Tag: Black Sabbath

New Audio: Portland-based JOVM Mainstays R.I.P. Releases an Accessible, Anthemic and Sleazy New Ripper

With the release of their first two albums — 2016’s In The Wind and 2017’s Street Reaper — the Portland, OR-based doom metal act and JOVM mainstays R.I.P. quickly established their grimy, punishing, and depraved take on metal that they dubbed Street Doom. Now, that many of us are sheltering in place and maneuvering through a dystopian and kleptocratic hellscape, their work’s thematic concerns seems frighteningly prescient. 

Dead End, the Portland-based JOVM mainstays’ long-awaited third full-length album is slated for an October 9, 2020 release through RidingEasy Records. Dead End sees that be band going through a lineup change that has resulted in the addition of a more aggressive rhythm section — while drawing from a more diverse range of influences including John Carpenter films, grungiest professional wrestling and lo-fi hip-hop among others. Moving a bit further away from the influence of Pentagram and Saint Vitus, the album may be the most hook-driven of their growing catalog but while still thematically touching about death, insanity — and leather. Additionally, the material’s overall feel was inspired by West Coast tours with Electric Wizard and Red Fang and a month-long headlining tour of Europe. 

“Out of Time,” Dead End’s blistering first single is centered around Black Sabbath-like riffs, enormous arena rock friendly hooks, thunderous drumming and a sneering punk rock air. While still thematically focusing on the prototypical doom metal themes of death, insanity, sick societies on the verge of collapse and the like, “Out of Time” manages to be accessible without scraping off the sludge, slime and grime that has won them attention. 

New Video: JOVM Mainstay Adeline’s Elegant and Sensual Visual for “Twilight”

Over the course of this site’s nearly ten year history, I’ve spilled quite a bit of virtual ink covering the critically applauded, New York-based singer/songwriter, bassist, producer  Adeline. Since leaving her post as frontwoman of the equally acclaimed electronic dance music/neo-disco JOVM mainstay outfit Escort, the New York-based singer/songwriter, bassist and producer released her self-titled, full-length debut to critical praise from the likes of Vogue, NPR, Refinery 29, Rolling Stone, The Fader and many others.

Building upon a rapidly growing profile as a solo artist, Adeline has opened for the likes of Anderson .Paak, Lee Fields, Chromeo, Big Freedia and Natalie Prass among others, further cementing her long-held reputation for dazzling audiences with her captivating live show and energetic presence. She’s also made appearances at a number of stops across the national festival circuit, including Afropunk, Funk on the Rocks and Winter Jazz Fest. Further proving to the world in general that she may arguably be one of the hardest working women in contemporary music, Adeline is also a member of CeeLo Green’s touring band. 

Now, it’s been a while since I’ve personally written about the JOVM mainstay — but interestingly, she’ll be releasing the highly-anticipated follow up to her critically applauded debut, Intérimes EP. Slated for a June 12 release, the EP will feature the EP’s first single ‘Middle,” which she performed on CBS This Morning earlier this month, a funky psych soul cover of Black Sabbath’s “Planet Caravan” and the EP’s latest single, the sultry, “Twilight.” Centered around shimmering synths, twinkling keys, a sinuous bass line and Adeline’s gorgeous pop superstar-like vocals, stuttering beats “Twilight” the track is indebted to Erykah Badu neo-soul and Quiet Storm soul. “Twilight is about a relationship that’s ending,” says Adeline. “It’s that particularly painful moment when you realize that it’s over. You have nothing left to give and there’s nothing left to say. The twilight is the period from dawn to sunrise or sunset to dusk. It’s the moment of realization that there is a transition coming. It’s saying goodbye to something while saying hello to the next.”

Directed by Adeline herself, and shot in a hazy, Super 8mm-like graininess, during the golden hour of twilight, the video features the JOVM in a number of different locations in New York, while capturing her with a brooding and seductive, movie star-like elegance. 

Rochester, NY-based metal/prog rock trio King Buffalo — Sean McVay (guitar, lead vocals), Dan Reynolds (bass) and Scott Donaldson (drums, vocals) — formed back in 2013, and with the release of demo, several split releases, a handful of one-off singles and an energetic live show, the members of King Buffalo quickly earned an international profile in the metal and prog rock scenes. And with their self-recorded and self-produced full-length debt Orion, King Buffalo firmly established a sound that meshed elements of heavy psych, stoner rock and the blues in a way that many critics compared to Tool and Pink Floyd among others.

2018’s Ben McLeod-produced sophomore album Longing To Be The Mountain found the band expanding upon the hard rock and stoner rock sound that own them attention — but while increasingly incorporating elements of expansive prog rock. Longing To Be The Mountain‘s highly-anticipated follow-up, the self-recorded and self-produced Dead Star EP reportedly finds the band pushing the psychedelia aspects of their sound into the cosmic ether with elements of ambient drone, space rock, prog rock, synths paired with the bluesy hard rock and early metal riffage of their earliest efforts.

