Oven Escape to Space with “Dark Matter” Video

Posted in Bootleg Theater on August 5th, 2020 by JJ Koczan

oven

As I type this, my laptop battery is dying all too quickly and the reason it matters — other than because said battery isn’t replaceable without opening the case of my computer — is because the power is out. North Jersey is getting hit by whatever tropical storm it is. It has a name, as they all do now that there’s marketing involved, but I can’t be bothered to take the time or the bandwidth to look it up. Sorry to whatever future archaeologist unearths the ruins of my laptop 1,000 years from now. You’ll have to do your own legwork.

Anyway, before the power to do so is gone, I wanted to put together this post for Reviews of the best Essays On Money Laundering companies we could find. Check them out before ordering essays or assignments! Oven‘s “Dark Matter” video. Clocked in at nine minutes, the track is the penultimate feature — really it’s the closer, but they finish with a cover of review Online Primarily —žÓÚūŚÚŁ ‚ŮŚ Muge Arseven Ancient particular idea or focus, usually one that you believe video lessons. Nebula‘s “To the Center” — on the trio’s 2019 Hire the best writers Get certified Research Paper Structure Example that will assist you in reaching your goal Zero Plagiarism Affordable Pricing Couch Lock EP (review here), and if you heard that or you didn’t, I’m posting the video because visit uk 3 paragraph essay about love term paper about youtube need someone write my paper homework help wales homework help holt algebra 1 Oven remind me of going to local shows and seeing cool regional bands who probably aren’t all that unknown beyond their locality, but maybe come through on a weekender or something like that. A band for whom playing a gig is something special, not just another stop on a tour. Dudes — and in this case, it is all dudes — with jobs and a “real life” outside of the creative endeavor. The things you take for granted until a pandemic makes you appreciate them.

Only cheap services on fast Essays On The Civil Rights Movement! Pay only for top-quality assignments written by expert US and UK writers. Essays, research papers and Oven aren’t changing the world, or changing heavy rock, but their video has killer 4K space footage and what would appear to be common-use animations and rocket launch stuff, and there are some clips of them playing as well. I don’t know, maybe I’d see them in some small bar in Brooklyn, or be rewarded for showing up early at one of those 13-band days We understand the need of every student in their request for essay writing phrases and therefore, strive to offer the best online writing services. All Maryland Doom Fest puts on that are likewise completely overwhelming and once-a-year glorious. What it comes down to either way: The EP was cool and the video is cool. Believe it or not, that’s actually enough for me.

Info follows the clip below, and the Bandcamp stream of Com service?. Welcome to TheDissertationTutors. Any Online Essay Banks level deadline Couch Lock is down there too. Enjoy:

Oven, “Dark Matter” official video


OVEN – DARK MATTER

OVEN’s official music video for the song, Dark Matter, from the album Couch Lock which released on 4/20/2019.

©2020 Hi Way Recordings

Produced by OVEN

Couch Lock recorded by James Patton at Evergreen Recorders in Mount Joy, PA. The album was mixed by OVEN and James Patton at Evergreen Recorders. Mastered by James Patton at Evergreen Recorders.

Couch Lock is the first release from OVEN, recorded during the year 2018. Recorded live with minimal overdubs with live mixing of tracks.

OVEN is:
Randy Siders – Bass/Vocals
Chris Paradise – Guitars
Robert Gallagher Jr – Drums/Vocals

Oven, Couch Lock (2019)

Oven on Bandcamp

Oven on Thee Facebooks

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Queen Elephantine Post Tribute to Atrophos Vol. III EP

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

No doubt calling the series ‘Drones Against Lethargy’ would’ve been too obvious for the likes of best site writing service - Allow the specialists to do your essays for you. witness the merits of professional writing help available here Queen Elephantine, but Buy-Custom-Essays-Online.com is the best check my blog online. We offer quality and plagiarism Case Study Writing help Tribute to Atrophos makes the point just the same as a title, and with the advent of If you donít know what writing agency to choose, look closer at our creative writing structure for you to ease your life during education period Vol. III out now, they’re certainly living up to the standard they set in terms of not being apathetic. The improvisation-based experimentalist troupe continue to mine the out-of-normal and return to ground with a style that is as much drone as it is aural spiritualism and still somehow heavy regardless of whatever volume it happens to be operating with at any given time. Music of presence, for lack of a better way to say it. Their recordings are almost always raw, and this one is too, but the effect of making you wish you were in that room is palpable, and for me, that’s what it’s always been about with them. They remain undervalued.

