No title available
RMH
Today's Document
🪼
pixel skylines
AnasAbdin
taylor price
#extradirty
d e v o n
art blog(derogatory)
macklin celebrini has autism
trying on a metaphor
Cosmic Funnies
titsay
styofa doing anything
h
hello vonnie
occasionally subtle
he wasn't even looking at me and he found me
let's talk about Bridgerton tea, my ask is open
seen from Malaysia
seen from Georgia
seen from Germany
seen from Chile
seen from Chile
seen from Côte d’Ivoire
seen from Bangladesh
seen from Bangladesh
seen from Bahrain
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from Germany
@arvoremente
After I taped over my laptop camera and deleted all the accounts on my phone, switched back to DSL and Linux, took Alexa and Home offline and in a fit of insanity removed the chip in my dog I still got creeped out doing dishes tonight.
choices
what is this...... I mean when is this? Not sure the right question. Help?
Doomed & Stoned Reviews
Blackwülf’s ‘Oblivion Cycle’
By Billy Goate and Melissa Marie
Oakland has one of the fiercest metal scenes on the planet right now, whether we’re talking the breakout success of High on Fire or underground rumblings of Kowloon Walled City, Lycus, Brainoil, Noothgrush, Dispirit, Abstracter, Beira, Catapult the DEAD, Swamp Witch, Brume, OVVL, and on the psychedelic side, Golden Void and Mondo Drag, to name a few recents. Out of this rich, festering cauldron the Blackwülf morphs to life, a true Bay Area original.
Photos by Raymond Ahner
I filmed the foursome during their last jaunt through Eugene, Oregon (joined by Portland’s Black Snake - the two had just collaborated on the 'Acid Reign’ split) and I have to say Blackwülf is far and away one of my favorite bands to capture live. You can feel the conviction, the power, the love in every note performed, something that translates quite convincingly on the record before us.
After a successful debut in 'Mind Traveler’ (2014), Blackwülf have significantly upped the ante, returning with 'Oblivion Cycle’ on the California label Ripple Music (known for releasing some of the very best albums of the year, from Chron Goblin to Doctor Doom, KIND to Space Probe Taurus). Rising above the mediocrity of play-by-the-numbers radio rock, vocalist Alex Cunningham, guitarist Pete Holmes, drummer Dave Pankenier, and bassist Scott Peterson have put their intuition, enthusiasm, and skill together to bring us another ten exciting new songs, infused with bold, seventies-style riffs and intense vocals that are at once passionate, bluesy, and somber.
Ever have one of those days when you’re in a shit mood for no particular reason? This record acts as a fitting remedy. Between the relatable lyrics and heavy instrumentals, there is plenty of comfort to be found. Having heard the digital version of the record first, I hasten to add it was the vinyl pressing that ultimately brought this collection to life for me with its stunning presence and depth. Come join us as we give this extraordinary LP a track-by-track walk-through.
Oblivion Cycle by Blackwülf
As the name hints, “Colossus” is a lively outing, with high energy rhythm and valiant riffage that becomes ever more compelling as the song intensifies. There are plenty of catchy, attention-grabbing moments here, as “Colossus” has everyone singing along with Alex Cunningham: “The system has threatened us all!” This is undoubtedly an allusion by the tremendous sci-fi movie, 'Colossus: The Forbin Project’ (1970), which anticipates the technological tyranny of the computer age. With the opener, Blackwülf have created an alluring sound with the kind of poise that reminded me 'Tempora Infernalia’ by North Carolina’s Demon Eye.
Oblivion Cycle by Blackwülf
From here on, 'Oblivion Cycle’ just seems to get better and better. Who can resist the bittersweet verses of “Memories,” with Pete Holmes wielding some of his best Sabbath power chords and classic heavy metal flourishes, throwing in an emotive flourish now and again to compliment the sentiment of Alex Cunningham’s sad, sad refrain, “We’ve been hanging onto dusted memories.”
