Posted in Whathaveyou on July 26th, 2024 by JJ Koczan
Massive Hassle‘s 2023 debut, Number One (review here), wasn’t short on charm offered through the harmonies and classic-style rock, blues, soul and shuffle from brothers Bill Fisher and Marty Fisher, and as Unreal Damage opens up for my first listen with “Crap is Your Life,” I see not much has changed in that regard over the mere months since the first record. So much the better for the mellow rockers, both also of Church of the Cosmic Skull and Dystopian Future Movies, both formerly of Mammothwing, etc., and so much the better for anyone who’d seek vibe without pretense or sacrifice of songcraft and performance. Plus fuzz, which also helps.
The first single from the eight-track outing is called “Walk of Shame” and you can hear its bluesy guitar line and sleek melody advising you to “take it slowly” for yourself at the bottom of this post (at least I hope so, if the timing on the post works). It’s a fitting introduction into things to come, and the notice to get ready for it is welcome since Unreal Damage is out in just a couple weeks. Aug. 16 is the release date, if you missed it in the headline. And if you did, that’s okay too.
Info follows as per the PR wire:
Massive Hassle announce the release of their second album ‘Unreal Damage’ out on Friday 16th August via Septaphonic Records.
Massive Hassle is a two-piece rock band from Nottingham England, featuring brothers Bill & Marty Fisher (Mammothwing, Church of the Cosmic Skull, Dystopian Future Movies and many more), combining fuzz-rock, soul, doom-metal, jazz, blues, country, and more with meticulous two-part vocal harmony.
‘If Otis Redding and Tony Iommi made a 70s rock record with meticulous two-part vocal harmony, while deep in the throes of a dangerously expansive mental health crisis. The second album from the brothers Fisher sees them quest hither and yon into the depths of sweet soul music and heavy fuzz indulgences, apropos achieving surround sound. Discarding all previously proclaimed credos, the freedom of the studio environment elevates these eight brand new and select recordings to vertigo-inducing heights of sound and colour. Get peace, stay sound’ – Mike Failing
Hailing from Nottingham England, Brothers Bill Fisher and Marty Fisher (Mammothwing, Church of the Cosmic Skull, Dystopian Future Movies) launched this new project in 2023 with the celebrated debut ‘Number One’, recorded and filmed entirely in live takes, with videos for every song.
Continuing their experiment with vocal-harmony-laden fuzz-rock / soul / doom-metal / jazz / blues / country, the second release sees the brothers take a wider, tighter, studio-orientated approach, while maintaining the authentic minimalism of the two-piece format.
Posted in Whathaveyou on July 25th, 2024 by JJ Koczan
The last Kandodo release, K3 (review here), came out in 2019, which was before any number of world events took place, among them the Fall 2022 kinda-disbanding of what up till then might’ve been called Simon Price‘s main band, The Heads. That record featured Price and The Heads bandmates Hugh Owen Morgan (bass) and Wayne Maskell (drums), as well as a collaboration with guitarist John McBain (ex-Monster Magnet, Wellwater Conspiracy, and so on), and was duly oddball and tripped out. Kandodo‘s upcoming long-player, theendisinpsych, finds Price on his own, living a few hours north of Bristol, self-recording and pushing into even weirder grounds. Hell yes.
The album has four tracks and the first to be unveiled is “chamba7,” for which there’s a video streaming at the bottom of this post. The record is out Sept. 13 through Rooster Records, and the single heralds much weirdness and dug-in experimentalism to come, but you never know until you hear it, and in Kandodo‘s case, even that’s not always a tell for what’s really happening under the surface.
One to look forward to:
Announcing new Kandodo album, theendisinpsych
Solo project of Simon Price of legendary Bristol psychedelic rock band The Heads shares new single/video “chamba7”
The Heads’ Simon Price returns to his kandodo project with ‘theendisinpsych’; “primitive pieces of psychedelic tuneage+years of wasted time=43 minutes of headphone bliss.”
It’s the follow up to the 2019 collaboration with Wayne Maskell and Hugo Morgan, Kandodo 3 – K3, but this time back in solo-mode. He is now relocated in Northumbria, and has recorded the album himself in his home studio, drawing on his wide collection of music/instruments and the rural environment for inspiration.
