Borracho Set Aug. 6 Release for Pound of Flesh; Preorder Available

Posted in Whathaveyou on June 28th, 2021 by JJ Koczan


I know, I know, a double-LP is all cool and stuff, and two vinyl versions and that’s pretty special. But a jewel case CD with a four-panel insert? That’s got me grinning like the Drake meme. My jam. And a jewel case feels like a novelty at this point, so yeah, I’m on board for that.

Aug. 6 is the release date for Borracho‘s fourth album, Pound of Flesh, and considering the fact that it marks a decade since their debut, you almost have to sit back and look at the career they’ve put together. Especially since they didn’t end up being the band they started as, losing their frontman after that first record, their accomplishments are all the more impressive. And you know what? They’ve earned everything they’ve gotten, working with labels like Ripple Music, Cursed Tongue and Kozmik Artifactz, shows at home and abroad, fest appearances, wide-ranging accolades and all of it. Solid heavy rock and roll band. I’ve heard the new record. It’s long, but they earn that too. It’s awesome, and it’s another step forward for them.

I guess what I’m saying is “fucking a, new Borracho.” I’m gonna try to get one of these dudes on board for a video interview before the record’s out too, and there’ll be a review and all that whatnot, so keep an eye out. We’ve got time.

Here’s preorder info:

borracho pound of flesh

BORRACHO – New LP Pound of Flesh available August 6. Pre-order NOW!

Our 4th record Pound of Flesh officially drops August 6th and is available for pre-order on CD, digital, and vinyl now on our Bandcamp page:

Nine new tracks running more than 50 minutes will take you on a heavy trip from beginning to end. Here’s the first glimpse at the cover art and packaging, all designed by TMD – AKA our very own Tim Martin.

CDs are presented in jewel cases with full color 4-panel insert. But the stars of the show are the two vinyl versions. Two limited edition gatefold 2LP versions are available – Black & Blue, and special edition Multicolor Splatterburst. Side 4 includes a custom etching capturing various elements of the album’s theme. It’s a package you don’t want to miss in your collection. Pre-order NOW!

Pound of Flesh arrives nearly five years after its predecessor Atacama, and just on time for the tenth anniversary of our debut album Splitting Sky. It has been a labor of love, being largely written over a three year period when the band was geographically separated, and mostly recorded ahead of the onset of a global pandemic. The events of the past 16 months delayed its completion and release even further. We couldn’t be happier to finally bring you this amazing package, presented by the always on-point Kozmik Artifactz.

NOTE: if you are located in Europe we highly recommend you place your pre-order directly with Kozmik Artifactz for faster and cheaper delivery.

Borracho, “It Came From the Sky” official video premiere

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Friday Full-Length: Dead Meadow, Dead Meadow

Posted in Bootleg Theater on June 25th, 2021 by JJ Koczan

As clarions go, the opening riff of “Sleepy Silver Door” is as much a call to the converted as it is a call to convert. The lead track of Dead Meadow‘s 2000 self-titled debut, released by Joe Lally of Fugazi‘s Tolotta Records, has become a staple of the then-Washington D.C./now-L.A. outfit’s live work, and it was apparently enough in their heads that it received a reprise on their fourth album, Feathers, in 2005. It is a landmark riff, languid in rhythm, fuzzed to the nines and in a matter of seconds, it tells you much of what you need to know about the band.

As the microgenre of stoner rock was beginning to shape itself in the wake of Sleep and Kyuss‘ demise, the advent of Queens of the Stone Age and rise of Nebula and Fu Manchu out west (let alone what was happening in Europe or South America at the time), Dead Meadow managed to outdo the vast majority of their West Coast counterparts in terms of crafting a sound that was both mellow and heavy, and with Jason Simon‘s floating voice over the proceedings, they were as much shoegaze as psychedelic rock, as much indie as stoner. They made Dead Meadow in their practice space, and for the sounds they were making, anywhere else wouldn’t have worked the same.

