Sunday, February 1, 2015

ACID KING SHARE MIDDLE OF NOWHERE, CENTER OF EVERYWHERE COVER

SAN FRANCISCO, Jan. 20, 2015 – Acid King have unveiled the cover art for their forthcoming album, Middle of Nowhere, Center of Everywhere (available April 14).

The artwork for Middle of Nowhere, Center of Everywhere was done by famed tattoo artist, Tim Lehi. Lehi has done cover art and posters for High on Fire, Earthless and Witch.

Middle of Nowhere, Center of Everywhere was recorded at both Sharkbite and Tiny Telephone Studios in San Francisco, mixed at Different Fur Studios and produced by Acid King and Billy Anderson. The digital release will be released independently via Acid King while physical copies, both CD and vinyl, will be available via Svart Records.

“We had several songs in the works over the years that we spent most of our time touring Europe but in between working our day jobs, we didn’t put the effort into recording,” explained singer/guitar player Lori S. “I really wanted to accelerate the process and get new music out. It’s time. This music that we’ve been playing for so long, that was initially obscure and underground, seemed to grow over these past 10 years and the timing was right to release this now!”

Acid King bubbled up from San Francisco in 1993 through a fog of revved up riffs, thunderous drums, and a hypnotic vocal howl. They unleashed three EPs and three full-length albums, starting with Zoroaster in 1995, the 1999 full-length Busse Woods, and their most recent release, Acid King III, coming in 2005. Their seismic chemistry transfixed audiences everywhere from high-profile festivals such as Hellfest and Roadburn to now iconic shows alongside peers such as Sleep and Mystick Krewe of Clearlight.

The band recently confirmed their participation in Desertfest, April 24 to 26 in the UK.  North American tour dates will be announced soon.

www.acidking.com

HORSEHUNTER release info for CAGED IN FLESH coming April on Magnetic Eye


“Horsehunter come from down under, and they bring some seriously slow, Sabbath/Sleep-style doom. ‘Stoned to Death’ follows in a grand tradition of epically long songs, and it’s like being between two tectonic plates at the moment of an earthquake.”
Decibel Magazine

“Having shared the stage with legends High On Fire, Conan and Windhand, Melbourne four-piece Horsehunter are inarguably the most sought after and exciting young doom band in the country.”
The AU Review
Canned, scrapped, rewritten and rerecorded numerous times over an obsessive two-year period, the threateningly lyrical and brutally heavy compositions of Caged In Flesh embody Horsehunter’s perverse and maniacal precision as a band. It’s an album forged in iron and cleansed by fire. Sinister, brooding and heavy enough to weight the earth in place and stop it spinning wildly of it’s axis.

Hailing from Melbourne, Australia Horsehunter’s debut album is set to become something of a new and thrilling masterwork of the genre. Powered by the darkest, most gut-wrenching riffs imaginable and fuelled in full by psychedelic and atmospheric doom, upon it’s self-funded release early last year the band garnered instant praised for their, “massive tones, throaty shouts and lumbering vibe.” (The Obelisk)

Following on from the ground-shaking premiere of the 16-minute epic ‘Stoned To Death’ toward the end of 2014 via Decibel Magazine, Horsehunter has already drawn comparisons with likes of YOB, Neurosis and Shrinebuilder. Yet alongside the brutal vocal chord rips and vicious guitar throw downs of the album’s heavier moments, surrounded by darkness they still manage to enfolded themselves in light. From the gently creeping ‘Nightfall’ to the dynamic and progressive passages of ‘Witchery’ the four tracks on offer here showcase the talents of a young band with an arsenal of understanding. “Appropriately enough, the main riff [‘Stoned To Death’] sounds like an evil version of the one from Led Zeppelin’s ‘Dazed and Confused’, which is arguably the first-ever doom metal jam.” (MetalSucks)

Having shared stages with High On Fire, Conan Windhand and Sleep, and harvested fans from all four corners of the globe, newly signed to the New York based label Magnetic Eye Records, Horsehunter are primed and ready to breach the Southern Hemisphere and take on the world full tilt.

