Say what you want about A Storm of Light making their name because Josh Graham handles visuals for Neurosis (the band’s first gigs were opening for them at Brooklyn Masonic Temple), countering all those arguments is a whopping list of tour dates in both the US and Europe that shows them working their collective ass off to support their second album, Forgive us Our Trespasses. And furthermore, that album kicked ass, so quit being grumpy that their friends are cooler than your friends and get with the program.

So there.

Here is the aforementioned plethora of dates, complete with comment from Graham on the work ahead, all courtesy of the PR wire:

Brooklyn kings of atmospheric doom, A Storm of Light, are gearing up for a short stint of US tour dates next week that include performances with experimental metal/noise exhibitionists Today is the Day and reunited stoner metallers Sleep before heading to Europe for a month’s worth of shows in October.

Said guitarist/vocalist John Graham of the upcoming shows: “The next couple of months are going to be a lot of fun for us. We’re lucky enough to share the stage with the legendary Sleep, brutalists Today is the Day, and then embark on our fourth European tour. Awesome!”

A Storm of Light US/Europe tour dates 2010:
08/31 31st St Pub – Pittsburgh, PA w/ Today is the Day
09/01 Ottobar – Baltimore, MD w/ Today is the Day
09/03 Santos Party House – New York, NY w/ Today is the Day
09/04 AS220 – Providence, RI w/ Today is the Day
09/07 Starlight Ballroom – Philadelphia, PA w/ Sleep
09/08 Brooklyn Masonic Temple – Brooklyn, NY w/ Sleep, Lichens
10/01 Brudenell Social Club – Leeds, UK
10/02 Whelans – Dublin, Ireland w/ Stand up Guy
10/03 The Spring and Airbrake – Belfast, Ireland w/ Stand up Guy
10/04 Captain’s Rest – Glasgow, Scotland
10/05 The Croft – Bristol, UK
10/06 The Underworld – London, UK w/ Sedula, Sons of Alpha Centauri
10/07 Nouveau Casino – Paris, France
10/08 Simplon – Groningen, Netherlands
10/09 013 – Tilburg, Netherlands
10/10 Juha West Matinee Show – Stuttgart, Germany
10/12 Rhiz – Vienna, Austria
10/13 Kset – Zagreb, Croatia
10/14 Randall – Bratislava, Slovakia
10/16 Firlej – Wroclaw, Poland
10/17 Powiekszenie – Warsaw, Poland
10/20 Nabaklab – Riga, Latvia
10/21 Nosturi – Helsinki, Finland
10/23 Garage – Oslo, Norway
10/24 Debaser – Stockholm, Sweden
10/25 Loppen – Copenhagen, Denmark
10/26 Hafenklang – Hamburg, Germany
10/27 Feierwerk – Munich, Germany
10/28 Spazio – Turin, Italy
10/29 Urban – Perugia, Italy
10/30 Init Club – Rome, Italy

I’m talking about unchecked aggression, dude. That’s what Midlands trio Volume Death Riot have to say about it. Theirs is a therapeutic, noisy kind of riff metal, like AmRep gone mo-dern; a little mellower than Unsane at their angriest, but aren’t we all? You might hear some Houdini, but you might not. One’s as likely as the other.

I’ve been grooving on the two tracks on Volume Death Riot‘s MySpace page for the last week or so, and the energy they emit is every bit as frantic and unchained as the paragraph above. Everything about them is choppy except the songwriting. “Buer,” at a surprisingly quick seven minutes, is riffy without being cliche, and the kind of song you’d expect to be instrumental, but for the vocals. “Hell to Pay” is shorter, crunchier and more aggressive vocally, but still basically in the noise-rock mold. Of the two I’ll take the latter, as far as personal preference goes, and though I don’t know what the three-piece’s plans are as far as more recording, I’d sure like to see them play a gig with On the Radar veterans Dopefight.

Noise is about as unpretentious a sound as you can get, and Volume Death Riot definitely make good use of that workingman feel in their two present tracks. Hopefully they’ll be able to keep that kind of atmosphere going forward, as both “Hell to Pay” and “Buer” have a sincerity to their anger that’s not easily faked. They’re not changing the world, but they’ve got a cool sound, decent production, and potential. It’s worth keeping an eye on the MySpace to see where they go from here.