There are few who can roll a groove as they do, and “Sleepy Silver Door” demonstrates that in its first minute as it moves into that willfully repetitive note of the verse. There are twists and turns to be had, but that root is always there, and with Steve Kille‘s bass and Mark Laughlin‘s popping snare and dirty hi-hat, the jammy feel is resonant but still so righteously heavy as the track takes off into its solo — long, jammed, eventually falling apart because who cares anyway man. “Indian Bones” picks up at a more immediate run and answers some of the opener’s repetition, but is more active and freak-crashes in its second half for a minute before getting its head back together, a formative janga-janga riff that’s still mellow with the push behind it.

The beginning pair make up about 14 minutes of the album’s total 44-minute runtime, so a not insignificant portion — “Sleepy Silver Door” is 7:31, and the only longer track is side B’s “Beyond the Fields We Know,” at 9:31 — but the dreamy, drifting vibe of “Dragonfly” that follows is a pointed chill kept together by the drums, like the sunshiniest of grunge but distinct in its purpose from what the ’90s had on offer a few years before, even at its most psychedelic. The bass, the drums. It’s a heavy tune, and fades out on a march to “Lady,” which rounds out the record’s first half like the reason wah pedals were invented. dead meadow self titled

Seriously, it’s dizzying. Eventually the track evens out, such as it is, and shuffles a bit in its second half, but the earlier stretch still comes across like the bastard son “Electric Funeral” never knew it had. In comparison, “GreenSky GreenLake” is positively clear-eyed, opening with a stretch of quiet guitar before unveiling its Hendrix-at-wrong-(or-right?)-RPM central figure, pausing before the bass and drums enter, keeping an exploratory feel as it plays out in linear, instrumentalist fashion. I don’t know if we’re ending up underwater or out in space there — what planet that lake is on, etc. — but I remain ready to submit a resume to work for their tourism board.

On the sundry vinyl editions that have shown up over the years — Planaria Records in 2001, the band’s own Xemu Records in 2013 and 2015, and so on — “GreenSky GreenLake” opens the second side, and on whatever format, it’s all the more notable for leading into the utter hypnosis that is “Beyond the Fields We Know,” which even 21 years later feels like someone did to time what Mad Alchemy does to lightshows. Loose enough to make “Sleepy Silver Door” sound like punk rock. And they, they get it going with the tambourine and the push and all that, but by the time they’re five minutes in and you’re hanging out there with Kille‘s bassline for company before Simon‘s guitar comes back and you’re wondering like what the hell happened I thought we were cool, it’s Dead Meadow‘s go-wherever jam getting one over again, because where they’re headed is back to the verse — a masterful turn that contradicts earlier departures from structure and reinforces the craft underlying all of the album’s songwriting elements. Maybe there has been a plan all along.

Like the shorter pairing of “Dragonfly” and “Lady,” on side A, Dead Meadow rounds out with “At the Edge of the Wood” and “Rocky Mountain High,” the former three and a half minutes of unashamed acid folk, acoustic strum and voice put to tape with a spirit that, if it wasn’t done live, is as much of an approximation of same as one could ask it to be, and the latter just over four minutes of tambourine-laced wah victory lapping, pushing vocals below weightier fuzz and pitting roll against boogie until the wash of melodic tonality takes us all into the wormhole off to who knows where. Find me a more fitting end to this record, I dare you.

In the context of when it came out — now some 21 years ago — Dead Meadow‘s Dead Meadow offered something different from much of the heavy rock of its time, and it, as well as 2001’s Howls From the Hills and 2003’s Shivering King and Others are essential documents of stand-apart turn of the century heavy. The band of course continue to deliver. They’ve got a new release coming out through PostWax, and their latest album was 2018’s The Nothing They Need (review here), a win to be sure, even as Simon has split time with solo work and other projects like Old Mexico. With steady reissues along the way — CD and tape in addition the vinyl already noted — Dead Meadow remains that relevant clarion it started as being, and maybe it ultimately feels so timeless because it is.

As always, I hope you enjoy. Thanks for reading.

