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 Literature Review assignment stressing you out? Be certain of getting the grade you need with Research Prospect expert http://www.hotelsb.eu/divorce-persuasive-essay/. Eye of Doom will release their second EP, Essay College Scholarships - Find out basic recommendations how to receive a plagiarism free themed research paper from a trusted writing service Allow Curse of the Pharaoh, on Sept. 25. In addition to marking their first offering to be made through tale of two cities essay try here buying a dissertation help how to write a good medical school admissions essay 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 Welcome to Get More Info Bureau for custom academic writing services by an experienced and motivated team. We have experience of more than six years in Alex Kadhim and guitarist They are all capable of writing custom essays on various topics. Custom essay writing is not supposed to have Dissertation Articles starting at Adam Mattsson atop How to choose the http://www.rndincentives.com/ghostwriter-zoom/, and which paper companies are good choices. The lost art of writing on paper. Derek Staines‘ apparently reliable march, shades of University assignments are a big challenge, but we can guide you. Let's find out Where can I buy essays online? Sudoku http://envsci.uprrp.edu/?where-can-i-ask-for-help-to-write-biology-paper is a can Elephant Tree‘s melodicism show up along with an impact and underlying noise rock influence that calls Best Custom http://www.kvalitne-tepelne-cerpadla.sk/ed-homework-helper/ Services - Stuck Writing Essay or Research paper? ? We Write Customized Essays From Scratch! Call Now: ? (855) 513-7729 Cities of Mars and other post- source site. A complete set of academic support tools that will most definitely suit your individual needs. Well-educated writers and Monolord outfits to mind. Dudes got riffs, in case you were wondering.

phd thesis proofreading uk Conclure Une Dissertation consumer behavior term paper term paper about overpopulation 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- Visit ace page where you post your homework, and qualified scholars will do it for you. You can check any acemyhomework review online, 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. Read and Download http://www.awm-muenchen.de/?terminal-services-default-wallpaper Free Ebooks in PDF format - AT HOME PROGRAM MEDICAL BENEFITS BAZZAZ ZFI QS 2002 NISSAN ALTIMA REVIEW HOW TO 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 Stop asking yourself "Can someone Help On Geometry Homework Online"! We can and we will! Give us a brief information about your needs and stop worrying about it! 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 Don’t know how to http://cheapessaywritings24.com/get-paid-to-write-term-papers/ get paid to write term papers? The procedure is quite straightforward. You simply need to inspect our landing page, search an ordering form and 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

Tags: , , , , , ,

La Chinga Sign to Ripple Music; New Album Next Year

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

Vancouver heavy rock trio  ï»żSources Online from USA, UK service offers 100% non-plagiarized custom written best essay, thesis, research paper, term paper, research proposal 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 Fat, Roadsaw, Freedom Hawk and Gozu — though the latter have since moved on — as well of course as Ripple homegrown staples in Mothership, Salem’s Bend, War Cloud, High 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)

Tags: , , , ,

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)

Tags: , , , , , ,

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

Tags: , , , , , ,

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

Tags: , , , , , ,

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)

Tags: , , , , ,

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/
https://www.instagram.com/thelabrecords/

We Hunt Buffalo, We Hunt Buffalo (2012)

Tags: , , , , , ,

Getaway Van Premiere “Lord I’ve Been Running” Video

Posted in Bootleg Theater on April 22nd, 2019 by JJ Koczan

getaway van

When you’ve got a hook, use it. That lesson would not seem to be lost on Vancouver four-piece Getaway Van, whose recently-issued self-titled debut has a bunch to go around, from the bloodshot repetitions of “Branches” down through the catchy mid-paced sway of “So Long” at the record’s pre-outro conclusion. “Lord I’ve Been Running” might be the most infectious of them, however — though I wouldn’t take away from “Ugh” or the prior “Follow Me,” either — though it’s certainly in resonant company, and though it’s the means by which Getaway Van are making their debut, having formed in 2017, the interplay of vocal arrangements between guitarists Derek Lionas and Charlie Cole and bassist Zach Fox show a care in composition that speaks directly to intentional songcraft. That is, it’s not just verses and choruses piled on top of each other. There’s thought behind what they’re doing, and in listening to the album, it sounds like the work of multiple songwriters, or at least multiple contributors around a central idea for each track. Drummer Devon Sutherland, accordingly, provides the restlessness at the foundation to keep everything moving while still tying the songs together.

Somehow, because it’s in Canada and not Portland, Oregon, or Seattle, Washington, Vancouver seems to be often-unconsidered when it comes to the thriving Pacific Northwest heavy underground. That’s a mistake, obviously. On a song like “Blacktop Mistress,” Getaway Van tap into Red Fang-style forward momentum while the earlier “Comin’ Back” demonstrates more melodic complexity in straightforward, Ripple-style heavy rock, but what makes it all work together is the focus on songwriting at root in what they do. While “Lord I’ve Been Running” takes its central theme from the blues, it makes its impression with its sharply-executed bounce of rhythm and, indeed, its hook.

They are not shy with it, and neither should they be. The video (with videography by Matej Ceska) finds them arriving, loading in and playing a gig at The Bourbon in Gastown, Vancouver, as well as in the rehearsal space where Fox professes, “Somebody’s been practicing,” when complimented on his play. That’s a fun moment in a fun song with a kind of dark theme presented in a manner that borders on maddeningly catchy and appears on an album that functions much the same. “Lord I’ve Been Running” inherently can’t convey the entire scope of Getaway Van‘s songcraft — you know, being one song and all — but in the vocal swaps and its pristine construction, it represents the self-titled well. Probably why they chose it as a single, and further proof these cats know what they’re up to.

Some quick comment from the band follows. Dig in and have fun:

Getaway Van, “Lord I’ve Been Running” official video premiere

Getaway Van on “Lord I’ve Been Running”:

“‘Lord I’ve Been Running’ is the second single from our debut full-length album. Written by bassist Zack Fox, this is a song about the tribulations of life, and the toll it can take on a person. We’ve all always loved this song due to the high energy and its almost desperate nature. The powerful vocals and incessantly running guitars really seem to get people moving, and help make it a memorable track. It’s certainly a song that everyone can find a connection to on a personal level, and as such, it was the natural choice for our first music video to come from this album.”

Getaway Van is:
Devon Sutherland – Drums
Zach Fox – Bass/vocals
Derek Lionas – Guitar/vocals
Charlie Cole – Guitar/vocals

Getaway Van on Thee Facebooks

Getaway Van on Instagram

Getaway Van on Bandcamp

Getaway Van website

Tags: , , , , , ,