The new album fizzes and crackles with a verve that will activate the “turn on, tune in, drop out” sense in all listeners…
Simon explained the album in a focused/out of focus track by track way… is this Price’s paean to his obsession with Bowie?
chamba7 – octave mandolin through fuzz, tambo beat, in praise of Bowie compilations. chamba is malawian weed
theendisinpsych – bought a reel to reel tape off ebay in 2005, (‘Bowie radio interview tape, USA, 1970, 3 minutes?’) then bought a machine to play it on in 2015. Heard the words and laid them onto a fuzzy break bed. Thought it all too relevant to today, prophetic David from his ‘hippy’ days (not a prophet or a stone age man)
fuzzy oceans – played on 1 string spamjo, bouncing echo over 70’s drum machine, ‘we’ve fucked the oceans’
freefalling – rolling cello and hissing cymbals with vocoder dreams
comes with african/stationtostation artwork stylings for the sleeve.. pre-apocalypse blues (and pinks), the world isn’t going a good way a sumptuous 4 course sonic supper, tuck in.
Kandodo theendisinpsych Rooster Records Release Date: 13th September 2024
Known as the singer/guitarist of The Heads. Price was raised in Zambia and Malawi, which left an indelible mark on him personally, and is manifest in the song titles, artwork, and name of the project; named after a Malawian supermarket that he used to shop in back in the late ’80’s. The influence is less obvious on his instrumental music, but Simon says that if there were lyrics, they’d be about animist religions, hyenas, sharks and dusty drives. Along the way, Simon touches on influences as diverse as Kraftwerk, Neu!, Eno, Morricone, Stooges, Loop, and Spacemen 3.
kandodo is for Price an exploration of tones, chords, and textures that evoke a very particular emotional response, a sense of yearning. These instrumental pieces are lyrical and evocative soundtracks with an elongated and elegant song structure. Describing them himself as “fuzzy lullabies”, Simon’s pieces undulate as delicate layers are built and removed, easing the listener along a thread of melodies. This is immersive music meant to be listened to at a loud volume or in the space between headphones.
Posted in Whathaveyou on July 24th, 2024 by JJ Koczan
Oh, you know, no big deal. It’s just Desertscene (the folks behind Desertfest London) and Heavy Psych Sounds (the foremost European heavy imprint and booking concern) pairing up for a London-based Heavy Psych Sounds Fest this November with Dozer, Black Rainbows, Lord Dying, Black Tusk, Alunah, The Cosmic Dead, Margarita Witch Cult, Child, Josiah, MR.BISON and The Clamps at The Underworld and The Black Heart. Oh wait, that is a big deal, and awesome besides. Like a mini-Desertfest, tucked right in there after the end of the always-busy Eurofestival October. Killer bill, killer clubs. Dozer and Josiah in the same lineup alone. Total no-brainer. If you can go, just go. Trust me, the rest of us will wish we could too.
From the PR wire:
*** HEAVY PSYCH SOUNDS FEST LONDON 2024 ***
– LINEUP + TICKETS PRESALE ANNOUNCED –
HEAVY PSYCH SOUNDS FEST returns to London after four years this fall to make Camden Town rumble and crumble under the mighty fuzz assault of some of the most revered bands in the stoner, doom, psych and heavy rock scene!
The festival will proudly welcome Swedish stoner rock royalty Dozer, Portland genre-bending heavy metallers Lord Dying, and Savannah swamp sludge specialists Black Tusk for the first time. Fuzz and buzz will be supplied by some of the finest live acts from the HPS roster with stoner rock icons Black Rainbows, Scottish space rock explorers The Cosmic Dead, Birmingham’s soulful proto-rock merchants Alunah and occult doom revelers Margarita Witch Cult, Italian heavy psych goldsmiths Mr.Bison and speed stoner’n’roll unit The Clamps, as well as UK heavy psych veterans Josiah. Fans of the finest psychedelic blues be delighted by an exclusive UK appearance of Australia’s own Child.
Curated by two major players of the European & UK heavy rock scene with London’s fuzz-worshipping Desertscene and leading independent heavy rock label Heavy Psych Sounds, this decibel-charged weekender promises to be one for the books, so don’t wait to book your ticket!
