Video Interview: Brume on Marten, Dolly Parton, All the Lost Rap Parts of Their Songs & More

Posted in Bootleg Theater, Features on April 8th, 2024 by JJ Koczan

brume (Photo by Jamie MacCathie)

San Francisco’s Brume will release their new album, Marten, through Magnetic Eye Records on May 3. That’s less than a month away. The interview in the video below was conducted back in February, and the reason for that was basically that I heard the thing, got excited about it, and wanted to chat. I had asked bassist/vocalist Susie McMullan (also keys) for a lyric sheet, which she was gracious enough to supply, and reading through, I could see the genuine poetic voice behind a lot of the words; somewhat playful, sometimes sad and/or angry, but pervasively grounded in the actual language being used. Mother Earth, in condemning humanity’s destruction of the planet, calls it rude (that’s “How Rude,” for which they have a new video, also below). McMullan‘s threat “Do you mind if I step in?” is pointedly low-key in redirecting the conversation of “Run Your Mouth.” Just two among many other examples throughout the record.

Part of what makes it striking is that with so much nuance in the careful balance of the vocal arrangements between McMullan, guitarist Jamie McCathie, and cellist Jackie Perez Gratz (also Grayceon, ex-Giant Squid, etc.), the chamber-style presence of the strings amid instrumental dynamics crossing the span from minimalism to outright crush — Jordan Perkins-Lewis‘ drums steady at the foundation for either — you’d almost expect more pretense, more grandiosity. Instead, Marten — named brume martenfor the kind of varmint on its cover, and maybe also a little bit some dude they met on tour in Europe — is casual from the outset. What could be less formal than the name “Jimmy?” However sweeping or consuming “New Sadder You” or “Faux Savior” get, and no matter who is actually delivering the lines in a given verse, that underlying point of view holds firm.

It is a record loaded with stories. There was a lot to talk about, and there probably still is. As regards the interview itself, I’ll tell you that I had had a day by the time McGathieMcMullan and I hopped on Zoom. I should’ve canceled. It’s not a question of performance or anything like that, but about 20 minutes before we started talking I was getting punched by my kid for I don’t even remember what, and I just kind of suck here. I had a hard time going back and watching it, to tell you the truth. I’d transcribe it (ha) if I ever had time, maybe edit the video, but that also feels a little less honest to the experience, and, well, everybody on the internet pretends they’re fucking perfect all the time and in the interest of down-to-earth, here’s me taking myself down a peg. I haven’t done a lot of video interviews in the last year-plus. I really wanted to talk to Brume. If I had it to do over, I would, but sometimes one part of life bleeds into another, and while I’m sure it’s worse to me than to someone else watching, I just kind of get sad looking at and hearing myself here.

So enjoy! Yeah, I know. I haven’t sold it well. Fair enough.

What I’ll tell you is that whether you actually dig into the interview clip or not — and Susie and Jamie had cool stuff to say, so don’t not watch it — listen to the music. “Jimmy,” “New Sadder You” and, as of yesterday, “How Rude” are available as singles. They don’t represent the gospel blues of “Faux Savior” or the emotive fluidity that closes Marten in “The Yearn,” but god damn, do they land heavy on any level you want to consider.

So one way or the other, yeah, do enjoy. Thanks for reading and watching if you do:

Brume, Marten Interview, Feb. 22, 2024

Marten is out May 3 on Magnetic Eye Records. Preorders available here: http://lnk.spkr.media/brume-marten.

Brume, Marten (2024)

Brume, “How Rude” official video

Brume, “Jimmy” official video

Brume on Facebook

Brume on Instagram

Brume website

Magnetic Eye Records store

Magnetic Eye Records website

Magnetic Eye Records on Facebook

Magnetic Eye Records on Instagram

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Castle Sign to Hammerheart Records; Evil Remains Due in September

Posted in Whathaveyou on March 21st, 2024 by JJ Koczan

Last month, when Castle announced the not-here-yet April 1 release of their live album, One Knight Stands: Live in NY (info here), through their own Black Wren Records imprint, it didn’t seem out of line to think they’d handle the follow-up studio release noted at the time as well. Today, the plot thickens as Hammerheart Records (Trouble, among many others across a range of heavy and/or metal subgenres) steps in to issue Evil Remains this Fall, which will arrive concurrent to three weeks of touring in Europe over the course of Sept. 9-30. That puts them earlier than many of the Fall heavy festivals, but that’s only fitting for a band who’ve always followed their own path.

