Black Anvil are slowly releasing material from their upcoming full length Triumvirate. Today Metalsucks posted "Scalping" for stream. "Scalping" showcases Black Anvil's black metal ferocity, but what makes this band special for me is their rhythmical strength and variety. "Scalping" has no shortage of blast beats, but never is the song tethered to the snare.
Triumvirate will be released September 28th, and is available for pre-order via Relapse Records.
Read more for Black Anvil's upcoming tour info with Watain and Goatwhore.
Watian, Goatwhore and Black Anvil 2010 tourNov. 06 - Mr. Smalls - Pittsburgh, PA
* = No Goatwhore
Nov. 07 - Reggie's - Chicago, IL
Nov. 08 - Station 4 - St. Paul, MN
Nov. 10 - Marquis Theatre - Denver, CO
Nov. 11 - Club Vegas - Salt Lake City, UT
Nov. 12 - Branx (Loveland) - Portland, OR
Nov. 13 - Studio Seven - Seattle, WA
Nov. 16 - Boardwalk - Orangevale, CA
Nov. 17 - DNA Lounge - San Francisco, CA
Nov. 18 - The Ruby Room - San Diego, CA
Nov. 19 - The Whiskey - Hollywood, CA
Nov. 20 - Clubhouse - Tempe, AZ
Nov. 21 - Club 101 - El Paso, TX
Nov. 22 - The Loft - Dallas, TX
Nov. 23 - Emo’s - Austin, TX
Nov. 24 - Numbers - Houston, TX
Nov. 27 - Back Booth - Orlando, FL
Nov. 29 - Masquerade - Atlanta, GA
Nov. 30 - Sonar - Baltimore, MD
Dec. 01 - Peabody’s - Cleveland, OH
Dec. 02 - Santo's New York, NY *
Dec. 03 - Les FouFounes - Montreal, QC *
Dec. 04 - Opera House - Toronto, ON *
August 31, 2010
BLACK ANVIL DEBUT 'SCALPING' - TOUR US WITH WATAIN
August 27, 2010
THE ATLAS MOTH TO RELEASE COVERS EP, TOUR WITH LEGIT BANDS
Devotees of the 'cake, you should already have plans to see Chicago bros The Atlas Moth this fall. They'll be blazing their van with Nachtmystium, Zoroaster, and Dark Castle, the latter two of which our own Andrew Wilhelm reviewed a while back. Pretty sweet deal, right?
Well, there's yet another reason not to miss this jamboree. The Atlas Moth will be releasing a digital covers EP, for which the download cards will be available to purchase exclusively on this tour. Entitled The One Amongst the Weed Fields, the quintet recorded their takes on The Mamas & The Papas' "California Dreamin'," Faliure's "Golden," Pink Floyd's "Fearless" and The Doors' "Five to One." You can preview "Golden" here. "Fearless" will be interesting to hear - it's a great, under-appreciated Floyd tune. No word yet if there will ever be a physical release, but the cover, pictured above, is worthy of a larger canvas.
Click below for when and where to catch the Moth on the road.
Sterogum/Haunting The Chapel Presents: Nachtmystium, Zoroaster, The Atlas Moth, Dark Castle9/09/2010 Otto’s Nightclub - Dekalb, IL
9/10/2010 Magic Stick - Detroit, MI
9/11/2010 Lee’s Place - Toronto, ON
9/12/2010 La Sala Rose - Montreal, QC
9/13/2010 Mavericks - Ottawa, ON
9/15/2010 The Studio at Webster Hall - New York, NY
9/16/2010 Webster Underground - Hartford, CT
9/17/2010 Club Hell - Providence, RI
9/18/2010 Great Scott - Boston, MA
9/19/2010 Knitting Factory - Brooklyn, NY
9/21/2010 Kung Fu Necktie - Philadelphia, PA
9/22/2010 Sonar - Baltimore, MD
9/23/2010 Hat Factory - Richmond, VA
9/24/2010 Kings - Raleigh, NC
9/25/2010 Ground Zero - Spartanburg, SC
9/26/2010 Masquerade - Atlanta, GA
9/27/2010 Hi Tone Café - Memphis, TN
9/28/2010 Fubar - St. Louis, MO
9/29/2010 The Riot Room - Kansas City, MO
10/1/2010 Mickey’s Finn Pub - Toledo, OH
10/2/2010 Reggie’s Rock Club - Chicago, IL
TORCHE PREMIERE NEW TRACK 'U.F.O.'
Here's the straight dope, folks: Torche got a new EP, Songs for Singles, coming out next month, and it rips. Singles leads off with "U.F.O.," available for streaming over at Stereogum's Haunting the Chapel. Has noted U.F.O. enthusiast and former Megadeth drummer Nick Menza been chillin' with Steve Brooks and company? Are Torche coming forward with their love for "Coast to Coast?" Whatever the motive, the song is pure Torche: short, lightning fast, and peppy. Summer might be drawing down, but this song will keep the heat alive for just a little longer.
Also, Torche will be coming through your 'hood in the fall. Most of the dates are with Kylesa and High on Fire, but they've got some headlining dates as well. Those shows, as well as a video of Torche playing "Grenades" at Chicago's Wicker Park Fest a few weekends ago, after the jump.
Torche Fall Tour 20109/22 New Orleans, LA @ The Big Top Three Ring Circus #
# = w/ HAARP
9/23 Dallas, TX @ The Nightmare
9/24 Austin, TX @ Red 7
9/26 Scottsdale, AZ @ Martini Ranch
9/27 Los Angeles, CA @ Bootleg Theater $
9/29 San Francisco, CA @ Great American Music Hall %
9/30 Pomona, CA @ Glasshouse %
10/1 Flagstaff, AZ @ Orpheum Theatre %
10/2 Albuquerque, NM @ The Launchpad %
10/3 Denver, CO @ Bluebird Theater %
10/5 Minneapolis, MN @ Varsity Theatre %
10/6 Milwaukee, WI @ Turner Hall Ballroom %
10/8 Rock Island, IL @ Rock Island Brewing Company %
10/9 Urbana, IL @ Canopy Club %
10/10 Chicago, IL @ Metro (Riot Fest) %
10/11 Bloomington, IN @ Bluebird %
10/12 Columbus, OH @ The Summit ^
10/13 Newport, KY @ Historic Southgate House %
10/14 Detroit, MI @ Majestic Theatre %
10/15 Cleveland, OH @ Grog Shop %
10/16 Rochester, NY @ Water Street Music Hall %
10/17 Northhampton, MA @ Pearl Street %
10/19 Halifax, NS @ The Paragon Theatre (Halifax Pop Explosion) %
10/21 Portland, ME @ Port City Music Hall %
10/22 Providence, RI @ Club Hell %
10/23 Cambridge, MA @ Middle East %
10/24 New York, NY @ Webster Hall %
10/26 Philadelphia, PA @ Starlight Ballroom %
10/27 Carrboro, NC @ Cat's Cradle %
10/29 Gainesville, FL @ Common Grounds (The Fest 9)
$ = w/ MOUNTAINS OF BLOW
% = w/ HIGH ON FIRE, KYLESA
^ = w/ LO PAN
August 26, 2010
WOE VIE FOR USBM ROYALTY WITH QUIETLY, UNDRAMATICALLY, OUT OCT. 12
I know I'm not the only one excited about the current state of American black metal. The past several years have been an exceedingly fertile time for its practitioners, who've released classic after genre-defining (and defying!) classic. One of USBM's brightest stars, Philadelphia's Woe are making their bid for A-list status with the Oct. 12 release of Quietly, Undramatically (Candlelight).
