One would be hard pressed to overstate Earth’s legacy. The long-running and relentlessly creative Seattle drone unit led by guitarist Dylan Carlson have, over the last 20-plus years, amassed an outstanding discography of influential work – from 1993’s Earth 2, which helped solidify the grooves now inherent to riff rock, to 2005’s Hex: Or Printing in the Infernal Method, which found a reformed Earth infusing their sound with elements from Americana the ripples of which are felt today in indie rock, dark folk and alternative metal. They didn’t do it alone, but they did it. In 2011, Earth followed 2008’s jazzy and defiant The Bees Made Honey in the Lion’s Skull with Angels of Darkness, Demons of Light I (review here), which moved further out of the shadow of Hex, bringing in Lori Goldston’s cello as a major focal point musically alongside Carlson’s guitar, the drums of Adrienne Davies and Karl Blau’s bass, and beginning to shift Earth’s attentions toward improvisation. The 20-minute closing title-track of that album was all improv, and with Angels of Darkness, Demons of Light II (Southern Lord), Earth continue to expand on the ideas they presented in the first half, while also revealing more of the ever-changing band’s personality in this incarnation. Sonic congruencies abound – as one would expect, considering the two parts were recorded in the same sessions with Stuart Hallerman (who also helmed Earth 2) – but Angels of Darkness, Demons of Light II does more than just continue the strain of its predecessor.

Goldston’s cello, again, is in a featured role, and superficially, the two Angels of Darkness, Demons of Light albums don’t vary much in mood or overall tone. Earth’s patience is just as prominent throughout the centerpiece “Waltz (A Multiplicity of Doors)” as it was on “Father Midnight” on I. The drive toward juxtaposition in track titles – songs like “Descent to the Zenith” and “Hell’s Winter” – seems to have dissipated on Angels of Darkness, Demons of Light II, however, as “Sigil of Brass,” “His Teeth Did Brightly Shine” and “The Corascene Dog” are working, linguistically, in another vein. Perhaps it’s ironic or nitpicking to talk about language on an album that’s entirely instrumental, but titles and themes are an important part in how Earth sets the mood for a record or even a single track. One reads the minimalist interplay between Carlson and Blau differently as “Sigil of Brass” opens the album because of the track name. It’s also among the album’s moodiest pieces, and the shortest by nearly five minutes; the last could also lead to one seeing it as an introduction, but there’s enough substance to it to argue to the contrary as it gives way to the nine-minute “His Teeth Did Brightly Shine,” which, however “jammed” it might be – the quotes there to mark the distinction between what Earth are doing here and the usual ebb and flow of guitar-led jamming – still retains some clear compositional elements. If they’re improvising, they’re working from a base of prior construction – a starting point to get them going – and on “His Teeth Did Brightly Shine,” they’re doing so without Davies. As the song develops, that lack of clear drums can leave it feeling somewhat unhinged, but it’s hard to imagine that isn’t what Earth were going for, or at very least, that Carlson was pleased with the outcome when it was over.

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Tomorrow, Jan. 24, Seattle noise rock four-piece Brokaw will issue their debut album on Good to Die Records. The eight-song release is only 27 minutes long, but there’s no question it’s anything but a full-length. True to the AmRep legacy that seems to have birthed it, Interiors does a lot with a little. By the time “Time Ain’t Now” comes on to send up ’90s-style sub-hip-hop rock late into the record, the intensity and rawness feel as much a part of the band as the guitars, bass, drums and vocals.

Those who’ve smelled the flower of disease might recall Brokaw bassist G. Stuart Dahlquist from his tenure in Goatsnake, or perhaps Burning Witch before that, or Asva‘s ongoing run. Brokaw is certainly a departure from any of those bands’ aesthetics, but there’s something characteristic to Dahlquist‘s bass as it plays off the bombast of Rich Medic‘s drumming and Rick Troy‘s guitars. Vocalist Mike Henderson is part Iggy Pop and part Page Hamilton, both early; he recites his lines in various slurs and shouts that always seem to fit the music happening behind, whether it’s the bass-rumbling of “Politicians by the Pool” or the churning riffy groove of closer “You Didn’t Invent Sex.”

