Review & Full Album Stream: Pale Divine, Pale Divine

Posted in audiObelisk, Reviews on November 21st, 2018 by JJ Koczan

PALE DIVINE S/T

[Click play above to stream Pale Divine’s self-titled album in full. It’s out Nov. 23 on Shadow Kingdom Records.]

The level of coincidence is somewhat astounding. Pennsylvania’s Pale Divine are well past the 20-year mark since forming in 1995. By now the stuff of Chesapeake regional legend, their first demo arrived in 1997 (was also reissued in 2008). Their fourth and otherwise most recent album, Painted Windows Black (review here), was released early in 2012, and a short time after it came out, founding drummer Darin McCloskey and guitarist/vocalist Greg Diener recruited Ron “Fezz” McGinnis to play bass. McGinnis, who’s known for his work in the mostly-instrumental Admiral Browning, as well as Bailjack, the more extreme Thonian Horde and a host of others, was not a minor pickup. In stage presence, tone and complement to Diener‘s vocals, McGinnis was a personality shift for the band that was far more significant than the phrase, “he’s their eighth bassist,” would lead one to believe.

Now, as Pale Divine make a definitive statement by issuing their fifth LP, an eight-track/46-minute self-titled, through Shadow Kingdom Records, the situation is oddly similar. Always a trio save for one stint around the time of their third album, 2007’s Cemetery Earth, Pale Divine‘s Pale Divine lands, gorgeous in tone and as downtrodden in spirit as it is righteous in its traditionalism, as heard on cuts like opener “Spinning Wheel” and the extended blues-informed pieces “So Low” and “Shades of Blue,” just as the trio welcomes Dana Ortt of Beelzefuzz — in which Diener and McCloskey both play, the latter as a founding member, the former as a pickup for their second record — on guitar. A self-titled has a tendency to be a clear signal on the part of a band saying “this is who we are.” And tracks like the rocking “Bleeding Soul” and the penultimate “Silver Tongues,” which has a bounce worthy of the band’s one-time contemporaries in Spirit Caravan, live up to that. But the timing. Pale Divine put out their fourth album and made a considerable change in their dynamic, and now with their fifth album they’ve done the same thing.

Does that make Pale Divine moot? In a word: no. The songs are the key. In the fullness of the record’s emotional heft and across-the-board sonic execution, the way it slides into classic doom because it is that very same classic doom, nodding at Trouble on “Chemical Decline” before just nodding, period, in the early going of the subsequent “So Low” — which in its second half also features a very long guitar solo, making it easy to remember on a linguistic level too — it’s still a process of Pale Divine defining who they are in a specific point in time. From the early signal of a changed mindset with McGinnis joining Diener on vocals for the Pentagram-informed apex of “Spinning Wheel” to the Sabbathian chug, compressed lead tone and sleek groove of “Curse the Shadows” of the also-dual-voiced “Curse the Shadows,” which dates back at least five years to a demo from 2013Pale Divine emphasize the outside-of-time nature of trad doom even as they put their own stamp on the classic style with the force of Diener‘s vocals, the understated but always locked-in drumming of McCloskey and the flash in McGinnis‘ basslines — as heard in the later gallop on that same “Curse the Shadows” — as well as the fluidity of their songwriting.

pale divine

Pieces like “So Low,” which sources its lyrical depression from within and without, or “Bleeding Soul,” with its uptempo hook in the line, “A bleeding soul will find no rest,” or the initial showoff rumble of low end in “Shades of Blue” and the instantly familiar chorus there that follows as the eight-minute track unfolds, are resonant in their downer spirit and stately in their delivery. But one of the accusations often leveled at traditional doom is that it’s staid and dry in its delivery and that applies even less to Pale Divine than it ever has to Pale Divine‘s work before. With the flourish of Southern-style and progressive acoustic/electric guitar layers on closer “Ship of Fools” and the smoothness of their rhythmic and tempo shifts as shown in “Chemical Decline” and “So Low,” as well as Diener‘s vocal delivery across the release and what McGinnis brings in periodic complement to that, there’s nothing but a genuine soulfulness to Pale Divine‘s Pale Divine, and it’s not just boozy self-defeat, though there’s a bit of that also. “Silver Tongues,” “Shades of Blue,” “Spinning Wheel” have, to go with the subtle changes in approach between them, a sense of looking beyond oneself. Not like there isn’t plenty of doom to behold if you have the eyes to see it. Clearly Pale Divine do.