There are a couple TBAs, and as always, if you can help out, you should. I haven’t heard Evil Remains yet, so can’t tell you much more about it other than it’s six months out from being released, minimum, so I probably shouldn’t have heard it yet either. Let’s assume there will be more details — including the release date — between now and then, and if you’re desperate for something new to dig into, well it just so happens there are two songs from the live record streaming now. See? Everything works out sometimes.

The PR wire sends its regards, hopes you’re well, and had this to say:

castle evil remains

Heavy Metal/Doom trio Castle signs to Hammerheart Records for their new album “Evil Remains”!

Hammerheart Records are proud to announce they have signed Castle for a worldwide release of the new album in September 2024 to coincide with a 22 date European tour, their first since 2018.

Castle guitarist Mat Davis states “We’re thrilled to sign with Hammerheart Records and partner together for the release of Evil Remains. It’s our best album to date, the production is huge and really captures the power and nuance of Liz’s vocal performance. We can’t wait to get it out there and start playing these songs live.”

Heavy metal/doom trio Castle have completed recording their new album “Evil Remains” at Rain City Recorders in Vancouver, BC with producer Jesse Gander (Anciients, Brutus, 3 Inches Of Blood).

“Evil Remains”, the band’s sixth full length follows 2018’s “Deal thy Fate” and 2016’s critically-lauded “Welcome to the Graveyard”.

Castle tourdates:
9/9 Bamberg, DE – Live Club
9/10 Karlsruhe, DE – Kohi
9/11 Freiburg, DE – Slow Club
9/12 Marburg, DE – Knubbel
9/13 Weikersheim, DE – Club W71
9/14 Leipzig, DE – Black Label
9/15 Munich, DE – Backstage
9/16 TBA
9/17 Dusseldorf, DE – Pitcher
9/18 Hamburg, DE – Logo
9/19 Malmo, SE – Plan B
9/20 Oslo, NO – Vaterland
9/21 Gothenburg, SE – The Abyss
9/22 Copenhagen, DK – Rahus
9/23 Berlin, DE – Reset
9/24 Prague, CZ – Modra Vopice
9/25 Vienna, AU – Viper Room
9/26 Ljubljana, SI – Channel Zero
9/27 Bologna, IT – Freakout Club
9/28 TBA
9/30 TBA

heavycastle.com
facebook.com/CastleSF
https://www.instagram.com/heavycastle
https://heavycastle.bandcamp.com/

https://blackwrenrecords.bandcamp.com/

https://www.facebook.com/hammerheartrecords/
https://www.instagram.com/hammerheartrecords666/
https://www.hammerheart.com/

Castle, One Knight Stands: Live in NY (2024)

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Castle to Release One Knight Stands: Live in NY April 1; Studio Album to Follow

Posted in Whathaveyou on February 8th, 2024 by JJ Koczan

castle

What more do you need to know? It’s a Castle live record. It was recorded in 2017, which makes it before 2018’s Deal Thy Fate (review here) and after 2016’s Welcome to the Graveyard (review here), and a point at which the band were positively nomadic. Tours on top of tours on top of outs.

With a succession of drummers to and through the lineup around bassist/vocalist Liz Blackwell and guitarist Mat Davis — on Deal Thy Fate, it was Chase Manhattan, which sounded like a fake name then and still kind of does — the hard-charging, originally-Canadian two-piece nonetheless presaged the “true metal” movement by at least half a decade and did it heavier, cooler, and more interesting than most out there trying to pretend it’s 1983 or whenever it was that anything might’ve conceptually mattered. They received a fraction of the hype they deserved in so doing.