“In the early stages of Dead Star, we made the decision to make a strong commitment to experimentation,” explains guitarist/vocalist Sean McVay. “From exploring different time signatures, tunings and textures, to tweaking the song writing processes themselves. We’re extremely proud of these recordings, and feel it’s some of our most ambitious work yet.” Adds the band’s Scott Donaldson, “These six songs deviate and expand on horizons that we as King Buffalo haven’t reached. It’s extremely exciting to make something familiar, but unlike anything we’ve previously done. I can’t wait for everyone to hear it.”

“Eta Carinae” Dead Star EP‘s latest single is an expansive and hypnotic, prog rock-inspired take on their sound. Clocking in at a little over eight minutes, the track is centered around a chugging and forceful Black Sabbath and Rush-like riffage, thunderous syncopation, rapid fire tempo changes and some ambient and shimmering synth bursts and paired with dystopian sci-fi lyrics and imagery that feel much like our own fucked up world.
The members of King Buffalo will be embarking on a tour to support Dead Star EP and it includes a March 21, 2020 stop at Mercury Lounge. Check out the tour dates below.

Tour Dates 

Mar 19 – Burlington, VT @ Higher Ground
Mar 20 – Boston, MA @ Great Scott
Mar 21 – New York, NY @ Mercury Lounge
Mar 26 – Lansing, MI @ Mac’s Bar
Mar 27 – Milwaukee, WI @ Colectivo
Mar 28 – Minneapolis, MN @ 7th St. Entry
Mar 29 – Winnipeg, MB @ Park Theatre
Mar 31 – Calgary, AB @ Palomino
Apr 2 – Vancouver, BC @ Fox Cabaret
Apr 3 – Seattle, WA @ Barboza
Apr 5 – Portland, OR @ Lola’s Room
Apr 7 – San Francisco, CA @ Bottom of the Hill
Apr 8 – Los Angeles, CA @ The Echo
Apr 10 – Denver, CO @ Larimer Lounge
Apr 11 – Denver, CO @ Larimer Lounge
Apr 13 – Kansas City, MO @ Riot Room
Apr 14 – St Louis, MO @ Duck Room
Apr 15 – Louisville, KY @ Zanzabar
Apr 16 – Cleveland, OH @ Beachland Ballroom
Apr 17 – Pittsburgh, PA @ Club Café
Apr 18 – Syracuse, NY @ Funk N Waffles

New Audio: Post Animal Releases a Shimmering Prog Rock-like Single

With the release of 2018’s self-produced, critically applauded full-length debut, When I Think of You In  A Castle, the Chicago-based prog pop act Post Animal— Dalton Allison (bass, vocals), Jake Hirshland (guitar, keys, vocals), Javi Reyes (guitar, vocals), Wesley Toledo (drums, vocals), and Matt Williams (guitar) — received attention nationally for a kaleidoscopic, guitar-heavy sound. 

Released late last year, “Safe or Not” was part of the first batch of new material from the Chicago-based act since the release of When I Think of You In A Castle, and the single was a decided chance in sonic direction for the band. Arguably, the most dance floor friendly track the band has released to date, the track was centered around shimmering guitars, four-on-the-floor drumming, glistening synths, a sinuous bass line and a motorik-like groove. 

“We wanted to leave the content more open ended for the listener to navigate, but it’s about self reflection,” the members of Post Animal explain in press notes. “We played around with more somber, serious lyrical content over a particularly dance-oriented song to juxtapose how one may feel internally versus how they’re outwardly portraying themselves in the moment.”

Interestingly, the first batch of new material the Chicago-based band released late last year serves as the first taste of the band’s forthcoming sophomore album Forward Motion Godsyssey next month through Polyvinyl Records. “Fitness,” the album’s third and latest single is a slow-burning track centered around atmospheric synths, rolling congo-led percussion, shimmering guitars, a brief yet gorgeous string arrangement for most of the song’s length, a blazing power chord-driven bridge before ending in a shimmering and moody coda. Sonically, the track bears an uncanny resemblance to Black Sabbath’s “Planet Caravan” but with a prog rock bent. 

Live Footage: King Gizzard and the Lizard Wizard on Live on KEXP

The genre-defying Aussie psych rock act and JOVM mainstays King Gizzard and the Lizard Wizard released five albums in a wildly prolific burst in 2017 — with each album managing to be in a completely different genre and style. Naturally, such a feat helped to cement the band’s reputation for being restlessly prolific and experimental. So for a band known for being like clockwork when it comes to releasing new material, last year’s lack of new material sticks out as anomaly. However, in fairness to the members of the band, they spent part of last year on a busy world tour that featured a headlining set at Desert Daze and three-sold out nights at Brooklyn Steel, one of the larger venues they had played at the time in the States — until their Rumsey Playfield show with Stonefield and Orb back in August. 

