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SUPERJOINT will kick of the New Year with part one of their US headlining
tour. The band's latest journey, and first in support of their recently issued
Caught Up In The Gears Of Application full-length will commence on January 12th
and run through February 3rd with more dates to be announced in the coming
weeks. Support will be provided by Motor
City thrashers Battlecross and noise
rock eccentrics/Housecore labelmates Child Bite, also of Detroit.
Additionally, SUPERJOINT will play the For The Sick Benefit,
a three-day festival-style event organized for Eyehategod frontman Mike IX
Williams, who underwent a liver transplant last month. The For The Sick Benefit
will take place at Siberia and Poor Boys venues in New Orleans and will include
appearances by Eyehategod, Crowbar, Goatwhore, Thou, Classhole, and many more
acts bound together for the cause.
Watch a hilarious tour trailer at THIS LOCATION where you
can also view the band's "Caught Up In The Gears Of Application"
In other SUPERJOINT news, frontman Philip H. Anselmo
recently visited Loudwire's HQ where he was filmed narrating classic Sesame Street tale
The Monster At The End Of This Book. Check it out HERE.
SUPERJOINT w/ Battlecross, Child Bite:
1/19/2017 The Agora Ballroom - Cleveland, OH
1/20/2017 Big Shots - Valparaiso,
1/21/2017 Oddbody's - Dayton,
1/22/2017 The Crofoot Ballroom - Pontiac, MI
1/24/2017 Diamond Pub Concert Hall - Louisville, KY
1/25/2017 The Emerson Theater - Indianapolis, IN
1/27/2017 House Of Music & Ent. - Arlington Heights, IL
1/28/2017 Pop's Concert Venue - Sauget, IL
1/29/2017 The Warehouse - Clarksville, TN
1/31/2017 Zydeco - Birmingham,
2/01/2017 The Concourse - Knoxville, TN
2/03/2017 Vinyl Music Hall - Pensacola,
2/04/2017 For The Sick Benefit For Mike IX @ Siberia + Poor
Boys - New Orleans, LA w/ Eyehategod, Crowbar, Goatwhore, Classhole, Mountain
Caught Up In The Gears Of Application is SUPERJOINT's first
proper studio offering in over a decade. Recorded at the famed Nodferatu's
Lair, produced by SUPERJOINT co-founder Philip H. Anselmo (Down, Pantera,
Scour, Philip H. Anselmo & The Illegals, Arson Anthem etc.) and Stephen
Berrigan (Down, Philip H. Anselmo & The Illegals, Eyehategod, Haarp,
Classhole, etc.), and mastered by Scott Hull (Agoraphobic Nosebleed, Pig
Destroyer) at Visceral Sounds, the thirty-eight-minute bruiser spews forth an
unapologetic crossover of hardcore punk, metal, and uncompromising,
antagonistic, New Orleans-style angst.
Various order bundles, including limited edition vinyl
options and authentic woodwork from their "Caught Up In The Gears Of
Application" video are available via Housecore at THIS LOCATION. For
digital orders, point your browser HERE where you can also stream the record in
In addition to Anselmo claiming the cover of Decibel
Magazine's December 2016 issue, Caught Up In The Gears Of Application continues
to earn critical accolades from fans and critics globally. In a perfect 5/5
score, New Noise Magazine likens the band's rhythm section to a, "rapid
series of punches like a Cajun boxer," furthering, "SUPERJOINT's
variety of hardcore can have a strenuous relationship with jazz, as in the
midst of Caught Up In The Gears Of Application's storm of nihilism is the sexy
gospel of New Orleans jazz. SUPERJOINT's music is like a poison that you want
to keep drinking, a spirit that doesn't age, and never heals - but it'll kill
time. There is creative genius in these guys." Loudwire notes,
"SUPERJOINT are looking to add a vicious and philosophical third chapter
to the band's legacy." Of the title track, Metal Injection champions,
"...a great mix of southern rock and hardcore punk... if Down ever got
really angry and decided to knock out a punk record, this is what I imagine it
would sound like." While Maximum Volume Music writes, "They may have
dropped the ritual but they have kept the habitual as the ferocious New Orleans supergroup
pick up where they left off after a 13-year gap."
