Posted in Whathaveyou on April 25th, 2024 by JJ Koczan
As you can see below, drummer Garry Naples does not come to the lineup of Chicago doom legends Trouble without a pedigree of his own. His work as a member of Novembers Doom is of course notable, but from Without Waves to Wizzo, The Kahless Clone (whose CD I almost bought on principle alone for the reference in their moniker) and Bear Mace, he’s explored a range of styles and aural niches in a swath of outfits. At this point in the band’s storied 46-year history, Naples certainly isn’t the first lineup change they’ve had, but if you’ve heard or seen them in the decade-plus since Rob Hultz (ex-Solace) joined on bass, it’s an addition to the rhythm section that makes the prospect of their next album all the more intriguing.
For more on that — the album, that is — you can also see below, but it doesn’t come out to much beyond being a 2025 release through Hammerheart Records. Trouble have been talking about their 10th full-length in similar terms since at least 2022 as their label has undertaken a series of respect-where-it’s-due catalog reissues and Metal Blade offered re-released 1987’s Run to the Light last June. Their last album was 2013’s The Distortion Field (review here).
From the PR wire:
TROUBLE ANNOUNCE NEW DRUMMER
Doom metal legends Trouble are revealing Garry Naples as the new drummer for the group. Naples has already begun rehearsals, and will be recording drums for the band’s upcoming studio album, the details of which are still pending and will be announced separately.
Says Naples: “I wanted to send a big THANK YOU out to all the Trouble fans for their warm welcome and encouragement! I appreciate the response and am very excited about the future of the band. The new Trouble songs are sounding amazing and I can’t wait to get into the studio to get the drums recorded for our new record. On top of that, I’ve been learning a lot of the older songs and I’m sure we will have some really cool set lists planned for upcoming shows. Stay tuned and see you on the road soon! Cheers!”
Naples, a Chicago-based drummer, has been playing in metal and rock bands for over 20 years. After joining his first band at the age of 15, Garry joined Prophecy Productions recording artist Novembers Doom in 2011. He has since recorded three full length albums with them, and has performed in Europe, North America, and South America. Garry co-founded the band Without Waves in 2010. After signing to Prosthetic Records in 2016, the band released two albums under that label, and has done several US tours. Additionally, Garry has toured and recorded with several other bands including Wolvhammer, Chrome Waves, and Bear Mace.
Trouble founder and guitarist Rick Wartell stated, “The band is very excited to have Garry join us as a permanent member. He’s an accomplished musician, with extensive recording and touring experience, and his playing style is a perfect fit for Trouble. We’re scheduled to head into the studio to work with him, and eager to have him lend his talents and creativity on our upcoming album. We’re also looking forward to bringing this line-up out live for some shows, and then on tour in support of the new record when the time comes.”
Naples had occasion to share the stage with Trouble back in October 2023, playing with Novembers Doom as one of the acts on the opening night of the inaugural launch of Heavy Chicago Fest, a three day event hosted at Avondale Music Hall. The new music festival featured Trouble as the headliner, and also showcased Acid King and Bongzilla.
Trouble has released nine studio albums to date, and is in the process of recording their tenth, which will be released on Hammerheart Records in 2025.
Trouble is: Kyle Thomas : vocals Bruce Franklin : guitar Rick Wartell : guitar Rob Hultz : bass Garry Naples : drums
Posted in Whathaveyou on April 25th, 2024 by JJ Koczan
Timing is everything. Mere minutes after I took the dog out the other day and got the mail that happened to have the t-shirt I preordered from Tennessee heavy rollers WyndRider a while back in it, I sat back down in front of the laptop and lo, the algorithm saw fit to put the announcement of the band’s signing to Electric Valley Records in front of my eyeballs. I’m not saying it’s anything more than a fun coincidence — I don’t think social media tracking cookies can get in your actual, physical mailbox… yet — but it most certainly was that, and I look forward to hearing how the four-piece will follow-up their well received 2023 self-titled debut (review here), which they subsequently announced they’ll do with Revival on June 7.
