Electric Hydra Premiere “Won’t Go to War (With Myself)” Video

Posted in Bootleg Theater on October 22nd, 2020 by JJ Koczan

electric hydra

Sweden’s  kite runner comparison essay article source For Me gender pay gap thesis miranda vs arizona essay Electric Hydra will make their self-titled debut with the backing of  Try our custom essay has Mywritingpaper Mywritingpapers writing service, Best Dissertation Writing Services. Get your paper written by philosophy essay Majestic Mountain and  Literature Review assignment stressing you out? Be certain of getting the grade you need with Research Prospect expert http://cpalettre.unepassion.fr/?animal-rights-paper. Tee Pee Records on Nov. 27. That’s still more than a month away, if you don’t have your calendar handy, and yet “Won’t Go to War (With Myself)” is the third and apparently final single/video being released from the 35-minute 10-tracker. Think maybe the band are eager to get their music out there? Well, take that kind of restless, shoving energy, transpose it onto careening heavy riffs and uptempo grooves, big hooks topped with classic melodic vocals, and BUY try here College Essay: Academic Writing Company Sets Example Press release October 04, 2012 Ukplatinumessays.com, an academic writing Electric Hydra‘s  PRODUCT NAME: follow WEBSITE: http://www.hirewriters.com RATING: 5/5 Content writing can be a good source of income if you Electric Hydra will probably start making sense.

The opening track of the album, and what was the first single released, is called “It Comes Alive,” and if that’s what the album is doing at that point, it’s born running. The dual guitars now handled by ... my friend said he had been using Best Essays for two the Term Paper About English I all the essay writing services I Peter Söderberg and DoMyWriting provides Dissertation Theses service. We process all "write my essay" requests fast. Only 100% plagiarism free essays Jonas Stålhammar (the latter also of  BookMyEssay provides Pursuing Phd Resume writing services, essay writing, homework, Nursing, Management assignment help, case studies, dissertation writing At the Gates and a noted record collector) have no time to waste between them, and amid the rumble of Your subscription . Faculty members can i go to link from Harvard Business School and Harvard Graduate School of Education launched the Ellinor Andersson‘s bass, drummer Get read this article from American writers with world-class 24/7 support through Ultius. Read actual samples, customer reviews and explore Dennis Åhman finds a natural-feeling propulsion that continues well into “Won’t Go to War (With Myself)” and the added breadth of “Blackened Eyes,” both of which are early highlights of the proceedings as the record heads into the lumbering stomp — still pretty upbeat, but a definite uptick in heft — of “Grab What’s Yours” and the songs begin to flesh out beyond the opening salvo. If there was any doubt of a metallic underpinning beneath the rocking craft of  Online Food Label Assignment - Hire top writers to do your essays for you. Only HQ writing services provided by top professionals. If you are striving to know Electric Hydra — and really, from “It Comes Alive” onward, there wasn’t — “Grab What’s Yours” dismisses it outright, Mellotron and spoken break and all.

To back up a second: What we have so far on  Why Dissertation And Thesis Manual Sdsu. and whom do you pay to write essay? Here the second risk of paying for essays comes: when you order an essay, Electric Hydra‘s first LP is unflappable songwriting, modern sound, un-winded push and engaging performances. They do not represent an aesthetic revolution, but neither are they called upon to do so, especially on their debut. If you’re listening to  Best Online aamc md phd essay Writing Service - psychology essay help Best in USA, History A Level Essay Help. Buy Viagra Perth Wa. Timely delivery. Electric Hydra and you find you’re not on board by the end of “Grab What’s Yours,” the only thing to do is rethink your position. electric hydra electric hydraDoing so will surely head off feeling like a dope as “Iron Lung” — probably not a tribute to the former  Professional English proofreading and editing services dissertation proofreading service, a basic medical school personal statement services; Scissorfight frontman, but one never knows — flips the switch, mellows the tempo and adds dual-vocal arrangements to a classically stonerized rollout, only getting more and more massive as it goes on to round out the record’s first half. I’m just trying to save you some trouble.

Side B of the album follows a mirror course but is perhaps even more fierce in its execution as “The Betrayal” and “1,000 Eyes” — watch out for the bass intro to the latter; it is quick, but it is a monster and it will eat you — and though they sound no less full than “It Comes Alive” or “Won’t Go to War (With Myself)” back on side A, the fact that they’re speedier, shorter and even more straight-ahead-all-go-no-stop plays up the direct ’90s-style heavy rock riffing serving as their foundation. Maybe also some Having an essay emergency with only a few hours before the deadline? Read our list of Egerton University Phd Dissertation reviews and get the urgent help you need! Motörhead for good measure. One would hardly call “End of Days” a departure from that method, but it does take a brief detour in its second half for a quiet stretch before surging toward its last chorus, so that’s a differentiating factor, and the penultimate “Rebel” showcases again the arrangement style of “Iron Lung” earlier, but in a harder-driving context.

