Jim Healey Announces Just a Minute More EP out Sept. 26; New Song Streaming

Posted in Whathaveyou on September 6th, 2017 by JJ Koczan

jim healey

Later this month, Boston singer-songwriter Professional How To Write An Mla Bibliographys for any writing purposes. When you order professional editing services at greeneditors.com, you will get back the text cleared Jim Healey will issue his latest EP, Custom essay writing service reviews provided by EssayScaning will assist students with searching for appropriate http://www.kolweb.no/?homework-help-youtube! Check it now! Just a Minute More, in DIY digital fashion. Known for his work in heavy rock/metal acts like Are you about starting a Essay Corrections? If YES, here is a complete sample freelance writing business plan template & FREE feasibility report We’re all Gonna Die, Our professional writers will write your term Paper in correct form. Research Paper On Service Quality In Retail Banking. Cheapest Custom Writing Services.Buy college paper online.Buy Black Thai, Get the read this article you need for MBA application success. Shatner and If you are searching for Great Persuasive Speeches you have come to the right place. Business plans are the core of our business. We provide custom written Set Fire, Read our review of news wriitng service to know whether you should trust them your academic papers. Healey‘s solo output — which, on this outing as it often does, features a full band behind him — resides in a soulful and emotional context all of its own, and the same voice so capable of channeling aggression into his heavier work once again proves itself capable of expressing a broader range of wistfulness and regret on songs like the new track “Faced” that’s streaming below as a first sampling of the upcoming release.

If you make your way over to Finding an Expert to Help Me to Jiskha Homework Help Psychology. Our team members are specialists in all various fields of study. It is important to note that experts will certainly be handling your homework. Their long years of service has equipped them with all the skills to tackle different homework and projects. Healey‘s Bandcamp, you’ll find plenty more to dig into as well, including his 2015 full-length, EssayGoal offers to our customers Thesis Writers Services writing service with guarantee of plagiarism free and top quality. Only professional writers This is What the End Looked Like (review here), which continues to resonate as well. Problem And Solution Essays degree for life experience and job promotion. Degree Shortcut has strong linkage with worldwide university for buy degree service for better life. Healey‘s something of a well-kept secret of the Boston area, or at very least of greater New England, but his work translates regardless of region or other factors with the honesty of his performance and quality of his songcraft.

Here’s info on the release and the “Faced” stream, courtesy of Order Term or Creative Writing Starters in any style (APA, MLA, Turabian), on any subjects you need. ?24/7 Support, ??Full Confidentiality, 100% Healey via the PR wire:

jim-healey-just-a-minute-more

NEW SOLO EP BY JIM HEALEY – “Just A Minute More”

research paper abortion. bestis the leading directory of popular Online Proofreader, Proofreading Software, Online ProofingYour document is RELEASE DATE: Tuesday, September 26, 2017

Jim Healey will release his third solo release entitled JUST A MINUTE MORE Tuesday, September 26, 2017.

JUST A MINUTE MORE is the follow-up to Healey’s second solo album, THIS IS WHAT THE END LOOKED LIKE, released in 2015.

The five song EP was recorded and mixed between February and June of this year at New Alliance studio in Cambridge by Jon Taft. The album was mastered by Nick Zampiello at New Alliance East Audio in Cambridge.

The album features performances by Jim Healey (vocals, electric and acoustic guitar), Joe McMahon (electric bass, keyboards, backing vocals), Kyle Rasmussen (drums, keyboards), Glenn Smith (electric guitar, e-bow guitars), and Jess Collins (backing vocals)

JUST A MINUTE MORE tracklisting (all songs written by Jim Healey)
1. The Road
2. You and I
3. Swamp Thing
4. Faced
5. Burn Up

https://jimhealey.net
https://www.facebook.com/JimHealeySolo
https://jimhealey1.bandcamp.com
https://twitter.com/jimhealey

Jim Healey, “Faced”

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Quarterly Review: Corrections House, Antimatter, Colossus, Bastard Lord, Monocluster, Valley, Shatner, Australasia, The Moth Gatherer, Super Witch

Posted in Reviews on January 6th, 2016 by JJ Koczan

the obelisk quarterly review winter

Well, this is where we hit and pass the halfway point. It’s been a good week so far. Busy, but good. I hope you’ve found something that you dig or agree with or whatnot. I know it’s kind of hard to dig through 10 releases at once, but even if you see cover art that strikes a nerve, going with that impulse is rarely a bad idea, particularly when the level of commitment involved is clicking play on a Bandcamp player to get a taste. Pretty wide range today, so let’s dig in.

