Disastroid Sign to Heavy Psych Sounds; Mortal Fools out Feb. 14

Posted in Whathaveyou on November 11th, 2019 by JJ Koczan

disastroid

Yup, called it. Pardon the moment of self-congratulations, but when Heavy Psych Sounds announced its latest sampler last week, I couldn’t help but notice the tracklisting contained a seemingly new cut from San Fran three-piece Disastroid. That led to speculation they’d signed to the venerable Italian imprint, and indeed, that has turned out to be the case. They’ll release a new album, titled Mortal Fools, on Valentine’s Day. So yes, called it. Look at me, paying attention. What’s the prize again?

To mark the occasion of preorders going live, they’re streaming a new song that you can find at the bottom of the post here, following word from the PR wire making the whole thing official. These guys might seem like an odd fit for the label, being more punkish than a lot of the desert rock or SoCal boogie HPS has picked up of late, but they had a split with Fatso Jetson a few years back and there are some behind the scenes links to the desert scene that might’ve come into play as well.

Cool news either way. From the PR wire:

disastroid mortal fools

Heavy Psych Sounds Records & Booking is really proud to start the presale of the album DISASTROID – Mortal Fools

HPS 119

Today we are extremly proud to welcome the Bay Area’s noise metal trio DISASTROID in our roster.

The presale of their brand new album MORTAL FOOLS starts today: https://heavypsychsoundsrecords.bandcamp.com/album/disastroid-mortal-fools-presale

RELEASE DATE:
FEBRUARY 14th, 2020

San Francisco veterans Disastroid have been serving up sludgy, grunge-infused stoner rock for the better part of a decade now, refining a sound that weaves heavy riffs together with angular guitar lines, odd time signatures, and hazy walls of fuzz. As influenced by 90’s noise rock as they are by modern psych, doom, and post-metal, Disastroid delivers thick, satisfying stoner rock stomp while also embracing layers of noise, tripped-out feedback, and some unpredictable song structures.

Their original approach, captured on their 2014 record “Missiles” and the 2017 follow-up “Screen”, has made them one of the most essential bands in the Bay Area music scene. Their latest, “Mortal Fools” is their heaviest and most expansive-sounding album to date. Produced by Tim Green (Nation of Ulysses, The Fucking Champs), it’s sonically focused on what Disastroid does best, laying singer/guitarist Enver Koneya’s deep vocals and fuzzed-out riffs on top of a relentless, pummeling rhythm section. At the same time, it’s loose enough that it takes some unpredictable twists and turns, conveying the band’s rough edges, sense of humor, and noisy, experimental streak.

DISASTROID is:
Enver Koneya – Vox/Guitar
Travis Williams – Bass Guitar
Braden McGraw – Drums

https://www.facebook.com/disastroid/
https://disastroid.bandcamp.com/
http://www.disastroid.com/
heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/

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Review & Track Premiere: Brume, Rabbits

Posted in audiObelisk, Reviews on November 6th, 2019 by JJ Koczan

brume rabbits

[Click play above to stream ‘Scurry’ by Brume. Rabbits is out Nov. 22 on Magnetic Eye Records.]

There are few if any moments in the lifespan of a band more exciting than when the potential they’ve shown early on comes to its moment of realization, and that is precisely where Rabbits finds San Francisco three-piece Brume. The five-track/43-minute label debut for Magnetic Eye Records follows their earlier-2019 split with Witch Ripper (review here) and answers the call put out by their 2017 full-length debut, Rooster (review here), as well as the 2015 12″ EP, Donkey (discussed here). It reaches toward new levels of atmospheric accomplishment, taking lessons from SubRosa on the quiet unfolding of opener “Despondence,” Uzala on the piano-and-string-laden centerpiece “Blue Jay,” mid-period Kylesa in the duet vocals of the penultimate “Lament” and Neurosis‘ landmark “Stones From the Sky” in the ending of closer “Autocrat’s Fool” without ever losing its sense of self. The three-piece of vocalist/bassist Susie McMullan, guitarist/vocalist Jamie McCathie and drummer Jordan Perkins-Lewis recorded with Billy Anderson (Acid KingSleepNeurosis, so many others), and their mission seems to have been to capture a sound somewhere between consciousness and a dream-state, to find that place that is aware enough to understand that it is not awake but still doesn’t completely wake up. I’m tempted to call it lucid dreaming, if only for how in control Brume seem to be of their approach within this ambient sprawl, but that shouldn’t be taken as saying that what they’re doing comes across as some kind of sham, because it doesn’t. Rather, whatever familiar aspects one might stumble upon in the nuance of Rabbits or in a given riff, the primary impression the trio make is individualized and clearly only growing more so.