The thing about Castle, though: they’ve always been a live band. Accordingly, if you’ve ever seen them you likely don’t need me to tell you One Knight Stands: Live in NY will be one to catch, and word a new studio album in the can is a bonus considering 2018 was six years ago now. Not the longest stretch being discussed today between records, but not nothing. Blah blah blah, something about ‘due’ and then some half-clever segue to the PR wire:

castle one knight stands live in ny

CASTLE: Announce Live Album Preorder; New Studio Album Revealed

Heavy metal doomsters CASTLE are pleased to announce the release of their first official live album “One Knight Stands: Live In NY”.

Recorded during CASTLE’s Welcome To The Graveyard Tour in Brooklyn, NY on September 18, 2017, the 10 track album draws on songs from each of the band’s first four albums and captures the three-piece at the height of their road hardened power.

“We’re happy to finally put this out as a document to all the miles travelled and time spent playing night after night”, the band states. “We think this album is a pretty accurate snapshot of the band onstage; no overdubs, no edits, just live and loud and we thought it would be cool to share that”.

One Knight Stands: Live In NY is available for preorder from the band’s own newly formed imprint, Black Wren Records on limited edition vinyl as well as digital. Additionally, the band has released an advance streaming single “Hammer And The Cross (Live)”.

The stream and pre-order can be found here:
http://blackwrenrecords.bandcamp.com/music

European pre-orders through Ván Records can be found here:
http://van-records.com/Castle-One-Knight-Stands-Live-In-NY-lim-12-LP_1

CASTLE “One Knight Stands: Live In NY” Tracklist
1. Black Widow
2. Down In The Cauldron Bog
3. Hammer And The Cross
4. Flash Of The Pentagram
5. A Killing Pace
6. Corpse Candles
7. Temple Of The Lost
8. Dying Breed
9. Evil Ways
10. Total Betrayal

CASTLE have also recently completed recording their newest studio album. Recorded and mixed during October and November of 2023 at Rain City Recorders in Vancouver, BC with producer Jesse Gander (Anciients, Brutus, 3 Inches Of Blood), the as-yet-untitled album will mark the band’s sixth, and follows 2018’s Deal Thy Fate and 2016’s Welcome To The Graveyard.

More details about the new studio album will be announced in the coming months including album title, tracklist, artwork and release date.

CASTLE was forged in San Francisco in 2009 and released its debut full-length, In Witch Order, via Germany’s Ván Records in 2011. The album brought light to the newly-formed band and earned them “Album Of The Year” honors from Metal Hammer Norway. Shortly thereafter, CASTLE joined the Prosthetic Records roster in North America and released both their critically-acclaimed sophomore album Blacklands, which led to a Canadian JUNO nomination for “Metal/Hard Music Album Of The Year”, and 2014’s follow-up, Under Siege.

Since the release of its first album, CASTLE has maintained a relentless tour schedule, performing over six hundred shows worldwide alongside the likes of The Sword, Conan, Intronaut, The Skull and Pentagram, among many others. The group has appeared at numerous underground music festivals including Roadburn, the London and Berlin Desertfests and recently completed its first-ever tour of Japan.

heavycastle.com
facebook.com/CastleSF
https://www.instagram.com/heavycastle
https://heavycastle.bandcamp.com/

https://blackwrenrecords.bandcamp.com/

Castle, One Knight Stands: Live in NY (2024)

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Brume Announce New LP Marten; Post “Jimmy” Video

Posted in Whathaveyou on February 6th, 2024 by JJ Koczan

brume (Photo by Jamie MacCathie)

Holy shit. I’ve been expecting word of Brume‘s next record for a minute now, both because they’re playing Desertfest London and because I’m generally a dork and keep up with their socials, but hearing the surge of emotion in the chorus of lead single “Jimmy” from their new album, the soaring and stately, commanding vocal reach of Susie McMullan and the patient unfurling of the song behind, well, golly, that’s striking. If Brume‘s third album, which arrives as they mark a decade’s tenure, is to be a moment of arrival for them, that would only be consistent with 2019’s Rabbits (review here) and their 2017 full-length debut, Rooster (review here).

