The Atlas Moth Have a Burger

Posted in Whathaveyou on September 30th, 2009 by JJ Koczan

That's a Converge mustache right there. (Photo by Derek Dietrich-Muller)…And that’s only news because they’re from Chicago, which means the burger is at Kuma’s Corner, and it’s a unique and artery-clogging concoction named for the band. The Atlas Moth‘s Candlelight/Battle Kommand debut, A Glorified Piece of Blue Sky, is out Oct. 20. In the meantime, dig this recipe (and other info) as told by the PR wire:

The Atlas Moth have announced a record listening party on October 4th at Chicago‘s Kuma’s Corner (MySpace here), the restaurant known for naming its burgers after international and hometown favorite metal bands. Here they’ll unveil the mammoth “Atlas Moth Burger“… a 10 oz. slab of beef on waffles, topped with collared greens, fried chicken, chicken fried bacon and a bacon infused maple syrup. Amazing!

My chest hurts just thinking about it. Fortunately the band will get a good workout touring the US for about two months to support the album after a record release show at Reggie‘s in Chicago with Kylesa, Saviours and Red Fang. Other dates follow after the jump.

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Congrats to The Atlas Moth

Posted in Whathaveyou on August 5th, 2009 by JJ Koczan

In case you were wondering whether opening for Pentagram in your hometown might ever have some positive benefits, witness Chicago‘s recently reviewed The Atlas Moth, who are the latest act from Christopher Nolan‘s Gotham City to find themselves hooking up with a killer label. This time it’s Candlelight, which will be releasing A Glorified Piece of Blue Sky in October.

As per the PR wire:

Look, they even got new photos! (Photo by Derek Dietrich-Muller)Candlelight Records confirms the worldwide signing of Chicago?s The Atlas Moth. Popular throughout the Midwest region, the quintet joins the UK-based label?s growing American roster having already shared the stage with Pentagram, Saviours, Intronaut, Nachtmystium, Wolves in the Throne Room, Coalesce and many others. Recently completing tracking at Chicago?s Phase Recordings, the doom warriors expect to hit the road in the next month performing tracks from their forthcoming label debut.

A Glorified Piece of Blue Sky, featuring artwork by Ryan Kasparian, is scheduled for American release on October 6. Produced by the band with post-production work handled by Michael Kandel (Tranquility Bass), the album showcases the band?s triple-guitar wall of sound that is sure to leave a lasting impression. Clocking in at just under an hour, the album?s eight metal epics are dynamic, expressive, and heavier than sin. Looking back on the album?s creation, guitarist/vocalist Stavros reveals, “A Glorified Piece of Blue Sky became something none of us could have expected. It is a completely collaborative record, from start to finish. It really is a true representation of our band.”

Track listing for A Glorified Piece of Blue Sky:
1. A Night In Venus’ Arms…
2. A Glorified Piece of Blue Sky
3. Grey Wolves
4. Our Sun, Our Saviour
5. Extraordinary Claims Require Extraordinary Evidence
6. One Amongst the Wheat Fields
7. Jump Room to Orion
8. …Leads to a Lifetime on Mercury

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The Atlas Moth: Tide is High

Posted in Reviews on March 30th, 2009 by JJ Koczan

Poseidon is the new black.Nearly everything about The Atlas Moth screams new school doom, from their Chicago origins to their triply-guitared lineup (which is excessive until you consider how often the third guitar is used more as a noisemaker than an instrument and how often recordings feature multiple tracks anyway) to their silhouetted promo photos to their oceanic references to their screams to their pace. They couldn’t be more Windy City if they took up residence at Sanford Parker‘s Volume Studio and started serving deep-dish pizza to the tens of thousands of bands who seem to record there every week.

You could easily call it a wall of sound The Atlas Moth create with their debut EP, Pray for Tides (Witch Trial Records). They go from the tasteful lead that opens “Hope for Atlantis” immediately into visceral screaming and riff out underneath tapped lines and crashing mid-paced drums. The tempo stays up for the most part — they never really get slow, which I take as a demonstration of their age, but in the new school of doom speed doesn’t seem to matter so long as the atmosphere is crushing, which it undeniably is on these five tracks.

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