Friday Full-Length: Reverend Bizarre, In the Rectory of the Bizarre Reverend

Posted in Bootleg Theater on September 23rd, 2016 by H.P. Taskmaster

Reverend Bizarre, In the Rectory of the Bizarre Reverend (2002)

Finnish doomers Reverend Bizarre were only really around for 11 or 12 years, depending on what you count as their last official release, but their impact was massive in Europe and beyond. I’ll readily admit that for a long time, I didn’t get it. Some stuff resonates, some stuff doesn’t, and for me, Reverend Bizarre were one of those bands that other people really liked. It wasn’t until 2010 — and it’s way easier to remember exact dates on these kinds of things when you have an archive of posts about them — when I put up a short Buried Treasure piece about being in London and buying a copy of Reverend Bizarre‘s 2002 debut, In the Rectory of the Bizarre Reverend, and discussed how I’d always been relatively lukewarm on them, that I began to come around. The difference was made in a comment that post got from a reader who went by the moniker Shrike who commented around here for a while with much appreciated band recommendations — people come and go; nature of the beast — and what he did was really take the time to help me understand the context in which Reverend Bizarre first arrived. Here’s what he said:

Shrike says:
May 15, 2010 at 3:44 am
To me it’s not just the music, which is good, but about the fact that they made their music when nobody else was making it. They wrote music which was a tribute to the masters of the old, very rigidly anchored to the traditions of doom metal and very arrogant in their attitudes towards other modern music.

So I think their influece (sic) was huge and propelled doom metal into the spheres it is today, traditional doom metal in particular. Which also means that their influence and style was significant back then, but doesn’t necessarily translate “to today” as well.

What I’d been neglecting was understanding how little of this kind of thing there really was happening at the turn of the century. Even The Gates of Slumber here in the US, who started roughly concurrent to Reverend Bizarre in 1998, would take another two years to get their first album out, and while there was plenty of heavy rock around the US and Europe alike at that point and the two styles are closely linked in my estimation, in terms of doom by doomers for doomers, the names are fewer and farther between, especially when it comes to new bands (at the time) producing material with the quality of “Burn in Hell!,” “In the Rectory,” “The Hour of Death,” “Sodoma Sunrise,” “Doomsower” and “Cirith Ungol,” as much Saint Vitus as Black Sabbath, but delivered with the vitality and passion of a newer generation that, even 14 years later, is still palpable. I didn’t even respond to that comment at the time, because I’m a dick, but it’s been among the most helpful responses I’ve had to a piece of writing on this site, and it genuinely helped shape my opinion on Reverend Bizarre‘s contributions to the sphere of modern traditional doom.

Reverend Bizarre would release two more albums after In the Rectory of the Bizarre Reverend in 2005’s II: Crush the Insects and their 2007 swansong, III: So Long Suckers, along with an innumerable slew of splits, EPs an singles that actually make up the bulk of their catalog. Today, one can find bassist/vocalist Sami “Albert Witchfinder” Hynninen in Spiritus Mortis (who have a new LP coming), drummer Jari “Earl of Void” Pohjonen in Orne and guitarist Kimi “Peter Vicar” Kärki (Obelisk Questionnaire here) in that band as well as Lord Vicar — who already released an LP this year in Gates of Flesh (review here) — E-Musikgruppe Lux Ohr, his own solo work, and a host of other adventurous projects well worth digging into. That the one-time members of Revered Bizarre would still be contributing to the style these years after the band’s breakup only seems to prove their commitment to doom was no fluke, but a lifestyle choice, and one from which there’s no easy escape. Likewise, the tragic abysses into which In the Rectory of the Bizarre Reverend so willfully and dramatically plunges will not easily let the listener out again.

It’s autumn, so here’s some doom. I hope you enjoy.

