Dead Quiet Premiere “Truth and Ruin” Lyric Video; New Album out Sept. 11

Posted in Bootleg Theater on August 13th, 2020 by JJ Koczan

dead quiet (Photo by Milton Stille)

Vancouver’s structure master thesis computer science official site Ann Arbor history papers for sale college application essay help online service Dead Quiet will release their third full-length, do movies need to be underlined in an essay Term Papers On Ecosystem renting or buying a house essay dissertation richard fadem Truth and Ruin, on Sept. 11 through Discover the secrets of this website that engage and inspire action. Artoffact Records. With the advent of “Truth and Ruin,” the title-track of the album, premiering in the video/lyric video below — it’s like a regular video, but also lyrics! — there are now three songs public from the upcoming offering, and they each present some different personality facet of what shape the record might take. To wit, “Forever Unsung” offers organ-laced heavy blues met with post-hardcore crush and a sneaks-into-your-brain hook before they  Best professional english literature personal statement help company is at your service. We help students write academic essays and papers from scratch in just a few clicks Iron Maiden-out a solo section in classic dual-guitar fashion and turn back skillfully to the verse/chorus to finish. Clever track, and it uses every second of its 4:50 runtime to make its point.

Later in the proceedings comes the six-and-a-half-minute “The Sign of a Sealed Fate”; more spacious in its initial verse, but with an underlying dead quiet truth and ruinrhythmic tension — double-time hi-hat, and so on — that teases the volume push to come. And of course it does come, followed by a surprising keyboardy prog break and huge-sounding, shout-topped, organ-laced shove that leads to a finish of residual guitar and far-back vocals that finish. I’m not sure I’d call it patient since it’s still plenty brash, but there’s a definite loosing of the structural reins happening.

That brings us around to “Truth and Ruin” itself, which again offers a broader beginning, but has a more melancholy feel. The accompanying video takes us through a day in the life of a werewolf as lyrics like “To be alone is to be myself” highlight the alienated impression presented by the visuals. As outwardly arrogant as  At, our Internet Security Master Thesis are very expedient and designed to give you a well-crafted paper that you can present with pride. Dead Quiet might seem at times with  Submit your 'my site' request anytime as we are available 24/7. Our experienced specialists will provide you with an immaculate writing project! Kevin Keegan‘s vocals up front,  Resume templates by professional writers with sample layouts and examples of resume cover letters written by http://sppadbase.ipp.cnr.it/wordpress/wp-content/uploads/?350 in Australia Truth and Ruin‘s title-cut effectively flips that on its head, shifting with  Write My Papersin Canada - check it outs Louisiana State University, Georgia State University Solace-like efficiency into a thrashier chug and thrust after some quick shouts, tearing into one and then another solos before returning to the hook. So maybe a bit of each of the other two tracks come together in  Need best accounting term papers UK, MBA essay writing Help in UK? Want to get noticed with your MBA essay? Then, get in touch with us today and get your Truth and Ruin, plus metal, plus a bit of downer vibing offset by instrumental triumph. It ends, of course, with a touch of violin, as it would.

Hire industry leading Average Length Of A Dissertation writing services from most qualified and professional writers. We are recognized as top dissertation help company Keegan, formerly of  Best Researc Papers Online Research Paper Online service you can rely on. Cheap essays, research papers, term papers, dissertations. 30 Days Money Back 100% Plagiarism FREE Barn Burner, says in the PR wire quote below that he loves a good hook. That affinity serves him and the band well on  Assignment Help Experts offer Online Assignment Help and http://bebcho.net/?beginning-writers-lined-papers in Australia and US. Paper will be written by US and Australian Experts. Truth and Ruin if what they’ve shown off thus far is anything to go by.

Video and more info follows here. Preorders are of course available.

