Red Beard Wall Sign to Desert Records; 3 Out July 2; Premiere “Liberate”

Posted in audiObelisk, Whathaveyou on April 29th, 2021 by JJ Koczan

With a by-now-signature blend of raw sludge and post-hardcore-style melodicism, West Texas’ If you are ready to say “Distributed Data Networking Project Thesis statement”, then we have good news. All you have to do is tell us how long your paper has to be in either words or pages, your area of study, the academic level you are studying at and when you would like to receive the paper by. Red Beard Wall signs to dissertation service in malaysia 4d Small Farm Business Plan Sample dissertation for dr david byrd free online assignments Desert Records for the forthcoming album Dissertation Writing Services Malaysia 2012 requires professional eye and qualified skills. And all these you can get from our expert! 3, set to release on July 2. The follow-up to 2019’s We ordered college papers from the websites before composing our college Speech On Recycling. That's why you're on the right track to pick the The Fight Needs Us All (discussed here) pushes band mastermind/multi-instrumentalist  Hire an Research Paper On Internet writers for hire for phd essay writer for the best quality essay writing service. If you are tasked to write a college cheap course work writers for hire for phd essay, you are not alone. In fact, most college students are assigned to write good quality cheap course work writers for hire for phd papers in exchange for high marks in class. Get Started. To hire a tutor Aaron Wall further along the particular course of purposeful and expressive songwriting — the first line of post-intro opener “Move Forth” is “Oh my god what the fuck have we done?” — and finds him bringing the melodic side of his vocal approach to new prominence in the band’s sound. Effective layering with throaty rasps make for an engaging and malleable dynamic, and even a later cut like “Leave Me Be,” which plays one off the other in verse/chorus fashion, does so fluidly with the crunch of ’90s noise in its riff and enough sludge tonality to be joyous in its harshness.

The ultimately positive nature of  PhD Thesis Editors in UK offer unmatched PhD enters. Our editing service in UK includes Grammar check, Structure and Sentence Flow and Wall‘s lyrics — even “Move Forth” is an encouraging statement, let alone “Keep Fighting” later on — is a distinguishing factor, and feels as much self-directed as outward. This record has been in the works for a while, but no doubt events of the last year played a role as well, and to find “My Brothers” at the center ahead of the first single “Liberate” (premiering below) speaks to the intensity of messaging throughout  Phd The Outsiders Homework Help • Phd thesis dissertation I cannot believe any. Next, take some time with the request to to help students and. Perfect phd thesis writing service with get your research writing, there is someone writing. Thanks for doing my phd thesis writing service for in your order. Be sure to get prewritten content and text phd thesis writing service all of our writers will take. 3: “You’re a person/We care about what happens to you.” Where this melding of scathe and melody ultimately brings  I’ve reviewed quite a few really great online professional writing school papers over the past few months. They all offer something different to the new or even experienced writer. However one of the most frequently asked questions is about which ones are the best. To be completely honest here, I know what most people are looking for in a writing company: A company where you can make the most money possible Red Beard Wall is “Home,” which wraps the nine-song/37-minute outing with a mosh-ready apex that feels like it’s just waiting to emanate at full volume from some stage, anywhere, at any time. Fingers crossed that might get to happen ever.

July, huh? That feels like a long time away, but it isn’t.  Bib Helps and various other academic papers can be a difficulty for any kind of trainee. Your instructor will be trying to find something more than that. In addition, the supplied service has rather a reasonable rate and also the high quality top quality of the provided services will pleasantly amaze you. For every unanticipated scenario there is a departure: you can ask for paper author 3 is the most complex and accomplished collection  Looking for professional dissertation writing help and don't know where to find it? The answer is simple: at Research Paper Of service, right here! Red Beard Wall have yet done, and as you can see in the announcement below, label and artist alike are pretty thrilled to have come together to make it happen.

Dig:

Red Beard Wall 3

RED BEARD WALL 3

Two years after the critically acclaimed sophomore effort “The Fight Needs Us All,” and touring incessantly to support it… the mighty Red Beard Wall are BACK!

“Welcome mutha-fuckin’ Red Beard Wall to the ever-growing Desert Records artist roster!” says label head Brad Frye. “This was a no-brainer right here. I’ve known Aaron for years through Red Mesa. He has the fire and passion that is nearly unparalleled in the heavy underground. His positive attitude and energy is contagious. I can’t wait for folks to hear this album… dig the first single, ‘Liberate!'”

The highly anticipated and aptly titled new album “3” has arrived in all its gnarly, yet beautiful amalgamation of heavy! “3” is the band’s most urgently emotional and honest collection of songs to date. Heavier than ever, gnarlier than ever, more passionate than ever, and on the flipside, more lush and beautiful than ever. Riff salad with a healthy side of groove soup.

