Rock – Page 29 – 7th Level Music

Rewind Review: Failure – In the Future Your Body Will Be the Furthest Thing from Your Mind (2018)

If Failure‘s 2015 album, The Heart Is a Monster, picked up where 1996’s Fantastic Planet left off, then their 2018 album, In the Future Your Body Will Be the Furthest Thing from Your Mind, doesn’t pick up where THIAM left off. It lifts off the ground and takes the band even further into the cosmos.

“Dark Speed” gets things off to a groovy start with Greg Edwards‘ funky bass line that will have you tapping your fingers on the steering wheel or your hot rod or your space cruiser. The bass gets heavier on “Paralytic Flow,” as do Ken Andrews‘ vocals about lust, desire, and passion. “Pennies” is one of those mellow tracks that Failure does so well: Simple, soft vocals, almost orchestral arrangements, and floating-in-space sound throughout the whole thing.

The album includes three “Segues” (numbers 10, 11, and 12), which begun with Fantastic Planet and have continued onto multiple albums since then. These tracks are all instrumentals either linking one song to the next or standing on their own as meditations. “Segue 10” is one of the meditative tracks, which clears your head before the somewhat menacing “No One Left.” Kellii Scott pounds out a lot of excess energy he had in the studio that day on it.

The drums and bass on “Solar Eyes” come to kick ass and take names. Andrews encourages us all to rest on “What Makes It Easy,” which is almost a soft love song. “Segue 11” sounds like it combines whale song with a thunderstorm. The slow build of “Found a Way” is like the sensation of watching an approaching comet. It’s a song about a break-up (“I finally found a way to release you and I don’t need anything you left me.””) wrapped in a power-rock track.

Scott’s drumming on “Distorted Fields” is wild and full of what almost sound like random drum fills, but then you realize he’s playing in advanced time signatures that will make your head spin. The groove of “Heavy and Blind” is wicked. “Another Post Human Dream” is a ballad for a prom at Phillip K. Dick High School. “Apocalypse Blooms” is the song you play in the car as you’re leaving that prom and heading for the make-out spot overlooking a neon-lit city with the knowledge it might be the last night of planet Earth.

“Come meet me in the silence,” Andrews sings on “Force Fed Rainbow” – a song great for leaving the comfort of a space station for the unknown, endless silence of space. “The Pineal Electorate” (with Edwards on lead vocals) reveals the band’s love of The Beatles‘ psychedelic era.

It’s another solid, cosmic entry in Failure‘s discography, and an album that will thinking of big-picture science and even bigger picture thoughts on humanity, technology, and the relationships between both.

Keep your mind open.

[Don’t fail to subscribe.]

Rewind Review: Failure – Tree of Stars (2014)

Taken from recordings of live shows from their reunion tour around 2014, Failure‘s Tree of Stars is a strong and tight capture of the band flattening crowds in Houston and Phoenix with their wall of cosmic shoegaze sound.

“Let It Drip” is the first track on the EP and the first one recorded in Phoenix. Ken Andrews distorted vocals go well with his roaring guitar, and Kellii Scott pretty much puts on a drumming clinic through the whole track. It’s over before you have time to catch your breath.

Greg Edwards‘ bass on “Frogs” (live from Houston) brings to mind a giant version of the titular creature rumbling under the surface of a dark pond upon which a meteor storm (Scott’s drumming) is reflected. The live version of “Sergeant Politeness” (the second Phoenix track) hits with aggressive thuds and extra vigor in Andrews’ vocals. The second track record in Houston is “Heliotropic,” which always has a roaring guitar solo from Andrews, and this version is no exception.

The download version of Tree of Stars comes with a new 2014 version of “Solaris” that is somehow even more deep-space than the original as a result of a slower beat, reverb-drenched vocals, and guitars that sound like they’re being played in Atlantis. The tour-only version had “Come Crashing” on it, which was Failure’s first new music since 1996’s Fantastic Planet and would end up on their 2015 album The Heart Is a Monster.

It’s a great tease of hopefully a full live album in the future.

Keep your mind open.

[Don’t fail to subscribe.]

Rewind Review: King Buffalo – The Burden of Restlessness (2021)

It’s a bit surprising that I didn’t own a copy of King Buffalo‘s The Burden of Restlessness until now, because they were touring with this album when I first saw them live (playing with Clutch and Stöner) in 2021. I was blown away by their performance and became an immediate fan. I instead bought their first album (and a shirt) at their merchandise table, and this album has somehow eluded me until now.

