The curators of the popular Brown Acid compilation series of long-lost vintage 60s-70s proto-metal singles share a new track today via Decibel Magazine from the first edition of a new series titled Scrap Metal. Following chronologically where Brown Acid leaves off, Scrap Metal scours the world for long-lost, rare and unreleased Heavy Metal from the late-70s through late-80s. Hear/share The Beast‘s (featuring Scott Ruth, later of Dim Mak and Ripping Corpse) 1983 punk-metal hybrid “Enemy Ace” HERE. (Direct YouTube and Bandcamp.)
Album opener Rapid Tears‘ anthem “Headbang” premiered previously via Metal Injection HERE (And YouTube.) “69 in a 55”, a 1983 track from Bay Area band Air Raid launched via Ultimate Classic Rock HERE (and YouTube.)
Brown Acid & Scrap Metal series are created and compiled by L.A. based RidingEasy Records and Permanent Records.
By now you’re probably familiar with our wildly popular Brown Acid series of rare, lost and unreleased proto-metal and stoner rock singles from the 60s-70s. In the endless pursuit of those glorious gems, we often uncover equally brilliant rarities from the late-70s to late-80s Golden Age of Heavy Metal that also just must be heard, but they don’t fit the series’ aesthetic. Scrap Metal: Volume 1 collects some of the greatest unknown and lost Heavy Metal tracks, long buried beneath the avalanche of the era’s classic output.
We all know the old adage that history is told by the winners. But sometimes the losers tell the best stories. And while none of these bands found fame and fortune, this artifact and the volumes to come are testament to the enduring power of heavy music. You can hear the blood, sweat and beers that went into each of these singles. The recordings may be low budget, but the inspiration and talent is immutable. Not only are the amps turned up to 11, the boyish sexual innuendo is cranked to 69. You can hear the convergence of influences — NWOBHM, thrash, glam metal, doom, etc — colliding at once as the era birthed a wellspring of subgenres.
Many of these singles are self-released and were thus limited to a small run of copies. Those that remain are hoarded by collectors and sold for exorbitant amounts. We’ve collected the best of the best for you here. As with Brown Acid, all of these tracks are licensed legitimately and the artists all get paid. Because it’s the right thing to do.
Scrap Metal: Vol. 1 will be available everywhere on LP, CD and download on November 12th, 2021 via RidingEasy Records. Pre-orders are available for digital at Bandcamp, physical pre-orders at RidingEasy Records.
Imagine Thin Lizzy fronted by a guy who looks like a heftier Frank Zappa but with a voice like Lemmy Kilmister (T.J. Lemieux), and you’ll pretty much have the sound of Deathchant and their second album, Waste.
The seven-track album rips by you faster than a drag strip car, barely coming in over half an hour in length. These guys don’t fool around or waste time. The first track, “Rails,” sounds like the album is about to come off them after the first drum fill by Colin Fahrner. Deathchant’s melodic heavy metal instantly makes you want to customize a Dodge van and hit the road with a foxy lady dressed in bellbottom hip-huggers and an American flag bikini top…while you’re possibly being chased by a wizard. “Black Dirt” has you stomping the gas in that van in order to make it past a haunted mesa before dusk. “Holy Roller” is one of the album’s heaviest cuts. Lemieux and fellow guitarist / vocalist John Belino simply unload twin machine guns on it, and George Camacho‘s bass is like a sledgehammer taking out any survivors.
The whole band’s stunning ability to just jam is apparent on “Gallows.” The title track is over five minutes long, which seems like an epic poem from Deathchant, and it’s suitable for a heroic journey to a dark land to vanquish a monster and return with a mystical orb. The thing starts like squealing race car tires and then bursts from the starting line and never looks back.
“Plague” has neat guitar work balanced well between Lemieux and Belino while Belino sings of bodies lying in the streets. The album ends with “Maker,” a rocking track that features a friendly competition between Camacho and Fahrner – almost like they’re trying to see which of them might stumble first upon the driving rhythm of the track.
Waste is a solid rock record, and Deathchant seem to have had a blast making it – judging by how fun it is to hear.