“We are beyond honored to team up with the amazing and hella fast-rising Desert Records for RBW3!” echoes Red Beard Wall’s Aaron Wall. “Brad is our brother, so that makes it even more special. We’re focused on growing the band, the label, and our friendship. This is more than a collab… this is family. This is home. We can’t wait for you to hear and see what we do together! Gargantuan guaranteed!” Mad love, gratitude, and respect always!! ALL HAIL!!!”

Joining forces with the impeccable and cutting edge Desert Records for vinyl, digital, and cd release, scheduled for July 2, 2021. For fans of Floor, Torche, Helmet, and Snapcase. ALL HAIL Red Beard Wall!!!

Tracklisting:
1. Tap
2. Move Forth
3. Contrarian
4. Waste
5. My Brothers
6. Liberate
7. Leave Me Be
8. Keep Fighting
9. Home

https://www.facebook.com/redbeardwall/
https://www.instagram.com/redbeardwall/
https://redbeardwall.bandcamp.com/
https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

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Video Premiere: Slow Draw, “A Heavy Snack” from Yellow & Gray

Posted in Bootleg Theater on April 21st, 2021 by JJ Koczan

slow draw

Dissertation Writing For Payment Research Proposal. 2.1K likes. Our team possesses sufficient knowledge with expertise to complete the needs of students by understandings their... Slow Draw will release online essay critique Assignment About Alzheimer Disease Binding essay crime doesnt pay bonamy dobree english essayists Yellow & Gray (review here) on May 7. And amid the joyously weird seven tracks that surround it, “A Heavy Snack” precisely what the title leads you to believe — a 91-second snippet of riff-based heavy rollout nestled into the 24-minute experimentalist whole of the album.  Are you looking for high quality multilingual Do Your Homework She Told Me in india ? We give you professional Article writers for your Writing needs Mark Kitchens, who doubles as the drummer of Hurst, Texas, heavy-jam-jazz-psych duo  apa paper outline Dissertation Histoire 1ere Guerre Mondiale Music religion homework help online best resume writing services in new york city undercover Stone Machine Electric, is no stranger to weird as a sonic concept, and  Forest Service Research Paper essays from our service are great when you have plans for the evening but homework is due tomorrow. We’ll provide you with an expert writer in your subject, and they will turn your brief into a 100% new essay that could pass any plagiarism check with flying colors. All our writers know how to write essays having a good Turnitin similarity report. Submit a custom essay without Slow Draw is a vehicle for further exploration. That  Yellow & Gray opens with “The Project” via manipulated samples and headphone-unveiled wub-wubs before moving into the live-drums and wistful rainy ’70s keyboards of “Stumble” and the ambient-but-also-still-drummed “Spacethunder” ahead of “A Heavy Snack” should be telling. As with Kitchens‘ past outings under the moniker, as well as his various snippets posted through Slow Draw‘s Instagram page, the idea here is to find a creative whim and see where it leads.

In “A Heavy Snack,” that’s to sonic weight. He acknowledges below some kinship with what the piece might have become — or still might, as one never really knowsslow draw yellow and gray — as a Stone Machine Electric track, but there’s no question it’s a standout on Yellow & Gray, leading into the spacious guitar and deep-mixed toms and cymbals of “Stranded” and the foreboding jazz bass ‘n’ strum of “Sylvia.” It is in fact the shortest song on the record — “Sylvia” is the longest at a relatively meditative 4:40 — and as the Beck homage “Turntable” leads into closer “A Slow Move,” with a blend of acoustic and electric drone in a manner that recalls Earth‘s Hex era, “A Heavy Snack” would seem to find a two-minute complement in those empty spaces. The two works, similarly titled, are of course working toward different ends, but there’s a kinship just the same in drawing from something atmospheric and creating breadth in a limited amount of time.

One has to wonder if “Sylvia,” “Turntable” and even “Spacethunder” aren’t leading toward Slow Draw finding its way into a drone-jazz open/experimentalist vibe, but one of the album’s — and yeah, at 24 minutes, it’s a full-length — strengths is in its lack of established rules. It keeps you listening because you don’t know where it’s going next or how it’s getting there. And by the time you find out, it’s over.

I can’t claim to get the reference in the video for “A Heavy Snack,” but if you do, please, let me know in the comments. In any case, the clip is hilarious and I hope you enjoy.

Thanks:

Slow Draw, “A Heavy Snack” official video premiere

Mark Kitchens on “A Heavy Snack”:

A Heavy Snack is really just a morsel of the song it could be, and if it was performed by Stone Machine Electric it would easily be ten times longer. Thankfully it is not because this video would not work for that long of a song. For this video, I wanted to pay a little homage to how I spent my childhood – watching MTV non-stop and absorbing all the music I could. If you can figure out where my shitty rip-off is taken from, then you probably know about how old I am if the MTV reference didn’t tell you.

Slow Draw is an apt descriptor for its own relaxed presence. This project provides ambient soundscapes, lightly steeped in exploratory psych and the meditative drawn-out cadence of drone.