It’s a shame, because the opening track, “Burning,” alone is a massive slice of cosmic rock that hits as hard as any All Them Witches track but in more of a “Silver Surfer zipping past a collapsing dwarf star” feel than an occult-psychedelic feel. Dan Reynolds bass on “Hebetation” will pick you up, rattle you, and inspire Herculean strength in you for whatever task you’re doing at that moment. The breakdown around the two-minute mark is sublime. Sean McVay sings about contemplating his mortality, but he never sounds frightened by it. He’s too busy shredding his guitar to worry about what comes after death.

McVay’s guitar ripples across “Locusts” like the titular insects bouncing across a wheat field. “Silverfish” is a stand-out on the album with McVay’s guitar sounding like a space probe, Scott Donaldson‘s precision drumming mixed with thunderous fills now and then, and Reynolds bass moving like a cat around the room waiting to either curl up on your lap or attack your ankle. It chooses the latter.

McVay cranks the fuzz on “Grifter,” which might flatten you if you’re not prepared for it. McVay explores depression on “The Knocks” (“Every day I wake up on the floor. Another useless day like every one that’s come before.”). It’s a slow burn to a powerful explosion of sound, like McVay has finally decided to kick open his barricaded door from the inside and woe betide anyone who’s on the other side. “Loam” closes the album with over seven minutes of head-trip rock with McVay says he’s “shedding the burden of restlessness to rise from the loam of the nothingness.” You’ll always get a thumbs-up from me if you close your album with a Zen lesson.

Keep your mind open (This album will help.).

[I’ll be restless until you subscribe.]

Review: Acid King – Live at Roadburn 2011

Recorded at the famous metal / stoner rock festival in The Netherlands. Live at Roadburn 2011 is a heavy recording of Acid King‘s performance there. The band is legendary among stoner metal enthusiasts, and any release from them is a cause for celebration. They haven’t released a lot of material (although a new album is due in 2023), but what they have released is almost held sacred by their fans.

“All right,” says lead singer and guitarist Lori S. at the beginning of the set, sounding like she’s about to start working on an old motorcycle she’s had in the back of the garage for a couple years. What follows is Peter Lucas‘ growling bass introducing the title track of their famous album, Busse Woods. It’s not unlike a monster awakening from a long slumber, and Lori S.’s guitar is the chant of a high priestess calling the beast forth. You know you’re in for danger once Joey Osbourne‘s drums pound down the walls.

This rolls into “2 Wheel Nation,” a salute to outlaw biker gangs and the idea, at least, of living free on the road. It roars like a 1970s Harley-Davidson ridden by a orc leaving Mordor. “Silent Circle” is anything but silent. It’s heaviness is almost crushing. “On to Everafter” gets all cosmic with Lori S.’s swirling riffs and Osbourne’s desert rock drumming.

Once you’re in orbit, “Coming Down from Outer Space” brings you back to the surface with the full pull of Earth’s gravity (and the re-entry roar of Lucas’ bass). Somehow, “Electric Machine” hits even harder than that. Lori S.’s vocals echo back from the outer rim of the galaxy, bringing untold legions of alien warriors with it. The set ends with the colossal “Sunshine and Sorrow.”

It’s a good capture of some stoner metal giants playing to an appreciative crowd, and a nice warm-up for Acid King’s next record.

Keep your mind open.

[Why not subscribe while you’re here?]

Austin Psych Fest announces its 2023 lineup.

Austin Psych Fest is returning, and it’s bringing another great Austin music festival lineup with it. Saturday’s lineup alone is worth the weekend pass…and this isn’t even the full lineup. The festival will be held at The Far Out on two different stages throughout the day, and tickets are already on sale. Don’t miss it.

Keep your mind open.

[Don’t forget to subscribe before you go.]

[Thanks to the Reverberation Appreciation Society.]

Review: Bass Drum of Death – Say I Won’t

I first saw Bass Drum of Death at the first Austin Psych Fest my wife and I attended in 2013. I had no idea at the time that the lead singer and guitarist, John Barrett, did all of the songwriting and instrumentation (on the first BDOD album) all by himself. He kept doing it all by himself for the next album, which makes his new one, Say I Won’t, even more interesting because it’s the first BDOD album written and recorded by Garrett and his touring band (Jim Barrett on bass and Ian Kirkpatrick on drums) – with The Black Keys‘ Patrick Carney doing production no less.