Rough week with the kid home from school and still healing in the leg culminated yesterday with me getting pissed off and throwing a Lightning McQueen toy. The Pecan was adamant that I didn’t put his shorts on — yet he won’t go nap without them — and mommy do it mommy do it and I’d said I was doing it and so I was on the hook and when I put them on him he scratched and hit and kicked and even bit me which he hadn’t done in a while and then when he ran over to The Patient Mrs. after and pulled his shorts back off, I just lost it. Threw the toy, scared the kid, got his shorts back on and sent him upstairs to nap where he was consoled by his mother for 40 minutes before being left to go to sleep under his blanket. The dynamic in this house sucks right now and I think we all know it.

He and The Patient Mrs. are going to Connecticut for tonight and maybe part of tomorrow. I think I’m staying home to try and catch my head. Honestly, I’m hoping for a carbon monoxide leak or something like that so I can maybe just kind of pass out on the couch and not wake up and everyone can move forward for the better. Probably with a new couch.

I’m doing my best and it’s just not good enough. Ever. For anyone. Oh, and then DYFS or whatever they’re called now came back to the house to close out the case they opened because it was his second fracture in so short a time and I had to cancel the Monster Magnet interview I’d slated because I didn’t know when the case worker was coming. She showed up later anyhow. What a fucking trench of an existence this is.

He’s home next week too then starts camp. I took a xanax this morning and hope to spend as much of today as possible in bed. Make myself a protein shake and try to chill the fuck out. He has a follow-up x-ray at 9:15 on the leg. Still limps a bit, but is out of the boot. We see the orthopedist on Monday. I don’t know anything.

Fuck it. He’s up so I’m out. New Gimme show today at 5. You’re not gonna listen. It’s okay, I get it. Don’t feel bad. The world is not short on internet radio. But I feel obliged to give a plug because the Gimme crew is very tolerant of me.

And thanks if you’ve bought merch. More coming.

Great and safe weekend. Drink water. Wear a helmet. All that shit. Next week, more.

The Obelisk Collective FB Group

The Obelisk merch

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Myopic & At the Graves Premiere “Through Veins of Shared Blood” Recording Session Video

Posted in Bootleg Theater on February 15th, 2021 by JJ Koczan

myopic at the graves vid

The collaborative debut from Myopic and At the Graves, titled A Cold Sweat of Quiet Dread, is out March 12 through Grimoire Records. And look, I get it. Maybe you didn’t catch Myopic‘s 2018 self-titled LP when it also came out on Grimoire. Maybe you’ve never heard any of the material that the Baltimore-based Ben Price (also Foehammer, among others) has released under the solo moniker of At the Graves. If you want to be honest about it, I hadn’t either until the six-song/40-minute A Cold Sweat of Quiet Dread came my way with its roiling and extreme take on American black metal, doom and atmospheric sludge.

Breaking evenly into two three-track sides, the record begins with “Through Veins of Shared Blood,” for which you can see a recording session video premiering below. All I can do is suggest you watch that video, because it will give a sense of the process of these two parties — Price with the Washington D.C. of Sean Simmons (vocals and guitar), Nick Leonard (bass and vocals) and Michael Brown (drums) — coming together to create a work that represents both sides. “Through Veins of Shared Blood” is the shortest track on side A, but it still represents some of the tortured aspects of the vocals in its interweaving howls, growls and wails and the angularity of riff that underlies its more ferocious swells. On the record, “Gold Sinews” and “Reeling Between” follow and both top seven minutes but offer striking differences throughout as the former launches with blastbeats and clean vocals and screams in call and response form, conjuring a metal that feels ancient as much as forward-thinking, while “Reeling Between” offers anmyopic at the graves a cold sweat of quiet dread Opeth-style melodic break in its midsection before renewing a massive, charred doom lurch in its final stretch. Oh and somehow it’s grunge too.

