Posted in Reviews on March 19th, 2024 by JJ Koczan
It’s hard to argue with a song called ‘1800EATSHIT.’ Even harder when it’s so damn catchy. Yeah, it’s a little counterintuitive to think of a record called Big Dumb Riffs as refined, but with their third LP, Rickshaw Billie’s Burger Patrol are so clear in their intention and they deliver on it thoroughly enough to make it undeniable. Issued through their own Permanent Teeth Records, the album strips down the Austin, Texas, three-piece’s approach, honing in on tonal character, structure, attitude and, as “1-800-EAT-SHIT” assures, a solid amount of fuckery. Yes, they already their own beer.
The record takes place across 11 songs that span just 23 minutes, and could just as easily position itself as an exploration of the intersectionality between the masculine and the dumbassed writ through lunkheaded hardcore chug, nü-metallic palm-mute dissonance and the Primusian bounce that inspired it — looking at “Papa Pop It” for the latter and “Brat” for the former — stoner riff idolatry and hooks strong enough to hold them up despite the weight of tone emanating from Leo Lydon‘s eight-string guitar and Aaron Metzdorf‘s bass. Both of these dwell in a monolithic low-end space, but with such short songs and make-it-a-party tempos made all the more propulsive through Sean St. Germain‘s drumming, the momentum that opener “Clowntown” sets forth in its initial cycles of tense, head-down chug and subsequent sprint-out is unrelenting through the duration despite slamming into a wall of Even Heavier® brand mega-chug in the metalcore-style breakdown of “Peanut Butter Snack Sticks” on side A.
One thing to understand: Rickshaw Billie’s Burger Patrol know what they’re doing here, and they’re doing it consciously. The short runtime, which is less than many EPs in a heavy underground that often prides itself on longform construction, becomes an advantage. On Big Dumb Riffs, the longest inclusion is closer “In a Jar” at 3:39 and seven of the 11 songs are under two minutes long. They get in, hit hard, make their point, get out. They are not lazy, as the sneering ’90s-style circle-mosher “Whip it Around” clearly demonstrates across its devastatingly efficient 55 seconds, leant a sense of freedom by dropping the pretense of being about anything other than the physicality being conveyed, which is all the more effective since it’s about headbanging, itself a physical act.
Light on flourish by nature and aesthetic choice, they offer a sneering, sometimes-aggressive stance through Lydon‘s vocals and lyrics like, “Stop being a bitch, like your mother,” in “Papa Pop It” or just the screamier backing lines shouting the title later in the penultimate “Blue Collar Man,” which answers both the meaner-sounding distortion of “Peanut Butter Snack Sticks” and the Claypoolish underpinnings noted above following the gets-up-and-runs “Bastard Initiated,” where they foster a similar clenched-teeth tension to that of “Clowntown,” working quickly in a no-bullshit-and-playing-at-being-all-bullshit manner that those who picked up what Rob Crow put down with Goblin Cock should find refreshing. Three dudes in the band means a total of six middle fingers. They all seem to be up here, however busy their hands might otherwise be at any given moment.
As much as Big Dumb Riffs is what it tells you it’s about — i.e., riffs, big, dumb — and as much as Rickshaw Billie’s Burger Patrol have put into making it a fun listen, which is absolutely is, there are also some fairly dark themes. I haven’t actually seen a lyric sheet, so pardon if the quotes aren’t exact (I’m happy to correct whatever needs it), but “Body Bag” is the rolling centerpiece that kicks in after “Whip it Around,” and it and “Papa Pop It” both seem to be about suicide on some level. The verse in “Body Bag” tells the story of a protagonist who takes their own life after “Trying to be mama’s little twinkle in her eye,” and, “His father didn’t want him in the first place but he came in first place,” opening to its catharsis in the stuttered, “Ma-ma-ma-ma-mama, I’m about to have a heart attack” and concluding with, “I loved you but you didn’t say it back,” as the backing vocals join in for “You’d better put him in a body bag,” and they ride the chug through a last chorus around that line for another minute or so.
Outwardly poppier (go figure) and likewise grim in substance, “Papa Pop It” is framed as an imperative: “Papa pop it/Papa pull it/Do it,” and what’s happening there is someone telling, almost daring, their father to kill himself. Between these, the ultra-catchy fuck-you of “1-800-Eat-Shit” — which will no doubt be a sing-along on however many tours the band does for the record — as well as the pointedly-mom-voiced “You love it!” that oozes mockery next to a line about nostalgia being a sack of shit, the taunt in the repeated “Whatchu gonna do about that?”s of “Brat,” and the fact that “In a Jar” despite its turn toward patience and more peaceful, semi-doomgaze-comedown feel, is about murder, the vocals delivering the lines “Keep my hands…/Wrapped around your throat,” like wistful post-punk before rolling into the chorus that makes it plain with, “I’m gonna fucking kill you,” without departing the subdued-in-context last-minute drawl. “Blue Collar Man” encapsulates working class disillusion in the single lyric, “But it wasn’t the plan for the blue collar man” — daring to have a point and make it — and both “Clowntown” and “Bastard Initiated” execute their willful arrogance with a decidedly negative bent.