Good to Die was kind enough to give me permission to host Interiors in its entirety for your streaming pleasure, and you’ll find it below, followed by some PR wire-type info about the release. Please enjoy:

The word “Brokaw” stirs up all kinds of connotations. There’s the stern voice of reason held by news anchor Tom Brokaw, the expressive and colorful guitar playing of former Come/Codeine member Chris Brokaw… and now, the sound of one of the meatiest and meanest rock groups to emerge from Seattle, Washington.

But what makes the band so vital and so compelling how obviously they gel both on record and on stage. The members of Brokaw have been playing together “on and off for a very long time,” says Dahlquist. “I have been playing music with Rick for around 35 years, the two of us have worked with Mike since meeting at music school in 1984, Rich has been in and out of the picture for at least 10 years. We’ve been friends for a long time and have a great chemistry together, we all love playing music and it comes easily for us.”

You’ll hear right from the start of the band’s debut LP Interiors, to be released this fall on the new Seattle label Good To Die Records. Recorded with Greg Norman at Electrical Audio in Chicago, Illinois, Brokaw fed off the live current that runs through the band and the studio. Their hyperdriven barrage of sound pulls from the influences of the Amphetamine Reptile family, while acknowledging a wide variety of interests like the freeform ’70s work of Miles Davis and the swing of cheeky, literate Britpop band The Fall.

Live, on record, and in person, Brokaw put their backs, their hearts, and their balls into everything they do. They don’t ask you to do the same, just to pay your respects and enjoy every sweat-drenched minute of it.

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As of this post, there are 76 copies of HeavyPink‘s HeavyPink 7″ left. If you don’t have yours yet, you can order it using the Paypal button above or by clicking here to go to the Maple Forum store. It’s come to my attention that some people who’ve bought the record have had trouble with the download card — the link on the little piece of paper doesn’t work. If that’s you, I’d hope that instead of, say, calling me a chump on Facebook, you’d reach out and ask me for a solution to the problem. I’m more than happy to help out anyone who’s had trouble in any way I can, whether it’s sending you the files direct or anything else I can do to rectify the situation.

A full version of “Flower and Song,” the A-side to the single, has made its way to YouTube, and I thought I’d include it here for you to check out if you haven’t yet seen/heard it. Once again, HeavyPink is the one-man psychedelic incarnation of Tony Reed, whose careful hands have in the past sculpted Mos Generator and Stone Axe from out of the rock and roll ether. Reed handles all the instruments, vocals and recording equipment himself, and I’m just glad he let me be involved at all.

Thanks to everyone so far who has ordered a copy of the record. Your support of The Maple Forum and The Obelisk is genuinely appreciated.

In 2012, it will have been 17 years since Saint Vitus released their last studio album, Die Healing. Following the dissolution, 2003 reformation, dissolution and ongoing 2009 reunion of the band, the new full-length, reportedly titled Lillie: F-65, will be issued on March 27 by Season of Mist. It’s the first album to feature drummer Henry Vasquez, who came aboard in 2009 to fill the role of the late and then-ailing Armando Acosta, and the first album since 1990′s V to feature Scott “Wino” Weinrich on vocals alongside Dave Chandler‘s trademark guitar sound and Mark Adams‘ bass.

Even if Saint Vitus wasn’t arguably the best American doom band ever to walk the earth, Lillie: F-65 would be an event just for how long it’s been since the last record. But Vitus, who played Roadburn in 2009 and subsequently embarked on both American and European tours, are among the most influential doom acts of all time. In both their sound and their attitude, they set the template for what would become the miseries still prevalent in the genre today, and having seen them live on multiple occasions since this latest reunion got going, including seeing them perform the new song “Blessed Night” on the Metalliance tour earlier this year with Crowbar, Helmet, Red Fang and Kylesa, I can say with certainty their appeal is more than nostalgic.

The end of June 2010 found Saint Vitus on the road for a week-long West Coast US run alongside Washington classic rockers Stone Axe. The connection there is that T. Dallas Reed (sometimes referred to around here as Tony) plays guitar with Vasquez in his own ’70s-obsessed band, the formidable rock powerhouse Blood of the Sun, but after recording a live Vitus demo in his HeavyHead studio, it was decided that he should be the one to helm the album.

Reed, whose side-project HeavyPink is the latest release on The Maple Forum (I mention it because I’d be remiss not to; it doesn’t come up in the interview once), emailed me late one night a while back and asked if we could talk on the phone the next day. It was about 1AM on the East Coast and I said I was still up if he wanted to call. The sheer excitement in his voice as he recounted being in the studio with Saint Vitus as they tracked their new album was palpable. As much as he was a professional involved in making Lillie: F-65, he’s clearly also a fan.