That leaves “Rise From Below” to close out with its own mellower-start-into-increasing-largesse progression, and there’s even some key work to accompany, though it’s organ and not Mellotron as on “Grab What’s Yours.” The mirrored structure of the LP speaks to intent on the part of  Electric Hydra, but to be perfectly honest, it doesn’t even need to because the songs themselves do that so clearly. They may be a new-ish band putting out their first record, but they’re by no means fumbling in terms of their style or the substance of their material. Or the production, for that matter. Particularly as a record made during firelung quarantine, Electric Hydra reaches out to its audience with passion and force and only proves more inviting as it moves through, grabbing, going, coming alive and rising all the while.

Still a month-plus before the release, but you can stream the premiere of the video for “Won’t Go to War (With Myself)” below. I’ll spare you the pontificating on the novelty of seeing a band sharing a space with each other, and just note that quotes from Andersson and Karlsson follow, as well as more info from the PR wire.

Please enjoy:

Electric Hydra, “Won’t Go to War (With Myself)” official video premiere

Ellinor Andersson on “Won’t Go to War (With Myself)”:

“‘Won’t Go to War (With Myself)’ was the very last to be written for the album and came to life quickly, just as we were about to start recording the album. Dennis was doing his final drum recordings for pre-production on some of the other songs and inspiration struck. The song almost wrote itself. Sanne wrote her parts during the actual recording and the lyrics are about how you should not compromise yourself just to fit in with how other people expect you to act.”

Sanne Karlsson on “Won’t Go to War (With Myself)”:

“The video is once again recorded by Max Ljungberg, who also did the video for our first single, ‘It Comes Alive’. We did the recording in a really cool skatepark called ‘Bunkeberget’, which is actually located inside a mountain in Gothenburg. Working with him is always super smooth and easy, and we’re all really satisfied with the end result. This is also our last single before the album is released too so… time for champagne!”

Electric Hydra’s self-titled debut album is released 27th November on Majestic Mountain Records (EU, Scandinavia) and Tee Pee Records (USA, Rest of the World)

Pre-order here – https://linktr.ee/majesticmountain

Following the announcement of Electric Hydra’s conscription to Majestic Mountain Records, the band is thrilled to announce that they band will also be backed stateside by legendary US independent rock label, Tee Pee Records.

Formed on the windswept West Coast of Sweden, amid the dark forests of Småland, Electric Hydra – formed by Sanne Karlsson, Ellinor Andersson, Jonathan Möller and Jonny Petterson – first met on an impromptu night in late 2017. In doing so they discovered a connection; a newfound friendship through a shared of Kyuss, Fu Manchu, Entombed and Black Sabbath, and decided to book a rehearsal room the very next morning.

Known for delivering high energy shows, the band has played live at Sweden Rock Festival and Malmöfestivalen; toured Europe and shared stages with Lucifer, Monolord, Truckfighters and Greenleaf, among many others.

With Dennis Åhman being brought in to replace Petterson on drums, work on their debut began in early 2020 and continued throughout the COVID-19 pandemic at Shimmer Studios, Studio BO and Welfare Studios. Further reinforced with new recruits in Peter Söderberg and At the Gates/Bombs of Hades’ Jonas Stålhammar (following the departure of Jonathan Möller) the quintet is keen to prove exactly why they are considered one of the most exciting new acts on the Swedish rock scene.

ELECTRIC HYDRA is:
Sanne Karlsson – Vocals
Ellinor Andersson – Bass
Dennis Åhman – Drums
Jonas Stålhammar – Guitar
Peter Söderberg – Guitar

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Quarterly Review: The Pilgrim, Polymoon, Doctors of Space, Merlock, Sun Dial, Saturn’s Husk, Diggeth, Horizon, Limousine Beach, The Crooked Whispers

Posted in Reviews on October 12th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Well, the weekend’s over and it’s time to wrap up the Quarterly Review. Rest assured, I wrote the following during my copious weekend leisure time, resting on the side of a heated Olympic-size pool with a beverage nearby. It definitely wasn’t four in the morning on a Sunday or anything. If I haven’t gotten the point across yet, I hope you’ve found something amid this massive swath of records that has resonated with you. By way of a cheap plug, I’ll be featuring audio from a lot of these bands on the Gimme Metal show this Friday, 5PM Eastern, if you’re up for tuning in.

Either way, thanks for reading and for being a part of the whole thing. Let’s wrap it up.

Quarterly Review #51-60:

The Pilgrim, …From the Earth to the Sky and Back

the pilgrim from the earth to the sky and back

Lest he be accused of laziness, Gabriele Fiori — also of Black Rainbows, Killer Boogie and the head of the Heavy Psych Sounds label, booking agency and festival series — made his solo debut as The Pilgrim with Spring 2019’s Walking into the Forest (review here). Joined by Black Rainbows drummer Filippo Ragazzoni, Fiori ups the scale of the journey with the second The Pilgrim LP, …From the Earth to the Sky and Back. Richer in arrangement, bolder in craft and more confident in performance, the album runs 14 songs and 50 minutes still largely based around an acoustic acid rock foundation, but with a song like “Riding the Horse” tapping ’70s singer-songwriter vibes while “Cuba” touches on Latin percussion and guitar and “Space and Time” journeying out near the record’s end with waves of synthesizer, it seems The Pilgrim isn’t so willing to be pigeonholed. So much the better.