Okay, but then what? What’s the resolution? Well, one could argue there’s hope along with a resigned sensibility in the interwoven soloing on “Ship of Fools,” and positioned as that is at the end of the album — doesn’t seem unreasonable to think that a band who seem well set to hit the quarter-century mark would make a purposeful choice on a closer — with a long fadeout that caps the LP as a whole, it carries a kind of “keep marching” message. You trod on, because what else is there? Fair enough, but it seems on the whole that Pale Divine is less directly about examination and critique than it is the simple act of conveying the experience of living it. Consider the lyrics of “So Low,” with Diener seeming to recount on the page his own lack of inspiration and pervasive depression, the distancing of the self from one’s own existence. Maybe there’s an element of catharsis in the expression, but the songs don’t go so far as to portray that, nor could they, since if it’s there, it’s an after-effect. The point is that what Pale Divine are doing is, to an extent, what they’ve always done in bringing to life the tenets of classic American doom metal while retaining the central identity of who they are as individual players and as a group.

For that, Pale Divine could hardly be more relevant, regardless of the fact that the lineup has changed since it was recorded. Their dynamic may indeed shift with Ortt as a member alongside DienerMcCloskey and McGinnis, but that’s a question for live shows and however many years down the road when and if there’s another album, because who the hell knows what might happen now and then. Pale Divine‘s self-titled earns the name by being a sincere representation of who the band is in its moment, and while moments are inherently fleeting, the poise and maturity of their craft and the passion so rife in their delivery are essential components of what makes them who they are, who they’ve become over their years together. That’s always been in flux and it still will be, but in context, Pale Divine reminds of that too, and so all the more stands as the epitome of their persona.

Pale Divine on Thee Facebooks

Pale Divine website

Shadow Kingdom Records on Thee Facebooks

Shadow Kingdom Records on Twitter

Shadow Kingdom Records on Bandcamp

Shadow Kingdom Records website

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Thunderbird Divine Post “Djinn au Jus” Video; Magnasonic Due Jan. 11

Posted in Whathaveyou on November 21st, 2018 by JJ Koczan

Thunderbird Divine (Photo by Dante Torrieri)

I don’t know what the hype is ultimately going to be like for Thunderbird Divine when it comes to their debut album, Magnasonic, but I do know that the record resides in its own niche of psych-informed classic stoner and sludge rock, and I do know that there’s more going on with it the more one listens. It’s been on my list of most anticipated albums pretty much since the band announced they’d gotten together last year as formed by members of Philly-based outfits Skeleton Hands and Wizard Eye. Now that we’re at the point of preorders going up Dec. 7 ahead of the Jan. 11 release, I find I’m all the more curious to know what the response will be.

As has been their method all along, Thunderbird Divine are giving a teaser for Magnasonic by unveiling a video clip for a song that’s not on the album. If you need an extra second to wrap your head around that — I do — feel free to take it. The latest one, “Djinn au Jus” taps into Snoop Dogg‘s similarly-titled single a from quarter-century ago while retaining its psychedelic flair worthy of the old sci-fi imagery that accompanies.

Album art and details came down the PR wire:

thunderbird divine magnasonic

THUNDERBIRD DIVINE release date!

Philly’s psychedelic space hippy enclave, Thunderbird Divine, has set an official domestic release date of January 11, 2019 for its debut album, Magnasonic, with Salt of the Earth Records (https://www.saltoftheearthrecords.com/). The offering, a 30-plus-minute exploration of riffs and psychedelia, features custom art design by the band’s bassist, Adam Scott.

“The inspiration for Magnasonic’s artwork stems from classic optical and psychedelic line art,” Scott explains. “It then evolved to the stargate space exploration of graphic symbolism, which we feel reflects the music’s loud vibrance.”

Connecticut-based Salt of the Earth Records, home to releases by Earthride, When the Deadbolt Breaks, Atala, Rifflord and more, is enthusiastic about this upcoming release.

“Everything about this album is beautiful, focused and original,” says Scott Harrington (Salt of the Earth Records). “From the instrumentation, songwriting, performances and recordings to the sacred geometry in the art direction, everything about Magnasonic speaks to the depth and talent of Thunderbird Divine. This will set the bar for bands to come.”