If the quizzical title Phantom Hell and Soar Angelic presents a twist for your brain (do they mean “phantom” as a verb, like you could turn Hell into a ghost of some kind?), then that’s just the beginning of the puzzles Italian trio Void Generator have to offer on their third release. Following a 2004 self-titled EP and 2006’s We Have Found the Space, Phantom Hell and Soar Angelic (Phonosphero Records) is four tracks and well over an hour of anti-gravitational psychedelic rock, the finest attribute of which might be its timing. The Roman four-piece (five if you count Bob the Rich on “accumulation,” which I think means “recording”) have an impeccable sense of when to rock and when to space out.

To wit, the memorable Phantom Hell and Soar Angelic opener, “Message from the Galactic Federation,” which manages to work both a catchy chorus and hyper-extended airy parts into its 15:14 length. My first time through, I waited the full three-plus minutes (not an unreasonable amount of time given the scale of the song) for the vocals to come on and ruin it, but guitarist Gianmarco Iantaffi didn’t disappoint, his delivery maintaining a balance between rough rock and melodic crooning that’s got just enough effects behind it to cut through the guitars, synth, bass and drums. Vocals aside, what sets Void Generator apart from the space rock hordes seems to be their willingness to rein in their jams, to bring them back to the songs, and where many bands seem to plow through their verses and choruses like they’re punching a clock waiting to get to the 10-minute go-nowhere jam – not always a bad thing, mind you – Void Generator remember they’re writing songs here, not just showing off or screwing around. “Message from the Galactic Federation” repeats parts at just the right times, and manages to remain what political pundits call “on point” for its duration. No small achievement.

If the opener sets the bar high, though, the rest of Phantom Hell and Soar Angelic delivers on its promise. The shortest track on the album, a mere 13:04, is “The Morning.” It’s more open-ended feeling than was the opener, but it’s also a show-off point for the rhythm section. Bassist Sonia Caporossi and drummer Marco Cenci (who plays on the latter tracks, while Marco Ricci played on the first) carry most the song, leaving Iantaffi and synth-specialist Cristiano Lodi to add flourishes and contribute to the gradual build, which they do in subtle, confident fashion. Toward the song’s end, Lodi’s work becomes especially apparent, and adds a soft melody to the driving rock behind it in the mix. As a setup for the ostensibly “final” cut, the wonderfully-named 18:12 overture, “The Eternaut,” it works immaculately and with considerable flow.

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If you want to get in touch, use the Contact link in the sidebar. Or, if you’re Facebook-inclined, there’s always that. Also, the comments have apparently been broken the last few days. They’re fixed now too. Wonderful thing, this internet. If you want to get in touch to tell me to review your band, please do so.

Much as I love the city of Philadelphia — and I do; it’s the Wesley Snipes to NYC‘s Stephen Dorff — it’s a long way away. Nonetheless, for a lineup like Las Cruces and Iron Man, the trip is well worth it. And hey, I didn’t drive as far as Las Cruces, who are from San Antonio, and thus know what salsa should taste like. So it could be worse.

I was in no hurry to get to the Millcreek Tavern, since it was just the two bands on the bill and I knew the show would be running late. Las Cruces went on first, playing tracks off of their latest, Dusk, as well as older material and a new song called “Egypt” that I shouted from the crowd was a keeper. And it was. There wasn’t much of an audience — apparently some fest was happening down the street — but the loyal few enjoyed what the four-piece had to offer, myself included, and when they played “Wizard” and “Cocaine Wizard Woman” back-to-back, I felt like life was doing me a personal favor. Two songs with “wizard” in the title — in a row! Doesn’t get more doomed than that, folks.

In general I consider myself a fan of a singing drummer, and Paul DeLeon of Las Cruces didn’t disappoint. While guitarists George Trevino and Mando Tovar (Pillcrusher) poured out killer riffs and solos and bassist Jimmy Bell windmilled a breeze enough to feel it from in front of the stage, DeLeon held down the rhythm and the melody of material both old and new. Dusk is the band’s first full-length in 12 years, but the band and the songs sounded fresh and they put on a righteous show despite the fact that there weren’t too many people in the crowd to see it.

