Tuesday, May 30, 2017

1997 — The Year Bands Broke: Faith No More, Rollins Band, and Helmet

"You had to be there."

It's this phrase that's put out there following an ill-spent attempt at conveying the impact of an experience, the event's resonating effects still mapped throughout your grey matter yet impossible to express verbally to anyone unable to comprehend the time and space of the where and when.

I talk about the 90s quite a bit, aware that my era of self-discovery means nothing in the here and now, JUST the where and when, and that articulating these feelings may often yield little or no reaction. Because you had to be there.

And, I admit to sometimes missing that decade. I've done my damnedest to look ahead, to never be indoctrinated into that insufferable collection of unmovable mid-lifers content to reside in a state of permanent reminiscence. I try and focus on relevant, i.e. "now," music. But, as this point in time was where I began to understand how I identify musically and where my passions lie, there's a feeling I used to get back then when I would pick up a new album, bonding with it in a way that, at times, meant more to me than human or spiritual connection. And it seemed to happen all the time. For a couple of solid years, maybe between my 15th and 17th years especially, I was emotionally affected by whatever was running from my Walkman to my ears. And so many of these experiential albums came out in 1992, twenty-five years ago, which is a deeply overwhelming realization.  Three of these albums were The End of Silence by Rollins Band, Angel Dust by Faith No More, and Meantime by Helmet.

In 1997, though, this feeling I'd had dissolved and that once-enthralling period of seemingly endless and abundant "alternative" music had grown banal and recycled, appropriated and drained of any worth by the powers-that-be, FM radio, and MTV. I'd responded by hitting up hip-hop. Wu-Tang Clan's very stuffed two-volume opus, Wu-Tang Forever, was all I'd listened to that entire summer.

But, it did seem that the new population of young(er) people were offered very saccharine and superficial options to satisfy their need for a musical identity, post-Disney youth with inescapable hooks, trivial needs and pursuits, and a whole lot of glamour. Nü metal was for the angry kids and even THAT qualified for airplay on Total Request Live.

(There were milestone releases from Radiohead, Built to Spill, Erykah Badu, Nick Cave and The Bad Seeds, Sleater-Kinney, Ween... etc. But, Creed and Marcy Playground happened in 1997, okay? So, you get where I'm going with this.)

And, while I noticed this overall shift toward America's new focus and realized that music fans of my ilk were no longer part of the conversation, three releases signaled, for me anyway, the sad finality of the era and proved to be the end days for those bands responsible: Come In and Burn by Rollins Band, Album of the Year by Faith No More, and Aftertaste by Helmet.  The same bands provided as much of a beginning as they did an end.  

Now, I realize that I may be inflating the impact and importance of these albums, being as they are the respective works of bands who, in the eyes of many, may amount to little more than one-pump chumps, (or, in less vulgar terms, "one-hit wonders"). I obviously hold them in higher regard than that, but I also recognize that I'm part of a niche group of appreciators. Devotees.

Still, as tastes had shifted, the environs with which bands relegated to "alt" status could once thrive were no longer available. And while other circumstances led to the dissolution of Rollins Band, Faith No More, and Helmet, certainly demographics mattered. As Rolling Stone had pointed out in a review of Album of the Year"...Faith No More are floundering around desperately, groping for a sense of identity and direction in a decade that clearly finds them irrelevant." I don't agree with the review, but assessing the album that Faith No More had produced against the direction the decade was going, yeah, it clearly wasn't a relevant album. And the same could be said for Come In and Burn and Aftertaste as well.

But, with that said, this is the point when personal taste and cultural significance diverge. If you think about the myriad bands whose efforts once garnered mass attention and adoration, whose albums sold, whose charisma and star power won fan affection, whose success was followed by a period of sudden disinterest from their once-loving and fickle public as soon as something new came along, these flash-in-the-pan performers still have fans who will come out, spend cash, and see them play. Yes, the glory days are over, but people are willing to shell out money for nostalgia or genuine fandom.

I digress slightly, but the point is that an audience exists for bands past their prime. So, for me, Come In and Burn, Album of the Year, and Aftertaste, while I do consider them cultural barometers, stand as solid installments with plenty of merit.