Oblivion Cycle by Blackwülf
Another early standout is “Acid Reign,” with its exuberant, rhythmic riffing, roaring vocals, and lyrics decrying the apocalyptic landscape as it:
Darkens the sky as the gloom it overtakes Blinding the eyes of the common man
This could easily be christened the fan favorite (but then there are so many on the album), as Blackwülf take a page from Black Sabbath and The Sword, with an even stronger metallic edge and a wicked guitar passage that gives this song serious play-back appeal.
Oblivion Cycle by Blackwülf
'Oblivion Cycle’ showcases Blackwülf’s ability to keep things fresh and appealing, as no two songs sound quite alike. Listen carefully to “Dark Tower,” a pure throwback to the folk-rock and protometal ballads of the 1970’s. I’m sure you’ll pick up on the woodwinds (c/o Ron Graham), which make such a fine compliment to the piece. While one may wish for a longer track (it clocks in at about two-and-a-half-minutes, acting more as an interlude), Blackwülf’s admiration for Led Zeppelin is nevertheless beautifully on display here. I would absolutely love to see what they could do with this approach in a future record.
Oblivion Cycle by Blackwülf
Electrifying rhythm meets wicked riffing, next, in “The Locust,” easily one of the best tracks on 'Oblivion Cycle’ (I’m singing along with its distinctive cadence now: “He is the locust…desecrated by the locust”). Pete’s solo is perfectly placed here, never overwrought or showy, but right in line with the storytelling. This song, more than any other, pays homage to the epic style first established by Ozzy, Iommi, Butler, and Ward. It’s an stadium raising fist-pumper, for sure.
Oblivion Cycle by Blackwülf
The second half of the album is no let down, either. “Wings of Steel” brings us old school traditional metal with an even heavier touch than we may have heard so far. An anguished Alex Cunningham cries out, “I won’t propagate their war machine, protecting the unknown,” referencing the treachery and devastation of political machinations in world affairs.
They will break you down They will steal your hope They will strip your mind And they’ll crush your soul
Pete’s riffing couldn’t be more effective, joining Dave and Scott’s tight rhythm section and Pete’s on-point singing. Easy to see why this one was picked as an early single when the album was first announced.
Oblivion Cycle by Blackwülf
“Faith Healer” is definitely a fun one to listen to, returning to the groovy rock style that Blackwülf seem most at home with. Things slow down and get doomy (but never too slow - Blackwülf are by and large an up-tempo band), as Alex rails against the manipulation and false hope of religious manipulators.
Oblivion Cycle by Blackwülf
“Red Eyes” is an immediate attention-getter with the winding, mesmerizing lead that opens up the song. A highly active rhythm section syncs with an infectious riffing style and chorus that is a distinctive of Red Fang; it’s working exceptionally well here for Blackwülf.
Oblivion Cycle by Blackwülf
The big finisher (and the longest track of the album at 5:50) is “March of the Damned,” the closest thing we have to a doom number, with its ballad-like chorus and wistful guitarwork. I’ve received great reception whenever I’ve aired this one on the weekly radio broadcast of The Doomed & Stoned Show. The two-part song structure reminds me of Orchid (solemn opening, followed by an extended psychedelic breakdown), though Blackwülf keep to their disciplined runtime, opting to trim unnecessary fat for the most effective play possible.
Possibly the greatest thing about Blackwülf is their incessant, driving rhythms complimented by ripping guitar solos and commanding vocals. 'Oblivion Cycle’ is a supercharged ride cruising the dark, wet streets of the night; a record that will have your head banging and feet stomping from start to finish.
Get It.
An Interview with Guitarist Pete Holmes
By Billy Goate
I filmed you guys on tour with Black Snake last year. One of the highlights of the show was gear you were using to hone your sound. We’d love to know what all you’re working with these days?
We have pretty much stuck with the same touring rigs that we brought into Eugene that night when you made that cool video, Billy. Dave on drums is still beating the shit out of a cool old 60’s Slingerland that I think he picked up from Sam Adato in San Francisco before Sam moved his shop to Eugene. That guy is so awesome…such a great resource for anything to do with rock drumming! Dave plays a variety of Zildjan cymbals and has his high hats outfitted with crash cymbals because he’s such a hard hitter. He busts kick pedals like constantly! Our bassist, Scott Peterson, still plays a Fender Precision with active and passive pickups and runs that through an Ampeg SVT and a vintage 8x10 Ampeg Fridge cabinet. He will occasionally use distortion, but gets a fair amount of grit by just driving the cabs with that great sounding head.