Slow Draw on Thee Facebooks

Slow Draw on Instagram

Slow Draw on Bandcamp

Slow Draw website

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Quarterly Review: Sonic Flower, Demon Head, Rakta & Deafkids, Timo Ellis, Heavy Feather, Slow Draw, Pilot Voyager, The Ginger Faye Bakers, Neromega, Tung

Posted in Reviews on April 2nd, 2021 by JJ Koczan

quarterly-review-spring-2019

Friday morning and the Spring 2021 Quarterly Review draws to a close. It’s been a good one, and though there are probably enough albums on my desktop to make it go another few days, better to quit while I’m ahead in terms of not-being-so-tired-I’m-angry-at-everything-I’m-hearing. In any case, as always, I hope you found something here you enjoy. I have been pleasantly surprised on more than a few occasions, especially by debuts.

We wrap with more cool stuff today and since I’m on borrowed time as it is, let me not delay.

Quarterly Review #41-50:

Sonic Flower, Rides Again

sonic flower rides again

Like Church of Misery‘s groove but feel kind of icky with all those songs about serial killers? Legit. Say hello to Tatsu Mikami‘s Sonic Flower. Once upon a 2003, the band brought all the boogie and none of the slaughter of Tatsu‘s now-legendary Sabbathian doom rock outfit to a self-titled debut (reissue review here), and Rides Again is the lost follow-up from 2005, unearthed like so many of the early ’70s forsaken classics that clearly inspired it. With covers of The Meters and Graham Central Station, Sonic Flower makes their funky intentions plain as day, and the blowout drums and full-on fuzz they bring to those cuts as well as the five originals on the short-but-satisfying 28-minute offering is a win academically and for casual fans alike. You ain’t gonna hear “Jungle Cruise” or their take on “Earthquake” and come out complaining, is what I’m saying. This is the kind of record that makes you buy more records.

Sonic Flower on Thee Facebooks

Heavy Psych Sounds on Bandcamp

 

Demon Head, Viscera

demon head viscera

With Viscera, Copenhagen’s Demon Head make their debut on Metal Blade Records. It is their fourth album overall, the follow-up to 2019’s Hellfire Ocean Void (review here), and it continues the five-piece’s enduring exploration of darker places. Dramatic vocals recount grim narratives over backing instrumentals that are less doom at the outset with “Tooth and Nail” and “The Feline Smile” than goth, and atmospheric pieces like “Arrows” and “The Lupine Choir” and “A Long, Groaning Descent” and “Wreath” and certainly the closer “The Triumphal Chariot of Antimony” further the impression that Viscera, though its title conjures raw guts, is instead an elaborate entirety — if perhaps one of raw guts — and meant to be taken in its 36-minute whole. Demon Head make that LP-friendly runtime a progression down into reaches they’d not until this point gone, tapping sadness for its inherent beauty.

Demon Head on Thee Facebooks

Metal Blade Records website

 

Rakta & Deafkids, Live at Sesc Pompeia

Rakta Deafkids Live at Sesc Pompeia

Next time someone asks you what the future sounds like, you’ll have a good answer for them. Combined into a six-piece band, Brazilian outfits Rakta and Deafkids harness ambience and space-punk thrust into a sound that is born of a past that hasn’t yet happened. Their Live at Sesc Pompeia LP follows on from a 2019 two-songer, but it’s in the live performance that the spirit of this unity really shines through, and from opener/longest track (immediate points) “Miragem” through the semi-industrialized effects swirl of “Templo do Caos,” into the blower-noise dance party “Sigilo,” the weirdo-chug-jam of “Forma” and the space rock breakout “Flor de Pele” and the percussed buzz and echoing howls of “Espirais,” they are equal parts encompassing and singular. It is not to be ignored, and though there are moments that border on unlistenable, you can hear from the wailing crowd at the end that to be in that room was to witness something special. As a document of that, Live at Sesc Pompeia feels like history in the making.

Rakta on Thee Facebooks

Deafkids on Thee Facebooks

Rapid Eye Records website

 

Timo Ellis, Death is Everywhere

Timo Ellis Death is Everywhere

A madcap, weighted-but-anti-genre sensibility comes to life in supernova-experimentalist fashion throughout the four songs of Timo EllisDeath is Everywhere. The lockdown-era EP from Ellis (Netherlands, Yoko Ono, Cibo Matto, on and on) makes post-modern shenanigans out of apocalypses inner and outer, and from lines like “this bridal shower is bumming me out” in the unabashedly hooky “Vampire Rodeo” to “the earth will still breathe fire without you!” in “Left Without an Answer,” the stakes are high despite the flittering-in-appreciation-of-the-absurd mood of the tracks themselves. The title-track and “Evolve or Die” blend sonic heft and the experimental pop movement that “Vampire Rodeo” sets forth — the third cut is positively manic and maniacally positive — while “Left Without an Answer” almost can’t help but be consuming as it rolls into a long fade leaving intertwining vocals lines as the last to go, telling the listener to “learn to say goodbye” without making it easy. Won’t be for everyone, doesn’t want to be. Is expression for itself. Feels genuine in that, and admirable.