L.A. quartet Deathchant share the first single from their forthcoming sophomore album Waste today via Metal Injection. Waste is the band’s debut on RidingEasy Records. Hear and share “Holy Roller” HERE. (Direct YouTube and Bandcamp.) Heavy music’s evolution has always been a murky swamp of sub-genres. So, combining Thin Lizzy’s glistening twin guitar harmonies with Melvins-grade sludge and a hearty dose of proto-metal psych probably shouldn’t sound so revolutionary as it does in the hands of L.A. quartet Deathchant. But theirs is a special, transcendent sound.
Waste, the band’s sophomore album and first for RidingEasy Records, is anything but. The 33-minute, 7-song blast flows seamlessly from song to song, aided by droning segues, while simultaneously slithering between genres and moods. Rumbling noise, chiming guitar melodies, bluesy boogie, NWOBHM thrash, COC grunge and punk fury all rear their head at times, sometimes all at once.
Though you wouldn’t be able to tell by the concise structures and well-crafted songs, a lot of Deathchant’s music is improvised, both in the studio and live. That’s not to suggest their songs are jammy — they’re very tightly organized compositions. But the four musicians have that special musical telepathy that allows them to keep the song structures open-ended.
“Improv is a huge things for us and always has been,” singer/guitarist T.J. Lemieux says. “The musical freedom to look at the other dudes in the band and be able to take things wherever we want to go is magical. I like the feel of flying off the hinges.” Likewise, the band itself is similarly amorphous in its membership. “We run the band with an open door. No lineup is definitive,” Lemieux explains. On Waste, the lineup is: Lemieux, George Camacho on bass, Colin Fahrner on drums, and John Belino on second guitar.
Waste was recorded live in a rented cabin in the mountains of Big Bear, CA. “We packed a big-ass van and set up in the living room and kitchen,” Lemieux says. “Tracked it live, with overdubs after.” The whole album was recorded over two separate weekends, engineered by Steve Schroeder, who also recorded the band’s 2019 self-titled debut album.
“I’d say it has sort of a DIY LA punk aesthetic,” he adds. “Very ironically going hand in hand with a classic metal vibe: Thin Lizzy, Judas Priest, classic Deep Purple, Uriah Heep and other melodic heavy rock bands.”
Waste will be available on LP, CD and download on June 25th, 2021 via RidingEasy Records.
Keep your mind open.
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It’s stunning to realize that Riding Easy Records has released ten Brown Acid compilations of long forgotten and buried stoner rock / acid rock / metal cuts in just five years. How do they find this stuff? The stories of how they tracked down these obscure bands, some of whom never released even a full LP, must be fascinating.
“The Tenth Trip” is one of the best compilations to date. It starts with the squelchy, groovy “Tensions” by Flint, Michigan’s Sounds Synonymous from 1969. The fuzz on it is cranked to the max and the organ stabs push the track into psychedelic territory. Yreka, California’s Ralph Williams and the Wright Brothers‘ 1972 track, “Never Again,” lays down a Black Sabbath-like groove mixed with swampy blues, and the backing vocals / grunts mixed with the wicked bass line alone should’ve made this a big radio hit.
“Relax your mind,” suggests Louisville, Kentucky’s Conception on their 1969 cut “Babylon.” The snotty vocals remind me a bit of MC5and Thin Lizzy in their delivery, and man, that guitar breakdown is breath-taking. Atlanta, Georgia’s Bitter Creek proclaim, “I think I hear the sound of thunder.” on the 1970 heavy stoner metal cut “Plastic Thunder.” The drums certainly sound like a thunderstorm and it has enough guitar pedal effects for an entire record.
New Orleans’ Rubber Memory put down a serious psychedelic show with “All Together” from 1970. Dallas’ First State Bank might be the most cleverly named band on the whole compilation (as you would see their name in practically every town in the country), and their 1970 track “Mr. Sun” has a sweet groove that drifts along for a little over three minutes as the singer asks the sun (who appears to be the only thing around to give him the time of day) how to win back his girl.