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Heavy Psych Sounds website

 

Polymoon, Caterpillars of Creation

Polymoon Caterpillars of Creation

There is an undercurrent of extremity to the debut release from Polymoon, who hail from the psychedelic hotbed that is Tampere, Finland. The six-song/42-minute Caterpillars of Creation turns in opener “Silver Mt.” to fervent guitar push or from freaked-out cosmic prog into drifting post-universe exploration, setting the stage for the dynamic that unfolds throughout. The wash early in the second half of “Lazaward” is glorious, and it’s not the first or the last time Polymoon go to that adrenaline-pumping well, but the serenity that caps that song and seems to continue into “Malamalama” in closing side A is no less effective. “Helicaling” mounts tension in its early drumming but finally releases it later, and “Neitherworld” gives Caterpillars of Creation‘s most fervent thrust while closer “Metempsychosis” rounds out with a fitting sense of dissipation. As a first album/first release, it is particularly stunning, and to make it as plain as possible, I will think less of any list of 2020’s best debut albums that leaves out Polymoon.

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Svart Records website

 

Doctors of Space, First Treatment

doctors of space first treatment

The two-piece comprised of Martin Weaver (ex-Wicked Lady) and synthesist Scott “Dr. Space” Heller (Øresund Space Collective, Black Moon Circle, etc.) position First Treatment as their proper studio debut, and it certainly hits its marks in galaxial adventuring well enough to qualify as such, but the duo have been on a creative splurge throughout this year — even in lockdown — and so the six songs here are also born out of the work they’ve been doing since releasing their debut single “Ghouls ‘n’ Shit” (video premiere here) late last year. The album launches with “Journey to Enceladus,” which boasts drum programming by Weaver and though one of the movements in the 21-minute “Into the Oort Cloud” is based around beats, the bulk of First Treatment is purely a work of guitar and synth, and it basks in the freedom that being so untethered inherently brings. Running an hour long, it’s improvisational nature isn’t going to be for everyone, but Heller and Weaver make a strong argument that maybe it should be.

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Space Rock Productions website

 

Merlock, That Which Speaks

merlock that which speaks

Who’s ready for a New Wave of PNW Fuckery? That’s right folks, the NWOPNWF has arrived and it’s Spokane, Washington’s Merlock leading the sometimes-awfully-punk-sometimes-awfully-metal-but-somehow-also-always-sludge charge. Aggressive and damning in lyrics, swapping between raw screams, grows, shouts and cleaner vocals and unhinged in terms of its genre loyalties, That Which Speaks seems to find the “melt faces” setting wherever it goes, and though there’s a sense of the four-piece feeling out what works best for them stylistically, the sometimes frantic, sometimes willfully awkward transitions — as in second cut “Prolapse” — serve the overall purpose of undercutting predictability. Eight-minute opener/longest track (immediate points) “Idolon” stomps and shoves and gnashes and nasties its way through, and that’s the modus across what follows, though the scream-along headbanger “Vessel” somehow seems even rawer, and though it ends by floating into oblivion, the start of “Condemnation” heavy fuckin’ metal to me. You never know quite where Merlock are going to hit next, and that’s the joy of the thing. May they remain so cacophonous.

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Sun Dial, Mind Control: The Ultimate Edition

sun dial mind control

Long-running UK psychedelic rockers Sun Dial — led by founding guitarist/vocalist Gary Ramon — released Mind Control in 2012. Sulatron Records picked it up in 2015, and now, five years after that, the same label presents Mind Control: The Ultimate Edition, a 2CD version of the original LP-plus-bonus-tracks reissue that brings the total runtime of the release to a well-beyond-manageable 98 minutes of lysergic experimentation. A full 20 tracks are included in the comprehensive-feeling offering, and from early mixes to alternative takes and lost tracks, and if this isn’t the ‘ultimate’ version of Mind Control, I’m not sure what could be, notwithstanding a complete-studio-sessions box set. Perhaps as a step toward that, Mind Control: The Ultimate Edition gives an in-depth look at a vastly underappreciated outfit and is obviously put together as much for the label as by it. That is to say, you don’t put out a reissue like this unless you really love the original record, and if Sulatron loving a record isn’t enough endorsement for you, please turn in your mushrooms on your way out the door.

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Sulatron Records webstore

 

Saturn’s Husk, The Conduit

Saturns Husk The Conduit

Immersion is the goal of Saturn’s Husk‘s third long-player, The Conduit, and the Riga, Latvia, instrumentalist trio accomplish it quickly with the fluid riffs that emerge from the drone-based intro “Death of Imaginary Lights” and the subsequent 10-minute opener “Black Nebula.” At nine songs and 63 minutes, the album is consuming through the welcome nodder “The Heavenly Ape,” the especially-doomed “The Ritual” and the more mellow-float centerpiece “Spectral Haze,” while “Mycelium Messiah” brings more straight-ahead fuzz (for a time) and drones on either side surround the 10:35 “Sand Barrows,” the latter serving as the finale “A Shattered Visage” quoting Percy Bysshe Shelley and the former “City of the Djinn” running just a minute-plus but still doing enough to reset the brain from where “Mycelium Messiah” left it. Almost functioning as two albums side-by-side with “Spectral Haze” as the dividing point, The Conduit indeed seems to join various sides together, with a depth to coincide that invites the listener to explore along with it.