This weekend, actually Sunday, marks my 12th wedding anniversary. As of next week, The Patient Mrs. and I will have been together for 19 years. Well more than half of my life. As soon as I get out of work, we’re going to Vermont for the weekend to celebrate. There’s no way you’d recall, and that’s cool, but six years ago, in 2010, we rented a cottage up there for a month (I did some writing while there, a couple posts about the trip) and had what were some of our best times to-date. This time we’re getting a house on the same piece of property just for a couple days, but I expect it will also be awesome. I’ve been very much looking forward to it and feeling generally fortunate to have such love as a defining portion of my life, which is a good way to feel. I’m a lucky, lucky boy. Far luckier than I deserve to be.

Next week, and really the next few weeks, are packed. Monday, a review/stream from Heavy Temple. Tuesday, a Seremonia album stream. Wednesday, a Yeti on Horseback album stream. Thursday, a Nightstalker review/stream. Friday, might post that Truckfighters interview I did at Høstsabbat last weekend. Then the week after that is the Quarterly Review and I have a few streams up my sleeve besides already, so yeah, we’re jammed just about into the middle of next month as it is. Plus there are some tour announcements and things like that slated, videos and so on. Much, much to discuss. I don’t know if the site’s ever had direction so far ahead as it does right at this moment. Then we get into list season as the holidays approach, the next Quarterly Review, the readers poll, etc. It’s madness from here on out, folks. I guess it’s been madness for a while.

But while I’ll spend some time preparing for the week probably early on Sunday, the focus this weekend is on hanging out with The Patient Mrs., basking in good times with her and the little dog Dio, maybe doing a little record shopping and generally feeling excellent about what is unquestionably the best part of my life.

My brain’s kind of all over the place as I wrap up the day/week, but while I mentioned it, I’d like to extend one more round of thanks to Ole Helsted and all involved with Høstsabbat last weekend in Oslo, Norway. I can’t even begin to tell you how validating it is for this entire ongoing project to have people half a world away appreciate the work done on this site enough to extend such a generous invitation and to be so incredibly welcoming and considerate upon my arrival. It was truly humbling and I was honored to be there. Then I met Slomatics. And that fucking ruled too. So yes, thank you again to Høstsabbat for having me.

I can’t help but feel like I’m forgetting something — always — but I think that should do it either way. I hope whatever you’re up to that you have a great and safe weekend. Please check out the forum and the radio stream.

The Obelisk Forum

The Obelisk Radio

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Clutch Announce Vinyl Release for Full Fathom Five

Posted in Whathaveyou on September 23rd, 2016 by H.P. Taskmaster

I’m honestly kind of surprised Clutch fans hadn’t already beat the band’s collective door down in order to secure a vinyl release for Full Fathom Five. Or maybe they did, figuratively speaking of course, and that’s why they’re finally doing one some eight years after the original CD/DVD came out, but either way, as the Maryland kings of groove head out once again on their Who-Needs-a-Personal-Life forever-tour (name unofficial), they’ll be taking the first LP copies of Full Fathom Five along for the trip. It’s very, very hard to imagine that many will make it back, if any do at all.

The shows run for just over a month — because of course they do — also feature Zakk Sabbath and Kyng and kickoff in Buffalo, New York, on Sept. 28. If you’re down, the PR wire offers the following:



Clutch has just released Full Fathom Five on vinyl. Full Fathom Five was Clutch’s first ever release on its own label Weathermaker Music. Released in 2008, it was originally presented on CD (Audio Field Recordings) and DVD (Video Field Recordings). Now it is being released in a double vinyl gatefold format that includes unreleased bonus tracks from the same live shows that previously did not make the original release the first time around.

