Sunn O))) ‘Life Pedal’ Now Available; Touring West Coast in September

Posted in Whathaveyou on June 19th, 2019 by JJ Koczan

For a band who’ve never made a habit of doing anything other than whatever the hell they want to, Sunn O))) sure have a lot of tour dates lined up, leading one to assume that, well, they want to be touring. In April, they released Life Metal on Southern Lord, bringing a new vision of melody to their long-established abyss of drone, changing the character thereof after two decades of slow-motion slaughter. And that was just the first track. So yeah, only fair they’re wanting to show it all off, as they’ll do both domestically and abroad throughout the Summer and Fall, and as they’ve already done on the East Coast. The latest batch of dates cover the West Coast, and they’ll take place between journeys to Europe, as they’ll pop over to Germany and the Netherlands for fest appearances next month and then be back in October for another run. Go go go.

They have a fancy new pedal available now made in an edition of 1,000 in league with EarthQuaker Devices. Kudos to whichever clever soul decided to call it ‘Life Pedal.’

Life Metal is streaming in full below courtesy of Southern Lord‘s YouTube, and the dates came down the PR wire. You know how this works:

sunn o (photo by A F Cortes)

SUNN O))): EARTHQUAKER RELEASE EXCLUSIVE DISTORTION PEDAL; LIFE PEDAL MARKS COMPANY’S FIRST ARTIST-ORIENTED COLLABORATION

SUNN O))) Announces West Coast US September Tour Dates; Life Metal Out Now On Southern Lord

SUNN O))) and EarthQuaker Devices join forces to create Life Pedal. This is a limited, hand numbered, tube amp crushing octave fuzz and distortion with boost. Life Pedal empowers the operator to immerse themselves in the same full spectrum overdriven sonic palette as used on the Life Metal album. Details below.

In the writing sessions for Life Metal SUNN O))) worked extensively shearing our tones toward a broader energy spectrum over high powered saturation and across planes of sonic character, with the ambition to take full advantage of producer/engineer Steve Albini’s exacting capture skills. The results are astounding: there is breadth and luminosity of colour, vast sonic cosmoses, flashes of abstract colour (synthetic and objective) through resulting themes which emerged from the mastered depths of saturation and circuits between the two players and their mountains of gear.

The Life Pedal is designed to represent the core front-end chain used in those sessions, to drive the tubes of the band’s multiple vintage Sunn O))) Model T amplifiers into overload and ecstasy. This is a 100w tube amp full stack’s holy dream, or its apostate nightmare. An octave fuzz inspired by the Shin-Ei FY2 & FY6 units leads the circuit into a LM308 chipped and brutal rodent big box distortion, recreated with the best components, and including a three-way clipping switch (op Amp, Asymmetric & Symmetric). Second stage is a purely clean boost to further overdrive the preamp tubes of ones vintage system into -scaped harmonics, and feedback overtone bliss. Chasms are cleared, mountains sheared, glaciers calved, novæ birthed. Transcend to complete saturation enlightenment.

Order the Life Pedal, in an edition of 1000 pedals, exclusively from the official SUNN O))) Reverb Shop hosted by Reverb.com HERE and view the Life Pedal trailer HERE.

Southern Lord is also pleased to announce that SUNN O)))’s Life Metal is now available in a second vinyl pressing with exclusive new colours.

SUNN O))) will play select festival shows in Europe this July, before returning to US soil for the second leg of their Let There Be Drone: Multiple Gains Stages tour. SUNN O))) will then head back to Europe and the UK this October.

Life Metal can now be purchased via the SUNN O))), Southern Lord, and Southern Lord Europe stores.