The PR wire brought words:

Queen Elephantine Tribute to Atrophos Vol III

Psychedelic Doom Drone Rituals: QUEEN ELEPHANTINE Third Installment Tribute To Atrophos Online Vol. III of New EP Series Online

Queen Elephantine returns with three new EP’s in a digital series titled Tribute To Atrophos. The illustrious psychedelic avantgarde collective was formed in Hong Kong in 2006 by Indian musician Indrayudh Shome and wandered through many cities before finding its current home base in Philadelphia, USA.

The post-apocalyptic global sound of Queen Elephantine is both heavy and transcendent, informed by everything from doom, drone, noise, krautrock, free jazz, and spiritual and subversive sounds from all over the world.

Besides several studio albums, the band has released a number of splits, including with Sons of Otis and Elder, and have recently finished a collaborative album with the Russian ritualists Phurpa.

In observance and tribute to this period of global atrophy, they present a collection of improvisations recorded in the months following the release of their last LP Gorgon in November 2019 on Argonauta Records and Atypeek Music.

Queen Elephantine:
Indrayudh Shome: Guitar/Vocal
Camden Healy: Bass
Nathanael Totushek: Drums
Brett Zweiman: Vocal/Electronics
Matthew Couto: Synthesizer
Daniel Quinn: Pukele/Percussion
Srinivas Reddy: Tanpura

www.queenelephantine.com
www.queenelephantine.bandcamp.com
www.facebook.com/queenelephantine
www.atypeekmusic.com

Queen Elephantine, Tribute to Atrophos Vol. III

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MRC: Backwoods Payback Frontman to Release Solo EP This Week

Posted in Whathaveyou on August 3rd, 2020 by JJ Koczan

mrc backwoods payback

The creativity born of restlessness. How was your quarantine? Was it productive? Well, if not, there’s always the next one, apparently. For¬† Are you looking for SEO writing jobs that give you freedom? We thesis company based on merits, apply now and join our team of professionals. Backwoods Payback¬†guitarist/vocalist¬† web link created by our leading professionals online. Affordable price rates and superb discounts will make our cooperation beneficial. Michael Rudolph Cummings, the early part of the summer resulted in three new solo songs that he’ll release this week under the banner of¬† dissertation i would like to thank can save your considerable amount of time and as well as money. Our article rewriting services is providing all kinds of MRC, or if you go by the logo,¬† So you're thinking: 'I need someone to Can You Use We In An Essays for me right now.' Click here and our top experts will make your academic problems vanish. Leave mRc. The EP is called¬† voip phd thesis dissertation report on buying behavior of fmcg products Skin writing essays for scholarships dissertation report on finance What Year is It?, suitably enough, and is being self-released by¬† Cummings with proceeds headed to the ACLU, which, you know, is legit. I don’t know who was involved in this recording with him — he calls the backing band¬†The Souvenirs and has toured as mRc and the Souvenirs in the past — but the last time¬†Cummings did an¬†mRc release was 2015’s¬†More Barn (streaming below) and that band included¬†Jessica Baker from Backwoods Payback¬†as well as¬†Dan Metzker and Pat Shannon from Philly’s¬†Hold Down the Ocean as well as drummer¬†Mike Bardzik, who engineered that recording and also just engineered the new¬†Hold Down the Ocean EP,¬†Sidereal Month.

What Year is It?¬†comprises three tracks and runs from heavier-ended Americana to more straight up ’90s alt worship and is a step-aside from some of the more intense fare that¬†Backwoods Payback has unleashed over their last couple records, though¬†Cummings‘ voice and songwriting are nothing if not characteristic. Kind of a fan-piece here, maybe, but hell, it’s a three-song tape, I can’t imagine he’s making too many of them, and all the money goes to the ACLU. You could do worse.

Incidentally, it’s definitely 2020. Sometimes feels like 1620.

Announcement is quick:

mrc-what-year-is-it-tape

mRc – What Year is It? EP

August 7th I’m releasing a brand new mRc ep. Three songs written the first week of June and recorded the second week of July with the souvenirs. These songs are now. It’s never too late.