“The tracks on Full Fathom Five were recorded in the fall of 2007 and the spring of 2008 during Clutch’s From Beale Street to Oblivion tour” states frontman Neil Fallon. “These 19 tracks, recorded in Sydney, New Jersey, Colorado, and Pennsylvania, are typical of our set lists at that time. Naturally, there are a lot of tracks from FBSTO, but there are also tracks from Robot Hive / Exodus, Blast Tyrant, Elephant Riders, and the Self-Titled LP, Clutch. It’s a bit of a snapshot of where we were nearly ten years ago. Clutch has a reputation for being a relentless touring band. I suppose we are. But really, it’s the fans that pack clubs time and time again that make it all possible. We are stoked to have Full Fathom Five available now on vinyl.”

Clutch continues their Psychic Warfare World Tour 2016. The band will be headlining tour dates in September and October with Zakk Sabbath and Los Angeles based metal band Kyng. Including 2 festival appearances, the trek will begin in Buffalo, NY at the The Town Ballroom on September 28th and conclude in Worcester, MA at The Palladium on October 30th.

Psychic Warfare is the latest and eleventh studio effort from Clutch. The disc debuted at No. 11 on the Billboard 200, No. 2 on the Billboard Independent, No. 1 on the Billboard Hard Rock and Billboard Rock charts. On Record Store Day this past April 16th Clutch released a limited edition numbered etched vinyl 12 inch that included two previously unreleased tracks from the Psychic Warfare sessions: “Mad Sidewinder” and “Outland Special Clearance”. Psychic Warfare was produced by longtime producer Machine (Lamb Of God, Every Time I Die).

Clutch, Zakk Sabbath, Kyng 2016 Tour Dates:
09/28 – Buffalo, NY @ The Town Ballroom
09/30 – Lakewood, NJ @ First Energy Park – Rock Carnival *
10/01 – Pittsburgh, PA @ Stage AE
10/02 – Louisville, KY @ Champions Park – Louder Than Life *
10/04 – Lake Buena Vista, FL @ House of Blues
10/05 – Atlanta, GA @ The Buckhead Theatre
10/07 – Raleigh, NC @ Lincoln Theatre Street Stage
10/08 – Columbus, OH @ Express Live
10/10 – Little Rock, AR @ Metroplex
10/11 – Oklahoma City, OK @ Diamond Ballroom
10/12 – Albuquerque, NM @ Sunshine Theater
10/14 – Los Angeles, CA @ The Novo
10/15 – Las Vegas, NV @ Brooklyn Bowl
10/16 – San Francisco, CA @ The Regency Ballroom
10/18 – Boulder, CO @ Boulder Theater
10/20 – Kansas City, MO @ Uptown Theater
10/21 – Minneapolis, MN @ First Avenue
10/22 – Sioux City, IA @ Anthem at Hard Rock Hotel & Casino
10/24 – Columbia, MO @ The Blue Note ** NO Zakk Sabbath
10/25 – Chicago, IL @ House of Blues
10/27 – Madison, WI @ Orpheum Theater
10/28 – Detroit, MI @ The Fillmore
10/29 – Clifton Park, NY @Upstate Concert Hall
10/30 – Worcester, MA @ The Palladium
* festival appearance

Neil Fallon – Vocals/Guitar
Tim Sult – Guitar
Dan Maines – Bass
Jean-Paul Gaster – Drums/Percussion

Clutch, “The Mob Goes Wild” live at Starland Ballroom”

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Terminal Cheesecake to Release Dandelion Sauce of the Ancients Nov. 11

Posted in Whathaveyou on September 23rd, 2016 by H.P. Taskmaster


Revitalized psychotronic wizards Terminal Cheesecake have announced that their first studio album in 22 years, Dandelion Sauce of the Ancients, will be released on Nov. 11 via Box Records. The band has been kicking around live shows for a while now — they played Yellowstock in Belgium this August, for example — and last year they released the Cheese Brain Fondue live outing on Artificial Head, but their last actual full-length was 1994’s King of all Spaceheads, so yeah, it’s been a minute.