SUNN O))) Tour Dates:
Summer European Shows:
7/30/2019 Festsaal Kreuzberg – Berlin, DE #
7/31/2019 Festsaal Kreuzberg – Berlin, DE #
8/01/2019 Dekmantel Festival – Amsterdam, NL

US West Coast
9/01/2019 Granada – Dallas, TX *
9/02/2019 Emo’s – Austin, TX *
9/04/2019 The Gothic – Denver, CO *
9/08/2019 Mayan – Los Angeles, CA *
9/09/2019 The Fillmore – San Francisco, CA *
9/11/2019 The Showbox – Seattle, WA ^
9/12/2019 Revolution Hall – Portland, OR ^

Europe + UK Tour:
10/07/2019 Backstage – Munich, DE %
10/08/2019 HfG / ZKM – Karlsruhe, DE %
10/09/2019 Kaserne Basel – Basel, CH %
10/10/2019 Felsenkeller – Leipzig, DE %
10/13/2019 Kablys + Kultura – Vilnius, LT %
10/14/2019 Vene Teater – Tallinn, EE %
10/15/2019 Kulttuuritalo – Helsinki, FI %
10/17/2019 Kraken Sthlm – Stockholm, SE
10/18/2018 Kulturkirchen Jakob – Oslo, NO
10/19/2019 BLA – Oslo, NO (exclusive duo performance)
10/21/2019 Koncerthuset – Copenhagen, DK
10/22/2019 Doornroosje – Nijmegen, NL
10/24/2019 SWX – Bristol, UK
10/25/2019 QMU – Glasgow, UK
10/26/2019 The Crossing – Birmingham, UK
10/27/2019 Albert Hall – Manchester, UK
10/28/2019 Roundhouse – London, UK
# w/ Caspar Brötzmann
* w/ Papa M, Big|Brave
^ w/ Papa M
% w/ Caspar Brötzmann Bass Totem

https://www.instagram.com/sunnofficial
https://www.facebook.com/SUNNthebandOfficial
https://sunn.bandcamp.com
https://sunn-live.bandcamp.com
http://www.southernlord.com
http://southernlord.bandcamp.com
https://www.facebook.com/SLadmin
https://www.instagram.com/southernlordrecords

Sunn O))), ‘Life Pedal’ introduction

Sunn O))), Life Metal (2019)

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Atala, The Bearer of Light: Burn in the Raw

Posted in Reviews on June 19th, 2019 by JJ Koczan

atala the bearer of light

The Bearer of Light is Atala‘s fourth full-length. Issued by Salt of the Earth Records, it follows 2017’s Labyrinth of Ashmedai (review here), 2016’s Shaman’s Path of the Serpent (review here) and a 2015 self-titled debut (review here), and while its predecessor seemed to follow a pattern set forth by the second album, in style as well as method, The Bearer of Light‘s seven-track/43-minute run is marked by a few notable changes. The production is a big one. The self-titled was produced by Scott Reeder, and the next two by Billy frickin’ Anderson, so the fact that guitarist/vocalist Kyle Stratton (who also did the cover art) took the reins himself this time around with a purposeful intent toward rawness is not to be overlooked. Indeed, The Bearer of Light is largely cloaked in its barebones recording, with Stratton‘s distorted guitar leading the charge cut through by Jeff Tedtaotao‘s sometimes-tinny snare and the dirt-coated low-end in Dave Horn‘s bass.

There’s still some opportunity for melody to shine through, as happens on the 3:45 side B cut and shortest track overall, “Venomous Lure” — also one of several songs to begin with a spoken sample, very much in ’90s sludge fashion — or even opener “Desolate Lands,” but much of the character of the record overall derives from movements like “Upon the Altar” and the threat-conveyance in “Won’t Subside,” which stretches to 11 minutes and layers its vocals in blown-out shouts over a lumbering, grueling central riff, like if earliest YOB had disappeared in the Mojave and come back hallucinating monsters from the exposure. Born of and depicting a harsh but beautiful landscape, the Twentynine Palms, California-based three piece indeed still qualify as a “desert band,” but their take on what that means is a noted departure from the laid-back punk-derived fuzz that has become typical of desert rock as a genre. Their trip is meaner on the whole, and particularly in the crashes of “Naive Demur” and the gutturalism of “Upon the Altar” is more kin to Crowbar than Kyuss. So be it. Some bands are suited to being contrary, and Atala hit that mark well on The Bearer of Light.