Having hit their stride with bassist Melvin Gibbs, who'd been newly acquired just before the band had recorded Weight, Rollins Band sounded more cohesive with Come In and Burn, its funk-laden and jazz-infused vitriol grounded in anxiety ("Shame"), anger ("Starve"), lamentation ("Saying Goodbye Again"), and introspection ("Thursday Afternoon"). The sessions for Come In And Burn also produced one of the band's best tracks with "Also Ran," a B-side that wound up appearing in the Come In And Burn Sessions album, independently released through Henry Rollins's 2.13.61 imprint. Come In And Burn was a clear progression in sound, but would be, unfortunately, the band's final release with this line-up. There was an attempted reunion in 2006, but it didn’t gain any traction. 

Faith No More thankfully had it in them to come up with “Stripsearch,” "Last Cup of Sorrow," “Helpless,” and "Ashes to Ashes" before they called it quits, (at least until the band came back together and produced 2015’s Sol Invictus). With its self-deprecating quip of a title, Album of the Year does lack some cohesion and I won’t deny that there were signs that FNM’s creative relationship sounds as if it’s stagnating. The band’s approach to songwriting with 1995’s King For a Day… Fool For a Lifetime, which was also received with mixed praise upon release, could very well have provided the basis for Album of the Year, FNM’s shift in direction marrying some very odd musical ideas (“The Gentle Art of Making Enemies,” “Cuckoo for Caca”) with more pop-friendly excursions (“Evidence,” “Star A.D.”) and the relatively familiar (“Digging the Grave,” “The Last to Know”). While one could perceive this exploration as challenging to fans expecting more of the same, and some of their more ardent fans do consider King For a Day to be FNM’s true masterpiece, Album of the Year could justifiably have been viewed as a regurgitation of King For a Day’s layout, reducing risk to formula.

Album of the Year has benefitted from time and hindsight, though, with songs like “Collision,” “Naked in Front of the Computer,” and “Mouth to Mouth” sounding less paint-by-numbers and its lighter, more melodic offerings like “She Loves Me Not” not much of a stretch sequenced against the more immediate “Got That Feeling.” And with Sol Invictus having now released Album of the Year from being the band’s last hurrah, it’s now viewed with less finality. 

Helmet’s Aftertaste is not the high intensity, off-kilter outing that its predecessors (Strap It On, Meantime, and Betty) were, but Page Hamilton’s very sober and textural follow-up remains a sturdy addition to the band’s discography. Being Helmet’s last release from the original line-up, (Hamilton would revive Helmet in 2004 with a new line-up and a new album, Size Matters), Aftertaste was recorded as a three-piece following the departure of guitarist Rob Echeverria, who would join Biohazard. While Hamilton’s very direct approach to song craft offers little in the way of invention, Aftertaste succeeds better at emotion than it does aggressiveness, the thick, down-tuned resignation of “Like I Care” and the pensive “Driving Nowhere” standouts next to the more predictable “Birth Defect” and “Insatiable.” I’ve also always loved how the album opens with “Pure,” its verses driven by one of my favorite Hamilton riffs.

Aftertaste has admittedly not held up as well as Helmet’s prior albums for me, (even “Broadcast Emotion” whose seasick crawl grabbed me upon first listen doesn’t do much for me anymore), but it’s still an album that I hit up when I’m in the mood to hear it. I enjoy the infectious hook of “Renovation,” the lively percussive skip of “Exactly What You Wanted,” the ascending melody of “It’s Easy to Get Bored,” and John Stanier’s sporadic drum pauses in “Harmless.” 

Since Aftertaste, Hamilton has released four Helmet records, none of which have replicated or matched the vitality and fluidity of that first line-up. I got to see Helmet a lot in the 90s, happy to have witnessed that relationship at work, a well-honed exchange of depth and noise, rhythm and force. You had to be there. It’s too bad if you weren’t.

Letters From A Tapehead

Friday, May 26, 2017

Chris Cornell (1964-2017)

“Light a Roman candle… And, hold it in your hand.”