Timo Ellis on Thee Facebooks

Timo Ellis on Bandcamp

 

Heavy Feather, Mountain of Sugar

heavy feather mountain of sugar

With not-at-all-subtle nods to Humble Pie and Ennio Morricone in its opening tracks, Heavy Feather‘s second LP, Mountain of Sugar, has boogie to spare. No time is wasted on the 38-minute/11-track follow-up to 2019’s DĂ©bris & Rubble (review here), and true to the record’s title, it’s pretty sweet. The collection pits retro mindset against modern fullness in its harmonica-laced, duly-fuzzed title-track, and goes full-Fleetwood on “Come We Can Go” heading into a side B that brings a highlight in the soft-touch-stomp of “Rubble and Debris” and an earned bit of Southern-styled turn in “Sometimes I Feel” that makes a fitting companion to all the bluesy vibes throughout, particularly those of the mellow “Let it Shine” earlier. The Stockholm outfit knew what they were doing last time out too, but you can hear their process being refined throughout Mountain of Sugar, and even its most purposefully familiar aspects come across with a sense of will and playfulness.

Heavy Feather on Thee Facebooks

The Sign Records on Thee Facebooks

 

Slow Draw, Yellow & Gray

slow draw yellow and gray

Don’t tell him I told you so, but Slow Draw is starting to sound an awful lot like a band. What began as a drone/soundscaping project from Stone Machine Electric drummer/noisemaker Mark Kitchens has sprouted percussive roots of its own on Yellow & Gray, and as Kitchens explores textures of psychedelic funk, mellow heavy and even a bit of ’70s proggy homage in “Sylvia” ahead of the readily Beck-ian jam “Turntable” and acousti-drone closer “A Slow Move,” the band-vibe is rampant. I’m going to call Yellow & Gray a full-length despite the fact that it’s 24 minutes long because its eight songs inhabit so many different spaces between them, but however you want to tag it, it demonstrates the burgeoning depth of Kitchens‘ project and how it’s grown in perhaps unanticipated ways. If this is what he’s been doing in isolation — as much as Texas ever shuttered for the pandemic — his time has not been wasted.

Slow Draw on Thee Facebooks

Slow Draw on Bandcamp

 

Pilot Voyager, Nuclear Candy Bar

plot voyager nuclear candy bar

Freak! Out! The 66-minute Nuclear Candy Bar from Hungarian psychedelicists Pilot Voyager might end mostly drifting with the 27-minute “23:61,” but much of the four tracks prior to that finale are fuzz-on-go-go-go-out-out-out heavy jams, full in tone and improv spirit however planned their course may or may not actually be. To say the least, “Fuzziness” lives up to its name, as guitarist/founder Ákos Karancz — joined by bassist Bence Ambrus (who also mastered) and drummers KrisztiĂĄn Megyeri and IstvĂĄn Baumgartner (the latter only on the closer) — uses a relatively earthbound chug as a launchpad for further space/krautrocking bliss, culminating in a scorching cacophony that’s the shortest piece on the record at just under seven minutes. If you make it past the molten heat of the penultimate title-track, there’s no turning away from “23:61,” as the first minute of that next day pulls you in from the outset, a full-length flow all unto itself. More more more, yes yes yes. Alright you get the point.

Pilot Voyager on Thee Facebooks

Psychedelic Source Records on Bandcamp

 

The Ginger Faye Bakers, Camaro

the ginger faye bakers camaro

Sit with The Ginger Faye BakersCamaro EP for a little bit. Don’t just listen to the first track, or even the second, third or fourth, on their own, but take a few minutes to put it all together. Won’t take long, the thing’s only 17 minutes long, and in so doing you’ll emerge with a more complex picture of who they are as a band. Yeah, you hear the opening title-cut and think early-Queens of the Stone Age-style desert riffing, maybe with a touch of we’re-actually-from-the-Northeast tonal thickness, but the garage-heavy of “The Creeps” feels self-aware in its Uncle Acid-style swing, and as the trio move through the swinging “The Master” and “Satan’s Helpers,” the last song drawing effectively from all sides, the totality of the release becomes all the more sinister for the relatively straight-ahead beginning just a short time earlier. Might be a listen or two before it sinks in, but they’ve found a niche for themselves here and one hopes they continue to follow where their impulses lead them.

The Ginger Faye Bakers on Thee Facebooks

The Ginger Faye Bakers on Bandcamp

 

Neromega, Nero Omega

Neromega Nero Omega

If you’re not yet keeping an eye on Regain Records offshoot Helter Skelter Productions, Rome’s Neromega are a fervent argument for doing so. The initials-only cultish five-piece are Italian as much in their style of doom as they are in geography, and across their four-song Nero Omega debut EP, they run horror organ and classic heavy rock grooves alongside each other while nodding subtly at more extreme fare like the death ‘n’ roll rumble in closer “Un Posto” or the dirt-coated low end that caps “Pugnale Ardore,” the drifting psych only moments ago quickly forgotten in favor of renewed shuffle. Eight-minute opener “Solitudine,” might be the highlight as well as the longest inclusion on the 24-minute first-showing, but it’s by no means the sum total of what the band have on offer, as they saunter through giallo, psychedelia, doom, heavy riffs and who knows what else to come, they strike an immediately individual atmospheric presence even while actively toying with familiar sounds. The EP is cohesive enough to make me wonder what their initials are.