To advance and coincide with the release, WyndRider are keeping busy this spring and summer with live shows, headed to Texas in May for Gravitoyd Doom Fest, to Maryland in June for the esteemed Maryland Doom Fest, and to Kentucky in July for the Holler of Doom, all with shows around them sharing the stage with names familiar and righteous. They’ve also posted the single “Motorcycle Witches” as an initial public offering from Revival, readily affirming the clarion-for-the-converted riffery and swing from the debut are well intact. Makes it even less of a challenge to look forward to the album.
The announcement from socials and live dates follow:
We are over the moon that we will be releasing our new album with Electric Valley Records ! More info coming real soon. Don’t blink or ya just might miss it.
From EVR: “Electric Valley Records is proud to announce that heavy riffers WyndRider have just signed for their brand new album🔥”
Pre-order for REVIVAL goes live with Electric Valley Records on 4/24 or on the WyndRider Bandcamp page on 4/25.
Stay Doomed💀”
WyndRider live: 5/2 – Memphis, TN – Hi Tone 5/3 – Arlington, TX – GROWL 5/4 – Houston, TX – Gravitoyd Doomfest 5/5 – New Orleans, LA – Siberia 5/24 – Knoxville, TN – BrickYard Bar & Grill 5/26 – Charlotte, NC – TBA 6/8 – Johnson City, TN – The Hideaway 6/20 – Indianapolis, IN – Black Circle 6/21 – Akron, OH – Buzzbin 6/22 – Frederick, MD – The †maryland DOOM† Fest 6/23 – New York, NY – The Bowery Electric 7/5 – Asheville, NC – The Odd 7/11 – Nashville, TN – Springwater Supper Club and Lounge 7/12 – London, KY – Holler of Doom 7/13 – Cincinnati, OH – THE COMET
Posted in Whathaveyou on April 25th, 2024 by JJ Koczan
Tomorrow, April 26, Indianapolis doomers Apostle of Solitude launch their 20th anniversary European tour at the Grand Paris Sludge festival, embarking on a 14-date run that culminates at the inaugural Desertfest Oslo. The last time the band traveled abroad was in 2018 — the Beforetimes! — and in addition to changes like drummer Corey Webb cutting his hair and losing his beard in favor of a fierce, nigh-on-authoritarian mustache, and bassist Marshall Kreeb joining in place of Mike Naish, let alone being on the other side of a global pandemic, etc., that’s also long enough ago to be before they put out their latest album, 2021’s Until the Darkness Goes (review here). If you were looking for an excuse to see them, the record alone should do it.
As one might when promoting the kind of tour that doesn’t happen every year, the four-piece of Webb, Kreeb, and guitarist/vocalists Chuck Brown and Steve Janiak have posted a new video, for the track “Deeper Than the Oceans” from Until the Darkness Goes. Made in DIY fashion with Kreeb filming and Janiak handling the edits, it’s duly watery in the visuals and a showcase for the song itself, which leads off the second half of the record and is resonant in both its overarching melancholic heft and the emotive crux in Brown and Janiak‘s shared and oft-harmonized vocals.
Over the course of their now-20 years, Apostle of Solitude have always excelled at conveying a sense of defeat or despondency without losing themselves in that musically, and “Deeper Than the Oceans” encapsulates this well. That’s not to say they’re pairing sad-sung verses and choruses with hard-charging thrash — it’s a doom song with water in the title; full-on “big nod coming” dogwhistle for the converted — but while they’re plenty depressive on Until the Darkness Goesand in “Deeper Than the Oceans,” they dwell in more than just that atmospherically, as the build in the midsection after four minutes in demonstrates. They’re never totally hopeless, as brooding or dark as their material might seem.
