Category: Heavy Metal

New Audio: JOVM Mainstays Zig Zags Release a Blistering Headbanger from Fourth Album

Over the years, I’ve written quite a bit about the  Los Angeles-based thrash punk/metal trio and JOVM mainstays  Zig Zags. And as you may recall, the act, which is currently comprised of founding member Jed Maheu (guitar, vocals), Dane Andrews (drums) and longtime sound engineer, multi-instrumentalist Sean Hoffman (bass) over the course of their eight-plus year have gone through a series of lineup changes while releasing seven singles and three full-length albums. During that time, the band has also managed to subtly yet continually evolve their sound, songwriting approach and overall aesthetic.

Slated for a May 10, 2019 release through RidingEasy Records, the band’s fourth, full-length album They’ll Never Take Us Alive reportedly finds the band paying homage to some of their earliest influences — in particular, their mutual love of  Dead Moon and Wipers, while remaining decidedly heavy metal. “Fallout,” the Kill ‘Em All and Ride the Lightning-era Metallica-like album single further cemented the band’s reputation for specializing in headbanging, power chord-based riffs and rousingly anthemic hooks paired with a blistering urgency. The album’s latest single “Killer of Killers” continues in a similar vein as its immediate predecessor, power chord-centered riffs, rousingly anthemic hooks, blistering and dexterous solos — paired with an urgent and frenzied production and performance.

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Comprised of Molly Sides (vocals), Whitney Petty (guitar), Leah Julius (bass) and Ruby Dunphy (drums), the  Seattle, WA-based heavy metal quartet Thunderpussy quickly exploded into the national scene as a result of a string of attention-grabbing, critically applauded live shows and co-signs from Rolling Stone and Pearl Jam’Mike McCready. And from the Led ZeppelinBlack Sabbath meets Joan Jett-like anthem “Speed Queen” and the bluesy “Velvet Noose,” which featured an “Evenflow“-like guitar solo from Pearl Jam’s Mike McCready, the early buzz surrounding the band was warranted.

Back in May 2015, the members of the band applied for a US trademark to protect their name and brand, as they were preparing for future world domination. Shortly after the band submitted their application, they received a letter from the US Patent and Trademark Office (USPTO) denying the band their trademark on the grounds that their name was “immoral” and “scandalous” as per the guidelines laid down in the Truman-era Lanham Act of 1946. The USPTO even cited Urban Dictionary as a credible source as to why the word pussy is regarded as a derogatory term.

The fate of the band’s name — and their trademark application — depends on the outcome of a new case, Iancu v. Brunetti, which will be argued in front of the Supreme Court on Monday. Eric Brunetti will be defending his clothing brand FUCT in a case that he’s been fighting for nearly 20 years. As the band awaits the Supreme Court decision, they released a fiery and passionately stomping cover of Jefferson Airplane‘s “Somebody to Love” that turns the song into a contemporary, feminist, metalhead anthem.

Thunderpussy will be touring over the next few months. Check out the tour dates below.

TOUR DATES
May 11 – Bellingham, WA – Wild Buffalo House Of Music
July 12 – Santa Fe, NM – Meow Wolf*
July 13 – Ophir, CO – Ride Festival
July 16 – Phoenix, AZ – Crescent Ballroom*
July 17 – Los Angeles, CA – El Rey Theatre*
July 19 – Solana Beach, CA – Belly Up*
July 20 – Sacramento, CA – Holy Diver*
July 23 – Portland, OR – Hawthorne Theatre*
July 25 – Salt Lake City, UT – Metro Music Hall*
July 26 – Aspen, CO – Belly Up
July 27 – Denver, CO – Ogden Theatre*
August 2 – Buffalo, NY – Buffalo Iron Works
*with Black Pistol Fire
 

New Audio: The Shrine Releases a Headbanger’s Ball-era Single

Currently comprised of founding members Josh Landau (guitar, vocals) and Jeff Murray (drums) along with their newest member, Nashville Pussy‘s and Chelsea Girls‘ Corey Parks, the Los Angeles-based metal act The Shrine can trace their origins to their hometown warehouse skate parties and guitar shops — and since their formation the band has rapidly built up a national profile with multiple appearances at Ozzfest, opening slots for the likes of Slayer, Ghost and Dinosaur Jr., as well as several headline tours across Australia and Japan. Adding to a growing profile, the band have an official Dogtown Skateboard, a signature Converse shoe and an appearance on Ride with Norman Reedus.