Elsewhere the sentiment echoes. "The volatile, acidic
savagery that the band is known for is just as present now as it was before
they went on hiatus over a decade ago...," issues Metal Nexus. "Songs
heaving with hardcore foundations and muscular musical swagger detonate and
decimate everything within earshot as they creep down your auditory canals and
crush your skull from within..." Two Guys Metal Reviews concurs,
"Caught Up In The Gears Of Application is exactly what it needs to be:
raw, vicious, and unrelenting. Everything that has made the Phil Anselmo
projects great over the past few years is represented here... this man is one
of the truly great forces in metal." The Sludgelord champions the band's
collectively "gnarly and nasty music," that's as, "potent as
ever," and a, "storming return." Adds Hellbound, "'Circling
The Drain' is perhaps the best Bower riff he's written in a while, literally
interpreting the song title with a circling, buzzsaw neckwrecker. Gawddamn!
Tracks like 'Asshole,' 'Mutts Bite Too,' and 'Rigging The Fight' only thicken
the toxic mixture. Revenge is a dish best served sludgy!"
SUPERJOINT was resurrected in 2015 after the original band
broke up a decade earlier. At the behest of the late Corey Mitchell, co-founder
of The Housecore Horror Film Festival, SUPERJOINT founders Anselmo, Jimmy Bower
(Down, Eyehategod), and Kevin Bond (Christ Inversion, Artimus Pyledriver et al)
joined forces with longtime comrades, drummer José "Blue" Gonzalez
(Warbeast, Philip H. Anselmo & The Illegals), and bassist Stephen Taylor
(Philip H. Anselmo & The Illegals, Woven Hand, 16 Horse Power). A new era
of the band was born. Consequently, the band members found true joy in playing
together again. After just two tours, new material followed culminating in the
scathing sounds of Caught Up In The Gears Of Application.
Boston-based ROZAMOV has issued the details and a brief
trailer for their upcoming debut full-length, This Mortal Road, which is set
for co-release through Battleground Records and Dullest Records in March.
With five monolithic passages consuming over forty minutes
of textured, melody-laced doom metal, This Mortal Road presents a sonic
catharsis featuring the longest, heaviest, and most progressive tracks ROZAMOV
has ever created. The crushing production was recorded and mixed by Jon Taft at
New Alliance Audio, and mastered by Nick Z at New Alliance East Mastering, the
album finalized with photography by Andrew Weiss and layout by Matt Martinez.
The cover art, track listing, and a brief trailer for This Mortal Road,
featuring a clip of audio, have been issued.
View ROZAMOV's This Mortal Road trailer RIGHT HERE.
Road will see release March 3rd on vinyl through
Battleground Records, on CD and cassette through Dullest Records, and digitally
through the band. Digital preorders are posted HERE, and physical preorders at
Battleground HERE and Dullest HERE.
Stand by for additional audio samples, an official video,
and more to be released in the coming weeks. ROZAMOV will announce their US tour dates
in support of the album in the coming days as well.
Road Track Listing:
1. This Mortal
2. Wind Scorpion
3. Serpent Cult
4. Swallowed And Lost
Since 2011, ROZAMOV has left their mark on the US metal
circuit with their infectious psyche-tinged grueling doom, having opened for
countless national acts, touring regions of the country, and much more, in
addition to releasing two independent EPs - 2012's Rozamov and 2013's Of Gods
And Flesh. A busy 2015 included performances at Psycho California, Converse
Rubber Tracks Live alongside Slayer and Doomriders, a Converse feature on the
back cover of Decibel Magazine, a tour with Destroy Judas, and the release of a
split 7" with Deathkings. Amidst the bleak and historic winter of 2014-15,
the recording lineup of ROZAMOV including Tom Corino (bass/vocals/noise
guitar), Matt Iacovelli, (guitar/vocals/piano), and Will Hendrix (drums)
entered New Alliance Audio in Cambridge to record This Mortal Road. Since its
recording the band's new live lineup is completed with Iacovelli on guitar and
vocals, Corino on bass and vocals, and Jeff Landry on drums.