And believe it or not — and they might take this as an insult but I assure you it’s not meant that way — they’re fun live, too. Yeah, actual fun. Don’t tell them I said that, but if you’re in their path, this tour would be a fitting occasion to show up and find out for yourself as they move on toward a new full-length hopefully sometime in 2025.
Enjoy the video:
Apostle of Solitude, “Deeper Than the Oceans” official video
Apostle of Solitude’s music video for “Deeper than the Oceans” from the album “Until the Darkness Goes” available from Cruz Del Sur Music.https://www.cruzdelsurmusic.com
Filmed by Marshall Kreeb Edits: S. Janiak special thanks: Mike Naish
Recorded by Mike Bridavsky at Russian Recording, Bloomington, IN Mixed by Mike Bridavsky Mastered by Collin Jordan at The Boiler Room Chicago, Il
Apostle of Solitude 20th Anniversary European Tour: April 26 – Paris, France @ Savigny le Temple, l’Empreinte Grand Paris Sludge April 27 – Martigny, Switzerland @ Les Caves du Manior April 28 – Torino, Italy @ Ziggy Club April 29 – Bologna, Italy @ Freakout Club April 30 – Viareggio, Italy @ Circolo ARCI GOB May 02 – Osnabrück, Germany @ Bastard Club May 03 – Berlin, Germany @ Slaughterhouse Berlin May 04 – Vienna, Austria @ Escape Metalcorner May 05 – Budapest, Hungary @ Robot May 07 – Wiesbaden, Germany @ Schlachthof Wiesbaden May 08 – Göppingen, Germany @ Zille May 09 – Düsseldorf, Germany @ Pitcher May 10 – Sebnitz, Germany @ Wonnemond Festival May 11 – Oslo, Norway @ Desertfest Oslo
Apostle of Solitude: Chuck Brown – Guitar, Vocals Corey Webb – Drums Steve Janiak – Guitar, Vocals Marshall Kreeb – Bass
Apostle of Solitude, Full Band Interview, March 3, 2024
(L-R in video: Steve Janiak, Marshall Kreeb, Chuck Brown, Corey Webb)
Apostle of Solitude, Until the Darkness Goes (2021)
Posted in Whathaveyou on April 25th, 2024 by JJ Koczan
This tour marks the second time in the last year that South African heavy rockers Ruff Majik have hit Europe for shows. I was lucky enough to see them at SonicBlast Fest 2023 (review here) in Portugal last August, and they were set to be back on the continent for a Fall run alongside heavy riffing Israeli party-in-a-can trio The Great Machine before war — as it apparently will unceasingly until we’ve finally eradicated our own species, no doubt to the planet’s general benefit — broke out. Thus ‘the second coming’ on the poster below, which also serves as a lyrical reference to the moment where the title-track of their 2023 album, Elektrik Ram (review here), turns downerism into a willful triumph.
I was doing a bit of travel myself last week and as I have everywhere I’ve gone for well over a year now — admittedly easier to do in the digital age — I brought that record along for the journey. No, I’m still not quite over it, even as the four-piece have threatened multiple outings to follow this and perhaps more realistically next year. As Elektrik Ram so deftly paired stylistic scope with pinpoint efficiency in its songwriting across a succession of memorable, varied tracks, I’ll go ahead and count their next anything among my most anticipated whatevers of whenever. Screw you, I’m allowed to have favorites.
The tour below finds them meeting up with desert rock pioneer/ambassador Brant Bjork, as well as Monkey3, Siena Root and others, along with appearances at Esbjerg Fuzztival in Denmark, Desertfest Berlin 2024 and, the first of them, Gockelscream in Dresden, which as I understand it is somewhere between a heavyfest and a birthday party. Either way, sounds like a rad time.
From socials:
Here it is folks, our wildest tour announcement to date!
We’re hitting Gockelscream, Desertfest Berlin and Esbjerg Fuzztival!
More surprises in store too, with four more dates left to fill up!
All this brought to you by the good folks at @soundofliberation !