I didn’t record that conversation — would be weird to just tap my own phone — but we spoke again not too long ago about the process of getting one of 2012′s most anticipated albums to tape (yes, literally tape), and Reed was no less enthusiastic to discuss the project of working with and recording Saint Vitus and watching as Lillie: F-65 began to take its final shape. You’ll find that complete Q&A, along with some info about Reed‘s work with Blood of the Sun, Stone Axe and the regrouped Mos Generator, after the jump.

Also included are some pictures and video of Vitus in the studio, which come courtesy of Reed himself. Please enjoy.

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If modern science has shown us anything, it’s that the next best thing to an album that’s one long song is an album that’s two long songs, and that’s just what Seattle-by-way-of-Kansas doomers Samothrace have promised to deliver with their sophomore full-length, due out next year on 20 Buck Spin. It’ll be four years since they released Life’s Trade, but if the included live footage is anything to go by, they haven’t lost sight of what’s important.

This came in on the PR wire a couple days ago, but I wanted to make sure it got posted, timely or not:

After nearly four years without a new release, ambidextrous sludge purveyors Samothrace were in Soundhouse Studios in their hometown of Seattle with producer Brandon Fitzsimmons (ex-Wormwood) to begin the recording of their second LP.

Samothrace issued the following collective statement about the recording process: “Working on this album at Soundhouse Studios with Brandon Fitzsimmons is amazing. We were fortunate enough to use the Rolls Royce of analog tape machines. The sound of rolling thunder was an inspiration during the whole process. The songs are as soaring and turbulent as the last album, but a bit more mature. We can’t wait for its release and imminent touring to follow.”

The LP will tentatively bear two side-long tracks, “When We Emerged” and “A Horse of Our Own.” The hymn “When We Emerged” originally appeared on the band’s 2007 demo in a much shorter and raw form, and has here been completely reworked and extended into a new song.

The album — its title still TBA — will be released by mid-2012 via 20 Buck Spin, who also released Samothrace‘s praised 2008 debut full-length, Life’s Trade. More info on the new album will be available in the coming weeks.

I’ve been waiting for this one ever since I interviewed Earth mastermind Dylan Carlson earlier this year. Though the band’s original intent had been to release two albums the same year, it’s looking currently like Feb. 14, 2012, will see the materialization of Angels of Darkness, Demons of Light II. Nothing like a little drone on your Valentine’s Day.

In any case, here’s looking forward to it, and here’s (in a much more literal way) the news off the PR wire:

The second half of Seattle drone icons Earth‘s Angels of Darkness, Demons of Light is being prepared for release on Southern Lord in North America this February 14 on CD, LP and digital download formats.

Recorded in the same two week session as 2011′s lauded Angels of Darkness, Demons of Light I by Stuart Hallerman at Avast and mastered by Mell Detmer, Angels of Darkness, Demons of Light II carries on in the freely and folkloric vein of the last release and invokes even more improvisational and unrestrained energy than its predecessor.

Angels Of Darkness, Demons Of Light II is striking in many ways, not least in the wildly improvised nature of this particular recording. The songs “Sigil of Brass” and “The Corascene Dog” perfectly emphasize how the interplay between the foursome has evolved even further since the first installment. Meanwhile, the track “His Teeth Did Brightly Shine” veers further into an entirely other direction, recalling sounds of the great British Acid Folk generation. This new material brings forth some highly original and deeply mesmerizing tones throughout, at times more hopeful and less dark and death oriented than previous work. Angels Of Darkness, Demons Of Light II is ultimately a completely unanticipated direction for Earth, and a very welcome one at that.

The lineup again consists of Adrienne Davies on drums and percussion (on this release there is more percussion of all sorts), Lori Goldston (Nirvana, David Byrne, Black Cat Orchestra, Laura Veirs) returns on cello, and Karl Blau (K Records, Laura Veirs, Microphones) plays bass. This also marks the first time the band on the record has toured outside of the US West Coast in preparation for the album. As with the first part, it again has truly amazing artwork by Stacey Rozich.