This line always stood out to me, its bold and sung utterance built atop the gritty stroll of “4th of July,” a song from Soundgarden’s much acclaimed Superunknown, an album whose existence warped my being with every listen, my adolescent brain smitten with every melodic stanza, every metallic lick. I fed this album into many blank cassettes in the summer of 1994, almost using the task as an excuse to necessitate an uninterrupted hour-plus of listening: “Gotta cut the track right. Gotta press PAUSE just before I run out of tape on side-A.” So essential that album remains to my chronology that I rarely listen to Superunknown as it puts me at a time and place I'd rather not be. It remains an affecting work from Soundgarden, whose primal scream, Chris Cornell, is dead from an apparent suicide. He was 52. Needless to say, since this news was announced, Superunknown has been on rotation, the dust wiped off the jewel case, a Wall-to-Wall Sound & Video guarantee still adhered to the plastic, and my favorite line in “4th of July” now skipping. It’s the only song on the entire CD that’s not playing right. 

It’s been more than a week since his death and the Internet has been expectedly and understandably rife with fandom and deep genuine expressions from those of us who were maybe affected by Cornell, growing up during the heyday of Seattle’s stint as Alternative Rock’s land ‘o’ plenty. Artists are covering Soundgarden tracks, blog posts and commemorative articles have been writ and posted, and the faces of Soundgarden, Temple of the Dog, and Audioslave albums have been popping up as proof that those albums are indeed spinning in tribute to an artist lost. And then, once the loss is addressed, the realities of fame and suicide become a focus, acknowledging that this was in fact a life taken through action not circumstance. And we think about what it is to be an admired and unquestionable talent, what it is to be successful, and how sometimes that's still not enough of a reason to stay alive. This isn’t the first time 90s kids have seen their heroes expire too soon. 

Cornell's wife, Vicky, has stated that she believes his suicide to be the result of an excessive intake of anti-anxiety medication. It could very well be that Cornell's actions were chemically influenced. We can't pretend to know. We can only really note how tragic it is that he's no longer with us. In her recent dedication to her husband, she states, “I’m sorry, my sweet love, that I did not see what happened to you that night. I’m sorry you were alone, and I know that was not you, my sweet Christopher. Your children know that too, so you can rest in peace.”

Chris Cornell had a voice that surpassed many in the early 90s. Being someone who regretfully never took advantage of any opportunity to experience this voice live, I can only imagine how colossal Cornell must've sounded, those aggressive refrains of "OUTSHINED! OUTSHINED! OUTSHINED!" or that chilling register he hits in "Hands All Over" impressive enough bursting from the modest speakers of my JVC boombox, the centerpiece of my teenage bedroom. With a deep appreciation for the muddy cult blues of Black Sabbath and the unadulterated intensity of Motörhead, (“Rusty Cage” alone makes this pretty obvious), Soundgarden reveled in punk rock’s muck of disillusionment and had the confident stride of a band cultivated by the ethos of DIY. Having put out records for both SST and Sub Pop, they were the first of the Seattle acts to sign to a major label, which had garnered some negative reactions from their fanbase. Ultimately, though, this move led them to success once Nirvana’s Nevermind sounded the call of a generational shift in tone, attitude, and sound. They produced some of the era’s best releases, preceding the shift with 1988’s Ultramego OK and 1989’s Louder Than Love, then informing the decade with 1991’s Badmotorfinger and the aforementioned Superunknown, albums that continue to rate as essential as any 60s or 70s rock classic. Put Cornell up there with Plant, Dio, or Gillan. He belongs up there: looking California, feeling Minnesota.

R.I.P., Chris Cornell.

Letters From A Tapehead

Friday, May 12, 2017

Chastity Belt: "5am"

Is "5am" Chastity Belt's most sophisticated single? Deviating from the band's typically casual, lo-fi lean, "5am" sees Chastity Belt anxious and melodically emotive, a lengthy outro apparently meant to close out their upcoming new album, I Used to Spend So Much Time Alone, which is being released by Hardly Art on June 2nd. The track's instrumental repetition builds tension especially after the verses have been spent, its guitar sounds evoking the sort of six-string interplay that Sonic Youth would employ, generating noise-inductive frequencies and gently plucked melody.