Slated for a May 3, 2019 release through Eliminator Records, the act’s forthcoming Cruel World EP reportedly finds the band drawing from 70s and 80s metal — in particular Black Sabbath and ZZ Top — but with a subtly modern take.  The EP’s first single “Dance On a Razor’s Edge” is pure, unadulterated, Headbangers Ball-era metal: enormous, power chord-based riffs, thunderous drumming and arena rock hooks, delivered with a sleazy, boozy sneer.

New Audio: Permanent Records and RidingEasy Records Release a Gritty and Funky Track from Eight Edition of Brown Acid Compilation

I’ve written a lot about Permanent Records’ and RidingEasy Records ongoing collaboration on their increasingly expansive series of proto-metal and pre-stoner rock compilations Brown Acid over the past few years. And as you may recall, each individual edition is based around RidingEasy Records’ founder Daniel Hall’s and Permanent Records co-owner Lance Barresi’s extensive, painstaking research and curation — with Hall and Barresi spending a great deal of time tracking down songs’ creators, most often bands that haven’t written, played or recored together in 30 or 40 years, and then encouraging them to take part in the compilation process. As Permanent Records’ Barresi has explained in press notes for each of previous editions of the compilation, “All of (these songs) could’ve been hits given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

Having the original artists participate as much as possible in the compilation can give the artists and their songs, a real second chance at the attention and success that they missed. Plus, these songs can help fill in the gaps within the larger picture of what was going on in and around regional and national underground music scenes during the 60s and 70s. Following the critical and commercial success of its first seven editions, RidingEasy Records and Permanent Records’ edition of 60s and 70s proto-metal and pre-stoner rock Brown Acid: The Eighth Trip is slated for release on April 20, 2019 (4/20 y’ll!) continuing what has become a bi-annual tradition for both labels — and this site. And much like its preceding editions, the eighth edition finds Barressi and Hall digging deeper and deeper into the well of hard rock, psych rock, proto-metal and pre-stoner rock primarily from the States — with the addition of a Canadian band. The album’s first single was from “School Daze,” a seamless synthesis of MC5, Jimi Hendrix and Grand Funk Railroad from Detroit‘s Attack — or more precisely St. Clair Shores.

Originally recorded in 1969, Memphis-based act Grump took on “Heartbreak Hotel,” popularized by a fellow Memphian that you may have heard of, by the name of Elvis Presley — and Grump’s rendition is a gritty and funky stomp that recalls Steppenwolf’s “Magic Carpet Ride,” and Grand Funk Railroad. 

New Audio: Zig Zags Release an Urgent Headbanger

Currently comprised of founding member Jed Maheu (guitar, vocals), Dane Andrews (drums) and longtime sound engineer, multi-instrumentalist Sean Hoffman (bass), the Los Angeles-based thrash punk/metal trio Zig Zags over the course of their eight year history have released seven singles, three albums and a number of lineup changes — and throughout that time he band has managed to continually evolve their sound, their songwriting approach and their overall aesthetic.  Interestingly, the band’s fourth full-length album They’ll Never Take Us Alive is slated for a May 10, 2019 release through RidingEasy Records, and the album finds the band upping the stakes while revealing their earliest influences — in particular, their love of Dead Moon and Wipers, while remaining decidedly heavy metal. 