Please enjoy:

Dead Quiet, “Truth and Ruin” lyric video premiere

DEAD QUIET – Truth And Ruin
Title track of Dead Quiet’s third full length album, on Artoffact Records.
Available everywhere September 11, 2020.
Preorder here: https://deadquiet.bandcamp.com/album/truth-and-ruin

From Vancouver, Canada, comes Dead Quiet. The third full-length album, Truth and Ruin, shows the band at its peak, delivering its arena-ready, proto-metal bacchanal with power and flair. Dead Quiet’s dramatic, organ-heavy songs are saturated with respect for the hard rock and heavy metal titans of the late ’70s and early ’80s – there are traces of blazing Deep Purple jams and hellbent Judas Priest bangers – but the band rocks with a prowess all its own. Dead Quiet respects its elders while fully owning its own craft. It is a fine balance, which brings to mind Ghost, among others.

Of new album Truth and Ruin, frontman Kevin Keegan states: “We just wanted to make a record that was relentless. On Grand Rites we took our time and meandered quite a bit but with Truth and Ruin it was more about ‘point and shoot,’ always keeping us and the listener on their toes. I love a good hook. I like the idea of a song that rips but also gets stuck in your head like a good pop song.”

Truth and Ruin was engineered and mixed by Jesse Gander (Japandroids, White Lung) at Rain City Recorders in Vancouver, BC. It was mastered by Alan Douches (Mastodon, Chelsea Wolfe) at West West Side Music in Hudson Valley, NY.

Tracklist:
1) Atoned Deaf
2) Forever Unsung
3) Of Sound and Fury
4) Truth and Ruin
5) Partial Darkness
6) The Sign of a Sealed Fate
7) Cold Grey Death

Lineup:
Kevin Keegan – vocals, guitar
Brock MacInnes – guitar
Mike Grossnickle – bass
Mike Rosen – keyboards, backing vocals
Jason Dana – drums

Dead Quiet, Truth and Ruin (2020)

Dead Quiet on Thee Facebooks

Dead Quiet on Bandcamp

Storming the Base website

Artoffact Records

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Eye of Doom Premiere Title-Track From Curse of the Pharaoh EP out Sept. 25

Posted in audiObelisk on July 28th, 2020 by JJ Koczan

Eye of Doom

Vancouver’s 'Can you personal statement high school?' Have you ever asked this question? Do you know how to do this task on your own with the interest? Get to know! Eye of Doom will release their second EP, computer science assignment help. Order custom papers from you and your Distribution Thesis stuff helped me a secret. There is no need to step up Curse of the Pharaoh, on Sept. 25. In addition to marking their first offering to be made through AWE Learning is pleased to offer Argumentative Essay On Harrison Bergeron to search and apply for funding to bring digital learning tools to your early learners. Majestic Mountain Records, it’s also something of a shift in approach for the three-piece, whose 2018 self-titled four-songer trafficked in decidedly more metallic and driving fare. With two eight-minute-plus cuts in the opening title-track and the closing “The Scold’s Bride” separated just by the interlude “The Waning” (2:56), the EP hits a 20-minute total listen that’s striking in its push toward atmospherics, with sonar pings backing horror samples and ambient guitar in “The Waning” before the roll that comprised much of “Curse of the Pharaoh” resumes in full nod for the outset of “The Scold’s Bride.” With vocals from bassist Alex Kadhim and guitarist Adam Mattsson atop Derek Staines‘ apparently reliable march, shades of Elephant Tree‘s melodicism show up along with an impact and underlying noise rock influence that calls Cities of Mars and other post-Monolord outfits to mind. Dudes got riffs, in case you were wondering.

Curse of the Pharaoh is strong in its presentation, beginning with a fading in swell of readily immersive tonality. They are perhaps a release or two from bringing to fruition the kind of depth and largesse they hint toward here, but that doesn’t at all stop the material from being engaging on its own level. “Curse of the Pharaoh” crashes in around 1:30 and proceeds to lumber forward in newer-Sleep form, waiting until after three minutes in before introducing the first vocal lines. With a cavernous echo, the verses likewise hint toward a burgeoning reach in what’s being tagged as their “new musical direction,” but they’re smartly mixed to not overwhelm the surrounding guitar bass or drums. Kadhim‘s bass holds true during a short break and soon the guitar solo takes hold in soaring fashion to lead through the apex of the track, the first sonar pings arriving before the shift into “The Waning” is actually complete. That one-into-the-next fluidity is also emblematic of what Eye of Doom are shooting for with their recent doomly conversion, and if the EP is anything to go by, they won’t have any trouble sticking to that — should they want to — when they set themselves to the inevitable task of their full-length debut.

