SHOWS!.... AND GAYTHEIST PANDEMIC MEMOIRS!

 Yes indeed, shows have returned.  So get your shit together, break out that dusty calendar, and if you're still (for some stupid fucking reason) not vaccinated go do that so you can not be a dick.  Good?  Alright.

Here's a list of a bunch of Hex-related bands and their plans, as much as I can reveal for now.

ALSO, if you keep scrolling, I've added the piece on Gaytheist from Translate zine #10 in which our man Jason Rivera gives his perspective on how he and his band handled things over the last year...  with more than a dash of humor, of course.

ALPHA HOPPER

8/27- Mohawk Place, Buffalo, NY

 

EXHALANTS

7/17- Mysterioso Ranch, Austin, TX w/ Easy Prey, Glassing

10/1-10/3- No Coast Fest, Denton, TX

 

GAYTHEIST

7/23- Southgate Roller Rink, Seattle, WA

7/24- Kenton Club, Portland, OR ("How Long Have I Been On Fire?" year-later record release!)

8/7- Mississippi Studios, Portland, OR

GRIZZLOR

7/10- Focal, Pawtucket, RI

8/14- Cafe 9, New Haven, CT

9/29- Asheville, NC

9/30- Memphis, TN w/ Pressed, Moon Pussy

10/1- Denton, TX No Coast Fest

10/2- Little Rock, AR

10/3- Nashville, TN

NULL

8/19- Nashville, TN @ Exit In w/ Yautja

PINKO

7/17- Lonesome Rose, San Antonio, TX w/ Grasshopper Lies Heavy

USA NAILS

11/5- Salford, UK

11/6- Leeds, UK

11/13- London, UK

Gaytheist are my favorite band in Portland (well, to get real local-specific, they actually reside just over the river in Vancouver, but we’ll let that slide).  Not only do they create great music that is all loud and heavy, and also catchy and fun, but they bring joy.  Despite some of their lyrics weighing in on weighty issues (which is why they’re probably, like, so heavy….  man) it is joyous to listen to them and to see them play live.  They are prone to humor, which is inserted into the songs, but especially in the live between-song banter from frontman Jason Rivera.  So I thought it best to ask him to write a little bit about the world of Gaytheist in 2020 because as much as this year sucked, it’s always good to get a bit of a laugh in here and there.  If you can’t laugh you may as well cry, right?  Does that apply here?

Plus, if I do say so myself, our man is being a little modest.  Yes, the band had some big plans, but they actually pulled off more than is alluded to here with not only releasing their new full length, but also a split 7” and playing two live stream sets (one of which was at a coastal beach house no less).  Who says you can’t be productive in the face of a crippling, worldwide, stress-inducing, panic-driven pandemic?

 

Gaytheist: 2020

We are the only people in the world having a bad 2020.

(I was trying to think of the lamest thing I could say to open this article. I feel I have succeeded.)

Mr. Hex Records, Ryan Caravan, asked me to write about this year for Gaytheist, the band that I play guitar and sing and write with.

Naturally I said, "fuck no I don't do shit for anyone!" Then he pointed to page 713, clause 34-12A of our recording contract: "You will write one article for Hex before 2020 ends or you will be crushed physically, mentally, emotionally, sexually and spiritually". I was all like whatever. I did it because I wanted to and not because of "contracts" and "threats".

When this year began, unlike everyone else in the world, we had plans.

2019 had started out to be another year-in-pause for Gaytheist. Nick had just teamed up with High On Fire to learn their set and go on tour with them. Half way into the year, HoF and Nick parted ways (this story is explained in the lyrics to "Separate Ways" by Journey, who likely also asked Nick to drum for them) and we were back in action. At the start of summer 2019 we recorded a new album with Stephan Hawkes. Ryan got wind and approached us about releasing the album on Hex Records in early 2020. Yes please!

So 2020 started, and most of you don't know this, but things were about to change...

We ramped up to an April 2020 release date. Spent the start of the year booking like crazy, all kinds of shows across US and Canada. Hex put together record release parties in Portland and Seattle. Plans to shoot two music videos starting in late March. Everything was coming up Gaytheist.

Then, a virus designed only to hurt our careers was developed and released by Donald Trump himself as a desperate measure to keep Gaytheist from getting popular.

