TRACK LIST

1. Never Liked You
2. Astrolabe
3. One Eye
4. Heartfelt
5. Ask The Sky
6. You Try It
7. Dirge
8. I’m Afraid Of Americans
9. Remember What I Said

ALBUM INFO:

The title of Luder’s 2009 debut, Sonoluminescence (released on Small Stone), referred to sound waves reacting on passing through a substance to create light — sort of a long way around to expressing the illumination the four players felt came through their collaborating, but fitting.

Progressive, psychedelic, stylistically intricate, the album was recorded and mixed by Eric Hoegemeyer at Rustbelt Studios and mastered by Chris Gooseman. Comprising 10 songs that effectively blended Luder’s diverse influences, tracks flowed seamlessly from driving dark prog to languid shoegazing, bassist Sue Lott’s vocals tying pieces together with the apparent effortlessness of a virtuoso.

So it is four years later, on Luder’s follow-up, Adelphophagia. Another research-worthy title – this one relating to the phenomenon of one embryo consuming another in utero – and another deeply varied collection of textural, smooth, frequently heavy rock and roll that has as much in common with Portishead as it does with Black Sabbath.

Sue, Phil, Scott and Eric once again recorded with Hoegemeyer (who also contributes piano, backing vocals, percussion, etc.), and as well as boldly taking on David Bowie’s 1997 single, “I’m Afraid of Americans,” the album pushes Luder’s creative breadth further; new, dominant ideas and methods consuming others over a years-long writing period to become the expansive scope of “Dirge” or the grunge-y attitude-drenched kissoff “Never Liked You.” Luder find room to balance their love of classic prog in “KrautJam” with an organic songwriting sensibility – the sweet melodies of its chorus are as memorable as they are exploding with color.

Shows are sporadic, but Luder has shared the stage with Kyuss Lives!, Fu Manchu, Lo-Pan, Freedom Hawk, Lord Fowl, Suplecs, Dixie Witch, House of Broken Promises, Gozu and many others. As Luder come into their own on Adelphophagia, look to catch them on stage periodically and expect to be consumed by their warm and eerily welcome wash.

Credits

Luder is:
Eric Miller: drums & percussion
Sue Lott: bass & vox
Phil Dürr: guitars & leads
Scott Hamilton: guitars & effects

Additional Players:
Eric Hoegemeyer: piano, backing vox, percussion, sounds
Matthew Richards: backing vocals and other noises

Produced by Eric Hoegemeyer and Luder .
Recorded and engineered by Eric Hoegemeyer, Steve Lehane, and Alex Kaye.
Recorded at Rust Belt Studios – Royal Oak, MI.
Vocals recorded and engineered by Clyde Wilson at Mount Doom Studio – Warren, MI.
Mixed by Eric Hoegemeyer at Tree Laboratory – Brooklyn, NY.
Mastered by Chris Goosman at Baseline Audio – Ann Arbor, MI.
Art by Matthew Richards and Sue Lott (mochimad.com).
Photography by Matthew Richards and Sue Lott.
Lighting assistance by Rich Watson (digitalfarm.net).
Textiles by The T-Shirt Guy – Warren, MI.

All songs written by Luder, except “I’m Afraid Of Americans” written by David Bowie, Brian Eno, published by TINTORETTO MUSIC / UPALA MUSIC INC (BMI).
Published by Small Stone Records (ASCAP).

TRACKLIST:

1. Sing To Me 04:19
2. S-Words 07:22
3. Selfish and Dumb 05:44
4. Cold Hands, Warm Pants 07:28
5. Hot, Girl-On-Girl, Vampire Action 08:07
6. In Love With Love 07:26
7. The Pox 06:24
8. Points West 05:04
9. Sewn Together 06:40
10. Soledad y Onanismo 06:17

REVIEWS:

“Luder have certainly got grooves aplenty and manage to successfully connect the more alternative end of the Indie scale with guitar-heavy metal. So with such great riffs and grooves surely the deciding factor will be whether you like this particular dreamy vocal style. And for that I hand Luder over to you.” UBERROCK

