Orange Goblin, Lionize, Scorpion Child
11 Polson St.
Toronto, ON, M5A 1A4
This event is all ages
Watch & Listen
On their ninth studio album, Strange Cousins from the West, the Maryland hard rockers continue to grow musically. Due out July 7th 2009, Strange Cousins sees the innovative quartet stirring up a sonic crock-pot of chugging blues riffs, punk rock grit, bombastic funk beats and raw, infectious vocals. Guitarist Tim Sult rips through epic grooves on cuts like "Motherless Child," while bassist Dan Maines and drummer Jean-Paul Gaster lay an impenetrable rhythmic foundation on the likes of "Minotaur." Meanwhile, Neil Fallon croons out a soulful cacophony, lyrically conjuring an intergalactic pulp fiction. Invite these Cousins in, and you'll never be the same.
Neil sees this record as a logical progression for the band. Describing Strange Cousins' sound, he explains, "This album is more stripped-down and riff-oriented. The songs really cut to the chase—getting to the jump and getting out. There was an economy of writing, and the instrumentation stands out."
The first single, "50,000 Unstoppable Watts" illuminates that. The track packs a potent punch, quickly bouncing and bobbing with a tasty riff and an even tastier rhythm. It'll also be fans' first bite of the album.
One track that resonated with Neil instantly was "Abraham Lincoln." He continues, "The lyrics came to me in a flash right after we wrote the music. Writing lyrics can be a whole lot of fun because you're given license to completely lie to everybody. I can imagine myself as someone else and say whatever I want. It's no different than the short story writing process."
In some ways, the album channels the boundless prog spirit of Clutch's earliest offerings such as their much-lauded, massively successful self-titled sophomore record. Strange Cousins is also a natural evolution from the psychedelic blues of 2007's From Beale Street to Oblivion. "There are a couple of grooves and swings in 'The Amazing Kreskin' that are reminiscent of things we did back in the early '90s. Those elements were always a part of our sound, and they've resurfaced here. To strip everything away and bring it down to brass tax was a really good exercise."
Since 1991 these individuals have been challenging rock n' roll's limits, and Clutch show no signs of abandoning the unique experimentation that has defined them. Check out the Spanish cover of Poppo's Blues Band's "Algo Ha Cambiado" for proof. Neil's voice functions as an instrument on its own, and it helps carry Clutch into a new realm.
"If you're not learning then you're retiring," says Neil. "You've got to take risks to learn, and there's always something to learn. When you go to your grave, you're only going to have learned a fraction of what's truly out there. This record isn't so far flung from our other albums and, as far as the spectrum of rock music goes, it's not alien. Nevertheless, if we repeated one formula that would be a slow death."
The only formula that Clutch will ever subscribe to is one of progression—on stage and off. Strange Cousins is particularly special for the band because it's the first full-length of new material to be released via the band's very own indie label, Weathermaker Music. They released a CD/DVD collection of live songs, Full Fathom Five and The Bakerton Group's El Rojo through the label, but this is the first new Clutch to come from Weathermaker."There is a sense of gratification when you can call all the shots and cut out some of the middlemen. There's no artistic difference between what we're doing now and what we've done previously. We always did what we wanted to do even when we were with enormous labels like Atlantic. We've got a really good team put together to do this. We're not going to be the guy on the other side of the desk."
The band recorded the album with J. Robbins (Against Me!) in their hometown, and he once again encouraged them to be themselves. Neil comments, "He's got a really great instinct for capturing the true sound of a band. He's worth his weight and gold with his strong engineering background too."
Live, Clutch still own every stage they stomp onto. They remain a highlight at major festivals and music events worldwide from the UK's Download and Australia's Meredith Music Festival to Bonnaroo in the States. They were also a top act at the renowned Austin City Limits Festival in 2009. No matter what the forum, Clutch have cultivated a live show that can't be stopped. In between all of the festival appearances, Clutch have lined up a slew of headline dates across the U.S. for their faithful.
"The live show has stayed very true to form," explains Neil. "Our overall approach and attitude is no different than it was 15 years ago. We want people feel to like they saw a rock concert. We're not adding a lot of bells and whistles. It's just amps, microphones and the crowd. It's like an event or gathering and it's developed a party atmosphere."
Ultimately, the band's intentions are as pure as they've ever been. "We want fans to listen to the album and escape reality for a little bit and keep coming back to it for that same reason. When I listen to music, it's either in the background or it's to put on headphones and get away. You have your own movie in your head, and everybody's movie is different. If we're providing that soundtrack, that's a very cool thing. There's a sacred, ancient dialog between the musician and the listener. When that happens, it's priceless. That's what I hope people get out of Strange Cousins. It's more of a philosophical reward than anything else."
Isn't that best kind of reward? — Rick Florino
""OG are STILL the best underground band in Britain" – Tommy Udo (Metal Hammer)
"It has to be said that Orange Goblin shows are very predictable, in the sense that you know they are going to be brilliant before they even hit the stage!" – Terry Bezer (Kerrang!)