I was fortunate enough to see Brume at Desertfest New York 2022 (review here) and so got to experience the now-four-piece’s dynamic with McMullan, guitarist/vocalist Jamie McCathie and drummer Jordan Perkins-Lewis bringing Jackie Perez-Gratz (Grayceon, sit-ins with Neurosis and so on) in to add textures of cello and vocals. After that, and listening to “Jimmy,” I have perhaps unreasonably high expectations for Jimmy — which isn’t coming out until frickin’ May!; boo — that come coupled with a firm sense of surety they’ll be met.

From the PR wire:

brume marten

BRUME drop first video single ‘Jimmy’ and details of new album “Marten”

Bay Area goth-doom quartet BRUME have chosen the opening track ‘Jimmy’ from their forthcoming new full-length “Marten” as the first video single. The band’s third album is scheduled for release on May 3, 2024 via Magnetic Eye Records. The album pre-sale is now available at http://lnk.spkr.media/brume-marten

BRUME comment: “I wrote ‘Jimmy’ in the voice of an angry wife married to a middle aged rockstar who has emotionally retreated from fame, family and his former self”, singer and bass player Susie McMullan lets on. “We all fall in love with the same characteristics that eventually drive us nuts. I bet falling in love with a famous artist exacerbates that.”

BRUME (pronounced ‘Broom’) are living proof that California is not all sunshine and easy living. The San Francisco-based quartet organically blends doom metal, goth, and indie rock into a sometimes monolithic, sometimes delicate blend of heaviness that resides firmly on the darker side.

After a decade of sultry sounds and hair-raising crescendos, BRUME push sonic experimentation and delightful genre-bending even further on their third full-length “Marten”. The expansion into a four-piece with the addition of Jackie Perez Gratz on cello and vocals has opened a cosmos of new possibilities that the Californians determinedly explore. Weaving soaring melodies over melancholic doom pop generates songs that are equally intimate and haunting yet also massive and crushing.

BRUME originally formed as a trio in 2014 when guitarist Jamie McCathie from Bristol, England began making music with bass player and vocalist Susie McMullan from Baton Rouge, Louisiana after discovering a shared passion for both trip-hop and sludge. The addition of Jordan Perkins-Lewis on drums completed the line-up with his rich and experimental style of drumming, and set the stage for the band’s recordings.

The trio quickly gained momentum with their doom metal albums “Rooster” (2017) and “Rabbits” (2019), the former being named ‘Album of the Year’ by The Ripple Effect and the latter earning the top spot on Wonderbox Metal’s ‘Best of 2019’ list. BRUME also left their mark onstage, appearing at Desertfest London in 2017 and Desertfest New York and SXSW in 2019, along with many more shows on both sides of the Atlantic.

On third album “Marten”, BRUME perfectly balance the melancholic power of the cello with forceful vocals and dueling guitar conversations. The complex mood swings that seamlessly move from sensuous and restrained to soaring and explosive found a perfect producer in Sonny DiPerri (EMMA RUTH RUNDLE, LORD HURON, PORTUGAL THE MAN). With the right engineer behind the board, the San Franciscans adopted a songwriting approach that emphasised poetry and lyrics rather than starting with a riff. This way of working uncovered a more vulnerable side of the band.

With “Marten”, BRUME take a bold step toward their musical future by challenging first themselves and now listeners to move from comfortable spaces toward more challenging, less familiar destinations.