Neromega on Thee Facebooks

Helter Skelter Productions website

 

Tung, Bleak

TUNG BLEAK

Some of the made-even-bigger-by-echo vocals from guitarist Craig Kasamis might remind of Maurice Bryan Giles from Red Fang, but Ventura, California’s Tung are up chasing down a different kind of party on 2020’s Bleak, though Kasamis, guitarist David Briceno (since replaced by Bill Bensen), bassist Nick Minasian and drummer Rob Dean have a strong current of West Coast noise rock in what they’re doing as well in “Runaway,” a lurcher like “Spit” later on or the run-till-it-crashes finisher “Fallen Crown,” which the only song apart from the bookending opener “Succession Hand” to have a title longer than a single word. Still, Tung have their own, less pop-minded take on brashness, and this debut album leaves the bruises behind to demonstrate its born-from-hardcore lineage. Their according lack of frills makes Bleak all the more effective at getting its point across, and while they’d probably tell you their sound is nothing fancy, it’s fancy enough to stomp all over your ears for about half an hour, and that’s as fancy as it needs to be. Easy to dig even in its more aggressive moments.

Tung on Thee Facebooks

Plain Disguise Records website

 

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The Obelisk Questionnaire: James Cl of Monte Luna

Posted in Questionnaire on March 30th, 2021 by JJ Koczan

monte luna james cl

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: James Cl of Monte Luna

How do you define what you do and how did you come to do it?

I play to live, music is life to me and a true universal language. Playing music is the closest thing to a higher power I’ve ever felt. It is a connection with everyone involved. I started getting serious into music when my ex-wife killed herself in 2015. It was either drink myself to death or play more music, and I’m thankful for the decision I made.

Describe your first musical memory.

My first musical memory was listening to Dark Side of the Moon with my Father when I was a child. It was such an awakening. My first memory of actually playing music was when I was 16. My friend Joe Pacelli and I would sing Alice in Chains songs. He would play guitar and sing doing the Jerry leads and I would do Layne’s. It was amazing, it wasn’t too long after that that I got into guitar, but didn’t get serious about it until after I got out of the Navy when I was 22 (I’m 33 now).

Describe your best musical memory to date.

I would say our 2018 tour across the East Coast. We met so many wonderful people and had such a blast, I was hooked. Second to that would be our Free Week performance at Mohawk Austin. Packed house, stellar lineup and all the homies.

When was a time when a firmly held belief was tested?

When Phil left Monte Luna after our EU tour fell through I was devastated. But I’m thankful for the music community here in Austin and for such great friends, now bandmates, and about to be roommates (Yes, Monte Luna band house is coming in April!!). I really thought it was over, but new energy and the ability to get more live layers of sound really has us pushing. We already have the album written and are working on recording. I believe the bass and drums are done! So that leaves my rhythm, vocals and leads/keys and samples! I love two-piece Monte Luna, but it was mostly for proof of concept, and I got big dreams JJ!

Where do you feel artistic progression leads?

I think there is no one direction artistic progression leads. Sometimes you do art for so long you change course and become better at another form of art. Hell, my first art was doing scripts and goofy movies with my friend Eric Oneil. Now, I play doom, before that I was doing more of a punk rock thing. You just need to be in touch with yourself and keep from limitations of people, genres and anything. Art comes from the soul, and you grow with it.

How do you define success?

Success is based solely on person to person. I used to work for the courts, had a great job and a good life… and I hated it… now, I bartend, play music and live much more modest and I love it. What is success? Well, when they asked me what I wanted to be in college, I said, Happy. That’s what I have been working toward ever since.

What is something you have seen that you wish you hadn’t?

There are some things I wish I could forget about my time in the Navy for sure. But I don’t wish to talk about or glorify war. So I’m gonna say, Velvet Revolver. They trash.

Describe something you haven’t created yet that you’d like to create.

Oh it’s coming… but… an Adventure module for DND 5e based on a Monte Luna album world. Pretty stoked about it, working on characters and adventure hook as we speak! (Multitasking for the win.) It will, for the sake of size, be directly compatible with all 5e books. We are trying to build something very similar to the Lost Mines of Phandelver adventure found in the DND 5e beginners set. We are aiming to include this as a very limited special edition of our next vinyl.

What do you believe is the most essential function of art?

To make you feel something.

Something non-musical that you’re looking forward to?