When Los Angeles-based ’90s-style stoner grit rockers Max Boogie Overdrivepremiered their video here for the catchy single “Suffer Sister,” their debut album, Stoned Again, was a ‘coming soon’ kind of affair. That was a full year ago as of this week — fun coincidence — and indeed, the shove-prone 38-minute eight-track groover had a 2023 soft-launch, but the official release was at the end of March, and it remains firm in its declaration of purpose regardless of the timing.
The four-piece of guitarists Jim “Max Boogie” Bacchi and Richard “RC” Clark, vocalist/bassist Daren “Drop Dee” Ford and drummer Tom “Knuckles” Hernandez dig into older-school heavy riffing throughout, touch on a bit of metal gallop behind the solo, as in “Freakazoid,” for an example, and offer hooks a-plenty across the span, riding choice grooves on the C.O.C.-style “Van Boogie” and finding a space for an almost garage-style feel on “Demonaire” before the penultimate “King of Fire” lands with one of the record’s heaviest thuds, moving all the more effectively for the push-pull and subtle shifts in style around its central dirty-fuzz revelry.
Stoned Again caps with its title-track (video premiering below), which starts with a sample of former US president Barack Obama saying that, yes, he did inhale, and as regards mission statements, they’re not trying to hide what they’re all about. It’s right there in the first verse, “High like a mountain/I’m cool like the sea,” and the nigh-on-hypnotic chorus that follows to deliver the title line before they take off on a coursing lead-topped bridge, take another hit off that hook and slow it down.
Of course the cowbell comes out, and as with a lot of Stoned Again, “Stoned Again” is rife with if-you-know-you-know lyrical references — one might shout out a Monster Magnet influence for that alone, never mind the infinity-bound dope nod of “Freakazoid” — but namedropping Rainbow Rising over the steady nod that serves as the launch point for the record’s noisy finish is a hint at some of the ’70s-whatnottery also present in the hard-footed strut of “Bomb Incoming,” but despite the striking statistic that the album was recorded in five separate studios with five separate engineers, it never seems to be headed somewhere without an idea of the destination and path being taken. Songwriting, in other words, as well as a goodly dose of stonerly charm.
And I’m on record multiple times over as being a sucker for both. I don’t think Max Boogie Overdrive are out to rewrite the tenets of heavy rock on Stoned Again so much as to celebrate them and remind any and all within earshot that the whole point of the thing in the first place was to have a good time. They veer hither and yon, desert-bound in “Demonaire,” jammy in the rush later in “Freakazoid,” leaning into psych in that wash of “Stoned Again” and elsewhere, but like a West Coast Geezer, they know what they’re about and offer it without pretense otherwise.
If you see any of that and think maybe you can get down, the full album is streaming after the PR wire info, and if you want a quicker sampling, the title-track clip is nothing if not representative. It’s okay to have fun with it. They sure seem to be.
Enjoy:
Max Boogie Overdrive, “Stoned Again” video premiere
Max Boogie Overdrive was originally conceived in 2022, as a recording project between guitarist Max Boogie a.k.a. Jim Bacchi (Hittman, Fuzzbubble, The Tikiyaki Orchestra) and Drop Dee a.k.a. Daren Ford (Red Square Black, Ravine and the Generals) as a way to pursue their passion for all things Stoner and Boogie… mammoth guitar riffs, bellowing vocals, and the swagger of early 70’s Detroit rock n’ roll — dirty, fuzzy, with just a dusting of doom, and whole lotta Boogie (not Disco; Heavy Boogie Rock).
The debut album ‘Stoned Again’ includes the first single “Suffer Sister,” which offers up a dirty Motörhead vibe. Other songs “The Devil Knows my Name” and “Van Boogie” conjure the spirit of the more current Sabbath-influenced desert rock scene. And then there is the KISS thing — you know, those early records, when they were heavy. “Demonaire” and “Bomb Incoming” bring the Demon to mind (when Gene Simmons was still cool).