The result is a great album of 1970s-inspired garage / van rock suitable for road trips, surfing, backyard parties, or keeping you motivated to finish a housing project. Kirkpatrick’s snappy drums on “Find It” get the album off to a great start. “Head Change” cranks up the fuzz and swagger. Jim Barrett’s bass line will make you feel like a dangerous motherfucker. “No Soul” has John Barrett singing about how he keeps going back to a woman he knows is bad for him.

“Say Your Prayers” is a team-up with Mike Kerr of Royal Blood, and you can hear the thick bass groove he brings to the mix. “I don’t want to have the keys to your city. I just wanna take a ride,” Barrett sings on “Keys to the City,” in which he tries to convince his girl he just wants a simple night with her instead of constant partying. The swagger of “Wait” is outstanding, hitting heavy at all the right moments.

“I see the world for the takin’. Hold tight. We’ll sort it out,” Barrett sings on “Swerving,” which seems made for stomping the gas pedal and veering around traffic. “White Vine” is, believe it or not, a good power rock ballad. “No Doubt” has some southern rock twang to it. You can practically feel Memphis humidity through it. “Everybody’s Gonna Be There” reminds me of some tracks by JEFF The Brotherhood with its fun grooves, call to party, and the promise of a good time with everyone.

The title track has one of Barrett’s best guitar solos (and all-around chops) on the album, and “Too Cold to Hold” could almost be a ZZ Top song with its shuffling groove and an arena rock song with Barrett’s high-register lyrics mixing with shouts to the back of the venue.

It’s good to hear a good straight-up rock record. We don’t seem to get a lot of albums like this nowadays.

Keep your mind open.

[Everybody’s gonna subscribe! Why not join the party?]

[Thanks to Jo Murray.]

The Bobby Lees announces North American tour.

The Bobby Lees, who recently released their Ipecac Recordings’ debut, Bellevue, head out on their first North American tour in support of the album, which Pop Matters dubbed their “most scorching and essential recording to date.”

“This will be our first time playing Bellevue in all of these cities,” said the band, collectively. “Come watch us play like it’s our last night on earth!”

The Bobby Lees tour dates:

February 3 Atlantic City, NJ Anchor Rock Club (w/ Jon Spencer)

March 30 Chicago, IL Schubas Tavern

March 31 Columbus, OH Rumba Café

April 1 Athens, OH Ohio University

April 3 Cleveland, OH Beachland Ballroom

April 4 Toronto, ON Monarch Tavern

April 6 Philadelphia, PA Kung Fu Necktie

April 7 New York, NY Mercury Lounge

April 8 Troy, NY No Fun

April 11 Washington, DC DC9

April 12 Carrboro, NC Cat’s Cradle

April 13 Atlanta, GA The Earl

April 14 Nashville, TN The Basement

May 2 Seattle, WA Barboza

May 3 Portland, OR Mississippi Studios

May 5 San Francisco, CA Bottom of the Hill

May 6 Los Angeles, CA The Echo

May 7 San Diego, CA The Casbah

May 11 Austin TX Mohawk

May 12 Dallas, TX Three Links

May 13 Tulsa, OK The Vanguard

Tickets for all shows are on sale this Friday at 10 am local time. Ticketing links can be found via Ipecac.com/tours.

Keep your mind open.

[Don’t forget to subscribe before you go.]

[Thanks to Monica at Speakeasy PR.]

Object of Affection release “Half Life” ahead of debut album due March 03, 2023.

LA’s Object of Affection tap into the primitivism of said members’ diverse projects while elevating their capacity for atmosphere and melody. Hints of gloomy punk, forlorn new wave, and down-and-out Regan-era alternative rock reverberate in their sound, not as pastiche but in sonic kinship to the austerity and fatalism embedded in the previous generation’s desperate and dejected anthems.

Since the release of their 2020 S/T, self released EP and most recent single “Through and Through” (Suicide Squeeze), the band have already shared the stage with accomplished peers Ceremony, Fiddlehead, Special Interest, Gulch, so on.

Today they’re pleased to announce they’ve joined the Profound Lore fam for their debut full-length, Field of Appearances. Its melting lead single and album opener “Half Life”, which touches on themes of the passage of time and the aching effects of hopelessness, is available now. Watch its accompanying video, directed by Miwah Lee below.

Watch / Share “Half Life” via YouTube
Listen / Playlist: Bandcamp, Spotify, Apple Music

With the inclusion of drum machines, synthesizers, acoustic guitars, and auxiliary percussion, Field of Appearances highlights the band’s sophisticated evolution and experimentation. The debut’s ten songs explode in character, contrast, and excitement.