Of course, this is an ideal, but as one listens to McMullan‘s commanding voice in the YOBby melodic triumph of the chorus to second cut “Scurry” with McCathie in a backing role only to come to prominence himself in a quieter post-solo midsection, Rabbits makes a clear argument for the difference between internalizing an influence and acting off it and simply aping the work of others. They do the former, if I haven’t made that plain, following a linear path across two pairs of longer tracks split by the shorter “Blue Jay,” that only grows more hypnotic as it progresses from one section to the other. This too is a classic notion, that a full-length should unfurl itself like a journey and become more immersive as it takes its outward course from song to song, but saying that does little to convey the work that “Despondence” and “Scurry” — and I suppose “Blue Jay” as well — do in setting up the complementary trance-induction that comes with “Lament” and “Autocrat’s Fool.” And it’s not a radical change in running time, either. The first two cuts are a little over eight minutes apiece and the final two are just under 11 and 10, respectively. It’s not like they’re going from three-minute songs to 20-minute songs. But there’s a definite shift that takes place from one movement to the other nonetheless. It may just be a question of the patience and tempo of delivery, but it makes the overarching progression of Rabbits all the more engaging.

brume

That setup begins with the sparse guitar that opens “Despondence,” a soothing melancholy drift greeted by ethereal echoes as a bed for McMullan‘s voice, and it’s not until after three minutes in that the heavier push kicks in with drums, bass and a burst of volume that then plays through a series of back-and-forths, resolving itself in a weighted melodic wash as the vocals move to the front of the mix heading into the chorus at the song’s midpoint. This progression is fluid in itself and in the whole-LP groove it sets forth, and the effect that quiet beginning has is ongoing, both as a showcase of Brume‘s dynamic sound and as a direct lead-in for the rolling “Scurry,” which gets underway with more immediacy but still keeps some sense of the ambience of its predecessor as it does so, its hook more prevalent and a highlight of the album and the band’s career to-date. Specifically it seems to take influence from YOB‘s “Marrow,” but the sweep of McMullan‘s singing and McCathie‘s guitar is more than enough to pull that off in style and substance alike, and the emotion behind it feels nothing if not sincere. With McCathie‘s backing vocals positioned deeper in the mix, there’s all the more a sense of breadth to what’s still a prevalent forward push thanks to Perkins-Lewis‘ drumming, building through the verses only to open wider during the two choruses before guitar, bass and drums drop out to what would seem to be piano/keyboard with McCathie‘s voice in standalone fashion for a moment before the soaring lead takes hold en route to a more direct McMullan/McCathie duet that is a suitable payoff and then some.

With “Blue Jay” as the key moment of transition, there’s the threat that its own substance might be lost in the proceedings, especially as it’s shorter at just 5:46, but the arrangement takes care of that handily. It is, instead, another high point for Brume and, one hopes, something they continue to build on as they go forward from here — one could easily say the same of Rabbits as a whole. “Lament,” by contrast as the longest track, echoes the beginning of “Despondence” but is less stark in its own turns of volume and instead holds its swaying motion for seven of its 11 minutes before its full heft takes shape, again around a well-wielded vocal duet. If this is the direction Brume intend to follow, it is only to the fortune of anyone who might do likewise and will only see their personality as a band come further forward. The closing statement of “Autocrat’s Fool” plays severity off ambience off harmonies on the way to what seems to be a quiet finish until the aforementioned “Stones From the Sky” moment — all the more interesting since I wouldn’t necessarily call Brume post-metal, which is where one usually finds such things — kicks in to cap off, indeed cutting itself short mid-measure at the end. It’s a moment that underscores the message of the album as an entire work in that it sees Brume recast a familiar element or stylistic aspect toward their own purposes. Make no mistake, whatever Brume have done or will do, this is a special moment for this band. It sets up some lofty expectations for their next outing, to be sure, but most importantly, it establishes them as more than up to the challenge of creative evolution and expression.