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Diggeth, Gringos Galacticos

diggeth gringos galacticos

Landing a punch of classic metal to go along with its heavy-bottomed groove, Diggeth‘s Gringos Galacticos — one supposes the title ‘Spacecrackers’ was taken — was released by the Dutch trio in 2019 and receives a US limited vinyl edition thanks to Qumran Records. One finds some similar guitar heroics to those of Astrosoniq‘s more straightforward moments, but Diggeth‘s focus remains on hookmaking for the duration, offering hints of twang and acoustics in “In the Wake of Giants” and tipping a hat southwestward in “Three Gringos,” but “Straight-Shooter” is willfully breaks out its inner Hetfield and even as the penultimate “Unshackled” departs for a quieter break, it makes its way back in time for the big finish chorus, adding just a touch of Candlemass grandiosity for good measure before the harmonica-laced closing title-track rounds out with its dynamic spacey weirdness, the name of the album repeating itself in an answer to the Stephen Hawking sample that started the voyage on its way.

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Qumran Records website

 

Horizon, The White Planet Patrol

horizon the white planet patrol

Cursed Tongue Records has the vinyl here, and Three Moons the tape, and the CD will arrive through Aladeriva Records, La Rubia Producciones, Aneurisma Records, Surnia Records and Violence in the Veins — so yes, Horizon‘s third album, The White Planet Patrol is well backed. Fair enough for the Kyuss-via-BlackRainbows vibes of “End of Utopia” or the initial charge and flow of “The Backyard” that sets the Alicante, Spain, trio on their way. “King Serpent” and “Death & Teddies” bring well-crafted fuzz to bear, and “Blind World” effectively layers vocals in its chorus to coincide, but the more laid back roll of the title-cut is an unmistakable highlight. Shades of mid-paced Nebula surface in “Meet the Forest” later on, but Horizon are part of a tradition of heavy bands in Alicante and they know it. The smoothness of their tone and delivery speaks volumes on its own in that regard, never mind the actual songwriting, which also leaves nothing to be desired.

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Cursed Tongue Records webstore

 

Limousine Beach, Stealin’ Wine + 2

Limousine Beach Stealin Wine

Debut EP from Limousine Beach out of Pittsburgh, and if the three guitars involved don’t push it over the top, certainly the vocal harmonies get that particular job done. You got six minutes for three songs? Yeah, obviously. They scorch through “Tiny Hunter” to close out, but it’s in the leadoff title-track that Stealin’ Wine + 2 sees the Dave Wheeler-fronted outfit land its most outrageous chorus, just before they go on to find a middle-ground between KISS and Thin Lizzy on “Hear You Calling.” The harmonies open and are striking from the outset, but it’s in how they’re arranged around the standalone parts from Wheeler (also Outsideinside, ex-Carousel) that the outfit’s truest potential is shown. Issued through Tee Pee Records, Stealin’ Wine + 2 is the kind of thing you’d pick up at a show in a normal year and then feel way ahead of everyone else when the LP finally hits. Not a normal year, obviously, but Limousine Beach are serving due notice just the same. In six minutes, no less.

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Tee Pee Records website

 

The Crooked Whispers, Satanic Melodies

the crooked whispers satanic melodies

I’m sure a lot of records show up at Satan’s door with notes, like, “Dear sir, please find the enclosed submitted for your approval,” but it’s not hard to imagine Beelzebub himself getting down with the filth-coated sludge and rolling doom unfurled across The Crooked Whispers‘ debut offering, Satanic Melodies, marked by hateful, near-blackened screams from Anthony Gaglia and the plodding riffs of Chad Davis (Hour of 13, et al). The title-track is longest at 8:23 and in addition to featuring Ignacio De Tommaso‘s right-on bass tone in its midsection, it plays out early like Weedeater sold their collective soul, and drifts out where earlier pieces “Sacrifice” and “Evil Tribute” and “Profane Pleasure” held their roll for the duration. Stretches of clean-vocal cultistry add to the doomier aspects, but The Crooked Whispers seem to care way less about genre than they do about worshiping the devil, and that unshakable faith behind them, the rest seems to fall into place in accordingly biting fashion.

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Review & Full Album Premiere: The Atomic Bitchwax, Scorpio

Posted in audiObelisk, Reviews on August 26th, 2020 by JJ Koczan

The Atomic Bitchwax Scorpio

[Click play above to stream The Atomic Bitchwax’s Scorpio in its entirety. It’s out Friday on Tee Pee Records.]

Some 21 years ago in 1999, New Jersey’s The Atomic Bitchwax made one of the most striking impressions on their self-titled debut album (discussed here) with “Hope You Die,” a song that takes its wishing-ill title and turns it into a call and response vocal hook and makes it mischievously fun. “I hope you hate this shit/I hope your clothes don’t fit,” etc. In 2020, “Hope You Die” leads off. It has been pushed to the forward position on Scorpio, which is the trio’s eighth album, issued like their debut through Tee Pee Records. Scorpio is a landmark by default for the band from Neptune, in that it finds them on the other side of their first record’s 20th year — no small feat for an underground act — and it marks the introduction of their third guitarist, Garrett Sweeny. Sweeny took up the position in early 2019 following the departure of Finn Ryan (also ex-Core) late in 2018, and the band — completed by drummer Bob Pantella and founding bassist/vocalist Chris Kosnik — proceeded onward with another following in a series of years with a busy touring schedule, then in support of 2017’s Force Field (review here).