Caged In Flesh will receive an official worldwide release on 21st April 2015.

Horsehunter:


Dan McDonald – Guitar
Michael Harutyunyan – Guitar, Vocals
Himi Stringer – Bass, Vocals
Nick Cron – Drums
More Praise For Horsehunter:

“If you are a fan of Sleep, Neurosis and Shrinebuilder then prepare to worship the new masters of the riff. As this album is going to blow you away.”
The Sludgelord

“After you hear Caged In Flesh by Horsehunter one time, you'll be hitting replay all day.”
CVLT Nation

“The Aussie band self-released the album [Caged In Flesh] at the end of September and have been garnering acclaim for it since, as they’ll no doubt continue to do in 2015 owing to the massive tones, throaty shouts and lumbering vibe of songs like ‘Stoned to Death’. Its 16-minute course is no small undertaking, but they pay it off with hypnotic, bleak psychedelia that only makes the underlying rumble seem like more of a threat.”
The Obelisk

“From beginning to end, Caged In Flesh is a great sludge/doom album. The sound is thick and heavy, with plenty of guts and blood in all the right places.”
Desert Highways

“Caged In Flesh has it all, the slow swamp pace of Earth, the riffs of Sleep, the kick in the guts thunder of YOB and just a touch of the driving chug of ISIS.”
Fracture Magazine

“Whether it is stoner riffs, psychedelic journeys, or gritty out and out doom you’re after, there is something on this record that will excite you. Horsehunter are a band to keep an eye on.”
Heavy Planet

“With Caged in Flesh, Horsehunter have produced a monolith of an album, an attack on all fronts with an air of understated restraint and intelligent songwriting behind it. With a thick, syrupy sound sure to appease sludge metal enthusiasts, coupled with groovy stoner influences that ensure a memorable experience, Caged in Flesh is the equivalent of digging for gold in mud, and finding diamonds.”
Sputnik Music

Saturday, January 31, 2015

Penfold's Quick Hits: Amerigo Gazaway Presents Yasiin Gaye - The Return (Side Two)




Greetings waveriders.  I've found something to enrich your listening life that needs to be shared immediately.  Why the urgency?  Simple.  I don't know how long this music will remain online before the artist responsible will receive a cease and desist letter forcing it's removal from the interwebs.  No, I am not pulling your leg.  As a rule the powers that be don't like mashup albums containing material they own.  Thus there is a time limit on Yasiin Gaye - The Return (Side Two) and I don't know when the final grain of sand will fall through the hourglass.

I'll be totally honest folks.  I like musical mashups.  Hold on.  Let me add some qualifiers onto that last statement.  I like musical mashups that work well and that don't tarnish my memory of the original works.  Amerigo Gazaway is a master of the mashup.  I first discovered him when I ran across his Bizarre Tribe album which mashed together songs by The Pharcyde and A Tribe Called Quest.  Before that he had released an album called Fela Soul combining Fela Kuti songs with raps from De La Soul.  What impresses me to no end is how each of Amerigo Gazaway's compositions are utterly seamless.  It is truly stunning, and never more true than on Yasiin Gaye. 

Yasiin Gaye - The Return (Side Two) represents an imaginary collaboration between Yasiin Bey aka Mos Def and Marvin Gaye.  Actually this is the second album released under the YG name, hence 'The Return'.  Whereas the first mashed together Mos Def raps with Marvin Gaye's songs, this sequel of sorts mashes Mos Def vocals with songs that Marvin Gaye produced.  The result is incredible!  Did I mention that you can grab this album for free off Amerigo Gazaway's bandcamp page?  No?  How careless of me.  I'll just leave this linked player below...




