Melvins – Basses Loaded (Ipecac Records, 03 June 2016)
Around here, we’ve talked pretty extensively about the Melvins. Mostly because since forming in Montesano, Washington about thirty-five years ago, the band has been a highly influential part of so many of the genres we love, even having a hand in forming and shaping several of those. Also there’s the fact that, with their ever-revolving line-ups, there are approximately ninety-seven Melvins releases (on average) each year. Being so prolific, it’s likely that they’ll have some stuff kind of flying under the radar, and today we’ll be looking at an album from last year that you may have missed. And then down in the comments you can find information about all their tour dates for the rest of the summer and beyond (and if you have the opportunity to see these guys, I really could not recommend it highly enough!)
Sila Slona – Sila Slona (Zero Hero Recordings, 27 January 2017)
Montezuma’s Revenge – Them (Zero Hero Recordings, 03 March 2017)
Anyone who has read or watched any sort of news in the United States over the past few months may have noticed that Russia is being mentioned in connection with nearly every story that’s being reported these days. That country is currently discussed more often in this country, than any other time in the past several decades — at least since August 1991. Not even during the Sochi Olympics do I recall having heard about Russia nearly this often.
But I’m not here to talk about political matters, and you certainly aren’t here to read about such nonsense either. So it seemed like a much more fitting idea would be to discuss some Russian music. Specifically, here are albums by two different bands from Moscow, which were both released earlier this year by Moscow-based Zero Hero Recordings. Enjoy!
at Club Cafe, 58 S. 12th St., Pittsburgh (South Side) PA 15203
21+ ONLY, 8:00 show / 7:00 doors, $12 adv. / $14 day of
Tickets are on sale NOW at Ticketweb… OR you can WIN a pair of tickets FREE, courtesy of Opus One Productions and Valley of Steel! Keep on reading to find out how (and while you’re at it, don’t forget about our other contests we are currently running!) …
Barren Heir – Tired Turns (self-released, 03 May 2016)
Stone Machine Electric – Sollicitus es Veritatem (self-released, 17 May 2016)
Hey people! Happy Cuatro de Mayo! I’ve got another pair of albums to share with you today, and I won’t waste any of your time getting to the part where we talk about them. Both are brand new (the first one came out yesterday, the second can be pre-ordered now and will be released in two weeks), both are self-released and self-promoted, and both are absolutely deserving of your attention. Oh, and each of them happens to be just five tracks long, but by serving up songs that average between nine and twelve minutes, both of these bands have quite considerately ensured that you get your money’s worth!
Beehoover – The Devil and His Footmen (Exile on Mainstream, 30 September 2013)
Beehoover – Primitive Powers (UnUnDeux, 26 February 2016)
Hey, good afternoon, music fans! Did you know that this website is now in its fifth year of existence? Technically its fifth birthday will be coming up later this year, but I just thought it was interesting to think about that. That might be partly why I’ve been covering quite a few older releases over the past weeks, trying to get some stuff written about and shared with you that I’ve been listening to and meaning to write about for a long time: reaching (or approaching) that sort of milestone can make you do a lot of reflecting back, while also trying to stay on top of what’s happening currently and looking ahead to what’s next.
Anyway, that’s kind of a roundabout way of introducing today’s topic, which will be hitting a bit of each of those things, since I’ll be covering a pair of albums by German bass/drums/vocals duo Beehoover — one which came out in late 2013 (and I’ve been thoroughly enjoying, and intending to get a chance to write about, since around that time), and a brand-new one (that I feel confident you’ll enjoy just as much) which will officially hit the store shelves (metaphorically speaking) tomorrow!
Hey, guess what. It’s Monday. Another weekend concluded, another work week begun. By now, you’re all surely well aware of my Garfieldian opinions about Mondays (also, mornings; also, lasagna), so I see little point to continue any interaction with that particular decreased equine.
So let’s change the subject, because we all know you’ve come here to hear some music, not to read my grumpy mutterings. It’s been over a year since we last checked in on our favorite D.C.-area stoner/fuzz rockers Borracho, so it’s probably about time for an update there.
As it turns out, around three months ago, the folks at Nashville’s Palaver Records launched the first entry in their new series of 7″ splits, which they’ve titled Sludgy Erna Bastard. (Slur the syllables together a bit when you say it out loud, and it should make more sense.) This inaugural edition pairs a Borracho song with a contribution from Brooklynites (and Palaver roster alums) Eggnogg. I suspect you’ll find each of them well worth taking the time to check out…
King Buzzo – This Machine Kills Artists (Ipecac Recordings, 02 June 2014)
The bulk of my formative years were spent in the 1990s, from age eleven (when I was being introduced to Faith No More and Overkill) through twenty (when I was discovering Pentagram and Emperor). I experienced lot of music both new and old during that decade, all of which had a strong influence over my tastes and preferences, and frankly, made a huge impression on my life in general. And looking back, I think it could be argued that (taking into account both direct and indirect effects) singer/guitarist Roger “Buzz” Osborne and his band The Melvins had made at least as much of an impact as any other person or band, if not more.
After all, not only did I discover their own music somewhere in my teens (and found myself blown away by it), but that band can be said to have been almost singlehandedly responsible for entire genres of music — some of which rank among my absolute favorite. Where would sludge or grunge metal be, if it weren’t for their groundbreaking work? What would Crowbar or Eyehategod have sounded like; TAD or Harvey Milk; or dozens of other bands who’ve served such an important role in my life?
So clearly, I don’t think I could overemphasize how big of a deal they — and by extension, their one constant member over their thirty year history — really are. And so when Ipecac Recordings issues an album full of Osbourne solo acoustic material, needless to say I am very intrigued…