Side B mirrors the first three songs in structure: shorter track up first, two seven-plus-minute cuts thereafter. “Oppressive Ruminations” (4:04) is the briefest inclusion on A Cold Sweat of Quiet Dread and more definitive in its scorch, verses and choruses swapping in and out in a manner almost catchy in its own, punishing way. “Stray Parasite” veers toward Paradise Lost-esque doom in its second half, but the setup that gets there draws from progressive death and black metal in kind, and Myopic & At the Graves are never anyone more than what would seem to be themselves throughout. That triumph — and it is one, make no mistake — is somewhat ironically underscored in the brazenly melodic “Resonating Loss,” which likewise draws together metallic traditions extreme and not and forges a path of its own essentially by shaping them to its will. They end melodic, and that feels telling.

Of what? I don’t know. Hard to guess whether A Cold Sweat of Quiet Dread is a pandemic-born one-shot deal or if it’ll be an ongoing thing. I hope the latter, and I’m almost sorry to say it, but the three-piece-plus-one-two-outfits-collaborating thing? Yeah, you guys might just be a new four-piece band. Certainly throughout A Cold Sweat of Quiet Dread, the melding of the two sides is complete to such a degree — the album does not feel disjointed as it might with disparate parties saying, “okay now let’s do this” with some out-of-place change or progression — that to seek out a name for this unit beyond Myopic & At the Graves seems appropriate if they’re going to continue. Considering the scope and cohesion in these tracks, it’s a thread well worth pursuing.

So maybe you’ve heard these two bands before, maybe you haven’t. If not, this is something new anyway, so don’t feel intimidated or weirded out by the idea or the (very cool) anatomical freneticism of the album art. Just go in with an open mind and you’ll be fine.


Myopic & At the Graves, “Through Veins of Shared Blood” recording session video premiere

Studio session video shot/edited by Ben Price for ‘Through Veins of Shared Blood’ by Myopic & At The Graves during the recording of ‘A Cold Sweat of Quiet Dread’ available March 12th, 2021 on Grimoire Records. Pre-order here:

“A Cold Sweat of Quiet Dread” was recorded, mixed and mastered by Noel Mueller in the Summer of 2020. Additional engineering by Nick Leonard, Ben Price and Sean Simmons. Art by Austyn Sullivan.

Sean Simmons – vocals, guitar
Nick Leonard – bass, vocals
Michael Brown – drums

Ben Price – guitars, vocals, drums

Myopic website

Myopic on Thee Facebooks

Myopic on Instagram

At the Graves on Thee Facebooks

At the Graves on Bandcamp

Grimoire Records website

Grimoire Records on Bandcamp

Grimoire Records on Twitter

Grimoire Records on Thee Facebooks

Grimoire Records on Instagram

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Caustic Casanova Release Lïve Läugh Löve Malört Live EP

Posted in Whathaveyou on February 5th, 2021 by JJ Koczan

Someday, maybe, you and me and everyone else will get to see Caustic Casanova again, and as far as I’m concerned, that would be just splendid. As it stands, a quizzically titled, bootleg-style live EP, Lïve Läugh Löve Malört, will have to hold the line. It’s got three songs, two of which come from 2019’s God How I Envy the Deaf (review here), which wasn’t out yet when it wasn’t recorded, and it’s name your price now on their Bandcamp.

And if you’re wondering about the artwork. It’s the classic logo of Major League Baseball’s Chicago White Sox, and Lïve Läugh Löve Malört was recorded in Chicago, presumably on the appropriate side of town. That or the White Sox just have a cooler logo than the Cubs. Which is true. In any case, they have a magnet to match that’s $5 and I think would look just dandy on my fridge. Easily worth the investment.

From the PR wire:


Caustic Casanova release live EP

Heavy rockers CAUSTIC CASANOVA have unleashed a new live EP called “Lïve Läugh Löve Malört”. The 3 song EP was recorded at Livewire Lounge, Chicago on April 14 2018.