The cyclonic drumming of Tom ‘Knuckles’ Hernandez (Lords of Altamont, Superbeez) propels the band past the sludge and doom pace, and guitarist Richard ‘RC’ Clark’s guitar adds the necessary beef to the mix, fattening up the tone, and added vocal duties.
Produced by : Jim Bacchi and Daren Ford Mixed by Jim Bacchi, except “Suffer Sister” mixed by Bob St John
Recorded at : Kingsize Sound Labs – Los Angeles, CA Unison Sound – Northridge, CA Le Studio – Huntington Beach, CA Highland Studios, LaSalle, Ontario PDQ – Ft Lauderdale FL. Cover art – Big Toe
Engineers : David Dominguez, Bruce Witkin, Jim Bacchi, Bob St John, Mike Christie, Luc Michaud
Mastered at : Surfside Sound – Huntington Beach, CA
MAX BOOGIE OVERDRIVE LIVE 2024: 05/04 Las Vegas, NV – Red Dwarf 05/17 Costa Mesa, CA – Wayfarer (w/ Hippie Death Cult, Hashtronaut) 06/20 Palmdale, CA – Transplant Brewery
Max Boogie Overdrive are: Lead/Rhythm Guitar: Max Boogie (aka Jim Bacchi) Vocals and Bass: Daren (Drop Dee) Ford Drums: Tom (Knuckles) Hernandez Rhythm/Lead Guitar: Richard Clark
Posted in Whathaveyou on April 24th, 2024 by JJ Koczan
Fresh off their month-long stint in March and April supporting The Obsessed, Boston heavy soul pushers Gozu last week unveiled the thus-far confirmed European dates leading up to their appearance at Hellfest in France this June, and wouldn’t you know, before I even managed to get that posted here, they followed up this week by announcing they’ll join Baroness and Poison Ruin for the East Coast and Midwestern portion of their own summer tour before they go abroad. Hot damn, is the bottom line.
Gozu are no strangers to time on the road — they were last in Europe in 2022 by my count, but don’t quote me on that — but they do seem to have hit it with marked purpose since releasing their stunner of a fifth long-player, Remedy (review here) last Spring, and with no shortage of cause to do so in the intensity of that collection. So much the better for them to head over again, and of course, if you’re in a position to help them with the open slots listed below, I encourage you do do so both as part of a general ethic of supporting underground bands on the tour, and because it’s the kind of gig you’ll be proud to have been a part of afterward.
And as a word to the wise, they’re very likely not done. They’ve already been confirmed for Desertfest New York (Sept. 12-14) and Ripplefest Texas (Sept. 19-22), Louder Than Life in Kentucky (Sept. 26-29) and Aftershock in Sacramento, CA (Oct. 10-13). Don’t be surprised if and when a tour comes to cover at least part of the travel in that stretch. Did I already mention “hot damn?”
I may not get to a ton of shows these days, and I had pangs missing the NYC date that capped the tour they just ended, but it warms my heart to see these guys getting out and putting their music in people’s faces where it belongs.
The below is cobbled together from Heavy Psych Sounds (their Euro booker) on the PR wire, Gozu‘s social media, and Baroness‘ website:
Hey all, we are stoked to announce that our US heavy rockers GOZU will tour Europe this Summer !!!
STILL FEW OPEN SLOTS
BOOK YOUR SHOW – WRITE TO: info@heavypsychsounds.com
GOZU Euro Tour 2024 TU. 18.06.24 IT BOLOGNA FREAKOUT WE. 19.06.24 IT VERONA FINE DI MONDO TH. 20.06.24 AT KUFSTEIN KULTURFABRIK FR. 21.06.24 DE MÜNSTER RARE GUITAR SA. 22.06.24 ***OPEN SLOT*** SU. 23.06.24 ***OPEN SLOT*** MO. 24.06.24 ***OPEN SLOT*** TU. 25.06.24 FR CHAMBERY BRIN DE ZINC WE. 26.06.24 FR ***OPEN SLOT*** TH. 27.06.24 FR ***OPEN SLOT*** FR. 28.06.24 FR CLISSON HELLFEST
Something wicked this way comes!!