Tracklist
1. Jimmy
2. New Sadder You
3. Faux Savior
4. Otto’s Song
5. How Rude
6. Heed Me
7. Run Your Mouth
8. The Yearn

Guest musician
Laurie Shanaman – additional vocals on ‘How Rude’ and ‘Heed Me’

Line-up
Susie McMullan – vocals, bass, keys
Jordan Perkins Lewis – drums
Jamie McCathie guitar, vocals
Jackie Perez Gratz – cello, vocals

https://www.facebook.com/brumeband
https://www.instagram.com/brumeband
http://brumeband.com
http://lnk.spkr.media/brume-marten

http://store.merhq.com
http://magneticeyerecords.com/
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Brume, “Jimmy” official video

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Acid King Announce European Tour

Posted in Whathaveyou on January 19th, 2024 by JJ Koczan

A fine trilogy of Desertfest appearances anchors the upcoming Acid King return to Europe this Spring, as the San Francisco mellow-heavy progenitors continue their existential victory lap following the release of the Beyond Vision LP (review here) that ended up being both my album of the year for 2023 as well as the winner of the year-end poll, garnering praise far and wide for the boldness of its synth-inclusive approach to heavy psychedelic rock, the e’er fluid riffing of Lori S., and an atmosphere that was both signature Acid King and like nothing they’d ever done before. As it been eight years since their last album, anything they did wields would’ve gotten noticed. A couple years from now, when there are not only even more bands under their influence, but specifically under the semi-electronic soundscaping warm fuzz psych drift blend of Beyond Vision, we’ll start to see the real impact of that record.

So much the radder that Acid King will be back out to hand-deliver vinyl at the merch table and give their latest outing its due from the stage. The lineup is the same as when the trio played SonicBlast (review here) last summer, so I’ll just tell you outright that whether you’ve ever seen Acid King before or not, this is an incarnation you don’t want to miss. It’s not my job to sell tickets, I don’t work for the band, or Sound of Liberation, or any of the fests or venues. I’m just some dude on the internet who thinks this might make your day better. That’s all I’ve got going on here.

Dates come from socials and were posted by the aforementioned Sound of Liberation, audio comes from the ether:

Acid King tour

ACID KING EUROPE TOUR 2024

Get ready for a sonic escapade like no other as we proudly bring you Acid King with special guest Earth Tongue!💥

Mark your calendars and prepare to be immersed in the thunderous waves of doom and stoner rock across Europe.🇪🇺

🗓️TOUR DATES:

7.5.24 (DE) Bremen, Zollkantine
8.5.24 (DK) Copenhagen, Loppen
9.5.24 (SE) Gothenburg, Musikens Hus
10.5.24 (NO) Oslo, Desertfest
11.5.24 (SE) Stockholm, Debaser
13.5.24 (DE) Leipzig, Werk2
14.5.24 (DE) Bochum, Trompete
15.5.24 (FR) Paris, Backstage By The Mill
16.5.24 (FR) Nantes, Le Ferrailleur
17.5.24 (BE) Diksmuide, 4AD
18.5.24 (UK) London, Desertfest
20.5.24 (DE) Wiesbaden, Schlachthof
21.5.24 (DE) Munich, Feierwerk
22.5.24 (AT) Innsbruck, p.m.k.
23.5.24 (DE) Erfurt, VEB Kultur
24.5.24 (DE) Berlin, Desertfest
25.5.24 (NL) Groningen, Vera
26.5.24 (NL) Deventer, Burgerweeshuis

Gear up to be surrounded by the heavy vibes and electrifying performances of Acid King and Earth Tongue!🔥

Don’t miss out on this epic tour – secure your tickets now and let the riffage commence! ✨

Buy Tickets Here: http://www.acidking.com/tour-dates/

ACID KING lineup:
Lori S. – guitar & vocals
Bryce Shelton – bassist & keyboardist
Jason Willer – drummer

https://www.facebook.com/AcidkingSF
https://www.instagram.com/acidkingrocks/
https://acidking.bandcamp.com/
www.acidking.com

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https://bluesfuneralrecordings.bandcamp.com/
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Acid King, Beyond Vision (2023)

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Acid King Announce Final Shows of 2023

Posted in Whathaveyou on October 26th, 2023 by JJ Koczan

Beginning this weekend at Heavy Chicago in, yup, Chicago, heavy psych heroes Acid King will begin to wind down a busy 2023 executed successfully after several years of restructuring. Founding guitarist/vocalist Lori S. remade and arguably reimagined the band at least partially ahead of this Spring’s Beyond Vision (review here) LP, which if it isn’t a contender for album of the year is only proof of the dumbassery behind those lists in the first place. Forever in short supply are acts who’ve been together in one form or another for 30 years and are still exploring new ideas. Acid King not only did that in 2023, but righteously expanded their base aesthetic as part of the process.