While the entire album is a complex monster of technical proficiency and grim atmospherics, Woe may have written the clear-eyed, progressive black metal anthem of the year with the title track, a feat alone worthy of recognition.
Don't sleep on this album.
Art, track list and live date after the jump.
Track listing for Quietly, Undramatically:1. No Solitude
2. The Road From Recovery
3. Quietly, Undramatically
4. A Treatise on Control
5. Without Logic
6. Full Circle
7. Hatred is Our Heart
Woe will celebrate the release of Quietly with a free performance, along with labelmates Krieg, at Philadelphia’s Kung Fu Necktie (1248 North Front Street) on Oct. 28.
RISE ABOVE RECORDS TO RERELEASE ELECTRIC WIZARD'S WITCHCULT TODAY
Some of the most sought after vinyl this side of Deathlike Silence and Bathory's yellow goat are the Rise Above Electric Wizard platters. These suckers generally go for embarrassingly high prices on eBay, a truth that's hard to swallow for fans of The Heaviest Band in the World.
Luckily for us, Lee Dorian and Co. have decided to release a second pressing of the Dorset doom titans' Witchcult Today on black, double-heavyweight vinyl. The audio on these beauts is "analogue cut direct from analogue studio tapes" and come with a folded insert in a non-gatefold sleeve.
Rise Above has plans to rerelease Dopethrone and Come My Fanatics as well, so fear not!
Make the jump for a look at this special "black" version and info on a special four-date tour run.
Electric Wizard w/ Moss 2010 Tour:Oct. 28, 2010 - Electric Ballroom, London
Oct. 29, 2010 - Nouveau Casino, Paris
Oct. 30, 2010 - Underground, Cologne, Ger.
Oct. 31, 2010 - Burgerweeshuis, Deventer, Neth.
August 25, 2010
FIGHT AMP - "THANKLESS" EXCULSIVE DOWNLOAD
Download: Fight Amp - "Thankless" [MP3]
Today we have an exclusive download for you from Philadelphia's Fight Amp. The track "Thankless" comes from the upcoming three-way 12" split Lose Lose Lose featuring two new songs from Fight Amp, Kowloon Walled City and Ladder Devils. The record will be available from Brutal Panda Records and is available for pre-order right here, right now. This release is limited to only 300 copies, so get your order in.
"Thankless" is an absolute powerhouse. Easily (and immediately) one of my favorite Fight Amp songs, strong bass heavy riffs drive the song through noise rock labels into an uptempo slug-fest. Grab some free downloads from Kowloon and Ladder Devils via Brooklyn Vegan right here.
Read more for tour dates of all the related acts.
Ladder Devils Tour Dates:8/14 – Lansdale, PA @ Upstairs 3rd & Walnut *
* = w/ Person L
10/1 – Philadelphia, PA @ Kung Fu Necktie #
# = w/ Kowloon Walled City, Fight Amp, Batillus
Fight Amp Tour Routing:8/25 - Columbus, OH
# = w/ Coliseum, Burning Love
8/26 - Indianapolis, IN
8/27 - Chicago, IL #
8/28 - Milwaukee, WI #
8/29 - Minneapolis, MN #
8/30 - Kansas City, MO
8/31 - St Louis, MO
8/1 - Cincinatti, OH
8/2 - Harrisonburg, VA
10/1 – Philadelphia, PA @ Kung Fu Necktie *
* = w/ Kowloon Walled City, Ladder Devils, Batillus
Kowloon Walled City Tour Dates:9/18 – New York, NY @ Cake Shop #
# = w/ Riff Cannon
9/19 – Boston, MA @ Great Scott $
9/20 – Providence , RI @ AS220
9/21 – Baltimore, MD @ Hexagon %
9/22 – Pittsburgh, PA @ Garfield Artworks ^
9/23 – Knoxville, TN @ The Pilot Light ^
9/24 – Atlanta, GA @ Eyedrum (Forward To The Apocalypse Fest)
9/25 – New Orleans, LA @ Hey Café &
9/26 – Baton Rouge, LA @ TBA &
9/27 - Birmingham, AL @ Magic City Wholesale ^
9/28 – Charlotte, NC @ TBA ^
9/29 – Chapel Hill, NC @ The Reservoir ^
9/30 – Richmond, VA @ Strange Matter ^
10/1 – Philadelphia, PA @ Kung Fu Necktie *
10/2 – Brooklyn, NY @ Acheron @
$ = w/ Disappearer, Riff Cannon
% = w/ Salome, Batillus
^ = w/ Batillus
& = w/ Batillus, Thou
* = w/ Fight Amp, Ladder Devils and Batillus
@ = w/ Batillus, Liturgy
CRUSTY CLIP OF THE WEEK: DOWN - 'LIFER'
Every single Wednesday without fail, your hosts post a suitably stale video clip that we think needs to be revisited. Click here for more Crusty Clips. Got a clip you think we should post? Send it to crustcake@gmail.com.
by Van Damned(TX)
Never has a more poignant or apt depiction of a song's lyrics been committed to video than what YouTube user davepiewylfa uploaded for Down's "Lifer." By splicing together footage of Todd Strange-era live shows, the four-and-a-half-minute clip is a literal (if virtual) mirror for a band who first released material more than 15 years ago. Minus the hefty Strange, Windstein, Keenan, Bower and Phil Anselmo are all seen thinner, sure, but also hungrier and meaner. These Southern sludge kings released a bona-fide classic with 1995's NOLA and this anthem to dedication and livelihood sums up their entire M.O.
"I'm laughing right back at my health - lifelong. I'm a lifer."
Are you?
US CHRISTMAS READY RUN THICK IN THE NIGHT FOR SEPTEMBER RELEASE
Appalachian psych metal collective U.S. Christmas is gearing up for the release of Run Thick in the Night, their fifth LP and the direct follow to 2008's intergalactic overdriven Eat the Low Dogs. On this run, the North Carolina/Tennessee six-piece enlisted the help of producer par excellence Sanford Parker for the 13-track Night, their second full-length on Neurosis' imprint, Neurot Recordings. Run Thick in the Night is out Sept. 20.
Gorgeous album art (by John Baizley protege Hush), track listing and upcoming live dates after the jump.