All info on I Used to Spend So Much Time Alone was provided by Hardly Art.

This morning, Chastity Belt unveiled a third song from their upcoming full-length I Used to Spend So Much Time Alone. "5am" is the record's epic closing number and reveals a harder-edged side of the band that hasn't been heard before. Stream the track via Stereogum or the link above. I Used to Spend So Much Time Alone is out June 2nd on LP, CD, cassette, digital and streaming formats and includes three bonus tracks. See below for a list of US and UK tour dates.

05.20.17 - Seattle, WA - Bothell Block Party and Brewfest
06.01.17 - Seattle, WA - Record Release show at The Crocodile *
06.14.17 - Milwaukee, WI - Cactus Club #
06.15.17 - Chicago, IL - Subterranean #
06.16.17 - Detroit, MI - Jumbo's #
06.17.17 - Toronto, ON - Longboat Hall at the Great Hall #
06.18.17 - Montreal, QC - Bar Le Ritz #
06.19.17 - Boston, MA - Brighton Music Hall #
06.20.17 - Brooklyn, NY - Music Hall of Williamsburg #

06.22.17 - Philadelphia, PA - PhilaMOCA #
06.23.17 - Washington, DC - Songbyrd %
06.24.17 - Durham, NC - The Pinhook %
06.25.17 - Asheville, NC - The Mothlight %
06.27.17 - Atlanta, GA - Masquerade (Purgatory) %
06.28.17 - Nashville, TN - DRKMTTR %
06.29.17 - St. Louis, MO - Off Broadway %
06.30.17 - Iowa City, IA - Gabe's %
07.01.17 - Minneapolis, MN - 7th St. Entry %
08.01.17 - San Francisco, CA - Great American Music Hall
08.03.17 - Los Angeles, CA - Teregram Ballroom
09.04.17 - Margate, UK - The Dugout
09.05.17 - Leeds, UK - Brudenell Social Club
09.06.17 - Manchester, UK - Star and Garter
09.07.17 - Newcastle, UK - Cluny
09.08.17 - Glasgow, UK - Broadcast
09.10.17 - Isle of White, UK - Bestival
09.11.17 - Bristol, UK - Exchange
09.12.17 - Nottingham, UK - Bodega
09.13.17 - Brighton, UK - Green Door Store
09.14.17 - London, UK - Garage
09.15.17 - Brussels, BE - Witloof Bar
09.16.17 - Cologne, DE - King Georg &
09.17.17 - Berlin, DE - Kantine Am Berghain &
09.19.17 - Vienna, AT - Arena &
09.20.17 - Lausanne, CH - La Romandie Club &
09.21.17 - Paris, FR - Espace B &
09.22.17 - Rotterdam, NL - V11
09.23.17 - Utrecht, NL - ACU &

* - w/ So Pitted, Jenn Champion
# - w/ SNEAKS
% - w/ Darren Hanlon
& - w/ Magic Potion

A few years ago, while in a tour van somewhere in Idaho, the members of Chastity Belt—Julia Shapiro, Gretchen Grimm, Lydia Lund, and Annie Truscott—opted to pass the time in a relatively unusual fashion: They collectively paid one another compliments, in great and thoughtful detail. This is what we like best about you, this is why we love you.

I think of that image all the time, the four of them opening themselves up like that, by choice. It’s hard to imagine other bands doing the same. But beyond their troublesome social media presence—see: the abundance of weapons-grade duck face, the rolling suitcase art—and beyond the moonlit deadpan of say, “IDC,” lies, at the very least, an honesty and an intimacy and an emotional brilliance that galvanizes everything they do together. Which is a fancy way of saying: They’re funny, but they’re also capable of being vulnerable. “Giant Vagina” and “Pussy Weed Beer,” two highlights from their aptly titled 2013 debut, No Regerts, were immediately preceded by a sublime yet easily overlooked cut named “Happiness.” I saw a younger, still unsettling version of myself all across 2015’s Time to Go Home.

