Posted in Whathaveyou on June 4th, 2021 by JJ Koczan
Got an album, got a couple videos, got a beer, got a whole bunch of tour dates — it would seem that Portland, Oregon’s Red Fang haven’t missed a beat for all the tumult and chaos the last year-plus has wrought. The four-piece release Arrows today through Relapse Records and they’ll set out this Fall to support it, hitting both coasts, spots in between and even Alaska. The latter is one of the few places — presumably on the planet — they haven’t yet been in the last decade-plus, so kudos to them for ticking that box. Try the salmon, don’t feed the bears.
Of course, they’ll be at Psycho Las Vegas in August as well, and they’ll support All Them Witches in that band’s native Nashville on Halloween. That sounds more like a celebration of life than a concert, frankly.
Red Fang, who release their eagerly-awaited new album Arrows (Relapse Records) arrives this Friday, have announced a U.S. tour that sees the Portland-based band trek across the continent, including the group’s first Alaskan performance.
“It’ll be two years in the waiting, but we’re finally hitting the road in October! If we don’t stop pinching ourselves we’re gonna draw blood,” guitar player Bryan Giles enthusiastically shares. “I’m so happy to announce that Starcrawler, Here Lies Man and Warish are joining us on this epic tour! It’s gonna be a barn burner from start to finish with this line-up for sure. I can’t wait to play tunes off our new album on stage for the first time and see old friends and new, so please come join the celebration with us! Long live LIVE!!!”
Tickets for the month-long outing are also available this Friday, June 4, at 10 am local time. Starcrawler opens on all headlining dates (except Alaska), with Here Lies Man (Oct. 15 to Oct. 27) and Warish (Oct. 29 to Nov. 18) rounding out the bill. Previously announced performances include Aug. 21 at Psycho Las Vegas, Sept. 26 at Louder Than Life, and a special Halloween show with All The Witches at the fabled Ryman Auditorium.
Red Fang tour dates:
August 21 Las Vegas, NV Psycho Las Vegas * September 26 Louisville, KY Louder Than Life Festival * October 15 Tacoma, WA Sabertooth @ Spanish Ballroom October 16 Portland, OR Sabertooth @ Crystal Ballroom October 17 Eugene, OR Sessions Music Hall October 19 TBA October 20 TBA October 21 TBA October 22 TBA October 23 Tucson, AZ 191 Toole October 25 Dallas, TX Granada Theater October 26 Houston, TX Secret Group October 27 Austin, TX Empire Control Room & Garage October 29 Atlanta, GA Terminal West October 30 Birmingham, AL Saturn October 31 Nashville, TN The Ryman Auditorium ** November 2 Washington, DC Black Cat November 3 Philadelphia, PA Underground Arts November 4 Brooklyn, NY Warsaw November 5 New Haven, CT Toad’s Place November 6 Cambridge, MA The Sinclair November 8 Pittsburgh, PA Spirit Hall November 10 Detroit, MI El Club November 11 Chicago, IL Metro November 12 St. Paul, MN Amsterdam November 13 Madison, WI Majestic Theatre November 15 Denver, CO Bluebird Theater November 16 Boulder, CO Fox Theatre November 17 Salt Lake City, UT Metro Music Hall November 18 Boise, ID The Olympic November 20 Anchorage, AK Koot’s ***
* Previously announced ** w/All Them Witches (previously announced) *** Different support acts to be announced
Red Fang is Aaron Beam (bass/vocals/guitar/keyboards), Bryan Giles (guitar/vocals), John Sherman (drums) and David Sullivan (guitars).
Posted in Whathaveyou on May 24th, 2021 by JJ Koczan
If you’re looking for insight into the Psycho Las Vegas 2021 lineup, I have precious little to offer. What started out being accused of being an American answer to Roadburn has become a spectacle unto itself, operating at a scale that’s more in competition with the likes of a heavy metal Riot Fest or Coachella, and has likewise developed a community of its own. As for what catches my eye here, Cephalic Carnage for sure, as well as a few carryovers from what would’ve been 2020, and the likes of The Sword, who I guess are back together now? Fair enough. Oh, and the GZA, for good measure. Katatonia and Mercyful Fate and Elder and a couple others aren’t making the trip, but there’s certainly plenty here to occupy your weekend. If the Vegas-in-August heat don’t melt your brains, the riffs surely will.
What’s a guy gotta do to get invited to do a DJ set at Psycho Las Vegas? I’m gonna send Nate Carson an email and see if he’s got any tips.