Bassist/Vocalist Francis Beringer commented “Lïve Läugh Löve Malört is a raw soundboard recording from back in April 2018 at LiveWire Lounge in Chicago. That night on tour was everything we miss about live music – a packed house, enthusiastic fans, a welcoming venue and a stacked bill. We hope people will listen and get transported back to the sweaty, sticky, drunken front row at their favorite rock n roll dive when they put this on. As for the title, everyone knows – after a great set in Chicago, shots of the harsh yet delicious Swedish liquor Malört are mandatory.”

Stream/Download for free at:

Andrew Yonki (guitar)
Francis Beringer (bass/vocals)
Stefanie Zaenker (drums/vocals)

Mixed by Jake Kimberley October 2020
Mastered by Dan Coutant November 2020
Art by Eddie Limperis

Caustic Casanova, Lïve Läugh Löve Malört (2021)

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Myopic and At the Graves Announce Collaboration Album A Cold Sweat of Quiet Dread

Posted in Whathaveyou on January 15th, 2021 by JJ Koczan

I held back posting about this one for a couple days hoping maybe a song would surface, but no dice. Not unreasonable for a March release that there wouldn’t be music up in mid-January, but still, especially for something that’s a collaboration, there’s a definite curiosity around what At the Graves and Myopic might come up with for a release. What’s particularly interesting here is how the two groups talk about how writing together forced them out of their comfort zones a little bit, changed their processes. If there’s any good that’s come out of the last year of, well, existence, it’s that people have been forced to push themselves to try new things and new means of expression because, I don’t know, it’s either that or implode with hopelessness I guess. Though there are plenty of days where it feels like that’s already happened too.

Hey, maybe that’s what the album sounds like!

I guess we’ll find out in March. The PR wire has the following in the interim:

myopic at the graves a cold sweat of quiet dread

MYOPIC & AT THE GRAVES To Release A Cold Sweat Of Quiet Dread Collaborative Full-Length March 12th Via Grimoire Records; Preorders Available

Washington, DC-based progressive doom trio MYOPIC and Baltimore, Maryland-based one-man doom/sludge unit AT THE GRAVES have united for the release of A Cold Sweat Of Quiet Dread, a full collaborative full-length set for release on March 12th via Grimoire Records.

Forged in 2010, MYOPIC released a blackened death metal demo in 2011, followed by their Vacuous EP in 2013, which showcased a darker, slower, and more introspective direction for the band. The band joined forces with Grimoire Records a year later for the release of the Beyond The Mirror’s Edge EP. A split release with Appalachian black metallers Torrid Husk — Crawling Mountain Apogee — would emerge later that year where MYOPIC continued their progression towards slower, longer, and more sprawling compositions. Bordering on concept album territory, their approach received critical acclaim nationally. MYOPIC released their self-titled full-length in 2018.

Ben Price (Immiseration, Elagabalus, Foehammer, Textile, ex-Revolta, ex-Xozo) has been playing music under the name AT THE GRAVES with various other members fulfilling band duties since 2009. Formed out of the desire to play guitar and a slower and more emotionally deep form of music, Price has been operating as a one-man-band since the release of 2016 full-length, Cold And True. Influenced by the likes of Neurosis, Godflesh, My Bloody Valentine, and Nirvana, AT THE GRAVES’ live performances heavily leverage the use of looper pedals, backing tracks and a live percussion set-up consisting of rack mounted toms and cymbals.

MYOPIC and AT THE GRAVES met in 2013 at the Velvet Lounge in Washington, DC, and have gigged together frequently since then. Having become good friends and sharing similar musical interests, the two bands have talked about collaborating on a project for years. In 2019, the bands began writing the material that would eventually become A Cold Sweat Of Quiet Dread.

Comments MYPOIC bassist/vocalist Nick Leonard, “We’ve been writing as a three-piece for all our releases, and AT THE GRAVES has been a one-man band for years, so it’s been a fun challenge to combine our sounds and write for as a four-piece with three vocalists. We’re very proud of the result and the new ground this album breaks for both of our bands.”