I'm not hip waveriders.I'm not cool.I don't keep up
with trends or fashion my playlists based off of who is hot right now.Why have I mentioned these character
traits?The answer lies in another
question.Have you heard of an artist
named St. Lenox?I certainly had not until I stumbled upon his
latest release entitled Ten Hymns From My
American Gothic.Now I know and
knowing is...you know the rest.
St. Lenox burst
onto the indie scene a couple of years ago in 2014 with his debut album Ten Songs About Memory And Hope.That album made enough of an impression on
several journalists and publications to be named to their year end best-of lists.Fast forward to 2017.Based off of the evidence I have gathered
this second album is poised to obtain much more critical acclaim and I have
absolutely no issue with that whatsoever.In fact, I'm going to do what I can to add more fuel to the fire because
this album is absolutely stunning!
One of the highest compliments I can pay to Ten Hymns... is that it doesn't sound
like anything else in my current music rotation.Amusingly that uniqueness nearly made me
dismiss this album.My first taste of St. Lenox was the song "Fuel America".It began with some tasteful piano playing
accompanied by a drum machine.Nothing
out of the ordinary.Then the vocals
began and my ears informed me that everything had suddenly changed.
This incredibly powerful, resonant voice seized my full
attention and I admit that I was taken aback.A chuckle escaped my lips because I couldn't immediately draw
comparisons to any other singer, but the distinctive timbre of Andrew Choi's
voice wasn't the only element which gave me pause.The lyrical delivery on each song does not
conform to what I typically encounter.Others have described it as 'stream-of-consciousness' singing and I
can't disagree.Yes there are repeated
choruses but these songs have more in common with short stories than
poetry.Verses do not relate to each
other except to advance the tales Mr. Choi weaves so well.Upon first exposure these elements were
jarring and I stopped listening.
Like all great music I've encountered however, that small sample
was memorable enough to leap unbidden into the front of my mind on several
occasions.I revisited Ten Hymns... and quickly became
completely enamored with this stupendous music.If you have not heard of St.
Lenox until now you are in for a real treat!I mean, where else can you hear incredibly
catchy songs about Thurgood Marshall or President Nixon?Nowhere waveriders.Nowhere but this album.Listen and enjoy!
With production work by the legendary Kent Stump of Wo Fat,
"Careful What You Wish For," is the Lafayette, Louisiana-based
quartet’s third official release overall after their 2011 EP debut “Crow
Sessions” and its follow-up, their self-titled full length. White Light
Cemetery‘s guitarist/vocalist Shea Bearden, bassist Tara Miller, guitarist Ryan
‘Cletus‘ Robin, and drummer Thomas Colley are the very embodiment of metallic
Southern Rock circa 2017 and this fact is verified all throughout “Careful What
You Wish For“. If you’ve never heard WLC, it is what would result if one mixed
the best elements of Black Oak Arkansas
with Pepper Keenan era Corrosion Of Conformity and added a splash of Black
Stone Cherry for flavor. Now, who the hell wouldn’t want to check that out I
have released the first great rock record of the year and only tease at what a
formidable force they surely must be when witnessed live. Highly Recommended."
-- Atom Heart Mutha.
At long last!!! Finally available on vinyl and completely
remastered by Chris Goosman, and never sounding better, Freedom Hawk's long
out-of-print debut gets the full, grand re-release via Ripple!
Coming to you on January 28th. Dawn Arises Edition:
Gold/Black two tone swirl with White splatter limited to only 80 copies.Only 1 test press! Midnight Black and CD.