Produced by the band and recorded at both Ted Richardson at TedAudio in Philadelphia (www.facebook.com/TedAudio) and Charles Newman (who also mixed the album) at Cottage Sounds Unlimited in Brooklyn (https://www.facebook.com/cottagesounds/), Magnasonic shows the quartet, which coalesced in March of 2017, is not willing to be pigeonholed as a strictly stoner/doom rock band. Featuring Scott on bass and guitars, Flynn Lawrence on guitars and additional instrumentation, Mike Stuart on drums and percussion and Erik Caplan on guitars and various instruments,Thunderbird Divine went for an unexpectedly broad tonal variety with Magnasonic.

“A first record is often considered a band’s mission statement,” Caplan says. “We feel a lot of bands’ first releases set the tone for their careers as heavy, funky, trippy, fast or sludgey, and once they do that, any deviation from the initial sound can be perceived as false or a slacking in its rock responsibilities. We wanted come out of the gate with something diverse but representative. We wanted to leave ourselves with plenty of sonic options for the future.”

Layered with unlikely elements like marxophone, electric sitar, piano and a variety of synths, Thunderbird Divine is unlikely to be stylistically shackled in upcoming releases.

“This album pulls out a lot of stops and frees us from genre limitations,” says Stuart. “After this debut, our next record could be total Motorhead worship, and anyone who hears this one first should be able to hear how we got there. Not that we’ll necessarily do that, but it’s certainly an option.”

As with the band’s previous press releases, Thunderbird Divine once again offers listeners a non-album track with a promotional video. The band’s newest video track, “Djinn Au Jus,” is an unconventional pairing of early ’90s R&B with ’70s arena rock instrumental explorations. The self-recorded song was set to video by drummer/percussionist Stuart.

“The story continues here,” Stuart explains. “We’re moving forward; onward and upward. We’re setting the tone for Magnasonic with these short songs and videos.”

Advance orders for Magnasonic start December 7, 2018 at www.saltoftheearthrecords.com

https://www.facebook.com/thunderbirddivine
https://www.instagram.com/thunderbird_divine/
https://www.facebook.com/SaltOfTheEarthRec/
www.SaltOfTheEarthRecords.com

Thunderbird Divine, “Djinn au Jus” official video

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Stinking Lizaveta Announce East Coast & Midwest Tour Dates

Posted in Whathaveyou on November 9th, 2018 by JJ Koczan

Stinking Lizaveta (Photo by Dante Torrieri)

Philadelphia’s Stinking Lizaveta head out at the end of this month on a round of touring in the Midwest and along the Eastern Seaboard supporting last year’s Journey to the Underworld (review here) on Translation Loss. They remain a one-of-a-kind outfit in underground music, adherent to style not nearly so much as to substance, and able to leap tall genres in a single bound. It’s been a while since I’ve seen them live, but their chemistry is born of a history that spans more than two decades, and simply put, they’re the kind of band who, if you can see them, you should see them. Not just because they take jazz and make it heavy, and not just because they take heavy and make it jazz, but because they take all of it and make it their own.

Go see Stinking Lizaveta.

Here’s where to do so in the coming weeks, courtesy of the PR wire:

stinking lizaveta tour poster

Stinking Lizaveta Announce Fall Tour Dates

Philadelphia instrumental heavy rock doom-jazz trio Stinking Lizaveta announce a fall tour beginning on November 30th in Lancaster, PA. For fourteen days, the trio will deliver experimental fusion in support of their 2017 mind-melting and critically acclaimed Translation Loss Records release, Journey To The Underworld.

From Lancaster, PA to Lafayette, LA, Paul Webb (Clearlight,/Mystical Crew Of Clearlight, Mountain Of Wizard will join Stinking Lizaveta on second guitar.

A list of tour dates can be found below.

For over 20 years, Stinking Lizaveta have released multiple critically acclaimed albums and shared the stage with national headlining bands such as Clutch, Corrosion of Conformity, Fugazi, Weedeater and more. They have held the reins as rock pioneers and have built a worldwide cult following for their legendary and unrelenting sound.