A chicken cheese steak was enjoyed in between sets — no onions — and I had plenty of time to eat, as Iron Man took their time getting going. Vocalist Joe Donnelly must have been running late, or else waiting outside to make his grand entrance, since he came in just before the set started. Bassist Louis Strachan and new drummer Mike Rix (who has about four more toms in his rack-mounted kit than he needs for doom) make for a killer rhythm section, and Donnelly‘s Ozzy-style antics are well documented and always good for a laugh, but the essential component in Iron Man is Al Morris III, whose sheer presence while he plays guitar makes the whole set. I managed to get video of the opener, “I Have Returned,” which you can see below. Watch his solo and you’ll see what I’m talking about. Amazing.

Iron Man played a new song as well. I didn’t catch the name of it, but it’s good to know they’re working on material for a follow-up to I Have Returned. They were selling the recent Shadow Kingdom reissues of Generation Void, Black Night and The Passage as well, though I don’t know how many people were there who didn’t already have them. They played an 11-song set, which seemed like a bit much, but although it’s three days later and my sleep pattern is still thrown off, I’m not going to say it wasn’t worth the time or effort to get to the show. It was all the more special because of the sparse attendance, and with Las Cruces having come so far, and Iron Man having made the trip from Maryland, it seemed the least I could do to show up. I guarantee whatever else was going on in town that night wasn’t as doomed out as this show was.

Adding to the argument in favor of attendance was not knowing when Las Cruces would be back this way. Iron Man is killer, don’t get me wrong, but I’ve already seen them this year and worse comes to worst, Maryland is only three hours away. San Antonio is a little farther out from Jersey, and since I enjoyed Dusk so much (even the tracks not about wizards of any shape or form), I wanted to be there to support the band. I don’t know if it did them any good in terms of getting gas money to get to the next show, but there you go. Should have been a couple local acts on the bill to round it out and fill up the place, should have been more people there, but it was a killer gig and easily justified the ride down. No complaints out of me.

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In honor of the label’s upcoming showcase in Philadelphia (info here) later in September, I’ve decided this month’s audiObelisk transmission should highlight some of the best contributions from Detroit‘s Small Stone Records. The biggest challenge in making this installment wasn’t deciding what to include in terms of bands, but where to stop. It’s about three hours long, and I probably could have gone another easily.

I wanted to include some of Small Stone‘s classic output, from bands like Acid King, The Men of Porn and Five Horse Johnson, and I had to make sure the current and new faces were represented as well: Gozu, Skanska Mord, House of Broken Promises. And just when I thought I was all set to go, I realized I’d forgotten to include Sasquatch. Don’t even ask me how. I was all converted, uploaded, labeled and live, and the next thing I knew I broke out III and ripped the opener, reconverted, re-uploaded, so on and so forth. I don’t know if that’s dedicated or dumb.

Either way, it’s worth being both, given all that Small Stone has done for the genre over the course of the last decade-plus. We start off with some love for Jersey, which the label has always been ready to show. Halfway to Gone, doing “Great American Scumbag.” It’s a song I think sums up a lot of what it means to be into this kind of music in this day and age. As always, I hope you dig it and the rest of the transmission, which is the longest yet at over three hours and featuring 35 bands. This one’s easily my favorite so far.

And if you’re wondering what the image is above, it’s the Detroit airport.

You know the drill: Full tracklist after the jump, stream the file above or download it here. As requested, I included time stamps for when each song starts.

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Fuckin’ “L.A. Connection.” This song rules, man. This was one of three videos Blabbermouth posted that were put up by former Rainbow/Ozzy bassist Bob Daisley, and damned if I could find anything better to close out the week. It doesn’t get much better than ’70s Ritchie Blackmore and Ronnie James Dio kicking out a ridiculous hard rock song that has nothing to do with anything.

There’s a new podcast coming this weekend. Do you know what the theme will be? I do. I guess you’ll just have to stay on this page and click “Refresh” until it’s actually posted so you can find out.

Next week we wrap up August, and I promise I’ll finally have that Yawning Man feature up. I’m also slated to do two more interviews, and I’ve got conversations with Man’s Gin and Masters of Reality already in the can, so we should be well stocked. Next week also starts the semester, which is terrifying but a reality I was going to have to face sooner or later. Can I work, go to school and manage the most kickass stoner blog in the known multiverse? Probably not, but it’ll be fun anyway.