GOZU w/ BARONESS & POISON RUIN: May 31 | Portland, ME | State Theatre Jun 01 | Norwalk, CT | District Music Hall Jun 02 | Rochester, NY | Essex Jun 04 | Grand Rapids, MI | Pyramid Scheme Jun 05 | Indianapolis, IN | The Vogue Jun 07 | Madison, WI | Majestic Theatre Jun 08 | Palatine, IL | Durty Nellie’s Jun 09 | Chicago, IL | House of Blues Jun 10 | Des Moines, IA | Wooly’s
GOZU is: Marc Gaffney – guitar and vocals Joe Grotto – bass Doug Sherman – lead guitar Seth Botos – drums
New York’s Geezer and Genoa, Italy’s Isaak are set to issue their split LP, Interstellar Cosmic Blues & The Riffalicious Stoner Dudes, on May 17. As labelmates on Heavy Psych Sounds, they are united in dedication to groove and weighted tones, and they’re certainly both acts you’d call ‘heavy,’ but from one side of the platter to the other, there’s no question they each stand on their own as well.
Geezer open side A with “Acid Veins” (lyric video premiering below) as one the first of four characteristically grooving inclusions. It and the capping “Oneirophrenia” were recorded with David Andersen at The Artfarm, while the middle two, “Little Voices” and “Mercury Rising,” were tracked during the sessions for the band’s most recent album, 2022’s Stoned Blues Machine (review here), which were helmed by Chris Bittner at Applehead Recording in Woodstock, NY, near the band’s hometown of Kingston. I’m not sure when “Acid Veins” and “Oneirophrenia” were tracked, but they fit well in bookending the Interstellar Cosmic Blues portion of this split, with “Acid Veins” sweeping in on a quick rush of noise and digging almost immediately into its verse riff in an easy nod and swing from guitarist/vocalist Pat Harrington, bassist Richie Touseull and drummer Steve Markota that holds for the duration through the first of their four choice hooks and into the fuzz-drenched twister solo section that carries them out in classic stoner rock style.
Perhaps in comparison to Isaak, whose stated purpose here is to branch out in sound and personnel alike (give me a minute, we’ll get there), Geezer‘s four cuts might not come off as outwardly pushing boundaries in the same way, but in “Acid Veins,” “Little Voices,” which might be about depression or might be about having kids — take your pick; either way, “sometimes it gets dark” — and “Mercury Rising” they bring to emphasis the more straight-ahead songwriting that on their albums has done so much to complement and sometimes ground their jammier and more psychedelic material.
“Mercury Rising” is a little longer and starts out with a mellow jam for its first minute-plus, but picks up from there around a rolling riff and verse/chorus trades. It’s a hook I remembered instantly from being in the studio when Stoned Blues Machine‘s basic tracks were put down, and it’s a highlight here as well. Rounding out, “Oneirophrenia” — the title in reference to the semi-hallucinatory dream-state between being awake and asleep; you know, brain stuff — grows insistent in its shove as it moves through its halfway point, but closes Geezer‘s stretch with a condensed exploration of low-key spacey vibing, giving some representation to the reach that might show up near the end of an LP. Hypnotic by the end of its six minutes, it’s the proverbial ‘big finish’ perfectly scaled-down to suit the context in which it arrives. Sometimes a song just finds its place. That happens four times on the first half of Interstellar Cosmic Blues & The Riffalicious Stoner Dudes.
