Tag: Soundgarden

New Video: Long Beach’s O ZORN! Releases a Sludgy, Mosh Pit Friendly Ripper

O ZORN! is a Long Beach, CA-based post-sludge trio led by Bill Kielty (vocals, guitar) and currently featuring Danny Walker (drums) and Billy Mud (guitar). Comprised of grizzled vets of Long Beach’s underground scene, the band formed in 2010. And since their formation, the trio have developed a reputation for a sound and songwriting approach that draws from and meshes elements of doom metal, sludge, hardcore and psych rock into a roaring and pummeling sound centered around enormous riffs and fiercely focused angst. 

The Long Beach-based post sludge act’s sophomore album Your Killer is slated for a March 6, 2020 release through Hard Drugs Records and the album, which was recorded at theFoo Fighters’ 606 Studio finds the band crafting the most boldly ambitious, focused and diverse material of their catalog to date. “Casket,” Your Killer’s first single is centered around enormous, power chord-driven riffs, relentless and thunderous drumming, mosh pit friendly hooks and Kielty’s anguished howls. And while bearing a resemblance to Screaming Life/Fopp EP and Badmotorfinger-era Soundgarden, Melvinsand others, the song as the band explains “depicts a story of a Marine that survives the Vietnam War against all odds, only to come home and his watch his wife battle cancer. In an ever changing World, now with fewer wars than ever before, the story of ‘Casket’ is a dark reminder that the ‘Rolling Death Machine’ of war is still a haunting memory for those on the battlefield and those at home fighting their own personal hell.” 

The recently released video employs an extremely DIY approach — footage of the band performing the song, shot on two iPhones and a GoPro, with a couple of strobe lights and a fog machine. 

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New Video: All Them Witches Releases a Hallucinogenic and Menacing Visual for “1X1”

I’m currently writing this at the bar/restaurant at the gorgeous Hotel Monville in downtown Montreal, Quebec, drinking coffee and having an amazing breakfast. (So far, the food I’ve had has been amazing — but more on that later because I haven’t had poutine yet.)  Now, if you’ve been frequenting this site over the past week or so, you’d recall that I’m in town for the M for Montreal Festival. I’ll be posting as much as I can — and if I’m bleary eyed and exhausted, so be it. I’ll sleep when I’m dead. 

So let’s get to the business at hand, right? 

After the release of last year’s critically applauded album ATW, the Nashville-based psych rock act All Them Witches went through a massive lineup change, which has resulted in the band’s most pared down lineup in their entire history — Charles Michael Parks, Jr (bass, vocals), Ben McLeod (guitar, vocals) and Robby Staebler (drums, vocals). And although it’s stereotypically expected for a bands with pared down lineups to release more restrained and even quieter work, All Them Witches’ latest standalone single, the self-produced “1X1” finds the band employing a muscular, prog rock-like leaning sound, complete with scorching guitars, thunderous drumming, distorted vocals and enormous arena rock friendly hooks.  Interestingly, the track may arguably be one of the heaviest of the band’s growing catalog.

Directed, filmed and edited by the band’s Robby Staebler, the recently released video for “1X1” features starring roles by the entire band and a cameo from Sons of Anarchy’s Drea de Matteo in a hallucinogenic and menacing occult world reminiscent of Soundgarden. 

New Video: Toronto’s jackie Releases a Hilarious Send Up of Gangster and Action Movies for Anthemic “Lifetime in a Touch”

Currently comprised of Winnipeg-born founding members Jackie Mohr and Marc Girardin with Max Trefler, the Toronto-based electro pop/electro rock act jackie can trace their origins to the formation and breakup of Mohr’s and Girardin’s previous band — The Mohrs, an act that shared stages with the likes of Soundgarden, Jane’s Addiction and The Glorious Sons.

In 2012, Mohr and Girardin relocated to Toronto, where they met Trefler and released a rock-based effort through Light Organ Records before a radical change in sonic direction necessitated a rename. “We changed our sound on this new EP, replacing bass with analog synth, and went back to having just us three as the core of the project,” the band’s Jackie Mohr explains in an email. “After a few year hiatus we’ve come back as ‘jackie’. More aware of where we want to take our place in music.”