To advance the coming of Dandelion Sauce of the Ancients, Terminal Cheesecake are streaming the new track “Song for John Pt. 1” that you can check out below, along with the cover art, tracklisting, lineup info and other sundry thisses and thats that tend to provide useful when one is, say, reviewing an album later and wants to look back and see where it was recorded. Ha.

From the PR wire:


Terminal Cheesecake announce new album – Dandelion Sauce Of The Ancients

Terminal Cheesecake return with ‘Dandelion Sauce Of The Ancients’, the band’s first studio album since 1994!

Forming in London in 1988 Terminal Cheesecake made waves releasing an uncompromising blend of psych, dub and industrial grooves across two EPs, six albums and a now infamous session for John Peel.

Last year the band celebrated their reincarnation with the release of an outstanding and deservedly praised live album ‘Cheese Brain Fondue’ released on US based label Artificial Head.

‘Dandelion Sauce Of The Ancients’ will be released on Orange Crush colour vinyl via Box Records on 11th of November.

1. Birds In 6/8
2. Poultice
3. The Winding Path
4. Dandelions
5. Mr. Wipey’s Daytrip To Guilford Haven
6. Song For John Pt. 1
7. Lord Jagged (The Chemical Teacake Quintet)

Terminal Cheesecake are Russ Smith, Gordon Watson, John Jobbagy, Neil Francis and Dave Cochrane
Cover Design/Layout by Dave Cochrane
Artwork Photography by Craig Earp
Recorded at Runway Studios and Bear Bites Horse Studios

Terminal Cheesecake, “Song for John Part 1”

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Goya Stream Nirvana Tribute Single Drain You / D-7 in Full; Out Tomorrow

Posted in audiObelisk on September 23rd, 2016 by H.P. Taskmaster


Tomorrow, Sept. 24, is the 25th anniversary of the release of Nirvana‘s generation-defining second album, Nevermind. Of course, the truth behind the narrative that that record single-handedly reshaped the rock and roll of its time is actually more complicated — even Nirvana were taking influence from Earth and the Melvins — but the level of impact is ultimately impossible to overstate because it’s still ringing out a quarter-century later. To wit, Phoenix, Arizona, trio Goya, in bringing in their new bassist Sonny DeCarlo, bonded over their collective experience with the music of the one-time Seattle forerunners, and the result was the recording of this new single, Drain You / D-7, which will be used as part of a split vinyl with Aneurysm, from Boston, later this year or early in 2017. For now, GoyaDeCarlo, guitarist/vocalist Jeff Owens and drummer Nick Losegoya-drain-you-d7will release the songs digitally tomorrow via their own Opoponax Records imprint, to coincide with the aforementioned anniversary.

No doubt that if it’s not already the internet will be flooded with thinkpieces this weekend and for probably the next month waxing various levels of nostalgic about Nevermind, but let me just say that as someone just beginning to come of age at the time, it was legitimately a transformative moment. For me it wasn’t ever just about NirvanaAlice in Chains, Primus, Metallica, C.O.C. played early roles — but they were certainly a factor, and the death of Kurt Cobain just three years later in 1994 was a moment at which a generation pulled together to mourn as a collective in a way that one hadn’t probably since John Lennon and wouldn’t again until David Bowie or Prince passed away — these huge figures of their times. Goya give due respect to the catchy punk of “Drain You” and the rawer “D-7” — itself a Wipers cover taken on by Nirvana as the B-side to the “Lithium” single — while remaining set with their own thicker tones as shown last year on their second full-length, Obelisk (review here) and earlier-2016’s The Enemy EP (review here).

In addition to the coming Goya/Aneurysm split that will contain these tracks, The Enemy will be released on vinyl Oct. 8 through STB Records. Both “Drain You” and “D-7” can be streamed on the player below, and under that, you’ll find a quote from the band about the making of the single and more info on the EP vinyl.

Goya will have a new album out in 2017.