And I’m not sure who or what “El Sapo” (“the toad”) is about, but its 49 seconds of mute-chug and concluding gang shout come across like homage after the fact. What one might take from all of this is that while Big Dumb Riffs directs itself toward truth in advertising, there’s complexity in how it goes about that, and while its songs are short, they want nothing for persona or narrative. That St. Germain, Metzdorf and Lydon accomplish this side-by-side with their stated goal of simplifying their sound even from where they were on 2022’s Doom Wop (review here) isn’t to be understated — it makes that act of breaking a thing down to its most essential parts a creative progression — and whether you take it on with that in mind or you put it on just to blow your speakers and pummel your brain with its chunky-style depth of frequency, fair enough. It feels like Rickshaw Billie’s Burger Patrol have arrived at the point they’ve been working toward for the last seven years, harnessing primal rhythm and uniting around a single sonic purpose with a deceptively multifaceted confrontationalism. Fuck around and find… yourself?
Rickshaw Billie’s Burger Patrol, Big Dumb Riffs (2024)
Posted in Whathaveyou on January 9th, 2024 by JJ Koczan
Up to right about now, my official position™ on Austin’s Rickshaw Billie’s Burger Patrol has been ‘they’re probably a live band.’ All the videos of there’s that I’ve seen, all the photos on their socials, and so on, would seem to back this up, but Fall 2022’s Doom Wop (review here) had charm in its songwriting beyond the ‘this would be cool on stage’ impression it made — though it certainly also made one.
The forthcoming Big Dumb Riffs, which is out March 22 through the band’s own Permanent Teeth Records, hones that sense of craft to an even finer point, their low-end-celebrant ethic spreading across 11 heavy-in-momentum-and-tone tracks that are varied, consistent in quality, cheeky in its self-awareness, but with more intelligence behind it than the somewhat-ironic title or the accordingly willfully dopey nü-metal play in “Whip it Around” might imply, though when you’ve got a track like “1800EATSHIT” — so catchy it’s pop, heavy enough to turn off squares, and goofy enough to be the good time that the ultra-Claypool bounce of the subsequent “Papa Pop It” reinforces despite a somewhat grim lyric — the band kind of becomes undeniable.
As the PR wire notes, Primus is a big factor, and hey, I dig that a lot, and from Floor to Hum to Rob Crow‘s Goblin Cock in “Clowntown” and the fuck-yes nod of “Peanut Butter Snack Sticks,” the Austin trio sound like the real deal here, and fair enough for the work they’ve done to this point in their tenure. Some punk, some metal, mosh riffs, headbang riffs, nod riffs, slow riffs, fast riffs, up riffs, down riffs, one riff, two riffs, red riffs, blue riffs, a whole lot of tone and a twist ending; there’s a lot more to dig into than it might at first seem, and as I make my way through again, my second impression of Big Dumb Riffs is bolstered by the songs’ already-familiar feel, so yeah, they’re not making it a challenge to get on board.
Fair enough. First single is “Body Bag,” which should give you an idea, and if they’re new to you, Doom Wop will work to get you further introduced and it’s at the bottom of this post as well. A video or two and plenty more tour dates than even the West Coast run you see below don’t seem like unreasonable expectations to have here, so I’ll hope to have more to come before Big Dumb Riffs is out, but so far, it moves in a way that brings you with it really well. They’ve crisscrossed the US a few times at this point (and also founded their own festival, the Big Dumb Fest). My question is whether this will be the record that takes them to Europe, as that would seem a logical next step.
Until then, the PR wire has this:
“Our catalog has never been short on big dumb riffs, but the idea on this record was to really turn the screw,” says RBBP bassist Aaron Metzdorf. On Big Dumb Riffs, that screw is cranked incredibly tight.
“We just wanted ‘the part’: The opening of Pantera’s ‘Primal Concrete Sledge’, the breakdown in Primus’ ‘Pudding Time’ — the shit that makes you move and lose your mind. Just that part the whole time.”
Across 11 concise, taut songs — most clocking in around 2 minutes or less — Rickshaw Billie’s Burger Patrol demonstrates their skillful ability to blend the merciless low end of Leo Lydon’s 8-string guitar, Aaron Metzdorf’s masterful chordwork on the bass, and Sean St.Germain’s driving drumming.
Hot on the heels of their breakout 5th studio release Doom Wop (2023), Rickshaw Billie’s Burger Patrol returns with Big Dumb Riffs: A whole new variant of the fuzzed out, overdriven, melodic, groovy music they have been making since 2016. While Big Dumb Riffs is decidedly more aggressive and rhythmic, it still retains the overtly melodic feel of Doom Wop. But Leo Lydon’s vocals are considerably more angry and negative (song titles like “1-800-EAT-SHIT” and “Body Bag” should be a clue.)
“The whole writing process was, ‘what if we just played two notes the whole song’,” Metzdorf says. “‘What if we tuned down to almost unusable string tension?’, ‘what if we write a record that will make everyone say ‘wow that is dumb’? Leo and I really move around on stage a lot. Being a dingus is crucial to the groove. All these riffs were designed to allow us to act bigger and dumber on stage.”
Big Dumb Riffs will be available for streaming and download on March 22, 2024. LP to follow in late Spring.