Though also structured for vinyl — kind of a given these days for heavy music — one can find summary of the point of view through which The Bearer of Light is working in its trailmarker tracks, by which I mean its opener, centerpiece and closer. Launching with “Desolate Lands” and closing with the acoustic “Dark Skies,” Atala puts “Sun Worship” at the heart of The Bearer of Light, which would seem to be no coincidence given the flow of the release overall. And while that view doesn’t necessarily account for the perceived sociopolitical reckoning of “Won’t Subside” or “Naive Demur,” or even “Dark Skies” somewhat, it stresses the importance of the desert itself as part of the character of the work, which it is, whatever other topics might be discussed in the not-always-easily-deciphered lyrics.

atala

“Sun Worship” begins with a sample of George Carlin from 1999’s You are All Diseased talking about becoming a sun worshiper as opposed to following Christianity and then undertakes a massive intro roll with far-back semi-spoken, maybe throat-sung vocals before a count-in transitions to the verse riff proper, clean vocals there meeting head-on with a meaner chorus soon enough. There’s a kind of chant in the second half of the song, which seems to purposefully devolve ahead of its fadeout, moving into the more structured “Venomous Lure” and subsequently the long-gone-not-coming-back foray of “Won’t Subside.” Certainly the stage is set for these transitions earlier in The Bearer of Light throughout “Desolate Lands,” “Upon the Altar” and “Naive Demur,” but at the same time one finds footing in the beginning, middle and end, the willfulness with which Atala dig deeper into their approach in this batch of material isn’t to be understated. Though somewhat obscured by the production — which is as close as I come to a qualm with it — that breadth is there in the material, in the interplay between melody and outright nastiness, and in the coherence of their craft and general reach of their sound. Stratton‘s fuzz lead alone in the opener is enough of a hook to capture the listener’s attention, never mind the rumble and roll that surrounds.

Subtle volume swells back the acoustic guitar of “Dark Skies,” with a rhythmic strum taking the place that otherwise might be held by percussion and soulful vocals overtop, reminding that one element Atala have never lacked has been conviction. They present that perhaps most boldly of all on The Bearer of Light, finding a way to commune with the desert without giving themselves over to stylistic cliché or losing the progressive thread of their work to this point, keeping that feel of searching for something in themselves and in their songs that has helped define them up to now. With the turn of production, it becomes more difficult to see where Atala might head next time around, if they’ll return to work with someone else at the helm or take the lessons of this collection forward and continue in the fashion of DIY recordmaking. I don’t know, but what feels most essential to stress is that The Bearer of Light is more than a test of a new production method.

It’s that too, to be sure, but it also brings out Atala‘s widest range of songwriting, and sees them able to handle themselves no matter which direction a given piece might go, whether it’s the extremity of “Upon the Altar” or the relative accessibility of “Venomous Lure” and the organically delivered finish of “Dark Skies.” Their output remains considered and rife with perspective instrumentally as well as lyrically, and their chemistry has never sounded as fluid as it does on The Bearer of Light, which is doubly impressive given that the sound of the album is so clearly intended to lean toward live performance. Four records deep over a five-year span, Atala are still growing, still pushing themselves to places they haven’t been, and one suspects that might just be the case no matter how long and how far they go.