Friday, January 30, 2015

An Open Letter to Tom Petty

Dear Tom,

I’m a huge fan, for real.  I have most of your records and I feel like you have never made a stinker.  I remember when Jimmy “Shoes” Iovine said you have never laid down a bad vocal track...WOW!  You are that good.  Your accolades, your sound, your middle finger attitude to the music industry, and your ability to be super cool all of the time has really left it’s mark on me.  I look at you like a role model....but today you broke my heart, man.

This, of course, is in regards to you getting a chunk of Sam Smith’s song, “Stay With Me”.  You accused him of lifting the melody from you.  Damnit, Tom.

Here’s the meat and potatoes: how does a similar melody from a song you released 25 years ago constitute you getting a chunk of Sam’s paycheck?  Tom, you are and have been a major proponent of roots music.  Your XM radio show is one of the coolest things to ever hit the air.  You know your shit.  So, does Kenny Wayne Shephard or Johhny Lang have to give Stevie Ray Vaughan’s estate a chunk of their earnings?  Did Stevie have to pay Jimmy, his brother?  Do they have to pay Albert King?  Did Brad Paisley call you up to get permission to mention ‘Wildflowers’  in that one of his MANY country radio hits?  Country and blues music is based on re-occurring melodies and the good ol’ I-IV-V.   Do I need to mention how rock and roll came out of that...directly?  That’s how you earned your bread, remember?  It’s redundant to the point of being a joke.  You can hide behind legal meanderings all day.  It doesn’t make it any more right than a guilty rapist going free on a technicality.  I think that is what just happened here.

So, I know the answer to this because it’s already been discussed in the media, but do you think you should get a part of Sam’s Grammys if he wins any on that tune? 

I’m not a pop music guy.  However, this song JUMPED off the radio when I came across  it in a peripheral manner.   Geesh...that’s the definition of a good song, right?  It sucked me in.  He deserves some credit for that.  His voice is beautiful.  The message is relevant to many people.  It’s an interesting point of view.  The production is spot on.  It conveys some heavy emotion.  It’s his first hit.  Like I said, he deserves that.  He’s getting to live the dream that so many of us musicians never get ANYWHERE near.  But now he gets to be “that guy who stole Tom Petty’s song”.   Good job, Tom. 

YOU stole that from him.  You are stealing a lot from him, actually.  Unless you know something that isn’t being said, the similarities were a total accident...as it has been reported.  Damn, what a dick move.  You have made millions of dollars and made millions of people happy with your music. You are an institution.  More than likely, this guy will have just this one hit.  If he does continue to have success, you have marred his track record.  If this is his only hit, you have taken away money that can sustain him and family for the rest of his life.  Surely you know the plight of most one hit wonders.  It’s really unfortunate.  It’s completely unfair.  

You have a lot of power and you misused it.  You straight up bullied him.   Tom Petty and Jeff Lynne did not write “Stay With Me”.  Period.  It sounds NOTHING like your song, save for a few notes that form a similar melody...in a different key, none the less.  You weren’t sampled.  The instrumentation is completely different.  The feel is completely different.  The visual representation of the song -while I’m at it and since you benefitted so much from MTV; something my generation will never experience- couldn’t be anymore different.  Tom, this song has nothing to do with yours.  Period.  If your songs where  represented in the form of a Venn diagram (I’m pulling from a Mitch Hedberg joke here, btw...pay attention....that didn’t really need to be credited), they’d barely be touching to the point where you wouldn’t see it as a Venn diagram.  So, actually, I think he did you a favor by making you relevant at the moment.  Your new record rules, btw.  I’m sorry if it didn’t sell real well.  It was kind of expensive (yeah...uh huh, I went there). 