Alex still uses a variety of portable outboard gear with light delays for his vocals and a Moog vintage synth program for space effects. As far as guitars, I have always played Gibson SGs live in Blackwulf. In the studio I use my ’71 Gibson ES 335 for basic tracking. It has the vintage T Top pickups, which are some of my favorite pickups Gibson has ever made. I also like their 490Ts, which were all over our first record. I have received a sponsorship from Railhammer and I love their Anvil pickup, as well. Since you filmed us, I have picked up a silver 014 62 reissue Gibson SG Standard and outfitted that with John Birch Pickups, which has been my main guitar for the past year or so. I run that split through a 50 watt Orange Rockerverb head and a Laney TI100. My pedal board is pretty modest with an Electro Harmonix Small Stone and a Morley wah. Needless to say, it makes one hell of a racket, for sure!
Talk to us about the similarities and differences between your first LP, ‘Mind Traveler’ (2014), and your latest, ‘Oblivion Cycle’ (2015).
Our new album, 'Oblivion Cycle’ really picked up where 'Mind Traveler’ left off, but was written with significantly more intention. Our whole thing with Blackwülf has always been based in the “what you see is what you get” mentality; we try to create authentic music that’s 100% true to us, not some “scene” or some other trip, which can be rendered for live audiences as well as sound great on vinyl. We are all pleased with what we put down on 'Oblivion Cycle.’ The band agreed from day one that Blackwülf’s base of bluesy, heavy classic metal is what we are all into, and we aren’t going to be otherwise too inventive, because that’s what we love, and that’s what our fans are into. Why change?
Lyrically, the themes of science fiction, aggression, and political/spiritual chaos are central to what Blackwülf has always been about, and 'Oblivion Cycle’ has really raised the bar for us on that account. Alex and Scott are really the drivers behind most of our lyrical content, and they have put some really cool shit down on this new record. I do all of the riff writing and most of the arranging and it’s been a good partnership so far. We have also consciously emphasized delivering “songs” over just “sounds” in our creative process; like the metal masters of the 70’s and early 80’s, we aspire for our records to tell stories and directly relate to listeners as much as take them on “sonic voyages.” We brought in our friend Ron Graham on 'Oblivion Cycle,’ who added some flute to a short piece called “Dark Tower” that I play with Alex on a 12-string guitar, which lends the album a bit of melancholy air and a hint of medieval mystery, which I dig, and is a departure for us. We recorded 'Oblivion Cycle’ at the same place as 'Mind Traveler’ (Trakworx in South San Francisco) and again with the very talented Justin Weiss, who co-produced this time around.
How was the recording, mixing, and mastering process for you this time around?
The process of making this album was very similar to the process we experienced on the previous LP and split single. Blackwülf has always tracked our music old school style: live to vintage two inch analog reel tape, with the drums, bass, and rhythm guitar playing together in single, fat sounding passes. For us, this gets to the core of what our band does best, which is to rock out live in a room together and to try and catch that live energy in our takes. For us, all great albums have that at their core: some physical nuances and interplay and organic communication between the players delivering the tunes, trying to catch that moment, the “lightning in the bottle.” We then dub vocals and lead tracks and other effects over this base in Pro Tools, using the digital suite to edit the performances there. We dressed the tracks with percussion and guitar effects from B rolls that allowed us to stretch out creatively, which added some freewheeling experimentation and spontaneity to this project. In the end, we just kind of did what we always have done: holed-up with a bunch of crazy dudes, ate a shitload of junk food and drank beer for days on end, rocked out, and just let the album kind of happen.