RICKSHAW BILLIE’S BURGER PATROL LIVE 2024: 02/03 Austin, TX – Sagebrush 03/09 Houston, TX – Moontower Sudworks 03/22 Austin, TX – St Elmo Brew – album release show 03/23 Dallas, TX – Double Wide 03/27 Phoenix, AZ – Linger Longer 03/28 Los Angeles, CA – Resident 03/29 San Francisco, CA – Kilowatt 03/30 Sacramento, CA – Cafe Colonial 04/02 Seattle, WA – The Funhouse 04/03 Portland, OR – Mano Oculta 04/05 Salt Lake City, UT – Quarters DLC 04/06 Denver, CO – Hi-Dive
Posted in Whathaveyou on May 25th, 2023 by JJ Koczan
True, a goodly portion of these dates has already been posted. With the same picture of the band, no less. In my defense, Austin heavy party doomers Rickshaw Billie’s Burger Patrol have added dates to their West Coast run in the interim, and announced that on June 4 in Austin they’ll host the inaugural Big Dumb Fest, playing alongside Eagle Claw, the always-delightful Tia Carrera and a host of others as they continue to support 2022’s Doom-Wop (review here) with steady live work. In addition, that album’s vinyl release is coming up in June, and that’s like next week, so there’s relevant info here regardless of the repeated data/photography. I sincerely doubt that, had I not mentioned it already, anyone else would. Alas.
I’ve yet to see this band live — and I’ve spoken before about how I haven’t really formed an opinion on them yet in part because of that; again, nobody cares, I know — but they’re touring with Crobot, and they play Crobot at my gym, so that would seem to hint that they’re looking to find a broader audience than one might encounter on strictly underground heavy tours, even as they step into headlining on the upcoming West Coast run. As to how that will all shake out, it’ll probably be two more album cycles before it’s determined either way, but one cannot accuse them of not putting in the work. They already came East to herald Doom-Wop and I wouldn’t be surprised if they did so again before Europe inevitably beckons with its promises of stuff like food backstage and maybe a place to sleep, unheard of as those generally are in the States.
The PR wire has it like this:
Rickshaw Billie’s Burger Patrol to tour with Crobot in July, headlining Western US tour begins June 4th
Austin trio Rickshaw Billie’s Burger Patrol just completed the first leg of their summer U.S. tour dates and today added July shows with Crobot. Before that, the band headlines the West Coast in June following the first-ever RBBP Big Dumb Fest event in their hometown on June 4th. Please see all dates below. Ticket links HERE:https://taplink.cc/rickshawbillie
Rickshaw Billie’s Big Dumb Fest features 7 bands and 4 food vendors for the ultimate meeting of the ears, eyes and taste buds! Sunday, June 4th, 2023 – at Mohawk Austin – 4pm
Rickshaw Billie’s Burger Patrol w/ Eagle Claw, Tia Carrera, Billy Glitter, Gus Baldwin & The Sketch, Buzz Electro, Pinko Eats by: Chilly’s Philly’s, Bad Larry Burger Club, Jim Jam’s Biscuits, Chef’s Kiss
With their 5th studio release, Rickshaw Billie’s Burger Patrol is putting a name to the style of fuzzed out, overdriven, melodic, groovy music they have been making since 2016. In 9 concise, no bullshit songs, RBBP demonstrates their ability to blend the merciless low end of Leo Lydon’s 8-String guitar, Aaron Metzdorf’s masterful chordwork on the bass, and Sean St.Germain’s driving drumwork. Lydon and Metzdorf’s vocal melodies cut through the high frequencies to deliver fresh layers to the hooks that RBBP fans have come to love.
As the name implies, Doom Wop is a heavy, melody-driven, party metal album. With riffs as big and dumb as ever, and lyrics that stab at the worst members of society and ourselves (while keeping tongue firmly in cheek), listeners will find all the elements that make up the soul of RBBP on this record.
Doom Wop is available on CD and download, released on September 23rd, 2022. Vinyl LP coming in June.
RBBP LIVE 2023: 06/04 Austin, TX – Mohawk Austin – BIG DUMB FEST 06/05 Marfa, TX – Bad Larry 06/06 El Paso, TX – 101 06/08 Tempe, AZ – The Beast 06/09 Los Angeles, CA – Permanent Records Roadhouse 06/10 San Francisco, CA – The Kilowatt 06/11 Sacramento, CA – Old Ironsides 06/13 Seattle, WA – Substation 06/14 Portland, OR – High Water Mark 06/15 Boise, ID – CRLB 06/16 Salt Lake City, UT – Aces High Saloon 06/17 Denver, CO – Hi-Dive 06/19 Tulsa, OK – Soundpony 07/22 Lititz, PA – Micket’s Black Box * 07/25 Greensboro, NC – Hangar 1819 * 07/26 Greenville, SC – Radio Room * 07/27 Summerville, SC – Trolly Pub * 07/28 Ft Myers, FL – Buddha Live * 07/29 Orlando, FL – Conduit * 07/30 Tampa, FL – Orpheum * 08/01 Atlanta, GA – Masquerade * 08/03 Corpus Christi, TX – Mesquite Street South * 08/04 Houston, TX – Scout Bar * * w/ Crobot
Posted in Whathaveyou on March 22nd, 2023 by JJ Koczan
Rickshaw Billie’s Burger Patrol are headed out on tour once again starting next month in their native Texas and hitting up the East and West Coasts in succession. I gotta be honest with you, I’m still not really sure how I feel about this band. They released their sophomore album, Doom-Wop (review here), this past Fall to the usual swell of social media hyperbole (that’s nothing to hold against the band or anyone else, mind you; it’s fun to be excited about music and you might say that’s why I do this), building on their 2020 debut LP, Burger Babes… From Outer Space! — likewise fortunate in riffs and unfortunate in cover art — and I dug the crap out of it.