Late Fall US Tour
11/30/2018 Lancaster, PA, Lizard Lounge
12/02/2018 Philadelphia, PA, Mothership
12/03/2018 Richmond, VA, Strange Matter
12/04/2018 Chapel Hill, NC, Local 506
12/05/2018 Athens, GA, Caledonia
12/06/2018 Knoxville, TN, Pilot Light
12/07/2018 Chattanooga, TN, Ziggy’s
12/08/2018 New Orleans, LA, Portside Lounge
12/09/2018 Lafayette, LA, Freetown Boom Boom Room
12/10/2018 Austin, TX, Lost Well
12/12/2018 Kansas City, MO, Minibar
12/13/2018 Lombard, IL, Brauerhaus
12/14/2018 Iowa City, IA, Gabes
12/16/2018 Pittsburgh, PA, Spirit
12/17/2018 Brooklyn, NY, Saint Vitus

Stinking Lizaveta are:
Yanni Papadopoulos – Guitar
Alexi Papadopoulos – Upright electric bass
Cheshire Agusta – Drums

https://www.facebook.com/Stinking-Lizaveta-175571942466657/
http://www.stinkinglizaveta.com/
https://stinkinglizaveta.bandcamp.com
http://www.translationloss.com/
http://translationlossrecords.bigcartel.com/
https://www.facebook.com/TranslationLossRecords/

Stinking Lizaveta, Journey to the Underworld (2017)

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Jakethehawk Premiere Video for “The Silk Road”

Posted in Bootleg Theater on October 23rd, 2018 by JJ Koczan

jakethehawk (Photo by Shannon Kenyon)

There’s a special kind of magic that happens when everything clicks in the rehearsal space. Some songs a band agonizes over, endlessly revising part after part, transition after transition. The smallest tempo change can take a month to iron out. Then some other songs take about as long to write as they take to play for a first time through. I don’t know what goes into releasing your two first albums in the same year, but as Jakethehawk approach the Nov. 10 release date for their second outing, To Build a Fire, through Blackseed Records, it doesn’t seem like the kind of effort a band would put in if they weren’t actually working from a spark of inspiration. It’s not like this is 1965 and they’re signed to a label that has them touring 200 shows a year and releasing a new single every two months. If they didn’t have the utmost conviction behind them, there wouldn’t be a point to it.

And if you didn’t hear earlier-2018’s apparently-aptly-titled debut, Year of the Hawk, don’t be put off by their name-the-noun moniker. They’re a heavy rock band, and as the first audio to come from To Build a Fire, the new video for “The Silk Road” finds guitarists Jake Ferranti (so is he the hawk? and why do I feel old asking that question?) and John Huxley sharing vocals effectively as bassist Justin Lober and drummer Jordan Lober (relation assumed) hold together a classically fluid rhythm that remains modern thanks to its party vibe and a sleek groove that seems tense in the oh-man-we’re-about-to-play-really-fast-you-better-watch-out kind of way, but manages to restrain that impulse, instead jamming through the midsection and ending back on the hook for an energetic finish. Again, it’s just an initial glimpse of what might come on To Build a Fire, and you’ll note it’s separate from the four-part, side-A-consuming title-track, but even so, its swing and its nod bode well for the rest of the release to come. It’ll be November before you know it.

Like next week, apparently. Jeez.

Release show for To Build a Fire is in Pittsburgh on Nov. 10 with Sun Voyager, Zom and Vulcanite. Jakethehawk have a couple other dates booked that you can see below, along with some more PR wire background on the record.

That’s all, of course, after the video for “The Silk Road” itself, which is premiering here hopefully to your enjoyment:

Jakethehawk, “The Silk Road” official video premiere

Blackseed Records artists, JAKETHEHAWK have created their first music video premiering, ‘The Silk Road’, of their upcoming record, ‘To Build a Fire’. Video was filmed, edited and directed by Joe Stammerjohn / Eyes to the Sky Films (Pittsburgh, PA). https://www.facebook.com/eyestotheskyfilms/

Coming out this November 2018!

The band shared some insight into creating the new album:

“The bones of this album were mostly written on acoustic guitar with the idea that it would give the music a more ‘song focused’ feel. The title track songs were rewarding, because they contain cohesive musical and thematic journey. To Build a Fire’ is a representation both of where we are as a band and where we want to go musically and texturally.”