Run Thick in the Night track listing:1. In The Night
2. Wolf On Anareta
3. Fire Is Sleeping
4. Fonta Flora
5. Ephraim In The Stars
6. The Leonids
7. Suzerain
8. Maran
9. The Quena
10. Deep Green
11. Devil's Flower In Mother Winter
12. Mirror Glass
13. The Moon In Flesh And Bone
U.S. Christmas Live:
9/05/2010 Static Age Records - Asheville, NC w/ Body and Enoch
9/11/2010 Hopscotch Music Fest - Raleigh NC
9/16/2010 Legitimate Business - Greensboro, NC w/ Caltrop
9/17/2010 The Milestone - Charlotte, NC w/ Caltrop
U.S. CHRISTMAS:
Nate Hall – Guitars, Words, Vocals
Matt Johnson – Synthesizers, Guitars, Sounds
Chris Thomas – Guitars, Bass
BJ Graves – Drums
Justin Whitlow – Drums, Experimental Sounds
Josh Holt – Bass, Drones
Meghan Mulhearn – Violin
August 24, 2010
DAWNBRINGER TO RELEASE NUCLEUS SEPT. 21
Chris Black should be a household name. The Chicago metal musician is a true defender of the faith, having been involved in many projects centered around non-ironic worship of the old metal gods. High Spirits is catchy, no-bullshit rock n' roll, Superchrist is like if Motorhead never left the pub (and they have a 7" called Fuck Like a Priest - killer!), but Black's pride and joy is Dawnbringer. Is it death metal? Is it NWOBHM? Is it progressive metal? Dawnbringer's all that and more. They've sporadically released albums since the mid-90s, and on Sept. 21, Dawnbringer will break their four-year silence with Nucleus. Set to be released on the fantastic Profound Lore label, the album further proves Black's commitment to riffs, hooks, and brutality. Denim and fucking leather, dudes!
Tracklisting after the jump (album art above).
Dawnbringer - Nucleus1. So Much For Sleep
2. You Know Me
3. The Devil
4. Swing Hard
5. Cataract
6. Like An Earthquake
7. All I See
8. Old Wizard
9. Pendulum
August 18, 2010
VACATION
Your humble cake bakers are taking some much needed time off this week. Stay tuned for news about Electric Wizard reissues, kvlt killers Dawnbringer, recent Candlelight signees Woe, Appalachian Neurot heads U.S. Christmas and Cobalt dude Erik Wunder's Man's Gin -- a whisky-soaked tribute to Nick Cave, Tom Waits and Charles Bukowski. Ay caramba!
August 14, 2010
CRUSTCAKE PICKS - NEW CAKE IN THE OVEN: MASAKARI' THE PROPHET FEEDS
Download: Masakari - "XVI Rapid Dominance" [M4A]
by Andrew Wilhelm (CHI)
Is Greg Anderson getting nostalgic for his days in Engine Kid? Based on Southern Lord's recent signings, perhaps so. He's almost got the market cornered on ripping, crusty, metallic hardcore -- The Accüsed, Black Breath, The Secret,Trap Them's latest EP, Nails, and best of all, Cleveland's Masakari. Their latest, The Prophet Feeds, wraps up in less than 28 minutes, but they don't need a triple gatefold vinyl-running time to rage. Their influences are the usual suspects: His Hero is Gone, Discharge, and G.I.S.M., but rest assured, this isn't an endless blockade of derivation. Masakari are relevant. A tome against conformity, Prophet urges listeners to think about the ways institutions and forces of power shape them. The barbs against organized religion, in particular, are the harshest from any band since Immolation's Close to a World Below. Meditative samples gives the album breath and highlights their message. The sheer badassery of the record is enough to convince you to spend more time with it.
I spoke with the band's vocalist, Tony, on the lyrical themes of Prophet, pit bulls, and why LeBron James won't decimate Cleveland.
Crustcake: First, could you give our readers a brief history of Masakari?
Tony: The band technically started in the summer of 2006. It was during this early period that we named the band and developed our first batch of songs (Only 3 members of the current line-up were in the band at the time). The turning point came when we asked Jon to join the band in 2008. That was the year we also decided to overhaul the songs and change our sound. If you have noticed our songs are labeled by order of being written. The first seven inch, Eden Compromised, included 4 out of the first 7 songs we wrote. The LP, however, was recorded as a four piece because we lost our bassist just before recording. Needing a bassist for our European tour we asked our friend Adam, who plays in Heartless with Joe, to fill in for us. Adam instantly clicked in the band and it seemed like the obvious choice to ask him to stay in the band. The Current line-up is Tony: Vocals, Greg: Guitar, Joe: Guitar, Adam: Bass, Jon: Drums.
Crustcake:How did you guys come into contact with Southern Lord? It seems Greg is releasing a lot more hardcore-oriented material lately.
Tony: Greg found us. He contacted Cory from Halo of Flies (Who released our EP and the vinyl of the LP). He was interested in the releases Halo of Flies had planned in the next year. This was around the time we were planning on going into the studio to record the LP. Greg had heard of us from the EP and was interested in being a part of the release. Since we originally had no plans to release a CD version, Greg offered to release the CD on Southern Lord. We never planned on doing a CD, our labels were planning only on the vinyl (Halo of Flies, Alerta Antifascista, Contraszt!, and Scarecrow) so it was a great opportunity to take with Southern Lord. We were pretty blown away that a label with Southern Lord’s reputation would want to work with us. Since then, Greg and everyone at Southern Lord have been nothing but the best. We couldn’t be any happier with our experiences with Southern Lord, and we look forward to the next release with them.
Crustcake: What was the recording and songwriting process like for the record?
Tony: We record at Mars Studio with Bill Korecky who has recorded bands like Catharsis, Integrity, Ringworm, and 9 Shocks Terror. He is a staple in punk/hardcore history, especially in Cleveland. The recording process is actually a fairly relaxed environment; we have yet to have anything less than a great experience. We record mostly live track, although it was hard to do for this record because of only being a four piece. As for the songwriting process, we all contribute to writing the album. It usually stems from a riff, or a series of riffs that one person has written and then as a band we reposition, and add on until the song is complete. I don’t think there is one song that has been completely written by one member.
Crustcake: The record is a short sharp shock at under 28 minutes. Why did you guys keep it lean and mean?
Tony: Our LP has nine songs and an outro, and although our songs are shorter than some may be used to the substance is not lacking. It’s almost perfect time-wise because it is just slightly longer than our live set. We wanted to still provide that live energy when people listen to the album. We would rather release an album that is short and interesting throughout.
Crustcake: In "Rapid Dominance" the first line, "the TV screen is painted red tonight," is quite vivid. As someone who studies how the media works, I am curious as what your thoughts on how TV partions out information.
Tony: In America, the media can be seen as a medium for the culture of fear. There is a careful omission of the news, an oversimplification of events, and a distortion of factual information. All of the information is portioned out to sustain our fears (of the enemy, of ourselves, etc). Fear seems to be the easiest way to create drones for control. Blatant lies are told over and over until they become truths that support a platform. People must use propaganda to create presumptions and what better way than through the Television, where the average American watches two months (non-stop) of TV per year.