Interestingly, the band’s transformation was partially fueled by Mohr’s experiences as a woman in a male-dominated landscape. “I’ve never had a problem holding my own in this industry, or with men, but it really does make you question why there’s so little female presence,” Mohr points out.

“When I was promoting my first single, my radio team told my management it was going to be very difficult getting ‘a female on rock radio.’ I don’t think I’ve ever hated a comment more. I didn’t get it then and I don’t get it now,” Mohr continues. “I think it’s time for a new narrative. This is especially important in the LGBTQ community. Heteronormative relationships are only a small part of what’s out there, and how people love one another. Other communities need to be represented as well. I remember on my debut album I worried about saying ‘her’ or ‘she‘ as a lyric because people would class me as a ‘gay artist’. This sort of thing is important for sure, and I am a gay woman, but it’s not all I am, and I never wanted that to be the focal point of my/our music, or my musical career. The band, our music, and myself are much more than that. Music is for everyone.”

“We write songs for the everyday radio listener, and the guitar nerd,” Mohr, who owns a 1962 Silverstone 1423 nicknamed Monicka Del Toro adds. “Maybe writing good music will be more important than Instagram followers again someday.”

Interestingly, the Canadian trio’s latest single, the Hawksley Workman-produced “Lifetime in a Touch” finds the band crafting pop-leaning track that’s simultaneously a club banger and an arena rock anthem, complete with a driving groove, synth arpeggios reminiscent of Stevie Nicks‘ “Stand Back,” a scorching guitar solo and Mohr’s earnest, pop belter vocals. It’s the sort of rousingly anthemic song that you can envision sweaty young people shouting along to in a dark club — but the real reason it works is that it’s rooted in real, lived-in, deeply universal experiences. As the trio explain, the song is “essentially a song about heartbreak, but it’s told through a positive outlook The lyrics in the verses represent the past lover that engulfed and controlled you, while the chorus reminds you that there’s more to life than lovers.”

Directed by Dominika Monicka and Ryan Faist, the recently released video for “Lifetime in a Touch” is a hilarious send up of Office Space, gangster movies and action movies as it features the bandmebers in an abandoned shipyard. Throughout the bulk of the video, the band are in an old Honda four door spinning in infinite donuts. But we also see the band rocking out to the song, and eventually busting shit up — because why not? Perhaps in some way, the video reminds the viewer that love can be a wild and tumultuous ride. 

 

Currently comprised of Winnipeg-born founding members Jackie Mohr and Marc Girardin with Max Trefler, the Toronto-based electro pop/electro rock act jackie can trace their origins to the formation and breakup of Mohr’s and Girardin’s previous band — The Mohrs, an act that shared stages with the likes of Soundgarden, Jane’s Addiction and The Glorious Sons.

In 2012, Mohr and Girardin relocated to Toronto, where they met Trefler and released a rock-based effort through Light Organ Records before a radical change in sonic direction necessitated a rename. “We changed our sound on this new EP, replacing bass with analog synth, and went back to having just us three as the core of the project,” the band’s Jackie Mohr explains in an email. “After a few year hiatus we’ve come back as ‘jackie’. More aware of where we want to take our place in music.”

Interestingly, the band’s transformation was partially fueled by Mohr’s experiences as a woman in a male-dominated landscape. “I’ve never had a problem holding my own in this industry, or with men, but it really does make you question why there’s so little female presence,” Mohr points out.

“When I was promoting my first single, my radio team told my management it was going to be very difficult getting ‘a female on rock radio.’ I don’t think I’ve ever hated a comment more. I didn’t get it then and I don’t get it now,” Mohr continues. “I think it’s time for a new narrative. This is especially important in the LGBTQ community. Heteronormative relationships are only a small part of what’s out there, and how people love one another. Other communities need to be represented as well. I remember on my debut album I worried about saying ‘her’ or ‘she‘ as a lyric because people would class me as a ‘gay artist’. This sort of thing is important for sure, and I am a gay woman, but it’s not all I am, and I never wanted that to be the focal point of my/our music, or my musical career. The band, our music, and myself are much more than that. Music is for everyone.”

“We write songs for the everyday radio listener, and the guitar nerd,” Mohr, who owns a 1962 Silverstone 1423 nicknamed Monicka Del Toro adds. “Maybe writing good music will be more important than Instagram followers again someday.”