When, how, where, on that, I of course have no idea, but Eye of Doom‘s stated purpose is to give those they’d make their audience an introduction to what they’re all about, and it’s a positive first impression they make, even if that ‘first’ comes with an asterisk. “Curse of the Pharaoh” is streaming on the player below, followed by more info about the release from the PR wire.

Please enjoy:

Eye of doom to release ’Curse of the Pharaoh’ on Majestic Mountain Records September 25th

Majestic Mountain Records is very pleased to announce the first release from Vancover, BC based riff masters Eye of Doom. The 3-track EP ’Curse of the Pharaoh is set for release on a 10” premium vinyl in September and this release will be followed with a full length release in early 2021!

This EP is the first introduction to the new musical direction of Eye of Doom.

The riff-molding for Curse of the Pharaoh was produced and recorded by the band in early 2020. The songs on this EP draw inspiration from the grand scenery found in the towering mountain ranges and vast forests of the band’s hometown, as well as exploring existential questions connected to topics such as mysticism, astronomy, paganism, and the occult. This EP is the result of the collaborative efforts from all members of the band and is an honest and true reflection of everything that is Eye of Doom.

’Curse of the Pharaoh’ will be on pre-order at Majestic Mountain Records, August 7th.
Vinyl is set for release in end of September and the digital release will be available August 28th.

Pre-order link:
https://majesticmountainrecords.bigcartel.com/

Eye of Doom are:
Alex Kadhim: bass and vocals
Adam Mattsson: guitar and vocals
Derek Staines: drums

Eye of Doom on Thee Facebooks

Eye of Doom on Instagram

Eye of Doom on Bandcamp

Majestic Mountain Records webstore

Majestic Mountain Records on Thee Facebooks

Majestic Mountain Records on Instagram

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La Chinga Sign to Ripple Music; New Album Next Year

Posted in Whathaveyou on July 24th, 2020 by JJ Koczan

Vancouver heavy rock trio La Chinga have signed a deal to release their next album through Ripple Music. The classic-influenced three-piece put out their self-titled debut (discussed here) in 2013 and were picked up by Small Stone for the 2016 follow-up, Freewheelin’ (review here), as well as 2018’s Beyond the Sky (review here). In aligning with Ripple, they follow in the footsteps Small Stone veterans like Wo FatRoadsawFreedom Hawk and Gozu — though the latter have since moved on — as well of course as Ripple homegrown staples in Mothership, Salem’s BendWar CloudHigh Priestess, and so on.

All told, it’s a lot of good bands, and as the last few years have seen Ripple grow into the US’ foremost purveyor of underground heavy rock, they’re now in a position to pick and choose the artists they work with more than ever before. So that’s how you get Wino on Ripple. How you get Colour Haze, etc. They’ve simply gone to another level through the quality of what they’ve put out and the audience loyalty they’ve earned over the course of their decade. Bringing La Chinga into the fold definitely isn’t going to hurt their reputation any.

The announcement came through social media:

la chinga

Ripple Music welcome Pacific Northwest’s wildest 70s-worshipping hard rockers La Chinga to their rifftastic roster for the release of their new album in 2021.

“We are so thrilled to be on Ripple Music, having been big fans of the music they have been cranking out! We are in the studio as I type this, working hard on our Ripple debut album. And we can’t wait to put it out there on such a killer label!” says the band.

Keep your eyes peeled for more La Chinga news, and get ready to blow your speakers with the generous hooks, wicked psychedelic highlights and unequaled firepower of the three Vancouver gentlemen!

http://www.facebook.com/La-Chinga
https://www.facebook.com/theripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

La Chinga, Beyond the Sky (2018)

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Empress Sign to New Hammerheart Records Imprint Petrichor; Premonition out in October

Posted in Whathaveyou on July 15th, 2020 by JJ Koczan

I do not know who might be behind the new Hammerheart Records imprint Petrichor — which seems not to be followed by any of the usual “Records” or “Recordings” or “Releases” or “Tapes” or whatever that most labels tack onto their names — but they certainly have their mission statement down, and I can’t argue with their choice of a first signing either. The band in question is Vancouver’s Empress, whose forthcoming debut album, Premonition, was recently written up here. That album, which follows 2017’s Reminiscence EP (review here) and a 2018 split with Piece (review here), was originally set to arrive on July 24.