Angels of Darkness, Demons of Light II Track Listing:
1. Sigil of Brass
2. His Teeth Did Brightly Shine
3. Multiplicity of Doors
4. The Corascene Dog
5. The Rakehell

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On the player below is an audio sampler of HeavyPink‘s HeavyPink 7″ that features both tracks included on the physical record itself, “Flower and Song” and “There is a Light.” There are currently 88 copies of the vinyl left, and if you haven’t yet made a purchase, you can do so using the PayPal button above or at The Maple Forum‘s store at BigCartel. Whether or not you buy the platter, I hope you enjoy the audio, which is followed by some refresher info in case you’ve missed the story so far:

HeavyPink is the new solo project of T. Dallas Reed, the multi-instrumentalist and driving force behind Port Orchard, Washington, rock revivalists Stone Axe and the guitarist and principle songwriter for Mos Generator, among other acts. Ever self-motivated, Reed performed all the instruments on HeavyPink‘s self-titled debut 7″ and recorded the songs himself at his own HeavyHead Studio earlier this year.

The HeavyPink 7″ is the fourth release on The Maple Forum (forum040) and finds Reed branching out from the straightforward nature of his past offerings and into more psychedelic territory — still maintaining his penchant for memorable verses and choruses, but crafting them into warm walls of sound that are deeply layered and richly toned. HeavyPink is unlike anything Reed has done in the past, and yet definitively his own, bearing the mark of his songwriting through both included cuts, “Flower and Song” and “There is a Light.”

All purchases of HeavyPink‘s HeavyPink 7″ come with a sticker and download card, and included in the download is the bonus track “Long Live the Mellotron,” on which Reed pays homage to the titular instrument and uses it to near-symphonic effect. Whispered vocals and other noises ensure that even those who’ve been a longtime follower of the man’s work are in for a genuine surprise.

Purchases can be made using the PayPal button above or at the Maple Forum store. Thanks as always for your support of The Obelisk and The Maple Forum.

Put to press less than a year after the band played its first show in 2010, the Superwizard 7” is the first official outing for Seattle fuzzsome foursome Ancient Warlocks. The band offer no excuses for their stonerly ways on the self-released Superwizard, instead riffing with Fu Manchu-esque abandon on the two included cuts, “Into the Night” and “Superwizard.” A smattering of demo tracks preceded that one can hear on the band’s ReverbNation page, and the song “Killer’s Moon” – very much in the same vein as the material on Superwizard – is streaming at their Bandcamp site, but the 7” marks a physical debut nonetheless and is limited to 300 copies, hand-silkscreened and numbered with righteous cover art by Eric Pruyn. The music of the band itself is rudimentary in its form enough to match Pruyn’s inked lines, and similarly minded when it comes to lyrics about space wizards and mysterious creatures. The single’s lack of pretense in being anything other than what it is makes up a big part of its charm, but if you’re into familiar riffs and grooves, Ancient Warlocks have plenty of accessibility and appeal for the converted.

That’s not to say the songs don’t have their own personality, just that it’s a personality that you – if you’ve found your way to reading this – already know. The band already knows it as well, and that works much to their credit. Bassist Aaron Krause (also vocals) and guitarists Dan Beloit and Darren Chase provide amply thickened fuzz, with Beloit veering into lead lines throughout the longer “Into the Night.” Krause‘s bass underscores the janga-janga shuffle of that song’s main riff, with drummer Steve Jones keeping the march straightforward on the hi-hat and snare, until after halfway through the song, there’s a slowdown and solo section from Beloit that brings a bluesy side not yet shown. Interestingly, that shift happens at about 2:50, and since Superwizard’s title-track is 2:54 and doesn’t have such a break, you could almost say the structures of the two songs on the single are the same, but with the extra piece added to Side A to bring it to about five minutes. It doesn’t offend, in any case. The release in total is about eight minutes long, so Ancient Warlocks would have to work pretty hard to come off as more redundant than they mean to be in that time, and they don’t.

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Special thanks to Ollie Stygall from The Sleeping Shaman (he’s also the guitarist/vocalist of Grifter) for seeing fit to give the HeavyPink 7″ a thoughtful, well-written review. It’s definitely appreciated on this end, and makes for a great read if you haven’t seen it.

There are — true to the headline — 98 copies of HeavyPink‘s HeavyPink remaining in my possession. I’ve got emails out to a couple distro-type outlets, so hopefully it’ll start popping up in other places, and if you’re interested in doing a review, please drop a line and we’ll get that moving as well. Tony Reed also makes for a great phoner, as anyone who’s covered Stone Axe or Mos Generator over the years knows well.

