Posted in Whathaveyou on September 4th, 2023 by JJ Koczan
Add Fu Manchu drummer Scott Reeder to the list of the band’s members putting out solo releases in 2023. Fu bassist Brad Davis issued a debut with Gods of Sometimes this summer. Guitarist Bob Balch has like 75 bands, among them currently active is Yawning Balch and the multinational interpretive Slayer covers outfit Slower. If guitarist/vocalist Scott Hill decides to do a garage punk record or something, that’ll be enough for Bingo. Next time you’re asked who missed playing live the most during the pandemic, Fu Manchu might be your answer. Dudes must’ve been restless as hell.
Jacket Thief is the name of Reeder‘s outfit, and the album to be self-released through TripKey Records is called Lights Out on the Shore. The first single is “TLFN,” and where the PR wire sends word of various moods/vibes, the single is very much a single: catchy, inviting, straightforward. Its sound is heavy in the bottom end but not shooting for aggression or even necessarily density so much as melodic expression. Balch provides a solo, but beyond that it would seem Reeder played all the instruments and sings, as the video shows him playing guitar with color effects added and the lyrics splashed across the screen.
No, I won’t spoil what “TLFN” stands for, but if you search it and come up with “time-lagged feedforward neural networks,” I’ll tell you that’s not what the song is about, fascinating though they are.
From the PR wire:
FU MANCHU’s Scott Reeder Debuts Solo Project JACKET THIEF
New Album, “Lights Out On The Shore,” Out Sept 29th
Stream The First Single “TLFN” Now!
Notable Southern California bred multi-instrumentalist and FU MANCHU drummer Scott Reeder has taken the plunge into solo waters with his new project JACKET THIEF. The revered musician’s upcoming debut album, “Lights Out On The Shore,” was born out of studio sessions with Grammy Award winning producer/engineer Ryan Mall (Dropkick Murphys, Old Crow Medicine Show, Gaslight Anthem), where Reeder cultivated his vision, bringing together his desert rock roots with melodic, acoustic, psychedelic and heartland rock influences. “Lights Out On The Shore,” will be released on September 29th on his own TripKey Records.
Commenting on the record, Reeder says:
“This is a record that I wanted to do for a long while, and then different circumstances conspired so that it was more like I had to do it, I couldn’t wait any longer.”
JACKET THIEF’s debut is a melodic and soulful rock album with an engaging flow throughout, from the heavy crash of “Some Kind Of Murder” and ” A Stitch In Time,” to the leaden throb of “Daylight Apparitions” and the drop-tuned drone of the title track “Lights Out On The Shore.”
Today, Reeder has released the first taste of JACKET THIEF’s “Lights Out On The Shore,” with the single “TLFN.”
Adding about the song, Reeder states:
“‘TLFN’ is a song co written by friend and singer songwriter Micheal Rosas. It’s been around for a while in different guises. It has a bit of a heavy strut to it and the lyrics remain pretty much to the point…’is this what I think it is, or is it something else?’ In this case, it’s straight forward 4 on the floor rock-n roll with a blistering fuzzed out solo from Bob Balch.”
“Lights Out On The Shore” Tracklist: 1. Flying Too Low 2. TLFN 3. A Stitch In Time 4. Lights Out On The Shore 5. Furs And Fires 6. Lord Meade Lane 7. A Wind Gone By 8. Some Kind Of Murder 9. The First Ones From The Skies 10. Everything But Right 11. Daylight Apparitions 12. As She Drifts…
Posted in Bootleg Theater on November 25th, 2022 by JJ Koczan
Fu Manchu are one of the greatest heavy rock bands of all time. Pick your era, doesn’t matter. They hold up against the nascent hard distorted blues of the ’70s, the post-grunge stonerism of the ’90s in which they came up in surf-happy San Clemente, California, and, well, they’ve had a hand in influencing all things riffy since, so yeah, that too. Their tenure as Fu Manchu marked its 30th anniversary in 2020 — timing is everything — and in addition to a return to touring post-covid, they’ve had two EPs out thus far to celebrate. So on top of their already established legacy in classics like 1996’s In Search Of…, 1997’s The Action is Go (discussed here) and 1999’s King of the Road (discussed here) — I’ll argue vehemently in favor of their first two records and their Century Media eras as well — they’re still adding to it. Their latest long-player was 2018’s Clone of the Universe (review here), which was both a burner that ticked all the boxes one would hope, and in what was surely a career highlight for the band, featured a guest appearance from Rush guitarist Alex Lifeson on the 18-minute finale “Il Mostro Atomico.”
At the time, three years between full-lengths was a pretty long time for Fu Manchu, but as they went from 2001’s California Crossing to 2004’s Start the Machine, they were in something of a transitional moment. That included parting ways with then-drummer Brant Bjork (Kyuss, now Stöner, etc.) and bringing in Scott Reeder (not to be confused with the bassist of the same name) to fill the role and signing with DRT Records after releasing the momentum-keeper Go for It… Live! through SPV in 2003. They’d worked with labels like Mammoth Records, Man’s Ruin and Bong Load for earlier albums, and as I recall DRT had some pretty decent distribution — Maryland’s Clutch were with them as well before a fallout, as well as several more commercial outfits — so it was something of an arrival for a band who, heading into their eighth album, were already veterans.
Start the Machine is about as clean and tight a Fu Manchu record as you’ll find. Not one of its 12 songs reaches the four minutes in length, and the 35-minute entirety is sharp in its execution and deceptively full in tone, the trademark fuzz of guitarists Scott Hill (also vocals) and Bob Balch and bassist/backing vocalist Brad Davis carried forth across material that could feel moderately paced but remained inherently loyal to Fu Manchu‘s punker roots while boasting maddeningly catchy hooks in songs like opener “Written in Stone,” “Hey,” “Make Them Believe,” “Today’s Too Soon,” “It’s All the Same,” and so on. As regards songwriting and the general efficiency of their work, Start the Machine wanted for nothing. Listening to it now, the band sound not only like they haven’t lost a step at all for the shift in lineup, but like they’re mature craftsmen of heavy rock and roll looking to expand their reach with a collection of killer songs. Kind of the ideal, right?