Atala, The Bearer of Light (2019)

Atala on Thee Facebooks

Atala on Instagram

Atala on Bandcamp

Atala website

Salt of the Earth Records on Thee Facebooks

Salt of the Earth Records website

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DVNE Sign to RidingEasy Records; New Album Due Later This Year

Posted in Whathaveyou on June 19th, 2019 by JJ Koczan

RidingEasy Records would likely have been on hand last August when Edinburgh’s DVNE made their debut US appearance on the main stage at Psycho Las Vegas (review here), and having seen that performance, it leaves little to wonder why the label might have snagged them for the release of the follow-up to 2017’s widely-lauded Asheran. I seem to recall hearing at some point that Psycho was managing the band as well, so the West Coast connection there and the fact that they’re playing the festival again this year kind of brings it all together. They’ll hit the studio sometime in the next couple months to record an album, and whether it makes it out before the end of 2019 or not, I have little doubt its arrival will be hotly anticipated.

They’re something of a standout in terms of style for RidingEasy as well, which I imagine will only help them as they go forward with the backing from the label. US tour next year? Doesn’t seem like an unreasonable ask following the album’s release.

The PR wire makes the signing official:

dvne

DVNE sign to RidingEasy Records, play Psycho Las Vegas

Edinburgh, Scotland band to release new album in 2019

Edinburgh, Scotland quintet DVNE have signed to L.A. purveyors of heavy, RidingEasy Records for worldwide release of future recordings.

The band also returns to the US this summer to perform at the hugely popular Psycho Las Vegas festival on August 17th.

DVNE (pronounced dune) is a 5 piece progressive rock/metal band from Edinburgh Scotland. Founded in 2013, the band was then called Dune in reference to Frank Herbert sci-fi masterpiece of the same name.

The band consists of Victor Vicart (guitar, vocals, keys), Dudley Tait (drums), Daniel Barter (guitar, vocals), Jack Kavanagh (bass) and Richard Matheson (keys).

To date, the band has released one studio album and two EPs. They emerged within the UK scene with their first EP Progenitor (2013), shortly followed by a second EP, Aurora Majesty (2014). At their releases, both EPs received very favourable receptions. Dvne quickly began to make a name for themselves in the UK and around Europe, with various tours over these territories and support shows of households names such as Eyehategod, Crowbar, Dragged Into Sunlight to name a few. The band’s sound at the time was already crossing over various music style including post-metal, progressive rock and sludge metal, but it is with their first full-length album Asheran that the band established further their unique blend of heavy music.

Released in August 2017, on double-disc vinyl, CD and digital, Asheran was overwhelmingly praised by the press. Since Asheran’s release, Dvne has toured all over the UK, Europe and North America and appeared at prestigious festivals such as Psycho Las Vegas, Desertfest London and Inferno Festival Norway to name a few.

Not content to repeat their previous releases and always looking to push their sound forward DVNE are about to enter Chamber Studio in Edinburgh this summer to record their 2nd full-length concept album, planned for release on RidingEasy in late 2019.

DVNE LIVE:
08/17 Las Vegas, NV @ Psycho Las Vegas

https://www.facebook.com/DvneUK
https://www.instagram.com/dvne_uk/
https://songs-of-arrakis.bandcamp.com/
ridingeasyrecs.com

DVNE, Asheran (2017)

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Monomyth to Release Orbis Quadrantis Sept. 13; Playing Desertfest Belgium and More

Posted in Whathaveyou on June 19th, 2019 by JJ Koczan

monomyth (photo by Michael Mees)

By the time Monomyth‘s new album, Orbis Quadrantis, is released on Sept. 13, it’ll be nearly a year after the track at the bottom of this post was first made public. 11 months, anyhow. That’s a pretty long wait, but fortunately, the depths offered up in “Aquilo” are plentiful enough to sustain, and double-fortunately, the album, which was originally slated to be out in February, will now be timed to the swath of autumnal live dates the Netherlands-based outfit have booked. So maybe the release is old news and maybe the track is old news, but the confirmed release date is new and while I wonder what pushed the thing back seven months — which, whatever it was, must have been frustrating for band and label alike, as well as anyone who heard “Aquilo” and wanted to dig into more — I’m at least glad there’s more to come now.