I just had a whole rant here going on about how crucial Beyond Vision is for how it grows Acid King‘s sound, opening stylistic doors to synth, meditative psych, etc., but let me say this instead. These are some badass shows, and if you’ve ever seen Acid King before or you haven’t, the imperative of the moment is here. As someone who was lucky enough to do so this August, I urge you to see Acid King for this album, playing these songs (plus classics, of course). Yeah, it’s select-shows rather than 28-gigs-in-30-days or whatever, but if you’re on the West Coast of the US or can put yourself there without much difficulty, I promise you have valid reason to do so.

That’s all for now. From the PR wire:

acid king

ACID KING on tour this fall!

Following their recent European and South American live takeovers, US psychedelic doom trailblazers ACID KING have just announced their final string of shows for 2023, as they keep supporting the release of their widely acclaimed comeback album “Beyond Vision” on Blues Funeral Recordings.

Released in the spring of 2023 as part of Blues Funeral Recordings’ PostWax series, ACID KING’s new album “Beyond Vision” sees the band venturing into epic sci-fi-inspired territory, the result of a collaboration between Acid King founder, guitarist and vocalist Lori S., guitarist Jason Landrian (Black Cobra), bassist and keyboardist Bryce Shelton (Hawkwind) and drummer Jason Willer (Charger, Jello Biafra). Breaking a new record in the international heavy scene by reaching #96 on the Billboard Top Albums chart, the anticipated followup to 2015’s “Middle of Nowhere, Center of Everywhere” has garnered unanimous press from critics and fans alike, bringing ACID KING to the doom and heavy metal scene’s forefront with their thundering, swinging and trip-inducing heavy psychedelia.

Following their extensive summer European tour and shows in South America, the mighty trio is now set to come full circle with a string of West Coast shows as well as an appearance at Chicago’s Heavy Chicago Festival this fall.

ACID KING ON TOUR — Tickets on sale at this location
Oct 28 – Chicago, IL – Heavy Chicago Festival (w/ Trouble, Bongzilla, November’s Doom)
Nov 3 – Portland, OR – Mississippi Studios (w/ Abronia, Simple Forms)
Nov 4 – Seattle, WA – Substation (w/ Simple Forms, Sorcia)
Nov 17 – Los Angeles, CA – The Belasco (w/ John Garcia Band, Mondo Drag, HTSOB)
Nov 18 – San Diego, CA – Brick by Brick (w/ Mondo Drag, Nebula Drag)
Dec 9 – Bellingham, WA – Structures Brewery 8th Anniversary (w/ Kadabra, Dark Meditation)

Buy Tickets Here: http://www.acidking.com/tour-dates/

ACID KING lineup:
Lori S. – guitar & vocals
Bryce Shelton – bassist & keyboardist
Jason Willer – drummer

https://www.facebook.com/AcidkingSF
https://www.instagram.com/acidkingrocks/
https://acidking.bandcamp.com/
www.acidking.com

https://www.facebook.com/bluesfuneral/
https://www.instagram.com/blues.funeral/
https://bluesfuneralrecordings.bandcamp.com/
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Acid King, Beyond Vision (2023)

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Album Review: Mondo Drag, Through the Hourglass

Posted in Reviews on October 19th, 2023 by JJ Koczan

mondo drag through the hourglass

Founding Mondo Drag keyboardist and vocalist John Gamiño titled the progressive heavy psych rockers’ fourth album, Through the Hourglass, in reference to the opening line of the theme for the long-running US soap opera Days of Our Lives. It is in honor of his mother, who reportedly passed away sometime in the tumultuous years since the San Francisco-based band released their last full-length, 2016’s The Occultation of Light (review here). In addition to being demographically relatable — I also watched that show with my mother as a kid; it was the ’80s and moms got to pick shows, especially when you were home sick from school (or just faking it) — it tells you something about Through the Hourglass in relation both to Mondo Drag‘s preceding work and to the style as a whole. It is built from a place of emotional sincerity.