Interestingly, the Canadian trio’s latest single, the Hawksley Workman-produced “Lifetime in a Touch” finds the band crafting pop-leaning track that’s simultaneously a club banger and an arena rock anthem, complete with a driving groove, synth arpeggios reminiscent of Stevie Nicks‘ “Stand Back,” a scorching guitar solo and Mohr’s earnest, pop belter vocals. It’s the sort of rousingly anthemic song that you can envision sweaty young people shouting along to in a dark club — but the real reason it works is that it’s rooted in real, lived-in, deeply universal experiences. As the trio explain, the song is “essentially a song about heartbreak, but it’s told through a positive outlook The lyrics in the verses represent the past lover that engulfed and controlled you, while the chorus reminds you that there’s more to life than lovers.”

 

 

 

 

 

Saskatoon, Saskatchewan, Canada-born, Seattle, WA-based Jordan Cook (vocals, guitar) can trace the origins of his music career to when he was 15, playing with a blues rock trio, which performed at Montreux Jazz Festival. After recording a full-length album under his own name, Seven Deadly Sins, Cook began recording in Memphis with Matt Chamberlain and Soundgarden‘s Ben Shepherd; but around 2012 Cook relocated to Seattle, where he adopted the moniker Reignwolf. When Cook played his first official show as Reignwolf, he was accompanied by Joseph Braley (drums) and S. J. Kardash (bass).
Since their formation, the band has developed a reputation for a raw sound paired with a high energy live show that has earned them a devoted following, as well as appearances at Coachella, Lollapalooza, Austin City Limits, Glastonbury and Download and opening slots for the likes of Black Sabbath and Pixies. Following on the heels of a 34 date Fall 2018 North American tour, the Seattle-based trio’s long-awaited and highly-anticipated full-length debut Hear Me Out is slated for a March 1, 2019 release.

Hear Me Out‘s first single is the swaggering “Black and Red.” Co-written by Jordan Cook and Aqualung’s Matt Hales, the song is centered around enormous, arena rock friendly blues power chords, thundering drums, an alternating quiet, loud, quiet song structure and rousingly anthemic hooks. The song reveals (and captures) a band that’s ready to kick ass, take names, wreck stages and destroy eardrums.

The band will be touring throughout March and the tour includes two New York area dates — March 9, 2019 at Mercury Lounge and March 10, 2019 at Baby’s All Right. Check out the rest of the tour dates below.

Tour Dates

FRIDAY, MARCH 1ST – SEATTLE, WA @ THE SUNSET

MONDAY, MARCH 4TH – LOS ANGELES @ MOROCCAN LOUNGE

THURSDAY, MARCH 7TH – CHICAGO, IL @ COBRA LOUNGE

SATURDAY, MARCH 9TH – NEW YORK, NY @ MERCURY LOUNGE

SUNDAY, MARCH 10TH – BROOKLYN, NY @ BABY’S ALL RIGHT

TUESDAY, MARCH 12TH – TORONTO, ON @ DRAKE UNDERGROUND

THURSDAY, MARCH 14TH – SATURDAY, MARCH 16TH – AUSTIN, TX @ SXSW

New Audio: Australia’s Hockey Dad Releases an Anthemic 90s Alt Rock Inspired Song

Comprised of Zach Stephenson (guitar, vocals) and Billy Fleming (drums), the Windang, New South Wales, Australia indie rock duo Hockey Dad are lifelong friends, who grew up two doors apart — and as a result, they’re best friends first, bandmates second. With the release of their full-length debut 2017’s Boronia, the duo of Stephenson and Fleming quickly achieved a national and international profile for crafting infectious power pop: the duo wound up embarking on a sold out tour of their native Australia that included a number of shows with Dune Rats and the critically applauded indie act Wavves, some extensive touring across North America with stops at SXSW and elsewhere, before touring across the UK and Europe. 