If you haven’t heard the track yet, and hey, maybe you have, maybe you haven’t, it might be the quickest 12 minutes you spend today.

Have fun:

monomyth orbis quadrantis

Monomyth – Orbis Quadrantis

RELEASE DATE: September 13, 2019

Monomyth: Five Flying Dutchmen who make the most thrilling instrumental soundscapes. Formed in The Hague in 2011, Monomyth are not afraid to push the boundaries of space / stoner rock. After playing festivals like Roadburn and Desertfest, 2019 sees the band starting a new chapter with their fourth album.

On Orbis Quadrantis the band delves into unexplored waters, yet their meticulous open-ended psychedelics remain in-between Ariel Pink and Pink Floyd.

The first vinyl editions in both 180g ‘black‘ and limited 180g ‘clear transparent blue and black mixed‘ vinyl comes in a 6-panel fold-out cover with double-sided artwork, black polybag inner cover and transparent plastic outer cover with Monomyth logo! The first 100 orders will also receive a hand-signed A5 photo card!

Tracklist:
01. Aquilo
02. Eurus
03. Auster
04. Favonius

TOUR
10-08-2019 – Yellowstock, Geel (B)
04-10-2019 – EKKO, Utrecht
18-10-2019 – Desertfest, Antwerpen (B)
19-10-2019 – Burgerweeshuis, Deventer
01-11-2019 – Merleyn, Nijmegen
02-11-2019 – Gebr. de Nobel, Leiden
15-11-2019 – Melkweg, Amsterdam
29-11-2019 – t Beest, Goes
30-11-2019 – De Gelderlandfabriek, Culemborg
06-12-2019 – VERA, Groningen
12-12-2019 – PAARD, Den Haag
13-12-2019 – Hall of Fame, Tilburg

https://www.facebook.com/monomyththeband
https://monomyththeband.bandcamp.com/
http://www.monomyththeband.com/
https://www.facebook.com/suburbanrecords
https://www.instagram.com/suburbanrecords/
https://suburban.nl/

Monomyth, “Aquilo”

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Stoned Monkey Sign to Argonauta Records for Debut Album

Posted in Whathaveyou on June 19th, 2019 by JJ Koczan

As habit dictates, I was scouring the internet for some media to include with this post about Italy’s Stoned Monkey signing to countryman imprint Argonauta Records for the CD and tape release of their forthcoming debut album. I managed to find a clip on their YouTube page that’s 57 seconds long and pretty much just a riff. One riff. A minute of riff. And you know what? I feel like I get it. I get why Argonauta picked them up. All it took was one riff.

Bongripper would seem to be a reference point for the instrumental three-piece, what with the largesse of that lone riff and all, but I won’t claim to speak for their sound as I’ve heard basically nothing. Still, that was a sick riff, as in, “Sick riffs, bro,” which is what you’d probably say to the guitarist right after they got off stage.

In my case, it’s “sick riff, bro.” Singular. Fair enough.

Info from the PR wire:

stoned monkey

Sludge rockers STONED MONKEY ink worldwide deal with ARGONAUTA RECORDS!

Born in Varese, Italy, in 2017, Sludge ‘n Doom Noise rockers STONED MONKEY have signed a worldwide record deal with Argonauta Records! Mesmerizing atmospheres, high pitched amplifiers, heavy soundwalls and a strong scent of the weed distinguish the experience on a STONED MONKEY trip: An unmistakable Sludge timbre mixed with the rhythmic-sonorous intensity by influences such as Doom and noisy Stoner Rock.

Says Argoanuta Records owner Gero Lucisano: “Once I’ve heard the very first notes of these guys, I’ve been totally levelled by their massive approach. Back in the days I received some rough mixes and I have been surprised how an instrumental band can generate a so huge wall of sound. I heard echoes of Bongripper and Sleep, though in a more dynamic way yet a lot hypnotic and abrasive”.