"Consistently one of the greatest live bands the UK has produced in recent decades!" – Dom Lawson (Classic Rock)
"Put simply, Orange Goblin are the best metal band in Britain!" – Malcolm Dome (Metal Hammer)
Orange Goblin triumphantly continue to uphold the traditions of great British heavy rock and metal. Now with 6 critically acclaimed albums under their belts, the Orange Goblin express train just keeps on gathering speed and the band are now considered pioneers and legends in the stoner / biker-doom metal field. From the psychedelic noodlings of 'Frequencies from Planet Ten' to the greasy, biker groove of 'Time Travelling Blues', the crushing cosmic doom of 'The Big Black' to the aggressive punk-metal fusion of 'Coup de Grace' , the all out rock / metal majesty of 'Thieving From The House of God' and more recently the plague-ridden Sabbathian-Doom of 'Healing Through Fire', the Goblin have continued to motor onward, freeing themselves from any stagnant pigeonhole or 5 minute trend that may have been thrown their way. This is ROCK the way it should be….unpredictable, exciting and dangerous!!!!!
Over the last 15 years, since their formation in the late night drinking holes of London's Soho, the band have risen to the very pinnacle of what they do and played a major role in inspiring a whole crop of today's snotty upstarts. Orange Goblin have a world-wide reputation as an awesome live band and have earned this with countless tours, festivals and special appearances, sharing the stage with the likes of Alice Cooper, Heaven & Hell, Sex Pistols, Down, Clutch, W.A.S.P, Kreator, Queens of the Stone Age, Danzig, High On Fire, Monster Magnet, Nashville Pussy, Eyehategod, Saint Vitus, Cathedral, Nebula, Unida, Alabama Thunderpussy, Dio, Grand Magus, Witchcraft and many more.
On fire? Driven? Too right! Never has a band sounded so charged up.
Saddle up, crack open a cold one and throw the horns for Orange Goblin!!!!!!
Gaining fans across the world, Lionize takes pride in their original sound, DIY work ethic and fiery live shows. DESTRUCTION MANUAL, (produced by J. Robbins of Jawbox) finds the band continuing its exploration of the stoner-rock, funk and reggae landscapes.
This twelve-song LP calls to mind classic reggae and rock albums with a decidedly modern spin. The band's foundation on drums and bass are LaMel Randolgh and Henry Upton who hint at a rock-and-roll version of Sly and Robbie joined with the classic scorching Hammond organ and key sounds from Chris Brooks and the commanding guitar and vocal work of Nathan Bergman. Reggae heavyweights David Hinds and Selwyn Brown of Steel Pulse lend their vocal talents on the track Killers and Crooks as well as stalwart guitar work from Tim Sult of Clutch who also lends his talents throughout this record. Lionize continues to tour over 200 dates a year, having been tapped to open up for bands such as Clutch, Galactic, Steel Pulse and Bad Brains. Lionize also pulled double duty backing and supporting Lee "Scratch" Perry, garnering a slew of positive reviews.
Between recording in Kingston, Jamaica with Sidney Mills (Steel Pulse), collaborating on and off stage with artists such as Ozomatli and Chali 2na, and supporting heavy metal favorites Kylesa and cKy, the band begins 2011 on quite an auspicious note.
Despite its lack of mainstream press, the band's loyal following expands daily. With DESTRUCTION MANUAL set to be released on Hardline Entertainment early Feb. 2011 and tours supporting Authority Zero and Streetlight Manifesto on the horizon, Lionize continues to turn ears as a novel addition to the sonic terrain of rock and roll with its train of heavy riffs, wailing organ, and pulsating reggae. –from official website
matter where they play, when The Child take the stage they bring the
noise.. Their sound heralds back to early 70's hard psych-prog (Sir Lord
Baltimore, Lucifer's Friend,Night Sun,BANG) with
a modern twist of metal and doom. For those who have witnessed the
band's live set words like Led Zeppelin, Deep Purple and James Gang
spring from their lips. Layering high-energy, heavy twin-guitar riffage
over a pounding rhythm section with a singer that's a cross between
Robert Plant,Ronnie Dio and Blind Melon's Shannon Hoon has built the
group a passionate, dedicated and rapidly growing fanbase.
Scorpion Child are from lots of different places, not only logistically
but musically. "We're from St. Louis,Austin,Wichita, and Houston," says
lead singer Aryn jonathan Black describing the band's roots. "Our
influences are diversified as classic rock and 80's thrash metal to old
school southern delta blues along the lines of Blind Willie Johnson,
Lemon Jefferson and Willie McTell." The five-piece call Austin, Texas
home since forming in the summer of 2006.
The music world may be crowded, but there's always going to be room for
The Child's frenzied freakouts and dark melodies,that flashback to the
boneyard of classic rock."
Aryn Jonathan Black
Shaun Diettrick Avants
Shawn Paul Alvear
Christopher Jay Cowart