The Petrichor version of the Premonition has been given an October release. However, what that means is that the originally-stated July 24 arrival of the album is off. “Delays?” you ask, flabbergasted. “In 2020?” I know, but at least it’s for a good reason, and hey, kudos for the band getting their record picked up before it even came out. When it happens at all, some acts wait years for that kind of thing.

So anyway, it’ll be October for Empress. I wouldn’t think it unreasonable if they pulled it down, but for now you can still listen to “Lion’s Blood” on the player below.

Petrichor‘s announcement and background info follows:

empress

First signing for Petrichor: Empress!

It is with great pleasure and pride that we announce Empress to be the first official signing for Petrichor. This amazing sludge/post-metal/doom band from Vancouver, Canada will unleash its debut full length album ‘Premonition’ through Petrichor in early October 2020. The album will be released on vinyl/cd and tape as well as digital. Be prepared, pre-orders will be announced in due time.

Petrichor is a new label manufactured, distributed and marketed by Hammerheart Records. Run by passionate individuals who are defined by their will to bring fresh rain on dried out soil/rock (petra) combined into one label that will deliver the blood of the gods (ichor).

Petrichor will release physical formats of all kinds and digital content as well. Run with dedication, experience and always on the hunt for innovative art and quality. Expect our first releases coming this September.

http://www.facebook.com/empressBC
https://instagram.com/empress_bc
http://www.thisisempress.bandcamp.com
www.hammerheartpetrichor.com
www.facebook.com/hammerheartpetrichor
www.instagram.com/hammerheartpetrichor
www.hammerheartpetrichor.bandcamp.com

Empress, Premonition (2020)

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Empress Premiere “Lion’s Blood” from Premonition out July 24

Posted in audiObelisk, Reviews on June 16th, 2020 by JJ Koczan

empress

Vancouver-based trio Empress will release their debut full-length, Premonition, on July 24. The expansive seven-track/49-minute offering is an amalgam of modern influences, drawing from niche microgenres from progressive psych to black metal and running a cohesive line through post-metallic atmospheres and a lurching aggression in their approach. Setting melody against harsh, echoing shouts, the three-piece of guitarist/vocalist Peter Sacco, bassist Brenden Gunn — who passed away in 2019 and to whom the album is dedicated — and drummer Chris Doyle make no attempt to hide their stylistic ambition, pulling together influences from the likes of Amenra, Elder, Isis, The Ocean and latter-day Enslaved in an attempt to make something new from the melding.

Premonition sets its course with the eight-minute opener “A Pale Wanderer” and uses the momentum it builds there to unfurl two shorter tracks in “Sepulchre” and “Passage” before the six-minute “Trost” closes out side A. The progression from one piece to the next is essential to the listening experience of the side and the record as a whole, as each cut gracefully complements and expands on the one before it, whether it’s the heavy post-rock air-squibblies and subsequent gallop in the guitar of “A Pale Wanderer” feeding into the immediate angularity that begins “Sepulchre,” or “Passage” building a winding linear movement of riffs edged with psychedelic intent even as they payoff with more aggressive churning — Empress Premonitiona perfect lead-in for the semi-blackened rush at the start of “Trost,” which holds its melodic statement for the finish in a slower-rolling unfurl that gives way to a silence that feels well earned.

Of course, that’s only half the story, and Premonition takes a noticeable turn for the immersive with “Hiraeth,” the first of the three inclusions on its second half. “Hiraeth” (8:03), “Premonition” (7:05) and “Lion’s Blood” (9:39) seem in form to call back to the outset of the album, but that only makes the journey being undertaken seem all the more purposeful. Like the songs preceding, they are progressive in form and thoughtful in composition, but naturally their increased runtime lends a more patient feel, and that proves especially true in the longest of them, which is the finale. Building up from a quiet line of standalone guitar, “Lion’s Blood” reaches two successive crescendos, the first melodic, the second angrier, and in that, the ending of the record answers back to the preceding title-track’s summary of Empress‘ songcraft with a step forward toward individualism, still based around the root influences noted above, but succeeding in its goal of internalizing and adding to them.