“Luder’s 2009 debut album, Sonoluminescence, takes you back to the oh-so-long-ago of, what, 1994 or so? Yes, it’s difficult to believe that it’s been that long already. But the alternative metal and shoegaze sounds emanating from Sonoluminescence’s grooves evoke instant Technicolor flashbacks (well, tones of gray Technicolor, anyway) to that mid-‘90s sonic aesthetic — as dated, yet as comfortable, as that grungy old Cardigan sweater you wore against your mother’s protestations, until the very last string unraveled like some vision preordained in that damn Weezer song! But primarily, it’s the confluence of Sue Slot’s dreamy, haunting whispers and her bandmates’ droning, angst-ridden darkness that breeds this familiarity, epitomized by tracks like “Selfish and Dumb,” “The Pox,” and particularly “S-Words,” which sets progesterone-fueled Alice in Chains vocal harmonies against a circular riff backdrop direct from the Jane’s Addiction toolkit. Evident influences aside, though, the members of Luder unfurl just enough unorthodox elements from their separate prior musical paths to give those templates some distinction, including classic, psychedelic, and stoner rock elements, metallic riff worship, and even a discreet power pop undercurrent that alleviates the exquisite torment of it all right about when you’re reaching for the skip button (cue the gloriously depressing “Sewn Together”). For example, one of the more interesting songs, the amusingly named “Hot, Girl-on-Girl, Vampire Action,” drones on forebodingly for much of its lysergic eight minutes, but unexpectedly breaks out into a bouncy pop-punk midsection that feels as though it were painfully grafted on. “In Love with Love” also picks up the pace when you most needed it to, and the closing enigma of “Soledad y Onaismo” (err, “Solitude and Masturbation”?) travels a daunting road from its sparse acoustic beginnings to its Tool-like post-metal apocalypse (by way of a Sabians guitar solo — look that one up!). In sum, as exercises in nostalgia go, Luder’s Sonoluminescence feels pretty darn welcome when all is said and done, and it makes for a rather unrepresentative but memorable choice to serve as the Small Stone label’s celebratory 100th release (owner Scott Hamilton is also one of Luder’s two guitarists), which is no mean feat in today’s troubled music industry.” ALLMUSIC

ALBUM INFO:

Sonoluminescence – ‘luminescence excited in a substance by the passage of sound waves through it.’

The formation of Luder harkens back to 2006, when Small Stone Records undertook the task of issuing the lost recordings of a band called Slot after the untimely passing of its founding member and guitarist, Billy Rivkin. After the successful completion of this project, it was decided by the powers that be that some semblance of the band should play at SXSW the following spring. So it was that Sue Lott (Slot’s bassist) and Eddie Alterman (Slot’s drummer) were joined on guitars by Phil Dürr (Big Chief, Giant Brain, Five Horse Johnson) and Small Stone head-honcho Scott Hamilton to pull off such a thing. The thinking was that it would take two guitar players to competently do what Billy did on his own.

After a successful SXSW show in the spring of 2007, Followed by a hometown show at the Magic Stick, Sue, Phil and Scott decided it might be worthwhile and fun to continue playing and writing music, perhaps under a different moniker. Eddie being mostly unavailable due to laboral commitments, they humbly asked ex-Novadriver drummer (and, as with Phil, current Five Horse Johnson member) Eric Miller to join and soon started doing that thing that the kids call “jamming.” At first, the quartet got together mostly to keep their chops up, jamming on quasi-Krautrock riffs a few nights a week. Eventually, as everyone got comfortable with each others’ playing styles, they started writing songs for real, honing the ad-libbed riffs into songs, making music that none of them would be able to write in any other band. Luder set out to make obstinate music, or as Sue likes to say, “music I like.” A new idea was hatched, a new band was born, and a new name was chosen; ergo: Luder.

Luder seamlessly incorporates all the influences of the individual band members and their musical histories into a coherent whole. When Eric and Phil bring elements of Stoner Rock, Sue might counter them with an almost jazzy bass line. Scott might pitch a decidedly shoegazery melody line, Phil may react by channeling his inner metal-head. When Sue comes to the table with a decidedly ambient bass line, the other three might add any and all types of raucous, multi-genre-ic sounds. If Phil’s hispanophilia threatens to get out of hand, Eric may throw in an absolutely tribal drumbeat. Now, add a pinch of humor to the mix, and it all combines to give Luder’s music that certain out-of-left-field-je-ne-sais-quoi that adds up to a band that in the end sounds like no other. Then you bring Sue’s ethereal vocal stylings into the picture, and you makes for quite a spicy stew. Luder’s songs have been described as “disturbingly peaceful,” “peacefully disturbing,” and “in need of editing” (to which they gleefully and politely say “no, thank you” and “up yours” in unison).