If you’re waiting for the ‘but,’ fair enough. Start the Machine is arguably the most maligned of Fu Manchu‘s records. And to put that to scale, I’ll say that anyFu Manchu album is better than, say, not a Fu Manchu album, but if you’re making a list in order of preference — a poll I’d love to conduct, just for the sheer nerdery of it — there’s little doubt Start the Machine would appear somewhere near the bottom. Part of that is an inevitable shift in trend and generational transition as some followers from the ’90s aged out and a new audience came up with a new expectation of what heavy rock was supposed to be — the times a-changing, and so forth — and part of it as well is probably down to the production of Brian Dobbs, who’d spent the better part of the decade prior working as an engineer with mega-producer Bob Rock on releases from the likes of Metallica, The Cult, AC/DC and Mötley Crüe, none of whom at that point were kicking out career highlights.
I refuse outright to ascribe motivations to either the band or the label involved — which is to say I won’t be calling Fu Manchu sellouts for working with a bigtime producer — and in the rager shove of “I Can’t Hear You,” the familiar start-stop declarations of “I’m Getting Away” and the twisting groove of the penultimate low-key melodic highlight “Tunnel Vision,” one can hear trademark elements of what has always made the band who they are, righteously reliable in songwriting and performance but able to break their own rules when they choose to do so. It’s spit-polished — and if you’re perhaps looking for some sense of the band’s feelings about it, one might put on the band’s 2007 outing, We Must Obey (discussed here), which is their biggest-sounding, maybe their hardest-hitting record as well — but there’s a lot, a lot, a lot to dig about Start the Machine, counter to its reputation.
So is this the part where I remind you that, hey, this record came out 18 years ago and maybe it’s worth checking in on again — perhaps digging into the band’s 2011 reissue with bonus demos, if you’re feeling saucy — to see how kind time has been to it? Hell yes it is. Because I’ll happily posit that time has been kind to Start the Machine, and while Fu Manchu‘s catalogue may have other, insurmountable landmarks — a few of them, and not all early in their career — this record deserves more love than it’s gotten in the past. California Crossing was a tough act to follow, but they did it in a way that now stands as a record unto itself in their discography and its songs have value even beyond their raw earwormness, prevalent though that is.
If nothing else. If you’ve read this and made it this far without clicking/pressing play above, take this as a sign that you should listen to some Fu Manchu today, and really, while you’re here, what’s the worst that can happen? “Written in Stone” gets stuck in your head? It’s been in mine for days now and you don’t hear me complaining.
As always, I hope you enjoy and thanks for reading.
—
Well, I’m home. Have to wonder if, had I not put up a post saying I was traveling, anyone would’ve noticed. It was pretty light on posts this week, but with the Thanksgiving holiday here in the US anyway. We — The Patient Mrs., The Pecan and I — were in Sayulita, Mexico, for a couple days to celebrate the wedding of a couple with whom we’ve been friends for well over 15 years. Used to get drunk in their garage, now they’re small business owners and killing it at life generally. Trip was ups and downs as regards stress level, as anything involving a five year old will be, but lil dude took a surfing lesson AND sat on my lap while we drove a golf cart through the streets of town, The Patient Mrs. got to stock up on warmth as we head into winter (that’s how it works, right?) and I still had time to write and post, so everybody got what they needed from it. We even got ripped off by a cop on the side of the road after running a red light. $60 cash, paid in an alley so fewer people would see. A quintessential tourist experience, I’d say. He was like “we’ll go to the station where there are fewer people” and I was like, “no, if you’re going to rob me I’m not going anywhere with you.”
The wedding itself was interesting. First one I’ve been to in a while. It was gorgeous, on a mountaintop, and because of the ‘destination’ nature, there weren’t a ton of people there. I spent most of my time chasing around The Pecan, which suits me just fine. He needs to be occupied or it’s all over, and that usually means motion (or reading, which is nice, but we didn’t bring books and it barely occurred to me to use a digital reader). The Patient Mrs. did most of the social labor, which is basically how it goes. And that is deeply appreciated, even beyond her organization of the rest of the trip, our lodgings, and so forth.
I find that as time goes on I have less and less to say to people, even in an obviously friendly situation like that. It turns out that perhaps having spent the last 14 years wholly immersed in ONE THING in terms of life focus limits one’s ability to engage in other things. Who’d’ve thought, right? I know. And since there are maybe 30,000 humans worldwide max who are conversant in the ways of Heavy, that means that I’m just kind of out there feeling out of place most of the time. In the end, I was grateful to have the kid to keep focused on. Used to be I just got plastered in situations like that. I can’t honestly endorse one approach over the other. My knee mostly held up as well, so that was a relief.
But it was what it was, a gorgeous day in a gorgeous place, so let’s do the math and reason that my lack of fit in paradise is more about my inner ugliness than anything else related to the circumstance. It was an event filled with cool, nice, people. I just don’t seem to belong anywhere that isn’t this couch or standing in front of a stage being blasted with volume. Also bed.
We got home last night after midnight and I slept until about 6:45. The Pecan woke up shortly after seven (unheard of) and The Patient Mrs. emerged from the bedroom at 8AM sharp. Today is errands and chores, unpacking, laundry, etc., and grocery shopping for the Thanksgiving dinner we’re hosting for family tomorrow. That will be good. I’m glad to be able to do things like that.
If you celebrated Thanksgiving, I hope it was a good one. My travels this week underscored for me America’s ongoing colonialist history, white people being generally terrible, etc., but the actual celebrating of the holiday is among my preferred. A meal with people you love. Could be far worse, even if the narrative behind it — ‘first Thanksgiving’ and all that — is, in the parlance of our times, full on cringe.
Next week is what passes for normal around here, with more premieres slated and this and that. I could look at the notes and list it all if you want? I know Monday is a Pia Isa video premiere that was set up a while ago, and the rest of the week is likewise rad. On a day dedicated to celebrating base commerce, I feel less inclined to plug my own shit, even if it doesn’t involve money exchanging hands. Sometimes I feel like promotion cheapens us all.
On that happy note, here’s a reminder that Gimme Metal airs a new ‘The Obelisk Show’ today at 5PM Eastern. Free to stream on their app or site: http://gimmemetal.com.
Thanks if you check that out and thanks either way for reading. Have a great and safe weekend. Hydrate, watch your head, try to dig your situation if you can. Love if and when you can.