This June marks the release of I Used to Spend So Much Time Alone, their third and finest full-length to date. Recorded live in July of 2016, with producer Matthew Simms (Wire) at Jackpot! in Portland, Oregon (birthplace of some of their favorite Elliott Smith records), it’s a dark and uncommonly beautiful set of moody post-punk that finds the Seattle outfit’s feelings in full view, unobscured by humor. There is no irony in its title: Before she had Chastity Belt, and the close relationships that she does now, Shapiro considered herself a career loner. That’s no small gesture. I can make as much sense of this music as I can my 20s: This is a brave and often exhilarating tangle of mixed feelings and haunting melodies that connects dizzying anguish (“This Time of Night”) to shimmering insight (“Different Now”) to gauzy ambiguity (“Stuck,” written and sung by Grimm). It’s a serious record but not a serious departure, defined best, perhaps, by a line that Shapiro shares early on its staggering title track: “I wanna be sincere.”

When asked, their only request was that what you’re reading right now be brief, honest, free of hyperbole, and “v chill.” When pressed for more, Truscott said, “Just say that we love each other. Because we do.”

This is who they are, this is why I love them.

—David Bevan, February 2017 

Artist page

Letters From A Tapehead

Wednesday, May 10, 2017

Buys & Receipt: Uniform, Damaged Bug, Parlor Walls, Ty Segall, Sun Ra

Some recent purchases from...

Thrill Jockey Records:

Wake In Fright
Thrill Jockey Records
Released: 1.20.17

Uniform's Wake In Fright was issued as an "art edition" limited to 200, white vinyl housed in a screen-printed homage to Mad Max that's sealed with a wax stamp.  Needless to say, these are gone.  I won't say that the screen printed cover does much to enhance the actual album, but it's still pretty cool.

I reviewed Wake In Fright at No Ripcord.  I recommend picking up a copy

Castle Face Records:

Damaged Bug
Bunker Funk
Castle Face Records
Released: 3.10.17

As with any specialty Castle Face vinyl release, you jump on it as quickly as possible.  For the latest Damaged Bug release, the excellent Bunker Funk, I was able to pick up the Half-Candy/Half-Poison version.  It's a three-sided double-LP with an etched side that comes in a gatefold sleeve.  There were three other specialized editions of Bunker Funk in addition to the black vinyl that disappeared almost immediately.  As of this post, there's a copy of the Glow-in-the-Dark edition that's already priced around $150 on Discogs.

I reviewed Bunker Funk for No Ripcord. Black vinyl copies of the album are still available at Castle Face

Northern Spy Records:

Parlor Walls
Northern Spy Records
Released: 3.17.17

As I've been continually preaching the Parlor Walls gospel to everyone and anyone willing to tolerate my annoying fanboy drivel, I also made sure to pick up a copy of the album, Opposites.  I purchased the LP directly from Northern Spy, who've been issuing some real gold this year.

I reviewed Opposites a little while ago.  You can find the review here.  Opposites is still available at Northern Spy Records on LP and digital variants.

Suicide Squeeze Records:

Ty Segall
Sentimental Goblin E.P.
Suicide Squeeze Records
Released: 4.17.17

Ty Segall is an artist and a machine.  I'll never understand how he manages to put out the amount of music he does while maintaining a level of quality that for many of his ilk would be impossible to achieve.  This dude just writes, creates, performs, and records, and I've yet to hear something he's done that I haven't liked.  It just doesn't make any sense.

Sentimental Goblin follows a new self-titled full-length LP that Segall put out in late January via Drag City: "Pan" b/w "Black Magick."  It's more of a single than an EP. 

The first pressing of 1,000 copies were released as half-blue/half-yellow vinyl and sold out very quickly.  I jumped on the second pressing, which was issued as red vinyl.  These are also sold out at this point, but the album is available in digital format.  Prices on Discogs remain reasonable for both versions of the vinyl.