As the a result of staying true to their musical passions and influences, not to mention running up a rather hefty electrical bill in Sue’s basement, the debut album from Luder, ‘Sonoluminescence’ was etched out in the dwelling that was once known to insiders as The Slot House. Recorded at Rustbelt Studios with Eric Hoegemeyer (Giant Brain, Deep See Sound System) on the dials over the course of six months whenever all parties could meet, Sonoluminescence is a very organic and dynamic, an orgasmic whirlwind of Rock Recording. Luder’s debut is sure to turn a few heads, cause a spit-take or two, and clean out a few eardrums in the process. Hell… you might even catch them live if the guarantee is right and there happen to be any baby- and dogsitters available to work that particular night…

For fans of: Slot, Giant Brain, The Birthday Party, Soundgarden, Queens Of The Stone Age, Tool, Clutch, Curve, Portishead, The Verve, Polar Bear, and an ass load of other like-minded bands from the 70s, 80s, and early 90s.
credits

 
Released 10 November 2009

Luder is:
Eric Miller: Drums & Percussion
Sue Lott: Bass & Vox
Phil Dürr: Guitars & Things
Scott Hamilton: Guitars & Too Many Effect Pedals

Additional Players:
Eric Hoegemeyer: Piano, Backing Vox, Percussion, Sounds
Vince Williams: Backing Vox, Screaming
Richard Watson: Backing Vox
Marshall Oliver: Backing Vox
Matthew Richards: Backing Vox

Recorded at Rustbelt Studios – Royal Oak, MI.
Recorded, Engineered, Mixed and Manipulated by Eric Hoegemeyer.
Produced by Eric Hoegemeyer and Luder.
Mastered by Chris Goosman at Baseline Audio – Ann Arbor, MI.
Artwork by Sue Lott & Matthew Richards at MOCHIMAD.
Textiles by The T-Shirt Guy – Roseville, MI.
All the tracks written by: Sue Lott, Eric Miller, Phil Dürr, Scott Hamilton, Eric Hoegemeyer.

Luder is:
Sue Lott: bass and vox
Eric Miller: drums and percussion
Phil Dürr: guitar and leads
Scott Hamilton: guitar and effects

Adelphophagia is their second album.

The title of Luder’s 2009 debut, Sonoluminescence, referred to sound waves reacting on passing through a substance to create light — sort of a long way around to expressing the illumination the four players felt came through their collaborating, but fitting.

Progressive, psychedelic, stylistically intricate, the album was recorded and mixed by Eric Hoegemeyer at Rustbelt Studios and mastered by Chris Gooseman. Comprising 10 songs that effectively blended Luder’s diverse influences, tracks flowed seamlessly from driving dark prog to languid shoegazing, bassist Sue Lott’s vocals tying pieces together with the apparent effortlessness of a virtuoso.

So it is four years later, on Luder’s follow-up, Adelphophagia. Another research-worthy title – this one relating to the phenomenon of one embryo consuming another in utero – and another deeply varied collection of textural, smooth, frequently heavy rock and roll that has as much in common with Portishead as it does with Black Sabbath.

Sue, Phil, Scott and Eric once again recorded with Hoegemeyer (who also contributes piano, backing vocals, percussion, etc.), and as well as boldly taking on David Bowie’s 1997 single, “I’m Afraid of Americans,” the album pushes Luder’s creative breadth further; new, dominant ideas and methods consuming others over a years-long writing period to become the expansive scope of “Dirge” or the grunge-y attitude-drenched kissoff “Never Liked You.” Luder find room to balance their love of classic prog in “KrautJam” with an organic songwriting sensibility – the sweet melodies of its chorus are as memorable as they are exploding with color.

Shows are sporadic, but Luder has shared the stage with Kyuss Lives!, Fu Manchu, Lo-Pan, Freedom Hawk, Lord Fowl, Suplecs, Dixie Witch, House of Broken Promises, Gozu and many others. As Luder come into their own on Adelphophagia, look to catch them on stage periodically and expect to be consumed by their warm and eerily welcome wash.

Press Says:

“Luder are such a potent chemical made up of many elements most of which can be found in the half-light of pop, alternative, trip-hop and of course – the reason why we’re all gathered here today – metal.” – Uber Rock

“Most people will not be expecting an album that, not only sounds like nothing else on the Small Stone roster but is literally incredible from the first note to the last… As sonically diverse and experimental as this album can be at times at its core lies a strong collection of very catchy, memorable and frankly awesome tunes.” – The Sleeping Shaman

“The members of Luder unfurl just enough unorthodox elements from their separate prior musical paths to give those templates some distinction, including classic, psychedelic, and stoner rock elements, metallic riff worship, and even a discreet power pop undercurrent that alleviates the exquisite torment of it all…” – All Music Guide

Copyright© Small Stone Recordings

Track List

1. Munich
2. Terminator: (Where an astronaut dies in space)
3. The Variac: (His consciousness reawakens)
4. Fore: (Rage at the cruelty of forced transhumanism)
5. Systems Failure: (Uprising, destruction, and the escape)
6. Between Trains

TRACK LIST

1. The Job
2. Keep On Diggin’
3. Black Heart Baby
4. Mexico
5. Beating In My Hand
6. Quick On The Trigger
7. Smash & Grab
8. Hangin’ Tree
9. You’re My Girl
10. Shoot My Way Out
11. Die In The River

ALBUM INFO

The blues means many things to many people. To some, the purists, it is the scratchy honesty of Robert Johnson with his devil-fueled fretwork. To others, it is the giants that followed him, from Howlin’ Wolf and Muddy Waters to the Kings – Albert and BB. To others still, it is the rock ’n’ roll that those old guys influenced, be it Cream, the Stones or early Fleetwood Mac.