HEAVY PSYCH SOUNDS FEST LONDON 2024 @ The Underworld // 2nd November 2024 @ The Black Heart // 3rd November 2024
– LINEUP – DOZER BLACK RAINBOWS LORD DYING BLACK TUSK THE COSMIC DEAD ALUNAH MARGARITA WITCH CULT CHILD JOSIAH MR.BISON THE CLAMPS
It’s a rare band that one might call hungry 10 records into a nearly-30-year career, but as Orange Goblin return with their first LP in six years, Science, Not Fiction — also their label-debut for Peaceville Records — they transpose the more metallic aggression that typified 2018’s The Wolf Bites Back (review here) and 2014’s Back from the Abyss(review here) onto a production sound more decisively rooted in heavy rock and roll. As a result, not only do songs like the declarative opener “The Fire at the Centre of the Earth is Mine” — which gives making-his-first-on-album-appearance bassist/backing vocalist Harry Armstrong, who joined in 2021, the honor of starting off after a few seconds of threatening rumble — or “(Not) Rocket Science,” the classically Motörheaded “Cemetery Rats,” “The Fury of a Patient Man,” the penultimate “The Justice Knife,” and so on, pummel you into the ground, but they do so with an overarching vibe as natural as the dirt you’re about to eat.
Armstrong, guitarist Joe Hoare, drummer Christopher Turner and vocalist Ben Ward recorded with producer Mike Exeter — who also mixed (Peter Hewitt-Dutton mastered) and notably worked on Black Sabbath‘s 13 album as well as several other catalog releases from doom’s forebears, has helmed outings for latter-day Judas Priest, etc. — and are well served by the character and shape of the resulting sound, which is less about isolating each element in its own everything-else-muted waveform than bringing together the entirety with as much force as possible. And if it needs to be said, in Orange Goblin‘s case, there’s a lot possible.
That’s not to say Science, Not Fiction — and as someone who appreciates a well-placed comma, the title is all the more admirable for the heavy lifting it does in framing the perspective of the lyrics to pieces like “(Not) Rocket Science” and “False Hope Diet” — is all thrust. Since 1997’s Frequencies From Planet Ten (discussed here), Orange Goblin have been about a more dynamic take on songwriting, and however much they might be defined here by charge, Science, Not Fiction is characteristic in its ability to change it up around that, whether that’s manifest in the midtempo groove of “False Hope Diet” — which is the longest inclusion at 7:13 and a duly grim assessment of the current age echoing the watch-the-world-melt/we’re-all-screwed-and-it’s-our-own-fault point of view in “The Fire at the Centre of the Earth is Mine” — the piano introducing “Cemetery Rats” or the breakdown in closer “End of Transmission,” which feels as self-referential in its near-psychedelic divergence as in the namedropping of past full-lengths.
But even these moments carry the tension of the surges and gnashing around them, and while the band aren’t shy in telegraphing their own intensity amid the swinging slowdown in the nod beneath the somehow-motivational layered shouts in the second half of “Ascend the Negative” — lines like “Reclaim your time, reclaim your mind, conquer negativity” feel a bit like Ward self-coaching through his well-publicized experience of getting sober (nothing against that, of course) but are ultimately too intelligent to fall into a St. Anger-style trap of therapist-delivered cliché maxims — just because you know the next punch is coming doesn’t make the bruise any less purple afterward.
Indeed, across the 53-minute entirety of Science, Not Fiction‘s deluxe edition, which includes the bonus track “Eye of the Minotaur,” one finds Orange Goblin doing nothing so much as owning who they are through reaffirmations of perspective, craft and character, and the challenge being issued is more inward than out. That is, they’re pushing themselves to hit their own high standards, whether that’s in capturing the sweeping energy of who they are onstage (in which I’d argue they’re successful) or in the level of songwriting that lets “Gemini (Twins of Evil)” feel so fluid in the groove it rides while remaining memorable (despite being tucked into on side B with “The Justice Knife,” away from ‘focus tracks’ like “(Not) Rocket Science” and “The Fire at the Centre of the Earth is Mine” at the album’s outset.
All of it is quintessential Orange Goblin, from the hook “It’s not rocket science and we’re doing alright” — one wonders who the “we” is there; if it’s human beings generally, the point is arguable; if it’s the band itself, kudos on the humility since by that time, about seven minutes into the record, they’re kicking a fair amount of ass — to “This isn’t over/We’ve got the devil’s work to do” in “Gemini (Twins of Evil).” And while the boundary pushing that comes through feels born of uniting past and present styles, this too feeds into the idea of Orange Goblin declaring themselves, taking uncompromising ownership of who they are as a band, and putting it directly in the face of those fortunate enough to listen.