"If Freedom Hawk were in search of the lost Black
Sabbath riff, they've struck gold. Their debut CD, 'Sunlight' is so chock full
of lumbering Sabbath-powered riffs and Blue Cheer-pinched guitar licks that it
will put cracks in your walls once you press play! Freedom Hawk rock loud and
proud and come HIGHLY RECOMMENDED."
- The Atomic Chaser, THE DRP/All Access Magazine
Once I caught wind that
Marillion were in the studio to complete the follow up to 'Holidays In Eden',
a strange feeling came over me. Was this going to be mark 2 of the previous
release, or are Marillionable to fight
off the record label and create a non-comformist wax? Something that is truly
them which their fans had grown to love? As reviews started to trickle in
raving about the return of the true Marillion, I was still very cautious about 'Brave'.
Remember, I sided much more with Fish, therefore anything the guys did, had to
be on point. However, the moment 'Brave' from my speakers for the first
time, any fear of giving in to EMI's demands were gone. Instead, what I heard
was a classic recording in the grander scheme of things. Elation and euphoria
are two very small words to describe my state of mind as the opening bars to 'Bridge'
rang out. Sadly this was the last time I paid attention to anything Marillion
did for many years. Yes I know I'm an idiot but that's what happened.
As the guys got together
after a much-needed break from recording and touring 'Holidays In Eden',
to create a new album, they only had bits and pieces ready, at best. No proper
songs nor any direction on a theme was decided on until Steve Hogarth told the
band about a news segment he had heard on a radio station in Bristol, England.
A woman had been found walking on Severn Bridge, a known location for suicides,
and was allegedly stopped from jumping to her own death. However, she wouldn't
speak to anyone, so no one knew what caused her to attempt this. Marillion
decided this woman's story was the angle they needed and began to piece
together what would become the amazing 'Brave'.
Setting the mood right
away the eerie ‘Bridge’ begins with a
ship baying it’s horns before a dreamlike keyboard takes it away. It’s almost
like the beginning of the end. As Steve Hogarth starts to sing, we are inside
the woman’s mind who is preparing to take that final step. The song leads into ‘Living With The Big Lie’ guided by a
trippy, creepy guitar. Once the whole band joins in, the atmosphere is dreamy
and dark with a lot of turmoil bubbling inside our main character. It picks up
pace eventually making the woman’s distraught mind even more vivid, as she is
thinking about all the events that led her to the bridge. ‘Runaway’ goes back in time when the troubles started for the
woman. It deals about being blinkered, so instead of finding a resolve and
giving proper help, only pity and sympathy is given which many times triggers a
trauma, which is the case with the bridge woman. Built up around five chapters,
if you like, ‘Goodbye To All That’
tells it all how the woman slips fast into the tormented realm she came to
inhabit. The descent happens faster due to the lack of proper help from her
family. Thinking she has found a resolution and an escape, she embraces the
world of heroin with all that it entails. Deep down she knows it’s wrong but
it’s better than the false airs put up at home. Musically the song covers many
different spectra and it works so well depicting the whirlwind she’s in.
Heavy riffs initiates ‘Hard As Love’ which is the album’s
out-and-out rocker as the band really lets it all hang out. Trying to open up
and let the love she so desperately crave in, it might be too little too late.
Still, she tries because she wants to love and be loved and have a purpose.
Lyrically ‘The Hollow Man’ is a
direct follow up to ‘Hard As Love’, but
it tells about the consequences of shutting love and people out of her life. A
soft piano courtesy of Mark Kelly backs up Hogarth for the most part and it
creates the perfect soundtrack to the woman stepping away from her people. ‘Alone Again In The Lap Of Luxury’ is
the point where our main character hits breaking point. Her father commits acts
of treason towards his wife and family. The mother tries to deny everything for
the sake of superficial appearances, and this plummets our heroine to her
impending doom. Steve Rothery is playing his heart out, as does Ian Mosley and
Pete Trewavas as always, all while Mark Kelly is adding anguish to the woman’s
troubled being. Another rocker is ‘Paper
Lies’ where Marillion sings about the horrible twists the Press puts on
stories, all in the name of more sales. In the end there’s hardly a trace of
truth left behind each news story.