My girlfriend Jenny and I are going to play DND together for the first time right before her birthday! I’m the Dungeon Master too (haha kinda kinky).

www.facebook.com/pg/MonteLuna666
www.monteluna666.bandcamp.com
https://www.instagram.com/monte_luna_tx/
www.argonautarecords.com

Monte Luna, ‘Live at Studio E’

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The Penitent Man & Cortége Pair for Legends of the Desert Vol. 2 Split

Posted in Whathaveyou on March 23rd, 2021 by JJ Koczan

There’s a lot of info below, and fair enough, but if you’re looking for the essentials, it goes like this: Desert Records is bringing together Salt Lake City’s The Penitent Man and Austin duo CortĂ©ge for the second in its seven-part Legends of the Desert split series. June 4 is the release date. You might recall Vol. 1 (discussed here) came out last year, and this will be Vol. 2.

Both bands are Desert Records veterans, with releases out through the New Mexico-based imprint, and it goes without saying that the intention here is to write legends rather than bask in those longstanding of yore. Ls are limited, as will happen, and CDs and downloads will all be out — all that fun stuff. I don’t have preorder info or any audio yet, but you can hear releases from both bands below, and I think it’ll come through one into the next that each one brings something of its own to the release, with The Penitent Man handling more of the rocking traditionalism while CortĂ©ge offer a cinematic take with their tubular-belled instrumentals. Looking forward to hearing this one.

Announcement follows courtesy of the label:

the penitent man cortege legends of the desert vol 2

LEGENDS OF THE DESERT: VOL 2 – The Penitent Man & CortĂ©ge

Legends of the Desert: Volume 2 releases on June 4th, 2021. Vol. 2 brings us further into the desert showcasing new and classic Desert Rock bands geographically located in the Southwestern United States. Continuing the vision of Vol.1, the second installment will introduce the world to two new “Legends” bands, carefully curated by Desert Record’s owner Brad Frye.

All the music for Legends of the Desert is exclusive to the series.

Maintaining the quality and consistency throughout the 7-part series, we will see the return of the Legends team.

New & stunning album artwork by the series artist, Joshua Mathis, features an album cover with a Gunslinger riding a Gila Monster.

The timeless, classic looking graphics and layout from Garrett Hellman will be featured along with Mathis’s artwork.

Mastering will be handled by the series audio mastering engineer, Mark Fuller.

Vinyl LP’s will be available in a limited edition of 500, including highly limited special color variants. CD’s and digital downloads will be available. Digital streaming will be available worldwide.

Desert Records is excited to announce the bands: The Penitent Man (Utah) and Cortége (Texas).

Side A:
The Penitent Man is a 5-piece from Salt Lake City. Blending Desert Rock, Classic Rock, Heavy Blues. These exclusive songs featuring the special guest, Todd Ogren from Rival Sons on keyboard for all three tracks! Sounds like Led Zeppelin teamed up with Alice in Chains to make an album in the desert.

A Long Deep Breath of Sadness–4:26
The Butcher–6:32
Rest My Weary Head–9:01
All songs written and produced by The Penitent Man
Drum Tracking and Mixing by Greg Downs at Pale Horse Sound

Steve King–Guitars
Phill Gallegos–Guitars
Allan Davidson–Vocals
Chris Garrido–Drums
Ethan Garrido–Bass
Todd Ogren–Keyboards (from Rival Sons).

Side B:
Cortége is a duo from Austin, TX. They play Ambient Doom mixed with post-western cinematic scores. Heavy bass guitar, drums, and tubular bells. Sounds like if Earth and Pink Floyd teamed up to do a soundtrack to a David Lynch film.

1. As it Lay (Heavy in the Air) – 10:25
2. Circling Above – 8:39

All songs written and recorded by Cortége.
Recorded and mixed by Kevin Sparks.

Mike Swarbrick – Bass, Tubular Bells
Adrian Voorhies – Drums

https://www.facebook.com/thepenitentmanband
https://www.instagram.com/thepenitentmanband/
https://thepenitentman.bandcamp.com/

cortege.bandcamp.com/
facebook.com/cortegeatx/
instagram.com/cortegeatx/

https://www.facebook.com/desertrecordslabel/
https://desertrecords.bandcamp.com/
https://desertrecords.bigcartel.com/

The Penitent Man, The Penitent Man (2020)

Cortége, Capricorn (2019)

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Monte Luna Post ‘Live at Studio E’ Livestream Video

Posted in Bootleg Theater on March 22nd, 2021 by JJ Koczan

monte luna

Studio E in San Antonio, Texas, has hosted regular streams and at least from watching Monte Luna tear shit up for an hour, they seem well equipped to do so. There are some strobe flashes in the video itself, but that’s nothing compared to the sludgy onslaught of the Austin-based trio, who, if you’ve never seen them in-person, gave fervent argument in favor of doing so. Last summer, they released the Mind Control Broadcast EP (discussed here), reveling in volume for new material recorded as part of a livestream for CvltNation. ‘Live at Studio E’ may or may not get turned into an audio release, but hell’s bells, it should, even if it’s only a Bandcamp Friday tossoff.

