what’s happening with Whole Horse Both Barrels, as both are put to use to serve the band’s overarching, individualized weirdness. As I said, I dig it.
I’m sure you’ve heard it already, but if not, it’s down at the bottom of this post, and vinyl info from Desert Records follows:
Phog – Whole Horse Both Barrels – Desert Records
We would like to welcome Phog from Portland, Oregon to Desert Records! We will be releasing their album ‘Whole Horse Both Barrels’ on a limited edition 100 individually numbered “Blue Dream” vinyl! We here at Desert Records are thrilled to welcome these fine South Dakota bred, Portland honed gents to the family!
“Whole Horse Both Barrels” is phOGs open love letter to classic rock, country western music, the 70s and heavy metal. Recorded over the course of 2019, and maybe some of 2018, re-visiting songs previously demo’d before Zach was in the band, and rolling out some more fresh material for an easy 30 minute listening experience, of 5 songs that flow right into one another, we hope you enjoy the journey. All songs were written, produced, and recorded by phOG via the Tascam 388 reel to reel in the basement of The Convent in Portland, Oregon.”
Album art for “Whole Horse Both Barrels” created by Ted Nasmith (Canadian artist, illustrator and architectural renderer. best known as an illustrator of J. R. R. Tolkien, and George R.R Martin works).
Phog are: Samuel Cody Matson (lap Steel) Adam Mundorf (Guitar, Vocals) Zachary Retzl (Bass) Jonathan “Jonny V” Ventrella (Drums)
Posted in Bootleg Theater on November 10th, 2020 by JJ Koczan
Portland, Oregon’s Tigers on Opium are looking to raise cash and awareness for Don’t Shoot Portland, an organization started in the wake of the Michael Brown shooting in 2014 that promotes police accountability, does community outreach and supports the Movement for Black Lives, and so on. What, you thought because Joe Biden won everything was hunky dory? All the more reason to protest when someone might actually hear what you have to say.
So anyhoozle, enter Juan Carlos Caceres of Tigers on Opium, who was also featured here last week with Hundred Eyes, used to be in Sioux, has a live record coming out with Alltar and is in Hound the Wolves, probably among others. Caceres as well as drummer Nate Wright and guitarist Justin Morgan from Skulldozer came together around a cover of the Melvins classic “Hooch,” because if you’re looking to turn heavy rock heads onto an idea, that’s probably the way to do it.
Two points: First, I’m not a Melvins fan. I get it, don’t misunderstand. I do. I get it. Very influential band, tour hard, and Dale Crover is enough of a drummer to make it seem like Buzzo has written more than, like, maybe four? riffs in the last 35 years. When tour dates existed, I posted Melvins tour dates. But I’ve had a running joke (with myself, because I don’t have any friends) for years and every time I see a beardo white dude in his 20s or early 30s looking around like he’s the smartest cat in the room I say in no way loud enough to be heard, “Hey bro you like the Melvins?” and imagine that the answer is probably yes.
Second point? This year’s seen a lot of cutesy quarantine collaboration covers, like check out dudes from Nile covering Stevie Nicks or some shit. This isn’t that.
Does it matter? Probably not. Are you still reading? Probably not. Tigers on Opium released a debut EP in 2016 called There’s a Kink for That and bear the tagline “we.jam.stoner.,” which I’ll assume comes in place of “econo” à la The Minutemen. If that’s so, it would be just one other influence under which the band is working, and if I can throw this one out there as well, after four years, it’s probably time for Caceres and Wright — joined by bassist Charles Hodge and guitarist Jeanot Lewis-Rolland live — to make a record or at least another EP. If the Melvins cover kickstarts that, cool.
Enjoy the video:
Tigers on Opium, “Hooch” official video
Juan Carlos Caceres on “Hooch”:
“There’s no doubt 2020 has been a wild year! Within our own music community we’ve experienced the devastating effects of not being able to tour and play shows. Alongside that, we are all faced with some of the most polarizing societal moments in our country’s history. In the spirit of raising awareness for positive change, I collaborated with local Portland artists to produce this rendition of The Melvins song “Hooch”, in hopes of inspiring people to look up and donate to a great organization, Don’t Shoot PDX.”
Community outreach and donation is a great way to get involved in positively affecting the people around us. In the spirit of raising awareness, Tigers On Opium collaborated with members of Skulldozer to make this music video in hopes of inspiring people to look up a great organization, Don’t Shoot PDX, and consider DONATING!
Tigers On Opium are a Portland-based stoner rock band formed out of a magical mix of scene veterans jamming and sheer happenstance. From their origins in 2015 ideas germinated for three years as the band crafted the perfect lineup, but since then the band has been hard at it. They have hence produced a stoner rock sound that hints at a love for psychedelics and hip hop, as well as a passion for literature and philosophy. This has given the band a unique aesthetic of great art that stays classy with a nice touch of grit. It sets them a head and shoulder above their peers and gives them a sound to call their own.
As the band developed, they toured the West Coast. The following year saw the band reach a whole new level of activity, playing with local headliners including Hippie Death Cult, LaGoon, Head the Hive and Disenchanter. The band’s arrival as a mainstay in the local scene was fully achieved.
The band is eager to play more shows, engage more deeply in the community and drive towards a bold new stoner rocking future. As Tigers On Opium continue to develop and prove that they deserve their place in Portland’s bubbling stoner rock scene their ambitions only grow bolder. With eyes on the prize, Tigers On Opium seek to win the hearts of heavy rock fans around the globe.
We do not own the copyright to this song it is for educational and community awareness. No monetizing.
Hooch written by the Melvins Filmed by Triangles Around Us Edited by Matt Howl Additional camera work by Coyote Pistol
Music Performed by Juan Carlos Caceres, Justin Morgan, Nate Wright Engineered by Juan Carlos Caceres, Justin Morgan, Jeanot Lewis-Rolland Mixed and Mastered by Jeanot Lewis-Rolland @JLRAUDIOPRODUCTIONS Produced by Triangles Around Us Co-Produced by Frank Bowers Justin Morgan from Skulldozer played guitar on this track.