A man who tried to save
the woman mainly by talking to her, thinks back on their conversations.
Thinking she showed a lot of strength despite her adversaries, he hopes she’s
alright and managed to climb out of the descent she was stuck in. By utilizing
a somewhat Celtic feel to ‘Brave’ the
band perfectly brings out the reflective mood this man is in. In ‘The Great Escape’, which is actually
made up by ‘The Last Of You’ and ‘Fallin’ From The Moon’ as well, we’re
taken back to real time again as the woman is on her way to the bridge. She
doesn’t view her soon-to-be suicide as something bad, but rather the only way
to cleanse herself and get rid of all the demons. Waiting to take that final
leap, she finally opens up – to herself – and accuse the father, who initially
caused all her problems, for not helping and caring for her. Finally liberation
is there. She realizes all the pain she’s suffered doesn’t matter any longer.
She’s free and steps out from the bridge and falls into the water and
disappears…or does she? The music does have a build-up character, it slowly
grows and grows until Marillion are pulling out all the stops to add to all the
emotions and freedom the woman finally feels. Amazing! Album closer ‘Made Again’ is a contrast to the main
theme. It offers hope and rebirth, if you like. Again, who knows if the woman
actually died. Bright, light and free of obstacles, a solitary guitar guides
Hogarth through a journey of new beginnings.
Listening to ‘Brave’ now it has lost none of the
magic it radiated upon it’s release. The album still moves me and touches deep
within and I can’t stop marveling at Marillion’s fantastic ability to be down
to earth and hit home on emotions like few can. And that’s just focusing on the
lyrics. Add the music they create and everything explodes in ways unfathomable.
So let their music embrace you and enjoy. While writing this and listening to
the album over and over again, I simply can’t grasp why I couldn’t be bothered
with the guys later on. I’ll try to figure that out until the next installment.
New Year’s celebrations are waning, we’re all hitting the gyms, avoiding the
unnecessary evils in forms of resolutions, over here in bandcamp I have found
myself resolutioning with heavier than normal listening. Don’t get me wrong, I
still like a bit of mellowness, but more than in recent memory the harsher,
more damaging sounds are really hitting home. Here are a few recent albums I
have found to be seriously addictive and been jamming a lot lately.
Dryland – Dryland
First up we
have my proclaimed album of the week at the end of week #1 of 2017. Not
significantly popular as of yet, Dryland bring the heavy, doomy Pacific
Northwest progressive sludge rock to the table on their debut full length. Most
played album through 2017 so far. It’s a rager.
massive riffs chop by way of blunt force crushing in all directions with
progressive tendencies and hardcore roots. The vocals scream with infectious
vigor and the bass cleans up the remains with a sweeping groove. Album of the
week 1-6-17.Favorite track: Mirrormaker.
Lizzard Wizzard – Total War Power Bastard
Wizzard has been around a while as evidenced by the support on bandcamp of
their earlier efforts. The Aussies bring a powerful blend of psychedelic doom
metal with elements of stoner and an overall twisted ride of heavy riffs. I
wouldn’t have fell so hard for this perhaps last year at this time, but like I
said the heavy shit is appealing more to me at the moment. This is heavy, but
also maintains a hook that keeps you on you on your toes. It lives up to the
album name if I must mention.
crap! What a wild ride. Heavy, trippy riffs, sludgy vocals with bluesy swagger
and doomy atmosphere. This is outside my normal go to style but the slow-baked
intense doom meets stoned out space rock really makes an impression.