Posted in Reviews on September 20th, 2022 by JJ Koczan
Day two of the Fall 2022 Quarterly Review brings a fresh batch of 10 releases en route to the total 100 by next Friday. Some of this is brand new, some of it is older, some of it is doom, some is rock, some is BongBongBeerWizards, and so on. Sometimes these things get weird, and I guess that’s where it’s at for me these days, but you’re going to find plenty of ground to latch onto despite that. Wherever you end up, I hope you’re digging this so far half as much as I am. Much love as always as we dive back in.
Quarterly Review #11-20:
Fu Manchu, Fu30 Pt. 2
Like everyone’s everything in the era, Fu Manchu‘s 30th anniversary celebration didn’t go as planned, but with their Fu30 Pt. 2 three-songer, they give 2020’s Fu30 Pt. 1 EP (posted here) the sequel its title implied and present two originals and one cover in keeping with that prior release’s format. Tracked in 2021, “Strange Plan” and the start-stop-riffed “Low Road” are quintessential works of Fu fuzz, so SoCal they’re practically in Baja, and bolstered by the kinds of grooves that have held the band in good stead with listeners throughout these three-plus decades. “Strange Plan” is more aggressive in its shove, but perhaps not so confrontational as the cover of Surf Punks‘ 1980 B-side “My Wave,” a quaint bit of surferly gatekeeping with the lines, “Go back to the Valley/And don’t come back,” in its chorus. As they will with their covers, the four-piece from San Clemente bring the song into their own sound rather than chase down trying to sound like Reagan-era punk, and that too is a method well proven on the part of the band. If you ever believed heavy rock and roll could be classic, Fu Manchu are that, and for experienced heads who’ve heard them through the years as they’ve tried different production styles, Fu30 Pt. 2 finds an effective middle ground between impact and mellow groove.
Not so much a pendulum as a giant slaughterhouse blade swinging from one side to the other like some kind of horrific grandfather clock, Valborg pull out all the industrial/keyboard elements from their sound and strip down their songwriting about as far as it will go on Der Alte, the 13-track follow-up to 2019’s Zentrum (review here) and their eighth album overall since 2009. Accordingly, the bone-cruncher pummel in cuts like “Kommando aus der Zukunft” and the shout-punky centerpiece “Hektor” is furious and raw. I’m not going to say I hope they never bring back the other aspects of their sound, but it’s hard not to appreciate the directness of the approach on Der Alte, on which only the title-track crosses the four-minute mark in runtime (it has a 30 second intro; such self-indulgence!), and their sound is still resoundingly their own in tone and the throaty harsh vocals on “Saturn Eros Xenomorph” and “Hoehle Hoelle” and the rest across the album’s intense, largely-furious-but-still-not-lacking-atmosphere span. If it was another band, you might call it death metal. As it stands, Der Alte is just Valborg, distilled to their purest and meanest form.
2022 is probably a good year to put out a record based around Frank Herbert’s Dune universe (the Duniverse?), what with the gargantuan feature film last year and another one coming at some point as blah blah franchise everything, but Montreal four-piece Sons of Arrakis have had at least some of the songs on Volume I in the works for the better part of four years, guitarists Frédéric Couture (also vocals) and Francis Duchesne (also keys) handling recording for the eight-song/30-minute outing with Vick Trigger on bass and Eliot Landry on drums locking in tight grooves pushing all that sci-fi and fuzz along at a pace that one only wishes the movie had shared. I’ve never read Dune, which is only relevant information here because Volume I doesn’t leave me feeling out of the loop as “Temple of the Desert” locks in quintessential stoner rock janga-janga shuffle and “Lonesome Preacher” culminates in twisty fuzz that should well please fans of Valley of the Sun before bleeding directly and smoothly into the melodic highlight “Abomination” in a way that, to me at least, bodes better for their longer term potential than whatever happenstance novelty of subject matter surrounds. There’s plenty of Dune out there if they want to stick to the theme, but songwriting like this could be about brushing your teeth and it’d still work.
Voidward‘s self-titled full-length debut lands some nine years after the Durham, North Carolina, trio’s 2013 Knives EP, and accordingly features nearly a decade’s worth of difference in sound, casting off longer-form post-black metal duggery in favor of more riff-based explorations. Still at least partially metallic in its roots, as opener “Apologize” makes plain and the immediate nodder roll of “Wolves” backs up, the eight-song/47-minute outing is distinguished by the clean, floating vocal approach of guitarist Greg Sheriff, who almost reminds of Dave Heumann from Arbouretum, though no doubt other listeners will hear other influences, and yes that’s a compliment. Joined by bassist/backing vocalist Alec Ferrell — harmonies persist on “Wolves” and elsewhere — and drummer Noah Kessler, Sheriff brings just a hint of char to the tone of “Oblivion,” but the blend of classic heavy rock and metal throughout points Voidward to someplace semi-psychedelic but nonetheless richly ambient, and even the most straightforward inclusion, arguably “Chemicals” though closer “Cobalt” has plenty of punch as well, is rich in its execution. They even thrash a bit on “Horses,” so as long as it’s not another nine years before they do anything else, they sound like they can go wherever they want. Rare for a debut.
The second long-player from Long Island, New York’s Indus Valley Kings, Origin brings together nine songs across an expansive 55 minutes, and sees the trio working from a relatively straightforward heavy rock foundation toward more complex purposes, whether that’s the spacious guitar stretch-out of “A Cold Wind” or the tell-tale chug in the second half of centerpiece “Dark Side of the Sun.” They effectively shift back and forth between lengthier guitar-led jams and more straight-up verses and choruses, but structure is never left too far behind to pick up again as need be, and the confidence behind their play comes through amid a relatively barebones production style, the rush of the penultimate “Drowned” providing a later surge in answer to the more breadth-minded unfurling of “Demon Beast” and the bluesy “Mohenjo Daro.” So maybe they’re not actually from the Indus Valley. Fine. I’ll take the Ripple-esque have-riffs-have-shred-ready-to-roll “Hell to Pay” wherever it’s coming from, and the swing of the earlier “…And the Dead Shall Rise” doesn’t so much dogwhistle its penchant for classic heavy as serve it to the listener on a platter. If we’re picking favorites, I might take “A Cold Wind,” but there’s plenty to dig on one way or the other, and Origin issues invitations early and often for listeners to get on board.