Crustcake: You guys have a strong anti-dogfighting stance, given the intro to "Pain Conceived as Tool" and the link to Pitbull Lovers Against Dogfighting on your myspace. How is this stance important to you? Is the song specifically anti-dogfighting?
Tony: I will preface this by saying that both Greg and I are proud pit bull owners and that they are directly affected by the ignorance of dog owners today. The song is actually about Breed Specific Legislation, which restricts (and sometimes bans) certain types of dogs based on the perception of being “vicious” or “dangerous” breeds without regard to behavior. It is proven that these laws do not improve safety and in turn it imparts a false sense of security. The view of the pit bull has been distorted immensely by the media, especially since the Michael Vick event. Unfit owners see these dogs as fighters or guard dogs so they are “trained” that way. This usually involves mistreatment of the animals and abuse of the loyalty of the breed (which does include dog fighting). The targets should be moved away from the breed and onto the behavior and therefore the owners. The goal of the song is to show that it’s the perceptions of the people that are truly vicious, not the dog.
Crustcake: Throughout the album, a lot of the lyrics seem to be concerned with the imprisonment of the will and how institutions impose conformity. What influenced the lyrical direction of the record?
Tony: The goal for this album was to bring about these exact issues in our society; to hopefully make people think about their situations in relation to the lyrical content. It seems that as long as humanity is given freedom there’s always this consistent anxiety that one must quickly find someone new to follow or worship. It’s almost like we willingly submit to our oppressors in our everyday society. The humane goals of these institutions are to bring about a free and happy life yet we are unable to acquire this through their laws, regulations, prejudices, and ignorance. In fact this only creates a duality among us to play against one another. Like the capitalistic system, the institutions are showing their structures are rotten. The force of law is the only means to keep these arcane institutional practices alive, so conformity or forced obedience (the primary purpose of police, for instance is to protect and serve the interest of its ruling class) is a necessity.
Crustcake: "Echoes" seems to be a calling to rise up against such dominating forces. What went into that song?
Tony: An individual is indoctrinated by his or her culture; he/she inherits the practices and ruling metaphors of the moment in history. Masters and gods are therefore passed on into our society; parables that support moral value support law. We are expected to follow the system we are brought up into and these are told to us over and over without question. We should step back to realize that the gods, laws, and moral judgments are only valid if you accept or create them. The song asks for the audience to contemplate and question everything that we accept. Think for yourself.
Crustcake: The album art contains some barbs against Christianity, such as the insert where man evolves and then regresses back into an ape via the Bible and the crucifix. Who did the artwork for the album? What led to these images being used?
Tony: Sugi, a legend in the world of Japanese hardcore record art, designed our entire album layout. He has designed artwork for bands like Warhead, Deathside, and Selfish. The cover to us represents the institutionalization of fear and obedience (the man in the cover is blindfolded therefore reliant on someones lead). The back of the album is supposed to be everything that the man should (is told to) ignore: so the violence of war, corruption, etc. The inside of the album represents de-evolution of humanity; that the modern species have lost the complexity that human beings once had due to religious indoctrination (and they return to the antiquity of their ancestors).
Crustcake: Richard Dawkins thinks the pope should be arrested. Should he?
Tony: The entire Vatican nation should be dethroned and dealt with in the same inhuman ways that they deal with others.
Crustcake: Where did the clip from the outro come from? How did it become the centerpiece of the song?
Tony:It is from the Winter Soldier testimony in March of 2008 (Iraq Veterans Against War). Over 20 veterans spoke at this event over numerous topics related to the Iraq Afghanistan War. The sound clip we used was taken from Mike Prysner who spoke about the racism used in the military to dehumanize the “enemy”. He had many powerful things to say about the Military-Industrial Complex and its need for hatred in war.
Crustcake: The structure of the outro is interesting, starting softly then going extreme and ending with noise. It gradually builds into something bigger and bigger, reminding me of Converge's "Jane Doe." How did the direction of the song come about?
Tony: It began as a riff that Joe wrote. It really didn’t fit our sound but we decided it could work as a outro. We completely structured it in our heads and decided that we wanted to have it exploded to noise. For this we brought our friend who works on a noise project (arsonist’s prayer). The song was hardly practiced as it was kind of difficult to do so. The song mostly unfolded in the studio.
Crustcake: Overall, I think the samples used in the record are effective and almost meditative, instead of the usual "Random movie clip-BLASTING NOSE" formula some bands use. What do you guys look for in samples to use in songs?
Tony: We decide to use a clip only when it fit the message of the song. We didn’t want to force anything because then the clips become redundant in a way. Deciding on sound clips actually is an intensive process because we have to find the perfect length and message.
Crustcake: Has living in Cleveland influenced Masakari in any way?
Tony: Cleveland has had an amazing punk and hardcore scene for years. Growing up with so many great bands has definitely had a positive influence on us. Our scene is small but dedicated.
Crustcake: Will the departure of Lebron James really destroy Cleveland, or will the city persevere?
Tony: Lebron leaving almost shows how pathetic Cleveland can be. Just recently a man was thrown out of a baseball game for his safety because he was wearing a Lebron Heat jersey. People take sports too seriously. Cleveland has been through much worse, this should only hurt Cleveland’s collective ego. His bloated ego, that Cleveland has allowed him to have, has only backfired on the city. His presence has not vastly improved our city and it won’t vastly hurt it either.
August 13, 2010
LIVE REVIEW: ZOROASTER
Zoroaster
When: Tuesday, July 6, 2010
Where: Empty Bottle, Chicago, IL
With: Black Tusk, Dark Castle
by Andrew Wilhelm (CHI)
This was my fourth time seeing Zoroaster, which pretty much confirms that I am a volume slut. You do not know what loud is until you've seen these guys roast your synapses. The Atlanta trio also brought the Durrrty South to Chicago by bringing along fellow Georgians Black Tusk and Floridians Dark Castle. All we needed left was a big pot of grits and tubs of purple drank.
Draped up and dripped out, know what I'm talkin' bout?
As I've gushed before about Black Cobra, I am a fan of bands who make the most out of minimal personell. Dark Castle is another one of those bands. Guitarist/vocalist Stevie Floyd and drummer Rob Shaffer cranked out a half hour of hazy, psychedelic sludge. There are hints at boogie, but overall, the music lives up to their name sake: foreboding and sturdy. Despite the differences in pace, like Black Cobra, they don't overstay their welcome. For the last song, Chloe Puke from Crustcake favs Atakke, who was also doing merch for Black Tusk, doubled the vocal assault. I could hear her clearer than Floyd! That's especially an achievement with a sound as bass-heavy as Dark Castle's. I spoke to Puke a bit after the show, and while Black Tusk did not have any fatboy-size shirts (a band's need to sell merch is more important than my need to work out), she did inform me that Atakke may be hitting up Chicago in the fall. Schwing!
Compared to the other two bands on the bill's taste for sludge, Black Tusk sound like Lynyrd Skynyrd on a thrash bender. These dudes put the Southern in Southern Comfort, thrashing out songs where the riffs in one of em equaled the amount of riffs total from the other, doomier bands. A little twang there, a little speed here, a whole lotta attitude everywhere. They also appear to have a lot of fun on stage, guitar-sword brandishing and grins aplenty. The band that drinks and tatts together, stays together.