The double entendre of Brothers and One‘s “Hard On Me” (New Waterford, Nova Scotia, 1974) is another criminally unheard rocker with a floor-stomping beat that should’ve made it a cult classic if nothing else. Naming your Tucson, Arizona band Frozen Band is a nice touch, and their 1969 track “Electric Soul” has serious Jimi Hendrix vibes in both the guitar chords (with a bit of Santana, too) and the vocal styling. Birmingham, Alabama’s Brood encourage you not to throw out your old weed on “The Roach” from 1969. I love how unapologetic they are about it. The anthology ends with Iowa City’s / West Minister, Colorado’s Tabernash and their 1969 track “Head Collect.” It’s a nice, trippy end cap to the record as they sing about death, the afterlife, and cosmic things seen while lounging under the stars.
This is definitely a trip worth taking and it makes you wonder how many more forgotten bands and singles are out there if Riding Easy Records has already found ten anthologies’ worth in just five years.
Canadian heavy rock instrumentalists The Death Wheelers share a video single for the title track to their forthcoming album Divine Filth via Metal Injection. Watch and share the B-movie ode “Divine Filth” HERE (or on YouTube.) Hear & share the single via Bandcamp.
From beyond the gutter, The Death Wheelers bring you their second album, the soundtrack to the fictional bikesploitation flick that never was: Divine Filth. Drawing inspiration from instrumental rock, proto-metal, punk and funk, the band embalms the listener in their sonic world of decay, groove and debauchery. Surfing the line between Motörhead, The Cramps and Dick Dale, the Canadian quartet uncompromisingly blends rawness and power in their riff fueled compositions. Recorded entirely in 48 hours in a live setting just like in the good old days, this second opus is a testament to what the band stands for: a no BS attitude spiked with a heavy layer of crass. Just like their previous offering, the album is devised to serve as a soundtrack loosely based on a plot synopsis of a B-movie:
It’s 1982. Spurcity is run-down. The crime rate is up and so is drug use. A new kind of kick has hit the streets and it ain’t pretty. DTA, a powerful and highly addictive hallucinogenic drug, is transforming its loyal citizens into undead trash. Its users experience an indescribable high, but it leaves them rotting away within days, craving human flesh. No one knows who is dealing this new potent drug, but rumour has it that the motorcycle cult, The Death Wheelers, is behind this concoction. Could this be the end of civilization as we know it? What is motivating this group of psychotic individuals?
The cycle of violence indeed continues with this sordid slab of sounds. So hop on, and enjoy one last ride with The Death Wheelers.
Divine Filth will be available on LP, CD and download on September 11th, 2020 via RidingEasy Records. Pre-orders are available at RidingEasyRecs.com.
The debut, self-titled album by Here Lies Man from 2017 was unlike a lot of rock that came before it. Their music was described with a simple question, “What if Black Sabbath played Afrobeat?” It’s a question to make you ask, “Wait…What?” Once you hear HLM, however, you think, “Yep, this is what it would sound like.”
The massive opening riffs of the album on “When I Come To” (the only lyrics in the song, by the way, apart from “Oh God! Wake up!”) grab you by the neck and shake you, and the organ stabs only serve to make you quake further. The African rhythms are immediately apparent and are downright infectious. Those beats roll like a bubbling river on “I Stand Alone.” The drum breakdown halfway through the track is outstanding.
“Eyes of the Law” brings the funky organ to the forefront, and “You Ain’t Goin’ Nowhere” covers one of HLM‘s favorite topics – death (“Your life ain’t goin’ nowhere…You ain’t goin’ nowhere.”). “Letting Go” grooves so hard it will stop you in your tracks as HLM sings about leaving this world to find better things beyond, embracing the beauty of impermanence. “Let go or be dragged,” as the Zen proverb says. The mostly instrumental “So Far Away” is a trippy track, and the African rhythms are back in full swing on “Belt of the Sun” (and check out those wicked organ riffs!). The echoing organ stabs, Superfly-like bass, chant-like drums, and fuzzed-out guitar on the closing title track all combine for a killer ending to a killer debut.
Keep your mind open.