Clearly whoever said there were no second chances in rock and roll just hadn’t lived long enough. After reissuing one-upon-a-time Blue Cheer guitarist Randy Holden‘s largely-lost classic Population II (discussed here) for its 50th anniversary in 2020, RidingEasy Records offers Holden‘s sequel in Population III. And is it the work for which Holden will be remembered? No. But it is six songs and 57 minutes of Holden‘s craft, guitar playing, vocals and groove, and, well, that feels like something worth treasuring. Holden was in his 60s when he and Randy Pratt (also of Cactus) began to put together Population III, and for the 21-minute “Land of the Sun” alone, the album’s release a decade later is more than welcome both from an archival standpoint and in the actual listening experience, and as “Swamp Stomp” reminds how much of the ‘Comedown Era’s birth of heavy rock was born of blues influence, “Money’s Talkin'” tears into its solo with a genuine sense of catharsis. Holden may never get his due among the various ‘guitar gods’ of lore, but if Population III exposes more ears to his work and legacy, so much the better.
Gleefully oddball Montana three-piece The Gray Goo remind my East Coast ears a bit of one-time Brooklynites Eggnogg for their ability to bring together funk and heavy/sometimes-psychedelic rock, but that’s not by any means the extent of what they offer with their debut album, 1943, which given the level of shenanigans in 10-minute opener and longest track (immediate points) “Bicycle Day” alone, I’m going to guess is named after the NES game. In any case, from “Bicycle Day” on down through the closing “Cop Punk,” the pandemic-born outfit find escape in right-right-right-on nods and bass tone, partially stonerized but casting off expectation with an aplomb that manifests in the maybe-throwing-an-elbow noise of “Problem Child,” and the somehow-sleek rehearsal-space funk of “Launch” and “The Comedown,” which arrives ahead of “Shakes and Spins” — a love song, of sorts, with fluid tempo changes and a Primus influence buried in there somewhere — and pulls itself out of the ultra-’90s jam just in time for a last plodding hook. Wrapping with the 1:31 noise interlude “Goo” and the aforementioned “Cop Punk,” which gets the prize lyrically even with the competition surrounding, 1943 is going right on my list of 2022’s best debut albums with a hope for more mischief to come.
Oh, sweet serenity. Maybe if we all had been in that German garden on the day in summer 2020 when Acid Rooster reportedly performed the two extended jams that comprise Ad Astra — “Zu den Sternen” (22:28) and “Phasenschieber” (23:12) — at least some of us might’ve gotten the message and the assurance so desperately needed at the time that things were going to be okay. And that would’ve been nice even if not necessarily the truth. But as it stands, Ad Astra documents that secret outdoor showcase on the part of the band, unfolding with improvised grace across its longform pieces, hopeful in spirit and plenty loud by the time they get there but never fully departing from a hopeful sensibility, some vague notion of a better day to come. Even in the wholesale drone immersion of “Phasenschieber,” with the drums of “Zu den Sternen” seemingly disappeared into that lush ether, I want to close my eyes and be in that place and time, to have lived this moment. Impossible, right? Couldn’t have happened. And yet some were there, or so I’m told. The rest of us have the LP, and that’s not nothing considering how evocative this music is, but the sheer aural therapy of that moment must have been a powerful experience indeed. Hard not to feel lucky even getting a glimpse.
A sophomore full-length from the Dortmund trio of guitarist/synthesist Bong Travolta, bassist/vocalist Reib Asnah and (introducing) drummer/vocalist Chill Collins — collectively operating as BongBongBeerWizards — Ampire is a call to worship for Weed and Loud alike, made up of three tracks arranged longest to shortest (immediate points) and lit by sacred rumble of spacious stoner doom. Plod as god. Tonal tectonics. This is not about innovation, but celebrating noise and lumber for the catharsis they can be when so summoned. Willfully repetitive, primitive and uncooperative, there’s some debt of mindset to the likes of Poland’s Belzebong or the largesse of half-speed Slomatics/Conan/Mammoth Weed Wizard Bastard, but again, if you come into the 23-minute leadoff “Choirs and Masses” expecting genre-shaping originality, you’ve already fucked up. Get crushed instead. Put it on loud and be consumed. It won’t work for everybody, but it’s not supposed to. But if you’re the sort of head crusty enough to appreciate the synth-laced hypnotic finish of “Unison” or the destructive mastery of “Slumber,” you’re gonna shit a brick when the riffs come around. They’re not the only church in town, but it’s just the right kind of fun for melting your brains with volume.
Any way you want to cut it with Mosara‘s second album, Only the Dead Know Our Secrets, the root word you’re looking for is “heavy.” You’d say, “Oh, well ‘Magissa’ has elements of early-to-mid-aughts sludge and doom at work with a raw presentation in its cymbal splash and shouted vocals.” Or you’d say, “‘The Permanence of Isolation’ arrives at a chugging resolution after a deceptively intricate intro,” or “the acoustic beginning of ‘Zion’s Eyes’ leads to a massive, engaging nod that shows thoughtfulness of construction in its later intertwining of lead guitar lines.” Or that the closing title-track flips the structure to end quiet after an especially tortured stretch of nonetheless-ambient sludge. All that’s true, but you know what it rounds out to when you take away the blah blah blah? It’s fucking heavy. Whatever angle you’re approaching from — mood, tone, songwriting, performance — it’s fucking heavy. Sometimes there’s just no other way, no better way, to say it. Mosara‘s 2021 self-titled debut (review here) was too. It’s just how it is. I bet their next one will be as well, or at very least I hope so. If you’re old enough to recall Twingiant, there’s members of that band here, but even if not, what you need to know is that Only the Dead Know Our Secrets is fucking heavy. So there.
Posted in Whathaveyou on May 19th, 2021 by JJ Koczan
I take it as an encouraging sign that I saw these tour dates maybe five minutes before I started putting this post together and it’s only now, some 20 minutes after that, that the possibility that they wouldn’t for some reason happen occurs to me. So yes, barring some pandemic resurgence, some mutation of COVID-19 or once-in-a-century viral infections becoming like once-in-a-century wildfires or once-in-a-century hurricanes — that’s right I fucking said it; it’s all tied together! the end is nigh assholes and we did it! — these shows will go forward. Obviously, my hope is that they do precisely that. I’m not the hugest fan of the New York venue — no photo pit, no parking, all crowd push — but a Fu gig is an awfully pleasant thought.