All three of the cuts on Mind Control Broadcast were brought to bear, with “Rust Goliath” leading off and “Black Star” giving a hookier anchor as they moved into the second half of the proceedings. If you watched live, there was some audio trouble, but that’s all cut from the video below, and after copious shoutouts and virtual hugs from guitarist/vocalist James Cl, they’re underway quickly enough with a brand of sludge that’s both pure volume revelry and atmospheric, drawing cosmic edge from the School of YOB but having stripped away the longform presentation that typified their 2017 self-titled debut (review here) in favor of a more pointed, turn-based battle system on 2019’s Drowners’ Wives (review here). It is to their credit and that of Studio E that the stream didn’t come through clipped to all hell. One assumes a significant soundcheck happened prior.

Joined by drummer Danny Marshner, who also provided atmospheric synth sampling as transitions between songs — he also won t-shirts, with Holly Hunt, as one will every time — and bassist Garth Condit, the trio came ready to party with James Cl at the fore and sure enough made their time a blast. Cl, né Clarke, has a scream I can only describe as “easy” in the sense that he can do it for an hour’s stretch and not lose fervency and slip in and out of it in favor of cleaner vocalizing. It’s the kind of thing a singer who can sing, as he can, might give up as the band continues to grow, but for what it’s worth, I hope he doesn’t; it’s one more tool in the shed to make Monte Luna a more varied, unpredictable act.

They finished with “Man of Glass” from Drowners’ Wives — it was the only song from that album they played — and I remember thinking after Mind Control Broadcast that they should do their next full-length mostly if not completely live in the studio. That opinion was only furthered here. Not every band can bring a show’s energy to playing in a studio or livestream setting. Monte Luna clearly can, and while I’d hope to see them on a stage at some point in the unknowable future, in these take-what-you-can-get days, ‘Live at Studio E’ is hardly roughing it.

Enjoy:

Monte Luna, ‘Live at Studio E’

James Cl on ‘Live at Studio E’:

We may have had some technical difficulties starting but when we got rolling it was a great time! It was so wonderful being back in San Antonio, a city we love and miss. Even if it was for a live stream it was the closest thing to a live show we’ve had in months! We can’t wait for live shows to return! Your eyes are dazed and heavy.

Setlist:
Rust Goliath (Mind Control Broadcast)
Burning of Elohim (ST)
Nameless City (ST)
Nightmare Frontier (ST)
Black Star (Mind Control Broadcast)
Fear the Sun (Mind Control Broadcast)
Man of Glass (Drowners’ Wives)

Audio – Brant Sankey – Studio E Recording
https://www.facebook.com/StudioE210??
https://www.instagram.com/studioe210/??

Video – Oscar Moreno
https://www.facebook.com/oscarmphoto??
https://www.instagram.com/oscarmorenophoto/

Assistant – Nick Sabala

Special Thanks – Billie Patterson
https://www.instagram.com/billie.wonka

Monte Luna are:
Guitar/Vox: James Cl
Drums/Noise: Danny Marschner
Bass: Garth Condit

Monte Luna on Thee Facebooks

Monte Luna on Bandcamp

Monte Luna on Instagram

Argonauta Records website

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Dayeater Premiere New Single “Sweet Earth”

Posted in audiObelisk on March 2nd, 2021 by JJ Koczan

dayeater

This Friday, March 5, Austin trio Dayeater will release their new single, ‘Sweet Earth.’ And with it, the everybody-sings three-piece of guitarist Jesse Lee, bassist Christopher Brockett and drummer Landry Jackson begin to make their way toward their third full-length by challenging the very form. True, they could put together groupings of songs in some manner of flow as a regular LP might — they’ve done so twice before, with 2016’s Voices Out of Nowhere and their 2018 self-titled — but the times have changed and where one might release a full-length album, plop it out there in the digital/physical ether, be unable to play shows to support it and reap a few decent weeks of momentum then be done, they’re choosing instead to bring out one song at a time, giving their audience a chance to absorb each track on its own before, presumably, some later assembly.

It’s a bold move. “Sweet Earth,” sure enough, is a gem, moving from its uptempo, hooky beginning into later reaches of dayeater sweet earthpsychedelic medley, but generally within the span even of a 38-minute LP, there’s something that, if not an outright clunker, is serving a purpose complementary to the songs around it. That’s a luxury Dayeater are denying themselves. Each song comes under a much closer microscope when released as a single, and in this strange, show-less age, maybe that’s even more true since there isn’t sheer volume of personal delivery or stage energy to draw from in introducing material to listeners, as there would be on a tour. So it goes.