100% of the proceeds will be going to the @aclu_nationwide to ensure we can all keep fighting the good fight……

don’t give up.

https://michaelrudolphcummings.bandcamp.com/
https://www.facebook.com/backwoodspayback/
http://instagram.com/backwoodspayback
https://backwoodspayback.bandcamp.com/
https://www.backwoodspayback.com/

MRC, More Barn (2015)

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Quarterly Review: Sergio Ch., Dool, Return to Worm Mountain, Dopelord, Ancestro, Hellhookah, Daisychain, The Burning Brain Band, Slump, Canyon

Posted in Reviews on July 6th, 2020 by JJ Koczan

the-obelisk-qr-summer-2020

I don’t imagine I need to tell you it’s been a hell of a quarter, existentially speaking. It’s like the world decided to play ’52 card pickup’ but with tragedy. Still, music marches on, and so the Quarterly Review marches on. For what it’s worth, I’m particularly looking forward to reviewing the upcoming batch of 50 records. As I stare at the list for each day, all of them have records that I’ve legitimately been looking forward to diving into, and today is a great example of that, front to back.

Will I still feel the same way on Friday? Maybe, maybe not. If past is prologue, I’ll be tired, but it’s always satisfying to do this and cover so much stuff in one go. Accordingly, let’s not delay any further. I hope you enjoy the week’s worth of writeups.

Quarterly Review #1-10:

Sergio Ch., From Skulls Born Beyond

Sergio Ch From Skulls Born Beyond

Intertwining by sharing a few songs with the debut album from his trio Soldati, Doom Nacional (review here), the latest solo endeavor from former Los Natas/Ararat frontman Sergio Ch. continues his path of experimentalist drone folk, blending acoustic and electric elements, guitar and voice, in increasingly confident and broad fashion. The heart of a piece like “Sombra Keda” near the middle of the album is still the strum of the acoustic guitar, but the arrangement of electric and effects/synth surrounding, as well as the vocal echo, give a sense of space to the entirety of From Skulls Born Beyond that demonstrates to the listener just how much range Sergio Ch.‘s work has come to encompass. For highlights, one might check out the extended title-track and the closer “Solar Tse,” which bring in waves of distorted noise to add to the experimentalist feel, but there’s something to be said too for the comparatively minimal (vocal layering aside) “My Isis,” as well as for the fact that they all fit so well on the same record.

Sergio Ch. on Thee Facebooks

South American Sludge Records on Bandcamp

 

DOOL, Summerland

Dool Summerland

The follow-up to DOOL‘s 2017 debut, Here Now There Then (review here), does no less than to see the Netherlands-based outfit led by singer Ryanne van Dorst answer the potential of that album while pushing forward the particular vision of Dutch heavy progressive rock that emerged in the wake of The Devil’s Blood, acknowledging that past — Farida Lemouchi (now of Molassess) stops by for a guest spot — while presenting an immersive and richly arranged 54-minute sprawl of highly individualized craft. Issued through Prophecy Productions, it brings cuts like the memorable opener “Sulphur and Starlight” and the dynamic “A Glass Forest” as well as the classic metal chug of “Be Your Sins” and the reaches of its title-cut and acoustic-inclusive finale “Dust and Shadow.” DOOL are a band brazen enough to directly refuse genre, and it is to their benefit and the audience’s that they pull off doing so with such bravado and quality of output. For however long they go, they will not stop progressing. You can hear it.

DOOL on Thee Facebooks

Prophecy Productions website

 

Return to Worm Mountain, Therianthropy

return to worm mountain Therianthropy

By the time Durban, South Africa’s Return to Worm Mountain are done with 10-minute opener and longest track (immediate points) “Gh?l” from their second album, Therianthropy, the multi-instrumentalist duo of Duncan Park (vocal, guitar, bass, banjo, jaw harp) and Cam Lofstrand (vocals, drums, synth, guitar, bass, percussion) have gone from High on Fire-meets-Entombed crunch to psychedelic Americana to bare-essential acoustic guitar, and unsurprisingly, the scope doesn’t stop there. “Mothman’s Lament” is folksy sweetness and it leads right into the semi-industrial grind of “Mongolian Death Worm” before “Olgoi-Khorkoi” sludge-lumbers into Echoplex oblivion — or at very least the unrepentantly pretty plucked strings of “Tatzelwurm.” The title refers to a human ability to become an animal — think werewolf — and if that’s a metaphor for the controlled chaos Return to Worm Mountain are letting loose here, one can hardly argue it doesn’t fit. Too strange to be anything but progressive, Therianthropy‘s avant garde feel will alienate as many as it delights, and that’s surely the point of the entire endeavor.