I will need hearing aids at 28 (I'm a couple weeks shy of 23, FYI) after witnessing Zoroaster. My mantra in metal, and in life since metal is my life, is that you should do anything by halves. Furthermore, if it's worth doing, it's worth overdoing. Zoroaster were preachin' it, brotha! TESTIFY! And I'm not saying that cause they played our party back in March. Zoroaster are not just about volume, they've also got groove to back up their top-shelf rig. "Ancient Ones," off Zoroaster's new record Matador, combined the band's tried-and-true plod with a speed run every often. They're playing more than two chords a minute here? Well, I'll be. "Bullwhip," a staple of Zoroaster's set - yes, I've dug through the feedback to know what constitutes as a "staple" for them - sounds like something Black Tusk would play had they had their hands on Zoroaster's gear. Their stage lighting resembled David Lynch taking over a Syd Barrett fronted Pink Floyd's live show. It was bright and warm, but also dark and menacing. Disorienting at times, but the crowd and the band held up. Finishing the night "Spirit Molecule," and Floyd came back on to belt out backing howls. I still wonder, though, what is with bassist/vocalist Brent Anderson's reverse-Lemmy hunchback pose. He's ignored some medical advice in favor of the audience, I am certain.
The day after, I caught friend of the 'Cake Carm at the Landmine Marathon show at Ronny's. When I informed him that it was a loud show, he was astonished. "It was loud at the Bottle?" Zoroaster can make anywhere loud. Th' south will rise again!
August 10, 2010
HIGH ON FIRE ANNOUNCES HEADLINING TOUR WITH TORCHE, KYLESA
So three of our absolute favorite bands are touring together this fall, raising our collective excitement level for the aptly-named "Sanctioned Annihilation" tour to meteoric levels. Seriously, if you've spent any time whatsoever on this site, you know how stoked we are on this tour. [Publisher's Note: Not to mention that a second NYC date has been added for Sleep in September!!]
Make the jump for tour dates.
High on Fire w/ Torche & Kylesa - "Sanctioned Annihilation" tour:September 29 - San Francisco, CA: Great American Music Hall #
(# = features support from Torche, Kylesa)
September 30 - Pomona, CA: Glasshouse #
October 1 - Flagstaff, AZ: Orpheum Theatre #
October 2 - Albuquerque, NM: The Launchpad #
October 3 - Denver, CO: Bluebird Theater #
October 5 - Minneapolis, MN: Varsity Theatre #
October 6 - Milwaukee, WI: Turner Hall Ballroom #
October 8 - Rock Island, IL: Rock Island Brewing Company #
October 9 - Urbana, IL: Canopy Club #
October 10 - Chicago, IL: Metro (*2010 Riot Festival)
October 11 - Bloomington, IN: Bluebird #
October 13 - Covington, KY: Historic Southgate House #
October 14 - Detroit, MI: Majestic Theatre #
October 15 - Cleveland, OH: Grog Shop #
October 16 - Rochester, NY: Water Street #
October 17 - Northampton, MA: Pearl Street #
October 19 - Halifax, NS: The Paragon Theatre (*2010 Halifax Pop Explosion)
October 21 - Portland, ME: Port City Music Hall #
October 22 - Providence, RI: Club Hell #
October 23 - Boston, MA: Middle East Downstairs #
October 24 - New York, NY: Webster Hall #
October 26 - Philadelphia, PA: Starlite Ballroom #
October 27 - Carrboro, NC: Cat's Cradle #
October 29 - Gainesville, FL: Common Ground (*2010 Ye Old Fest)
November 7 - Austin, TX: Waterloo Park (*2010 Fun Fun Fun Fest)
(% = features support from Kylesa)
(+ = features support from Kylesa, Municipal Waste)
August 9, 2010
DEFEATIST JOIN TRIAC AND CURANDERA FOR AUGUST TOUR
Defeatist typically only treat NYC to their absurdly consistent top quality grind, but in just a few short days they will hit the road with Triac and Curandera for some East Coast shows.
If you haven't picked up their latest full length Sixth Extinction, do so immediately. Do so here. I have good info that a vinyl pressing is coming...
Tour dates after the jump.
Upcoming 2010 Defeatist showsAug 13 @ St Stevens Church w/Triac, Curandera, Lotus Fucker, Devour Washington, DC
Defeatist are only doing the shows noted above, they could not do the full tour listed below.
Aug 14 @ Strange Matter w/Tombs, Triac, Curandera Richmond, VA
Aug 15 w/Triac & Curandera Philadelphia, PA
Sep 3 @ Secret Art Space w/Shitstorm Bethlehem, PA
Sep 4 @ Cake Shop w/ Black Army Jacket NYC, NY
Oct 9 @ AS220 w/Hellbastard Providence, RI
Oct 10 @ Geat Scott w/ Hellbastard Allston, MA
SLAUGHTER STRIKE 'AT LIFE'S END' PRE ORDER, NEW LIVE VIDEO
Live fuckin' Slaughter Strike video.
We interviewed them, they rule, full length coming via Profound Lore. Slaughter Strike also have a new EP entitled At Life's End coming out on Cyclopean Records, which is available for a limited pre-order now. Make the jump for At Life's End cover art. 
FRESHLY BAKED: MINDLESS
In "Freshly Baked," we feature promising young bands or bands that are otherwise lacking the attention we think they deserve.
Download: Mindless - "Live Burial"[MP3]
By The WZAd (ATX)
Mindless is a hardcore band from Austin, Texas, that features Faiza Kracheni, former vocalist for power violence band Hatred Surge. Featuring a belching, sludgy guitar tone, quick tempo-changes and Kracheni's outraged vocals, the band brings a certain brutality to fast hardcore that hasn't been seen since the original power violence movement in California.
I sat down and interviewed Faiza shortly after her performance with The Bastard Noise and departure from Hatred Surge. We talked about Mindless, leaving Hatred Surge, the Internet and the changing face of punk.
Crustcake: How did Mindless form?
Faiza Kracheni: Mindless formed in late 2008. Bryan, the guitar player, and I were in a band called Faithealer. We didn’t actually break up as a band, we just kind of stopped playing and I said, “I want to do something faster, more straightforward.”
So we started writing songs and Ariel [drummer] just moved to Austin and he was going to college here. I knew him because Faithealer played with his old band in Houston called Humanicide. Eric [bass player] I knew from just going to shows, he’s from Austin. So we just started practicing and recorded that demo and our friend Dan who runs Financial Ruin Records said, “Hey, I’ll release your demo,” and we said, “Hey, cool!”
Crustcake: Would you call yourselves a power violence band?
Kracheni: No, I don’t think I would call us a power violence band. I mean, I'm kind of picky when it comes to that term. I think it's really loosely used to describe bands now, and I think that very few bands "get" what power violence is. It’s cool that people lump us in that category but I think we’re more of a fast hardcore band.