Really, no complaints. I’ll save you the trouble of (not) reading that review: Heavy tones, quirk, fun vibes with tight songwriting and performance to back it up. Reminded me of early-Floor/Torche in a positive way and had its own persona to reside in a post-Red Fang universe of good-time groove. Eight-string guitar and so forth. And they’re a DIY band who tour hard, put in the time, effort and cash to do the thing they believe in doing. If you can’t respect that, well then what the hell do you believe in?
So what’s the missing piece for me jumping on the bandwagon? I’ve given it actual-thought, like, in real life, and I think it’s just that I haven’t seen them live yet. I don’t know that I’ll get to rectify that on this tour — Brooklyn seems to be getting farther and farther away these days; to think I used to complain about having to drive to The Continental — but I hope at some point this year to catch them if I can and while we’re being honest, I’m fairly certain that if/when I do get the on-stage experience, all the cartoon-hamburger-ladies in the world won’t be able to stop me from singing their praises, so covering them until I eventually, hopefully, get there I guess is a way covering my bases. So after the fact I can look back on a post like this and tell myself, “see, I knew they’d be awesome.”
I’ve included the stream of Doom-Wop and the trio’s Katie McDowell-directed video for the ultra-catchy “Heel” here, in case you’d also like to dig in, and of course the dates for their newly announced tours come courtesy of the PR wire:
Rickshaw Billie’s Burger Patrol announce US headlining tour, including Shaky Knees & Thin Line Festivals
Austin trio Rickshaw Billie’s Burger Patrol announce summer U.S. tour dates, including Shaky Knees Festival in Atlanta and Thin Line Festival in Denton. Please see all dates below.
RBBP released their latest album Doom Wop in September 2022. Hear Doom Wop on your favorite streaming service HERE:https://ampl.ink/2YGEb
With their 5th studio release, Rickshaw Billie’s Burger Patrol is putting a name to the style of fuzzed out, overdriven, melodic, groovy music they have been making since 2016. In 9 concise, no bullshit songs, RBBP demonstrates their ability to blend the merciless low end of Leo Lydon’s 8-String guitar, Aaron Metzdorf’s masterful chordwork on the bass, and Sean St.Germain’s driving drumwork. Lydon and Metzdorf’s vocal melodies cut through the high frequencies to deliver fresh layers to the hooks that RBBP fans have come to love.
As the name implies, Doom Wop is a heavy, melody-driven, party metal album. With riffs as big and dumb as ever, and lyrics that stab at the worst members of society and ourselves (while keeping tongue firmly in cheek), listeners will find all the elements that make up the soul of RBBP on this record.
Doom Wop is available on CD and download, released on September 23rd, 2022. Vinyl LP coming in May 2023.
RBBP LIVE 2023: 04/21 Houston, TX – Black Magic Social Club 04/22 San Antonio, TX – Paper Tiger 04/29 Denton, TX – Thin Line Fest 05/06 Atlanta, GA – Shaky Knees Festival 05/07 Nashville, TN – The 5 Spot 05/09 Charlotte, NC – Snug Harbor 05/10 Washington, DC – Quarry House Tavern 05/11 Cambridge, MA – Middle East Upstairs 05/12 Brooklyn, NY – Saint Vitus 05/13 Philadelphia, PA: Kung Fu Necktie 05/14 Pittsburgh, PA – The Funhouse at Mr. Small’s 05/15 Chicago, IL – The Empty Bottle 05/17 Oklahoma City, OK – The Blue Note 06/09 Los Angeles, CA – Permanent Records Roadhouse 06/10 San Francisco, CA – The Kilowatt 06/13 Seattle, WA – Substation 06/14 Portland, OR – High Water Mark 06/16 Salt Lake City, UT – Aces High Saloon 06/17 Denver, CO: Hi-Dive
Posted in Radio on January 20th, 2023 by JJ Koczan
If you missed the entire Quarterly Review, first of all, that’s okay. You’re not obligated. I only bring it up because it’s from that glut of 100 records that this playlist (and part of the last one) derives. It’s a good show, with a couple decent twists. I almost played the 18-minute Smoke song. Thought about it, but it gets a little droney and I worry about stuff like that getting lost in people’s audio feeds. You know, if they’ve got the thing streaming in the background or some such. I’m not fooling myself into thinking that, however many people are listening, they’re all paying the strictest attention to every minute of every song.
So it’s the seven-minute Smoke song, and the 14-minute Carrier Wave one. It was pretty easy to go and pick through the QR for stuff, to be honest. And there was enough that, even having done some last time, I might still be able to get more from it that would work for the show. That’s pretty killer, because unless I’m giving myself an excuse to get to know it, I don’t play stuff on here if I don’t think it’s at least worth hearing. In the meantime, this playlist rules. I can’t wait to hear what engineer Dean Rispler (he’s also in Mighty High and 70 or 80 other bands) does with the transition from Gaupa to Onségen Ensemble.