Ty Segall next to Satyricon. Fatso Jetson and Profanatica. Immolation and Dengue Fever. The Flaming Lips and Cannibal Corpse. If you’re asking for it to make sense, you’re doing Psycho wrong. This is an event that defines its own parameters.
Approach thusly:
PSYCHO LAS VEGAS 2021 Lineup
America’s rock n’ roll bacchanal returns to Mandalay Bay Resort & Casino August 20th through August 22nd, with another resort-wide casino takeover unlike any of its kind.
Now approaching its fifth year in the swirling neon decadence of Las Vegas, PSYCHO will feature over seventy artists across four stages including the world-class Events Center, the iconic House Of Blues, Mandalay Bay Beach, and the vintage Vegas-style Rhythm & Riffs Lounge in the center of the casino floor.
PSYCHO LAS VEGAS 2021 will continue to redefine America’s conception of what a festival can be.
Psycho Swim “The Official Psycho Las Vegas Pre-Party” Old Man Gloom, Bongzilla, Death Valley Girls, Polyrhythmics, The Skull, Blackwater Holylight, Here Lies Man, DJ Scott Seltzer
PSYCHO LAS VEGAS 2021 Lineup: Emperor, GZA, Mayhem, Obituary, Ty Segall, Satyricon, Watain, Paul Cauthen, The Sword, Cephalic Carnage, Health, The Bridge City Sinners, MGLA, Intronaut, Exhorder, Pinback, King Dude, Khemmis, Mothership, Toke, Lord Buffalo, Psychlona, Claude Fontaine, Hippie Death Cult, Foie Gras, ALMS, Mother Mercury, DJ Ethan MCCarthy, DJ Scott Seltzer, DJ Nate Carson, DJ Painkiller, Danzig, The Flaming Lips, Thievery Corporation, Cannibal Corpse, Dying Fetus, Red Fang, Cursive, Pig Destroyer, Poison the Well, Eyehategod, Primitive Man, Death by Stereo, Curl Up & Die, Boysetsfire, Fatso Jetson, Profanatica, Adamantium, Silvertomb, Frankie and the Witch Fingers, Withered, Flavor Crystal, Highlands, Vaelmyst, Black Sabbitch, The Tim Dillon Comedy Hour, Down, Exodus, High on Fire, Osees, Amigo the Devil, Drab Majesty, Crippled Black Phoenix, Weedeater, Full of Hell, Midnight, Repulsion, Cult of Fire, Zola Jesus, Tsol, Black Joe Lewis & the Honeybears, Guantanamo Baywatch, Immolation, Dengue Fever, Creeping Death, Kanga, Warish, Glacial Tomb, Relaxer, Vitriol, DJ Scott Seltzer, “Ask Doc” Q&A with Doc Mcghee
Posted in Whathaveyou on April 5th, 2021 by JJ Koczan
Portland heavy rockers Red Fang will release their new album, Arrows, in June on Relapse Records. They have a new song up that you can hear now, and in a usual-suspects gathering, they have a video that continues their long-standing collaboration with director Whitey McConnaughy, and the track, “Arrows,” is every bit as Red Fangy as one would hope, with the catchy-catchy and the heavy-heavy there. Longtime fans will be glad to note the return of producer Chris Funk to the helm who, after taking a break for 2016’s Only Ghosts (review here), helms once again after overseeing 2013’s Whales and Leeches (discussed here) and 2011’s Murder the Mountains (review here, also discussed here). I haven’t heard the record yet — who do you think I am? — but that and the sound of the title-cut bode well, as you can find out for yourself at the bottom of the post.
RED FANG return with their highly anticipated new album, Arrows! Their first album in four years, everyone’s favorite beer-crushing, zombie-killing, air-guitar-contest-judging metal heroes are back in action, doing what they do best- AND MORE.
“This record feels more like Murder The Mountains to me than any record we’ve done before or since,” bassist/vocalist Aaron Beam ventures. “It doesn’t sound like that record, but Murder the Mountains was us doing whatever the fuck we wanted, and that’s what this is, too.”
Arrows was recorded at Halfling Studios in the band’s hometown of Portland, OR, with longtime collaborator Chris Funk, producer of Murder The Mountains and 2013’s Whales and Leeches. “Chris is a major influencer as far as the weird ambient stuff in between the songs and the creepy incidental noises within the songs,“ guitarist Bryan Giles points out. “I think he definitely creates an added layer of atmosphere that we wouldn’t have otherwise.”