Crustcake: What bands would you consider “real power violence” today?
Kracheni: Well, I definitely think there are bands that take that sound and mold it into their own, such as Hatred Surge and The Endless Blockade. But noone will sound like the bands of that era so it's kind of hard to say.
Crustcake: When along the history of Mindless did you join Hatred Surge?
Kracheni: I joined Hatred surge in late 2007. At that point, it was still just Alex [Hughes] just doing Hatred Surge by himself and having people come in and play stuff. We played very few shows, like Chaos in Tejas, but we didn’t tour or anything at that point. So that was about a year before Mindless.
Crustcake: So now you’re not in Hatred Surge anymore. Are you bummed about it?
Kracheni: It was really fun. It was awesome. I loved being in that band. I still love that band. I hope they do really cool things. I’m not bummed -- I’m glad that I got to be a part of it and record those three records. I wish them all the best.
Crustcake: So with you not in Hatred Surge, are you going to be focusing a lot more on Mindless?
Kracheni: Yeah, I’m going to be focusing on Mindless. I want to start some new projects and I’m recording with some friends’ bands. We’re also talking about doing vocals on the next Bastard Noise record, but we’re not 100 percent sure about the logistics of everything yet. [As for Mindless,] we’re working on writing some new records right now. But I’m also going to leave some room to start other projects I’ve been wanting to do.
Crustcake: When do you think y’all will have another release come out?
Kracheni: We definitely have enough songs to have another release. We just recorded that 7-inch with Ariel and took it to this really awesome studio called the Bubble, so we might do that again. We’re thinking about doing another split with a band but we’re not sure what band we want to ask or what band would be down. We’re just trying to record the songs and we’ll go from there.
Crustcake: In terms of subject matter, what inspired the lyrical content on the demo?
Kracheni: Today you can just stalk a band with the Internet, but at the same time it kind of takes away the excitement of "Hey dude, check out this new band," because everybody hears everything and everybody’s a critic. It’s kind of frustrating at times because people are judgmental and they don’t realize that it isn’t just background music. They forget that it’s punk and that people in these bands are giving it their all, writing lyrics they connect with and music they enjoy, just to be picked apart on somebody’s blog in Utah or something. I think that’s what the demo was about. At that point in time I was just deconstructing things in my head and was really frustrated.
Crustcake: You've (said before) that you've seen punk culture change even in the last four years. Where do you see it going?
Kracheni: I don’t know. I feel like people who aren’t necessarily "punk" post about punk on the Internet and pick apart people in bands and talk about their appearance and stuff. I’m sure that stuff existed before message boards were so prominent, but it’s just there to see, everybody’s opinion. I think it’s weird that we can do that now. It doesn’t seem natural. You should be able to listen to a band and enjoy it and talk about it with your friends, but the whole world doesn’t need to see what you think. What are you getting out of it? Truly, what is your goal?
Crustcake: Maybe self-vindication? Like, “Somebody agrees with me!”
Kracheni: Exactly. Which is stupid.
[The Wza'd: Y'all can pick up Mindless's latest 7", Human Conditioning, via RSR. Do it.]
August 7, 2010
FUCK THE FACTS IN NYC TONIGHT WITH MAGRUDERGRIND, ATAKKE AND DEFEATIST
Tonight I wake from my graveyard shift induced mid-day slumber a few hours early. While working such a shift has severely cut down on the number of shows I've attended, tonight's show is quite literally a "get out of bed early and get your ass moving" kind of show. Fuck The Facts descend from their - anything north of NYC's humidity must be awesome - winter wonderland (Canada) and are bringing with them some serious grind for your mind. Magrudergrind (who put out one of my all time favorite grind records in Magrudergrind) and NYC's (should be legends) Defeatist will whip tonight's tightly packed crowd (seriously, it's at the cake shop, if you aren't up front, where are you?) into a frenzy.
While not grind, it would be a mistake to over look the late additions to this show: Atakke. The thrash-punk side of Robert and Sam from Mutant Supremacy has all the attitude and fury to match up on this show.
I'm getting up early and going to work directly after this show. You have no excuse. See you there.
August 6, 2010
LIVE REVIEW: THE MELVINS
The Melvins
When: Friday, June 25, 2010
Where: Double Door, Chicago, IL
With: Totimoshi
by Andrew Wilhelm (CHI)
My trilogy o' My War concludes with perhaps the most significant band to take inspiration from the album: the Melvins. Greg Ginn asked "How slow can you go?" and the Melvins responded with "Boris." Given the Melvins' penchant for doing whatever the hell they want and (mostly) succeeding, you could say they took some spiritual nods from The Process of Weeding Out, too. Guitarist and vocalist Buzz "King Buzzo" Osbourne, drummer Dale Crover, and whoever the hell's playing bass with them this time have only answered to themselves in their two-decade career. When you've had Lustmord, Leif Garrett, Hank III and Jello Biafra as past collaborators, "idiosyncratic" is the only appropriate word.
Sadly, I did not make it in time for the Wiffle ball match, between the Melvins and the Double Door staff, though I have heard since it was nothing short of epic. It must have been an endurance match for sure -- the Double Door was sweltering when I arrived. I used to live in Houston. I know what I'm talking about when it comes to heat.
From the sweat arose Los Angeles trio Totimoshi. Playing a desert-style form of stoner rock, with some Latin elements mixed in, they had a lot to go up against. People were hot and wanting the Melvins. Totimoshi managed to quell the crowd and rock out for about 45 minutes. Some of the intricacies on record didn't come through live, but they still came off as competent and professional. Drummer Chris Fugitt was using half of the double kit used by Crover and the Melvins' second drummer, Coady Willis, and guitarist/vocalist Antonio Aguilar and bassist Meg Castellanos were seperated to each end of the stage. The isolation of the band members onstage made for a strange vibe. A stopgap until the Melvins came on, but not a bad performance overall.
When the Melvins got up on stage, I was initially concerned that Osbourne and bassist Jared Warren were going to roast in their robes. The robes themselves hearkened to Sun Ra, who, like the Melvins, was deadly serious about music, but also couldn't resist a comic presentation. Osbourne and his merry men began the set with "Sacrifice," a Flipper cover that appears on the Lysol/Self-titled record. This set the tone for their first set of the night, the freakier, less heavy but no less awesome side of the Melvins. "Civilized Worm," from A Senile Animal, was a highlight from this portion of the set, which Osbourne used to show off his vocal range -- not in the traditional King Diamond sense of low to hi-i-i-igh, but more in terms of mood. He's got his signature primal yell, but for softer songs, he speaks eerily hushed, as if he's calming a child he's about to skin. He also harmonizes fairly well with the other band members. When Osbourne wasn't singing, he kept away from the mic, not speaking to the crowd the whole night. I do love me some witty Buzzo banter, but I respect his choice to focus on the music.