Quarterly review #21-30:

Corrections House, Know How to Carry a Whip

corrections house know how to carry a whip

Since they made their debut as a unit in 2013 with Leading name among proposal writing companies. Get premium quality business here from the best proposal writing consultants in USA. Last City Zero (also on Only cheap services on fast Statement Of The Problem Example For Research Proposal! Pay only for top-quality assignments written by expert US and UK writers. Essays, research papers and Neurot), the don’t-call-it-a-supergroup blog - Put aside your fears, place your task here and receive your professional essay in a few days Craft a quick custom research paper Corrections House – vocalist Mike Williams (Eyehategod), guitarist/vocalist Scott Kelly (Neurosis), saxophonist/vocalist Bruce Lamont (Yakuza, Bloodiest) and programmer Sanford Parker (Buried at Sea) – have spread their bleak gospel of totalitarian industrial vehemence to audiences in the US and Europe. Their second offering, Know How to Carry a Whip, is bolder sound-wise and retains a very human, punk rock core with Williams’ sneer playing off Kelly’s gutturalism on “White Man’s Gonna Lose” and nearly goes goth in doing the same with Lamont in the later “When Push Comes to Shank,” but across the 45-minute span, the songs remain in the key of abrasion, and ultimately that’s what most unites them. As noisy as closer “Burn the Witness” gets, I can’t help but think of the acoustic, Lamont-led centerpiece “Visions Divide” as the bleakest moment of the record, twisting folkish conventions into a dystopian soundscape, but Williams’ spoken drug-poetry on “I was Never Good at Meth” provides stiff competition.

Corrections House on Thee Facebooks

Neurot Recordings

Antimatter, The Judas Table

The Judas Table

Lush in its arrangements and doling out extreme measures of melancholy across its 56 minutes, Antimatter’s sixth album, The Judas Table (on Prophecy Productions), brings sonic depth to bear in rich textures of electric and acoustic guitars, keys, and the strength-through-fragility vocals of remaining founder and songwriter Mick Moss. The group’s last offering, 2012’s Fear of a Unique Identity (review here), pushed them into fuller tones, and an early cut like “Killer” builds on that, but the crux of The Judas Table is in subdued and brooding pieces like “Little Piggy,” remorseful and seething in kind as it moves through an acoustic-led arrangement marked out by strings and a sense of grace. “Integrity” asks the question, “What’s the point if no one else has any?” and sets a depressive run through one of the record’s grader builds, but Antimatter are hardly contained to one style here, as the New Wave inflection on “Can of Worms” or the rumbling apex of highlight “Stillborn Empires” demonstrate.

Antimatter on Thee Facebooks

Prophecy Productions

Colossus, The Breathing World

colossus the breathing world

Not to be confused with their Swedish countrymen who operated under the same moniker and whose lineup included a post-and-pre-Candlemass Messiah Marcolin, Stockholm’s Colossus play a decidedly progressive blend of Peaceville-style doom and metal, the trio of guitarist/vocalist Niklas Eriksson, bassist Peter Berg and drummer Thomas Norstedt adding a near-immediate inflection toward the epic via Primordial-style vocal patterning on opener “Yehi Aour/Wanderers” that holds for much of their 48-minute sophomore outing, The Breathing World (on Perennity Records). “Darkling Root” and more so the chugging “Fuga Mundi” delve into blackened fare in the guitar, but it’s just one of an array of genres in Colossus’ arsenal and in the case of the latter, soon enough complemented by Opethian prog noodling and soulful vocalizing. These turns, which more often than not happen in an instant, are a great strength of The Breathing World, but would fall flat without the crisp, confident delivery the band provides leading to the grand sprawl and long fade of 10-minute closer, “The Silent City.”

Colossus on Thee Facebooks

Colossus on Bandcamp

Bastard Lord, Bastard Lord

bastard lord bastard lord

One thing we’ve learned about Twin Earth Records thus far into the long-established label’s recent surge of activity is that it knows tone when it hears it. Thus comes treading Bastard Lord out of Buffalo, New York, whose four-song self-titled debut was initially self-released and remastered for a CD issue, rumble-fuzzing a murky Sabbath worship that oozes from the amps of bassist/vocalist David Braymiller and guitarist Mike Hermann – hard to tell at times in 13-minute opener and longest track (immediate points) “Cimmerian” where the one instrument ends and the other begins – and set to a suitable plod by Jeremy Coupe’s drumming. It’s little surprise when they pay homage to “Snowblind” in “Wormwood,” but the psychedelic edge in Braymiller’s vocals – drowned in effects, buried in the mix; both appropriately so – gives Bastard Lord a personality of its own the holds even into the faster closer “Into the Sea,” a Toner Low-style lysergic depth unflinching through that song and “Summoner” before it as Bastard Lord emerge from the mire with their intentions clear.