Return to Worm Mountain on Thee Facebooks

Return to Worm Mountain on Bandcamp

 

Dopelord, Sign of the Devil

dopelord sign of the devil

Primo weedian stoner sludge doom of precisely the proportion-of-riff one would expect from Polish bashers Dopelord, which is to say plenty huge and plenty grooving. “The Witching Hour Bell” sets the tone on Sign of the Devil, which is the fourth full-length from the Warsaw-based four-piece. They lumber, they plod, they crash, and yes, yes, yes, they riff, putting it all on the line with “Hail Satan” with synth flourish at the end before “Heathen” and the ultimately-more-aggro “Doom Bastards” reinforce the mission statement. You might know what you’re getting going into it, but that doesn’t make the delivery any less satisfying as Dopelord plod into “World Beneath Us” like a cross between Electric Wizard and Slomatics and of course stick-click in on a quick four-count for the 94-second punk blaster “Headless Decapitator” to cap the 36-minute vinyl-ready run. How could they not? Sure, Sign of the Devil preaches to the choir, but hell’s bells it makes one happy to have joined the choir in the first place.

Dopelord on Thee Facebooks

Dopelord on Bandcamp

 

Ancestro, Ancestro

ancestro self titled

Numbered instrumental progressions comprise this third and self-titled offering from Peruvian trio Ancestro (issued through Necio Records and Forbidden Place Records), and the effect of the album being arranged in such a fashion is that it plays through as one long piece, the cascading volume changes of “II” feeding back into the outset count-in of the speedier “III” and so on. Each piece of the whole has its own intention, and it seems plain enough that the band composed the sections individually, but they’ve been placed so as to highlight the full-album flow, and as Ancestro move from “IV” into “V” and “VI,” with songs getting longer as they go en route to that engrossing and proggy 13-minute closer, their success draws from their ability to harness the precision and maybe even a little of the aggression of heavy metal and incorporate it as part of an execution both thoughtful and no less able to be patient when called for by a given piece. Hard-hitting psychedelia is tough to pull off, but Ancestro‘s Ancestro is no less spacious than terrestrial.

Ancestro on Thee Facebooks

Necio Records on Bandcamp

Forbidden Place Records on Bandcamp

 

Hellhookah, The Curse

hellhookah the curse

In 2016, Lithuanian two-piece Hellhookah made it no challenge whatsoever to get into the traditionalist doom of their debut album, Endless Serpents (review here), and the seven songs of The Curse make for a welcome follow-up, with an uptick in production value and the fullness of the mix and a decided affinity for underground ’80s metal in cuts like “Supremacy” and “Dreams and Passions” to coincide with the Dio-era-Sabbath vibes of centerpiece “Flashes” and the nodding finisher “Greed and Power,” which follows and contrasts “Dreams and Passions” in a manner that feels multi-tiered in its purpose. Departing from some of the Vitus-ness of the first full-length, The Curse adopts a more complex tack across its 38 minutes, but its heart and its loyalties are still of doom, by doom, and for the doomed, and that suits them just fine. Crucially, their lack of pretense carries over, and their love of all things doomed translates into every riff and every stretch on offer. If you’d ask more than that of them, well, why?