Exploring themes of reflection, insufficiency, and Déjà vu as well as additional contributions from Bre Morell (Temple of Angels, Crushed) and Brittney Beppu, each track on Field of Appearances simultaneously plays a role in making it a more significant sum than its parts while also standing out individually. The album was meticulously crafted with Grammy-nominated producer Alex Newport (Bloc Party, At The Drive-In) and emerging engineer Phillip Odom and is an exceedingly memorable, precisely cohesive, and refreshing addition to the alternative music landscape.

Object of Affection’s Field of Appearances sees its release March 3 via Profound Lore; Pre-order / Pre-save the album here.

Keep your mind open.

[You’ll be the object of my affection if you subscribe.]

[Thanks to Bailey at Another Side.]

Stone Nomads unleash sludgy new single – “Fiery Sabbath.”

Texas Doom metal purveyors STONE NOMADS have released the new official music video for the thunderous single “Fiery Sabbath,” with the accompanying release of the digital audio extended single “Fiery Sabbath” including new epic B-side “Gallows Walk” and special bonus track “Sign of the Wolf” (featuring guest appearance by Esben Willems of Monolord), available at https://stonenomads.bandcamp.com/album/fiery-sabbath

STONE NOMADS explains “Our new single – ‘Fiery Sabbath’ is a song that really captures a lot of the different elements of our sound. It kicks off with the stoner-ish groove early in the song, which flows in and out of this slow metallic sludge and on into kind of an epic middle section. We really dig that sludge sound so we try and hit it hard on the ‘low and slow’ parts. We did an official video for it which is premiering on Brave Words today and an extended single with a B-side of a Pentagram cover that turned out really good, we’re super excited for the release.”

Watch “Fiery Sabbath” at BraveWords here.

About STONE NOMADS:

Raised in the Texas fields of doom, STONE NOMADS have forged a sound blending colossal riffs, dynamic groove and all that is heavy… The band, based in Houston, mixes elements of Southern Sludge and Doom Metal on a stoned-out Sabbath trip, featuring Jon Cosky on Guitar & Vocals, Jude Sisk on Bass & Vocals, and Dwayne Crosby on drums. The trio released their debut album Fields of Doom via Gravitoyd Heavy Music in 2022, and the Doom metal scene took notice… The album was ranked #8 on the Doom Charts and saw the band playing festivals and regional tour dates with the likes of scene veterans Elder, Mothership, Spirit Adrift and more. In 2023 the band will embark on a US tour in support of a new album planned to be released mid-year.

Keep your mind open.

[Don’t forget to subscribe while you’re here.]

[Thanks to Maria at Adrenaline PR.]

Live: Dry Cleaning – Thalia Hall – Chicago, IL – January 13, 2023

I’d been trying to see Dry Cleaning in concert for a couple years. I was always missing their Chicago sets due to work, and then they had to cancel their appearance at the 2022 Levitation France festival. Now, they and I were finally going to be in Chicago on the same day, so I wasn’t going to miss the show. I’m glad I bought my ticket early, because it was a sold-out performance. I didn’t arrive in time to see Nourished By Time, but Dry Cleaning came out and wasted no time in engaging with their passionate fans.

Starting with “Kwenchy Kups” and then rolling straight into their ode to a lost tortoise (“Gary Ashby”), Dry Cleaning put on a fascinating set. Lead singer Florence Shaw isn’t the most dynamic front woman out there, but that’s kind of the point. She’s the calm in the storm whipped up by her bandmates. Her low tones aren’t without passion, but she’s more of a storyteller than a singer. “Scratchcard Lanyard” and “Viking Hair” are hits not only for Tom Dowse‘s screeching guitar licks (which sound like Andy Gill riffs live), but also for Shaw’s tales of strange things that are so weird that they have to be at least partially true.

There were moments in the show, like in the above image, when Shaw, dressed in her sweatshirt and baggy jeans, and with her straight long hair and perfect fingernails, looked like a wraith in the lights and smoke on stage. This, combined with her smoky voice, and Lewis Maynard‘s thumping bass, was a cool effect – especially during tracks like “Don’t Press Me” and “Conservative Hell.”

Nick Buxton keeps the whole thing from devolving into a spooky haunted house ride by putting down post-punk precision drumming (“Magic of Meghan” being a prime example). The encore included a song Dry Cleaning doesn’t play often, as it’s still fairly new, “Liberty Log.” It was a special treat for all of us.

The whole show was a special treat for their fans. Plenty were dancing, cheering, shouting lyrics, and going wild with every buzzsaw solo Dowse played. It was a good start to my 2023 concert season.

Keep your mind open.

[Don’t forget to subscribe before you go.]