[Since you ain’t goin’ nowhere, why not stroll over to the subscription box while you’re here?]
The forthcoming tenth edition — #10! — of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Tenth Trip will be available, fittingly, on April 20th, 2020. As the celebrated series reaches landmark double-digits, there are no indications it will slow down in the near future. Hear and share the first single, “Tensions” released in 1969 by Detroit rockers Sounds Synonymous via YouTube and Bandcamp. The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste MagazineHERE and LA Weekly HERE.
About The Tenth Trip: Here we are, arriving at the tenth edition of Brown Acid in just half as many years! As always, we packed in the highest highs of the dankest hard rock, heavy psych, and proto-metal tracks previously lost to the sands of time. Like we’ve done throughout this series, all of these tracks were painstakingly licensed legitimately and the artists were paid. It’s hard to believe we’re already up to 10 volumes of this lysergic Neanderthal wail, but the long-lost jams just keep-a-coming like Texas crude to fuel your rock ‘n’ roll engine and melt your metal mind. This Trip kicks off with the Hammer of the Gods howl of “Plastic Thunder” by Bitter Creek. The Atlanta, GA quintet’s lone single from 1970 on Mark IV Records is rated #6 of the Top 50 Heaviest Songs Before Black Sabbath by GuitarWorld Magazine. You can hear why in the ominous riff and larynx-ravaging chorus that merges the deepest of Deep Purple sludge with The Who’s rollicking psychedelia.
Not much is known about The Brood‘s 1969 bluesy paean to dirtbag weed consumption “The Roach” on the It’s A Lemon imprint, except that it’s a big, growling rocker with a crazed in-the-round blowout of wailing guitar solos, screeching organ blasts, wildly overlapping vocals and drum rolls for days.
Nova Scotia, Canada sextet Brothers and One‘s double-entendre laden single “Hard On Me” certainly pushes the boundaries of what would be acceptable at the time (especially amongst their ever-polite Canadian brethren.) Their lone full length was released in 1970 on short-lived Audat label, the group featuring two sets of brothers (hence the name) recorded the album while all members were between age 13-18-years-old. This glam-influenced single was privately released on the band’s own label nearly 4 years later.
Louisville, KY quartet Conception‘s excellent revision of Blue Cheer’s “Babylon” (1969, Perfection Records) adds heavy phaser effect on the guitar and a more driving rhythm to make the song entirely their own. Lead guitar and high harmony vocals by Charlie Day (not to be confused with the Sunny Philadelphian actor) are assertive and commanding as he implores listeners onward to hallucinagenic nirvana.
Not exactly a typically psychedelic band name for the era, but First State Bank‘s “Mr. Sun” (1970, Music Mill) pays hearty dividends of boogie bustle. The Central Texas band led by guitarist/vocalist Randy Nunnally released only 3 singles in its career from 1970-1976. For those keeping score at home, their song “Before You Leave” was featured on The Third Trip back in 2016. “Mr. Sun” is the heavy B-Side to “Coming Home To You.”
Clearly inspired by Jimi Hendrix, Tucson quartet Frozen Sun topped the local charts in 1969 with this barnstorming rocker “Electric Soul” (Capt. Zoomer Records.) The song is replete with guitarist/vocalist (with big Hendrix hair) Ron Ryan’s spoken interlude, “Well have you been electrically stoned? You know, living in the danger zone?” We say yes.
Ralph Williams and the Wright Brothers took flight with “Never Again” on Hour Glass Records in 1972, and apparently never landed after this 45 with “Dark Street” on the A-side. The serpentine riff and sexually-charged backing vocal grunts drive this archetypical tale of a young man’s chemical odyssey… or, should we say, trip?
Sounds Synonymous pretty much epitomized heavy fuzz from Michigan with their 1969 single “Tensions” on the Wall Productions label. The Hendrix “Fire” meets Arthur Brown’s “Fire” track lunges and lurches with glee throughout its 3-minutes and change of unbridled crunch.