The good news here, which by now I’m sure you’re expecting, is that Dayeater‘s songwriting on “Sweet Earth” finds them meeting that challenge head-on. I won’t speak to the rest of the ‘album’ to come piece-by-piece over the next however long, but a six-minute first single isn’t nothing as regards a sampler, and Dayeater acquit themselves with a sharp sense of purpose and atmospheric flourish alike. They sound like they’re making a go of it, looking to actively engage their audience, and while it’s true this is a harsh moment for a group like that, who would otherwise probably make a killing at SXSW in their hometown, the vitality they’re working with here and the balance of arrangement depth and songcraft makes them that much harder to ignore, which one suspects is precisely the point. The proverbial band with a plan. Right on.

Track premiere follows below, along with details from the PR wire.

Please enjoy:

Roaring out of the sonic breeding ground that is Austin, Texas come DAYEATER. Long since branded ‘Austin’s Loudest Psychedelic Trio,’ DAYEATER are a one of a kind force in the underground. Their music is built around the riffs of Black Sabbath, the harmonies of the Zombies and Jimi Hendrix inspired guitars all with a power trio lineup. Featuring a one handed guitarist, an insulin addicted bassist and a vegetarian drummer, DAYEATER are just the sort of motley crew to become the next big thing in rock.

After forming in the spring of 2014, the band released a pair of full length albums, 2016’s Voices Out Of Nowhere and a self titled effort in 2018. Their powerful songwriting full of psychedelic riffs and lush vocal harmonies won over a small legion of fans. That’s why 2020 was when the band really started to pick up steam, being selecting for the Austin Music Foundation Artist Development Program and even having January 9th, 2020 being declared ‘DAYEATER Day’!

Now, the band is gearing up to release their next offering, the single “Sweet Earth,” recorded with Grammy nominated producer, Chris “Frenchie” Smith. The band have a new album ready to go and plan to release one single at a time and through a sustained promotional effort break through to the right audience and explode. As the ongoing COVID crisis comes to an end, DAYEATER look to go out on tour and never come back.

Dayeater on Thee Facebooks

Dayeater on Instagram

Dayeater on Bandcamp

Dayeater website

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Night Beats to Release Outlaw R&B May 7; Stream “New Day”

Posted in Whathaveyou on February 9th, 2021 by JJ Koczan

By now it’s a tried and maybe-sometimes-true ethic: if you see something, say something. Well, I saw the new Night Beats video for “New Day” and I’m saying something. Mostly what I’m saying is it’s a cool bit of against-the-genre-grain songcraft, and also that there’s plenty of other Night Beats stuff to dig into until the new album, Outlaw R&B, arrives this Spring through Fuzz Club Records. Like four other albums. And singles. And splits. And so on.

Interesting to note that this is the second record to be posted about here to touch thematically on Californian wildfires — the other was Grayceon‘s latest — though I think it’s entirely possible they’re doing so in successive seasons. Nothing inspires like apocalypse! Plenty to go around, certainly.

I’ve got digging to do through the Night Beats back catalog ahead of hopefully getting to check out the new album, but in the meantime, here’s this from Fuzz Club:

night beats outlaw R&B

Night Beats – Outlaw R&B

On May 7th 2021, Night Beats – the Texas-born brainchild of Danny Lee Blackwell – will release their fifth full-length, ‘Outlaw R&B’, via Fuzz Club Records. The album arrives following the 2019 ‘Myth of A Man’ LP (produced by Dan Auerbach of The Black Keys and released by Heavenly Recordings) as well as last year’s ‘That’s All You Got’ 7”. Made during the height of the California wildfires (where Blackwell currently resides), rioting in the streets and a nation in lockdown, the raucous technicolour rock’n’roll of ‘Outlaw R&B’ is a call to rejoice in some sorely needed post-apocalyptic hedonism.

You can pre-order the album and stream the first single ‘New Day’ here: nightbeats.lnk.to/outlaw

Blackwell says of the album: “Outlaw R&B is music for the borderless, the free, the outcasts and the forgotten. The outlaw is the runner. Those whose minds aren’t sold by perfect pitch and clean fingernails. Through this medium you can escape the confines of mental feudalism and bask in the euphoric glow of psychedelic R&B.” Where the last Night Beats LP was a distinctly polished and soulful affair, ‘Outlaw R&B’ sees the band return to their natural habitat: riotous, acid-fried rock’n’roll to lose your head to.

“New Day is my postcard from purgatory. Upon going into lockdown I holed myself up with Akira Kurosawa movies and canned goods. This is the result of sleepless nights while hearing the world crumble outside my window. I sing of desperation and loss, while grinning in the face of an uncertain future.”

1. Stuck In The Morning
2. Revolution
3. New Day
4. Hell In Texas
5. Thorns
6. Never Look Back
7. Shadow
8. Crypt
9. Cream Johnny
10. Ticket
11. Holy Roller

https://www.facebook.com/thenightbeats.u.s
https://nightbeats.bandcamp.com/
http://fuzzclub.com
http://fuzzclub.bandcamp.com
http://twitter.com/fuzzclub
http://instagram.com/fuzzclubrecord

Night Beats, “New Day” official video

Night Beats, Outlaw R&B (2020)

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