The second set focused on the "metal" side of the Melvins. Here is where the duo of Crover and Willis really started to show that two heads are better than one. While it's technically impossible for two people to play a pattern at the exact same time, Crover and Willis seemingly predicted each other's movements and followed through in nearly perfect, thunderous sync. For a track such as "The Talking Horse," also from Senile, every hit, from the fills to the basic snare patterns, amplified the band as a whole. "AMAZON," from The Maggot, allowed the band to show off their Amphetamine Reptile pride. In the middle of the second set, the crew locked into a drone, colored by occasional blasts of energy from the drumming duo. There was humming in the background too, and at first I thought, "Is this 'Hung Bunny?'" And once the tribal drumming set in, I thought, "HOLY FUCKING SHIT. IT IS 'HUNG BUNNY.'" Now, for those of you have not heard "Hung Bunny" and "Roman Dog Bird," the first two tracks from Lysol, find that album immediately, and CRANK THE VOLUME AS LOUD AS YOU FUCKING CAN, for it is the heaviest 18 minutes of the Melvins. And trust me, it was even heavier live, if you can imagine that. I was in rapture, in trance. The sweltering heat had been banished for those 18 minutes of pure, 200-proof doom. The synchronized workmanlike pound, the molten sludge, the shaman-esque chanting -- it was too heavy. The whole band was extra focused, Osbourne in particular handling his guitar like he was telling it, "This riff MUST be heavier than the last."
Following that seance was their cover of The Who's "My Generation," dragged through murk and black matter. "Hope I die before I get old" is now even more ironic than before -- The Who themselves sounded tired and irrelevant performing at the Super Bowl, yet The Melvins can still draw and quarter bands a third their age. It also made for a nice comedown from the quasi-religious experience of "Bunny" and "Bird." "Lovely Butterfly" ended the set, resulting in an epic drum jam and then Warren leading a last-minute feedback-improv session. Set staples "Honey Bucket" and "With Teeth" did not make an appearance. But really, the set could have been most of Colossus of Destiny with "Bunny" and "Bird" thrown in and I would have came out saying "That was fucking amazing." The Melvins gave me more than that though, and this was easily one of the best performances of the year. Having last caught them on the Silver Anniversary tour (which was great in its own right), I can finally appreciate what wrath the four-piece incarnation of the Melvins can do. They have come a long way from being "one of Kurt's favs." Music this moving stands on its own, famous fans be damned.
The only thing nearly as good that night was a Brian Walsby-designed poster being sold, depicting music's two most famous straight edgers -- Ian MacKaye and Ted fuckin' Nugent -- doing a show together to show true SxE brotherhood.
BUZZOV*EN TOGETHER AGAIN, NEW ALBUM AND TOUR
Fuck the what!? While Eyehategod technically never left us, we thought for sure that legendary sludge band Buzzov*en was gone for good. Not so! The band of miscreants is back together again, and they're touring the US. Not only that, but word is that their unreleased album Revelation: Sick Again is to finally be released on Hydra Head after almost a full decade.
The band's lineup will include Weedeater bassist Dave "Dixie" Collins, drummer Ramzi, and of course the Reverend Dirtkicker Kirk Lloyd. But the good news doesn't stop there: the band is going to record and release a new album in 2011. That's right, two "new" Buzzov-en albums.
For details on dates and a video of Buzzov-en on Jerry Springer, click below.
BUZZOV*EN TOUR DATES:September 25 Charlotte, NC Tremont Music Hall #
# = W/ Black Tusk
September 29 Chicago, IL Reggie’s Rock Club
September 30 New York, NY Rocks Off Concert Cruise Aboard the Temptress #
October 1 Baltimore, MD Ottobar #
October 2 Austin, TX Emo’s
Jerry Springer-Ramzi, Kirk, Lori, & Jennifer
☠ Bordeaux Bootleg ☠© | MySpace Video
August 5, 2010
BLACK ANVIL TO SUPPORT WATAIN, BEHEMOTH ON WINTER TOUR
NY black metal bruisers Black Anvil are prepping for a monster third and fourth quarter. Not only is the Brooklyn trio prepping the Sept. 28 release of Triumverate (preorder, Relapse), their follow-up to 2009's punishing Time Insults the Mind, but they've also secured an opening slot on Watain and Behemoth's "The Lawless States of Heretika" tour. Fellow 'cake favorites Withered will share opening duties.
Triumverate cover art and Heretika tour dates after the jump.
Black Anvil - Triumverate
The Lawless States of Heretika -
Behemoth and Watain with Withered and Black Anvil:
11/3/2010 Imperial - Quebec City [NO WATAIN OR BLACK ANVIL ON THIS DATE]
11/4/2010 Club Soda - Montreal, QC
11/5/2010 Opera House - Toronto, ON
11/6/2010 Mr. Smalls - Pittsburgh, PA
11/7/2010 Bottom Lounge - Chicago, IL
11/8/2010 Station Four - Minneapolis, MN
11/9/2010 Granada Theatre - Lawrence, KS
11/10/2010 Marquis Theatre - Denver, CO
11/12/2010 Hawthorne Theater - Portland, OR
11/13/2010 El Corazon - Seattle, WA
11/14/2010 Rickshaw - Vancouver, BC
11/16/2010 Boardwalk - Sacramento, CA
11/17/2010 Slims - San Francisco, CA
11/18/2010 House of Blues - Los Angeles, CA
11/19/2010 Ramona Main Stage - San Diego, CA
11/20/2010 Marquee Theatre - Phoenix, AZ
11/21/2010 Sunshine Theater - Albuquerque, NM
11/22/2010 Palladium Showroom - Dallas, TX
11/23/2010 Warehouse Live - Houston, TX
11/24/2010 White Rabbit - San Antonio, TX
11/26/2010 Masquerade - Atlanta, GA
11/27/2010 Revolution - Ft. Lauderdale, FL
11/28/2010 Club @ Firestone - Orlando, FL
11/30/2010 Jaxx - West Springfield, VA
12/1/2010 Peabody's - Cleveland, OH
12/2/2010 Irving Plaza - New York, NY
12/3/2010 Trocadero Theatre - Philadelphia, PA
12/4/2010 Toad's Place - New Haven, CT
August 4, 2010
CRUSTY CLIP OF THE WEEK: BORIS - 'PINK' LIVE AT PITCHFORK FEST 2008
Every single Wednesday without fail, your hosts post a suitably stale video clip that we think needs to be revisited. Click here for more Crusty Clips. Got a clip you think we should post? Send it to crustcake@gmail.com.
by Andrew Wilhelm (CHI)
I recently had some bros (and a broette) up in town for Pitchfork fest. They creamed themselves over Pavement's big reunion, but Stephen Malkmus couldn't make anything as heavy as our favorite Japanese band, Boris. The trio have always been popular with the indie set, and if the cross-fanbase hype got kids to ditch Black Lips for Black Sabbath, nothing's wrong there.