Brume website

Brume on Bandcamp

Brume on Thee Facebooks

Brume webstore

Megnetic Eye Records on Bandcamp

Magnetic Eye Records website

Magnetic Eye Records on Thee Facebooks

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Very Paranoia Premiere “Out of Touch” from Debut 7″

Posted in audiObelisk on November 6th, 2019 by JJ Koczan

Very Paranoia

San Francisco classic hard punkers Very Paranoia officially released their debut seven-inch single Make Me / Out of Touch earlier this week through Who Can You Trust? Records, but the small-plate will make its first appearance on the merch table this weekend at a gig at the Ivy Room in Albany, CA. I didn’t even know there was an Albany, CA. It’s north of Berkeley, and Very Paranoia will share the stage there with Public Enema and Clean Room. Tickets are $8, so yeah, you can probably hack it if you’re in the area.

The concept behind the single, which follows a four-song demo posted last November ahead of the band’s first live show this past January. A four-piece comprising dudes from Lecherous Gaze, Annihilation Time and Assemble Head in Sunburst Sound, their demo wasn’t much lower-fi than the new two-songer, but the point is to get the point across either way and they do that plainly enough, tapping into the California early punk tradition. “Make Me” reminds of Keith Morris singing about his nervous breakdown to the point that one only hopes Very Paranoia eventually put out a collection of material from their “first four years.” They may or may not get there — they could always just put out a 19-minute album and be just fine instead — but in “Make Me” and “Out of Touch” alike, they ride a direct line to their roots. Frankly, given what those roots are, they wouldn’t be able to get there any other way.

“Out of Touch” isn’t streaming anywhere else, so you can check it out here exclusively if you can spare a whopping two-friggin’-minutes out of your otherwise busy day. I think you can.

More live dates, pedigree confirmation, the video they did for “Make Me” and links and other whatnot follow, courtesy of Who Can You Trust? Records, whose trustworthiness continues to prove consistent.

Enjoy:

Taken from the VERY PARANOIA – “Make Me / Out Of Touch” 7-inch | WHO-41

Edition of 200 copies on black vinyl.

Very Paranoia is a crude San Francisco unit operated by four veterans of the Psychic Wars. Founded by members of Lecherous Gaze, Annihilation Time, Hot Lunch, and Assemble Head, the band spews raw mechanical violence alternately described as “aggro-hooch metal,” “amphetamine pub rock,” and “scuzz-crud boogie.” Classifications aside, Very Paranoia’s sound is shaped by the cult-artists and underground characters found in multiple sub-genres throughout the twisted history of rock ‘n’ roll.

Very Paranoia live:
Nov 08 Ivy Room Albany, CA
Nov 23 Che’s Lounge Tucson, AZ
Nov 24 The Lunchbox Phoenix, AZ
Dec 14 Bender’s San Francisco, CA

Very Paranoia, “Make Me” official video

Very Paranoia on Thee Facebooks

Very Paranoia on Instagram

Very Paranoia on Bandcamp

Who Can You Trust? Records on Thee Facebooks

Who Can You Trust? Records website

Who Can You Trust? Records on Bandcamp

Who Can You Trust? Records BigCartel store

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Six Organs of Admittance to Release Companion Rises Feb. 21; New Song & Video Announcement Streaming

Posted in Whathaveyou on October 29th, 2019 by JJ Koczan

six organs of admittance (Photo by Elisa Ambrogio)

I don’t know if I’m going to do a 2020 Most Anticipated Albums list. I didn’t for 2019 and it felt like a huge weight off my shoulders. And those things, honestly, are usually at least 89 percent bullshit anyway, because there are like three albums announced for past March when they’re being written and the rest of the post is like, “Duh, maybe we’ll get a new Tool album,” or whatever it is that people are waiting for and will click on. Wow. I think I might’ve just talked myself out of it (again). Sweet.