Tabernash‘s “Head Collect” (1972) is the suburban Denver quartet’s only release following the name change from The Contents Are and a move from Davenport, IA. This more stately psych-rock chune features Byrds-like harmonies, twangy reverse-looped guitar soloing and Keith Moon-esque drumming that should’ve made it a chart-topper, but we all know there’s no justice in rock’n’roll.
The Tenth Trip closes, appropriately, with the “War Pigs” reminiscent fuzz of New Orleans quartet The Rubber Memory‘s 1970 tune “All Together.” The band self-released only 110 copies of their lone album, making it an incredibly sought-after rarity for decades. Alongside a limited edition reissue in 2000, the group reformed for a one-off show before quickly bouncing back into our collective cosmic consciousness.
About the Brown Acid series: Some of the best thrills of the Internet music revolution is the ability to find extremely rare music with great ease. But even with such vast archives to draw from, quite a lot of great songs have gone undiscovered for nearly half a century — particularly in genres that lacked hifalutin arty pretense. Previously, only the most extremely dedicated and passionate record collectors had the stamina and prowess to hunt down long forgotten wonders in dusty record bins — often hoarding them in private collections, or selling at ridiculous collector’s prices. Legendary compilations like Nuggets, Pebbles, ad nauseum, have exhausted the mines of early garage rock and proto-punk, keeping alive a large cross-section of underground ephemera. However, few have delved into and expertly archived the wealth of proto-metal, pre-stoner rock tracks collected on Brown Acid.
Lance Barresi, co-owner of L.A./Chicago retailer Permanent Records has shown incredible persistence in tracking down a stellar collection of rare singles from the 60s and 70s for the growing compilation series. Partnered with Daniel Hall of RidingEasy Records, the two have assembled a selection of songs that’s hard to believe have remained unheard for so long.
“I essentially go through hell and high water just to find these records,” Barresi says. “Once I find a record worthy of tracking, I begin the (sometimes) extremely arduous process of contacting the band members and encouraging them to take part. Daniel and I agree that licensing all the tracks we’re using forBrown Acid is best for everyone involved,” rather than simply bootlegging the tracks. When all of the bands and labels haven’t existed for 30-40 years or more, tracking down the creators gives all of these tunes a real second chance at success. “There’s a long list of songs that we’d love to include,” Barresi says. “But we just can’t track the bands down. I like the idea that Brown Acid is getting so much attention, so people might reach out to us.”
Brown Acid: The Tenth Trip will be available everywhere on LP, CD and download on April 20, 2020 via RidingEasy Records. Pre-orders are available for digital (with immediate download of the first single) at Bandcamp, physical pre-orders at RidingEasy Records.
Keep your mind open.
[Trip over to the subscription box while you’re here.]
We would spend about twelve hours in downtown Austin on the third day of Levitation Austin 2019. We had tickets to see a lot of bands, and it was the busiest day of the festival for everyone involved.
We began at, once again, Barracuda, where the RidingEasy Records showcase started off the afternoon. We missed the opening of Warish‘s set due to having to eat lunch beforehand at a nearby Thai restaurant. We knew we’d need fuel for the day. Warish was blaring on the inside stage, making my wife say, “There’s nothing ‘ish’ about it!” Their cover of Nirvana‘s “Negative Creep” was solid and much-appreciated.
Next up, and outside, were Here Lies Man, whose last two albums have been in the top ten of their respective years for me. They put on a groovy set to a crowd that was loving their heavy “Black Sabbath plays Afrobeat” sound and the warmer weather.
My wife became a fan of Blackwater Holylight after we went back inside to see their set. It was a cool, trippy, and sexy mix of psychedelia.
She also appreciated the killer set by The Well, who were among the band’s I was most excited to see at the festival. They threw down one of the best sets I’ve seen all year. It was hard-hitting, solid groove stoner-doom metal and a great mid-day lift.
We kept that theme going with Acid King, who flattened what little was left of the outside stage by now. It was great to see and hear these legends live. They still shred.
It was a quick walk to Stubb’s BBQ to see the Black Angels and John Cale. The Black Angels put on another fine set. I’ve lost count of how many times I’ve seen them live now, and they never put on a bad show.