Thanks for listening if you listen. Thanks for reading either way.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.
Full playlist:
The Obelisk Show – 01.20.23 (VT = voice track)
Oktas
Collateral Damage
The Finite and the Infinite
Gaupa
RA
Myriad
Onségen Ensemble
Naked Sky
Realms
VT
Simple Forms
Reaching for the Shadow
Simple Forms
Farflung
Dludgemasterpoede
Like Drones in Honey
Smoke
The Son of Man
Groupthink
Chrome Ghost
Where Black Dogs Dream
House of Falling Ash
Onhou
Null
Monument
Rickshaw Billie’s Burger Patrol
Jesus Was an Alien
Doom Wop
Alconaut
Slugs
Slugs
Daevar
Leila
Delirious Rites
Astrosaur
The Deluge
Portals
Grin
Aporia
Phantom Knocks
Mister Earthbound
Not to Know
Shadow Work
VT
Carrier Wave
Cosmic Man
Carrier Wave
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Feb. 3 (subject to change). Thanks for listening if you do.
Posted in Reviews on January 9th, 2023 by JJ Koczan
Welcome to the second week of the Quarterly Review. Last week there were 50 records covered between Monday and Friday, and barring disaster, the same thing will happen this week too. I wish I could say I was caught up after this, but yeah, no. As always, I’m hearing stuff right and left that I wish I’d had the chance to dig into sooner, but as the platitude says, you can only be in so many places at one time. I’m doing my best. If you’ve already heard all this stuff, sorry. Maybe if you keep reading you’ll find a mistake to correct. I’m sure there’s one in there somewhere.
Winter 2023 Quarterly Review #51-60:
Rickshaw Billie’s Burger Patrol, Doom Wop
Powered by eight-string-guitar and bass chug, Austin heavy party rockers Rickshaw Billie’s Burger Patrol offer markedly heavy, Steve Brooks-style weight on “Doom Wop,” the title-track of their second album, and prove themselves catchy through a swath of hooks, be it opener “Heel,” “Chew” or “I’m the Fucking Man,” which, if the finale “Jesus Was an Alien” — perhaps the best, also the only, ‘Jesus doing stuff’ song I’ve heard since Ministry‘s “Jesus Built My Hotrod”; extra kudos to the band for making it about screwing — didn’t let you know the band didn’t take themselves too seriously, and their moniker didn’t even before you hit play, then there you go. Comprised of guitarist Leo Lydon, bassist Aaron Metzdorf and drummer Sean St. Germain, they’re able to tap into that extra-dense tone at will, but their songs build momentum and keep it, not really even being slowed by their own massive feel, as heard on “Chew” or “The Bog” once it kicks in, and the vocals remind a bit of South Africa’s Ruff Majik without quite going that far over the top; I’d also believe it’s pop-punk influence. Since making their debut in 2020 with Burger Babes… From Outer Space!, they’ve stripped down their songwriting approach somewhat, and that tightness works well in emphasizing the ’90s alt rock vibe of “The Room” or the chug-fuzzer “Fly Super Glide.” They had a good amount of hype leading up to the Sept. 2022 release. I’m not without questions, but I can’t argue on the level of craft or the energy of their delivery.
French heavy rock traditionalists DoctoR DooM return following a seven-year drought with A Shadow Called Danger, their late 2022/early 2023 follow-up to 2015’s debut, This Seed We Have Sown (review here). After unveiling the single “What They Are Trying to Sell” (premiered here) as proof-of-life in 2021, the three-piece ’70s-swing their way through eight tracks and 45 minutes of vintage-mindset stylizations, touching on moody Graveyardian blues in “Ride On” and the more uptempo rocker “The Rich and the Poor” while going more directly proto-metallic on galloping opener “Come Back to Yourself and the later “Connected by the Worst.” Organ enhances the sway of the penultimate “In This Town” as part of a side B expansion that starts with tense rhythmic underlayer before the stride of “Hollow” and, because obviously, an epilogue take on Händel‘s “Sarabande” that closes. That’ll happen? In any case, DoctoR DooM — guitarist/vocalist Jean-Laurent Pasquet, guitarist Bertrand Legrand, bassist Sébastien Boutin Blomfield and drummer Michel Marcq — don’t stray too far from their central purpose, even there, and their ability to guide the listener through winding progressions is bolstered by the warmth of their tones and Pasquet‘s sometimes gruff but still melodic vocals, allowing some of the longer tracks like “Come Back to Yourself,” “Hollow” and “In This Town” to explore that entirely imaginary border where ’70s-style heavy rock and classic metal meet and intertwine.