The truth, of course, is that the blues is whatever you want it to be. If a group of musicians wants to drink a few beers or a quart of bourbon, smoke some unfiltered cigarettes, plug in a guitar, see what happens and call it the blues, who are we to argue?

When Five Horse Johnson formed back in 1995, referring to itself as a Blues Band, a few brows might well have been furrowed. However, this is a band that has always understood that the blues isn’t a formula, but a way of looking at the world; their take on the blues is as a dirty, sensual thing, enhanced with a healthy dose of humor.

Five Horse Johnson is now seventeen years and six albums into its career, with a seventh about to drop. The band has dug out a niche of its own, combining their love and respect for traditional blues and classic rock to become one of the most loved and respected bands in the stoner rock community. Always a freight train live, the band has toured hard with the likes of Clutch and Halfway to Gone, in the process gathering fans, friends, and drinking partners all over the world.

Five Horse Johnson’s new album, The Taking of Black Heart is due for release via Small Stone Records in January 2013. It is the band’s first full-length record since 2006’s The Mystery Spot, which saw Five Horse Johnson, with the help of Clutch’s Jean Paul Gaster helming the drums, create its strongest album up to that point.

That record saw Gaster and Steve Smith provide more power than a Super Hemi. Brad Coffin’s guitar never sounded lither and his voice never stronger. Eric Oblander’s harp, meanwhile, is as sharp as a tailfin, his gravelly vocal delivery a growling, howling counterpoint to Coffin’s gruff style. Other collaborators on The Mystery Spot included Roadsaw/Antler’s Craig Riggs and Big Chief’s Phil Durr and Mark Dancey. Durr is now an official member of the band.

During the time away, Durr has been working with fellow Small Stone band Luder, while Oblander was chosen to front a semi-reunited Necros opening for hardcore heroes Negative Approach at St. Andrew’s Hall (the band was named Sorcen – Necros spelled backwards).

Now though, Five Horse Johnson is back, preparing to rip the world a new orifice all over again with The Taking of Black Heart, which again features Gaster on drums and is produced by J Robbins of Jawbox (who also contributes some organ and percussion).

The Five Horse Johnson lineup for the album is Eric Oblander (vox/harp), Brad Coffin (vox/ guitar), Steve Smith (bass) and Phil Dürr (guitar). The album also includes a special guest appearance from Robin Zander of Cheap Trick, who contributes vocals on the song “You’re My Girl (I Don’t Want To Talk About It)”.

The Taking of Black Heart was recorded at the Magpie Cage in Baltimore, MD. The vocals were recorded at Kozy’s Chop Shop at Sunroom Studio in Detroit, MI by Bill Kozy and Erik Maluchnik. “You’re My Girl (I Don’t Want To Talk About It)” was produced by Bill Kozy. The album was mastered by Chris Goosman at Baseline Audio Labs in Ann Arbor, MI. Fine arts are by Mark Dancey, and textiles are by Vince Williams at Creative Print in Warren, MI. Executive producer is Scott Hamilton. Robin Zander appears courtesy of Cheap Trick.

Five Horse Johnson is not a band that makes apologies. A decade into its life, compromise is not an option. The truth is, this is hard, heavy, dirty blues rock ’n’ roll for people that like that sort of thing. This music is for people who like the sound of an engine roaring or the feeling obtained by following a cold beer with a shot of good whisky. Five Horse Johnson will gladly kick your ass, and then wait for you to say thank you.

Credits

Five Horse Johnson is:
Eric Oblander: vox & harp
Brad Coffin: vox & guitar
Steve Smith: bass
Phil Dürr: Guitar

Additional Musicians:
Jean Paul Gaster: drums
Robin Zander: vox on “You’re My Girl (I Don’t Want To Talk About It)”
J. Robbins: organ, percussion

Recorded and Produced by J. Robbins.
Recorded at The Magpie Cage / Baltimore, MD.
Vox recorded by Bill Kozy and Erik Maluchnik at Kozy’s Chop Shop at Sunroom Studios – Detroit, MI.
“You’re My Girl (I Don’t Want To Talk About It)” produced by Bill Kozy.
Mastered by Chris Goosman at Baseline Audio Labs – Ann Arbor, MI.
Fine Arts: Mark Dancey.
Textiles: Vince Williams at Creative Print – Warren, MI.
Executive Producer: Scott Hamilton.
Robin Zander appears courtesy of Cheap Trick.