Jeff Owens on Drain You / D-7:

Nirvana are a heavy influence on all three of us from our youth. There was a recent article calling Nirvana the most coverable band of all time, due to the simplicity and catchiness of their songs, and there’s certainly something to that. It’s easy to get bogged down with trying to do something “different”, or worrying that the notes you’re playing are too “predictable”, but we feel it’s important to listen to that inner voice telling you that the next note is obvious. Despite what some would have you believe, there’s nothing wrong with standard chord progressions, and that is one of the greatest strengths of Nirvana. Sometimes, a song writes itself, and there’s no reason to fight it or twist it. We all still consider ourselves fans of Nirvana, and we are all fans of basic chord progressions and a more punk approach to writing music, so it’s been a lot of fun for us putting this release together and playing these songs live, and we hope that that comes through in listening to them. And who knows? Maybe it will even have some sort of influence on our writing process as a three-piece in the future.

2016 marks Phoenix, Arizona-based stoner doom trio GOYA‘s fifth year as a band. After singer/vocalist Jeff Owens and drummer Nick Lose recently recruited Sonny DeCarlo on bass, they wanted to get into the studio as quickly as possible to celebrate what they could bring together. Knowing that it takes time and care to craft original material, they decided to record a couple of covers for the time being. All three members grew up in the ‘90s, so the logical choice of band for them to cover was Nirvana, particularly with the twenty-fifth anniversary of Nirvana’s seminal album Nevermind full-length on the horizon.

After only a few rehearsals together, they entered Switchblade Sound in Tempe, Arizona to track “Drain You” and “D-7? with long-time friend and ex-GOYA bassist, Joe Asselin, who recorded their last album, Obelisk. Though “D-7? is originally by ‘70s Portland punk band, Wipers, and was later covered by Nirvana, GOYA plays it in the true spirit of Nirvana. The tracks are mastered by Brad Boatright (Obituary, Sleep, Magrudergrind, Gatecreeper et al).

Their last EP, The Enemy, is being released through STB Records, who released their 2015 full length, “Obelisk”. Goya will be hitting the studio in the fall to record their follow-up to “Obelisk”, due in Spring 2017.

Goya have shared the stage with countless bands (Sleep, Windhand, Dead Meadow, Valkyrie, etc.), and have performed at Psycho Las Vegas, Southwest Terror Fest, and Day of the Shred. Having no plans to stop here, Goya are poised to extend their reach in 2017. The songs they are hitting the studio with in the fall show them to be pushing their sound further than ever before.

Goya on Thee Facebooks

Goya on Bandcamp

Opoponax Records BigCartel store

STB Records BigCartel store

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Goblin Cock, Necronomodonkeykongimicon: Misanthropic Conjurations

Posted in Reviews on September 23rd, 2016 by H.P. Taskmaster

12 Jacket (3mm Spine) [GDOB-30H3-007}

In 2015, Rob Crow quit music. In 2016, he’s put out two records, both with full bands. The first of them was You’re Doomed. Be Nice., which came out in March on Temporary Residence Ltd. under the banner of Rob Crow’s Gloomy Place, and the second is a return from the long-absent Goblin Cock, a third album, given the title Necronomodonkeykongimicon and issued via Joyful Noise Recordings.

Crow, who here is clad in a robe going by Lord Phallus and is probably best known in indie circles for his work with Pinback but has had a hand in a wide variety of outfits over the years including his own solo work and the delightfully bizarre Optiganally Yours, may not be much for retiring, but that can only be good news for any fan of quality songcraft. He’s proven time and again to be the kind of writer who can make a hook out of just about anything.

It’s been nearly eight years since the last time Goblin Cock had anything out — their second album, early 2009’s Come with Me if You Want to Live (discussed here), still gets periodic revisits — and it would seem that in light of what has no doubt been a tumultuous year-plus for Crow, that the perfect vehicle for giving the universe a big ol’ middle finger was already right at his disposal.