It’s a first step, but a brazen one, even unto its title, which would seem to be telling listeners that Premonition is just the beginning of a longer stylistic evolution on the part of Empress. If that’s the case and that’s the challenge the band are setting for themselves, bring it on. While not a minor undertaking at nearly 50 minutes long, Premonition isn’t trying to be humble, it’s trying to be consuming, and it is that. I don’t know how losing Gunn will ultimately affect this mission, but with this first long-player, the band show a marked potential that not only makes a fitting tribute to what might’ve been for the trio as they wore, but still holds promise for the band Empress might become. Whatever their future brings, the obvious consciousness they bring to their songwriting here will only continue to serve them well as they move forward.

And it’s heavy, too.

Happy to host the premiere of “Lion’s Blood” on the player below, all the more so since it serves as the culmination of Premonition and the inevitable step from which Empress will launch whatever may come next.

More background from the PR wire follows.

Please enjoy:

On July 24th, Canada’s EMPRESS will self-release their highly anticipated debut album, Premonition.

Preorder here: http://thisisempress.bandcamp.com

EMPRESS are a three-headed beast from Vancouver, B.C., born after guitarist/vocalist Peter Sacco (Seer) and drummer Chris Doyle attended a show headlined by doom mavens Elder. Inspired by the massive wall of sound and psychedelia they encountered on that fateful night, the pair enlisted bassist Brenden Gunn (Craters) and set out to create their own brand of stoner/sludge metal.

Above all, EMPRESS is not a vehicle for entertainment or flashy showmanship. Rather, it is an emotionally driven, abstract band, and meant to serve as an artistic experience which has a culmination of life experiences, doubts, and growth from what life has brought each member.

EMPRESS boldly and (daresay) beautifully display that across their long-awaited debut album, Premonition. As befitting a first full-length, Premonition took years to write, and was made with excitement and, most especially, a newfound purpose and meaning for driving the songwriting. Once again laying it all on the line, arguably more so than ever, the album’s lyrics are about the mental health of Sacco, his family members, and the experiences he has had with them – the traumas he deals with as payment for being there for someone mentally ill, and accepting loved ones, strangers, and anyone else with mental health issues. But, Sacco stresses, “No one should be pushing people that come forward with their mental health issues and leave them secluded with those issues.”

Comprising seven shape-shifting songs in an all-enveloping 49 minutes, Premonition is the unleashing of emotions from trauma. It is an outlet for each member of the band to deal with whatever it is they need to deal with. Each person writes their parts with whatever intention they would like. That culmination led to the most accomplished album any of them have written, and they are grateful for the support of their loved ones, friends, and strangers who listen to their music and feel that connection EMPRESS want to have come across.

The album is in loving memory of Brenden Gunn, who passed away Oct 31st, 2019. Artwork by Orion Landau and Robin Harris.

Empress on Thee Facebooks

Empress on Instagram

Empress on Bandcamp

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Getaway Van Premiere Title-Track of Unchained EP

Posted in audiObelisk on May 1st, 2020 by JJ Koczan

If you’ve ever taken part in any kind of group endeavor — and, since you’re alive and reading this, yes, you have — you already know that there are times when it works and times when it doesn’t. With their new EP, Unchained, Vancouver-based heavy rockers Getaway Van are representing a time when it does. Particularly for bands, there is a mythical moment of “locking in” that’s often spoken of with reverence, when all the pieces of which the group is assembled — whether it’s guitar, bass, drums, vocals or some other configuration — come together in the creative process and, wham, the song seems to write itself. I’ve heard it said on more than one occasion that these are the moments a band lives for, and of course they don’t happen every day, every record, or in every career.

Getaway Van, then can hardly be blamed for wanting to bottle that lightning, as it were.

The situation was that guitarist/vocalist Derek Lionas and drummer Devon Sutherland had newly come together with guitarist Tanner Reid and bassist Fernando Cilento after parting ways with the former half of their band, it, apparently, it worked. getaway van unchainedThey locked in while sharing vocal duties between Lionas, Reid and Cilento and decided to get the tracks on tape while they were feeling the right kind of energy.