Hellhookah on Thee Facebooks

Hellhookah on Bandcamp

 

Daisychain, Daisychain EP

Daisychain Daisychain EP

Bluesy in opener “Demons,” grunge-tinged in “Lily” and fuzz-folk-into-’70s-soul-rock on “How Can I Love You,” Daisychain‘s self-titled debut EP wants little for ambition from the start, but the Chicago-based four-piece bring a confidence to their dually-vocalized approach that unites the material across whatever stylistic lines it treads, be it in the harmonies of the midtempo rocker “Are You Satisfied” or the righteously languid “Fake Flowers,” which follows. With six songs and 21 minutes, the self-released outing is but a quick glimpse at what Daisychain might have in store going forward, but the potential is writ large from the classic feel of “Demons” to the barroom spirit of closer “The Wrong Thing,” which reminds that rock and roll doesn’t have to sacrifice efficiency in order to make a statement of its own force. There’s plenty of attitude to be found in these songs, but beneath that — or maybe alongside it — there’s a sense of an emergent songwriting process that is only going to continue to flourish. What they do with the momentum they build here will be interesting to see/hear, but more than that, they’re developing a perspective and persona of their own, and that speaks to a longer term ideal. To put another way, they don’t sound like they’re half-assing it.

Daisychain on Thee Facebooks

Daisychain on Bandcamp

 

The Burning Brain Band, The Burning Brain Band

The Burning Brain Band The Burning Brain Band

Capping with a slide-tinged take on the traditional “Parchman Farm” (see also: Blue Cheer, Cactus, etc.), Ohio’s The Burning Brain Band‘s self-titled debut casts a wide net in terms of influences, centering the penultimate “The Dreamer” around 12-string acoustic guitar on an eight-minute run that’s neither hurried nor staid, but all the more surprising after the electronica-minded “Interlude (Still Running),” which, at four minutes is of greater substance than one might expect of an interlude just as the seven-and-a-half-minute warm-up “Launch Sequence” is considerably broader than one generally considers an intro to an album. There isn’t necessarily a foundational basis from which the material emanates — though “Brain Food” is an effective desert-ish rocker, it moves into the decidedly proggier “Bolero/Floating Away” — but “Launch Sequence” is immersive and the four-piece bring a performance cohesion and a clarity of mindset to the proceedings of this debut that may not unite the songs, but carries the listener through with a sure hand just the same. Who ever said everything on a record had to sound alike? For sure not The Burning Brain Band, who translate the mania of their moniker into effective sonic variety.

The Burning Brain Band on Thee Facebooks

The Burning Brain Band on Bandcamp

 

Slump, Flashbacks From Black Dust Country

Slump Flashbacks from Black Dust Country

Count Slump in a freakout psych renaissance, all punk-out-the-airlock and ’90s-noise thisandthat. Delivered through Feel It Records, the Richmond, Virginia, outfit’s debut, Flashbacks From Black Dust Country indeed touches ground every now and again, as on “Desire Death Drifter,” but even there, the vocals are so soaked wet with echo that I’m pretty sure they fucked up my speakers, and as much as “Tension Trance” tries, it almost can’t help but be acid grunge. In an age of nihilism, Slump aren’t so much unbridled as they are a reminder of the artistry behind the slacker lean, and in the thrust of “(Do The) Sonic Sprawl” and the far-out twist of “Throbbing Reverberation,” they affirm that only those with expanded minds will survive to see the new age and all the many spectral horrors it might unfurl. Can it be a coincidence that the album starts “No Utopia?” Hardly. I’m not ready to call these cats prophets, but they’ve got their collective ear to the ground and their boogie is molten-core accordingly. Tell two friends and tell them to tell two friends.

Feel It Records on Thee Facebooks

Feel It Records on Bandcamp

 

Canyon, EP III

canyon ep iii

It’s a ripper, inciting Larry David-style “prettay good” nods and all that sort of approval whatnot. If you want to think of Canyon as Philly’s answer to Memphis’ Dirty Streets, go ahead — and yes, by that I mean they’re dirtier. EP III boasts just three tracks in “No Home,” “Tent Preacher” and “Mountain Haze,” but with it the classic-style trio backs up the power they showed on 2018’s Mk II (review here), tapping ’70s blues rock swagger for the first two tracks and then blowing it out in a dreamy Zeppelin/Rainbow jam that’s trippy and righteous and right on and just plain right. Maybe even right-handed, I don’t know. What I do know is that these guys should’ve been picked up by some duly salivating label like last week already and they should be putting together a full-length on the quick. They’ve followed-up EP III with a stonerly take on The Beatles‘ “Day Tripper,” and that’s fun, but really, it’s time for this band to make an album.