Speaking of, I’ll be getting on the horn with him myself come tomorrow to talk about something very special and not necessarily HeavyPink related. It’s a big story, and I’m hoping to have it up before the end of the week, so stay tuned on that. I don’t want to give too much away, but yeah, it’s gonna be killer.

In the meantime, if you want a copy of the HeavyPink 7″, place your order using the PayPal button above or click here to go to the Maple Forum store at BigCartel. Thanks for your continued support.

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Made my night last night after a long day at the office to get back to the valley and find the box HeavyPink records waiting for me on my porch, and today it makes my day to be able to let you know that as of Nov. 3, 2011, the latest project from T. Dallas Reed (Stone Axe, Mos Generator) is officially on sale!

Everyone who pre-ordered: Your packages are on the way. And for everyone else, click the Paypal button above or the cover image to go to the Maple Forum store and pick up your copy of the label’s rookie excursion into vinyl.

I know I’ve talked about it before, but for anyone who might have missed it, HeavyPink is Reed‘s foray into psychedelic walls of sound. The two cuts on the self-titled 7″ take his trademark songwriting ability to new places, sounding full and lush without being jammy or self-indulgent. He couldn’t stop writing catchy songs if he wanted to.

And in HeavyPink, it’s all him. It’s a solo project in the truest sense; Reed writes, plays all the instruments, sings, engineers the recording and sees it through from zero to vinyl. The result is a surprising turn from one of classic heavy rock’s most respected purveyors. This 7″ marks a new beginning for Reed, and I couldn’t be more excited to be a part of it in the small way that I am.

As always with The Maple Forum, the quantities are limited. We pressed 300 records, and I started with 125. Thanks to the pre-orders, there are currently 108 left, and as you can see above, all copies come with a sticker, a download card with an exclusive bonus track, and the high-quality vinyl itself. Thanks in advance for your support of The Obelisk, of The Maple Forum and of HeavyPink. More to come.

Click here to go to the official store of The Maple Forum.

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Thanks to everyone who’s placed a pre-order so far for HeavyPink‘s HeavyPink 7″. I got the test pressing last week from Tony Reed in the mail and it sounds awesome. I think anyone who’s dug his work in Stone Axe or Mos Generator is really going to be into what he’s doing here. I am, anyway.

So, while I wait for the records to get here from the press, I just wanted to let everyone know that bundled with each copy of the 7″ — along with assorted stickers and other goodies Tony said he was going to throw in — there’s going to be a slip of paper with info on how to access a free download of “Flower and Song” and “There is a Light.” Not only that, but included in the zip file is the track “Long Live the Mellotron” — exclusive to the download only.

The whole release is pretty psyched-out, but “Long Live the Mellotron” gets the prize. Tony plays up the mournful side of the instrument and backs it with drums and choral sounds layered in. It’s kind of like Black Sabbath‘s “Supertzar,” but (obviously) with mellotron instead of guitar and some weirdo spoken parts. It’s a cool experiment that Tony, natural songwriter that he is, can’t help but turn into something cohesive.

Anyway, so you supportive souls who’ve already ordered the HeavyPink 7″, keep an eye out for that when your record comes in, and thanks as always. I’ve got 110 copies of HeavyPink‘s HeavyPink left for anyone who wants them. Buy using the Paypal button above or click here to go to the Maple Forum online store.

Fans of Seattle post-sludgecore outfit Akimbo’s 2008 Jersey Shores maybe-swansong will be happy to know that some of the same jangly-guitar groove that so well permeated that concept album also shows up on the self-titled debut from Sandrider. No mystery why, as two-thirds of the new trio (releasing their album via Good to Die Records) are culled directly from Akimbo’s ranks – namely guitarist/vocalist Jon Weisnewski and drummer Nat Damm, joined in Sandrider by bassist/vocalist Jesse Roberts (The Ruby Doe), who meshes with the established duo as well as anyone could possibly ask on Sandrider’s seven tracks. The songs aren’t exactly an extension of what Akimbo accomplished so well on Jersey Shores, marking a shift in the band’s methods from the raw bombast of their earlier work to something more grounded and melodically ranging, but the trio (who still call Seattle home) are definitely aware of where they came from, and mid-tracklist cuts like “Voices” and “Paper” share some similar turns and sparks. Part of any perceived similarity, though, could also easily be attributed to the consistency of tone through which Weisnewski finds himself in the lead position in Sandrider. His vocals and playing style will be immediately recognizable to anyone who heard and/or dug Akimbo (even though he serves as bassist in that outfit), and likewise, Damm’s snare has a similar pop on Sandrider as it did on Jersey Shores, if bolstered by the production here of Matt Bayles, who produced Mastodon’s best albums, Botch, Isis and several other landmarks along the way.