In the spirit of the release, I’m going to try to keep this short:

Torche songs are so easy to get excited about, because they’re actually exciting. They’re upbeat, energetic, accessible, friendly-sounding even at their heaviest. I just popped their new offering, Songs for Singles in my player for the first time, and already, I want to hang out with it. I want to sit with it and have a beer and watch the bug zapper. Eight songs in under 22 minutes isn’t the kind of numbers I usually get down with, but man, Torche kick ass with twice the efficiency of most bands.

What I like most immediately about Songs for Singles is that the first six tracks comprise half the listening time, and the last two make up the final 10-plus minutes. You’re through “U.F.O.” before you know it, and “Lay Low” is only 51 seconds long, so that’s barely started before it’s done, but “Shine on My Old Ways” seems to change the pace, and by the time “Face the Wall” comes on, you feel like you just hit it. The wall, that is.

If you dug the dreamy pop aspects of Meanderthal, you’re probably also going to drool over Songs for Singles, as even on the slower “Face the Wall” and six-minute capper “Out Again,” that element of their sound is a constant. There aren’t any über-heavy guitar bombs, and as “Out Again” stretches the instrumental section that gradually fades to close the record, it’s apparent that what Torche like playing with in their sound is the sometimes massive, sometimes sweet contrast. Right now, they’re doing it better than anyone else.

Right from the opening track, “Flustrated,” it’s clear Dali’s Llama are having fun with their latest offering, Howl Do You Do? (released through their own Dali’s Llama Records). Maybe after eight records of straight up desert rock, the Zach Huskey-led Palm Springs, California, outfit decided it was time to try something else – and who could blame them for that? They’ve been kicking out fuzzy jams with such regularity that the routine was bound to wear them down, so a turn to garage rock and horror punk is probably just what the band needed to shake things up. A lot of their bluesy core is still in tact, but if all you know of Dali’s Llama is what they’ve done the last several years – records like Sweet Sludge, Full on Dunes and Raw is Real – Howl Do You Do? is bound to be something of a surprise.

The organ features heavily on songs like “She’s My Halloween” and “Flash Flood, Flash Flood,” played by Mikael Jacobson, who joins Zach, bassist Erica Huskey, guitarist Joe Dillon and drummer Craig Brown (all of whom also contribute backing vocals), but I tend to return more to the piano-laced sounds of the title track, which has a more blues-driven feel to it than the camp spookiness of the horror punk material. Just a personal preference. Huskey’s songwriting, probably the central driving force within Dali’s Llama, is strong as ever, though it should be noted the structures of the songs haven’t really changed so much from the band’s last couple full-lengths, just the genre play. It’s like Dali’s Llama have put on a costume – a Halloween costume, appropriately enough. Underneath, they’re still who they are, but they’re playing the part of a garage horror punk band for an album. Howl Do You Do? was probably a lot of fun to make.

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I think when the smoke clears over the next decade or so, we’re going to see a lot of bands come down the line who cite Colour Haze as an influence. The German heavy psych trio have left an indelible mark on underground rock over the course of their 15-plus years together, and though they’ve all but disavowed their earliest works — albums like 1995′s Chopping Machine, 1998′s Seven and the 2000′s CO2 are all out of print and quite rare (though 1999′s Periscope was reissued on guitarist/vocalist Stefan Koglek‘s Elektrohasch Schallplatten imprint in 2003) — their latter-day material has made for incredible depth of listening and the strength of their playing continues to reach new heights.

So where to start? First, let it be said that the entire available discography is exceptional. 2008′s All was my favorite album of that year, and 2003′s Los Sounds de Krauts is nothing short of miraculous. You might think it strange then that I’m going with 2006′s Tempel as my pick for newcomers.

It’s a question of exclusion. On 2001′s Ewige Blumekraft, Koglek, bassist Philip Rasthofer and drummer Manfred Merwald were still getting a feel for their sound. Los Sounds de Krauts, as I’ve said, is great, but it’s a double-CD, and might be too much to handle in terms of giving new listeners a full appreciation of what the band can do. Tempel‘s predecessor, the 2004 self-titled, is close, but the tracks aren’t as memorable.