But anyway, if I was going to do that kind of list, the Feb. 21 release of Six Organs of Admittance‘s upcoming long-player, Companion Rises, would most certainly be on it. True, I’m a nerd for the long-running Ben Chasny-led project generally, but adding interest here is the fact that Chasny made the whole thing on his own, where other recent outings have involved a variety of players to the degree that at one point Six Organs was touring as a full band. A more purely solo vibe, even with arrangements done in layers, recalls earlier albums, and well, I like those albums, so mark me down as on board for this one when it comes down the line.

That’s all. Don’t expect that list, but expect me to write a silly gushing review just the same for this album sometime after I’m fortunate enough to hear it.

From the PR wire:

six organs of admittance companion rises

SIX ORGANS OF ADMITTANCE ANNOUNCE NEW ALBUM COMPANION RISES OUT VIA DRAG CITY, FEBRUARY 21ST 2020

Six Organs of Admittance is back with a new record, new techniques in sound generation, and a new energy. Arriving three years after Burning the Threshold, Companion Rises has a driving force only hinted at previously. Due out on Drag City on February 21st 2020.

Methodologically, Companion Rises sometimes recalls the early-mid lo-fi Six Organs records, with digital processes substituting for the analog techniques of yore and, instead of Ben Chasny’s hand percussion overdubs, algorithmic programs generating rhythms. Ben Chasny created all sounds and programs, all the recording and mixed the entire record, also like some earlier ones – but don’t mistake this for a simplistic return to an older sound. Just one listen makes it clear that this new Six Organs of Admittance release is entirely in the present.

Sonically, the songs are bursting with ideas, harmonically rich, gorgeously arranged; utilising synthesizer and guitar distortion for unique colouring effects while crafting contrasting versions of the song within itself, overlaying electric and acoustic treatments that interlock like two shards to form a single key. The rush of excitement is palpable, track after track.

Thematically, Companion Rises navigates a similar Stellar-Gnosticism as 2012’s Ascent, while exploring a completely different set of stories. Whereas Ascent was locked into a narrative concerning a sentient Jupiter, Companion Rises presents a handful of folk-tales whose topics span in scope from panspermia to specific constellations, all written in a way that eschews old new age presentation tropes and embraces the now. One thinks of Octavio Paz’s oft-used metaphor of the concentric circle, as Companion Rises returns to a similar place but much farther out from the center.

With Companion Rises, Ben Chasny has created a Sci-Folk record that feels very much right-place, right-time as we welcome in the new decade. Listen to the first single “Two Forms Moving” above and preorder the new album for February 21st.

Pre Order – https://www.dragcity.com/products/companion-rises

Track Listing
Pacific
Two Forms Moving
The Scout Is Here
Black Tea
Companion Rises
The 101
Haunted And Known
Mark Yourself
Worn Down to the Light

www.sixorgans.com
https://www.instagram.com/6organs/
https://sixorgansofadmittance.bandcamp.com/
http://www.dragcity.com/artists/six-organs-of-admittance
https://ffm.to/companionrises

Six Organs of Admittance, “Two Forms Moving”

Six Organs of Admittance, Companion Rises video announcement

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Mondo Drag Announce West Coast Touring

Posted in Whathaveyou on October 10th, 2019 by JJ Koczan

mondo drag

Hey, remember back in August when Mondo Drag said they were working on their fourth album and the follow-up to 2016’s The Occultation of Light (review here)? Yeah, that was pretty sweet. I was into it. They were playing a show then too, and it seems that the return to live activity will continue throughout this Fall as they make their way inevitably toward a 2020 recording/hopeful release of that new record. Perhaps the tour will allow them to road-test some new songs? I don’t know how they’d want to do it, but they’re playing with Witch a couple times over the course of the next week-plus and that’s a winning combination, and then they’ll hit the road out to Texas before turning band west and north for stops in Portland, Bellingham — where they’ll play with RidingEasy labelmates Blackwater Holylight — and Seattle.