Adds Price, “Finally doing the collab with the homies in MYOPIC was deeply satisfying. It was the most collaborative and difficult writing process I’ve been a part of and I’m very stoked on the album.”

A Cold Sweat Of Quiet Dread will be released digitally and on limited edition CD
with teaser tracks to be released in the coming weeks. For preorders, visit THIS LOCATION:

A Cold Sweat Of Quiet Dread Track Listing:
1. Through Veins Of Shared Blood
2. Gold Sinews
3. Reeling Between
4. Oppressive Ruminations
5. Stray Parasite
6. Resonating Loss

Sean Simmons – vocals, guitar
Nick Leonard – bass, vocals
Michael Brown – drums

Ben Price – guitars, vocals, drums

Myopic, Myopic (2018)

At the Graves, Pain After Pain (2019)

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Teen Mortgage Post New Single “Such is Life”

Posted in Whathaveyou on January 13th, 2021 by JJ Koczan

Washington D.C. heavy punk two-piece offer 98 seconds of hard-driven shove with the new single Such is Life. It’s according to the band it’s about living in the reality of capitalism embedded as a perceived natural state — oh, you’re getting fucked over and stomped on and you worry if you take a break you’ll lose your job? Well, such is life. That kind of thing.

Yeah that’s fair enough. Shit’s fucked, which I’m sure is news these two dudes, one of whom works as a nurse during a pandemic and both of whom live in the same town as the recently stormed Capitol. D.C.’s long been established as a punk town, so that’s a lineage that I probably don’t need to tell you about, but sometimes you need a blasted bit of fuck-you. As a human being who’s already spent three hours today trying to get a toddler to say what shape stop signs are — octagon; a word he knows perfectly well; a word he learned before he learned square because that’s who he is — I’m more than happy to have Teen Mortgage come along and kick away the existential dust gathered on my state of being. Thanks y’all.

The duo issued their Life / Death EP in March 2019 through King Pizza Records (see also Ghost Funk Orchestra, The Mad Doctors, Sun Voyager, etc.) and the new song arrives with the same backing. Nice to have friends. Friends who might even tell you what shape a stop sign is, or, you know, how to take yourself off the grid or make universal healthcare a reality or whatever. No gods, no masters, no rent.

Brief announcement and track follow:

teen mortgage

Teen Mortgage – Such is Life

Teen Mortgage is back with thrashing new single ‘Such is Life’, a fuzzed-out banger detailing hypocrisy and loathing inherent in certain mindsets. Couching socio-political disgust in holy rage, not to mention thundering drums, it should be no surprise these boys hail from DC and are happy carrying the history of its DIY ethos with them into 2021 and beyond.

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Surrogate Prey and Et Mors to Release Split LP Dec. 28

Posted in Whathaveyou on December 23rd, 2020 by JJ Koczan

Raw sludge and rawer doom abounds on the new four-song split from Philippines four-piece Surrogate Prey and Washington D.C.’s Et Mors, who seem to be in a contest not so much to out-heavy as to out-filth each other. I’m not sure who the winner is in that regard — Et Mors are more atmospheric, Surrogate Prey more outright scathing — but either way, it’s 37 minutes of feeling buried alive while the bands taunt you and unleash varying tonal assaults on your person.

Friendly it ain’t, but Surrogate Prey and Et Mors do make a fitting pair as the split progresses from one to the next, giving the feeling of driving deeper into your skull as it goes. To everything, churn churn churn, there is… death.