It is also built nearly from the ground up. In addition to Gamiño and guitarists Nolan Girard and Jake Sheley, both also founding members making a return, the crisply-produced, organic-vibing six-song/39-minute RidingEasy Records long-player is the first Mondo Drag release since Conor Riley (current Birth, ex-Astra) joined on bass in 2018, and the first to feature drummer Jimmy Perez, who joined last year. Working with engineer Phil Becker (Pins of Light), who also mixed, they conjure graceful emanations of cosmic rock, set against a wistful backdrop from the outset of “Burning Daylight Pt. I,” which both introduces the album and moves in patient procession into a roll of heavy, organ-laced fuzz without losing the fluidity of when the riff first entered, a stately control of swing and tempo that sounds like nothing so much as a honed mastery of craft.

The ending of that lead track — which hums into the drum start of the more upbeat “Burning Daylight Pt. II” — emerges from a quieter and spacious midsection, playing out as a not entirely separate song and not quite a direct connection either, but there’s no arguing with the flow there or in “Burning Daylight Pt. II.” A soft-swinging boogie finds its lightness in taps of ride cymbal in the floating keys before the vocals enter, a subtle twist to the rhythm revealing itself in a stop at 2:35 before the keyboard and guitar line up for synchronized soloing, playing with and around the same notes in an engaging weave, then taking turns, keys first, in solos before the instrumental culmination brings down “Burning Daylight Pt. II” to the silence from which the 11-minute “Passages” will rise, doing so gradually with a new age drone and space rock effects shimmer before its low-end buzz begins its cycles and the whole thing opens up after two minutes or so with stately Hammond holding the melody complemented by ascending steps of guitar.

Of course, that’s just the beginning, and even within Through the Hourglass, “Passages” is unto itself. It’s not quite a full album-style flow, but it’s not far off, and it is the resonant emotional core of the entire span. Acoustic and electric guitars, the latter maybe with eBow or some such, craft a realized melancholia, like Mondo Drag were the only ones to remember how much longing was poured into In the Court of the Crimson King, and has its heavier takeoff after five hypnotic minutes of build, drums shifting after a few measures to half-time with tom fills and a last crash as the scene is set: quiet guitar, lightest cymbal taps, piano.

mondo drag

A chugging guitar and pickup in the drums signals the shift that’s already taken place and a classic space rock push seems to be taking shape. Instead of a sprint, though, “Passages” sort of overflows into its apex, frothing with organ-topped slow, heavy roll, bluesy guitar soloing, hints of proto-doom in the rumble, hints of “Hotel California” in the keyboard solo. At eight and a half minutes, they’re jamming, but it’s a plotted course, with keys and guitars calling and responding until a touch of shred from the latter signals the end; acoustic guitar and keyboard sounds wrap the last minute-plus in quiet contemplation.

As an 11-minute song on a 39-minute album, “Passages” would be a focal point one way or the other, but it’s all the more crucial for being instrumental. On side B, “Through the Hourglass” (6:21), “Death in Spring” (6:10) and “Run” (6:55) seem to find a middle-ground approach that neither “Burning Daylight I” and “Burning Daylight II” nor “Passages” fostered, and with the structural clarity particularly of “Through the Hourglass” and “Death in Spring” — the latter is downright catchy, also sad — they might’ve ended up on side A for a lot of albums. But Mondo Drag clearly aren’t interested in holding back in terms of expanse, and the trilogy of six-minute cuts that comprises the second half of Through the Hourglass offers a richness of detail that meets the high standard they’ve established, here and elsewhere.