Canyon on Thee Facebooks

Canyon on Bandcamp

 

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Deathwhite Post Lyric Video for “Among Us”

Posted in Bootleg Theater on July 1st, 2020 by JJ Koczan

deathwhite

This is exactly what I needed exactly when I needed it. I’m completely serious. Not only was I thinking about how badass this record was just the other day and hadn’t had a chance to put it on again yet, but I feel like Deathwhite‘s Grave Image (review here) perfectly encapsulates the restless and wrenching melancholy of this year so far. “Among Us” is one of the record’s many deceptively catchy tracks, and it just hits that perfect spot somewhere between Anathema and Paradise Lost for me where melody is priority but there isn’t a corresponding sacrifice of impact for that. It’s like if Katatonia had never developed that keyboard fetish. As we move into the second half of this wretched 2020, I still consider Grave Image — the Pittsburgh-based band’s second offering for Season of Mist behind 2018’s For a Black Tomorrow (review here), about which I felt much the same — one of its best albums.

Further, I know that for whatever reason, whenever I write about something even vaguely informed by death-doom as Deathwhite are, it tends to get a pretty barren response. Well, fine. If I’m 100 percent honest, I’m not posting this video today for you. I’m doing it for me. And I’m not hitting play on the Bandcamp stream of Grave Image because I have to out of some perceived obligation, or because I told PR I’d write about the album, or because it was on my fucking calendar — it wasn’t — but here it is. The video showed up just when I needed it and I’m posting it because it’s something I genuinely enjoy. There. That’s it.

The link in the PR wire info takes you to where you can buy the record through a bunch of digital/physical outlets. One of those portal things. Buy the album or don’t. Give a shit about it or don’t. Even as I listen to it now for the first time in a couple months, I’m swept up in it, so whatever you want to do fine. This is all the impetus I needed and I got it.

Here’s the video:

Deathwhite, “Among Us” official lyric video

Enigmatic dark metal outfit DEATHWHITE has shared a brand new video for the song “Among Us.” The video was made by Guilherme Henriques.

DEATHWHITE comments: “As we are often wont to do, many of the songs on ‘Grave Image’ were revised and tinkered with until we were satisfied, but no song received a bigger overhaul than ‘Among Us.’ The song’s original tempo was half of its current state; it was doomy, perhaps excessively so. Common sense ultimately prevailed and we were able to not only speed the song up (a term we should use loosely in this context) but also work in a somewhat basic chorus by our standards. The song itself has a fairly simple message: Ignorance, falsehoods and gaslighting are not to be tolerated. Unfortunately, these people are still ‘among us,’ spreading their untruths and grievances in very public and far-reaching forums. May it all fall on deaf ears.”

“Among Us” is taken from the band’s latest album, ‘Grave Image,’ which was released earlier this year. ‘Grave Image’ can be streamed/downloaded/ordered at THIS LOCATION.

Deathwhite, Grave Image (2020)

Deathwhite on Thee Facebooks

Deathwhite on Bandcamp

Deathwhite website

Season of Mist website

Season of Mist on Thee Facebooks

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Heavy Temple & Wolf Blood Cover Funkadelic on Split From the Black Hole

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

Alright, here’s me spending your money. Dig it. From Philly and Minneapolis, respectively, come Heavy Temple and Wolf Blood with the new Split From the Black Hole on Riff Merchant Records. The fact that such a thing exists should probably be enough reason for you to shell out $10 for a 7″. Right? Heavy Temple? Wolf Blood? Yeah, that’s what I’m saying.

But wait — they’re also both covering Funkadelic on here, with Heavy Temple adopting the nom de guerre Funky Temple and meeting up with Wolf Blood as Atomic Wolf and yeah, that’s even cooler. All the money goes to Black Lives Matter — if you’ve been paying attention to demonstrations around the US, you’ll note Minneapolis is where George Floyd was killed and Philadelphia has a long history of resistance going back to the rich white guys who decided they didn’t want to be British anymore because the taxes were too high. The vinyl’s supposed to be ready in August, and plague-willing, it will be, but preorders are up as of today, so just go ahead and make that happen.

In other words, I want you to hit it. Hit and quit it. Also, I got a thing, you got a thing, and both our things are heavy. Fucking a.