Arrows is also a proper title track, which is new territory for the band. “This is the first time we’ve named an album after a song that’s actually on the album,” Beam explains. “We have other albums that are named after songs of ours that are not on those albums. So this time we’re really fucking with you because we didn’t fuck with you.”
Similarly, fans might not believe what the song “Arrows” is partially about. “If you’re confused by some of the lyrics to the song, that makes sense,” Beam explains. “But it makes reference to meditation. I started meditating six years ago, but I can only do it when I’m not feeling too anxious. So, when I don’t need it, that’s when I can do it.”
Elsewhere, “Fonzi Scheme” was named after legendary Happy Days cool guy Arthur Fonzarelli—if only because it’s in the key of his famous catchphrase, “Aaay.” Producer Chris Funk came up with the idea of bringing in string players from the Portland Cello Project to class up the track.
Meanwhile, the opening riff of closer “Funeral Coach” was written 11 years ago. But it took until recently for the song to blossom into its full double-entendre glory. “I was driving around and I saw a hearse that said ‘funeral coach services’ on the back,” Beam explains. “So the first thing that popped into my head was a dude with a headset and a clipboard going, ‘Alright, dudes—more tears! Five minutes in is when the tears are critical, or no one’s gonna believe that anyone cares that this person died.’”
In a nod to tradition, Arrows will be available in formats that include all the drums, bass, guitars and vocals. But it could’ve gone another way. “Our original idea was to release the album with no vocals or guitar solos,” Beam explains. “If you want the guitar solos, it’s an extra five bucks. If you want the vocals, it’s an extra ten bucks. So basically people should feel lucky that we didn’t do that. You get to buy the whole thing altogether.”
RED FANG think of it as a generous display of gratitude toward their fans. “Yeah,” says Sherman, “Thank you for buying our album, you lucky bastards.”
releases June 4, 2021
Tracklisting: 1. Take It Back 2. Unreal Estate 3. Arrows 4. My Disaster 5. Two High 6. Anodyne 7. Interop-Mod 8. Fonzi Scheme 9. Days Collide 10. Rabbits in Hives 11. Why 12. Dr. Owl 13. Funeral Coach
Red Fang is Aaron Beam (bass/vocals/guitar/keyboards), Bryan Giles (guitar/vocals), John Sherman (drums) and David Sullivan (guitars).
Obviously part of revisiting any album is listening to it, but with 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 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 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 Aaron Beam, guitarist/vocalist Maurice Bryan Giles, guitarist David Sullivan and drummer 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 August 5th, 2020 by JJ Koczan
You think Red Fang will put out another album? I mean, maybe, right? Nothing to say they couldn’t, and as strong as they are in songwriting and performance, it’s not like I’d count them out or anything, but the vibe I got with 2016’s Only Ghosts (review here) was that they’d pushed their sound as far as they thought they could, and that they were perhaps starting to feel the residual burn from so many years of hard touring. I saw them in 2018 in Massachusetts (review here), and they certainly put on a Red Fang show, which is saying something, but they seem to have been waiting for the time to take that next step to headlining on the scale of bands former labelmates like High on Fire or even Mastodon, and it just hasn’t come together.
Both of those bands are, admittedly, more metal in their presentation, so maybe that’s it. Maybe Red Fang, despite the outward accessibility of what they do — their hooks, their funny videos, etc. — are too in-between to catch on at that level. I wonder what would happen if they put out a hyper-aggro album? Or a hyper-melodic one? Or one at all, as it’s now been four years.
Relapse, which sent the press release below, hints at new music to come in 2021. Worth keeping an eye on, as always. “Stereo Nucleosis,” the new single, is out through Adult Swim. “Betty Betty hook up” and all that:
RED FANG: Share Adult Swim Single “Stereo Nucleosis”
Adult Swim Singles have shared a new song by Portland’s RED FANG as the forty-third entry in the 2019-2020 program. “Stereo Nucleosis” is the quartet’s first release since last year’s standalone single/ video “Antidote” (which came paired with a headbang-powered app/game by Weiden Kennedy), and stands as a sterling exemplar of their trademark mix of compelling songwriting and heavy anthemic euphoria that speaks to the headbanger, the hesher, and the music student alike. The band, whose last full length was 2016’s Only Ghosts, have an eye towards the future with exciting news about more new music forthcoming as 2021 inches closer.