At the end of the first verse in “Through the Hourglass,” in the lyric about not recognizing himself in the mirror, there’s a second vocal layer that joins Gamiño, speaking as someone else speaking back to him, and it’s a single example among many of the consideration and depth of detail Mondo Drag bring to their fourth LP. The balance of the mix as “Through the Hourglass” unfolds its second half — keys and guitar not competing but working together through their own means; grandiosity without pomposity — is further argument in this regard, but who the hell wants to argue anyway? Departing the Hammond, “Death in Spring” has a Graveyard-ish stretch of guitar for its first 10 or so seconds but goes on to emphasize keyboard amid the memorable delivery of the title line in the chorus. “Death in Spring” carries its grief with more motion than one might think of for a dirge, but it might be one anyhow. After a Hypnos 69-ian sway into psych, keys reach out into quiet to finish and keys start again in that silence — with chimes — to begin “Run.”

Somewhere in the infinity of infinite universes, it’s an alternate 1975 and “Run” is a radio hit. Subsequent generations will wonder what about the horses running through the night as described, but it won’t really matter because sometimes old songs just have weird words and you go with it. There’s a big ending of keyboard-wash to come, and fair enough, but “Run” is even more about its vibe than its chorus. Trading off from a quiet verse, the melody in “Run” feels well placed at the end of the album; it is resilient as well as resonant, and not unhopeful, and they even work in a quick bit of strut before the closer resolves with long-held notes of choral keyboard, which is as fitting a way as any in its not-overblown, classy but still evocative. Through the Hourglass is a whole work, and though they don’t put out a record every year, one can trace across their catalog the trajectory Mondo Drag have taken to get to the accomplished and expressive position in which they find themselves.

Mondo Drag, Through the Hourglass (2023)

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Mondo Drag Announce Fall West Coast Dates

Posted in Whathaveyou on September 20th, 2023 by JJ Koczan

mondo drag

Mondo Drag‘s new LP, Through the Hourglass, is at the top of my review stack. No, not a literal stack. It used to be. Now it’s all on my laptop, it’s not a physical stack and yet somehow it’s bigger. Life don’t make no sense, not ever. Nonetheless, the species persists. I must really like being behind on shit.

Anyhow, the record just came out on Friday, so you know by the time I get there it won’t be the longest delay ever, but my next unbooked day is Oct. 11, so yeah, by the time I get there I’ll probably feel like a bit of a jerk for having let it go so long. If I can sneak it in, I will, but the good news is that even if I’m that late on catching it near the release, I’ll still be ahead of the West Coast tour that the Oakland-based heavy prog rockers will undertake in November. Minor victories. I take what I can get.

The good news here, aside from the fact that the album rules — oops, just had an opinion — is that Mondo Drag are getting out. I do not know that they’ll come east at all in support of Through the Hourglass, but the live activity is welcome, period. Before this past Friday, the last Mondo Drag record was in 2015. Maybe we can slow down a bit before we stick them on the road for six weeks at a time.

In fact, maybe we can slow down generally as well. Maybe it’s okay to be a couple weeks late with a review, or a month. Or 10 years. What, is the record gonna go stale? Not in a month, or I probably wouldn’t want to write about it in the first place. So yeah, I’ll fuggin’ get there when I get there. And Mondo Drag will get everywhere else when they get there. Deep breath is the FOMO killer.

Dates came off socials, which are part of the problem. Sadly also the solution, though they’ve never been used that way to my knowledge:

Mondo Drag tour

Through The Hourglass is out now!!!

So excited to release this album and take the songs out on the road.

Get a copy of the album from @easyriderrecord or pick one up at these shows

September 22 – Mill Valley, CA at @sweetwatermusichall
October 21 – Oakland, CA at @elismilehighclub w/ @deathchantnoise
November 3 – Nevada City at @ribaldbrewing
November 4 – Sacramento at @cafecolonial916
November 9 – Eugene, OR at @johnhenryseugene
November 10 – Vancouver BC at @greenautomusic
November 11 – Seattle, WA at @substation.seattle
November 12 – Portland at @the_high_water_mark

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/
http://www.ridingeasyrecs.com/

Mondo Drag, Through the Hourglass (2023)

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