Music Hall of Williamsburg

Osiris Presents


Blood Ceremony, White Hills, Lazer/Wulf

Fri, June 14, 2013

Doors: 7:30 pm / Show: 8:30 pm

Music Hall of Williamsburg

Brooklyn, NY


This event is 18 and over

Part of Northside Festival

Since this Savannah, Georgia quintet first formed in early 2001, worrying about genre limitations has never been a priority. Taking musical chances, however, always has been. While KYLESA are as heavy as any band out there, they are beholden to no one scene and no preconceived notions of what heavy music should be.
"Lots of people like to stick to one kind of music," guitarist/vocalist Philip Cope elaborates, "and even with the underground, lots of people segregate themselves into small little categories and place lots of imaginary rules on these scenes."

"We just like playing heavy music and we've always liked playing it regardless of what is popular or trendy," guitarist/vocalist Laura Pleasants adds. "It's most rewarding for us to try and push our own boundaries of what we can to do with our music and hopefully, in the end, offer something that is at least original."

Kylesa's third full-length, Time Will Fuse Its Worth, is the eagerly-awaited follow-up to 2005's To Walk A Middle Course, which topped many year end lists and landed the band in metal and mainstream press alike. After grabbing ink in Spin, the New York Times, and metal mainstays Revolver alike, Time Will Fuse Its Worth again showcases the band as the ultimate definition of do-it-yourself dedication. With Cope lending his ears and hands for production duties at The Jam Room, and featuring comprehensive artistic layout and packaging from Pleasants, the KYLESA of current day continues to put the band's future in their own hands by touring Europe and North America alike.

Time Will Fuse Its Worth sees the band continuing to evolve upon KYLESA's signature sound, seamlessly flowing from track to track encompassing listeners with sounds far and wide and an utter disregard for musical boundaries. Bringing together avant-garde experimentalism with the pure fury of dirty, sludgy riffs and raw, coexisting male and female vocals, KYLESA's ambient noise interludes, grimy rock riffs and impassioned, gruff vocals portray the doom-inspired punishment they are capable of dishing out through the power of the band's music.

Now adding to KYLESA's signature sound and trademark triple vocal attack is the recent addition of a second drummer. "When we first started the band, we had planned on having two drummers but it didn't work out, so now it feels like everything is coming together," Pleasants says. "There is definitely a new level of intensity to Kylesa now. Since the new lineup has gotten together we have felt the strongest creative spark yet."

The band's reluctance to attach itself to one sound or scene and to not play by conventional rules, along with that strong creative spark, has ultimately made KYLESA that much more versatile. With a constantly heavy touring schedule has found the band crossing boundaries, sharing bills with bands as diverse as High On Fire, Circle Takes the Square, Coliseum, Torche, Red Sparowes, Big Business, Baroness, The Sword, Disfear, and Darkest Hour both at home and abroad, as well as playing to enthusiastic crowds throughout Europe. "While we are no kings of one scene," says Cope, "we have, in a sense, just developed our own thing."
Blood Ceremony
Blood Ceremony
We're anti-war, but pro-horror. Standing before the crimson altar, our minds melted as we gazed into the cosmic eye. Now we slay the stages of the universe with heavy riffs, paranoia-inducing trills and '70s fills.
White Hills
White Hills
A label like "space-rock" deserves music that's as nuanced and limitless-feeling as space, and space-rock deserves a band like White Hills. Not only do they add urgency to familiar psychedelic rock templates, but they pay just as close attention to the quiet moments as the raging ones-- each track on their self-titled Thrill Jockey debut displays a careful layering of sounds and atmospheres.-Pitchfork

White Hills have shaken up the space-rock box, and shown that the patterns you can make therein are as infinite as the stars.-The Quietus

If only it had more than two members — White Hills and fellow travellers Oneida — we could cite a Brooklyn space-rock movement, raising the 1970s sonic sublime. Nonetheless, here’s an arch retooling of Hawkwind’s speed-freak psychedelia, those relentless motorised grooves and fuzzy tsunamis of sound shaped and shifted and stretched to breaking point by sassy New Yorkers. Let the Right One In even dares 13 pastoral minutes in the vein of early Pink Floyd, while We Will Rise’s pendulous emptiness echoes the Stooges’ cavernous We Will Fall. White Hills dumb down determinedly to discover their inner ape, and nibble the fringes of greatness.-The London Sunday Times

Like wandering in a dense and druggy fog, White Hills’ self-titled album is like a stoner rock beacon, hypnotically guiding the listener with layer upon layer of fuzz and reverb to some unknown

A real contender for psych-rock single of the year, this 7" finds two of today's foremost acts in the field (White Hills and Acid Mothers Temple & The Cosmic Inferno) taking on classic Hawkwind material. 'Brainstorm' is ravaged by AMT, who thrash out in fine style with an expanded arsenal of swooping oscillators and spooky theremin-style pitchshifting. It's an absolute riot, but White Hills prove themselves to be more than a match, tearing 'Be Yourself' a new one (to coin a phrase) laying on the fuzz by the barrow-load, cutting through the fudge with some class-A shred and all-round soloing majesty. Oof...-Bookmat