Clearly when you start out with a direct invocation of epic tales like “Gilgamesh (…and Enkidu’s Demise),” you’re going big. Portugal’s Stones of Babylon answer 2019’s Hanging Gardens (review here) with Ishtar Gate, still staying in Babylon as “Annunaki,” “Pazuzu,” the title-track, “The Fall of Ur,” and “Tigris and Euphrates” roll out instrumental embodiment of these historical places, ideas, and myths. There is some Middle Eastern flourish in quieter stretches of guitar in “Anunnaki,” “Pazuzu,” “The Fall of Ur,” etc., but it’s the general largesse of tone, the big riffs that the trio of guitarist Alexandre Mendes, bassist João Medeiros and drummer Pedro Branco foster and roll out one after the other, that give the sense of scale coinciding with their apparent themes. And loud or quiet, big and rolling or softer and more winding, they touch on some of My Sleeping Karma‘s meditative aspects without giving up a harder-hitting edge, so that when Ur falls, the ground seems to be given a due shake, and “Tigris and Euphrates,” as one of the cradles of civilization, caps the record with a fervency that seems reserved specifically for that crescendo. A few samples, including one at the very end, add to the atmosphere, but the band’s heart is in the heavy and that comes through regardless of a given moment’s volume.
Released on Halloween 2022, Alconaut‘s “Slugs” is a six-minute roller single following-up their 2019 debut album, Sand Turns to Tide, and it finds the Corsican trio fuzz-grooving their way through a moderate tempo, easy-to-dig procession that’s not nearly as slime-trail-leaving as its title implies. A stretch building up the start-stop central riff has a subtle edge of funk, but then the pedal clicks on and a fuller tone is revealed, drums still holding the same snare punctuation behind. They ride that stretch out for a reasonably unreasonable amount of measures before shifting toward the verse shortly before two minutes in — classic stoner rock — backing the first vocals with either organ or guitar effects that sound like one (nobody is credited for keys; accept the mystery) and a quick flash of angularity between lines of the chorus are likewise bolstered. They make their way back through the verse and then shift into tense chugging that’s more straight-ahead push than swinging, but still friendly in terms of pace, and after five minutes in, they stop, the guitar pans channels in re-establishing the riff, and they finish it big before just a flash of feedback cuts to silence. Way more rock and way less sludge than either their moniker or the song’s title implies, their style nonetheless hints toward emergent dynamic in its tonal changes even as the guitar sets forth its own hooks.
Instrumental save for the liberally distributed samples from Planet of the Apes, including Charlton Heston’s naming of Nova in “Nova” presented as a kind of semi-organic alt-techno with winding psychedelic guitar over a programmed beat, Maybe Human‘s Ape Law is the second long-player from the Los Angeles-based probably-solo outfit, and it arrives as part of a glut of releases — singles, EPs, one prior album — issued over the last two years or so. The 47-minute 10-songer makes its point in the opening title-track, and uses dialogue from the Apes franchise — nothing from the reboots, and fair enough — to fill out pieces that vary in their overarching impression from the heavy prog of “Bright Eyes” and the closing “The Killer Ape Theory” to the experimentalist psych of “Heresy.” If you’re looking to be damned to hell by the aforementioned Heston, check out “The Forbidden Zone,” but Ape Law seems to be on its most solid footing — not always where it wants to be, mind you — in a more metal-leaning guitar-led stretch like that in the second half of “Infinite Regression” where the guitar solo takes the forward role over a bed that seems to have been made just for it. The intent here is more to explore and the sound is rawer than Maybe Human‘s self-applied post-rock or pop tags might necessarily imply, but the deeper you go there more there is to hear. Unless you hate those movies, in which case you might want to try something else.
Beginning with its longest track (immediate points) in the nine-minute “Rust and Rot,” the third full-length from Vancouver’s Heron, Empires of Ash, offers significant abrasive sludge heft from its lurching outset, and continues to sound slow even in the comparatively furious “Hungry Ghosts,” vocalist/noisemaker Jamie having a rasp to his screams that calls to mind Yatra over the dense-if-spacious riffing of Ross and Scott and Bina‘s fluid drumming. Ambient sections and buildups like that in centerpiece “Hauntology” allow some measure of respite from all the gnashing elsewhere, assuring there’s more to the four-piece than apparently-sans-bass-but-still-plenty-heavy caustic sludge metal, but in their nastiest moments they readily veer into territory commonly considered extreme, and the pairing of screams and backing growls over the brooding but mellower progression on closer “With Dead Eyes” is almost post-hardcore in its melding aggression with atmosphere. Still, it is inevitably the bite that defines it, and Heron‘s collective teeth are razor-sharp whether put to speedier or more methodical use, and the contrast in their sound, the either/or nature, is blurred somewhat by their willingness to do more than slaughter. This being their third album and my first exposure to them, I’m late to the party, but fine. Empires of Ash is perfectly willing to brutalize newcomers too, and the only barrier to entry is your own threshold for pain.
A reissue of their 2020 second LP, My Octopus Mind‘s Faulty at Source (Bonus Edition) adds two tracks — “Here My Rawr,” also released as a single, and “No Way Outta Here Alive” — for a CD release. Whichever edition one chooses to take on, the range of the Bristol-based psych trio of guitarist/vocalist/pianist Liam O’Connell, bassist Isaac Ellis and drummer Oliver Cocup (the latter two also credited with “rawrs,” which one assumes means backing vocals) is presented with all due absurdity but a strongly progressive presence, so that while “The Greatest Escape” works in its violin and viola guest appearances from Rebecca Shelley and Rowan Elliot as one of several tracks to do the same, the feeling isn’t superfluous where it otherwise might be. Traditional notions of aural heft come and go — the riffier and delightfully bass-fuzzed “No Way Outta Here Alive” has plenty — while “Buy My Book” and the later “Hindenburg” envision psychedelic noise rock and “Wandering Eye” (with Shelley on duet vocals as well) adds mathy quirk to the proceedings, making them that march harder to classify, that much more on-point as regards the apparent mission of the band, and that much more satisfying a listen. If you’re willing to get weird, My Octopus Mind are already there. For at least over two years now, it would seem.