That, ultimately, would seem to be the impetus for Goblin Cock as a whole — there are levels on which they seem to be fuckall incarnate — but across their now-three albums beginning with 2005’s Bagged and Boarded, they’ve never been lazy either in songwriting or performance, and as the 13 tracks/36 minutes of Necronomodonkeykongimicon demonstrate, that continues to very much be the case more than a decade later. Hell, even naming the record clearly took effort on some level.

While the overall quality underlying the structures of the material is consistent, that’s not necessarily to say nothing has changed in Goblin Cock over the course of the last eight years. Necronomodonkeykongimicon actually speaks most of all to what was Crow‘s intention when he first put it together: to make a metal record. I wouldn’t say either Bagged and Boarded or Come with Me if You Want to Live were overly metal in their execution, though both were excellent heavy and/or stoner rock.

This time, while one might say the same of the mega-catchy “Flumed,” “Your Watch” or opener “Something Haunted,” the entire outing hits with a harder edge, marked out by copious gallop and double-kick bass in cuts like the chug-happy “Montrossor” and “Island, Island,” or “The Undeer” and “The Dorse,” while still retaining variety in its presentation that comes out more with repeat listens. Only slower and more spacious closer “Buck” reaches past the four-minute mark, so the songs are quick one into the next, and whether it’s the forward-thrust intensity of “Youth Pastoral” or the more swinging “Your Watch.”


Whatever tempo they’re using at any given point, whatever the lyrics — “Something Haunted” boasts the lines “Fuck shit and fuckin’ fuck you” — the songs offset the kind of toss-off, joke-ish nature of the band through their sheer memorability. That’s always been the thing about Goblin Cock, and while Crow and company — whoever that company might be, if anyone — are very clearly having a good time in these tracks, they’re by no means screwing around when it comes to presentation. The band is tight, the songs are tight, the performances are spot on. A telling moment is when Crow holds a note vocally across multiple measures for so long in “Flumed” that it becomes comical. Yeah, you have to laugh at it, but that doesn’t mean it’s not also really impressive.

And is Necronomodonkeykongimicon more metal than Goblin Cock were before? Probably. But by the end of the record, after the ups and downs in mood of “Stewpot’s Package,” “Bothered,” “World is Moving” and the two instrumentals, “Youth Pastoral” and the aforementioned “The Dorse” — both of which are perfectly placed to provide the tracklist with a shift in vibe without sacrificing momentum — it really doesn’t matter anymore. Or maybe it does, but the thing worth emphasizing about Goblin Cock‘s brand of metal is that it seems to be put together with zero preconceptions about what “being metal” means, or otherwise it’s actively working against them.

Crow has a long history of experimenting around pop forms, and maybe it’s fair to see Goblin Cock as a genre-based extension of those impulses, but if it was just an exercise in toying with sound, I’m not sure Necronomodonkeykongimicon would work as well as it does. It’s less narrative than was Come with Me if You Want to Live, the lyrics feel more personal — there’s no song about Billy Jack, for example — as though the closer of that record, “Trying to Get Along with Humans,” became a point at which “Something Haunted” could pick up after so much time passed.

When the drums on “Buck” have thudded out and the song has pushed out its last proggy keyboard line, I think the album in its entirety can only be said to benefit from Crow‘s background as a “metal outsider.” He has fewer restrictions. He brazenly takes the material where he wants it to go or is otherwise willing to let it go there on its own, and these songs are hammered out in a way that metal, as known by pitiful mortals, is often simply too indulgent either in its technicality or its chestbeating aggression to engage. Lord Phallus, it seems, knows no such boundaries.