That’s precisely the vibe — “right kind of energy” — that comes through on “Unchained,” the title-track of the resultant three-song EP due out May 28. The song careens with post-Kyuss riffing and certainly its gruff vocals are up front in a manner that’s striking at first, but soon it all seems to smooth out and by the end of the sub-four-minute track, it’s the hook itself that’s making the most vital impression. In following up their 2019 self-titled debut (review here), Getaway Van harness that electricity of being a new band — so new they don’t even have a promo pic yet, though social-distancing guidelines might’ve put the brakes to that as well — and make the most of their still forming dynamic.

As to where they’ll go next, that’s up to them. The point is they’re going.

You can hear “Unchained” on the player below and Lionas tells the tale from his perspective thereafter.

Please enjoy:

Derek Lionas on Unchained EP:

The band underwent a change in members due to life in late 2019. We found Tanner Reid (lead guitar) and Fernando Cilento (bass, vocals) and the band had this wickid new energy. We figured we should pump out a new EP to capture it. We went into the studio with three songs written and sung by three different strings players. We’ve always attempted to be a collective, because I’m a big believer in “if you got something to say, I wanna hear it.” So we went in and recorded three songs. Tanner wrote “Unchained,” and we recorded it. After hearing it back, we decided to rewrite the lyrics and have me sing it. It really brought out the sound, and were all super happy with it. Mike Slater (who recorded our self-titled album) had us back again, and for this one we absolutely cranked a Traynor Iron Horse thru a Marshall 1960b cab. Then Tanner’s main gain stage is a little Big Muff, plus a couple cool modulation and delays to support (keeping secrets on those). I ran my telecaster through a green Russian Big Muff clone that I hand-soldered myself, I think the tone sounds siiick on that thing. Fernando has this cool 1960s Epiphone reissue guitar he recorded with. We’re stoked on how this song came out — we envisioned driving super fast down a winding road, foot to the floor! — and can’t wait to share the other two off the EP. Keep safe, keep riffin’.

Getaway Van is:
Devon Sutherland – Drums
Fernando Cilento – Bass/vocals
Derek Lionas – Guitar/vocals
Tanner Reid – Lead Guitar/vocals

Getaway Van on Thee Facebooks

Getaway Van on Instagram

Getaway Van on Bandcamp

Getaway Van website

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Seven Nines and Tens Sign to Willowtip; Over Opiated in a Forest of Whispering Speakers Coming Soon

Posted in Whathaveyou on February 3rd, 2020 by JJ Koczan

Safe to say Seven Nines and Tens are about to shake hands with an entirely new audience. The Vancouver-based post-whatever-you-got anti-genre purveyors have inked a deal to release their cumbersomely-titled third full-length — deep breath in — Over Opiated in a Forest of Whispering Speakers, through Western Pennsylvania imprint Willowtip Records, who are more known for doling out grind and various other forms of extreme metal than heavy or experimentalist rock, but have always had an ear for the forward-thinking. Certainly that tag would apply to Seven Nines and Tens, at least as much as any.

And their music does tend toward extremes, if not blastbeats, in its sonic pursuit. To-date five tracks are recorded and there are two more to put down, and as it’s the band’s first record in four years since Set the Controls for the Heart of the Slums (review here), they seem to be justifiably looking forward to getting it out.

So okay, interesting band signs to interesting label. Why should you be interested? Because I’ve heard the five tracks that are recorded. I recognize that different people like different things, but the basic fact of the matter is if I didn’t think Over Opiated in a Forest of Whispering Speakers was worth my time writing about and worth your time reading about, I wouldn’t be writing about it. That’s the best I’ve got, and since we’re likely a ways away from the record coming out — as it’s not technically done and all — it’s probably best if I reserve further comment, lest I spoil the Boris-style tonal glories or fleet, purposeful stylistic maneuvers too soon.