Having become a duo since their debut, 2019’s Lux in Morte (review here), was released, Et Mors are no less dirgey or misery-laden across Lifeless Grey for halving their lineup. Wretched, sometimes melodic and almost universally deathly doom gruels out across the three extended originals following the shorter intro “Drastic Side Effects” — that’s the near-goth plod of “The Coffin of Regrets” (9:45), “Tritsch” (16:13), which surprises by growing into an atmosludge take on The Doors at their most minimalist and spacious before its own consumption resumes, and “Old Wizard of Odd” (10:29), which revels in extremity before its noisy finish and is the ‘heaviest’ inclusion for that — and a concluding cover of Bonnie “Prince” Billy‘s “I See a Darkness,” the title embodied in the open space within the sound of the song itself while showcasing a soulful clean vocal style that feels like an emerging distinguishing factor in the band’s sound. That is, a point of growth that will continue to grow and make them a stronger, more diverse band as it already does in their material here. I’d be interested to hear guitarist/vocalist Zakir Suleri and drummer/vocalist Albert Alisaug with an expansive production able to lean more into the emotive aspects of their songwriting, but as it is on Lifeless Grey, their sound is contrastingly vital despite the mostly crawling tempos and the unifying rawness of the aural setting in which these songs take place.
Future Mirror is The Atomic Bomb Audition‘s first release since 2014 and their first studio album since 2011’s Roots into the See (review here), the returning Oakland-based four-piece of guitarist/vocalist Alee Karin, bassist/vocalist Jason Hoopes, drummer Brian Gleeson and synthesist/engineer The Norman Conquest reigniting their take on pop-informed heavy, sometimes leaning toward post-rock float, sometimes offering a driving hook like in “Night Vision,” sometimes alternating between spacious and crushing as on “Haunted Houses,” which is as much Type O Negative and Katatonia darkness as the opener “Render” was blinding with its sweet falsetto melodies and crashing grandeur. Two interludes, “WNGTIROTSCHDB” and “…Spells” surround “Golden States, Pt. 1” — note there is no second part here — a brief-at-three-minutes-but-multi-movement instrumental, and the linear effect in hearing the album as whole is to create an ambient space between the three earlier shorter tracks and the two longer ones at the finish, and where “Dream Flood” might otherwise be a bridge between the two, the listening experience is only enhanced for the flourish. Future Mirror won’t be for everybody, as its nuance makes it harder to categorize and they wouldn’t be the first to suffer perils of the ‘band in-between,’ but by the time they get the payoff of closer “More Light,” tying the heft and melody together, The Atomic Bomb Audition have provided enough context to make their own kind of sense. Thus, a win.
Maharaja‘s new EP, Aviarium (on Seeing Red), might be post-metal if one were to distill that microgenre away from its ultra-cerebral self-indulgence and keep only the parts of it most crushing. The downer perspective of the Ohio trio — guitarist Angus Burkhart, bassist Eric Bluebaum, drummer Zack Mangold, all of whom add vocals, as demonstrated in the shouty-then-noisy-then-both second track — is confirmed in the use of the suffix ‘-less’ in each of the four songs on the 24-minute outing, from opener “Hopeless” through “Soulless,” into the shorter, faster and more percussively intense “Lifeless” and at last arriving in the open with the engrossing roll of 10-minute finisher “Ballad of the Flightless Bird,” which makes a home for itself in more stoner-metal riffing and cleaner vocals but maintains the poise of execution that even the many and righteous drum fills of “Hopeless” couldn’t shake loose. It is not an easy or a smooth listen, but neither is it meant to be, and the ambience that comes out of the raw weight of Maharaja‘s tones as well as their subtle variation in style should be enough to bring on board those who’d dare take it on in the first place. Can be mean, but isn’t universally one thing or the other, and as a sampler of Maharaja‘s work it’s got me wanting to dig back to their 2017 Kali Yuga and find out what I missed.
Posted in Whathaveyou on August 30th, 2022 by JJ Koczan
I can’t quite make up my mind on this band. Their name is kicked around a lot on the socials, people’s jaws being duly dropped by what seem to be righteous live performances — hype generated the hard way — and their studio output. They groove, they move, all that stuff. Fine. On the other hand, they’re called Rickshaw Billie’s Burger Patrol, their logo is a hamburger with boobs, and their new album is called Doom Wop, which I feel like kind of skirts a line between cute and cheeky and just dumb. Also, who’s Rickshaw Billie?