True, I wouldn’t mind seeing them again, but at least for now, I’m just happy they’re doing anything. Hell, maybe the record’s done and in the can and this is their way of celebrating. Or maybe it’s not written yet. Whatever the status, more Mondo Drag shows isn’t going to make life worse for anyone.

And that’s my hard-hitting analysis. Stay tuned for more crucial perspective.

From the PR wire:

mondo drag fall tour

Mondo Drag announce U.S. tour dates for October-November 2019

San Francisco’s heavy-Krautrock-psych band returns

Bay Area heavy-Krautrock-psych band Mondo Drag hit the road later this month for tour dates around the Western U.S. in October and November, including a performance at Levitation Fest in Austin. Please see all dates below.

The band will have more to announce regarding new music soon.

MONDO DRAG LIVE 2019:
10/13 San Francisco, CA @ The Chapel w/ Witch
10/16 Felton, CA @ Felton Music Hall w/ Witch
10/18 Sonoma, CA @ Sonoma Redwood Barn w/ Witch
11/01 Los Angeles, CA @ House of Machines
11/02 Oceanside, CA @ Moose Lodge
11/04 Denver, CO @ Hi-Dive
11/06 Taos, NM @ Monolith Brewing
11/07 San Antonio, CA @ Hi-Tones
11/08 Austin, TX @ Volcom House – Levitation Party
11/09 Dallas, TX @ Armoury DE
11/10 Albuquerque, NM @ Sister Bar
11/29 Portland, OR @ Kenton Club
11/30 Bellingham, WA @ The Shakedown w/ Blackwater Holylight
12/01 Seattle, WA @ Substation

Mondo Drag are:
John Gamino – Keyboards & Vocals
Nolan Girard – Guitar & Synthesizer
Jake Sheley – Guitar
Ventura Garcia – Drums
Conor Riley – Bass

https://www.facebook.com/mondodrag/
http://www.instagram.com/mondodrag
https://mondodrag.bandcamp.com/
https://www.mondodrag.com/
https://www.facebook.com/ridingeasyrecords/
https://www.instagram.com/easyriderrecord/

Mondo Drag, The Occultation of Light (2016)

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Brume Set Nov. 22 Release for Rabbits

Posted in Whathaveyou on October 9th, 2019 by JJ Koczan

brume

The only question when Brume signed to Magnetic Eye Records in March for the release of their second album, Rabbits, was whether or not said record would be out before the end of this year. The answer is yes. And not saying I’m listening right now for the first time or anything, but the record’s gorgeous. Atmospheric in new ways for the band, and the high drama of centerpiece “Blue Jay” kind of blows the doors down from what you might expect a San Fran doom band to be doing on their sophomore LP. Billy Anderson recording never hurts, and the mood in that piece and elsewhere on the LP is something that will very obviously require more than a cursory airing to more fully appreciate. But the first impression — not that I’m listening right now, I’ll say again — is that those subsequent airings will indeed take place. Possibly right after this one is done.

I’ll hope to have more before Nov. 22.

From the PR wire:

brume rabbits

San Francisco’s BRUME Present Hauntingly Beautiful New Full-Length RABBITS Nov. 22

album explores soft and pummeling atmospherics

Riding the momentum of the past several years, spellbinding San Francisco doom trio BRUME are preparing to release their new album, Rabbits, coming November 22nd from Magnetic Eye Records. Their first for the label, it follows the band’s critically-acclaimed Donkey and Rooster releases, as well as their split with Seattle’s Witch Ripper earlier this year, indicating that BRUME are pushing forward as fast as their creativity allows.

Sabbathian sensibility is a must for any band worth their weight in doom, but when combined with a strong penchant for acts like Portishead and Bjork, BRUME are a graceful leader among the skull-crushing pack.