More to come. Here’s what the band has to say at this point:

Seven Nines and Tens

Seven Nines & Tens’ third record “Over Opiated in a Forest of Whispering Speakers” will be released on vinyl by Willowtip records in 2020, date tba. Over Opiated is produced by vocalist/guitarist Dave Cotton along with Adam Vee, and Matt Roach. It was recorded at Raincity Recorders in the band’s home of Vancouver. The album artwork was created by award-winning African designer Ahmed Emad Eldin. Emad Eldin designed the artwork for Pink Floyd’s final album “The Endless River” as well. We are currently recording two more songs to add to the album before it’s pressed on vinyl. These two new songs would’ve been on our fourth record, so you can hear the future now.

“We spent about a year recording the songs and doing pre-production at our rehearsal space in North Vancouver leading up to going into the studio,” says Dave Cotton. “When we finally recorded the songs in the actual studio there was a definite air of excitement. Myself and the guys had never been that immersed in pre-producing an album before and it seemed to add to the overall quality of the finished product. We are excited to a join Willowtip’s legendary roster and for them to take a bit of a stylistic risk with our music. 13 years into my career of writing music for Seven Nines & Tens, I feel like I’ve only scratched the surface of what we are going to accomplish.”

The album is the follow up to 2016’s “Set the Controls for the Heart of the Slums.” https://sevenninesandtens.bandcamp.com/album/set-the-controls-for-the-heart-of-the-slums-2

Seven Nines & Tens released a career spanning boxset “Satisfy the Faction’ at the very end of 2018 as well. https://coupsurcoup.bandcamp.com/album/satisfy-the-faction

http://www.facebook.com/sevenninesandtens
https://sevenninesandtens.bandcamp.com/
http://www.sevenninesandtens.com/
http://www.facebook.com/willowtip
https://willowtip.bandcamp.com/
http://www.willowtip.com/

Seven Nines and Tens, Set the Controls for the Heart of the Slums (2017)

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We Hunt Buffalo Self-Titled Reissue out Sept. 20

Posted in Whathaveyou on September 5th, 2019 by JJ Koczan

we hunt buffalo

I always feel compelled whenever I write about these guys — and it’s been a couple times now — to say that I don’t think they really hunt buffalo. Not the least because they’re from Vancouver and I don’t think there are any buffalo in Vancouver, as many as there are anywhere. Nonetheless, even as the B.C. trio We Hunt Buffalo continue to support 2018’s Head Smashed In (review here) as they did earlier this year for a trip abroad that included a stop at Desertfest London, the Fuzzorama Records (Sweden) signees continue to make international headway, hooking up with Greek imprint The Lab Records for a vinyl edition of their long-sold-out early-2012 self-titled debut. The platter, which includes a take on King Crimson‘s “21st Century Schizoid Man,” will be pressed up in an edition of 300 copies and released to the public on Sept. 20, but of course since the record’s been out for seven years, it’s streaming now. You can hear it courtesy of We Hunt Buffalo‘s Bandcamp at the bottom of this post.

The PR wire brings word of the reissue:

we hunt buffalo we hunt buffalo

WE HUNT BUFFALO – We Hunt Buffalo ( LAB040 )

Canadian fuzz rockers We Hunt Buffalo to reprint self titled debut on white vinyl (limited edition of 300) with Greece’s The Lab Records.

The 2011 LP has been out of print for some time now and as demand grows for vinyl copies of the album, the band is thrilled to be teaming up with The Lab Records.

“I think it’s so cool how a collaboration like this can happen” says Ryan Forsythe (Vocals/Guitar). “Here we have a band and record label on separate sides of the world coming together to release this record. We really like what The Lab Records is doing and are stoked to be part of the roster.”

Since the self titled LP, We Hunt Buffalo have gone on to release two additional full lengths and an EP. They’ve spent much time touring Europe, supporting Monolord & Truckfighters. Their first headlining Euro tour was a success in spring 2019 so expect to see them back soon (with hopefully, appearances in Greece! ).

Release date 20/09/2019.

https://www.facebook.com/wehuntbuffalo/
http://wehuntbuffalo.com/
https://www.instagram.com/wehuntbuffalo/
https://www.facebook.com/thelabrecordsgreece/
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We Hunt Buffalo, We Hunt Buffalo (2012)

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