IT WORKED. For now.

What was to be a year of triumph was transformed into a year of meh.

The record release parties were replaced with sitting at home in a mask.

The first tour was replaced with sitting on my thumbs at home in a mask.

The Canada shows were converted to sitting on my thumbs with my legs crossed at home in a mask.

Roller skating rink party? Instead I sat on my thumbs, legs crossed, prone, at home in a mask.

Still, we managed to finish a music video with the talented James Rexroad and Jayson Smith. Most of the video was shot before quarantine. The rest was finished afar. My understanding is that Jayson and James spent most of the editing apart from each other, sitting on their thumbs, legs crossed, prone, breathing slowly, at home in masks.

Eventually the opening track, "The Dark Deep", off our Hex Records 2020 release, "How Long Have I Been on Fire?", had a music video. We discussed, as the Spring turned to Summer, of having a video release party of some kind.

Instead, we sat on our thumbs, legs crossed, prone, slowly breathing, in a full panic, at home in masks.

I know none of you can understand, as you were not the personal target of a madman hell bent on destroying our careers with a specially designed virus that only affected Gaytheist.

But you could at least try, you selfish piece of shit.

Thanks for reading!

READ THESE WHILE I'M ON VACATION

 It was either wait things out until the end of the month when most of these records will be a distant memory in today's blink-and-it's-old-news information rush (as if reading this later in the week would make any difference), or just throw out what I got and let it ferment while I'm out of town.

Oh yeah, I'm out of town until later in June.  Why?  Because I haven't seen my family in a year and a half, that's why.  If you intend on ordering any records from me during this time (which I'd love it if you did) just know it won't go in the mail until later this month.  You can wait a little bit, can't ya?

BIG WATER, “And I’m All Out Of Shit To Fuck Up”

So is having ridiculously long in-joke song titles back again?  Is it 2001 all over?  Please make that stop.  It was sort of funny for a few minutes and then got tired reeeaaaal quick.  But honestly, that’s really the only gripe I’ve got with this KC trio’s debut full length.  The rest of it feels like some sort of mash-up between the screaming craziness (AKA ‘screamo’, minus pretentious bullshit) you’d find scattered all over the bulk of the Level Plane Records catalog with a smattering of chunky noise rock on later-era/transition period Breather Resist-into-Young Widows.  You get a dozen blasts of the quick and furious, as well as a couple quick interludes that pretty much feels like the band just bashing things out rather than vying for some emotional heft to wring out of their worn out Chiefs jerseys..  and to be clear, any dampness is from beer and not tears.  While hints of melody appear throughout the record in small doses “My Body Is a Temple…” is really the only track to ride a more melodic side for the bulk of the song, while closer “24 Is the Highest Number” does the same for its second half.  (Reptilian)

 

END YOU, “Aimless Dread”

It’s hard to believe this is a one-man project as it sounds like a full-on, fully-realized band creating exceptionally weighty music where individual voices are all shining.  Or maybe the person behind this just has multiple personality disorder and each one is very capable at a single instrument.  Either way, an ex-member of VA ragers The Catalyst is behind this effort and it’s quite an undertaking with 12 tracks at nearly 45 minutes of ultra-riffy, sludgy heaviness with more than a few hints towards metalcore (and I mean that in the best way possible as tracks like “Alt Delete” and “Copstomp” have more than a few Every Time I Die-isms, while a couple other songs slide into maybe Chariot territory…  and there’s one definite Cave-In lyrical passage on loan).  But with the massive riffs and awesomely gruff recording I’m often reminded of fellow VA denizens of grungy hardcore- and sorely missed racket creators- Moutheater.  Slow burning monsters like “Orb Weaver”, “X’Ed Out”, and “The Call” firmly show that the intent is just straight up heaviness and not necessarily attempting to fit into any particular category.  Also, I must add the design on this release is awesome.  I love the whole ‘each song gets it’s own individualized layout’, sort of in the style of older comps where each band not only submitted a song, but also the lyrics/art to go with it.  Very cool for anyone into heavy music. (The Ghost Is Clear)

 

FIDDLEHEAD, “Between the Richness”