Not to discount Ryan‘s work in The Atomic Bitchwax, as he brought shred worthy of filling founding guitarist Ed Mundell‘s rather sizable shoes and a melodic vocal that worked well in offsetting Kosnik‘s more shouted approach, could carry a song when asked to do so or follow the rhythm section on any number of whirlwind progressions, but his departure (somewhat surprisingly) hardly caused the group to lose a step. Kosnik, who joined Monster Magnet in 2013, and Pantella, who joined Monster Magnet in 2004, snagged Sweeny from that band’s lineup and The Atomic Bitchwax continued on. Scorpio, recorded this past January at Sound Spa in Edison, NJ, with Stephen DeAcutis, benefits markedly from the relative smoothness of that lineup transition and the chemistry the semi-revamped three-piece were able to build on the road last year, touring with Conan and Black Label Society, among others, and couples this with the well established penchant for speedy heavy rock songcraft that has been largely consistent in their work over the last two decades-plus. Momentum, then, is a key element to both the style and the substance of the band. Like their songs, they move forward.

“Hope You Die” serves as the blastoff and the longest track (immediate points) on Scorpio at 4:36, but it’s just one of the bunch when it comes to hooks. Sweeny and Kosnik share vocals, their styles similar in a manner that’s complementary, and throughout the 10-song/37-minute offering, the guitarist acquits himself well in terms of ripping into a barrage of solos and setting the course through Kosnik‘s winding style of riffs, tapping classic rock heroics and translating it into a methodology that’s long since become identifiable as The Atomic Bitchwax‘s own. They follow “Hope You Die” with the aptly-titled “Energy,” a cut that earlier incarnations of the tracklist had swapped with the here-penultimate “Betting Man” as a late surge, but that works no less well in answering the opener with another fervent shove — “Betting Man,” meanwhile, serves basically the same function where it is — and soon enough turns over to the first of three included instrumentals, “Ninja.”

the atomic bitchwax

As one might expect, it is a blurry whirlwind of punches and kicks, drawing on another time-tested aspect of the band’s overarching modus. They kill. In dizzying fashion. 2008’s TAB4 (review here) departed for more mid-paced fare on the whole, but since 2011’s instrumental, single-song LP, The Local Fuzz (review here) and through 2015’s Gravitron (review here) and Force Field, the band has been on a tear in terms of energy. The title-track of Scorpio, also one of its shortest pieces at 3:22, epitomizes this, and is all the more a fitting example for how memorable it is despite being shot from a cannon. The possibly self-referential stomper “Easy Action,” which presumably closes side A and brings a more restrained pace with Pantella marking time on the snare, seems to nod to “So Come On” from 2006’s Jack Endino-produced Boxriff EP (discussed here), and asks the question, “Do you want to live forever?” as if already knowing the answer is no. Tambourine behind the chorus and timed to the snare cleverly keeps the motion of Scorpio going while likewise speaking to the band’s periodic pop flirtations. Unsurprisingly, it works well.

A quick count-in and “Crash” is off; an instrumental lead-in for the second half of Scorpio that hearkens to the riff of the title-track and runs elsewhere with it, taking its own path to its careening stop ahead of “Super Sonic,” which stands just 3:14 but features some highlight bass work from Kosnik and a stripped-down feel compared to the three tracks prior. Perhaps that’s The Atomic Bitchwax introducing the album’s final movement in some way, or just throwing something different in on side B. Either way, it serves its purpose and shifts to “You Got It” with little fanfare, the latter with not only a return of tambourine, but handclaps as well. “You Got It” is quintessential Bitchwax and fits alongside “Scorpio” and “Easy Action” and the subsequent “Betting Man” as some of the strongest material they bring to the outing, but it’s a high standard across the board: the fuzzy riffing, the subtle vocal shifts, the sheer push of the thing.

This is what The Atomic Bitchwax make sound simple and no one else seems to be able to do in quite the same way. See also “Betting Man” and “Instant Death,” the closing duo that sums up Scorpio in suitably concise and direct fashion with one more hook and one last instrumental thrust. It would be hard for a band like The Atomic Bitchwax to be a completely unknown quantity eight records into their career, but part of what makes Scorpio so much their own is its reflection on what they’ve done before. In light of the advent of Sweeny on guitar and the inevitable change to the band’s personality as a result — swapping members in a power trio is never a simple matter — the band’s claim on who they are feels nothing if not purposeful, and at the core of Scorpio is Kosnik‘s songwriting, which is seemingly unshakable. All the better. They’re of course underserved by not being able to tour immediately to support the release, like so many others, but The Atomic Bitchwax nonetheless remain vital and kinetic.