Amazon purchase:

Sun Ra
The Definitive 45 Singles Collection, Vol. 2: 1962-1991
Strut Records
Released: 4.26.17

Yes, I'm still building my Sun Ra library and, in this case, completing a series.

Another six sides of absolute awesome from Strut Records.  These sets are a deep dive that require complete immersion with extensive liner notes.  It's the type of set that affords one the opportunity to disconnect, sit still, and listen. 

Letters From A Tapehead

Tuesday, May 09, 2017

Boris: "Absolutego"

As announcement for their upcoming new album, Boris dials up the power-sludge with "Absolutego," the first single from the Sargent House release, Dear.

With its title borrowing from the band's 1996 album of the same name, "Absolutego" is somewhat of a return to form for Boris, their last few albums a series of pop-fueled excursions, hook-heavy and melodic.  Having just toured for the 10-year anniversary of their much-celebrated album, Pink, Boris's want of muddied distortion seems to owe itself to that series of shows.  Its oozing bass tone and rattling percussion generates a welcome mire of viscous delight.  With a stinging cry from guitarist Wata, her notes ascend beyond the muck midway just before the song shifts into doom-laden shriek and battery.  It's damn near perfect.

Dear is up for pre-order here, available in LP and CD formats.  The official U.S. release date is July 14th via Sargent House.  

Letters From A Tapehead

What's (Re)New?: Disco Inferno and Oranssi Pazuzu

Disco Inferno
In Debt
Rocket Girl
Originally released: 1992 via Che Records
Reissued: 5.5.17

Finding some common ground between The Bomb Squad's peerless and innovative approach to sampling and the ethereal charge of My Bloody Valentine, Disco Inferno's 1992 debut LP, In Debt, sounds out of place from when it was originally conceived.  In some ways akin to what Slint had achieved with its 1991 milestone release, Spiderland, the Essex trio's sound is stark and textural, repetitious guitar strokes bordering on pensive while their rhythmic intensity carries most of the band's emotional weight.  Post-punk in the Alt-rock era.  

Underappreciated at the time, Disco Inferno has gained some notoriety since dissolving in 1995, prompting the necessity to reissue In Debt.  As this was certainly something I'd missed in 1992, I feel like I'm listening to the proper heirs to Wire's creative legacy, an experimental rock trio whose capacity for creative growth seemed boundless even within the grooves of this single album.

Rocket Girl Label is issuing the album as a limited double-LP and CD.  You can order it here.


Oranssi Pazuzu
Muukalainen Puhuu
Originally released: 4.22.09 via Violent Journey Records

Released: 5.5.17

Originally released: 10.26.11 via Spinefarm Records

Reissued: 5.5.17 via 20 Buck Spin

For Oranssi Pazuzu fans, 20 Buck Spin is releasing the band's 2009 debut, Muukalainen Puhuu, the mini-comp, Farmakologinen, and their 2011 LP, Kosmonument domestically in some great color variations.  I'm eyeing the blue-magenta/white-cyan splatter Kosmonument LP, so hopefully it doesn't sell out before payday.

You can find info on the reissues below along with tour dates and links to order the LPs.  All info comes courtesy of the wonderful people at Earsplit PR.

20 Buck Spin today issues three back-catalog titles from Finnish cosmic black metal alchemists ORANSSI PAZUZU, releasing the band's Muukalainen Puhuu LP/CD, Farmakologinen MLP, and Kosmonument 2xLP on US soil for the first time. The reissues see release as ORANSSI PAZUZU is currently out on the extensive Mental Possession MMXVIII European tour, which includes the band's maiden voyage to the US for a one-off performance at Maryland Deathfest.

Kosmonument, Farmakologinen, and Muukalainen Puhuu are all available at THIS LOCATION.

Since 2013, Finland's ORANSSI PAZUZU has released two critically lauded full-length albums via 20 Buck Spin in North America, 2013's
Valonielu and 2016's Värähtelijä. Both albums showed the boundless enormity and remarkable uniqueness that ORANSSI PAZUZU alone create. Are they a psych influenced black metal band or a black metal influenced psych band? No one knows for sure and it doesn't matter anyway. No other band can bend these genres into such an extraordinarily cohesive whole. For most in North America the ORANSSI PAZUZU black hole only came into focus with the latest two albums. However, the band had previously recorded and released two full-length albums and a split LP. With their growing reputation, the band's early releases have become increasingly high in demand. 20 Buck Spin now presents the band's back catalog on various formats domestically for the first time.