They’ll Never Take Us Alive’s latest single, the Kill ‘Em All and Ride the Lightning-era Metallica-like “Fallout” will further cement their long-held reputation for crafting headbanging, power chord-based riffs and rousingly anthemic “raise-your-beer-in-the-air-and-shout-along-lustily” hooks but the song is centered by a blistering urgency that hasn’t been heard on their previously released material. 

New Audio: Austin-based Doom Rockers The Well Release a Murky and Uneasy Ripper

Comprised of Ian Graham (guitar, vocals), Lisa Alley (bass, vocals) and Jason Sullivan (drums), the Austin TX-based heavy psych rock/heavy metal act The Well can trace their origins to when Graham was fired from his previous band. Determined to redirect his musical focus, Graham hooked up with Alley and the two began picking out riffs in their garage. Completing the lineup, Graham and Alley stole Sullivan from Graham’s old band — partially out of vengeance and partially out of karma. The members of the trio are huge fans of cult horror films, and are inspired by early 70s psych rock and proto-metal and as a result their material revels in dark themes and haunting echoes. Interestingly, with their first few releases the Austin-based trio have developed a reputation for a sound that has been compared to Black Sabbath, Sleep, Electric Wizard and Uncle Acid and The Deadbeats. And adding to a growing profile, the band has shared stages with the likes of Kadavar, Orchid, Fu Manchu, High on Fire, NAAM, Orange Goblin, Pentagram, Dead Meadow and others. 

Slated for an April 26, 2019 release through Riding Easy Records, The Well’s forthcoming, third album Death and Consolation reportedly may be the darkest and most intense album of the band’s growing catalog. As the band’s Ian Graham says in press notes, “This one is a little more personal. 2018 was a strange, dark year. A lot of change was going on in my life, there was a lot of depression and coming out of it over the last year.” And while darker, the album continues their ongoing collaboration with longtime producer and engineer Chico Jones and finds the band expanding upon their sound and approach, at points nodding at Joy Division and The Cure — but also while being a bit of a continuation of 2016’s critically applauded Pagan Science. Death by Consolation’s latest single is the monstrous and murky ripper “Raven.” Centered around enormous and extremely downtuned, power chords and bass chords,  thunderous drumming paired around Layne Staley-delivered vocals, the song evokes a sense of unease and dread, familiar to classic horror movies — and stumbling around graveyards late at night. But more important, the song captures a band that kicks ass, takes names and will frighten  the shit out of you. 

New Audio: Permanent Records and RidingEasy Records Release a Gritty and Funky Track Off the Eighth Brown Acid Compilation

Over the past few years, I’ve written quite a bit about Permanent Records’ and RidingEasy Records ongoing collaboration on their increasingly expansive series of proto-metal and pre-stoner rock compilations Brown Acid. Each individual edition often compilation is based around RidingEasy Records’ founder Daniel Hall’s and Permanent Records co-owner Lance Barresi’s extensive, painstaking research and curation — with Hall and Barresi spending a great deal of time tracking down songs’ creators, most often bands that haven’t written, played or recored together in 30 or 40 years, and then encouraging them to take part in the compilation process. As Permanent Records’ Barresi has explained in press notes for each of previous editions of the compilation, “All of (these songs) could’ve been hits given the right circumstances. But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were.”

By having the original artists participate as much as possible in the compilation, it can give the artists and their songs, a real, second chance at the attention and success that they originally missed. Plus in a very real sense, these songs can help fill in the larger picture of what was going on in and around the underground music scenes during the 60s and 70s. Following the critical and commercial success of its first seven editions, RidingEasy Records and Permanent Records’ edition of 60s and 70s proto-metal and pre-stoner rock Brown Acid: The Seventh Trip is slated for release on April 20, 2019 (4/20 y’ll!) continuing what has become a bi-annual tradition for both labels — and this site. And much like its preceding editions, the eighth edition finds Barressi and Hall digging deeper and deeper into the well of hard rock, psych rock, proto-metal and pre-stoner rock primarily from the States — with the addition of a Canadian band. 