Well established by now that I’m no fun — even less fun as time goes on, and I already started out not fun — so I’m not going to take away from the buzz the Austin, Texas, trio have built, or the legit hard work they’re about to put in on tour, or the fact that they’re obviously looking to push their band to that next level. Six years after they got started, they by no means need me on board, but I do kind of feel like I’m not yet convinced. But they’re out there breaking their collective ass, so posting the tour dates and the single doesn’t seem like too far to go.
Accordingly, from the PR wire:
Rickshaw Billie’s Burger Patrol share first single from forthcoming Doom Wop album
Austin trio touring with King Buffalo in Sept, headlining in October
Austin trio Rickshaw Billie’s Burger Patrol share the first single from their forthcoming album Doom Wop. Hear and share “Shoo In” HERE. (Direct Bandcamp.)
RBBP kick off tour dates supporting King Buffalo in late September, followed by headlining shows across the US in October. Please see current dates below.
With their 5th studio release, Rickshaw Billie’s Burger Patrol is putting a name to the style of fuzzed out, overdriven, melodic, groovy music they have been making since 2016. In 9 concise, no bullshit songs, RBBP demonstrates their ability to blend the merciless low end of Leo Lydon’s 8-String guitar, Aaron Metzdorf’s masterful chordwork on the bass, and Sean St.Germain’s driving drumwork. Lydon and Metzdorf’s vocal melodies cut through the high frequencies to deliver fresh layers to the hooks that RBBP fans have come to love.
As the name implies, “Doom Wop” is a heavy, melody-driven, party metal album. With riffs as big and dumb as ever, and lyrics that stab at the worst members of society and ourselves (while keeping tongue firmly in cheek), listeners will find all the elements that make up the soul of RBBP on this record. “Doom Wop” will be available everywhere September 23rd.
Doom Wop will be available on CD and download on September 23rd, 2022. Vinyl LP release date TBD. Pre-orders are available HERE: https://rickshawbilliesburgerpatrol.bandcamp.com/album/doom-wop
RBBP LIVE 2022: 09/22 Dallas, TX – Club Dada* 09/23 Austin, TX – Antone’s* 09/24 Houston, TX – White Oak* 09/25 New Orleans, LA – Gasa Gasa* 09/26 Mobile, AL – Alabama Music Hall 09/27 Atlanta, GA – Masquerafe* 09/28 Athens, GA – The Lab @ Cine 09/29 Charlotte, NC – Tommy’s 09/30 Raleigh, NC – TBA 10/01 Washington, DC – Slash Run 10/02 Philadelphia, PA – Ortlieb’s 10/03 Saratoga Springs, NY – Desperate Annie’s 10/04 New York, NY – Our Wicked Lady 10/06 Providence, RI – AS22 10/07 Boston, MA – Zuzu 10/09 Pittsburgh, PA – Squirrel Hill 10/12 Nashville, TN – The 5 Spot 10/13 Little Rock, AR – Vino’s 10/14 Dallas, TX – 3 Links 10/15 Austin, TX – Valhalla * w/ King Buffalo
Posted in Whathaveyou on March 22nd, 2022 by JJ Koczan
Back for its second year and with a fourth day in tow, Ripplefest Texas 2022 confirms its full lineup, a total beast of legends and newcomers. Really, I don’t even know what to say here except that if you’re lucky enough to go, it’s probably the kind of thing you’re going to remember for a long gosh-darn time, and it’s the kind of lineup that serves as lording-over fodder on the part of those who were there to those who weren’t. Well, at least it would if the heavy underground weren’t too cool to each other for that kind of gatekeeping nonsense. In any case, this looks like a massive undertaking to put on, and the roster of assembled acts gets a hearty ‘fucking a’ from my corner of the universe.
Tickets for all four days will run you $150, but I feel like the festival earns that on both quality and quantity of product.
Here’s the announcement, info and links:
RIPPLE FEST TEXAS – The Far Out Lounge – July 21-24
4-day passes available now!
RippleFest Texas 2022 is back and the lineup is as big and hot as Texas itself! 4 days of blistering hot music at Austin’s premier music venue The Far Out Lounge. There will be everything from crushing heavy riffs, to acoustic and banjo picking, to improvisation jam sessions and puppet shows! So many legends and great music that this will be a 4 day weekend you will not want to miss!
FULL LINEUP: Eagles of Death Metal, The Sword, Crowbar, Mothership, Big Business, The Obsessed, Stöner, Spirit Adrift, The Heavy Eyes, Sasquatch, REZN, Fatso Jetson, Heavy Temple, J.D. Pinkus, Lord Buffalo, Lo-Pan, Wino, El Perro, Void Vator, Hippie Death Cult, Howling Giant, Doctor Smoke, Nick Oliveri, High Desert Queen, Destroyer of Light, Ape Machine, High Priestess, Dryheat, Rubber Snake Charmers, Sun Crow, Holy Death Trio, Bone Church, Horseburner, Spirit Mother, Thunder Horse, Mother Iron Horse, The Age of Truth, Salem’s Bend, Las Cruces, All Souls, Kind, Fostermother, The Absurd, Godeye, Ole English, Mr. Plow, Snake Mountain Revival, Blue Heron, Grail, Formula 400, Rickshaw Billie’s Burger Patrol, Eagle Claw, Bridge Farmers.
The Far Out Lounge is located at 8504 South Congress. Winner of Best New Venue at the Austin Music Awards 2020.