Below is a performance of "Pink" from the 2008 edition of Pitchfork fest. The smoke and gong may be seen as a satirical throwback to the excesses of 70's rock, but Boris know you gotta go all in if you wanna break some skulls. Gotta love Atuso's Lil' Jon-esque "Woos" and "Yeahs" every now and then, too. After the video are the remaining dates for Boris' current North American tour. Sadly, I heard from a friend who went to the Austin date recently that Takeshi has ditched his badass Steinberger double-neck guitar/bass.
Boris North American Tour 20108/04 Starlight Ballroom - Philadelphia, PA
8/06 Music Hall of Williamsburg - Brooklyn, NY
8/07 The Middle East - Cambridge, MA
8/08 Le Tulipe - Montreal, QC
8/09 Lee's Place - Toronto, ON
8/10 Magic Stick - Detroit, MI
8/11 Southgate House - Newport, KY
8/13 Metro - Chicago, IL
8/14 Firebird - St. Louis, MO
8/15 Granada Theatre - Lawrence, KS
8/16 Marquis Theater - Denver, CO
8/17 Urban Lounge - Salt Lake City, UT
8/19 Republik - Calgary, AB
8/20 The Starlite - Edmonton, AB
8/22 Rickshaw Theater - Vancouver, BC
8/23 Neumo's - Seattle, WA
8/24 Hawthorne Theatre - Portland, OR
8/26 Great American Music Hall - San Francisco, CA
8/27 El Rey - Los Angeles, CA
8/28 The Glass House - Pomona, CA
9/05 Kutsher's Country Club - Monticello, NY @ ATP Fest - "Altar set" w/ SUNN O)))
KRIEG TO REVEAL THE ISOLATIONIST OCT. 26
U.S. black metal co-progenitor Krieg (née N. Imperial, née Neill Jameson) recently signed to Candlelight, a move -- premeditated or not -- that works as a not-so-subtle "Fuck you" to the hordes of sticky-fingered basement dwellers who've cried false at his recent stabs at quasi-mainstream legitimacy. That Candlelight distributes product far outside standard (at least for kvltish USBM nerds) limited-CDR/tape trading circles should be enough to cement his expulsion from the tr00. But there's a reason Imperial's been able to keep the Krieg banner flying nigh on these 15 years: He's damn good at what he does. And if the mouth-breathers can't hang, I say fuck 'em.
Krieg's newest long player, The Isolationist, will be released Oct. 26. Recorded in Chicago at Sanford Parker's Volume Studios, the album features Wrest on bass, Noctuary's Joseph Van Fossen on guitar and fellow Candlelight-er Chris Grigg (Woe) on drums.
Make the jump for a peek at artwork and track listing.
The Isolationist:1. No Future
2. Photographs from an Asylum
3. All Paths to God
4. Ambergeist
5. Depakote
6. Religion III
7. Blue of Noon
8. Decaying Inhalations
9. An the Stars Fell On
10. Remission
11. Dead Windows
Krieg Live:Sept. 4 - Clifton, NJ w/ Profanatica, Nightbringer, more
Oct. 23 - Spartanburg, SC - Samhain Black Metal Fest II w/Black Witchery, more
Oct. 28 - Philadelphia w/ Woe, free show (both bands record release)
Oct. 29 - Providence, RI w/ Woe, Dead Times & Sewer Goddess
Oct. 30&31 - TBA
You can snag an official Krieg "No Future" shirt here.
And for those of you keeping count, Krieg has released something like 30 or 40 separate albums, splits, singles, tapes, EPs, CDs, DVDs and CDRs. If that wasn't enough, dude spends time in or with Twilight, N.I.L., March into the Sea, The Royal Arch Blaspheme (with Profanatica's John Gelso) and Judas Iscariot. Boo yah.
ITALY'S THE SECRET SIGNS TO SOUTHERN LORD, ANNOUNCES SOLVE ET COAGULA RELEASE DATE
Southern Lord's newest signees, The Secret, follow in the wake of a stunning number of non-drone/doom acts picked up in recent months. Given The Lord's recent track record, it should come as no surprise: the Italian four-piece expertly navigates the ugly, black waters of filthy hardcore, dirt-streaked politi-crust and punishing grind. Their new record, Solve Et Coagula, was recorded at Kurt Ballou's Godcity Studios and is out Sept. 28.
Make the jump for track listing and peek at 'cake friend Justin Bartlett's typically cryptic art.
Solve Et Coagula:
1. Cross Builder
2. Death Alive
3. Double Slaughter
4. Where It Ends
5. Antitalian
6. Weatherman
7. Pleasure In Self Destruction
8. Eve Of The Last Day
9. Pursuit Of Discomfort
10. Bell Of Urgency
11. War Desire
12. 1968
August 3, 2010
THOU'S 'SUMMIT' STREAMING ON NPR
"You're listening to All Things Considered on NPR, I'm Michele Norris." "And I'm Robert Siegel." *MASSIVE DOOM RIFFS HERE* "Baton Rouge's Thou are making waves in the metal world..."
Now wouldn't that be a cool way for Thou to get on NPR? Alas, until we see a sweaty Ira Glass rocking out in a basement, we'll have to make do with this stream of Thou's new record, Summit, on NPR's website. You know how those pledge drives make you just plain mad? Thou understands -- that's why they're so heavy. They do it for you, the listener. Harvey Milk also had their latest streamed on NPR not loo long. Maybe the tide is turning. Maybe NPR is realizing that people no longer want to listen to the Indigo Girls and instead jam something, well, good.
Anyway, go listen to Summit. It rules. Somebody get Thou on "Wait, Wait, Don't Tell Me." Now!
R.I.P. MAKH DANIELS OF EARLY GRAVES
We at Crustcake mourn the loss of Early Graves vocalist Makh Daniels. He was killed in a tragic van accident Monday on Interstate 5 in Central Point, Oregon en route to play a show in Reno, Nevada. (For more information on the accident, go here.) Early Graves' Goner, released in June, is one of the best records of the year, in no small part due to Daniels' snarling vocals and piss-and-vinegar lyrical view. Daniels was also a funny and down-to-earth dude, qualities especially prevalent when he was spitting real talk about venue etiquette over at Invisible Oranges a couple months backs. He will certainly be missed.
Below is a video of the band performing in Los Angeles. R.I.P., fallen hessian.
August 2, 2010
KILL THE CLIENT TO TOUR WEST COAST WITH VENOMOUS CONCEPT
Dallas grind maniacs Kill the Client (above) have announced a string of September dates in support of OG hardcore supergroup, Venomous Concept. Half Napalm Death, half Brutal Truth, Venomous Concept are basically the 1992 U.S. Olympic men's basketball team of punk and grind. And by now, it's pretty clear how we feel about Kill the Client. If you live on the Left Coast, you really have no excuse not to check out this show.
Jump for tour dates and poster art.
Sep 15 2010 - 7:00P: Brick By Brick, San Diego, CA
Sep 16 2010 - 8:00P: Viper Room, West Hollywood, CA
Sep 17 2010 - 9:00P: Thee Parkside, San Francisco, CA
Sep 18 2010 - 7:00P: Satyricon, Portland, OR
Sep 19 2010 - 7:30P: Studio Seven, SEATTLE, WA