No doubt some of those will be newcomers to the band, whether that’s listeners beginning to make their way into the heavy underground or those who up till now just haven’t taken them on. In that regard, the vitality of Science, Not Fiction seems primed to serve as a righteous introduction to what Orange Goblin do in uniting metal, punk, heavy rock and various other substyles under those umbrellas. The reference to past work in “End of Transmission,” or maybe even the way it shifts into an early-’90s-style brooding spoken part after the midpoint, would surely find its impression enriched in the context of prior releases, but I’m not sure that hurts the basic listening experience of the song taken on its own merits so much as it might add another layer of appreciation after the fact.
And if you wanted to show someone what Orange Goblin are about, cuts like “Cemetery Rats,” “The Fire at the Centre of the Earth is Mine,” and “False Hope Diet” represent them at their absolute best, as veterans who may have moved beyond youthful arrogance but still have something to say and a suitable propulsion with which to say it. Because of this, it matters little if Science, Not Fiction is your first Orange Goblin record or if you tape-traded the Our Haunted Kingdom demo in 1994; they sound fresh, excited and exciting in these songs in a way that can only be considered definitive. They are unmistakable, and this album is a welcome example of why.
Posted in Whathaveyou on July 17th, 2024 by JJ Koczan
Perhaps if you were at Stoned From the Underground this past weekend in Germany you’d have been fortunate enough to catch UK heavy rockers Psychlona heralding the upcoming release of their fourth album overall and first through Magnetic Eye Records, Warped Vision. If not there, maybe Desertfest London back in May? If not, best I can tell you is wait your turn, they’ll get around to you eventually. There’s only so many places you can be at one time.
On that note, I’ll cop to being a couple weeks behind on posting word of Warped Vision‘s impending Sept. 27 arrival. I’m also a couple weeks behind on everything else in life, so rest assured that’s not a slight on the band. The album’s first single, “Let’s Go,” is streaming at the bottom of the post, and while I’m not Johnny-Fingeronthepulse here by any means, it’s not like it happened three years ago, so maybe we can all chill out with our internet-born attention spans and expectations of instant gratification. Or maybe I just suck at this. I think both things can be true.
From the PR wire:
UK Psych Desert Rockers Psychlona Return!
When it’s time to pick your poison, a blend of KYUSS and FU MANCHU is nearly always the base for a delicious result. PSYCHLONA are experts in their field, their fourth album “Warped Vision” is an exemplary exercise of practised veterans creating a masterpiece.
The album’s foundations are laid down by riff-focused heaviness and breakouts combined with a multitude of chilled vibes. What makes “Warped Vision” stick out from a host of similar recordings is the precision with which each hook hits home and sticks, a dynamic balance of rough edges and catchy melodies.
The city of Bradford in West Yorkshire is neither particularly arid nor situated in a hot climate. But although hailing from the former industrial heartlands of rainy Northern England, PSYCHLONA have developed a particularly British brand of desert rock. The hot summer days of 2016 inspired some local musicians to fry up some sonic ideas from sunny California of decades past and to blend in the raw energy of UK punk, a dash of the New Wave of British Heavy Metal, and spoonfuls of classic English 60s and 70s psychedelia. When this experiment far exceeded their own expectations, PSYCHLONA were born.
PSYCHLONA have established themselves as an impressive live act. Relentless touring and performing at prestigious festivals that included Desertfest (UK & DE), Freak Valley (DE), SonicBlast (PT), Alcatraz Music (BE), Sonic Whip (NL), and at Psycho Las Vegas (US) pushed the Brits higher up the billings. An incident in Las Vegas when they were the only band asked by the casino manager to please turn down the volume only fueled their upward trajectory.
Now, PSYCHLONA are ready to take the next big step. Welcoming two new members aboard the band has added a new dynamic both in writing and recording. The gentle alterations brought about by their fresh input has turned “Warped Vision” into what is clearly the most complete and thrilling album of the psychedelic desert rockers so far. With “Warped Vision”, PSYCHLONA have hit the jackpot, and they are generously offering up rounds for everyone.
Pre-order the album on CD or LP, including both neon yellow and green/black marble variants!
Posted in Whathaveyou on July 15th, 2024 by JJ Koczan
It’s the first, but you can place a solid bet it won’t be the last time London-based folkloric heavy rockers Green Lung travel to the US to tour. The widely celebrated purveyors of all-in, grandiose cult melodic classicism were previously announced for Desertfest New York, so the greater likelihood was a round of shows beyond that was coming, but the whens and wheres and particulars make it real, and if those don’t, the fact that tickets are on sale certainly should.