Sons of Serro – Eps
popped up on my feed and I couldn’t help but take advantage of the price tag on
a series of 4 EPs just put up on bandcamp. When bands do this I can’t help but
assume they are new to Bandcamp and putting up their discography online to
view. Nothing wrong with that. It was confirmed by Steve Janiak of Ripple
Music’s ‘Devil to Pay’ that these guys are old timers and they had played
together 10-12 years ago. He had great things to say about them. Here’s to
hoping they’re actively creating new stuff for us to listen. In the meantime go
check out the aggressive desert rock with big beefy vocals.
this came out of nowhere. It's heavy, it's got groove laced hooks, burly vocals
spewing angsty tones like a Danzig meets Fu
Manchu lovechild. I'm a sucker for this type of undiscovered talent. Western
psychedelia meets hardcore desert sludge rock. Killer!
Owain – Owain
This one is
heavy as all hell. Super distorted doomy grooves, chaotic vocals and depressing
lyrics set the stage for a pummeling assault to the senses. Why do I like this?
Because its fucking anniliating to the reality of everyday life. Stoner sludge
that fans of High on Fire should eat up. Like Dryland above, there is a
progressive element in the songwriting structure that I’m a sucker for and
balances out the gruffness in the vocals with an added touch of psychedelic
blues. The riffs churn at doom pace and the fuzz is amplified to maximum
Shadow Giant – Honkytonk on the Moon
This one is
perhaps the least heavy on this series, yet is still heavy as all fuck. I mean
that album title and artwork scream hard and evil. Shadow Giant is more in line
with the stoner/psych crowd with a heavy emphasis on doom. I literally just
discovered this one as I was writing up this feature via the recommendation of
Steve Howe at Outlaws
of the Sun who you should follow for great reviews and recommendations in
the heavy underground. So hot off the press my paypal just alerted me via email
of my recent purchase. I can foresee this one will soon grow into the hearts of
the usual suspect in the heavy doom/stoner/psych scene. The vocals are a lot
more accessible than the others on this list. Very groovy and Southern sludgy
blues oriented. I’m digging it, only one listen in still trying to figure out
what this is comparable to. At the moment all I can say is Shadow Giant have
released a stunning debut album and should appeal to fans in all sectors of the
heavy underground, especially the heavy blues, stoner, doom crowd. Corrosion of
Conformity meets Sleep? Something wicked like that.
for round #2 of Bandcamp Bonanza here in the new year (2017). Let us know what
you think. Send in your tunes to the blog for a chance to be heard by our other writers, let us know what’s been rocking your
world. Send me bandcamp codes and I
can promote your shit via bandcamp. Hell, just keep on making ripples and we’ll
help turn them into waves.
They fooled me waveriders!The wool was pulled completely over my eyes when I began listening to Turncoat from Throttlerod.You see the
first song on the album lulled me into believing that this would be a solid, generic
hard rock album in the vein of Deliverance-era
Corrosion of Conformity and their ilk.The truth is something different.Not entirely different mind you.Turncoat is wickedly solid!No, it was my 'normal hard rock album'
prediction which collapsed as I continued listening.
Beginning with the third song on the album, "Never Was
A Farmer", the massive influence of 1990s alternative rock and metal on Throttlerod's sound begins to shine
through with unabashed enthusiasm.The
tempo of the next few tracks is lowered and the vocals become of greater importance
melodically.Harmonies created remind me
of Alice In Chains at times, Stone Temple Pilots at others.The title track screams Nirvana to my ears
until the four minute mark when the band can no longer restrain themselves and
launch into a galloping riff-filled coda.
What is most interesting to me is that Throttlerod do not simply rely on grunge-y elements to help
differentiate their sound.Other
metallic influences creep into the mix as well.A couple of the main chorus riffs from songs like "Every
Giant" and "Breadwinner" remind me of Tool.There is a strong hint of System Of A Down in
the guitar work at the start of "Gainer".The bass in "Cops And Robbers" echoes
the distorted tone I associate with Korn.A strong vein of noise metal rears it's ugly yet glorious head
throughout album closer "The Guard".My point is that there is a lot to analyze and enjoy!
is a band that needs to be on your radar right now.Turncoat
was recently released on Small Stone Records.This album rocks, and you deserve to rock right along with it!