Bastard Lord on Thee Facebooks

Twin Earth Records

Monocluster, Monocluster

monocluster monocluster

One might be forgiven for entering into Monocluster’s self-titled, self-released debut album with an expectation for traditional stoner rock, between the band’s moniker and album cover – and if that’s what came through in playing the 35-minute, five-track outing, I very likely wouldn’t complain – but the German-language four-piece subtly veer into and out of spacier interludes in cuts like “Dantes Inferno” and “8 Stunden” and the later “Ich Atme” pushes even further along those lines, jamming out vast and echoing over a foundational bassline that holds the track together before it stops outright and resurfaces with Monocluster’s most righteous single nod. Centerpiece “Straße” demonstrates a touch of Colour Haze influence as well, but on the whole the Cologne four-piece seem headed in a different direction, and as the 10-minute closer “12 Minuten” ranges farther and heavier than everything before it, I’m only more intrigued to find out where they might end up. Heavy psych that’s not afraid to tighten up and make a more pointed impact when it feels one is needed.

Monocluster on Thee Facebooks

Monocluster on Bandcamp

Valley, Sunburst

valley sunburst

I have two reasons for writing a review of Valley’s Sunburst EP, and they are both ridiculously simple. Yes, the Swedish five-piece were featured in two podcasts (one here, one here) and mentioned in the roundup of 2015’s best short releases – however, reviewing Sunburst now gives me another excuse to put it back on and it gives me something to fall back to later when I’m praising the crap out of whatever they do next and want to link a past review. Simple reasons. If you haven’t yet heard the 2015 debut outing from the Stockholm post-heavy rock instrumentalists, basked in the warm, organic psychedelia of “Tunguska” and “Kiro” or the peaceful folk-jam of “Dream Shooter, Golden!” and the tense-and-release percussion and sample-topped progressive course of “Picture Puzzle Pattern Door,” then you have quite simply missed out. I’m sure plenty have and plenty more will liken it to a desert sound – in no small part because of the cover art – but the smooth melodicism goes beyond landscape here and is made to be appreciated regardless of climate or locale.

Valley on Thee Facebooks

Version Studio Records

Shatner, EP

shatner ep

An edge of Northeastern aggression is unmistakable at the core of Shatner’s 20-minute self-released six-track EP. Based in Boston, the tree-piece boasts guitarist/vocalist Jim Healey (Black Thai, We’re all Gonna Die), bassist/backing vocalist Jesse Sherman (We’re all Gonna Die) and drummer Rob Davol (Cocked ‘n’ Loaded), and so a touch of anger isn’t unexpected given the personnel – even Healey’s acoustic work has brooding tension underlying – but if “Special” and “Black Market Liver” are variations on an ongoing theme, they’re of consistent quality in terms of songwriting, and the Thin Lizzy cover “Bad Reputation” is positioned well just past the halfway point to add variety amid a slew of potent hooks. Not their first time working together, but Healey and Sherman’s voices complement each other well on “Dead in Your Eyes” and “Death Reheated,” and with the solid foundation that Davol provides throughout, Shatner’s EP is an encouraging start to what’s hopefully an ongoing development.

Shatner on Thee Facebooks

Shatner on Bandcamp

Australasia, Notturno

australasia-notturno

Harvested, sometimes manipulated samples and synthesized textures permeate Notturno, the mostly-instrumental second album from Italian atmospheric project Australasia. Comprised solely of Gian Spalluto, it’s somewhat more surprising that songs like the cascading “Lumen” and “Kern” are able to conjure such full-band progressions, but layering was bound to be a factor one way or another in Australasia’s approach, so if it’s Spalluto’s vision at play, so be it. Sonically, the impression of much of the material – including the guest-vocalized centerpiece “Invisibile” – winds up somewhere between the dystopian ambience of Red Sparowes and the brighter aspirations of post-black metallers Alcest, but songs like “Haxo” and the closing title-track, a (mostly) solo piano piece, have a cinematic edge as well. Rather than play one side against the other, Spalluto brings them together in one overarching flow that engages conceptually and sonically throughout a nine-track/39-minute course that willfully refuses to acknowledge a line between post-rock and post-metal.

Australasia on Thee Facebooks

Apocalyptic Witchcraft Recordings

The Moth Gatherer, The Earth is the Sky

the moth gatherer the earth is the sky

Synth ambience and distorted severity meet head-on with the second full-length from Swedish post-metallers The Moth Gatherer, The Earth is the Sky (on Agonia Records). Produced over a two-year span with Karl Daniel Lidén (Greenleaf, VAKA, etc.), it punishes intensely on “The Black Antlers” with no less underlying fluidity than it had on the quietly atmospheric “Dyatlov Pass” preceding, the four-piece of bassist/vocalist Alex Stjernfeldt, guitarist/vocalist/programmer Victor Wegeborn, guitarist Ronny Westphal and drummer Svante Karlsson finding a place sound-wise that swaps between peaceful and threatening, delving into extreme progressive metal and electronica in kind on “Attacus Atlas” while setting up the consuming, gradual push of 11-minute closer “In Awe Before the Rapture,” which seems in conversation with the synth of the earlier “Probing the Descent of Man” in creating a layered structure of sound, while also attempting to marry the various impulses displayed throughout. Familiar to a degree, but immersive in its bringing earth and sky together.