The plot thickens with the start of Isaak‘s “The Whale,” as the core four-piece of the band — vocalist Giacomo Boeddu, guitarist Francesco Raimondi, bassist Gabriele Carta and drummer Davide Foccis — waste not a second of their circa-15-minutes and transfigure the crunch of a song like “OBG” from last year’s Hey (review here) long-player onto a careening gallop that, particularly with the bellow that tops it, feels more born of the Baroness school of riffing. Welcoming the first of three guests in Fabio Cuomo (Gotho, Liquido di Morte), they calm it down somewhat momentarily in the bridge before building up to a charged finish, but are very obviously working to expand the perception of the band as The Riffalicious Stoner Dudes, and both “Crisis” and “Flat Earth” follow suit in methodology and the shirking of expectation.
As to how recent Isaak‘s tracks are, I don’t know that either, but as vocalist Fabio Palombi (Burn the Ocean, Nerve) joins in for “Crisis” and Ufomammut drummer Alessandro “Levre” Levrero guests on “Flat Earth,” they both help the cause. “Crisis” sets out on an initially angular course of riffing before settling into the verse with Foccis on the bell of the ride, Mastodonic in thickness of tone in a way that feels not so far removed from what Hey wrought and daring a bit of shuffle in its chorus. The twist comes with the departure first into acoustic-inclusive heavy, almost-folkish push before they surge forward with the post-hardcore shouts of Palombi overtop, which give an intensity that Isaak answer by shifting back to the verse and chorus to round out. The sense of their trying new ideas, branching out in terms of sound, is palpable, but they’ve neither dropped their lead-with-riffs modus or the momentum of “The Whale” just before, and as Boeddu‘s own vocals have always had a bit of burl to them and certainly do here as well, it’s not too much of a leap to Palombi‘s part that it derails the song. It works, in other words.
They crash into the start of “Flat Earth” and set out across the split’s final track with a marked tension in the guitar. The pace isn’t quite as thrust-minded as “The Whale,” but the first of Isaak‘s three songs still affects the momentum of the last, and while they’re a bit more in line with what they’ve done before, when the chorus hits, what in many contexts would be a desert rock riff takes on a new persona and energy. It is both a blast and wall-‘o-tone heavy; the snare punctuating turns in the guitar and bass at the end of bellowing measures. Right at three minutes in, the guitar solo starts and the rhythmic pattern follows, but they’re back in the chorus soon enough and build from there into the ending section — which I’m pretty sure is where Levrero joins Boeddu — which both answers back to Geezer‘s ceremonious closeout and underscores the vibrancy behind the surprises from The Riffalicious Stoner Dudes, who just might need to add a ‘+’ to their side B descriptor.
The bottom line for Interstellar Cosmic Blues & The Riffalicious Stoner Dudesas a whole is quality work from established acts each with their own chemistry and intent for the release. They are nowhere near close enough in style to be competing with each other, but if you put one on loud, certainly the next will benefit from that same volume. Kind of a no-brainer for those who know the bands, maybe, and for those who don’t — that’s not a judgment on my part, ever; I’m not talking down to anyone — in Geezer‘s display of craft and Isaak‘s willful progression of style, they both play to strengths in an engaging summary of what they do. Yeah, the split’s got a long title, but hell, it also covers a lot of ground.
Enjoy “Acid Veins” below, followed by more info from the PR wire:
ACID VEINS is the third GEEZER single taken from the split album Interstellar Cosmic Blues & The Riffalicious Stoner Dudes. The release features Geezer and Isaak and will see the light on May 17th via Heavy Psych Sounds.
SAYS THE BAND: “Acid Veins is about life on the road. The good, the bad and the ugly side of touring in an underground rock band. While it is (in many ways) the best experience in the world, it ain’t for the faint of heart and it sure as hell ain’t always fun and games. We love what we do and we don’t take anything for granted. This one’s for the road dogs, for the lifers. Much love and safe travels!”