To Build A Fire’ – Track List:
1. To Build A Fire pt. 1: First, We Kill All the Lawyers
2. To Build A Fire pt. 2: Parting Glass
3. To Build A Fire pt. 3: Recluse
4. To Build A Fire pt. 4: Geotaxis
5. Carcosa
6. Holy Water
7. The Silk Road
8. Strand

Jakethehawk live:
Nov. 3 – Erie, PA (w/ These Idol Hands, Black Moon Mistress) https://www.facebook.com/events/1947862042172795/
Nov. 10 – Pittsburgh, PA – JaketheHawk CD Release Show (w/ Sun Voyager, Zom, Vulcanite) https://www.facebook.com/events/233332964205414/
Nov. 11 – Richmond, VA – (w/Vulcanite, Night Business)

Jakethehawk is:
Vocals/Guitars – Jake Ferranti
Bass – Justin Lober
Drums – Jordan Lober
Guitars/Vocals – John Huxley

Jakethehawk on Thee Facebooks

Jakethehawk on Instagram

Jakethehawk on Bandcamp

Blackseed Records website

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Pale Divine Announce Addition of Dana Ortt on Guitar

Posted in Whathaveyou on October 23rd, 2018 by JJ Koczan

pale divine

With the addition of Dana Ortt of Beelzefuzz on guitar in Pale Divine, that means that the two groups are three-fourths the same people. Only bassist Bert Hall, Jr. plays just in Beelzefuzz and only bassist Ron “Fezz” McGinnis plays just in Pale Divine. Guitarist/vocalist Greg Diener, drummer Darin McCloskey and now Ortt share duties in both bands. PalezefuzzBeelzivine? Either way, it’s only good news for doom.

Pale Divine are, of course, about to put out a new album on Shadow Kingdom next month. And it rules. Self-titled, due out Nov. 23, which is just in time for them to celebrate with their appearance at Hammer of Doom XIII in Germany on Nov. 17, playing alongside BatushkaCovenUnorthodox and others. They’re also at Days of Darkness in Baltimore at the end of this month, which is less travel but a shared stage with Bang, Satan’s SatyrsChild Bite and more. Still quite a gig.

But the coolest part is they’ll go as a four-piece. Someone get video. And while the self-titled is killer and will be streamed here in full ahead of the release — check back in Nov. 20 — it’s hard not to look forward to what Pale Divine will do in this new incarnation. All hail Palezefuzz. Or Beelzivine. Again, either way.

Intrepid reporter that I am, I hit up Ortt for some comment when I saw the band’s announcement. You’ll find both below:

dana ortt

Pale Divine welcomes Dana Ortt

10/21/2018: We’d like to formally announce that Dana Ortt will now be a part of Pale Divine. We’ve been busy rehearsing for the past month and things have really taken shape perfectly. The addition of Dana has absolutely taken our material to new heights and we’re very excited for the next couple of shows with the new lineup!

Dana Ortt on joining Pale Divine:

It’s very cool to be playing with Darin, Greg and Fezz in Pale Divine! Darin, Greg and I have been playing in Beelzefuzz going on four years now, we rehearse and record in Greg’s studio setup at his house. Over time we’ve had some epic recording and jam sessions that have included playing Pale Divine material on occasion. Playing in Pale Divine for me is just like a natural extension of our Beelzefuzz jam sessions. We’ve discussed writing new Pale Divine songs with me singing with Greg but for the upcoming shows at Days Of Darkness and Hammer Of Doom I’ll be focusing on laying down a solid doomy rhythm guitar that is true to the vibe of the recorded songs. Darin, Greg, Bert and I are also currently working on tracking a new Beelzefuzz album that will be released with Church Within Records.

Pale Divine live:
Oct. 28 Baltimore MD Soundstage Days of Darkness Festival
Nov. 17 Wurzberg Germany Posthalle Hammer of Doom XIII

Pale Divine is:
Greg Diener – vocals & guitar
Dana Ortt – guitar
Ron “Fezzy” McGinnis – bass & vocals
Darin McCloskey – drums

https://www.facebook.com/serpentspath/
http://www.paledivineband.com/
https://www.facebook.com/ShadowKingdomRecords/
https://twitter.com/ShadowKingdom/
https://shadowkingdomrecords.bandcamp.com/
https://www.shadowkingdomrecords.com/

Pale Divine, “Spinning Wheel”

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Jakethehawk Set Nov. 10 Release for To Build a Fire

Posted in Whathaveyou on October 12th, 2018 by JJ Koczan

jakethehawk (Photo by Shannon Kenyon)

Two albums in a year is pretty rare for a band who aren’t jamming out space rock or psychedelic improv. Pittsburgh’s Jakethehawk up the ante on a quick turnaround with their second album of 2018 — also their second album, period — To Build a Fire, which will see release Nov. 10 through Blackseed Records. The band are fresh off an appearance at this year’s Descendants of Crom fest in their hometown, and they’ve unveiled the details for the new record, including the righteous cover art that recalls Forming the Void and some of David Paul Seymour‘s work. In any case, one wonders how much this will be the course of things for Jakethehawk or if, with a four-part titular opener, the new record isn’t a result of a glut of material from the writing of their first album.