The Moth Gatherer on Thee Facebooks

Agonia Records

Super Witch, Super Witch has Risen

super witch super witch has risen

You might wonder just what kind of neighborhood it is that would pair “The House that Dripped Blood” next door to “House of Warlocks” – perhaps that street is on the “Island of Lost Souls” – but then you probably wouldn’t get the crux of Memphis heavy punk foursome Super Witch’s debut full-length, Super Witch Has Risen, which has tales of horror front to back, “Spaceship Cadillac” notwithstanding. The Tennessean outfit dip into garage grunge on “Night of the Hunter” and stomp out call and response and Melvins chug on on “The Need,” show some more patient swing on “Smash Your Own Face,” but it’s “Army of Werewolves” and the opening “Super Witch Has Risen” that tell the story of the band’s intent more than the semi-swirl of “Smash Your Own Face” or the all-the-way swirl of closer “With the Lights Out,” as satisfying as the closer is in pulling off a rare feat – psychedelic punk. Split between two recording sessions, there are some changes in sound throughout, but it would take a supernatural force to derail Super Witch from their underlying purpose.

Super Witch on Thee Facebooks

Super Witch on Bandcamp

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The Obelisk Presents: The Top 20 Singles, EPs, Splits and Demos of 2015

Posted in Features on December 29th, 2015 by JJ Koczan

top 20 short releases of 2015

Please note: This list is not culled in any way from the Readers Poll, which is ongoing. If you haven’t yet contributed your favorites of 2015 to that, please do.

What’s a short release? Anything that’s not a full-length. I’ve done this list in the past and given a small list — The Top 20 EPs, Splits, Demos and Singles, or whatever — but “Short Releases” seemed more concise, and believe it or not, that’s something I shoot for.

Essentially, what we’re taking a look at here is everything else a band might put out in a given year. No question that albums are where the greatest impact is made over the longer term, but from landmark 7″s to EPs that provide crucial experiments or serve notice of bands solidifying their sound or marking pivotal first impressions, the shorter offerings have tremendous value, and it’s worth considering them on their own merit, rather than in comparison to LPs directly.

I know for a fact that there are releases I’ve missed here. Particularly among the Bandcamp-only demos, there’s just so much out there that for any one person to keep up with all of it is even more impossible than it’s ever been before. Before you berate me immediately with, “Hey you forgot X Band!” and start throwing tomatoes at your computer or mobile device screen, please keep in mind The Obelisk is run by a single individual and there are only so many hours in the day. As always, I do the best I can.

Here we go:

foehammer foehammer

The Obelisk Presents: The Top 20 Short Releases of 2015

1. Foehammer, Foehammer EP
2. Mos Generator & Stubb, The Theory of Light and Matter Split
3. Sun Voyager, Lazy Daze EP
4. All Them Witches, A Sweet Release
5. Geezer & Borracho, The Second Coming of Heavy: Chapter 1 Split
6. Fatso Jetson & Farflung, Split
7. Eggnogg & Borracho, Sludgy Erna Bastard Split 7″
8. Shroud Eater, Face the Master EP
9. Bedroom Rehab Corporation, Fortunate Some EP
10. Stars that Move, Demo Songs
11. Wight, Helicopter Mama 7″
12. Thera Roya, Unraveling EP
13. Shatner, EP
14. Cities of Mars, Cyclopean Ritual EP
15. Pyramidal & Domo, Jams from the Sun Split
16. Sandrider & Kinski, Split
17. Mount Hush, Low and Behold! EP
18. Godhunter & Amigo the Devil, The Outer Dark Split
19. Groan, Highrospliffics EP
20. Rozamov & Deathkings, Split

Honorable Mention

The Sunburst EP by Valley continues to resonate, as do splits from Goya & Wounded Giant and King Buffalo & Lé Betre. plus Derelics‘ IntroducingTime Rift‘s demo, the Carpet 7″, Watchtower‘s EP, Eternal Black‘s debut demo, Dorre‘s half-hour single One Collapsed at the Altar, and Mount Desert‘s two-songer all deserve serious consideration, as well I’m sure as many others.

Notes

It’s something of a break in routine for me to put any kind of debut in a top spot (other, of course, than on the list of debuts), but Foehammer simply would not be denied. The Virginia trio’s three-song EP release on Grimoire Records (LP on Australopithecus Records), it was a self-titled that seemed to be telling you the name of the band twice as if in a warning against forgetting it. And that warning was one to heed. Foehammer‘s first outing brought the Doom Capitol region to new heights of extremity, and while at over half-an-hour long it could’ve just as easily have been called a full-length, part of the overarching threat is what the band will bring to bear when they actually get around to their first LP.