It’s been six years since Green Lung made a clarion debut with the Free the Witch EP (review here), and their momentum has hardly let up since, which is all the more impressive considering that particular six-year span. Their arrival on US (and Canadian) shores — it can only happen first once — comes after their 2023 third album and Nuclear Blast debut, This Heathen Land (review here), saw them flirt with classic heavy rock and pop sounds, the material tied together with tight craft and a flair for the epic that’s been with them all along, if not before to such a sweeping degree. With a pointed sonic vision brought to life in memorable style, the occasion could hardly be more fitting.
It’s East Coast, and Brooklyn ultra-theatrical dark rockers Castle Rat will support. Tickets are on sale now. As per socials:
GREEN LUNG 🇺🇸 HEATHEN REALM MMXXIV 🇨🇦
It’s finally happening! Our first ever North American tour is booked for September, taking in eight cities around our Desertfest NYC appearance, with support from very special guests in the mighty and fantastical Castle Rat. We can’t wait to hail the Old Gods in the New World! Artwork by Kris Putter 🇺🇸 👹🇨🇦
USA and Canada, come join our rites! Tickets for our first ever North American tour are on sale now at greenlung.co.uk. We’ll be supported by the mythical and magical Castle Rat. We look forward to spreading the folklore, riffs and legends of Britain stateside in a couple of months! 🇺🇸 👹 🇨🇦 🏰 🐀
09/13/24 BALTIMORE, MD Metro Gallery 09/14/24 BROOKLYN, NY @desertfest_nyc 09/15/24 BOSTON, MA Sonia 09/16/24 MONTREAL, QC Fairmount 09/17/24 TORONTO, ON Velvet Underground 09/18/24 DETROIT, MI Small’s 09/19/24 COLUMBUS, OH Ace of Cups 09/20/24 PHILADELPHIA, PA Milkboy 09/21/24 RICHMOND, VA Music Hall
Green Lung is: Tom Templar – Vocals Scott Black – Guitar Joseph Ghast – Bass John Wright – Organ Matt Wiseman – Drums
Posted in Whathaveyou on July 12th, 2024 by JJ Koczan
As of whatever social media post I saw whenever it was in the last two weeks — look, it’s been kind of a busy couple weeks, alright? — UK layers-to-waste Conan were in-progress on writing for their next full-length, which they’ll issue through Heavy Psych Sounds sometime right around whenever they damn well feel like it next year. The three-piece led by guitarist/vocalist Jon Davis, with Johnny King on drums and David Ryley on bass are set to once again traverse the Atlantic — presumably in some kind of hand-carved ship made of riff-felled tree trunks, but you never know; could be an airplane — for a round of Canadian touring in September. They’re calling it ‘Canadoom Restless Blade Tour,’ which if you started out today with a quota for charm, should fill that up quite nicely.
Will they have new songs ready in the set for the lucky-duck Canucks who make it out to the shows? I guess you’ll have to go and see for yourself. In any case, I don’t think Conan roll through Winnipeg or Thunder Bay every time they get over to North America, so if you’re in that part of the world, you might think about taking advantage while you can. You probably already know this, but bring earplugs.
From social media:
*** CONAN CANADA TOUR 2024 ***
We are super excited to announce this tour in September, with our friends in @maresofthrace. Tour dates are on the poster and all tickets can be accessed via our linktree www.linktr.ee/hailconan – poster by @chrisalliston and a big thanks to all of you who sent us pictures of your rigs!
This Friday, UK longform doomers Old Horn Tooth will release their second album, Mourning Light, via Evil Noise Recordings (tape) and their own London Doom Collective imprint. Prefaced by the 2021 standalone 21-minute-long single, “True Death” (review here), the four-song/68-minute sophomore outing gazes unflinchingly into the void of its own construction — a dark, densely humid weight of tone and purpose likewise realized in terms of the fervency of its riff worship and its downerism — and follows 2019’s debut, From the Ghost Grey Depths, with a strong, plodding and declarative step forward. Through “Precipice,” “No Salvation,” “Mourning Light” and “Invisible Agony,” the three-piece of guitarist/vocalist Chris Jones, bassist Ollie Isaac and drummer Mark Davidson (also credited with “griefcase,” which I’m going to assume is a laptop or some other kind of synthesizer apparatus) present themselves as monolithic but not monotonous and extreme in their approach but not without melodic accessibility or emotional resonance. That is to say, yeah, it’s a slog, but it’s very much the slog they intended it to be.