Goblin Cock, Necronomodonkeykongimicon (2016)

Goblin Cock on Thee Facebooks

Goblin Cock on Bandcamp

Lord Phallus on Twitter

Rob Crow on Bandcamp

Goblin Cock at Joyful Noise Recordings

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The Vintage Caravan South American Tour Starts Next Week

Posted in Whathaveyou on September 23rd, 2016 by H.P. Taskmaster


Haven’t heard much from Icelandic trio The Vintage Caravan since their extensive European tour this past Spring supporting their second album for Nuclear Blast, 2015’s Arrival (review here). True, they took part in Europe’s always-busy summer festival season, but somehow I half expected them to have a record out this year. As they’re headed to South America next week for a tour presented by Abraxas Events, I’ve no doubt they yet have a few tricks up their collective sleeve. Maybe they’ve been writing? Hard to know for sure, but either way, these shows should be good as they make their way to Brazil and Argentina for the first time.

The PR had this to say about it in semi-translation:


The Vintage Caravan announce first South America tour

Brazil and Argentina will receive at the end of September and beginning of October the acclaimed The Vintage Caravan, from Iceland, yet worldwide recognized as a band that – less than a decade and just three releases – conquered so many fans and the musical critic by doing an exited stoner rock with progressive, psychedelic, hard rock and blues elements. Óskar Logi (vocal and guitar), Alexander Örn (bass) e Stefán Ari (drum) arrives in South America for the first time to a plenty of gigs; 8 confirmed.

Despite the nostalgic aura, mainly strong at the first two albums, the self entitled Vintage Caravan (2011) and Voyage (2012), the music increased by the Icelandic trio is tough, with modern production, so clearly in Arrival (2015), the last released, so mature and full of clever songs.

The South America Tour begins in Brazil, in 29/09, at Porto Alegre. The other venus are schedule to happen at Goiânia/BR (30/09), Belo Horizonte/BR (02/10), Buenos Aires/AR (05/10), Curitiba/BR (06/10), São Paulo/BR (08/10), Rio de Janeiro/BR (09/10) and Florianópolis/BR (11/10).

Besides riffs and harmonies inspired in 70ies rock, with a tone of strong Black Sabbath references or even the Deep Purple classy, The Vintage Caravan has enough authenticity to distill marvelous songs, as unique band in nowadays rock/metal scene.

PORTO ALEGRE (Rio Grande do Sul)
DATE: 29/09
LOCAL: Riff.e Bar
ADRESS: João Alfred strret, 477

DATE: 30/09
LOCAL: República Rock Sport Bar
ADRESS: Sol Nascente avenue, Jardim Nova Esperança

DATA: 2/10
LOCAL: Stonehenge Rock Bar
ADRESS: Tupis street, 1448

DATA: 5/10
LOCAL: Uniclub
ADRESS: Guardia Vieja, 3360

DATA: 6/10
LOCAL: John Bull Pub
ADRESS: Mateus Leme street, 2204, Centro Cívico

SÃO PAULO (São Paulo)
DATA: 8/10
LOCAL: SESC Belenzinho
ADRESS: Padre Adelino street, 1000, Belenzinho

RIO DE JANEIRO (Rio de Janeiro)
DATA: 9/10
LOCAL: La Esquina
ADRESS: Mem de Sá avenue, 61, Lapa

FLORIANÓPOLIS (Santa Catarina)
DATA: 11/10
LOCAL: Célula Showcase
ADRESS: João Paulo street, 75

The Vintage Caravan, “Babylon” official video

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Graveyard Disband; All Touring Canceled

Posted in Whathaveyou on September 23rd, 2016 by H.P. Taskmaster

Have to admit I didn’t see this one coming. Swedish classic heavy rockers Graveyard have put out word they’ve called it quits. All upcoming appearances including their recently-announced headlining slot at Desertfest Belgium 2016 have been canceled.

They do leave open the possibility of coming back at some point — note “if and when” below — but however that might pan out, losing Graveyard is a considerable blow to the heavy underground. Since signing to Nuclear Blast ahead of releasing 2011’s Hisingen Blues (review here), and really since their 2007 self-titled came out on Tee Pee, the Örebro natives have been forerunners of the retro rock movement, having a major hand in teaching an entire generation of bands how to boogie across Europe and the US alike.