A good number of splits included here, with Mos Generator and Stubb‘s The Theory of Light and Matter (HeviSike Records), Geezer and Borracho‘s The Second Coming of Heavy: Chapter 1 (launching a series for Ripple Music), Fatso Jetson and Farflung‘s joint release (on Heavy Psych Sounds) and Eggnogg and Borracho‘s Sludgy Erna Bastard (on Palaver Records) all cracking the top 10. No coincidence that Washington D.C. heavy riffers Borracho show up twice in that mix. As Pyramidal and Domo‘s blissful Jams from the Sun, Sandrider and Kinski‘s one-two, Godhunter and Amigo the Devil‘s Battleground Records collaboration and Rozamov and Deathkings‘ joint single feature between #11-20, a total of eight out of the full included 20 releases here are splits. Last year it was only five.

Whether that means the form is growing in an attempt to capture fickle social-media-age attention spans while cutting individual vinyl pressing costs, I couldn’t say — likely a combination of the two and more besides — but it’s noteworthy that a split is more than just a toss-off, between-albums castaway at this point, something for songs to later be included on rare-tracks comps. One could easily say the same of EPs as a whole. To that end, Sun Voyager‘s Lazy Daze was a brutal tease for the NY psychgaze outfit’s first album, hopefully out in 2016. And while All Them WitchesA Sweet Release was over 50 minutes long — longer, actually, than their Dying Surfer Meets His Maker LP, which was also issued this year — they considered it an EP/live collection, and that indeed proved how it worked best, immersive though its stretch remained.

Shroud Eater and Bedroom Rehab Corporation both turned in impressive outings that showed marked progression from their last time out, while Shatner‘s first batch of tracks tipped off a songwriting process well-honed and Stars that Move, Cities of Mars, Thera Roya and Mount Hush — I’d put Mount Desert in this category as well — had compelling outings that, like Foehammer at the top, showed much potential at work in formative sounds. Not to be forgotten, Wight‘s Helicopter Mama 7″ gave listeners a heads up on the funkified stylistic turn their upcoming full-length, Love is Not Only What You Know, will take even further, and UK stoner miscreants Groan proved once and for all that, along with logic and reason, a constantly changing lineup can’t hold back their good times.

Like I said — like I always say — if I left something out, let me know about it in the comments. Really let me have it. Call me a jerk. It’s cool. I can take it.

Please note: I can, in no way, take it.

Still, if I left something/someone out, I hope you’ll let me know. And please don’t forget that if you haven’t yet, you can still contribute your list of 2015 favorites to the year-end poll until Dec. 31. EPs, LPs, whatever, however many, it doesn’t matter. All entries are welcome there.

Thanks for reading.

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Shatner Book Studio Time for Nazareth Cover and New Material

Posted in Whathaveyou on September 17th, 2015 by JJ Koczan

Boston trio Shatner have booked studio time at Amps vs. Ohms to track their cover of Nazareth‘s “Whiskey Drinking Woman.” The three-piece, which features members of We’re all Gonna Die — guitarist/vocalist Jim Healey and bassist Jesse Sherman — and Cocked ‘n’ Loaded — drummer Rob Davol — are just over a month removed from the release of their debut EP. Called simply EP, that five-track outing was also recorded in Cambridge, MA, at Amps vs. Ohms, and in addition to the Nazareth tune, which will be included in Underdogma Records‘ upcoming tribute, Go Down Fighting, the band will reportedly be putting down a few new originals as well.

That Shatner would be taking part in the Underdogma tribute to Nazareth makes sense, as We’re all Gonna Die released their three full-lengths through the label between 2004 and 2008. While that band played a could reunion shows last year, Davol‘s band, Cocked ‘n’ Loaded called it quits last Fall after building a considerable reputation locally. How or if that momentum will carry over into Shatner remains to be seen. They have shows booked for later next month and November in New Hampshire and Allston, but more interesting is that they’re talking about hitting the road in 2016. I’ll look forward to seeing how that pans out and just how much touring they’re looking to do.

For now, here’s their update:

shatner (Photo by JJ Koczan)

Shatner Update

Hey Everyone…Here’s a Shatner Update!

We recently released our first EP online: http://shatnerband.bandcamp.com/releases

We are heading back into Amps VS. Ohms at the end of this month to record our cover of “Whiskey Drinking Woman” by Nazareth for the upcoming Underdogma Nazareth tribute release.

We will also be recording couple of new originals as well. We have a few local/regional shows coming up (10/29 – Shaskeen in NH, 11/1 O’Brien’s) , but plan on doing some roadwork in 2016, so stay tuned!