I’m sure by this point everyone and their distant cousins have heard this band and their sophomore LP.  Their initial offering, “Springtime and Blind” was made when the band still considered themselves a little fun side project that unexpectedly caught a great deal of attention soon after it’s release.  I’ve given that record some attention myself and honestly, it doesn’t sway me the way it does many others.  I think it’s decent, but sounds a bit thin to me.  On “Between the Richness” things sound way more filled out and realized.  The recording is excellent and fully captures the band’s energy in a big way.  I find it a little funny that hardcore kids are so drawn to this band (based upon members previous runs in Have Heart) as this hardly feels like a hardcore record.  To me it draws a lot of influence from DC Revolution Summer bands, as well as Midwest emo in the vein of Braid if they were a little less bouncy.  I appreciate Fiddlehead most when they are moving at a quick clip, and coincidentally, those more upbeat songs are my favorites lyrically as well- “Eternal You”, “Get My Mind Right” and closer “Heart To Heart” are all strong tracks on this 10-track album that clocks at just over 25 minutes total.  I gotta give it up to vocalist Pat Flynn for stretching his voice and delivering some wonderful choruses and sing-alongs that bring a great deal of melody to these already melodic songs.  That’s a tough feat to pull off for a guy who spent a solid decade screaming for a hardcore band.  I feel a little guilty for initially being a bit dismissive of this group due to all the hype they received like they were re-inventing the wheel or something, which they certainly aren’t.  However, after a couple listens to this and finding myself humming those choruses over and over to myself the hype is deserved; not so much due to being heralds of some new style, but just by being exceptionally wonderful at what they do. (Run For Cover)

 

MILITARIE GUN, “All Roads Lead To the Gun” EP

Ian Shelton is known primarily for primordial powerviolence ass beatings via Regional Justice Center.  However, having recently conjured up Militarie Gun he takes a completely different tack.  Like RJC things started out with just him and he turned it into a band.  Same goes for this project, which is now rounded out with several other members to play live shows.  But the music is a far cry from RJC, trading in 30 second blasts for melody and tuneful earworms.  He’s still screaming though.  So, basically this sounds like “David Comes To Life”-era Fucked Up minus rock opera-quality lyrics and song lengths sticking to a strict two minute average length.  It’s a compliment.  Each of the four songs here are good and it all goes by quick.  You can’t lose.  And I’m all for the aggressive vocals over the far less heavy music because if dude was trying to sing it would sound like Angel Du$t meets Gameface or something I find far less interesting.  But it wouldn’t hurt to add a little variety in the vocal department every now and again just to fuck around. (self-released)

 

RED FANG, “Arrows”

Red Fang is a band that I always appreciate whenever they drop a new record.  They always serve up an enjoyable listen, but it never really sticks with me for too long.  So, additionally, I’m always a bit surprised when I hear about how well-received they are and their success.  I’m sure a bit of the loads of attention they get stems from their always creative and hilarious videos, but naturally the music is quite entertaining as well.  I feel like other albums took some cues from modern Mastodon but maybe I’m a little confused on that.  “Arrows” feels more grimey and fuzzy than others, and their love for regional heroes such as peak Melvins and KARP is obvious.  Red Fang are certainly adept at giving respect to sludge royalty without all-out copying and they take the additional step of bringing their own strain of badass rock n’ roll to it.  They also have a bit of an experimental streak in them like in the drugged-out fuzz of “Days Collide” or the tasteful use of strings in “Fonzi Scheme”.  And when they feel so inclined they’ll rip out a fast barn burner like “Rabbits In Hives” or “Dr. Owl” to gut punch those expecting non-stop hooks and choruses to raise frothy beers to from a crowd where no less than 90% of them have beards.  I pretty much expect this record to be blasting from every craft brewery in Portland throughout the summer, which means like every other block. (Relapse)

 

SCUMFIRE, “Trash Film” EP

Absolutely blistering hardcore fury that errs heavily on Deadguy worship in it’s pissed-off factor and bears a few similarities to fellow Buffalo lifers in Every Time I Die both musically and lyrically when they’re at their absolute most reckless.  I mean, they even chose a name that leaves nothing to the imagination.  Scumfire.  You can see that name and upon hearing them it all makes total sense.  There’s only 4 songs here and it clocks in at under 10 minutes so of course it leaves you wanting more and that’s a good thing.  Well done you maniacs. (Sore Ear Collective)