Heads On Fire throws down grungy distorted layers of sludge that relentlessly churn along. It's neither subtle nor pretty, but god damn it rocks. They take the space rock template and inject it with a battered fucked-up New York punk spirit. -Drowned In Sound

White Hills is turning out to be quite the surprise of the year. After killing earlier in the year with Glitter Glamour Atrocity and releasing a comparable tour CD, the band has fired back again with the UK release of Heads on Fire. The latest release is just as much of a pummeling psych juggernaut as the rest; merging the Hawkwind style space jams with a tight groove of blistery guitars and trembling bass. The band are waving the Space Rock banner high and proud which has already garnered them support from legends in the field such as Julian Cope, for whom they've opened in the UK. The latest album, despite the relentless output this year shows no trace of being leftovers, but instead another album full of thick plumes of ash and turbulent waves of cosmic radiation. The band thrive in making the calm moments exceedingly liquid while still having a knack for fierce waves of noise ridden psych that leaves the space behind and burns like the earth's core. Given the band's current direction I fully expect to see great things from them in the future. -Raven Sings The Blues

'Heads on Fire' left me completely satiated, having taken me places I'd never expected to go. It's wonderful to discover a band who so wholeheartedly embrace the past without ever letting it constrain their vision for the future. I look forward to hearing more. -Nine Hertz

Their previous release,Glitter Glamour Atrocity, found the band experimenting around with a number of different styles from ambient to Krautrock to Spacemen 3 influenced rock, but on their latest outing, White Hills jettisons the experiments to totally consume themselves in balls to the wall, and yep, "heads on fire" total space rock. It's something like Hawkwind on steroids, with pounding drums and throbbing, catchy bass lines, whooshing space synths, barely heard mantra-like vocals, and of course, oodles and oodles of heavy, crushing, effects-laden guitars. -Aural Innovations

Space Rock fans should waste no time getting this album (HEADS ON FIRE). Farflung fans will LOVE this, as will anyone who digs the balls out space metallic jams of early Hawkwind. And solid production has helped White Hills create a MASSIVE sound that will knock you about like some cosmic sledgehammer. Highest recommendation -Roadburn
Formed in Athens, GA in 2006, the wulves began as a five-piece, including vocalist Jimmy Baldwin and guitarist Robert Sullivan. After recording and self-releasing their 2006 debut demo, "Demo-Lition!," the band enjoyed local success as a gleefully violent metal band in a skeptical microcosm of indie rock. The band's reputation as Athens' most fun, irreverent and evil circus had earned the nomination of "Best Up & Coming Band" by the city's Flagpole Magazine.

But L/W's buzz of positive critical reception was stricken by the departure of founding member Sullivan and the increasingly bleak prognosis of Baldwin's health. The vocalist's throat had become pocked with polyps, and while the looming reparative surgery saved his vocal cords, it effectively ended his tenure as the band's frontman. Thus, the ranks of L/W rapidly dwindled to three, leaving Aiken, Peiffer and then-drummer Mathius to fend for themselves without their chosen genre's staples of harsh vocals and dual guitars.

Ironically, this new instrumental approach to their existing material and to the writing process of their forthcoming full-length, "The Void That Isn't," added exciting new layers to their already diverse sound. Less had, essentially, become more. What could have been a void, wasn't, and made the remaining parts that much more substantial.

This trimmed lineup allows for a heartier imagination, better communication between its members, and more confident stints into uncomfortable stylistic territory. The lack of a regular vocal crutch opens the band's instrumentation to more diverse audiences and breaks previously troublesome language barriers, while allows for more abstract arrangements overall. In June of 2008, Lazer/Wulf's new identity was named "Band of the Year" by Athens' Flagpole Magazine, topping the reigning indie-rock and pop incumbents.

Once "The Void" had been released, however, the Lazer/Wulf ranks dwindled again, this time in a way that couldn't be ignored: they needed a new drummer, and the Void's advertorial cycle must fall aside while the line-up is secured. After two years (!) of active searching, jazz drummer Brad Rice was finally found and inducted in 2011.

Now, Lazer/Wulf has shed the security of genre conventions in favor of creative curiosity and more honest and emotional song-writing, growing increasingly toward the likes of Dysrhythmia, Don Caballero and Battles, while firmly rooted and informed by its thrash and prog-metal origins. Its music continues to expand in every direction, heavier and lighter, wider but more focused. The machine is varied, vicious and endlessly willing.

Lazer/Wulf's first recording with this new line-up, the vinyl/cassette/downloadable EP "There Was A Hole Here. It's Gone Now," will see independent and digital release on 4/24/2012.
Venue Information:
Music Hall of Williamsburg
66 North 6th St
Brooklyn, NY, 11249