In 2014, they made their mark with debut EP Donkey, a sorrowful slow-burner drenched in reverb and wrought with patient mourning. Rooster saw them plunge deeper into the study of duality between harsh distortion and the soaring refrains of frontwoman Susie McMullan’s stunning vocals. “Our music is non-fiction; a time stamped truth,” she said, but the band’s creative drive contains a timelessness not quickly forgotten among the sea of contenders in doom metal.

New album Rabbits continues this theme, exposing a tight-knit crew at their most creatively expansive who’ve erected a monumental piece to capture and soothe the mind during this tumultuous cultural era. Tracks like “Lament” showcase a masterful grasp on tension-building and release; it’s a hypnotic lullaby and explosion in one, stretched over a singular sonic experience.

BRUME have absorbed the experience of playing prestigious stages at Desertfest London and opening for High On Fire in Europe, and are now ready to take on a bigger role than ever in the heavy underground with the release of Rabbits.

Brume
Susie McMullan: Vocals/Bass
Jamie McCathie: Guitar/Vocals
Jordan Perkins-Lewis: Drums

https://www.brumeband.com/
https://brumesf.bandcamp.com/
https://www.facebook.com/brumeband/
http://brume.bigcartel.com/
http://store.merhq.com
http://magneticeyerecords.com/
https://www.facebook.com/MagneticEyeRecords

Brume, “Man-Made” official video

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Streaming: Acid King Interview with Lori S. for Busse Woods 20th Anniversary

Posted in audiObelisk, Features on September 19th, 2019 by JJ Koczan

acid king

Beginning tomorrow night at Northwest Hesh Fest in Portland, Oregon, heavy rock heroes Acid King will head out on a full-US tour celebrating the 20th anniversary of their now-classic 1999 full-length, Busse Woods (discussed here). Originally issued through Frank Kozik‘s Man’s Ruin Records imprint and subsequently by Small Stone in 2004 and on vinyl by Kreation Records in 2007, Busse Woods has been newly re-released by RidingEasy Records in honor of its 20 years. And rightly so, frankly. As I pointlessly fight the urge to wax poetic about its haze-drenched riffs and ultra-languid but ultra-heavy groove, I think it’s nonetheless fair to call Busse Woods one of the most pivotal heavy rock albums of all time. And yes, I mean all time. Your ’60s groundbreakers, your ’70s biker rockers, your ’80s doomers, your ’90s stoners, whatever the fuck happened in the aughts and your ’10s revivalists. Put Acid King up next to any of them and they’ll more than hold their own. You want to put Busse Woods out there again for a new generation to enjoy? That’s only making the world a better place.

They’ll play the record in its staggeringly righteous entirety on the tour as they did earlier this year in Europe, and when I spoke to Lori about it a couple weeks ago, she was in the process of getting ready to go. The lone remaining founder of the band, she’s joined by longtime/sometimes bassist Rafa Martinez (also drummer for Black Cobra) and drummer Bil Bowman, though when Busse Woods came out it was Brian Hill (gone before he even got his picture in the CD liner) on bass and Joey Osbourne on drums, the latter of whom would last until 2017. In the interview, she speaks about players coming and going, recording back when with Billy Anderson and releasing through Man’s Ruin, as well as the general state of what heavy rock was at the time, as well as being surprised initially by Busse Woods‘ staying power in the new digital age of stat-ready listenership. That is, it wasn’t until she saw the number of times “Silent Circle” had been streamed that she knew how big the song actually was for the band.

And I did bring it up in the conversation — because how could I not? — but 10 years ago, I did an interview with Lori as well about the 10th anniversary of Busse Woods in which she talked about the recording process, Billy Anderson‘s relationship drama, and much more besides. She goes track-by-track through the record in that piece. It’s pretty cool, even a decade after the fact (and another decade after that fact too, I guess).

The advantage of this interview? You finally get to hear the proper pronunciation of “Busse.” Even if you think you know it, you know you want confirmation.

So I won’t keep you from it.