While the band is currently working on their upcoming debut, followed by an extensive touring schedule, STONED MONKEY are excited to have signed with Argonauta:

“As fans of the genre, we are proud to sign with such an important label in the sludge/doom scene and we are glad to release out debut with them soon. This record will be the fruits of a lot of hard work, commitment and dedication, and let’s not forget about the neurons we burnt on every single track. We are ready to share our concept of music with the whole world soon!“

STONED MONKEY is:
CPX – Drums
DESA – Guitar
TIA – Bass

www.facebook.com/stonedlikeamonkey
www.argonautarecords.com

Stoned Monkey, “Satanic Warhead” live Circolo Degli Artisti Vinago, April 7 2018

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Across Tundras, The Rugged Ranges of Curbs and Broken Minds: In the Ashes of Idealism

Posted in Reviews on June 18th, 2019 by JJ Koczan

across tundras the rugged ranges of curbs and broken minds

It has been six years since Across Tundras released their last full-length. That record, Electric Relics (review here), was a triumph of the band’s songwriting approach, blending elements from heavy rock and psychedelia with Americana and folk roots in a way that, even though they’d been at it for nearly a decade by then, still remained forward-thinking. It was also their first album to be released through their own imprint, Electric Relics Records, following 2011’s Sage (review here) coming out via Neurot and others released either by themselves and other labels. One could hardly say The Rugged Ranges of Curbs and Broken Minds follows a period of inactivity, given the fact that in the interim, the band has issued 2015’s Home Free EP (discussed here), a 2017 two-songer single, Blood for the Sun / Hearts for the Rain (discussed here), as well as various archival offerings, and founding guitarist/vocalist T.G. Olson has issued numerous solo full-lengths, singles and other releases, under his own name and several other incarnations, experimenting in folk, drone, assembled noise and so on, all being issued, like The Rugged Ranges of Curbs and Broken Minds, through Bandcamp with little to no prior announcement and as a name-your-price download and limited, usually hand-crafted, physical pressing.

That kind of promotional minimalism hasn’t done much for Across Tundras in terms of fanfare, but is has let Olson control and build his discography on his own terms, which is very much how the band operates throughout the new album, which, though again, they haven’t exactly been gone, has been nonetheless long awaited. To wit, before this stretch, the longest they’d gone between full-lengths was two years. And the crafting of these tracks would not seem to have been uncomplicated, recorded during moves between Nebraska and Nashville, Tennessee, with the final lineup of Olson, Ben Schriever, Caleb R.K. Williams, Abigail Lily O’Hara and Noel Dorado, but the fluidity that results serves as a reminder of what has always been a signature strength for Across Tundras in terms of creating space with their sound.

From their 2005 debut, Dark Songs of the Prairie onward, their mission has been in part to capture the spirit of a heavy Americana, and that remains true on The Rugged Ranges of Curbs and Broken Minds, but like the land itself, the shape that has taken in their sound has changed, and some of the ramble that found its way into Across Tundras‘ rolling grooves in years past has turned sullen, gazing less at shoes than out at an expanse of empty land, but gazing all the same. In darker moments like “Talkin’ Rust Cohle Existential Blues” or the wistful leadoff title-track, there’s a clear line to be drawn to some of Olson‘s recent solo work, which has blurred the lines between full-band-style soundcraft and guy-and-guitar folk, but one of The Rugged Ranges of Curbs and Broken Minds‘ most engaging aspects is the wash it creates and the deceptive depth of its mix, with pedal steel and drones resting far back behind the strumming electric guitar and voice, the drums subtle sometimes and more forward others, as when they lead the march of uptempo second cut “Slow Down and Breathe,” which boasts arguably the most memorable hook on the record, or in the later “Whirlwind Reapin’,” the midsection of which rises from a soundscape of distortion and heartsick melody to move into a wash of tone before closing with residual noise.