As discussed in my recent interview with guitarist Bob Balch (posted here), Fu Manchu are looking to get back to recording material for their 30th anniversary EP series in the next couple months. Presumably releases will happen staggered somewhere around these tour dates, as the band hits various spots in Europe and major markets along East, West and Southern US coasts. Note Freak ValleyFestival in Germany. It is my sincere hope to be there.
As Balch also said in the interview, Thursday is Fu Manchu day, since they’ve practiced on Thursdays apparently forever, the last year notwithstanding. Sounds good to me. Make sure to kick out some Fu Manchu tomorrow in their honor.
Dates follow:
See you all in 2022! Check out our rescheduled 30th Anniversary shows athttps://fu-manchu.com/tour-dates/. Original tickets are still valid and new tickets are on sale now.
Fu Manchu Live: Tue, MAR 15, 2022 The Rebel Lounge Phoenix, AZ Fri, MAR 18, 2022 House of Blues Dallas Dallas, TX Sat, MAR 19, 2022 The Secret Group Houston, TX Tue, MAR 22, 2022 Motorco Music Hall Durham, NC Wed, MAR 23, 2022 Baltimore Soundstage Baltimore, MD Thu, MAR 24, 2022 Underground Arts Philadelphia, PA Sat, MAR 26, 2022 The Sinclair Cambridge, MA Sun, MAR 27, 2022 Bowery Ballroom New York, NY Tue, MAR 29, 2022 Grog Shop Cleveland, OH Wed, MAR 30, 2022 Bottom Lounge Chicago, IL Sat, APR 2, 2022 Bluebird Theater Denver, CO Thu, JUN 9, 2022 Markthalle Hamburg, Germany Sat, JUN 11, 2022 Backstage Halle Munich, Germany Sun, JUN 12, 2022 Glazart Paris, France Mon, JUN 13, 2022 Les Docks Lausanne, Switzerland Tue, JUN 14, 2022 Alcatraz Milan, Italy Sat, JUN 18, 2022 Freak Valley Festival Netphen, Germany Tue, JUN 21, 2022 Patronaat Haarlem, Netherlands Wed, JUN 22, 2022 La Maison Bleue Strasbourg, France Thu, SEP 22, 2022 Garage 2 (G2) Glasgow, United Kingdom Fri, SEP 23, 2022 O2 Institute Birmingham, United Kingdom Sat, SEP 24, 2022 O2 Empire Shepherds Bush London, United Kingdom Mon, SEP 26, 2022 Button Factory Dublin, Ireland Tue, SEP 27, 2022 Manchester Academy Manchester, United Kingdom Thu, SEP 29, 2022 Kulturfabrik Asbl Cultural Centre Esch-sur-alzette, Luxembourg Sat, OCT 1, 2022 Pumpehuset Copenhagen, Denmark Mon, OCT 3, 2022 Pustervik Göteborg, Sweden Tue, OCT 4, 2022 Rockefeller Music Hall Oslo, Norway Wed, OCT 5, 2022 Nalen Stockholm, Sweden Fri, OCT 7, 2022 Hole44 Berlin, Germany Sun, OCT 9, 2022 Substage Karlsruhe, Germany Tue, OCT 11, 2022 Kulturzentrum Schlachthof Wiesbaden, Germany Wed, OCT 12, 2022 Effenaar Eindhoven, Netherlands Wed, OCT 12, 2022 Effenaar Eindhoven, Netherlands Thu, OCT 13, 2022 AB Cafe Brussels, Belgium Tue, NOV 1, 2022 Great American Music Hall San Francisco, CA Sun, NOV 13, 2022 Hawthorne Theatre Portland, OR Mon, NOV 14, 2022 Neumos Seattle, WA Fri, NOV 18, 2022 The Ritz San Jose, CA Sat, DEC 3, 2022 Troubadour (Doug Weston’s Troubadour Tavern) Los Angeles, CA Sat, DEC 10, 2022 The Wayfarer Costa Mesa, CA Sat, DEC 17, 2022 Casbah San Diego, CA
Return To Earth 1991-1993 Deluxe Edition available on streaming and for download now here:https://fanlink.to/RTEDeluxe
LP/CD is also available at record stores around the world. It’s been remixed and remastered with 2 bonus unreleased songs. Pre-orders are shipping out now.
Fu Manchu are: Scott Hill – vocals guitar Bob Balch – Lead guitar / backing vocals Brad Davis – Bass – Backing vocals Scott Reeder – Drums / Backing Vocals
Posted in Whathaveyou on September 15th, 2020 by JJ Koczan
If you didn’t know the dudes of Fu Manchu are big Rush fans, it would probably go along way toward explaining while Alex Lifeson showed up on 2018’s Clone of the Universe (review here) and why they were willing to dedicate nearly half of the record’s 38-minute runtime to the track on which he appeared. Also riffs. Anyhoozle, in homage to the late Neil Peart, the Fu have a cover of Rush‘s “Working Man” that they’ve now issued as a digital single with the proceeds going to brain tumor research, and frankly, I have to believe if there’s anything that’s got a shot at curing cancer, it’s Fu Manchu. If you know me personally, you know I’m being sincere when I say that.
Fu Manchu were set to spend most of this year back-and-forthing on tour for their 30th anniversary. Those plans, of course, have been postponed like the best of everything, and you can find the rescheduled dates on their various social platforms. As for “Working Man,” it’s streaming at the bottom here, and it grooves every bit as much as you’re hoping it does. Fu Manchu don’t disappoint.
To wit:
In Tribute to The Professor, Neil Peart, we are releasing our version of RUSH’s “Working Man” that we recorded January 2020. All Proceeds will benefit Brain Tumor Research at Cedars-Sinai Medical Center in his memory. Members of our band and our manager were in the audience on August 1, 2015 when this was the final song played by Neil, Geddy and Alex. We are forever grateful for all of the music and memories. Thanks to Carl Saff for donating his mastering services and to David Medel for donating his art services. Thanks to Jim Monroe for the studio time, engineering & mixing hook up. Thanks to Meg and everyone in the Rush family. Thanks to John Raso for going the extra mile to help us get this out. This is a digital release only…for now.