Brown Acid: The Eighth Trip’s first single “School Daze” is a track from Detroit’s Attack — or more precisely St. Clair Shores. The track is a seamless synthesis of MC5, Jimi Hendrix and Grand Funk Railroad, as it’s a strutting and gritty bit of power chord-fed groove that will blow the doors down. Listening to this, it’s a shame that this track wasn’t a massive radio hit; but it does get a second life here. Play it loud and rock out, y’all. 

New Video: Mother Feather’s Ass-Kicking Death Match Visuals for “Red Hot Metal”

Comprised of Ann Courtney (vocals), Elizabeth Carena (vocals, keys), Chris Foley (guitar), Gunnar Olsen (drums), and the band’s newest member Seth Ondracek (bass), the Brooklyn-based rock/heavy metal act Mother Feather quickly emerged into the national spotlight with their 2016 self-titled, full-length debut. The Brooklyn-based metal quartet played 41 dates of that year’s Warped Tour, went on a series of sold-out UK dates, which featured a live session for BBC Radio 1 Rock Show, played sets at Rock On The Range and Carolina Rebellion — and they opened for The B52s.

Building upon a growing national and international profile, the Brooklyn-based metal quintet’s sophomore album Constellation Baby will be officially released on Friday through Metal Blade Records and Black Light Media. And interestingly enough, the album finds the band expanding upon their high-energy “pop cock rock” in an ambitious, kicking ass and taking names fashion while retaining the raw, playful and feminine energy that won them attention. Of course, upping the ante isn’t a small feat. As the band’s Ann Courtney says of the album and its writing sessions “All I knew was that I needed the new album to be awesome. ‘Mother Feather’ is such an empowered album, and when I began working on the new material, I was really struggling to feel that way. I knew this album needed to be even better than the first, and to capitalize on its momentum it had to happen quickly. It was a tremendous amount of pressure to put myself under, and it was a dragon I knew I wanted to slay alone – at least at the beginning.” So Courtney locked herself away to write, to face her depression and stare down some deeply uncomfortable feelings. “Truthfully, I went to some very dark and lonely places. But once I let myself go there, that’s when the album started to take shape. There’s a lot of fever and intimacy in those songs. I laid myself bare.”

With her bandmates assisting Courtney to fully-flesh out and realize the album’s material, the end result is reportedly a collection that’s cathartic and exuberant. We are diving way deeper into the question, ‘Who is Mother Feather?'” Courtney says, “and I think that the answer is extremely emotional. It’s eclectic, but it all sounds like Mother Feather. This album will definitely expand what that means.” Adds Courtney, “It definitely wasn’t a given that things would come together though. It was hard won, even back to the writing. Everyone in the band went way out of their way to make it happen because we wanted it to happen. Everyone had something to say. Ideas were pushed to the limit and the result is the collective combination of those forces of energy. We were extremely vigilant about working through ideas. Stuff got worked, and it got worked again. In spite of the challenges — personal, financial, artistic — we all tried really hard to work together and create the thing that everyone meant, collectively.”

Album single “Red Hot Metal” is centered around power chord-based riffs, thunderous drumming, enormous, raise-your -beer-to the-sky-and-shout-along, arena rock-friendly hook sand pop belter harmonies delivered by Courtney and Carena. Sonically, the song recalls Heart, Lita Ford and 80s hair metal, complete with the swaggering confidence of old pros, whose songs have a bigger purpose. 

Directed by Michael Thackray, the recently released video for “Red Hot Metal”  stars wrestlers Maria Manic and Matt “The Bulldozer” Tremont grappling in a sweaty and bloody death match. For a significant portion of the match, Manic looks as though she’ll lose — until she gets help from the members of Mother Feather. 

The Brooklyn-based metal quintet is playing a record release show later tonight at The Knitting Factory and it looks like it’ll be a helluva time.