across tundras rock pile

Though it does not struggle to make an immediate impression, the album is best on repeat listens — a slow burner that lets the voice speaking at the beginning of the penultimate “When We Were All One” come through, and gives the soft-touch blues of centerpiece “Boots of Snake Leather” its proper room to breathe — and the more its genuine scope is revealed, the more those listens are earned. Whether it’s the tale-telling of “The Rugged Ranges of Curbs and Broken Minds” or the noisy, organ-laced finish of “New War on the Range,” which is also the longest track at 7:42, the band hold firm to an experimentalist purpose and care of arrangement that goes beyond the surface of Olson‘s songwriting, and the vision of the prairie they’re using as their backdrop is that much richer for it.

As a fan and someone who — if I didn’t get the point across — was waiting for a new Across Tundras LP to come out, The Rugged Ranges of Curbs and Broken Minds is all the more satisfying because it doesn’t ignore what Olson has done over the last six years. It ties to his solo work in a way that isn’t trying to be something that it’s not. It’s still rooted in that heavy Americana ideal, but more patient in its songwriting than the band have ever been, and more willing to, like the song says and eventually does, “Slow Down and Breathe” almost as an act of escapism from the modern chaos hinted at in the album’s title. In its blend of naturalist wash and country folk, it is both lush and organic, with Olson‘s mostly laid back, breathy post-Dylan vocal style providing the human core around which the other elements swirl and churn and do whatever else it is they might do.

All told, The Rugged Ranges of Curbs and Broken Minds is seven songs/43 minutes of material that pushes the band into places where they’ve never been, and while it does so, it seems to find itself closer to the heart of what they’ve been going for all along, that kind of resonance shared between emotionality and place. In the howling leads of “Talkin’ Rust Cohle Existential Blues” and the way “When We Were All One” seems to bask in imaginary sentiment — what could be more American? — Across Tundras are able to manifest their ideas in a way they’ve never been before, and they’re ultimately stronger for incorporating what Olson has learned in the intervening years of solo work in making that happen. Though the American underground is rife with heavy blues of various shapes and forms, Across Tundras are unto themselves, and whether one thinks of it as heavy bluesgaze folk or whatever else, The Rugged Ranges of Curbs and Broken Minds is a welcome reminder of that fact.

Across Tundras, The Rugged Ranges of Curbs and Broken Minds (2019)

Across Tundras on Thee Facebooks

Across Tundras/T.G. Olson on Bandcamp

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Dead Satellites Set July 26 Release for Debut EP Burst

Posted in Whathaveyou on June 18th, 2019 by JJ Koczan

Let’s assume that if a band goes ahead and names their debut EP after you, you’ve probably gotten the job done as a recording engineer. So it is with Burst, the first four-songer outing from Dead Satellites. The duo splintered off from Brooklyn’s Matte Black recorded the darkly spacious offering with Charles Burst at Studio G and, sure enough, decided to title it in his honor. Can’t argue with the sentiment — the thing sounds great — but it’s not something you run into all that often. It probably should be. There’d be a lot of records out there called Anderson, I guess.

In any case, Burst is out July 26 and will be available from the band. They’ve got the first two tracks streaming now in the form of “42,” with its immediacy of post-metallic riffing (indeed, it’s their “Stones from the Sky” moment) and the more sprawling “Beyond the Sun / Last Transmission,” and between the two, you can get a pretty good picture of where they’re coming from, though of course “Name_” and “El Guapo” have a few more tricks up their sleeve as well.

Cool stuff from a new band. That’s my favorite kind of story. Here’s the release announcement:

Dead Satellites Burst

Dead Satellites was born out of the love for playing live music. The duo had been hammering out riffs in the heavy NYC underground music scene since 2010. Most notably in the heavy psychedelic doom leaning power trio, Matte Black. Fidel Vazquez on drums and Matt McAlpin on Guitars/Vocals. The pair found themselves wanting to create something new and immediate as the band was finishing up the recently completed Matte Black album, “Psyche”. They accepted a gig supporting Lacey Spacecake before putting together a new set from scratch in a few weeks time. A few months later they went into Studio G to record with Seaside Lounge engineer, Charles Burst.