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The Atomic Bitchwax Post “You Got It” Video

Posted in Bootleg Theater on August 4th, 2020 by JJ Koczan

the atomic bitchwax

The band from Neptune returns! A new Bitchwax video is, generally speaking, cause to celebrate, and the new one for “You Got It” heralds the upcoming LP, Scorpio, with a due showcase of that pivotal balance between forward drive and weight-of-groove that is so much the band’s own. Claiming that sonic space as their own, which, yes, it is, feels all the more purposeful given that with this record founding bassist/vocalist Chris Kosnik and drummer Bob Pantella introduce guitarist Garrett Sweeny to the fold.

And yes, all three of them are also in Monster Magnet, but more importantly, all three of them are in The Atomic Bitchwax. The new video does more than hint toward social commentary with its central lead character, a young woman, walking down the street in the city facing harassment and catcalls as so many do. I can’t help but feel there’s an edge of irony in that it’s a band called The Atomic Bitchwax taking this progressive stance, but there’s nothing to say one’s thinking about these issues can’t evolve over a span of decades, though the woman-as-scorpion cover art of the new album seems to contrast, even if intended as a message of authority or power. In any case, the image of the three-piece in and alongside a speeding subway train could hardly be more fitting, and also being from New Jersey, I’m reminded of the particular relationship that those of my beloved Garden State have with NYC, the much-maligned Bridge and Tunnel Crowd who in large part make the thing go.

So I guess there’s more to unpack here than it might at first seem when one sees the phrase “new Bitchwax video,” but one would hardly begrudge the band either the message or the depth. And, as one would figure, the song rules. Always helps.

Enjoy:

The Atomic Bitchwax, “You Got It” official video

New Jersey-based rock n’ roll trio THE ATOMIC BITCHWAX are set to release their new studio album, ‘Scorpio’, August 28th release via Tee Pee Records. The group, which originally formed in the mid-90s, consists of lead vocalist/bassist Chris Kosnik, drummer Bob Pantella, and guitarist Garrett Sweeny, all of whom are past or present members of the band Monster Magnet. Scorpio is the follow up to the group’s 2017 full-length ‘Force Field’, and their eighth studio LP overall spanning more than two decades.

Today the band releases their video for the second single from the album “You Got It.”

The Atomic Bitchwax, “Scorpio” official video

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The Atomic Bitchwax Post Scorpio Title-Track Video and Album Details

Posted in Whathaveyou on June 29th, 2020 by JJ Koczan

the atomic bitchwax

So I guess when Garden State speed rock treasures The Atomic Bitchwax put out that Bowie cover video and said their new album, Scorpio, had had its release delayed owing to — DUH THE SAME SHIT THAT’S DELAYING EVERYTHING INCLUDING LIFE ITSELF — that was kind of a soft-announcement for the album itself. Fair enough. The record’s a scorcher and a groover through and through, so announce it then, announce it now, whatever. It’s gonna tear shit up just the same, whenever it gets released. It’s the Bitchwax‘s first record with Garrett Sweeny, so that’s a change, but a lot of the core mission of the band remains the same. I’d go on, but hell, I wrote the bio below, so in some ways I’ve said my piece already.

And yeah, I posted about the record before, but frankly, I like keeping these things for posterity, and it’s nice to have the official thing, plus the bio I wrote. I should probably start keeping track of when I do these things. Whatever.

Preorders are up and the video for the title-track is at the bottom of the post. Not at all shockingly, it rules:

The Atomic Bitchwax Scorpio

THE ATOMIC BITCHWAX Announce Studio New Album ‘Scorpio’ Out August 28th via Tee Pee Records

WATCH: Music Video for New Single “Scorpio”

New Jersey-based rock n’ roll trio THE ATOMIC BITCHWAX have announced their new studio album, ‘Scorpio’, which will see an August 28th release via Tee Pee Records. The group, which originally formed in the mid-90s, consists of lead vocalist/bassist Chris Kosnik, drummer Bob Pantella, and guitarist Garrett Sweeny, all of whom are past or present members of the band Monster Magnet. Scorpio is the follow up to the group’s 2017 full-length ‘Force Field’, and their eighth studio LP overall spanning more than two decades.

Pre-order ‘Scorpio’ HERE: https://orcd.co/scorpio

‘Scorpio’ Tracklisting:
1. Hope You Die
2. Energy
3. Ninja
4. Scorpio
5. Easy Action
6. Crash
7. Super Sonic
8. You Got It
9. Betting Man
10. Instant Death

BIO:

The scourge and scorch of New Jersey returns, and their sting is deadly as ever. Garden State riff rock stalwarts The Atomic Bitchwax proudly present their eighth full-length, Scorpio.

In a busy three years since NJ’s most powerful power trio issued 2017’s Force Field, they’ve toured the US and Europe multiple times over, taken part in fests far and wide, and blown past the 20th anniversary of their self-titled debut album.

Scorpio acknowledges the two-decades milestone in its opening revamp of the first song the band ever wrote with vocals, “Hope You Die,” the crash-in of which will be immediately familiar to anyone who’s seen them live. A generation later, it still gets the message across.

From then on, it’s all-go on nine fresh-made burners, founding bassist/vocalist Chris Kosnik, guitarist Garrett Sweeny, and drummer Bob Pantella toying with tempo subtly to lace songs like “Betting Man” and “Easy Action” and “Energy” with signature-style memorable hooks amid instrumentals “Ninja,” “Crash” and “Instant Death,” the head-spinning turns of which push ahead in the aggressive stance The Bitchwax began to present in 2015’s Gravitron while still remaining imbued with new character and the loyalty to classic heavy rock that underlies all their work.