Posted in Bootleg Theater on September 28th, 2018 by JJ Koczan
Fu Manchu, Daredevil (1995)
What’s most incredible about listening to the earliest Fu Manchu albums, whether that’s 1995’s Daredevil or their preceding 1994 debut, No One Rides for Free (reissue review here), is just how vividly the band knew even at that point what they wanted to do. Granted, guitarist/vocalist Scott Hill, bassist Mark Abshire and drummer Ruben Romano had worked together in the prior outfit, Virulence, whose work Southern Lord reissued in 2010 as the collection, If this isn’t a Dream… 1985-1989(review here), but even so, for all of Fu Manchu‘s reputation as a bunch of aloof, laid back surfer dudes who, I don’t know, just happened to plug in their guitars and help define fuzz rock?, the coherence and the consciousness at work in No One Rides for Free and Daredevil, the sheer songcraft in cuts like “Trapeze Freak,” “Gathering Speed,” “Sleestak,” “Egor” and “Push Button Magic,” the structure of the album — CD era linearity, to be sure, but still vinyl-ready at 11 tracks/43 minutes, and indeed reissued by the band on LP in 2015 via their At the Dojo imprint; it’s up on their Bandcamp page — and the performances themselves leave no doubt that Fu Manchu were aware of the sound they were seeking out. The groove that would so much come to fruition on subsequent outings like 1996’s In Search Of… (discussed here) and 1997’s The Action is Go (discussed here), the Eatin’ Dust 10″ in ’99 and 2000’s King of the Road, was already embedded in their sound, and in its toneand overarching flow, Daredevil shows that without question. It emits that SoCal sense of cool born of skate and surf culture that still resonates nearly a quarter-century later, and not just because kids are walking around in flannels and boots again (hilarious though that is), but because it taps into the timeless notion of American self-determinism; the will and ability to look at what the masses are doing and say, “nah, not for me.” As long as there’s been cool, that’s been it, and listening back to Daredevil now, thinking of it in its world-just-getting-over-grunge-and-wondering-what’s-next context, Fu Manchu were doing precisely that.
As the band continued to evolve into the immediately-identifiable processes it continues to carry out to this day — their latest album, Clone of the Universe (review here), is a winner — so too did the lineup change. Daredevil marked the departure of Abshire from the four-piece with Hill, Romano and lead guitarist Eddie Glass, and the arrival of bassist Brad Davis, who remains in the lineup. One might then think of it as a bridge between the debut and In Search Of… to come, but that does something of a disservice to the chorus of “Coyote Duster,” the start-stop riff and Glass‘ solo there, or the shimmy in second cut “Tilt,” which backs “Trapeze Freak” at the outset and, like that track, tosses the name of the record into the lyrics. Certainly at the time Daredevil came out, no one knew Fu Manchu would be back the next year with a genre landmark, and while Daredevil still has its formative elements in terms of their approach, to listen to the semi-spaced push of “Travel Agent” and its ultra-stoned nodder compatriot “Sleestak” and its consciousness-drifting answer in “Space Farm,” the roots of what they’d become are right there in the depth of distortion, the weight of their rhythm and their seemingly endless supply of hooks. “Lug” has some elements of the Southern Cali punk scene that birthed them, and “Egor” and “Wurkin'” back-to-back are solid mid-paced groovers that are no less memorable than anything before them while retaining their edge as more than just exercises in songwriting. Top it off with “Push Button Magic” as a late highlight, and Daredevil winds up as a completely underrated inclusion in the Fu Manchu catalog. It may be the that the Hill/Glass/Davis/Romano lineup were getting their feet under them in these songs, but there’s no question they absolutely did so at some point before they hit the studio to record. Seriously, who’s gonna fight with Glass‘ watery solo in “Space Farm?” Jerks, that’s who.
There’s no denying — and I mean none — what Fu Manchu would go on to create, and I’m not taking anything away from those records. And as Glass and Romano departed in order to re-team with Abshire in Nebula, and a fresh-off-KyussBrant Bjork took over on drums and Bob Balch came in on lead guitar, Fu Manchu‘s delivery only continued to smooth itself out to a point of unmatched fuzzy refinement. One could argue that 2001’s California Crossing and 2004’s Start the Machine (the latter their lone release on DRT Records, which at that point was also handling Clutch) took them too far into a commercial direction, but that’s mostly a quibble with production value, since Fu Manchu have always been and remain an immediately accessible listen. Even unto their Century Media years with 2007’s We Must Obey (discussed here) and 2009’s Signs of Infinite Power (discussed here), which beefed up their fuzz considerably, they never had anything approaching pretense in their sound, and their latter-day work on 2014’s Gigantoid (review here) and the aforementioned Clone of the Universe, has found them reopening the conversation with their punk and hardcore roots with a rawer take while retaining an affinity for the heavier elements they helped make so essential in the first place. Classic band? Definitely.
And most importantly, the value of Daredevilextends beyond the academic to the songs themselves. 23 years after the fact, it’s still a gnarly listen, brimming with attitude and a quality of output that, yes, demonstrates clearly that Fu Manchu‘s vision of fuzzy heavy rock was not happenstance, but moreover, simply kicks ass. To my knowledge, they’ve never played it in its entirety live as they have The Action is Go, In Search Of… and (I believe) King of the Road, and I’m not sure they would, as it doesn’t have the same kind of profile as those records, but if any of these tracks made its way into a set, as “Push Button Magic” still does every now and then, I can only imagine feeling lucky to be there to see it.
As always, I hope you enjoy. Thanks for reading.
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If you’re reading this, that at least means I made it to the end of the week enough to get it posted, so you’ll pardon me if I take a second to congratulate myself on that.
Before I get into anything else, I want to say thanks to everybody who listened to the first episode of The Obelisk Show on Gimme Radio. Can’t even begin to tell you how much that means to me. If you get the chance, it’s re-airing two more times over the next couple days:
Saturday, Sept 29 at 11am ET / 8am PT
Monday, October 1 at 11am ET / 8am PT
If you get to check it out, it’s hugely appreciated.
I’ve already turned in a playlist for a second episode — yes, it starts with YOB — but have to learn how to use their voice-recording dealy before it actually gets to air. We’ll see how it goes. Either way, my plan is to bring on The Patient Mrs. for a guest spot following up on the first episode’s cameo.
And next week I’m also traveling to Norway for the Høstsabbat festival, so I might try to chase down dudes in Asteroid or Elephant Tree, etc., and see if they want to record a couple minutes to air at a later time. That would probably be episode three. Look at me, thinking ahead.