RED FANG’s latest album Only Ghosts is out now on CD/LP/Digital via Relapse Records. Physical packages and digital orders are available via Relapse.com HERE and Bandcamp HERE.
RED FANG is: John Sherman – Drums Aaron Beam – Bass, Vocals David Sullivan – Guitar Maurice Bryan Giles – Guitar, Vocals
Posted in Whathaveyou on May 20th, 2019 by JJ Koczan
That’s a pretty good bill, man. Seriously, who’s better than Acid King? Anyone? I just started watching the video at the bottom of this post and god damn, that band is awesome. You know 2019 is the 20th anniversary of Busse Woods and they’ve already announced some celebratory shows, but whenever you can see them, god damn, just go. And having them headline a night with Witch Mountain, Wizard Rifle and Warish (like a Nanotear showcase), with Nebula, Red Fang, Black Elk, Sasquatch, Holy Grove, Eagle Claw and American Sharks playing across the other two nights, the last night ending with the weirdness of putting Necrot and Fat Tony back to back? Well, yeah, like I said, that’s a pretty good bill. I won’t be there to see it, but if you are, I promise I’ll be jealous.
They’ve got tickets for sale now, and I don’t know how big these rooms are because they’re on the other end of the country, but I know that even looking at the list of bands I’m like, “Duh, I should go to that,” so I’d imagine even more people feel that way when, you know, it’s an actual possibility for them to do so.
Posted in Whathaveyou on February 26th, 2019 by JJ Koczan
I should’ve seen this one coming when Heavy Psych Sounds announced multiple venues for its Heavy Psych Sounds Fest this month in Europe — was it this weekend? — playing in three different cities with a changing lineup. Should’ve guessed this was going to be the direction it took. Even if I did though, I don’t think I’d have called a lineup badass enough to bring together Duel, Fatso Jetson, Nebula, Greenbeard, Heavy Temple, Mothership and The Freeks. Among others. Heavy Psych Sounds has become a powerhouse in Europe, promoting bands through the label, booking tours, hosting its fest, whatever it might be. A US package tour under the banner of Heavy Psych Sounds Fest isn’t a small step, but it’s a natural one for an imprint that’s doing such crucial work.
I hope it all goes off without a hitch and they do it on the regular.
From the PR wire:
Red Fang, Yawning Man, Mothership and more team up for inaugural HEAVY PSYCH SOUNDS FEST tour in the United States!
Influential heavy rock label HEAVY PSYCH SOUNDS expands its sphere into North America, with live shows in Los Angeles, San Francisco, Dallas and Austin.
Respected underground rock record label Heavy Psych Sounds is proud to announce the inaugural U.S. iteration of its ‘Heavy Psych Sounds Fest’ series. Set to kick off this May in Los Angeles (May 3), San Francisco (May 4-5), Dallas (May 10) and Austin, TX (May 11), the label tour will feature four separate mini-festivals in the four cities, each spotlighting an exclusive selection of Heavy Psych Sounds’ blue-chip roster, including live sets from trailblazing acts Fatso Jetson, Nebula and Yawning Man, as well as special guests Red Fang and more.
Headquartered in Rome, Italy, Heavy Psych Sounds specializes in presenting the best artists in the global heavy psych, doom, fuzz blues and space rock realms, and the Heavy Psych Sounds Fest series will be no exception, spotlighting the ever-growing label’s dedication to its craft. While the first HPS fests were held in Italy, the label has since extended its live reach into the UK, Belgium and the Netherlands with festivals in those territories. Now, Heavy Psych Sounds is set to bring the ROCK to the U.S. with the just-announced special shows. Each stop of the traveling festival tour will feature diverse lineups including both genre leaders and fast-rising acts, all ready to prove their place among the world’s best.
“Being able to finally launch the U.S. version of Heavy Psych Sounds Fest is a dream true,”says label owner Gabriele Fiori. “We’ve been working for a long time to properly break into the U.S. market and this is a clear sign that the hard work is paying off. We have so many great U.S. based bands on our roster that we needed this to happen for all of us. This tour run is a celebration of our growing U.S. presence, which we hope will keep continue to grow. We’re also very happy to have Red Fang as guests, headlining in two of the cities. We hope music fans will come out, support and enjoy these very special shows!”
