Tia Carrera – Visitors / Early Purple (Small Stone Records, 22 March 2019)
Many of you may already be familiar with this group, who rose to superstardom when they appeared in the 1992 film Wayne’s World as the fictional band Crucial Taunt, as well as having a few of their songs appear on the soundtrack. But perhaps you soon lost track of these guys, so it wouldn’t be a surprise if you hadn’t heard that several years later they decided to move to Texas, fire the lead singer, fire the rest of the band, bring in a completely new set of musicians, not bring in a new singer, and adopt more of an improvisational psychedelic style.
To cap it all off, they went on to alter the spelling of their name just barely enough to avoid any potential lawsuits. See, in a situation similar to Alice Cooper, who had been the vocalist of the Alice Cooper Band prior to his appearance in Wayne’s World, the original singer of Tia Carrere legally changed her name to the band’s name — using it in her acting career when she, too, played roles in Wayne’s World and its sequel. This left the rest of the band — which, to reiterate, by this time consisted of entirely different members anyway — in an awkward position, and they had little choice other than to change the name to Tia Carrera.
Or to put it another way, virtually nothing I’ve said thus far has been even remotely true, aside from “Texas” and “improvisational psychedelic style.” Austin-based trio Tia Carrera, who (as far as I can tell) are completely unrelated to the similarly-named actress or her fake glam rock cover band, put out an album with two new lengthy songs (their first new material since 2011!) via Small Stone earlier this year, and if you haven’t heard it yet, I’m going to tell you why you should.
Stone Machine Electric – Darkness Dimensions Disillusion (self-released, 26 April 2019)
Good afternoon! Here’s some news that recently came across our desk here at VOH headquarters, which we felt obliged to pass along to you: guitar/drums/vocals “doom jazz” duo Stone Machine Electric have decided to make all their past releases “pay what you can” (including free) on their Bandcamp page. Naturally, that includes their 2016 record Sollicitus es Veritatem which we dug into at that time, right here.
Excluded from this offer is the band’s latest release Darkness Dimensions Disillusion which just came out a few months ago. But fear not, the price is still pretty cheap, or — even better — you can snap up a free download of this album when bundled with one of the band’s t-shirts!
BREAKING NEWS: as an added bonus, just as we were about to go to press with this, we just learned that the band also plans to include a free patch with CD/shirt/cassette orders — but hurry because supplies are very limited!
Doom Side of the Moon – Doom Side of the Moon (self released, 04 August 2017)
So this weekend marks the 50th anniversary of Pink Floyd releasing their debut album The Piper at the Gates of Dawn. That’s a pretty significant milestone, and anyone who spends much time poking around this website will soon realize that they are one of my favorite bands of all time. That has been the case for at least half of the past fifty years, ever since I really started to discover their catalogue of work when I was in middle school — and that fandom has been borderline obsessive during much of that time.
Evidently someone else who feels the same way is Kyle Shutt, guitarist for The Sword, who has chosen to mark the occasion of a half-century of Pink Floyd albums by recreating their best-known work (and one of the biggest selling records in history) The Dark Side of the Moon.
“The idea came to me after getting baked and wanting to hear a heavy version of ‘Time’,” he explained. “I thought, why not just cover the whole album?” While admitting that “It felt a little strange messing with someone’s legacy,” the guitarist went on to say that he is “treating it as a celebration of one of the greatest bands to ever rock, a party that everyone is invited to.”
Recruiting two of his bandmates, bassist Bryan Richie and drummer Santiago Vela III, the project was completed with the addition of vocalist Alex Marrero, saxophonist Jason Frey, and keyboardist Joe Cornetti, and thus Doom Side of the Moon was born.
Their lovingly crafted tribute will officially be released on Friday (04 August), and then on Saturday (05 August, the exact anniversary of Piper‘s release) they’ll be performing the whole thing at Emo’s in Austin TX, along with a laser show performed by The Mustachio Light Show.
Wildspeaker – Spreading Adder (Prosthetic Records, 23 June 2017)
“Spreading adder” is one of several nicknames for the eastern hognose snake; others include “hissing adder” or “hissing viper,” “blow snake” or “blow viper,” and “puff adder” — this last one despite the serpent being entirely unrelated to the similarly-named highly venomous species found in Africa. These derive from the reptile’s defensive behaviors which include a display of spreading its body like a cobra, hissing aggressively, and feigning attack.
Spreading Adder is the brand-new album by Dallas-based troupe Wildspeaker, just released this past Friday by Prosthetic Records after a handful of self-released efforts over the past three years. Self-produced by the band and recorded in bassist Garry Brents (also a member of Cara Neir)’s own studio, the album comes across with every bit of viciousness and ferocity as its namesake animal.
The quintet (the line-up also includes vocalist Natalie Kahan, drummer Ricky Rivera, and Nelson Favela and Zak Pitts on guitar) are currently in the middle of a tour across the U.S. — but unfortunately we’ve just learned that they’ve had a bit of a van mishap! Click here for more details on that story, including a link to a Gofundme page to help with needed repairs — or you might also consider buying a copy of their new album or other merch to help get them back on the road. (The remaining scheduled tourdates will be listed in the comments section below, but you probably ought to keep tabs on Facebook to see whether there is any new information.)
Portrayal of Guilt – Portrayal of Guilt (Miss the Stars Records / Contrition Recordings, 02 May 2017)
Recently I got a message from this band called Portrayal of Guilt, with barely any information other than the fact that they had a brand-new EP out, and a link to their Bandcamp page. So, armed with that miniscule amount of knowledge, I went to check it out, as one does. There I learned that the band is from Austin, Texas; a bit more poking around revealed that they seem to be a relatively new group: all of their social media presence dates back no further than January of this year. Oh, and also I found that one of the keywords they use to describe themselves is “screamo.”
Now I don’t know about you, but that word tends to make me feel a bit trepidatious. After all, just like its predecessor “emo” and distant ancestor “hardcore,” what originated as a great concept became completely perverted and bastardized over the past few decades — to the point where, in modern usage, the term came to be applied to something completely unrecognizable when compared with its archetypal format. But I decided the EP was only three songs — barely more than six minutes altogether — so I might as well give it a shot. And to make a long story short, as you could infer from the fact that I’m writing about it now, that concern turned out to be completely unfounded.
Goatcraft – All for Naught (Forbidden Records, 20 March 2013)
Goatcraft – Yersinia Pestis (I, Voidhanger Records, 15 July 2016)
The past few days, we’ve talked about a few different musical groups; while a few of them might be tangentially associated with some form of metal bands, generally these have all been of the non-metal variety, using traditional folk, classical, orchestral, baroque, or chamber ensemble instrumentations, and playing compositions that would be classified as neoclassical or neofolk. Today we close out the week by taking a look at a solo musician from San Antonio, who goes by the same Lonegoat, as the sole member of Goatcraft, whose piano-and-keyboard-only creations have prompted him to coin the term “necroclassical.”