I leave for that on Thursday, get into Oslo on Friday. Fest starts Friday evening, runs through Saturday, starting in the afternoon, and then I fly back on Sunday. Quick, efficient, in and out. My flights have a layover in Copenhagen, but nothing long enough to actually leave the airport. Still, I’ve never been to Denmark. Now at least I can say I was in and out. That’s more than I’ve ever been able to do with Sweden, much to my ongoing shame.
But I’m looking forward to Høstsabbat and incredibly grateful for the chance to get back there. It’s going to be good.
The Patient Mrs., The Pecan and I were in Connecticut last weekend, and it was good to get out of the house for a couple days and kind of reset the brain after having to put The Much-Missed Little Dog Dio down. At least not be somewhere where everything reminds me of her, which seems to be the case at home. It’s been rough. I know loss is universal, and everyone goes through it, and it always sucks, but some you feel more than you feel others. This one I’ll have with me for as long as I have anything.
What part of the week I didn’t spend writing or falling asleep against my will, I mostly spent taking care of the baby. Last semester, The Patient Mrs.’ schedule allowed her to come home between classes, feed him before she went back, and at least give me a couple minutes to get a post up or do something crazy like shower or go to the bathroom. The shifts (that is, mine) are longer now and her commitments outside of teaching classes are manifold. Lot of meetings, lot of favors done for colleagues. The Pecan is 11 months old as of earlier this week. He’s walking and babbling, climbing the furniture and getting into absolutely everything, but he’s also a lot, a lot, a lot of fun right now.
He’s had stretches where it’s been hard to take — those early teething stretches were not great — but (fingers always crossed) he’s sleeping through the night, which I know because I’m up for most of it and have the baby monitor on while I write, and he wants to play and read books and mash up blueberries and laugh and have a good time. Sure, we spent all day yesterday watching the Kavanaugh hearing, and that was probably the most screen-time he’s ever had, but even so, it’s a blast to chase him around the room, pick him up, give him his stuffed Porg to play with and so on. A lot of fun. Feels good. Money is super-tight — as in, The Patient Mrs. got paid last Friday and we were broke by the time I finished grocery shopping and buying gas this past Tuesday — but “daddy” is the best job I’ve ever had, hands down.
Emotions.
I’ve got a lot of stuff in the works for next week, including at some point a Wasted Theory video premiere that needs to get placed, but here’s where the notes are at right now ahead of the Norway trip:
Mon.: Megaton Leviathan interview and track premiere.
Tue.: The Exploding Eyes Orchestra album stream.
Wed.: Bourbon album stream.
Thu.: Probably Wasted Theory video premiere or otherwise Windhand review.
Fri.: King Buffalo interview… me.
A word about that last entry: Yes. Drummer Scott Donaldson from King Buffalo wanted to do an interview with me. He sent me questions and I answered them, and I’m going to post that on Friday. It was a fun, silly kind of thing, and it feels super-weird and self-glorifying in a way that makes me really, really uncomfortable, but it gives me another chance to talk about their new record, so whatever. I hate the thought of posting it like it’s some ego trip like who the fuck am I to think anyone gives a shit about anything I say other than “yo, riffs are cool,” but yeah. I’ve told myself I’m putting it up and in all likelihood, unless I can manage to talk myself out of it between now and then — as, rest assured, a big part of me is trying to do — it’ll be up sometime before the fest starts on Friday in Oslo.
Alright, that’s enough. It’s 5AM and time to put up the first of today’s six posts. Woof. Then maybe I’ll have some more coffee and read or go back upstairs and try to crash out for a bit until the baby gets up, which I expect he will within the hour. I was up a few times between when I first fell asleep at 9PM and 2:30AM when the alarm went off, so whether it’s during baby-nap or what, more sleep is probably going to happen today one way or another.
Have a great and safe weekend, and again, thank you for reading. Back Monday, and please check out the forum and the radio stream.
Posted in Reviews on February 15th, 2018 by JJ Koczan
Hey, look. If you’re Fu Manchu — and if you are, thanks for the riffs — having a guest appearance from Rush guitarist Alex Lifeson on your new record isn’t going to hurt your cause. But make no mistake. With the SoCal fuzz innovators’ 12th full-length, Clone of the Universe — released through their own At the Dojo Records imprint — the case is much the same as with the rest of their discography: The highlight of the Fu Manchu album is the Fu Manchu album. I’m not decrying Lifeson‘s spot on the 18-minute “Il Mostro Atomico” that closes out Clone of the Universe. It’s a massive, multi-faceted, explorational space jam topped with killer solos set to a dead-on weighted nod; essential Fu Manchu fuzz setting off on a five-year mission. There’s one verse and it doesn’t start until after nine minutes in.
Cool as hell, right? Of course, but it’s the earlier songs — opener “Intelligent Worship,” “(I’ve Been) Hexed,” “Don’t Panic,” “Slower than Light,” “Nowhere Left to Hide” and “Clone of the Universe” itself — that really tell the story of the record. Side A. And side A finds the San Clemente foursome of guitarist/vocalist Scott Hill, bassist Brad Davis, guitarist Bob Balch and drummer Scott Reeder in tight and top form as regards songwriting. Following suit from their last long-player, 2014’s Gigantoid (review here), the band continue to strip out some of the thickness from their fuzz as compares to records like 2009’s Signs of Infinite Power or 2007’s We Must Obey(discussed here), and it’s telling that even in working with Jim Monroe at The Racket Room in Santa Ana, CA, they also returned to Moab guitarist/vocalist Andrew Giacumakis — who helmed Gigantoid — at SUSSTUDIO in Simi Valley for additional recording.
That moves gives a sense of continuity of approach between the two albums, despite the four years separating their release, and context to the rawness of tone coming from Hill and Balch‘s guitars throughout Clone of the Universe, which very much plays out in two-sided fashion. The already-noted “Il Mostro Atomico” consumes all of side B in four distinct movements, and fair enough for that, but the earlier cuts running from about two to four minutes apiece make up a varied side A drawn together by the universal tightness in the band. They’re not through “Intelligent Worship” before Reeder‘s on his cowbell, and neither should they be. One could easily argue Fu Manchu know who they are as a band — after 12 records, they ought to, frankly — and are content to play to that in their general approach.