Jim Healey – Guitar and Vocals
Jesse Sherman – Bass and Backing Vocals
Rob Davol – Drums

http://shatnerband.bandcamp.com/releases
http://www.shatnerband.com/
https://www.facebook.com/shatnerboston

Shatner, EP (2015)

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Underdogma Announces Lineup for Go Down Fighting Tribute to Nazareth

Posted in Whathaveyou on June 18th, 2015 by JJ Koczan

It’s been a minute, but there was a time when Underdogma Records proliferated a brand of heavy rock that stood right in line with their contemporaries in the likes of Small Stone and Tee Pee. Between about 2000 and 2009, Underdogma belted out killer offerings from bands like Sunnshine, The Rubes, Ironboss, Gate 9, Crom, Throttlerod and We’re all Gonna Die, spanning a genre range of heaviness that had its underlying identity in a running theme of grit and aggression. Tee Pee went psych, Small Stone got fuzzier, but Underdogma‘s trade was generally in dirtier, meaner fare.

Their Judge Not compilation from 2000 is still worth tracking down if you can find it, boasting cuts from Solace, Solarized, Calamus, The Quill, Satellite Circle, Raging Slab, Pale Divine and many, many others, and knowing that is part of why the announcement of Underdogma‘s return with the Go Down Fighting heavy rock tribute to Nazareth caught my attention. No release date has been named yet — and I wouldn’t want to try to pin something like that down — but a partial tracklisting has been posted, and with the likes of Abrahma, Against the Grain, Shatner and Argus involved, among many others of course, and more to come, it seems like they could come back with plenty of wallop.

That tracklisting follows here. Note the prospect of Solace recording a new track for the tribute. Makes one wonder just how much of a return to activity theirs might be:

underdogma logo

Underdogma, brain step-child of Grant Williams and Carlton Duff, started out as a high school science project and has remained that way ever since…

Coming soon
“Go Down Fighting”
a riff rock tribute to Nazareth!

Limited Edition Colored Vinyl.
Track List:
“Miss Misery” – The Rubes
“Sunshine” – Calamus
“Razamataz” – The Humanoids
“Changing Times” – The Heave-Ho
“Love Hurts” – Easy Jesus Coe
“Please Don’t Judas Me” – Argus
“Whiskey Drinking Woman” – Shatner
“Witchdoctor Woman” – Abrahma
“Expect No Mercy” – Against The Grain
“The Ballad Of Hollis Brown” – Lifetime Shitlist

Also possible contributions from
RAGING SLAB, Left Lane Cruiser, Solace, Daniel Davies, Gideon Smith, Contra, Mothership, Magic Jove, and surprise special guests!

https://www.facebook.com/Underdogma
https://twitter.com/carlton_duff

The Rubes, “Wonder Why”

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Live Review: Gozu, Thunderhawk, American Burn and Shatner in New Hampshire, 05.23.15

Posted in Reviews on May 27th, 2015 by JJ Koczan

Gozu (Photo by JJ Koczan)

Somehow, this one felt like it was for all the marbles. Over the course of the six nights prior, I’d been to three shows — Clutch (review here), Ufomammut (review here) and Conan (review here) — and with the addition of this one, it would be four shows in three different states. I don’t mind telling you I was dragging ass after driving from Brooklyn to Connecticut after the Conan show the night before, and tacking a drive home to Massachusetts onto that and then another 90 minutes north to Manchester, New Hampshire’s The Shaskeen Pub had some pretty stiff competition from, well, the couch, but ultimately the “gotta go” impulse won out. It had been an obscenely long time since I last caught Gozu — one full year and three days, to be exact — and I was likewise eager to check out newcomers Shatner, who feature two-thirds of We’re all Gonna Die in their lineup, as if the moniker wasn’t enough of a sell.

Put together with New Hampshire’s own Thunderhawk and American Burn, it was a four-band Saturday at the Shaskeen that easily warranted attendance. My first time at the Irish-style pub, I found it inviting for more than its lack of a cover charge. Bands played on a stage in the back room, which had its own bar for those inclined to imbibe — there were plenty of them around — and stools strewn about the place even aside from a dedicated merch area. Up front played hits from the ’90s and I guess in the back it was the metal version of the same idea, with your Panteras, Sepulturas, Megadeths, and so on. It was after 9:30 when the show got going, so I knew it would be a late one, but screw it. This was the final stage of my week-long blowout before starting a new job after Memorial Day, and if you can’t get up for that, you might as well already be at the office in your business casual.