And as for All, the only reason I didn’t pick that is because the album is better experienced if you’re already familiar with what the band has done before. It might be the best Colour Haze record to date (and I do include last year’s Burg Herzberg Live release in that), but you won’t know that unless you hear the others first — and especially hearing Tempel first, then going to All, I think that’s the best way to grasp how special Colour Haze really is. You get to hear the chemistry between Rasthofer, Merwald and Koglek and come to understand it’s really not all about the riffs, but about each instrument and how they play off each other. Perhaps even more important then where you get started is that you get started. Here’s Tempel opener “Aquamaria” to speed your way. Enjoy.

For the life of me, I don’t know how Boris manages to stay so prolific. For example, within the next two weeks, the core unit of the band will be playing shows not only as themselves (concluding a US/Canada tour), but also as collaborative outfits with the likes of SunnO))) and Ian Astbury of The Cult. We should all be blessed with such a work ethic. I can barely take out the garbage without feeling like the world owes me an ice cream sandwich.

The PR wire has the specifics as to how Boris continues to make us all look bad:

As Boris wrap up their latest month-long North American tour with two California shows this week, they’re also prepare to join forces with several allies for their upcoming live work with Altar and BXI performances scheduled in New York.

First up, Altar (comprised of SunnO))) and Boris as one group) will perform at the All Tomorrow’s Parties Festival in Monticello, New York alongside Sleep, Iggy & The Stooges, Sonic Youth and countless more in a massive outdoor space. Two days later Altar will make another appearance, this time alongside the first official performance of BXI (Boris and Ian Astbury of The Cult), which will all go down at the Brooklyn Masonic Temple, which has been unarguably dubbed “the loudest room in NYC,” and presented by All Tomorrow’s Parties and The Blackened Music Series.

The debut release from BXI is a four-song self-titled EP, which was released by Southern Lord on Aug. 17. The EP is quickly surprising fans of both The Cult and Boris, as well as journalists across the globe, and has listeners taking this new collaboration quite seriously, making this official first concert together an exceptionally special performance for the unit.

Live Performances:
Boris
8/26/2010 Great American Music Hall – San Francisco, CA w/ Red Sparowes, Helms Alee
8/27/2010 El Rey – Los Angeles, CA w/ Red Sparowes, Helms Alee
8/28/2010 The Glass House – Pomona, CA w/ Red Sparowes, Helms Alee
Altar
9/05/2010 ATP Fest – Monticello, NY w/ Sleep, The Stooges, Sonic Youth, more
Altar and BXI
9/07/2010 Brooklyn Masonic Temple – Brooklyn, NY w/ Jesse Sykes and the Sweet Hereafter

Los Angeles-based double-guitar five-piece Night Horse treat classic rock like it’s a pretty lady. They take it out do a nice dinner, they hold the door, they pick up the tab, maybe they go to a show afterwards, and all the while they’re perfectly charming. Of course, sweet love is later made, and the end result is the band’s second album for Tee Pee Records, Perdition Hymns, which is 11 tracks of high-grade rock and roll genetics that, listening through, I’m honestly surprised didn’t come out on Small Stone. Where Tee Pee has mostly diverted into the heavy psych realm — bands like Quest for Fire, Naam, Earthless, etc. – Night Horse seem more suited to accompany the likes of Sasquatch, the recently-reviewed Red Giant, Gozu and perhaps most of all Sun Gods in Exile, whose 2009 album Black Light, White Lines, was equally shy about showing off its riff and solo prowess. And by that I mean not at all.

But there’s a Tee Pee connection in that Night Horse guitarist Justin Maranga also plays in Ancestors, so there you go, mystery solved. And honestly, after hearing the kind of blues-driven ‘70s jams Night Horse traffic in, I can’t imagine not wanting to put out a record like Perdition Hymns, no matter what sound you’re trying to associate your label with. Songs like the powerful opening trio of “Confess to Me,” “Angel Eyes” and “Rollin’ On” provide the kind of rock wallop you’d usually expect from an older bunch of dudes, but Night Horse’s love for what they do is evident. You can hear it in the playing of Maranga and fellow six-stringer Greg Buensuceso, in the straight-ahead rhythms of bassist Nick D’Itri and drummer Jamie Miller, and in the vocals of Sam James Velde, whose performance was also a highlight on Night Horse’s debut, The Dark Won’t Hide You, but is perhaps even stronger on Perdition Hymns, standing up with no trouble to the considerable instrumental competition provided by the band behind him.