This year finds the acclaimed and wildly prolific Aussie psych rock at speeding up the pace. Earlier this year, they released the boogie blues-tinged Fishing for Fishes and in August, they released their second album of the year and their 15th album overall, Infest the Rats’ Nest. Now, as you may recall, Infest the Rats Nest featured what may arguably be the most pared down lineup of their entire creative output: the band’s creative mastermind Stu McKenzie (vocals, guitar, bass), Joey Walker (guitar, bass), and Michael Cavanaugh (drums) with the band’s remaining members busy with prior commitments.  The reduced lineup allowed the band to focus on crafting together arrangements with a pummeling and feral ferocity inspired by McKenzie’s long-held love of thrash metal — in particular, Metallica, Black Sabbath, and Rammstein.

King Gizzard’s 15th album, sonically and thematically is a radical and unexpected departure from its most immediate predecessor: the album’s material may arguably be the darkest and bleakest efforts they’ve released to date, as the band seethes with disgust and contempt over the human race’s myopia, stupidity and greed. At its core, is the acknowledgement that we’re all blindly marching lockstep to our annihilation —  and maybe we deserve it. 

During the band’s last North American tour, they stopped by KEXP to record a live session, which featured material off Infest the Rats Nest that included the Black Sabbath-like “Mars for the Rich,” the pummeling Slayer-like “Venusian 1,” “Venusian 2,” and “Hell” and the Ride the Lighting-era Metallica-like “Perihelion.” The live footage is not just a taste of their amazing live show, it’s a reminder that King Gizzard may be one of the best indie bands in the world — their dexterous musicianship allows the band the versatility to play anything with a self-assuredness and pitch-perfect accuracy. 

Initially formed as Bad Vibes, the rapidly rising San Diego-based psych rock act Drug Hunt, comprised of Rory Morison (guitar), Jason Michael Myers (guitar, vocals), Nick Sinutko (keys, vocals), Jordan “Fnord” Searls (bass, vocals) and Ryan Schilawaski (percussion, vocals)  released their Daniel Cervantes, Jordan Andreen and band co-produced self-titled EP through Blind Owl earlier this year. Centered around a seemingly vintage sound that meshes elements of post-punk, psych rock and British hard rock and early metal, the self-titled, four song EP is a concept effort that finds the band confronting ritualized power structures.

The EP’s latest single slow-burning, doom metal meets psych rock dirge, “The Blood” is centered around a dusty, analog production, fuzzy power chords, tons of feedback and distortion, a forceful and driving rhythm section, some blistering and dexterous solos and soulful Jim Morrison-like howls and crooning — and while inevitably drawing some sonic comparisons to The Doors, Black Sabbath, Steppenwolf and others, the brooding and expansive song is the band’s examination of the universal belief in creation and divine intervention, inspired by the band’s own journeys to the source of religious and spiritual ideologies. And yet the song feels ominous and foreboding, as though evil spirits and doom are lurking right around the corner.

 

 

 

 

 

I’ve written quite a bit about the Seattle, WA-based heavy metal quartet Thunderpussy over the past handful of years, and as you may recall the act quickly exploded into the national scene as a result of a string of critically applauded live shows and co-signs from Rolling Stone and Pearl Jam’Mike McCready. Building upon a rapidly growing profile, the band released their Mike McCready-produced self-titled debut through Stardog Records/Republic Records, and the album which featured the Led ZeppelinBlack Sabbath meets Joan Jett-like anthem “Speed Queen” and the bluesy “Velvet Noose,” further cemented the band’s reputation for crafting self-assured, arena friendly rock.

The strutting, AC/DC-like “Never Know” is the first bit of new material from the band since the release of their self-titled debut, and while centered around enormous hooks, a booze-fueled 12 bar blues and Molly Sides’ sultry vocals — and while continuing a run of arena friendly rock, the song which features a new drummer, also manages to possess a different energy and air; that of an ambitious band that wants to take over the entire world.

“‘Never Know’ was a labor of lust!” The band says in press notes. “We dove deep, got stuck and let it go. Turns out it came back to us with a new energy and a new drummer! This was our first experience recording in LA with a group of producers that blew us away. We feel like the sound is something we’d been searching for a while and ended up being there all along. You truly never know what will happen when you let something go. If it’s mean tot be, it always finds a way back!”

The band is currently touring this summer with Black Pistol Fire, Hollis Brown and Ramonda Hammer and the tour includes a stop at Brooklyn Bowl tonight. Check out the tour dates below.

 

Tour Dates 
8/9: Brooklyn, NY @ Brooklyn Bowl #
8/10: Philadelphia, PA @ Milkboy #
8/11: Baltimore, MD @ Metro Gallery #
8/13: Nashville, TN @ High Watt #
8/15: Indianapolis, IN @ Hi-Fi Indy #
8/16: Chicago, IL @ Reggie’s Rock Club #
8/17: Saint Paul, MN @ Turf Club #
8/19: Bozeman, MT @ The Eagles Ballroom #
8/20: Boise, ID @ Humpin’ Hannah’s #
9/30: Anaheim, CA @ Chain Reaction *
10/1: San Diego, CA @ House of Blues – Voodoo Room *
10/3: Las Vegas, NV @ The Bunkhouse Saloon *
10/4: Los Angeles, CA @ House of Machines *
10/5: San Francisco, CA @ The Midway San Francisco

# w/ Hollis Brown
*w/ Ramonda Hammer