HEAVY PSYCH SOUNDS FEST U.S. tour dates:
May 3 – Los Angeles, CA at The House of Machines Red Fang (special guest) + Nebula + Yawning Man + Duel + Fatso Jetson + House Of Broken Promises
May 4 – San Francisco, CA @ Bottom of the Hill Red Fang (special guest) + Yawning Man + Duel + The Freeks + Glitter Wizard
May 5 – San Francisco, CA @ Bottom of the Hill Nebula + Hot Lunch + Fatso Jetson + Banquet + Turn Me On Dead Man
May 10 – Dallas, TX at Lola’s Mothership + Duel + Ecstatic Vision + Crypt Trip + Wo Fat + Heavy Temple
May 11 – Austin, TX at The Lost Well Duel + Ecstatic Vision + Mothership + Crypt Trip + Greenbeard + Wo Fat + Heavy Temple
Tickets for the Heavy Psych Sounds Fest shows in Los Angeles, Dallas and Austin are on sale now. Tickets for the San Francisco HPS event will go on sale February 28.
Posted in Whathaveyou on October 4th, 2018 by JJ Koczan
Given all the road time they put in, I like the thought of Portland’s Red Fang doing a regional weekender in Oregon and Washington. Of course, it’s worth noting that their four-date run alongside R.I.P. follows a late-November/early-December West Coast stint with Telekinetic Yeti and precedes another three local shows to close out 2018. But that’s kind of how it goes with Red Fang, isn’t it? Since even before they signed to Relapse they’ve been a hard-touring band, and certainly as they continue to support 2016’s Only Ghosts(review here), that’s been the case all along. The way I see it, though, that only adds charm to the four-date set. That’s not a tour they’re doing because they have to, or because they’re promoting a release, or whatever. Those are shows they’re playing because they want to.
Maybe they’re tightening up new material with an eye toward recording sometime in 2019, or maybe they’re just getting out for the hell of it. Either way, the point is it’s easy to read this as something they have booked for fun. Maybe that’s the case and maybe not, but for Red Fang, who are a good time under the most workmanlike of circumstances, it seems only fitting they should have a bit of a blowout to close the year. They’ve earned it.
From the PR wire:
RED FANG: Announce Additional Late 2018 Tour Dates
Portland, OR rockers RED FANG announce the second leg of their US headlining tour dates at the end of the year. The brief tour begins December 12nd in Eugene, OR and ends December 15 in Bellingham, WA. Support will be provided by R.I.P. on all four dates. The tour rounds up RED FANG’s Winter 2018 tour dates featuring additional select support by Thunderpussy, Telekinetic Yeti, Wizard Rifle and Gaythiest. All confirmed tour dates are available below.
Additionally, RED FANG have shared a cover of the 1978 cult hit “Listen to the Sirens” originally performed by Gary Numan’s Tubeway Army. Watch the official music video directed by Ray Gordon.
The music video which is a departure from RED FANG’s usual antics, showcases the band playing the song in their rehearsal place while taking in the sites and sounds of their hometown, Portland.
Red Fang Tour Dates:
Oct 06 Atlanta, GA @ Slaughter Que 2018 (w/ ASG)
— All Dates Nov 29 – Dec 08 w/ Telekinetic Yeti —
Nov 29 San Francisco, CA @ The Chapel Nov 30 Los Angeles, CA @ Roxy Theatre Dec 01 Pioneertown, CA @ Pappy & Harriets Dec 02 Tustin, CA @ Marty’s On Newport Dec 03 Phoenix, AZ @ Rebel Lounge Dec 05 Denver, CO @ Larimer Lounge Dec 06 Denver, CO @ Larimer Lounge Dec 07 Salt Lake City, UT @ Metro Lounge Dec 08 Boise, ID @ The Olympic
— All Dates Dec 12 – 15 w/ R.I.P. —
Dec 12 Eugene, OR @ HiFi Music Hall Dec 13 Bend, OR @ Domino Room Dec 14 Tacoma, WA @ Alma Mater Dec 15 Bellingham, WA @ Wild Buffalo
Dec 28 Portland, OR @ Wonder Ballroom (w/ Thunderpussy & Gaythiest) Dec 29 Portland, OR @ Wonder Ballroom (w/ R.I.P. & Wizard Rifle) Dec 31 Seattle, WA @ The Showbox (w/ Thunderpussy)
RED FANG is: John Sherman – Drums Aaron Beam – Bass, Vocals David Sullivan – Guitar Maurice Bryan Giles – Guitar, Vocals