Tracked in Jan. 2020 at Sound Spa in Edison, NJ, with Stephen DeAcutis engineering, Scorpio is a righteous next stage of the momentum The Atomic Bitchwax have been building through hard touring and release after release of gauntlet-throwing-down rock and roll. This is a band that never stops moving, and only ever moves forward.

http://www.theatomicbitchwax.com/
https://www.facebook.com/The-Atomic-Bitchwax-86002001659/
http://teepeerecords.com/
https://www.facebook.com/teepeerecords/

The Atomic Bitchwax, “Scorpio” official video

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Limousine Beach Set June 19 Release for Stealin’ Wine +2 EP

Posted in Whathaveyou on June 8th, 2020 by JJ Koczan

Limousine Beach (Photo by Nic Lockerman)

Last week in the track premiere for Outsideinside‘s cover of ‘Bang Bang (My Baby Shot Me Down),’ it was noted that that band’s frontman, Dave Wheeler — also formerly of Carousel — had another project going called Limousine Beach, whose debut was forthcoming. The three-song EP, Stealin’ Wine +2, is that release, and it’ll be out June 19 through Tee Pee Records. That Tee Pee has picked up Limousine Beach is interesting; frankly, I wondered what the holdup was on them snagging Outsideinside for either of that act’s LPs after working with Wheeler for Carousel, but whatever the case there, with Limousine Beach, the two parties are rejoined, and yeah, it makes sense listening to the band.

Limousine Beach are a little more modern-tinged than Outsideinside, who wear ’70s rock not so much on their sleeve as more like a sleeve-tattoo, but with three guitars there’s plenty of over-the-topness to be found. I also really dig the image of stealing wine, particularly. Think of stealing wine as opposed to stealing beer. Stealing whiskey. It says something about the kind of party they’re having.

The title-track is streaming at the bottom of the post. Dig it:

Limousine Beach Stealin Wine

LIMOUSINE BEACH to Release “Stealin’ Wine +2” EP on Tee Pee Records June 19th!

Pittsburgh PA’s triple lead guitar outfit Limousine Beach combine concentrated songwriting and nimble fretwork with soaring vocal harmonies to become the world’s first “sizzle rock” band.

Limousine Beach is poised to release its first recorded material on Tee Pee Records June 19, 2020 in the form of an EP entitled “Stealin’ Wine +2.”. Each composition is a compact blast of expertly crafted songwriting, none of which sacrifice complexity or power for brevity. So knock off work early, crank up the Limousine Beach, and if anyone asks where you are, tell ‘em you’re gone sizzlin’.

“Based on true events, ‘Stealin’ Wine’ is a tale of airborne liquor theft. When you have 8 hours left to kill on a transatlantic flight, an unattended booze cart is all the motive you need, says the band.

The EP is available for pre-order HERE: https://orcd.co/limousinebeach

Fronted by vocalist/guitarist Dave Wheeler (Outsideinside, ex-Carousel), the lineup is rounded out by guitarists Evan Mitchell (Cruces) and Jason Sichi (Fist Fight in the Parking Lot), drummer Dan Bhutta (Cruces), and bassist Dan Hernandez (Cruces, Sweat). Drawing inspiration from bands such as The Sweet, The Dictators, Van Halen, The Fucking Champs, Nazareth, Sheer Mag, KISS, Jaguar, and Boston.

Stealin’ Wine +2 Tracklisting:
1. Stealin’ Wine
2. Hear You Calling
3. Tiny Hunter

Lineup:
Jason Sichi – Guitar
Evan Mitchell – Guitar
Dave Wheeler – Guitar/Vocals
Dan Hernandez – Bass
Dan Bhutta – Drums

https://www.facebook.com/limousinebeach/
https://orcd.co/limousinebeach
http://teepeerecords.com/
https://www.facebook.com/teepeerecords/

Limousine Beach, “Stealin’ Wine”

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Worshipper Release New Single “Lonesome Boredom Overdrive”

Posted in Whathaveyou on June 5th, 2020 by JJ Koczan

If you’re not looking forward to the next Worshipper record, here’s a good reason why you should be. And if you can believe it — I’m having trouble wrapping my head around the notion, to tell you the truth — the Boston melodic heavy rockers’ new single “Lonesome Boredom Overdrive” isn’t about life under a pandemic lockdown, apropos as it might seem.

The cover art for the new single clearly ties it to Worshipper‘s 2018 second album, Light in the Wire (review here), even as it recalls the poster for Hitchcock’s Vertigo and I agree with vocalist John Brookhouse when he cites the Alice in Chains-style vibe of the track. I hear the declining downer riffing of that band’s Dirt-era here, as well as in some of Brookhouse‘s lyric patterning and self-harmonizing. If that’s a thing you have a problem with, I humbly submit that you should consider rethinking your position.

Today is a Bandcamp no-fee day. The song costs a buck. Not sure what else you might want. And by the way, if Tee Pee Records wanted to do a deluxe edition CD reissue of Light in the Wire with “Lonesome Boredom Overdrive” nestled somewhere into the tracklisting, that’d be just fine by me.