Hockey Dad’s latest effort, 2018’s sophomore effort, the John Goodmanson-produced Blend Inn was recorded at Seattle’s renowned Robert Lang Studios, where Foo Fighters, Soundgarden, Death Cab For Cutie, Alice in Chains and NirvanaNirvana (who most notably recorded their last song ever there) all recorded seminal material. Interestingly, the Australian duo’s sophomore effort is a much more introspective effort. Blend Inn is the part of your head that you want to go to when you’re overseas and wishing you were back home, it’s within,” Hockey Dad’s Billy Fleming says. “We’re always just trying to be comfortable and semi blending in, so it’s the name we gave to that place you zone out to.”

Thematically, the album is centered around the trials, tribulations and uncertainties of young adulthood — but from the perspective of two young people, who have had an expanded mindset and much more experience in the world, while still retaining the playfulness and enormous hooks that won them international attention. Building upon a growing profile, the duo will continue a busy slate of national and international touring, including a West Coast Stateside tour through February. You can check out the tour dates below. 

In the meantime, anthemic album single “I Wanna Be Everybody” is centered around infectious, crowd pleasing hooks, thunderous drumming and even bigger power chords within an alternating soft, loud, soft song structure. Sonically, the song brings to mind 90s alt rock — in particular, I’m reminded of Local H and others.  

New Video: JOVM Mainstays WINDHAND Release a Roger Corman-Influenced Video for Pummeling Dirge “Red Cloud”

Throughout the past few years of the site’s eight-plus year history, I’ve written quite a bit about the  Richmond, Virginia-based doom metal band WINDHAND, and as you may recall, the band which is currently comprised of Dorthia Cottrell (vocals), Garrett Morris (guitar), Parker Chandler (bass) and Ryan Wolfe (drums) can trace their origins back to 2009. Within a year of their formation, they released a two-track self-recorded CD that quickly garnered comparisons to Electric Wizard, The Devil’s Blood and Black Sabbath. Building upon a growing profile, their 2012 self-titled debut became an underground hit and sold out multiple vinyl pressings within a few months. 

Released in 2013 through Relapse Records, the Northern Virginia-based band’s critically applauded sophomore album Soma received praise from Stereogum, Spin, LA Weekly, Revolver, Invisible Oranges, MetalSucks, Metal Injection, Rolling Stone and NPR — with Pitchfork naming the album as one of the third best metal releases of the year. Adding to a breakthrough year, the band spend the bulk of 2013 and 2014 touring North American, the European Union and Australia supporting Soma with Sleep, High on Fire, Dead Meadow and Kvelertak — and they made stops on the international festival circuit with sets at Roadburn, SXSW, Scion Rock Fest, Day of the Shred and Maryland Deathfest. 
2015’s Jack Endino-produced, third full-length album, Grief’s Infernal Flower managed to further cement their reputation for crafting sludgy, murky, punishing power chord-based dirges. Released earlier this month, WINDHAND’s fourth, full-length album Eternal Return finds the band continuing their collaboration with renowned producer Jack Endino — and the album thematically is centered around observations and reflections on life’s ups and downs, joys and sorrows, beginnings and ends. Between Grief’s Infernal Flower and their recently released album, the members of the band welcomed the births of children, experienced a number of lineup changes and mourned an unexpected and tragic death. And unsurprisingly, as a result, the album’s material and the sequential order of its song are the direct result of those experiences — while sonically, the band crafts material that balances heavy and brooding dirges with psychedelic and meditative passages.  Album single “Grey Gardens” was part of an early batch of album singles that were among the heaviest batches of material they recorded — and while being a thunderous and slow-burning dirge, the single finds the band’s sound and approach subtly moving towards Screaming Life/Foppand Badmotorfinger-era Soundgarden, complete with a lysergic bridge. “Red Cloud,” Eternal Return’s latest single continues in a similar vein as its predecessor as it’s a heavy and psychedelic dirge, centered by some explosive guitar work, rumbling low end, thundering drumming, Dorthia Cottrell’s smoky vocals and an anthemic hook; but unlike it’s predecessor there’s a sense of foreboding doom at its core. 

Directed and animated by Zev Deans, the recently released video  features a seamless blend of live-action and animated scenery, as it follows a washed-up and hopelessly incompetent warlock and imbecilic and hunch-backed henchman as they try to kidnap The Scarlet Woman. Visually, the video is reportedly a homage to the horror films of the early 1960s, specifically Roger Corman’s Edgar Allan Poe series — and naturally, it’s perfect for the Halloween season.