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Just last week, I posted Night Horse tour dates and made my complaint known that the band wasn’t going to be coming out to the East Coast. Lo and behold, last night I check the PR wire and what’s there but a new batch of shows for guitarist Justin Maranga‘s other band, the heavy-psych awesomeness known as Ancestors, and they’re not coming east either! What is it, man? Do I smell?

The answer to that question, inevitably, is yes. While I go track down some deodorant to reapply, check out these Ancestors dates with new Tee Pee labelmates, The Fucking Wrath:

Ancestors and The Fucking Wrath will embark on a string of West Coast tour dates in late October. The Fucking Wrath recently signed with Tee Pee Records and will be releasing the EP Terra Fire on October 19. Ancestors are supporting their 2009 critically acclaimed sophomore album Of Sound Mind.

Ancestors/The Fucking Wrath tour dates:
10/20 Zahn Zillas, Ventura, CA
10/21 Hemlock Tavern, San Francisco, CA
10/22 East End, Portland, OR
10/23 Comet Tavern, Seattle, WA
10/25 Jambalaya, Arcata, CA
10/26 Nick’s Night Club, Chico, CA
10/27 Jose’s Mexican Bar & Grill, Monterey, CA

Four years have passed since Place of Skulls released The Black is Never Far, their third album, which was in many ways the culmination of a tumult that brought the band many changes, highs and lows. Guitarist/vocalist Victor Griffin — best known for his work in Pentagram contributing to the Maryland/D.C. doom legacy, though he actually lives in Knoxville, Tennessee these days – has always been at the helm, and that remains true as he brings together the original Place of Skulls trio for their new album, As a Dog Returns. Drummer Tim Tomaselli and bassist/vocalist Lee Abney have both been back in the band for a couple of years, replacing the likes of Pete Campbell (Sixty Watt Shaman) and Dennis Cornelius (ex-Revelation), but As a Dog Returns marks the first studio output the trio has released since Southern Lord put out Nailed in 2001.

And for those who haven’t heard Place of Skulls since then, or for those who perhaps are stuck on 2003’s epic With Vision — on which Griffin united with Scott “Wino” Weinrich (The Obsessed, Saint Vitus, etc.) to release one of the finest traditional doom albums of its decade – you should know a lot has changed. Of course, Griffin is still a master riffer. He has been since the days of Death Row, but sound-wise, Place of Skulls is a much different band than they were nine, seven or even four years ago. In 2010, their sound is still rooted in doom, but as the lead songwriter, Griffin doesn’t shy away from balladry either. The third track on As a Dog Returns, “Though He Slay Me,” is essentially a power ballad about Jesus, and the follow-up, the “Planet Caravan”-esque “Psalm,” isn’t far off that either, at least for the first two and a half minutes. It shouldn’t be much of a surprise that after a career touching five decades (Death Row formed in 1979) Griffin’s songwriting should have matured, but the doom on As a Dog Returns isn’t miserable, isn’t downtrodden. It seems to rise up to its challenges. It has hope.

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Clearly Northampton, Massachusetts, doom bringers Black Pyramid just didn’t learn their lesson after last time, because here they are again, debuting “The Cloud of Unknowing” from their new single Stormbringer (on Hydrophonic). The other track on the release, “Stormbringer,” is up on the band’s MySpace page, but this one’s all ours and all the sweeter for it. Stream it by pressing play below:

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Vocalist/guitarist Andy Beresky gives some background on the song:

“We had ‘Stormbringer’ done, and were working on the B-side. I had a bunch of riffs worked out, and it was a matter of getting them all to flow together. That’s really what we were going for, a song that didn’t really have a typical set structure, but just flowed from one part to the next, almost like a meditation. So the title, and the lyrics, they refer to a book on Western meditation, that takes an almost more Eastern approach to it.

“Obviously, it’s our own take on it, I took the religious aspects out and made it more about personal reflection and how we deal with the growing darkness and doubt within our lives, so that we may eventually overcome the concepts of good and evil altogether. Musically, I think it’s also ambitious, but because it retains that flowing, meditative nature throughout, it draws you inside the cloud, and once you’re there, totally obscured by it, everything somehow becomes clearer.”