Either way, it’s a remarkable feat that they’re getting it out before the end of November, let alone the actual end of the year. Here’s to working quickly and recording yourself.

From the PR wire:

jakethehawk to build a fire

JAKETHEHAWK to release their sophomore album, ‘TO BUILD A FIRE’ via BLACKSEED RECORDS on November 10, 2018

Pittsburgh’s own ‘Appalachian Desert Rock’ brotherly quartet of JAKETHEHAWK continues to pursue the sky with the announcement of a new full-length album coming in November on Blackseed Records. Their sophomore record, ‘TO BUILD A FIRE’, comes less than a year after their debut release, ‘Year Of The Hawk’ last January.

The band shared some insight into creating the new album:

“The bones of this album were mostly written on acoustic guitar with the idea that it would give the music a more ‘song focused’ feel. The title track songs were rewarding, because they contain cohesive musical and thematic journey. To Build a Fire’ is a representation both of where we are as a band and where we want to go musically and texturally.”

‘To Build A Fire’ – Track List:

To Build A Fire pt. 1: First, We Kill All the Lawyers
To Build A Fire pt. 2: Parting Glass
To Build A Fire pt. 3: Recluse
To Build A Fire pt. 4: Geotaxis
Carcosa
Holy Water
The Silk Road
Strand

With all music written and performed by Jakethehawk, the album was recorded and engineered by Justin Lober in Pittsburgh, with mastering by James Plotkin at Plotkinworks. The beautiful cover illustration and design is by Joe Mruk of Red Buffalo Illustration.

Set to arrive on November 10, 2018, ‘To Build A Fire’ will be available via Blackseed Records in physical format on CD, with Digital Download and Streaming through all major outlets (Bandcamp, Spotify, etc.).

Jakethehawk is:
Vocals/Guitars – Jake Ferranti
Bass – Justin Lober
Drums – Jordan Lober
Guitars/Vocals – John Huxley

facebook.com/jakethehawkpgh
instagram.com/jakethehawkpgh
jakethehawk.bandcamp.com
www.blackseedrecords.com

Jakethehawk, Year of the Hawk (2018)

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Backwoods Payback Announce November/December Tour Dates

Posted in Whathaveyou on October 8th, 2018 by JJ Koczan

backwoods payback

There are some really good shows on this tour. Boston. Brooklyn. Houston. New Orleans. Atlanta. And in between there aren’t many bummers to be found either, frankly. Backwoods Payback, whose recent live sets rank among some of the best I’ve seen domestically this year, head out once again supporting their 2018 album, Future Slum (review here), which, if you haven’t heard it, why not? They’ll do the Northeast and head south before cutting west into Texas, basically tying together a long weekender and a longer stretch as they do, en route to wrapping in North Carolina back on a northern swing. I could tell you to go see them and blah blah blah and all that kind of crap, but the bottom line is that the stream of Future Slum is embedded down there under the PR wire info for the tour, and you don’t check it out, it’s your loss. The rest of the blathering I’ll save for year-end list time.

Okay then:

backwoods payback tour

BACKWOODS PAYBACK ANNOUNCE TOUR

Sludgy grunge outfit Backwoods Payback are about to embark on a tour in support of their recent album Future Slum, sharing the stage with Doomstress, Royal Thunder, and many more on their way from the Northeast to Texas and back.

Says the band:
“Future Slum is here and it’s time to start spreading it across the land.

We are heading to some areas we haven’t toured in quite some time and a few bucket list destinations as well. The lineups for these shows are nuts. They form a pretty solid vision of where we come from, where we are, and where we are going.

This is just the beginning… Watch the trees, look past the tip of the knife… We will be running with the wolves.”