TRACKLIST SIDE A Acid Veins (Geezer) Little Voices (Geezer) Mercury Rising (Geezer) Oneirophrenia (Geezer)
SIDE B The Whale (Isaak feat Fabio Cuomo from Gotho & Liquido di Morte) Crisis (Isaak feat. Fabio Palombi from Nerve & Burn the Ocean) Flat Earth (Isaak feat. Levre from Ufomammut)
GEEZER are: Pat Harrington – vocals/guitar Richie Touseull – bass Steve Markota – drums
ISAAK is Giacomo Boeddu – vocals Francesco Raimondi – guitars Gabriele Carta – bass Davide Foccis – drums
Posted in Whathaveyou on April 24th, 2024 by JJ Koczan
Not the kind of announcement you expect to see on a given morning, but founding drummer Robby Staebler has announced his departure from Nashville’s All Them Witches. What you see in blue text below was sent out in an update to Bandcamp followers, and it comes as the four-piece are (were?) set to begin a tour through the southeastern US following their appearance this weekend at Austin Psych Fest. Comprised until today of Staebler, bassist/vocalist Charles Michael Parks, Jr., guitarist Ben McLeod and Rhodes pianist/violinist/keyboardist Allan Van Cleave, the band also have European shows ahead of them this summer, including a stop at Hellfest in France and other festivals besides. I have no idea what the status is of any of those shows, and the best I can tell you is to keep an eye on the band’s social media, which is where any further update is likely to come from.
Staebler, with a restless energy on stage that gave movement to even the band’s most minimalist moments, brought fluid energy and expansive creativity to All Them Witches across their six to-date full-lengths — the latest, 2020’s Nothing as the Ideal (review here), featured drones and tape loops that as I understood it were in no small part his contribution — and non-LP releases like the Baker’s Dozen singles series (posted here) that carried them through the end of the pandemic on 2022 en route to a 2023 spent mostly on the road for whole-album performances and other shows. Since Van Cleave rejoined in 2021 after quitting the band following 2017’s Sleeping Through the War (review here), they’ve wanted nothing for momentum. I guess maybe when you’re done you’re done.
But in addition to drumming and other sundry noisemaking, Staebler has also served as the primary visual artist for All Them Witches since their inception. And like his playing, his painting style is not something that will be easily replaced. I have no info on what his departure means for All Them Witches as regards the dates in the two posters below — maybe he’ll play them and leave after, for all I know — but Staebler will continue with the experimental audio/visual project Uvways, as he says below, and if All Them Witches do keep going, there’s no question any new player brought in will be a marked change in dynamic.
My best to Staebler and to Parks, McLeod and Van Cleave, whatever the future brings. If I hear more I’ll post it:
[UPDATE April 24: Guitarist Ben McCleod posted the following in the band’s Facebook group a short time ago:
Hello everyone. ATW will be making an official post later today, however I wanted everyone to know the shows are not canceled. We have a replacement drummer for the time being and will be fulfilling all these shows.
Thank you for your patience and understanding. We will see you soon.
Best of luck to Robby and his future endeavors. He has been an asset to this band and he will be missed.
-Ben
The band followed up with a collective statement, specifically addressing the coming shows and their plans going forward:
So there you go. Staebler‘s original announcement and All Them Witches‘ tour dates still follow below, but it’s encouraging to have some clarity and to know that the band will keep going.]
ALL THEM WITCHES FANS All good things must come to an end. At this time I’ve decided to step back from ATW and put my energy into other music and projects that I love. Thanks to everyone who has supported me and the band I created and labored over. The fans have made my dreams comes true in every way and I’m extremely grateful for you all. I put every ounce of energy and resources I had towards building something truly unique and honest that I could stand behind. Moving forward I feel it’s important to follow my intuition and inspiration. I’ll be releasing two new albums this year under UVWAYS with faces you know and some you don’t. If you want to follow what I’m doing I set up a Patreon where I’ll be doing everything from drum videos to live chats as well as monthly art and merch deliveries. Check out patreon.com/UVWAYS, visit www.uvways.com for paintings and prints. Follow @uultrasoundss for new music and @ultraafree for my merch company that promotes unity and freedom in the tune of rock and roll. The world is a vampire. Stay awake.