So if Sandrider marks a shift for Weisnewski and Damm, it’s more in the inclusion of Roberts and the overall presentation of their sound than in the style of their play. That said, Sandrider does have a more grounded feel to its material than did Akimbo; a maturation and natural next step from what they last presented. Songs vary in memorability, but each proves worthy in one way or another, and for the flow Sandrider establish across the album as a whole, nothing is out of place or unjustifiable. Roberts is an excellent complement for Weisnewski vocally, the two blending so well together that it’s hard to tell where tradeoffs are (other than backing spots), and Damm’s percussion adds a punk-ish sense of danger to the whole affair, whether it’s the rhythmic shifts of “Crysknife” or the driving finale of closer “Scatter.” Sandrider, because they’re not really a new band, don’t fall prey to what a lot of others might on their first record in terms of not fully realizing the vision of what they’re trying to accomplish, but at the same time, there’s a sense of potential in opener “Children” that speaks to the development of Sandrider as its own band and a hopefully ongoing project. The song has some surfy swagger and sway, and Weisnewski’s scream tops the cleaner singing excellently. His guitar is at the fore, but the balance of the mix is excellent, and Sandrider can strike into either accessibility or riffy abandon depending on the band’s whim.

It’s the latter with “The Corpse,” a song that gets underway with a minute of guitar groove in the intro and probably the best opening line I’ve heard all year – “Breaking bread with the dragon!” – from Weisnewski. Hard not to get into a piece of music that depends like that, and the overall live feel of Sandrider speaks to the band’s awareness of audience, but like a lot of the record, the ethic isn’t anything new for Weisnewski or Damm – or for Roberts for that matter, as The Ruby Doe’s punk-minded altern-art-ive rock has that kind of vibe as well. “The Corpse” benefits from Roberts’ crispness of tone, which doesn’t so much follow the guitar as run alongside it, and effectively. Amp noise serves as transition into “Crysknife,” but really, the tracks especially on the first side of the album stand on their own, the opening trio of “Children,” “The Corpse” and “Crysknife” showing some similarity of approach and a runtime between five and five and a half minutes. They’re not all the same sonically – “Crysknife” feels burlier than “The Corpse” and has a more impatient performance from Damm – but Sandrider aren’t shy either in their appreciation for structure or their handling of it. These are songs with a beginning, middle and end, and each unit in the best of them (I’d include “Crysknife” in that thanks in no small part to the bass line that underscores the bridge) makes the whole stronger. The whole song and the whole album. “Voices” closes out the first half of Sandrider with a quiet creeping-guitar opening and piercing lead line that leads to hits and stops in place of a traditional chorus and provides suitable change to the established modus of the record.

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Click the PayPal button above or click here to go to the official Maple Forum store and place your pre-order now for the debut 7″ from HeavyPink — the latest project from T. Dallas Reed of Stone Axe and Mos Generator! Comprised of the two tracks “Flower and Song” and “There is a Light,” HeavyPink‘s first self-titled release finds Reed exploring a more psychedelic side of his songwriting.

Of course, Reed is known for a straightforward style — anyone who’s ever heard Stone Axe can tell you there’s no messing around involved — and on HeavyPink‘s first outing, he keeps the strong verse/chorus sensibility, but expands the tones. His guitars echo, his drums seem more spaced out, and his vocals on the chugging “There is a Light” emanate from some deep chasm of the soul. Fans of Reed‘s work and newcomers alike will I hope be as thrilled as I am at the direction he’s taking with HeavyPink.

And it’s very much him taking the direction. Reed plays all the instruments on HeavyPink‘s HeavyPink, and he recorded and mixed the songs himself at his HeavyHead studio in his native Port Orchard, Washington. It’s a huge sound, and all the better played loud. As always, I hope you enjoy it.

The 7″ marks The Maple Forum‘s first foray into vinyl following three successful CD releases. There are 300 total copies, of which I’m being given 125 to sell (and pre-sell, for those who don’t want to take their chances). Given the sold out prior Maple Forum discs and Reed‘s dedicated fanbase, I don’t expect them to last long. Price is $11 domestic, $13 international, and all 7″s will be carefully packed with bubble wrap in a padded envelope. Since the release is so limited, I don’t want risk any damage during shipping.