Order/Stream Future Slum here: https://backwoodspayback.bandcamp.com/album/future-slum

Tour Dates
11/16 – Midway (Boston MA) w/ Set Fire, Cortez, Lord Fowl
11/17 – Brickhouse (Dover, NH) w/ Set Fire, Scrimmy the Dirtbag, The Humanoids
11/18 – St. Vitus (Brooklyn, NY) w/ River Cult, Eternal Black, Blackout
11/19 – Basement Transmissions (Erie, PA) w/ Fog Giant
11/25 – Banditos (Richmond, VA) w/ Book Of Wyrms
11/27 – Springwater (Nashville, TN) w/ Shadow Horse, Hogan’s Goat
11/28 – Dan Electros (Houston, TX) w/ Doomstress, Red Beard Wall, Mr. Plow
11/29 – The Mix (San Antonio, TX) w/ Red Beard Wall
11/30 – Lost Well (Austin, TX) w/ Red Beard Wall
12/1 – Santos (New Orleans, LA) w/ Suplecs, Choke
12/2 – The Earl (Atlanta, GA) w/ Order of the Owl, Royal Thunder
12/3 – Slims (Raleigh, NC) w/ Chaosmic

BACKWOODS PAYBACK:
Jessica Baker – Bass
Mike Cummings – Guitar/vocals
Erik Larson – Drums

https://www.facebook.com/backwoodspayback/
https://backwoodspayback.bandcamp.com/

Backwoods Payback, Future Slum (2018)

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Horehound Set Nov. 30 Release Date for Holocene

Posted in Whathaveyou on October 1st, 2018 by JJ Koczan

horehound (Photo by Shannon Kenyon)

This past weekend was the second Descendants of Crom fest in Pittsburgh, Pennsylvania. Overseen and curated by Horehound vocalist Shy Kennedy, its schedule read like a list of arguments to leave the house, and Horehound‘s set as part of it would seem to have been a fitting herald for their impending second album, Holocene. Initially supposed for release on Kennedy‘s Blackseed Records — as seen on the magnets on my fridge — it’s been newly revealed that Horehound have signed to Doom Stew Records, helmed by Brume drummer Jordan Perkins-Lewis. The cross-coastal collaboration between artist and label can only help spread the word on Holocene ahead of the Nov. 30 issue date, and while I’m not saying I’ve heard it or anything, I’ll just say that the more people who hear it, the merrier on all fronts.

While I try to chase down a track premiere or something like that from the powers that be, you can check out the Brian Mercer cover art and the signing announcement below, courtesy of the PR wire:

horehound holocene

Pittsburgh, PA’s Post-Doom foursome HOREHOUND to release their second full-length, ‘HOLOCENE’ on November 30, 2018 via DOOM STEW RECORDS.

Pittsburgh’s paramount Doom/Sludge underground act HOREHOUND continues their ascension above ground with news of a new partnership with San Francisco’s Doom Stew Records for the release of their second full-length album, ‘HOLOCENE’. Set for a street date of November 30, 2018, ‘Holocene’ will be available on CD, Vinyl, and Digital (Bandcamp, Spotify, and all major streaming outlets) with global distribution.

When asked about signing with a new label, the band had this to say: “It’s really great to have been offered the opportunity to work with Doom Stew Records. They have been involved with strong and unique sounding artists and we just really like what they are doing. It’s going to be a great partnership.”

With all music written and performed by Horehound, the album was recorded and mixed by Matt Schor at War Room in Pittsburgh, and mastering done by James Plotkin at Plotkinworks. The incredible cover artwork illustration is by Brian Mercer.

Vocalist Shy Kennedy shares a few words about the album: “‘Holocene’ is the single most rewarding contribution I have made as an individual artist and even of any group effort I’ve been a part of. It has been a realization for Horehound and through this recording we really cultivated our sound. The overwhelmingly gratifying experience we’ve had in creating this album will further transcend once we are able to share it with others.”

Guitarist Brendan Parrish adds: “‘Holocene’ is a convergence of our respective influences and a natural evolution in the sound we’ve developed. It represents our growth as songwriters and we are very eager for the rest of the world to hear what we’re so proud to have created.”

Holocene – Track List:
1. The Kind
2. Dier’s Dirge
3. L’appel du Vide
4. The Sloth
5. Anastatica
6. Highball

HOREHOUND is:
JD Dauer – drums
Brendan Parrish – guitar
Shy Kennedy – vocals
Nick Kopco – bass

https://www.facebook.com/horehoundband/
http://horehound.bandcamp.com/
https://twitter.com/horehoundband
https://www.facebook.com/blackseedrecords/
http://www.blackseedrecords.com/

Horehound, “L’Appel du Vide” official video

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