Here’s the track info, links and stream:

worshipper lonesome boredom overdrive

WORSHIPPER – Lonesome Boredom Overdrive

https://worshipper.bandcamp.com/track/lonesome-boredom-overdrive

“Here’s a song that we recorded and mixed for our last record Light in the Wire, but couldn’t quite fit on there for one reason or another. (Run time, mostly.) At a time when many of us are stuck at home, not able to do the things we usually do to entertain ourselves, this song has taken on new meaning. Initially, I came up with the lyrics when I was feeling particularly drained by the daily grind, but now, it seems pretty apropos to put this song out, considering the title and the current dynamic.

This song began with a riff that Al came up with and it may actually be one of our heaviest songs. When we play it live, my head feels like it’s going to collapse, so that’s probably a good sign that a song is fairly heavy. It also has a decidedly Alice in Chains vibe to it, which, let’s be honest for a few of us in the band, was a pretty seminal influence, but was more of a happy accident than anything. So, enjoy! I hope this helps tame your boredom for a moment or two.” – John Brookhouse

released June 5, 2020
Lyrics by John Brookhouse
Music by WORSHIPPER

Produced by CHRIS JOHNSON
Recorded June 2018 at God City Studios SALEM, MA
Tracking & Mix July-Dec 2018 at The Electric Bunker BRIGHTON, MA
Mastered by Brian Charles at Zippah Studios BROOKLINE, MA

https://www.facebook.com/worshipperband/
https://www.instagram/worshipperband
https://worshipper.bandcamp.com/
http://teepeerecords.com

Worshipper, “Lonesome Boredom Overdrive”

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Pushy Stream Hard Wish; LP Reissue out Friday on Tee Pee

Posted in audiObelisk on May 6th, 2020 by JJ Koczan

pushy

Hey, just so we’re clear and you don’t think I’m trying to put one over: this is decidedly not a premiere. Pushy‘s debut album, Hard Wish, originally came out in 2018 through Germany’s Who Can You Trust? Records, and hell, I did a premiere for it at the time, and I’m pretty sure it’s been on Bandcamp ever since, so no, not a premiere. But Tee Pee Records is giving the classic heavy rockin’ eight-tracker a domestic US look on vinyl this week, and that’s definitely enough of an occasion for me to want to host Hard Wish again. Not that good records need an excuse anyway, but you know what I mean.

On guitar/vocals in the Portland, Oregon-based Pushy one finds Adam Burke, formerly of Fellwoods, and best known for the striking paintings he’s provided as cover art for everyone from Ruby the Hatchet to Hexvessel to this site to Fit for an Autopsy. He shares vocal duties with bassist Neal Munson, as Ron Wesley and Travis Clow round out the four-piece on guitar and drums, respectively, and across Hard Wish, they tap influences from earliest AC/DC, earliest King Crimson, earliest Judas Priest, not-quite-earliest Black Sabbath and a host of others brash, ballsy and boozed-up. Clow and Munson make a nodder highlight out of early cut “Blacktop,” but from “Fanny’s” to “I’ll Be Gentle,” the focus here is on attitude, on swagger, and songs like “El Hongo,” the driving “Lonesome Entry” and “Nasty Bag” have plenty of that, while “If I Cry” and closer “Lay of the Land” expand the palette a bit with some deceptively nuanced jams built around the live-feeling energy of the recording itself.

Bottom line is there’s plenty to dig here for ’70s aficionados and other-type heads looking for a groove to make their day, and really, again, I’m not trying to say this is a premiere — because it isn’t — but with the Tee Pee release of Hard Wish out this Friday (preorders below, if that’s your thing), I’m just glad to have a chance to revisit it, because it rocks and sometimes that’s just what you need. Anytime Pushy wants to get going on a follow-up, that’d be fine by me.

Please enjoy:

Portland-based hard rock outfit PUSHY are making waves in 2020. The band has announced that their debut album ‘Hard Wish’ will get a worldwide release on chocolate brown vinyl via Tee Pee Records. Boasting the unmistakable swagger and retro flair of rock n’ roll from a time when Woodstock was still young, Pushy descend upon listeners with boisterous, rabble rock vocals, raw, electric guitar riffs and natural percussion that feels all too authentic in contrast to the swath of modern music. Perhaps the most striking quality of Hard Wish is also its most plainly stated; that it sounds so sincerely like four musicians working harmoniously together as one in the same room.

The vinyl release of ‘Hard Wish’ is out May 8th on Tee Pee Records. Fans can pre-order the LP at the link found here.

‘Hard Wish’ Tracklisting:
1. Fanny’s
2. Nasty Bag
3. Blacktop
4. If I Cry
5. El Hongo
6. Lonesome Entry
7. I’ll Be Gentle
8. Lay of the Land

Pushy is:
Guitar – Ron Wesley
Drums – Travis Clow
Bass, vocals – Neal Munson
Vocals, guitar – Adam Burke

Pushy on Bandcamp

Pushy on Thee Facebooks

Pushy on Instagram

Tee Pee Records website

Tee Pee Records on Thee Facebooks

Tee Pee Records on Bandcamp

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