If you place your pre-order now, I fill out the shipping label with your info and send you the disc as soon as they come in, which should be another two or three weeks, tops. You’ll know as soon as they get here.

Thank you in advance for your continued support of The Maple Forum project and The Obelisk, and thanks to Reed for allowing me to help him spread the word on this new creative avenue. Here’s to good music.

Click here to purchase HeavyPink by HeavyPink.

Good stuff here. In the true spirit of Tony Reed, he’s got at least three releases in the works at once, and while I still have to get preorder info up for the debut 7″ from HeavyPink that The Maple Forum will be releasing in October (more on that here), the excellent dudes at Ripple Music unveiled plans yesterday to reissue the first album from Mos Generator, Reed‘s band prior to Stone Axe — who also have a split with German outfit Wight coming out.

Whatever incarnation you find him in, be it HeavyPink, Stone Axe or Mos Generator, let there be no doubt Tony Reed is one of the heavy’s most passionate (and prolific) purveyors. Here’s the news from Ripple via the PR wire:

In 2002, Port Orchard, Washington-based Mos Generator sent the stoner/retro rock community on its collective ass with the release of the self-titled debut album, setting in motion the framework for the band’s creative output for the next half decade. Now, in the waning months of 2011, guitarist/vocalist Tony Reed, in conjunction with Ripple Music, is compiling an anniversary set that will be sure to appeal to the masses of diehard fans, as well as the throngs of newfound ears.

Mos Generator – 10^th Anniversary Edition, scheduled for release on Nov. 21, 2011, will include, for the first time ever, a 12” LP in a gatefold jacket, which will also house a CD with the complete remixed and remastered version of the album, as well as a previously unreleased track from the original recording sessions and the full Live at the Manette recordings that were previously self-released in limited numbers. As if that wasn’t enough bang for the buck, the LP will also feature a download card with all of the previously mentioned material along with demo tracks, additional live recordings, and a near half-hour rehearsal jam!

“We wanted to create a product that captured the history of the band; the nuances of the performances, the creative energies of where we were at as musicians at that particular time in our lives,” states Tony Reed as we found him in the midst of rummaging through files of recordings from that era of Mos Generator. “And, along with providing a unique and killer package, we all wanted to keep the price reasonable for the fans.”

In line with the reissue of their first album, Mos Generator are stringing together several dates to play the album in its entirety, as well as to premiere some brand new material that will be included on the band’s first studio album since 2007’s Songs From Future Gods. The new album is currently untitled, but all of the songs are in pre-production with the album tentatively scheduled for an early summer of 2012 release.

Today I’m proud to announce that The Maple Forum will be releasing the self-titled debut 7” from the latest project of T. Dallas Reed (Stone Axe, Mos Generator), HeavyPink. The vinyl single is limited to 300 and features two brand new cuts, “Flower and Song” and “There is a Light,” exploring a rarely-heard psychedelic side of the Port Orchard, Washington, native’s songwriting.

Reed, who is notoriously DIY, played all the instruments on HeavyPink, sang himself, and recorded the material at his own HeavyHead studio. Fans of Stone Axe will be thrilled to discover that although he is working in a different style, the signature elements of Reed’s work remain intact, most pivotally that there’s zero bullshit involved.

He explains the project’s origins thusly: “Before Mos Generator took our hiatus in 2009 we were working on an album to be called HeavyPink. When the band shelved the project I decided to pick up the concept and use it as a tool to try different recording and writing techniques. I look at it as an experiment in heavy and beautiful music, like Master of Reality meets Pet Sounds, meets Into the Pandemonium all in one and produced by Phil Spector.”

Just prior to posting this announcement, I sent the forms back to have the 7” pressed, and I hope to have 125 copies in my hands to sell starting no later than Oct. 11. Needless to say, I’m thrilled to be associated with Reed, of whose work I’ve been a great admirer, and even more excited to have The Maple Forum as the outlet for his first outing with HeavyPink, which you can ‘Like’ on Thee Facebooks here.

The front and back covers are posted above (the back featuring the lyrics to “Flower and Song” and “There is a Light”) and in the weeks coming, I’ll have much more on HeavyPink and The Maple Forum’s very first foray into vinyl!