That position would only solidify with the next year’s Lights Out (review here), which began to bring forward the soul and classic R&B influences that would continue to emerge on last year’s Innocence and Decadence (review here), their fourth album and apparent swansong. By then, Graveyard — the lineup of guitarist/vocalist Joakim Nilsson, guitarist Jonathan Ramm, bassist Truls Mörck and drummer Axel Sjöberg — had cast their influence wide and it will no doubt continue to ring out despite their breakup. A shuffle like that just doesn’t come along every day.

As to what the future might hold for the members of Graveyard? It’s probably way too soon to speculate, and definitely too soon to hope that Nilsson might get back together with Magnus Pelander of Nuclear Blast labelmates Witchcraft for a reunion of their mid-’90s outfit Norrsken (in many ways the seed of what became the retro rock movement over the next decade), but one way or another, all the best to the members of the band in sorting out whatever issues it is require sorting and all the best for the future. Graveyard were clearly a special band and the void they leave behind is significant.

Here’s the announcement from the group:


Dark clouds above the graveyard today.

Due to the all so classic reason “differences within the band” the Graveyard is as of today officially closed. This is the unfortunate final decision we’ve had to make after going through a period of struggling n juggling with personal issues. Things have gone out of hand and now our energy is very low. As a direct result of this we’re sorry to say that all scheduled touring is cancelled.

Graveyard have always been more about the music than the talking and that approach is the way we intend to deal with this situation also. What we can say is that we don’t know if and when the Graveyard will re-open and return in full force.

Stay tuned, stay awesome & No endless night in sight.

Joakim, Axel, Truls, Jonatan

Graveyard, “No Good Mr. Holden”

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Earthless Confirm US Tour Dates

Posted in Whathaveyou on September 22nd, 2016 by H.P. Taskmaster


Dates have been floating around the social medias for the last month or so, but the PR wire has now confirmed that San Diego heavy psych forerunners Earthless will head out on a round of headlining US tour dates this December, looping across the Midwest and hitting the Eastern Seaboard in support of their earlier-2016 split with Harsh Toke (review here) on Tee Pee Records. They go heralding that release, but the truth is they could just as easily head out supporting, “duh, we’re Earthless,” and it would be reason enough to show up and watch them melt ears and the brains between them, so you know, if they’re coming near you, go to the gig.

They’ll have Philly outfit and Tee Pee labelmates Ruby the Hatchet along for the ride, which is also awesome. Info and dates:


EARTHLESS Announces U.S. Headlining Tour

Instrumental heavy rock kings EARTHLESS have announced a fall U.S. headlining tour. The San Diego band will launch the thirteen town trek on December 2 in Chicago, IL. Dates will run through December 17 in Detroit, MI. The award-winning group, currently hard at work on its fourth studio LP, continues to tour in support of its celebrated album, From the Ages. Support on the EARTHLESS tour will come from Philadelphia witch rockers Ruby the Hatchet.

EARTHLESS tour dates:
* = Ruby the Hatchet as support
December 2 Chicago, IL Empty Bottle *
December 3 St Louis, MO The Firebird*
December 4 Norman, OK OPOLIS*
December 6 Dallas, TX Club Dada*
December 7 Austin, TX Barracuda*
December 8 Houston, TX Rudyard’s Pub
December 9 Baton Rouge, LA Spanish Moon
December 10 Atlanta, GA The EARL*
December 11 Raleigh, NC Barcade
December 12 Richmond, VA Strange Matter
December 13 New York, NY Bowery Ballroom
December 15 Pittsburgh, PA Club Cafe*
December 16 Cleveland, OH Grog Shop*
December 17 Detroit, MI El Club*

EARTHLESS features guitarist Isaiah Mitchell, drummer Mario Rubalcaba and bassist Mike Eginton.

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