“I think we’re more excited than you are,” said the Black Angels’ lead singer, Alex Maas, before John Cale took the stage to play tracks that ranged from fun to creepy and covered his solo work and Velvet Underground cuts. The Black Angels joined him and his band onstage for an encore performance of “Sister Ray” that was a thrill for everyone on stage and in front of it.
The Black Angels (left) and John Cale and his band perform “Sister Ray.”
As cool as that was to see and hear, we still had more sets to catch. We zipped back to Barracuda to see Night Beats and Cosmonauts. Night Beats were first, with Danny Blackwell rocking his awesome hat as usual, and they put on a great show on the outdoor stage. Blackwell is a gunslinger with his guitar. I’d almost forgotten how much he shreds.
I’d heard good things about Cosmonauts’ live sets, mostly that they were guitar onslaughts. That description wasn’t far off, because they shook the walls of the building and were a great end cap to a long, wild day.
We were exhausted by the time we got back to the garage apartment we were renting in Austin, but it was a fun day. The next would bring death by audio.
I grew up in a small town. We lived across the street from the more expensive lake houses and next to a woods that was part of a pine tree farm. I spent many hours in that woods, crafting stories, searching for treasure, fighting imaginary battles, and listening for monsters. Every kid has a place like this, and for the members of stoner metal legends Acid King (Brian Hill – bass, Joey Osbourne – drums, Lori S. – vocals and guitar) it was Busse Woods.
Their 1999 album has received a full reissue from RidingEasy Records to celebrate Busse Woods‘ twentieth anniversary. The album has become almost a mystical tome in the last two decades with its tales of nature’s power over man, creepy things in the shadows of old trees, and good ole fashioned heavy riffs.
The opener, “Electric Machine,” has such heavy bass thumps that you’d think a giant was tap dancing next to you. “Silent Circle” starts with a guitar riff that’s like a burning trail of gasoline heading straight for an ammunition warehouse. It only gets louder and heavier from there. “Tell all the people I’m on my way. There is no tomorrow for me…Silent circle breaks the chain,” Lori S. sings. It’s a song about death, at least on its surface, but it might also be a song about resurrection – whether that resurrection is beneficial or harmful to her (or mankind, perhaps) is up to the interpretation of the listener.
The title of “Drive Fast, Take Chances” is certainly a reflection on the band’s wild times in Busse Woods not far from their Illinois hometown, smoking weed, listening to metal, and ditching school and the cops. The riffs and drums on it are as heavy as the fallen trees in their favorite stomping grounds. An unexpected treat is Acid King’s cover of “39 Lashes” from Jesus Christ Superstar. The onslaught of the drums is only outweighed by the battle axe-heavy guitar chords and thunderous bass.
“Carve the Five” starts off with a languid bass line from Brian Hill that lures you into what almost feels like a safe place, but Joey Osbourne’s drum fill at the start of the track is akin to a rattlesnake’s rattle (if that rattlesnake were a giant 8HD variety) warning you to tread carefully. The title track finishes the album with a long instrumental that boils and bubbles like the contents of cauldron.
It’s great that Busse Woods (pronounced “buss-ee,” by the way) is getting a nice reissue for its twentieth anniversary because this album should be even more known than it already is. It’s a bit of a secret classic. Those who know about it revere it. Those who have only heard of it are intrigued by it. Those who don’t know of it are changed after discovering it.
Keep your mind open.
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“Channels high-speed, denim and leather ’70s rock but gives it a slightly modern touch. You could imagine hearing it on the Dazed and Confused soundtrack just as easily as you could imagine hearing it on the radio next to Queens of the Stone Age.” — Brooklyn Vegan
“Rooted in a glammy early Seventies rock sound, ‘She Beast’ is the sort of head-nodding cut that you’d expect to hear blaring out of a muscle car, with a beautiful feathered-hair couple taking the front seats.” — Revolver
Richmond, VA quartet Satan’s Satyrs premiere the title track from their forthcoming album The Lucky Ones today via CvltNation. Hear and share “The Lucky Ones” HERE. (Direct YouTube.)