Which is to say, Fu Manchu sound like Fu Manchu. Hill‘s core vocal style won’t really change at this point, groove always remains central, and they blend Southern Cali laid-back-itude with heavy rock shred like the best in the business in part because they helped invent that “business” in the first place. And Clone of the Universe doesn’t fix what wasn’t broken coming off Gigantoid. Hooks abound in “Intelligent Worship,” “(I’ve Been) Hexed,” “Slower than Light” and the title-track itself very much in a milieu that Fu Manchu fans will recognize as the band’s own. But on the other hand, there’s the raw drive of “Don’t Panic” — a 2:08 punker thrust with zero broach for nonsense that’s there and gone and still catchy that would be welcome to start any set I happen to be standing in front of — which, when paired with the easy-grooving start of “Slower than Light,” showcases the dynamic of tempo shifts that the band is working with across the still-quick span of the record as a whole, which even with 18 dedicated to “Il Mostro Atomico,” tops out at 38 minutes with seven songs.
Davis‘ bass signals a faster turn into the finishing movement of “Slower than Light” and with a semi-lurching rhythm, “Nowhere Left to Hide” delivers another memorable chorus in the ongoing series of them while also serving as the longest of the non-“Il Mostro Atomico” cuts at 4:27. Its vibe is foreboding but never really goes so far as to be a threat, despite the title, though the churning riff does bring to mind some unseen malevolent force. A later highlight guitar solo gives way back to the central riff that closes out and echo leads the way into the start-stop immediacy of the verse to “Clone of the Universe.”
No question why it’s the title-track; “Clone of the Universe” is quintessential, and it all the more represents the side of the album on which it appears for its ain’t-got-time-to-bleed lack of flourish and the push that emerges after the midpoint, only to slam into a wall of silence and then cut back to a slower version of the central riff to finish. From there, it’s off to “IlMostro Atomico,” which likewise wastes no time getting airborne and staying that way for the duration. There’s nod, there’s jangle, there’s tension building, and finally there’s angular space-o-prog that carries the band out, with a quick return to the first riff before a final fade.
Again, the Lifeson guest appearance is notable, and no doubt it was a thrill for Fu Manchu to bring him into the studio and get him on the record — mom always said there were two types of people in the world: Rush fans and the rest — but the focal point as one approaches Clone of the Universeshouldn’t be that singular moment or any other, rather what the record as a whole does with Fu Manchu‘s trademark sound and style, one part drawing it tighter than it’s ever been drawn before and the other pushing more broadly than it’s ever gone. Whichever side of the album happens to be on at any given point, Fu Manchu remain recognizable as who they are, and if anything, their will to add so much to that identity some 33 years after they got their start speaks to how special a band they really are. You can clone the whole universe, there’s still only going to be one Fu Manchu, and they’re in top form here.
Posted in Whathaveyou on December 4th, 2017 by JJ Koczan
Fu Manchu will issue their new album, Clone of the Universe, on Feb. 9, 2018, via their own At the Dojo Records imprint. An extensive round of US and European touring has already been announced to support the record.
You don’t need me to tell you the prospect of a new Fu long-player is an automatic for the most anticipated albums of 2018 list, but I’ll say that’s especially the case because of how excellent their preceding offering, 2014’s Gigantoid (review here), was in its sheer assault. It seems like they might be going for something a little different this time around — you don’t bring in Alex Lifeson from Rush for a guest spot if you’re playing beefed-up punk songs (or maybe you do?) — but whatever they’re up to, rest easy. It’s Fu Manchu. If “reliable” had a band moniker, it would be theirs.
Nothing to do now but sit back and wait for the fuzz to roll in. Get stoked.
Just in from the PR wire:
HARD-ROCK VETERANS FU MANCHU TO RELEASE 12TH ALBUM, ‘CLONE OF THE UNIVERSE,’ ON FEB 9TH
FEATURES GUEST APPEARANCE FROM ALEX LIFESON OF RUSH
2018 TOUR DATES ALSO ANNOUNCED
Southern Californian hard-rock legends FU MANCHU have announced plans to release their 12th studio album, Clone of the Universe, on February 9th, 2018 via their own label At The Dojo Records. The upcoming record will be their first in 4 years, following the 2014 release of Gigantoid. Additional details and pre-orders will be announced soon. Follow the band at https://www.facebook.com/FuManchuBand for additional updates.
In addition to the album news, FU MANCHU has also announced a world tour in support of the record. Dates are listed below.
Clone Of The Universe marks a new chapter for the “fuzz rock” pioneers as they mix the straight ahead blistering rock with unexpected time shifts, featuring tracks like the roaring cuts “Don’t Panic” and “(I’ve Been) Hexed” and the dynamically complex “Clone of the Universe” and “Slower Than Light.” The centerpiece of the album is “IL Mostro Atomico,” an 18 minute 8 second, side long epic featuring a special guest performance by Alex Lifeson, guitarist and songwriter of the legendary band RUSH. Heavier than anything they’ve ever done and broken into 4 distinct sections, it’s new ground for a band that’s been pushing the boundaries of “fuzz and wah” since its formation in 1990.
The band will be playing 2 album release shows in Southern California before hitting the road in Europe in March of 2018 and returning to the US in May of 2018. Additional 2018 shows will be announced in the coming months.
“We are excited to get out and play this stuff, especially “Il Mostro Atomico,” says founding guitarist, Scott Hill. “We think it’s some the strongest music we’ve ever done. We really love the overall sound of the album and having Alex (Lifeson) play on it is just incredible. It gives it that special validation for the idea that we had to try something like a side long song.”
The album was recorded and produced by FU MANCHU and Jim Monroe at The Racket Room in Santa Ana, CA with additional recording by Andrew Giacumakis at SUSSTUDIO in Simi Valley CA and will be released worldwide for streaming and on vinyl and CD on the band’s own AT THE DOJO RECORDS. FU MANCHU is Scott Hill (vocals, guitar) Bob Balch(Guitars), Brad Davis (Bass) and Scott Reeder (Drums and Percussion).
Track Listing: Intelligent Worship (3:08) (I’ve Been) Hexed (2:48) Don’t Panic (2:05) Slower Than Light (3:26) Nowhere Left To Hide (4:19) Clone Of The Universe (2:58) IL Mostro Atomico (18:08)
FU MANCHU 2018 Tour Dates: 9.Feb – Los Angeles, CA – The Troubadour 10.Feb – San Diego, CA – The Casbah