Please enjoy:

Interview with Lori S. of Acid King

 

ACID KING ‘BUSSE WOODS’ 20TH ANNIVERSARY TOUR 2019:
09/20 Portland, OR @ Star Theater – Hesh Fest *
09/21 Seattle, WA @ Highline *
09/23 Denver, CO @ Marquis Theater *
09/24 Omaha, NE @ Slowdown *
09/25 Chicago, IL @ Reggies *
09/26 Indianapolis, IN @ Black Circle *
09/27 Cleveland, OH @ Grog Shop *
09/28 Buffalo, NY @ Mohawk Place *
09/29 Boston, MA @ Sonia *
09/30 New York, NY @ Knitting Factory *
10/01 Philadelphia, PA @ Johnny Brenda’s *
10/02 Richmond, VA @ Richmond Music Hall *
10/03 Raleigh, NC @ Kings *
10/04 Asheville, NC @ Mothlight *
10/05 Atlanta, GA @ The 529 *
10/06 New Orleans, LA @ One Eye Jack’s *
10/07 Dallas, TX @ Gas Monkey *
10/09 Albuquerque, NM @ Sister *
10/10 Mesa, AZ @ Club Red *
10/11 Los Angeles, CA @ Satellite *
10/12 San Francisco, CA @ Chapel *
* w/ Wizard Rifle, Warish

Acid King is:
Lori S. – Guitar & Vocals
Rafa Martinez – Bass
Bil Bowman – Drums

Acid King, Busse Woods (1999)

Acid King on Thee Facebooks

Acid King on Instagram

Acid King website

RidingEasy Records on Thee Facebooks

RidingEasy Records website

Nanotear Booking website

Nanotear Booking on Thee Facebooks

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Mondo Drag Working on Fourth Album; Playing This Weekend

Posted in Whathaveyou on August 15th, 2019 by JJ Koczan

It’s an older picture below — I don’t think they’ve had time to fire up the lightshow for a new promo shot as yet, and fair enough — but the prospect of a new Mondo Drag record is a welcome one regardless. The SF-based prog weirdos — or is that weird proggos? — are currently writing material for what will be their fourth long-player and the follow-up to 2016’s very-much-right-on The Occultation of Light (review here), and they’ve announced the addition of Astra‘s Conor Riley on bass. They’ll play new songs this Saturday at Eli’s Mile High Club in Oakland, where they’ll share the stage with Blow and Glitter Wizard for what’s sure to be a righteous time.

They’ve done sporadic shows and stuff since 2017, but I have to wonder what was behind their “hiatus” in the first place. They seemed to have some pretty good momentum coming off touring for The Occultation of Light. Was it burnout from too much road time? Disillusion with the underground tour experience? Not enough weed candy? What’s the deal? Maybe when the time comes I’ll bother founding vocalist/keyboardist John Gamino and find out.

Until then, I’m glad to know there’s progress being made. Here’s what they had to say about it on thee social medias:

mondo drag

After a nearly two year hiatus, we have crawled out of our sonic cocoon and re-emerged onto this plane of existence for the next phase of our life cycle.

We are excited to announce that talented multi-instrumentalist and composer Conor Riley (Astra, Birth) has joined the ensemble as bassist. We’ve been holed up in our West Oakland studio for months working on material for our fourth album and we’ll be debuting some of it at our show this Saturday night at Eli’s Mile High Club.

Stay tuned for news on some upcoming US festival appearances!

Saturday, August 17

Glitter Wizard
Mondo Drag
Blow

Tickets: https://wizardmondoblow.eventbrite.com

Mondo Drag are:
John Gamino – Keyboards & Vocals
Nolan Girard – Guitar & Synthesizer
Jake Sheley – Guitar
Ventura Garcia – Drums
Conor Riley – Bass

https://www.facebook.com/mondodrag/
http://www.instagram.com/mondodrag
https://mondodrag.bandcamp.com/
https://www.mondodrag.com/
https://www.facebook.com/ridingeasyrecords/
https://www.instagram.com/easyriderrecord/

Mondo Drag, The Occultation of Light (2016)

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