Satan’s Satyrs hit the road in support of the album with doom faves Windhand in October. See all dates below.
Revolver Magazine recently shared album track “She Beast” HERE. Brooklyn Vegan previously launched album opener “Thrill of the City”HERE.
Upon recovering from being steamrolled over by the onslaught of Satan’s Satyrs‘ new album The Lucky Ones, you’ll likely wonder just what exactly it was that hit you. A punky, sleaze rock groove (perhaps even a whiff of 70s glam) meets NWOBHM melodic fury, Blue Cheer mass and volume, and Ozzy‘s dramatic charisma condensed into a sound all its own, perhaps. At its core is an unstoppable, unpretentious exorcism of rock’n’roll exuberance.
“It doesn’t sound like anything else happening right now,” says bassist/vocalist Clayton Burgess, who has spent the last few years splitting his time in British doom heroes Electric Wizard. “The band has its own unique idiosyncratic sound.”
A significant difference on this album is the addition of second guitarist Nate Towle, which expands the band’s steamrolling capacity tenfold. Burgess, Towle, guitarist Jarrett Nettnin and drummer Stephen Fairfield convened at the Richmond, VA studio of Windhand guitarist Garrett Morris, working in fits and starts over several months, first quickly capturing the raw energy of a band firing on all cylinders, then fine tuning the sounds and experimenting to get everything as massive as you hear it now. Likewise, Burgess’ lyrics show new levels of achievement.
“I pushed myself to get more of my own life in the songs, but open enough that anyone can interpret them in their own way,” he says. “I just wanted to capture weirdness. It reflects my unusual tastes, but also takes a personal perspective.”
The twin guitar assault begins from the very first beat of The Lucky Ones and never relents until the last second of the 9-track, 35-minute album. Opener “Thrill of the City” wastes no time launching into soaring harmonized riffs and swaggering rhythms setting the scene for a debauched good time. The title track, perhaps the most personal song on the album, is also the most unabashedly melodic. “Too Early To Fold” captures the frustrations and challenges of life as a touring musician, expressed through a belligerent 2-guitar attack and pounding snare on all 4 downbeats driving it all home. “Trampled By Angels” pits a swinging T Rex vibe against dizzy, noisy guitars and lyrics about a pioneer of fetish photography using his medium to express forbidden desires to the world. Likewise, The Lucky Ones itself is a vibrant, brash and loud expression of defiance against convention that refuses to be ignored.
The Lucky Ones will be available on LP, CD and download on October 19th, 2018 on Bad Omen Records, manufactured and distributed in North America by RidingEasy Records. Pre-orders are available HERE.
SATAN’S SATYRS LIVE:
10/08: Atlanta, GA – The Earl #
10/09: New Orleans, LA – Gasa Gasa #
10/10: Houston TX – White Oak Music Hall #
10/11: Dallas, TX – Club Dada #
10/12: Austin, TX – Barracuda #
10/14: Albuquerque, NM – Sister #
10/15: Phoenix, AZ – Valley Bar #
10/16: Los Angeles, CA – El Rey Theatre #
10/17: Oakland, CA – Starline Social Club #
10/19: Portland, OR – Aladdin Theatre #
10/20: Vancouver, BC – Venue #
10/21: Seattle, WA – Neumos #
10/23: Denver, CO – Larimer Lounge #
10/24: Kansas City, MO – The Riot Room #
11/01: Philadelphia, PA – Underground Arts #
11/02: Brooklyn, NY – Elsewhere #
11/03: Boston, MA – Brighton Music Hall #
11/04: Montreal, QC – Le Belmont #
11/05: Toronto, ON – The Legendary Horseshoe Tavern #
11/07: Chicago, IL – Subterranean #
11/08: Minneapolis, MN – Fine Line Music Cafe #
11/09: Milwaukee, WI – Cactus Club #
11/10: Indianapolis, IN – The Hi-Fi #
11/11: Nashville, TN – The Basement East #
11/12: Louisville, KY – Zanzabar #
11/13: Columbus, OH – Ace of Cups #