Here’s mud in yer eye from the PR wire:

Surrogate Prey Et Mors Split

Surrogate Prey & Et Mors split due to release on 12/28/20

Surrogate Prey is a Sludge Metal band from the Philippines, formed circa 2004. They’ve been putting out demos and splits since then, with their first full length album “Wisdom to Scramble Your Brains Lysergik” coming out in 2019. They just released their “Aberration” EP in December 2020 as well. They’ve played a key part in the Filipino Metal scene, being the first Sludge band there, & opening for bands such as EyeHateGod. the band features:

Rallye Ibanez – Bass, Vocals
Gani Simpliciano – Drums
Allan Diaz – Guitar, Vocals
Bobby Legaspi – Guitar, Vocals

Et Mors is a Doom Metal band from Washington, DC, formed circa 2017 as a 4 piece with guitar, drums, bass, and keys. Since then, the band has been condensed to a 2 piece, with guitar and drums as the main instruments. After 2 demos and a single, their first full length “Lux in Morte” was released, followed by “Tombswayer” EP in late 2019. Et Mors completed the Tombswayer tour in October 2019, playing with bands such as Tel, DOUR, False Gods, Fistula, Come to Grief, & more. The band features:

Zak Suleri – Guitar, Vocals
Albert Alisuag – Drums, Vocals

This split contains two tracks from each band:
1. Surrogate Prey – Banquet of the Beast (6:37)
2. Surrogate Prey – Shroud (8:03)
3. Et Mors – Damaged Pathways (13:50)
4. Et Mors – Erotic Neuroticism (8:56)

The result is 37 minutes of Doom & Sludge from two vastly different time zones.

Surrogate Prey, “Shroud”

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Borracho Premiere “It Came From the Sky” Video; Pound of Flesh out Early 2021

Posted in Bootleg Theater on September 28th, 2020 by JJ Koczan


As they mark the 10-year anniversary of their debut in 2021, Washington D.C. heavy rolling trio Borracho will also release their covid-delayed fourth full-length, Pound of Flesh. Also their second for Kozmik Artifactz, the new Borracho follows some four-plus years on from 2016’s Atacama (review here) and is prefaced by the new video for “It Came From the Sky.” And if the premise of an upcoming Borracho record isn’t immediately enticing, plug your brain into the clip for just long enough to hear guitarist Steve Fisher‘s fuzz riff and that should be more than enough to prick up your ears.

I’m not sure who recorded the thing, and I’m not sure how representative “It Came From the Sky” might be of what surrounds it across the whole of the LP, because I haven’t heard it yet, but Fisher and bassist/backing vocalist Tim Martin conjure up some enviable tonality, and set to Mario Trubiano‘s steady-as-she-goes-and-she-goes-pretty-damn-steady drums, you’re basically getting a lesson in how to do heavy fuzz correctly in 2020.

For Borracho, “It Came From the Sky” also represents something of a turn toward the socially conscious. Can’t argue. Lines like the song’s hook, “What do you want?/What do you want from me?/Whatever happened to the land of the free?/Fear. Control. Fear.,” put emphasis on the paranoia of our age, and the song digs into conspiracy theories and the abiding sense of something having shifted in the reality in which we live. The last runthrough of the chorus, in fact, switches out “the land of the free” for “reality,” in a clever twist that works well rhythmically. You’ll also note that, in the video, all three members of the band are shown speaking various lines throughout, underscoring the notion of their speaking as a group.

And if you missed it above, Borracho hail from the epicenter of alternate-universe-ism that is the American capitol city, Washington “Taxation Without Representation” D.C. I cannot for the life of me imagine what the air in that town might smell like at this point, but as the US moves inexorably toward a presidential election that has the potential to either reinforce or undermine our shown-to-be-oh-so-fragile system of government, it’s only fair that politics, social issues, and so forth should be on Borracho‘s mind. For those of you who might live elsewhere in the world, you’d have to work really, really hard to ignore it otherwise.

With the promise of more to come, enjoy the premiere of “It Came From the Sky” — filmed in isolation I would guess by the band themselves and skillfully edited together by Larry Jackson, Jr. (also of Wasted Theory) — below, followed by some quick confirmation from the band about the record coming out, double-vinyl style.


Borracho, “It Came From the Sky” official video premiere

From the forthcoming album Pound of Flesh, coming in early 2021 on Kozmik Artifactz heavyweight 2LP, CD and digital.

Borracho on Thee Facebooks

Borracho on Bandcamp

Borracho website

Kozmik Artifactz website

Kozmik Artifactz on Thee Facebooks

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