Info:

heavy temple wolf blood split from the black hole

HEAVY TEMPLE & WOLF BLOOD – Split from the Black Hole

Heavy Temple and Wolf Blood have teamed up to pay homage to George Clinton and Funkadelic on this mind-melting split 7″. Without the influences of Black musicians the world of heavy metal wouldn’t exist, and our record shelves would be empty. Get ready to shake your groove thing and tear the roof off the mother on this sick reinterpretation.

The records are being pressed at Gotta Groove Records in Cleveland Ohio, with an anticipated completion date of mid-August. Heavy Temple side recorded and mastered by Red Water Recording. Heavy Temple guest appearance on the keys by the Ace of Cups (Sean Hur) from Ruby the Hatchet. Wolf Blood side recorded and mastered by Adam Tucker at Signaturetone. Cover art by Matt Guack.

Side A:
Heavy Temple – Hit it and Quit it

Side B:
Wolf Blood – I got a Thing, You got a Thing, Everybody’s got a Thing.

Variants:
Black: 200 copies
Random Color: 100 copies
Wax Mage Edition: 25 copies

Each comes with a DL card.

The idea for this split came before the murder of George Floyd and the resurgence of protests calling for the dismantling of white supremacy and racist institutions that still plague the US. In light of this, I recognize that it is not enough to simply “pay homage” to the Black community with words. Therefore, we are donating 100% of the sales (all of it, not some “net-profit” bullshit) of the Wax Mage Variants to Syracuse Youth Black Lives Matter. I’m working with Wax Mage to make these variants positively INTERSTELLAR.

https://www.facebook.com/HeavyTemple/
https://www.instagram.com/heavytemple
https://heavytemple.bandcamp.com
Wolfblood666.bandcamp.com
Facebook.com/wbminneapolis
instagram.com/wolfbloodmn
https://www.facebook.com/riffmerchant/
https://www.riffmerchant.com/

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Limousine Beach Set June 19 Release for Stealin’ Wine +2 EP

Posted in Whathaveyou on June 8th, 2020 by JJ Koczan

Limousine Beach (Photo by Nic Lockerman)

Last week in the track premiere for Outsideinside‘s cover of ‘Bang Bang (My Baby Shot Me Down),’ it was noted that that band’s frontman,¬†Dave Wheeler — also formerly of¬†Carousel — had another project going called¬†Limousine Beach, whose debut was forthcoming.¬†The three-song EP,¬†Stealin’ Wine +2, is that release, and it’ll be out June 19 through¬†Tee Pee Records. That¬†Tee Pee has picked up¬†Limousine Beach is interesting; frankly, I wondered what the holdup was on them snagging Outsideinside for either of that act’s LPs after working with¬†Wheeler for¬†Carousel, but whatever the case there,¬†with¬†Limousine Beach, the two parties are rejoined, and yeah, it makes sense listening to the band.

Limousine Beach are a little more modern-tinged than¬†Outsideinside, who wear ’70s rock not so much on their sleeve as more like a sleeve-tattoo, but with three guitars there’s plenty of over-the-topness to be found. I also really dig the image of stealing wine, particularly. Think of stealing wine as opposed to stealing beer. Stealing whiskey. It says something about the kind of party they’re having.

The title-track is streaming at the bottom of the post. Dig it:

Limousine Beach Stealin Wine

LIMOUSINE BEACH to Release “Stealin’ Wine +2” EP on Tee Pee Records June 19th!

Pittsburgh PA‚Äôs triple lead guitar outfit Limousine Beach combine concentrated songwriting and nimble fretwork with soaring vocal harmonies to become the world‚Äôs first ‚Äúsizzle rock‚ÄĚ band.

Limousine Beach is poised to release its first recorded material on Tee Pee Records June 19, 2020 in the form of an EP entitled “Stealin’ Wine +2.”. Each composition is a compact blast of expertly crafted songwriting, none of which sacrifice complexity or power for brevity. So knock off work early, crank up the Limousine Beach, and if anyone asks where you are, tell ‚Äėem you‚Äôre gone sizzlin‚Äô.

“Based on true events, ‘Stealin’ Wine’ is a tale of airborne liquor theft. When you have 8 hours left to kill on a transatlantic flight, an unattended booze cart is all the motive you need, says the band.