“Everything was tracked quickly in sequential order. The drums sounded fantastic in the live room and most songs were captured on the first or second take.” Matt remembers, “It was liberating and exciting session. Everything felt alive and the drums sounded huge. Charles really did an amazing job capturing the energy and feeling of our live performances.”

Dead Satellites “Burst” will be self released on Friday, July 26th.

Tracklisting:
1. 42
2. Beyond the Sun / Last Transmission
3. Name_
4. El Guapo

Dead Satellites are:
Idel Vazquez – drums
Matthew McAlpin – guitars + vocals

https://deadsatellitesmusic.bandcamp.com

Dead Satellites, Burst (2019)

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Crypt of the Riff Vol. 4 Announces Lineup for December in Belfast

Posted in Whathaveyou on June 18th, 2019 by JJ Koczan

crypt of the riff vol 4 banner

Let’s face it: if you’re doing a festival featuring any kind of heavy music, and you make it so far as to do a fourth edition, you’re pretty much obligated to base the poster design around Vol. 4. You gotta do it. I’d imagine that for festivals it’s both a celebration and a rite of passage to get to that point. Crypt of the Riff Vol. 4 in Belfast is set for this December with Tuskar headlining and Elder DruidHornetsGod AloneDuellistsTowers and Gravity Well confirmed. The traditional holding position is Voodoo in Belfast, and as I was in the city recently, I feel like I can say with some assurance that it’s a cool town to host a fest, and of course there’s plenty of Irish heavy to feature, as Plain Living Promotions and Elder Druid — who put the thing together — know fully well. The Obelisk presented the last edition, and if you happen to be in the neighborhood, I’d without hesitation recommend checking it out.

Here’s the info and copious links from the event page on Thee Facebooks:

crypt of the riff vol 4 poster

CRYPT OF THE RIFF VOL. 4

Belfast’s heaviest riff fest returns for Vol. 4 in December.

HEADLINER:

Tuskar (ENG)
A two piece doom/sludge outfit hailing from Milton Keynes, residing in the Surrey Hills. Combining elements of: Doom, Sludge, and Black Metal.

Comprised of vocalist and drummer Tyler Hodges and guitarist Tom Dimmock, Tuskar’s chemistry is unmistakable both live and in the studio. They have grown up playing together in bands and have struck out on their own with material that owes as much to Conan and Sleep as it does bands like Behemoth and Darkthrone.

https://www.facebook.com/TUSKARBAND/
https://tuskar.bandcamp.com/

Elder Druid
https://www.facebook.com/elderdruidband/
https://elderdruid.bandcamp.com

Hornets
https://www.facebook.com/Hornetsband/
https://hornets.bandcamp.com/

God Alone. (IRL)
https://www.facebook.com/godalonecork/
https://godalone.bandcamp.com/

Duellists
https://www.facebook.com/Duellistsband/
https://duellists.bandcamp.com/

Towers
https://www.facebook.com/TowersBelfast/
https://towersbelfast.bandcamp.com/

Gravity Well
https://www.facebook.com/GravityWellBelfast/

Date: Friday 13th December
Venue: Voodoo, Belfast
Time: 7PM
Tickets: £10 + booking fee

Tickets are available via Eventbrite at this link:
https://www.eventbrite.co.uk/e/crypt-of-the-riff-vol-4-tickets-63108010759

They will also be available on the door.

https://www.facebook.com/events/2504270066258014/
https://www.facebook.com/plainlivingpromotions/
https://cryptoftheriff.bigcartel.com/
https://www.facebook.com/VoodooBelfast/

Tuskar, The Tide, Beneath, The Wall (2018)

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