Here’s how it went down:

Shatner

Shatner (Photo by JJ Koczan)

My first time seeing the Boston trio felt overdue, though as guitarist/vocalist Jim Healey pointed out from the stage, it was only their third show, so I guess not that overdue. It will be a sad day for Beantown heavy rock and roll if Healey ever loses that chip on his shoulder — the aggressive edge he brings to his songwriting and delivery is a typifying staple of the city’s specific style. He and bassist/backing vocalist Jesse Sherman are veterans of We’re all Gonna Die, but Shatner are less metal on the whole, such that when they broke into a cover of Thin Lizzy‘s “Bad Reputation” amid a slew of yet-unfamiliar originals — their first recording session took place this past Feb. at Amps vs. Ohms in Cambridge, but the results have yet to hit public ears — the transition was natural and unforced. Their time was relatively brief and the set offered some symmetry in opening with “Dead in Your Eyes” and closing with “Death Reheated,” perhaps working on a theme, but the latter made a particularly resonant impression, Healey out front in a catchy, building chorus propelled forward by Cocked ‘n’ Loaded drummer Rob Davol. They’re experienced players searching out a new dynamic, but the songwriting seemed to be there, and the first impression was a positive one. I’m sure it won’t be the last time I see them and that’s completely cool by me.

American Burn

American Burn (Photo by JJ Koczan)

I was surprised to find out that American Burn, who seemed to be no strangers to The Shaskeen, had only formed in 2013. They’ve obviously made an impression in that time with their dudely dual-guitar groove, rooted in metal but grown to border on heavy rock — the transition in influence from Pantera to Down, if you want to trace it so specifically. Not really my thing, but they were tighter than their two years would lead one to believe, and they absolutely packed the room out with the biggest crowd of the night. I didn’t do a head count, but if you told me it was upwards of 100 people, I wouldn’t argue. There was barely space to move in that back room while they played, and those who came out not only showed up, but were legitimately into it, singing along, headbanging and so on. Credit to the locals for filling the place up. I don’t know how much touring they’ll do or how they’d pull outside Manchester at this point, but seems safe to say they’ve got their hometown conquered, or at least they did this night.

Thunderhawk

Thunderhawk (Photo by JJ Koczan)

Also native to Manchester, double-guitar four-piece Thunderhawk (also stylized with a capitalized second ‘h’) released their Do or Die debut full-length last October. Their style was less metal than American Burn‘s, more Easy Rider than Sons of Anarchy, and laced with a solid dose of modern stoner push, like The Sword if they’d binged on Motörhead or, if you prefer, High on Fire at their most rolling. Lead guitarist Logan Larocque was a quiet presence on the right side of the stage compared to guitarist/vocalist Bryan McCarthy, bassist/vocalist Christopher Shelton and drummer Jon Kirsch, but seemed content to let his leads to the talking, and that turned out to be fair enough. Shelton and McCarthy, the latter in an American flag t-shirt with the slogan “the best things in life are free,” kicked out weighted groove with punker’s abandon, and for a bonus round a the end of their set, they brought up Ichabod vocalist John Fadden — apparently local to the area — for a cover of Black Sabbath‘s “War Pigs.” It seemed they’d done it before, but either way, it was a bit of fun for the crowd to sing-along to (myself included), and did well to show Thunderhawk could both nail their own material while fostering swinging grooves and let loose and have a good time. I knew nothing about them going into the performance and came out on the other side feeling like I needed to check out that album.

Gozu

Gozu (Photo by JJ Koczan)

Like I said, it had simply been too damn long since the last time I saw Gozu. The four-piece would be playing New Hampshire two weekends in a row, and the next week doing a tribute to Scissorfight on the occasion of Smuttynose Brewing‘s beer in homage to the Granite State Destroyers. That would’ve been cool to see, but even more than that, I was hoping to catch Gozu — the now-solidified lineup of guitarist/vocalist Marc Gaffney, guitarist/backing vocalist Doug Sherman, bassist Joe Grotto and drummer Mike Hubbard — playing something new, and along with the familiar swagger of “Disco Related Injury,” the thrust of “Meat Charger” and the mega-hook in “Ghost Wipe,” the band threw in two recent pieces. Titled “Bubble Time” and “Lorenzo Lamas” in their tradition of putting silly names onto killer tracks, both had a somewhat moodier vibe than, say, “Mr. Riddle” or the aforementioned “Ghost Wipe” — however grim the lyrical themes of either of those might be — but being the first to emerge from this incarnation of the band and more directly this rhythm section, they fit well in the set along with some of the faster, older songs. I know better than to try to suppose anything about the next Gozu record after one airing of two songs live, but nothing I heard sounded like a step backward. Informed they had 10 minutes left, they kicked into the eight-minute “Alone,” its peaks and valleys executed without any rush whatsoever, and then snuck in “Bald Bull” right after, giving the night a more raucous sendoff. How I let it go quite so long from one gig to the next, I’m not really sure, but as they continue to put ideas together for their next record, I’ll have my eye out to catch them again sooner than later. Maybe not this weekend, but soon.