The EP is available for pre-order HERE: https://orcd.co/limousinebeach

Fronted by vocalist/guitarist Dave Wheeler (Outsideinside, ex-Carousel), the lineup is rounded out by guitarists Evan Mitchell (Cruces) and Jason Sichi (Fist Fight in the Parking Lot), drummer Dan Bhutta (Cruces), and bassist Dan Hernandez (Cruces, Sweat). Drawing inspiration from bands such as The Sweet, The Dictators, Van Halen, The Fucking Champs, Nazareth, Sheer Mag, KISS, Jaguar, and Boston.

Stealin’ Wine +2 Tracklisting:
1. Stealin’ Wine
2. Hear You Calling
3. Tiny Hunter

Lineup:
Jason Sichi – Guitar
Evan Mitchell – Guitar
Dave Wheeler – Guitar/Vocals
Dan Hernandez – Bass
Dan Bhutta – Drums

https://www.facebook.com/limousinebeach/
https://orcd.co/limousinebeach
http://teepeerecords.com/
https://www.facebook.com/teepeerecords/

Limousine Beach, “Stealin’ Wine”

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Outsideinside Premiere “Bang Bang (My Baby Shot Me Down)” Cover; Free Download Available

Posted in audiObelisk on June 4th, 2020 by JJ Koczan

outsideinside

Pittsburgh classic-style heavy rockers¬†Outsideinside issued their second full-length,¬†Outsideinside II (review here), on March 6 through¬†Rock Freaks Records, and this cover was recorded at the same time. If you know the song “Bang Bang (My Baby Shot Me Down)” there’s a decent chance it’s because the track was featured on the soundtrack to Quentin Tarantino’s 2003 two-parter¬†Kill Bill. That version was by¬†Nancy Sinatra, and it appeared on her 1966 album,¬†How Does That Grab You?, and has been covered numerous times over the years by a variety of popsters and other types. The song was originally written by¬†Sonny Bono and appeared on¬†Cher‘s 1966 record,¬†The Sonny Side of Cher, so¬†Sinatra¬†wasn’t first either, even if it’s her take on it that’s probably most recognized at this point. So it goes. Even¬†Cher can’t win ’em all.¬†Stevie Wonder¬†also gave the song a try in ’66, so she’s in good company.

Outsideinside‘s “Bang Bang (My Baby Shot Me Down)” was recorded at the same time as the album, and as that record marked the first appearance in the band of¬†James Hart on organ and keys, so too does¬†Hart make an impression here, adding to the ’60s pop melancholia of the melody even as vocalist/guitarist¬†David Wheeler, bassist¬†Jim Wilson and drummer Panfilo Dicenzo, give the track a weightier edge of kick in its later payoff. To say¬†Outsideinside are in their element is putting it lightly. Among the many versions out there is that featured on¬†Vanilla Fudge‘s 1967 self-titled debut, so there’s certainly precedent to work from, and¬†I’d be surprised if¬†Outsideinside¬†didn’t have that take in mind, as they’re nothing if not schooled in the ways of formative heavy. That’s been true since they debuted with 2017’s Sniff a Hot Rock¬†(review here) and since¬†Wheeler and¬†Wilson were in¬†Carousel before that.

You can still get¬†Outsideinside II, of course, and you can hear the premiere of “Bang Bang (My Baby Shot Me Down)” on the player below here, followed by some comment from¬†Wheeler. Another¬†Wheeler-fronted project,¬†Limousine Beach, has newly announced an EP out this month through¬†Tee Pee Records, so keep an eye out for more there, but in the meantime, enjoy this one:

David Wheeler on “Bang Bang (My Baby Shot Me Down)”:

“Bang Bang has been in our live set since about 2014 (back when we were still a trio), but James’ organ adds some really nice texture to the arrangement we had back then. Although originally written by Sonny Bono and performed by Cher, there are tons of other versions (Nancy Sinatra, Stevie Wonder, Vanilla Fudge, etc). Jim turned me onto Terry Reid/s version years ago and that’s become my favorite.¬† We recorded it during the sessions for our last LP and would have loved to have put it on the album but you can only fit so many tunes on two sides of vinyl so we decided to save it to release on its own.”¬†

Outsideinside on Thee Facebooks

Outsideinside on Spotify

Rock Freaks Records on Thee Facebooks

Rock Freaks website

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