The album art rules! I could stare at it for others. What’s the story there
Good Christ, the album art. David Paul Seymour knocked it out of the park, as usual, for us on the cover of “Oblivion Cycle”. And, as usual, Blackwulf drove the artist that we worked with nearly insane, with all of our prattling and change orders. We are fucking impossible. We did the same to the incomparable Alan Forbes, who did our first album’s art. We did the same to Dirty Donny, a personal friend that won’t go to lunch with me since we tried to do art together…just joking! Seriously though, these guys are all so insanely talented and insanely busy and they gave us the time of day and we nearly killed them with our ramblings. Such great guys and great artists, and we are so very grateful to them. Blackwulf are all huge fantasy art fans: Frazetta and Roger Dean, Barry Smith and Steranko. We collect it, love it, and love the relationship of metal to fantasy art. So we are…um…particular.
In the case of 'Oblivion Cycle,’ we had David Paul Seymour incorporate some of the album’s song elements (The Locust, Dark Tower, Wings of Steel, etc.) into an imagined dragon Ouroboros figure. The Ouroboros is a classical symbol of the serpent devouring its own tail, which traditionally symbolizes the cyclic nature of the Universe. For the album, we took a doomier spin on this with darker imagery, with David creating an image symbolizing an “Oblivion Cycle” which is a cycle that we see our planet involved in, succumbing to self-perpetuating cycles of greed, chaos, fear and dehumanization. Our vocalist, Alex Cunningham, did all of the post art colorization and pre-press. Both these guys just nailed it for us. There is another killer piece that David did on the back of the album as well that’s a total knockout. Glad you like it, man!
Tell us about the Oakland scene. A lot of heavy, heavy sound rumbling from the Bay Area right now.
Yes! Oaktown. Home of the bumbling Raiders and the hapless A’s! And the #1 Golden State Warriors! Sports aside, there is metal a-plenty happening in places like the Golden Bull downtown, The Legionnaire, The Stork Club, the Oakland Metro Opera House, Eli’s and a ton of other venues. New bands like War Cloud and Lowcaster, and older bands like Castle and High on Fire are rocking the stoner metal scene really hard on our local turf. San Fran has Hot Lunch, Orchid, Hornss, Slough Feg and a band called Metallica to name a few. San Jose has Zed and a great band called Forgotten Gods that you may want to check out - they have a brand new record that is not to be missed. We are proud of our city and our bands, which in Oakland still emphasizes metal unity and a supportive scene. We have venues that are DIY and provide a nice hard core underground. For now, it is a fertile landscape for the doomed and stoned!
Finally, tell us what your plans are for a 2016 tour? What can you tell us at this early date?
We will be on the road in the Spring. Back up to your neck of the woods, through Northern California, Oregon, and Washington. We will also be heading down through SoCal and back to Tucson where Dave and I are from. We are really trying to get Blackwülf over to Europe, where we sold a shit ton of Mind Traveler albums. We are actively trying to connect with folks over there, and would love to hear from any of your readers who could help us with that for summer 2016. In the meantime we will be gigging steadily with a break in November to record with Tim Narducci of the great SpiralArms on a split single with his amazing band White Witch Canyon that is coming out on Ripple early next year. We have an insane new tune worked up for that!
Experimental Dance in Five Easy Steps - by William Shatner
"My spirit animal is a cassette tape."
So in sum, what are we? We are the creatures that know and know too much. That leaves us with such a burden again we have a choice, to laugh or cry. No other animal does either. We do, depending on the season and the need.
Ray Bradbury, “Something Wicked This Way Comes” (via scifi-fantasy-horror)
Spock dance party, GO!
Leonard Nimoy - Outer Space / Inner Mind (1974)
Tour kicks off tomorrow @oslopsychfest !!! #whitehillsband #whitehillsmusic #tour #goodtimes Regram@from @thrilljockey #psycho @egosensation #psychodelic
Repetition of urban scale. #repetativehousing #70scondos #japantown
happy fathers day to all the dad's who are very challenged but keep doin it no matter how many times they get knocked down.
My very great friend Chris Carlone practicing his levitation technique
People, Brothers, Sisters, you need to hear this cosmic capitulation and let it enter your soul so it may heal and open your third eye.
And celebrated with a drink.