Muukalainen Puhuu is where the ORANSSI PAZUZU story begins. The 2009 debut album already reveals a band with a firm conceptual and musical mission. For most bands this album would be a seasoned, mature display of musical prowess only reached well into their life as a band, and yet for ORANSSI PAZUZU it's merely the first foray into the limitless expanse that they would come to command. Muukalainen Puhuu will now be made available domestically for the first time on CD, gatefold LP, and digital formats.

The Farmakologinen MLP contains ORANSSI PAZUZU's songs from a split album they did with Candy Cane in 2010 between the time of their first and second full-lengths. Four tracks and nearly twenty-seven minutes in length, even on a split album the band showcased their growing immensity and burning cold bleakness, now released as a standalone ORANSSI PAZUZU release with all new artwork on 12" vinyl and digital formats.

Kosmonument 2xLP from 2012 was another huge leap forward for ORANSSI PAZUZU, both musically and in terms of exposure. The band signed to UMG owned Spinefarm Records which the album still calls home today, however the vinyl edition, a sprawling triple gatefold double album with some of the most incredible artwork in the band's history, was only released in a small quantity in Europe with very few copies arriving in North America. Kosmonument will now see its first domestic vinyl release in the same deluxe format.

On the tour, the band is selling a new EP, in addition to the back-catalog reissues. The EP bears two unreleased tracks, "Kevät" and "Värimyrsky," and is pressed on 10" vinyl. While the
Kevät/Värimyrsky EP will be sold only at the band's shows during their 2017 tour cycle, the band decided to also share the new and previously unreleased tracks digitally with the world for those unable to attend one of their mind bending live performances.

5/05/2017 Bloom - Mezzago, IT w/ Cobalt, Wolves In The Throne Room
5/06/2017 Tempel at Neudegg Alm - Salzburg, AU w/ Cobalt
5/07/2017 Feierwerk - Munich, DE w/ Cobalt
5/08/2017 Vortex Surfer Club - Siegen, DE w/ Cobalt
5/09/2017 Karlstorbahnhof - Heidelberg, DE w/ Cobalt
5/11/2017 Futurum Music Bar - Prague, CZ w/ Cobalt
5/12/2017 Kwadrat Club - Cracow, PL w/ Cobalt, Entropia
5/13/2017 B90 - Gdansk, PL w/ Cobalt, Entropia
5/14/2017 U Bazyla - Poznan, PL w/ Cobalt, Entropia
5/25-28/2017 Maryland Deathfest - Baltimore, MD
6/29/20147 Provinssi - Seinäjoki, FI
7/01/2017 Roskilde Festival - Copenhagen, DK
7/02/2017 Tuska Festival - Helsinki, FI
7/16/2017 Ilosaarirock - Joensuu, FI
8/11/2017 Flow Festival - Helsinki, FI
8/19/2017 Midgardsblot Metal Festival - Borre, NO


Letters From A Tapehead

Wednesday, May 03, 2017

TRAX!: BARDSPEC, Satanarchist, Kacey Johansing, Hermitess, Full Of Hell

BARDSPEC: "Bone" (via Earsplit PR/By Norse/Soundcloud)

Satanarchist: "Fire Against the Wall" (via Earsplit PR/Bandcamp)

Kacey Johansing: "Bow and Arrow" (via Force Field PR/Brooklyn Vegan/Soundcloud)

Hermitess: "Blood Moon" (via Atwood Magazine/YouTube)

Full Of Hell: "Trumpeting Ecstasy" (via Rarely Unable PR/theQuietus/YouTube)

Letters From A Tapehead

No Ripcord: Tropical Fuck Storm

Tropical Fuck Storm A Laughing Death in Meatspace Joyful Noise Recordings Released:  10.26.18 No Ripcord review. Sincere...