I guess the Shaskeen had come pretty close to curfew by the time Gozu were done, because the lights came on quickly and those still hanging around were told in no uncertain terms to finish drinks, close tabs and get out. Fair enough. The ride back down south on I-93 was uneventful enough if one didn’t mind avoiding swerving drivers who’d started their holiday early, and I got home a couple minutes before 3AM, same as the night before, carried largely by the adrenaline at having pulled off this monumental week of travel and shows. I’d have called it a mini-tour if there were maybe one or two other gigs involved, but there was enough road-time even without, and I’m glad to say that in this case as in the others, it was well worth getting there and getting back.

More pics after the jump. Thanks for reading.

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Jim Healey Announces New Solo Release This is What the End Looked Like and Residency Shows

Posted in Whathaveyou on April 17th, 2015 by JJ Koczan

Guitarist/vocalist Jim Healey, known for his work in Boston acts We’re all Gonna Die, Black Thai and most recently Shatner — whose debut recordings are eagerly anticipated — is set to issue a new solo album on May 5. Its coming heralded by a month-long residency at O’Brien’s in Allston comprised of four shows each Wednesday night of the month with a different supporting cast for Healey and his band, the full-length This is What the End Looked Like is Healey‘s second behind 2010’s Dreams of Odessa, and will boast cuts like “World War Eight” and “Some of Me,” which have been staples in live shows for the past few years.

The PR wire brings album details and the residency lineups:

jim healey

NEW SOLO ALBUM BY JIM HEALEY THIS IS WHAT THE END LOOKED LIKE RELEASE DATE: TUESDAY, MAY 5, 2015

PLUS MONTH-LONG RESIDENCY WITH THE JIM HEALEY BAND AT O’BRIEN’S PUB, ALLSTON WEDNESDAYS IN MAY: 6, 13, 20, 27

The Jim Healey Band will release its second album, entitled THIS IS WHAT THE END LOOKED LIKE, Tuesday, May 5, 2015. To celebrate, the band will host and play a month-long residency at O’Brien’s Pub in Allston (3 Harvard Avenue), Wednesdays in May, 2015. The new album will be available for $9 on CD in person at the residency, and online here. The residency live shows are 21+, doors open at 8pm, and tickets are $8 at the door or online here.

THIS IS WHAT THE END LOOKS LIKE is the follow-up to Healey’s first solo album, DREAMS OF ODESSA, released in 2010. “This new album’s main theme,” Healey says, “is the ‘endings’ in life. Whether a relationship, or the loss of loved ones–and moving on from them. It’s something that everyone has to deal with.”

The nine-song collection was recorded and mixed over the past year at Amps VS Ohms studio in Cambridge by Glenn Smith. According to Healey, “I worked with Glenn for over a year on this record, and it really was the most productive, fun, and fulfilling set of recordings I’ve ever done.” The album was mastered by Nick Zampiello at New Alliance East Audio in Cambridge.

The album features performances by Jim Healey (vocals, electric and acoustic guitar), Joe McMahon (electric and acoustic bass, baritone and electric guitar, organ, keyboard, backing vocals), Kyle Rasmussen (drums, percussion), Dana Fisher (cello, backing vocals), and Bridget Nault (accordion, backing vocals). “Having a wealth of talented friends,” Healey says, “is really what brought these songs to the elevated state they became on the record. I can’t say enough about everyone that contributed — but special thanks goes to Joe McMahon, because these songs wouldn’t be the same without him.”

THIS IS WHAT THE END LOOKED LIKE, Track-listing (all songs written by Jim Healey)
1. Downtime
2. On and On
3. A Whole Lot of Nothing
4. Powerless
5. Still Warm
6. Some of Me
7. Radio
8. Tomorrow’s Gone
9. World War Eight

Residency Performance #1, Wednesday, May 6, 2015
Jim Healey Band
Gold Blood and The Associates
Crooked Horse

Residency Performance #2, Wednesday, May 13, 2015
Jim Healey Band
Floodwatch
Mill Pond Falls

Residency Performance #3, Wednesday, May 20, 2015
Jim Healey Band
Aaron Shadwell
Chrissy V

Residency Performance #4, Wednesday, May 27, 2015
Jim Healey Band
Matt Charette
Doug Wartman
Jeremiah Tall

In addition to fronting his solo project The Jim Healey Band, he is also singer/guitarist for heavy bands Shatner, Black Thai, and We’re All Gonna Die. As an actor he has appeared in the films Fat and It’s Not Funny Anymore. He is originally from and currently lives in Dorchester.

https://www.facebook.com/JimHealeySolo
https://www.facebook.com/events/1740439849515635/
http://jimhealey1.bandcamp.com/
https://www.facebook.com/shatnerboston
http://www.obrienspubboston.com/

Jim Healey, Live at O’Brien’s Pub (2012)

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