What really worries me here is that this might set a new precedent in a time where things like constitutional rights are being trampled on by corporations and crooked politicians.  Tom, do you remember what it is like to fight The Man?  You just became him.  It breaks my heart.  I had this day dream of meeting you and telling you how much you have influenced me.  I’d probably just say thanks and move along in reality, but music fans do that.  However, I’m a musician too.  I even have a song that I think of as my “Tom Petty song”.  I’d even play it in close proximity to a cover of one of your songs in my band’s set.  I thought it was a good homage.  I RARELY cover anybody.  You wrecked me, Tom.  Where do I send the check?  Maybe I should just play dumb, whatever I know.  I think this is about foolish pride.  Maybe you won’t back down, but neither will I.  Thanks for the hard lesson in rock and roll. 

For the record, I ripped the intro of that song straight from the song ‘Tailspin’ by the band Moe.  In fact, when I went back and listened to the Moe. song again, I was embarrassed at how close it was.  I ended up getting a chance to give a rough mix of said tune to Al Schnier and told him what I just said.  It was an annoying fanboy moment and I’m still a little embarrassed by it.  You know what he did?  He took that awkward moment and turned it around by telling me how he was inspired by AC/DC when he wrote his tune.  What a class act!  It made me feel real good...like music is supposed to do in the first place. That’s what it is really about; not legal proceedings and who fucked who.  It’s unfortunate that reality is being propagated by a guy who I thought understood this concept.  Take a lesson, please. 

Sincerely,

A Songwriter Undercover

Thursday, January 29, 2015

A Pictorial Report on NAMM 2015 Pt. 6

Today's photo set contains guitars, other guitars, and what's that?  More guitars!  Oh...and a dog too.







Biotoxic Warfare – Lobotomized



I was reading the press release for this album and I misread a line, so I thought that they were saying this was a “blistering anal assault”.  And these guys are from Greece, so there's that.  It lead to a few seconds of befuddlement and then I realized that I couldn't have read that right.  I looked at it again and what it actually said was “blistering aural assault”.  Which makes a lot more sense and reduced my level of consternation considerably.  The last thing I need is music that is going to cause blistering in my nether regions.

These guys play thrash, more of the European variety, (think Sodom or Kreator) with some well placed touches of death metal.  And they play it very well.  Special mention goes out to their lead guitar player.  The guy has chops for days and makes some very ripping and technical solos sound effortless, which is always the sign of a dude who can shred.

Biotoxic Warfare are one of those bands that doesn't really bring a new spin on thrash to the table, they are just a very solid band and they do what they do very well.  This is typical thrash, by which I mean that if you don't like the riff they are playing at the moment, just wait about 30 seconds and they'll send another one your way.  It doesn't sound like they are just throwing riffs together for the hell of it, though.  All of it sounds as though they put some thought and effort into making the rapidly changing ideas flow into one another and work as songs.  They don't mess around either.  From the moment you push play things are off and running and it isn't until you hit the fifth track that things allow you a little bit of a breather.  Not much though; there's maybe 45 seconds of acoustic intro to that song and then we're off and blasting again.  The pedal stays down to the floor for the remainder of the album.  So if you want to be thrashing like a maniac from start to finish, this one will work for you.

This is the debut full length for this band and there is a lot of promise here.  This is a band that is probably not ever going to make it big enough that they will grace the shores of the US with their presence, so unless you make the trek to Europe during festival season you may never see them live.  Which is too bad, because I bet they put on a good show.  For now, though, dig this album and hope it gets enough attention that they can at least keep releasing more music.  There are not a lot of good things about the digital age and what it means for music, but one of the good things is that its a lot easier to find and hear music like this.  Sometimes you have to wade through a lot of mediocre stuff to find the gems like this one.  When you hear a debut like this, it makes all the rest worthwhile.  Here's to hoping that Biotoxic Warfare keep fighting the thrash fight and bringing us solid releases like this one.

- ODIN



Wednesday, January 28, 2015

A Pictorial Report on NAMM 2015 Pt. 5

In my head I have been rebuked by Old School for not renaming yesterday's "Pictorial Report" to something more accurate such as "Video Report".  My apologies Old School.  We must carry on however!  With more pictures from NAMM 2015!








Related Posts Plugin for WordPress, Blogger...