Doom metal band The Obsessed to perform at Space Ballroom
The Obsessed w/ Howling Giant, Gozu
Thursday, April 11 at 8PM – Doors at 7PM
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
All Ages
Tickets on sale now via www.spaceballroom.com
The Obsessed
The Obsessed is a rock band. A FUKKING HARD rock band. Since their formation in 1978, they have become known around the world for their influential contribution to the origins and continued legacy of the doom metal and underground hard rock genres. The distinctive vocals and guitar wizardry of founder and driving force Scott “Wino” Weinrich has left a mark on the world of heavy music that continues to inspire.
The Obsessed gained momentum in the Baltimore/DC area of the USA in the early to mid 1980’s during the height of the hardcore punk movement. Often cited as the band that bridged heavy metal and punk together, the band gained the respect of punk heavy weight contemporaries Black Flag, The Bad Brains, and Minor Threat, to name a few. The attitude and spirit of The Obsessed has led many to regard them as “America’s Motorhead”.
Wino went on to join the doom metal giants Saint Vitus as lead singer on seminal albums including 1986’s ‘Born Too Late’‘. In 1990, The Obsessed came back with their eponymous debut album, “The Obsessed”. This album was quickly followed by 1991’s “Lunar Womb” and 1994’s “The Church Within”. All three of these albums shaped and paved the way for future heavy rock bands and the doom scene as it’s known today. Wino’s gift for prose and his never-ending search for truth and meaning allows his words to hit as heavy as the riffs he plays.
Although The Obsessed went on a hiatus after The Church Within’s release on Columbia records, Wino’s sheer passion and prolific nature led him to pursue many other critically acclaimed projects such as Spirit Caravan, The Hidden Hand, Shrinebuilder and various acoustic releases. Long time fan Dave Grohl (Nirvana/Foo Fighters) specifically asked Wino to perform on Dave’s all-star Probot album, released in 2004. In 2012 Wino rejoined Saint Vitus until the world wide cry for The Obsessed could be denied no longer and in 2016, Wino reunited The Obsessed, once and for all, and has been kicking ass and taking names ever since.
Drummer Brian “Dawg” Costantino joined the band at this time. The band signed to Relapse Records and recorded 2017’s “Sacred”, an album showing The Obsessed back with pure vengeance. Sacred brought the band to venues and festival stages around the world.
In 2022 the band became a four piece with the addition of Chris Angleberger on bass and Jason Taylor on guitar. The band has been touring heavily since and have been seen on USA and European festival stages such as HellFest, Freak Valley Festival, Snowblind Festival and Desert Fest.
The band’s forthcoming album, Gilded Sorrow, set to be released early 2024 on Ripple Music, marks a new chapter in their legacy. The album promises to capture the essence of the band’s classic sound while adding a fresh new atmosphere with a dual guitar attack.
Howling Giant
Despite Nashville’s reputation for assembly-line pop country, the town called Music City is a place of deep history, where brilliant songwriters and virtuoso session players keep dozens of musical legacies burning bright. Nashville’s preeminent fuzz-psych power trio Howling Giant live in the pocket of that lineage, and on their eagerly awaited second full-length, Glass Future, they kick out the righteous jams with furrowed determination and wild abandon.
Howling Giant formed in Nashville nearly ten years ago with the union of guitarist/vocalist Tom Polzine, drummer/vocalist Zach Wheeler, and bassist/vocalist Roger Marks. From day one, the trio locked into a musical groove of thunderous metal, proggy acrobatics, psychedelic flourishes and soaring melodic vocals, telling stories of fantasy and adventure with such sheer force of will that they seemed capable of opening a window to other dimensions. Their early years saw a flurry of recorded activity, with an acclaimed self-titled EP in 2015 and an audacious concept piece split across two EPs, 2016’s Black Hole Space Wizard Part 1 and 2017’s Black Hole Space Wizard Part 2.
On the strength of those EPs and a growing, fervent fanbase, Howling Giant set out to bring their arena-sized energy to the people with the hunger of true road dogs. Throughout 2017 and 2018, they crisscrossed the United States, pouring out heart and soul (and sweat) while flying the flag of emotive, intricate heavy rock and roll. This tireless energy eventually brought them to such prominent festival stages as Psycho Las Vegas in 2018 and both SXSW and Psycho Smokeout in 2019. Around this time, Marks left the band and Howling Giant achieved its current form with the addition of bassist/vocalist Sebastian Baltes.
Gozu
It only takes a few seconds exposure to the rolling riffs of opening track “Tom Cruise Control” to be reminded that this is Gozu‘s world, we’re just living in it. Given that it has been five years since the Boston quartet dropped the monstrous Equilibrium, returning with Remedy is one hell of a way to make sure that everyone – whether previously familiar with them or otherwise – realizes that they are perhaps the most badass of American rock bands, for they have taken everything to the next level. “There is a certain maturity mixed with a childlike enthusiasm to play music, and we all are better players now than on Equilibrium,” says vocalist/guitarist Marc Gaffney. “We have all really tried to look at what we enjoy but more what we do not enjoy. Playing music is a gift and when it becomes A Nightmare on Elm St Part 37.3, you are done.” The result is nine tracks of their signature combination of fuzzy 70s inspired riffs, rich, catchy, grunge-esque vocal melodies and a touch of old school trippy psychedelia written and played with the utmost passion and enthusiasm, eclipsing everything else in their catalogue. “The band wanted a very heavy groove-oriented album with singalong choruses. We also wanted sonically to hit you in the chest, like a three-combination, left-right-left, like Micky Ward. Harmonies and melodies were something we really looked at and wanted to shine, and thick guitar tones, driving bass and drums were under the microscope.“
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