At nearly 17 minutes long, “Precipice” begins with a whole-album ambient intro before giving over to its first distorted rumblings and the march counted slowly in by Davidson‘s ride cymbal. The immediate touchstone in terms of modus is Monolord, but Old Horn Tooth carve their own niche in mountainous sounds as Jones‘ vocals echo in the mix’s deceptively broad space with a sense of longing that calls Warning to mind, and that continues to serve as a defining aspect of what they do as one verse gives way to the next, the trio departs to a more meditative instrumental stretch anchored around Isaac‘s bassline and lumber toward and through a suitable crescendo, fading to silence before the comparatively immediate impact of “No Salvation” arrives, quickly nestling into a grueling and punctuated roll topped with mournful lead guitar as preface for the condemnation narrative of the lyrics. By the time a few more minutes have passed, they’ve gone even further in this grim and consuming plunge, and as “No Salvation” nears its midpoint, the wash of distortion recedes and the drums momentarily depart, leaving a clean line of morose ambience soon given tension through kickdrum lubdubs.
It’s less a build than a setup for a burst, but whatever gets you there. At 9:22 into its total 14:38, “No Salvation” blows its own top (again) and renews the roll. Vocals come and go again in the unmired-but-engrossing nod, which culminates pretty much when they decide to let it come apart, having already given the repetition its due. The title-track follows, with a similar runtime and a smooth shift from its first-minute intro to the melancholic riff that earns the record’s title. “Mourning Light” holds the emotive crux for the album, and doubles as the catchiest of the four inclusions, with room for organ in its mix but an orthodox approach that keeps to some notion of being straight-ahead in its guitar-bass-drums-vocals arrangement despite the fact that nothing on Mourning Light is under 14 minutes long. Maybe it would’ve been too much, since part of what makes “Mourning Light” so effective is how it feels tied to classic and modern doom as Old Horn Tooth mold their niche within the genre. As if to say, “Nothin’ too fancy here, folks. Just some e’eryday dudes bangin’ out lengthy slabs o’ massive riffery.” Likewise humble and flattening.
“Mourning Light” ends quiet on guitar and so the drummed start of 21-minute closer “Invisible Agony” feel duly stark in their setting out before the guitar joins. As they have all along, the band bring a sense of patience to the finale — fairly sure if they weren’t willing to take their time, this music wouldn’t exist at all; the name of the game is ‘gradual’ — but when the bass starts rumbling the threat is clear. Right as they hit the six-minute mark, long after the hypnotic effect has been achieved, the lurch takes its full-toned form, still based around the flowing progression of the drums, but given heft through a semi-drone of low end and the self-assured course led by Jones‘ guitar. The verse starts eight minutes in and becomes part of that same movement, which pushes into a depressive swirl in a bleakly semi-psychedelic conclusion. It’s someplace they haven’t gone yet, so fair enough, but as with the launch of “Precipice,” the ending of “Invisible Agony” feels applied to the entire 2LP as much as to itself. And like much of what precedes it, it is vibrant in its misery without tipping over into actual melodrama or goofy posturing, finding a balance along its own deeply immersive wavelength.
Mourning Light streams in its entirety below, followed by more from the PR wire. Please enjoy:
Last heard slinging low slung fuzzed-out doom on their 2019 album, From the Ghost Grey Depths, this July will see the official worldwide release of Mourning Light, the brand-new studio album from London-based trio, Old Horn Tooth.
For any fans of the genre that have stalked the capital in recent years, chances are London Doom Collective has supplied you with ample opportunity to sample some of the finest underground bands in a live setting. Since 2020 – Ollie, Chris Jones, Mark Davidson, and Sean Durbin – have flexed their DIY muscle as friends, promoters, and three-quarter members of Old Horn Tooth to devastating effect. Now, with the band’s new album on the horizon, they finally turn their hand toward a new endeavour, releasing music on vinyl.
“Putting out a record ourselves through London Doom Collective is our own personal statement of independence,” explains bassist, Ollie Isaac. “It’s a testament to the power of the underground and a direct connection with the scene, people and international doom community that has supported, guided and helped us grow.”
Live Dates 24th August – Cambridge (w/The Grey) 25th August – Cosmic Vibration Fest, Sheffield 28th September – Riffolution Fest, Manchester 16th November – Tonehenge, Kent
