Cvlt Nation is currently streaming The Glass Cliff, the debut full-length from Maryland psychedelic doom practitioners DIRT WOMAN in its hazy-eyed entirety! The premiere comes in advance of the record’s official release Friday March 13th via Grimoire Records.
Write Cvlt Nation of the release, “This music makes me want to eat a lot of THC and head bang until I float away on the wings of a fallen angel. Everything about this record is pleasing to my classic doom-loving ears…slick, heavy guitars; slow, smashing drums; and lilting, echoing lyrics, all bounding off the walls of my skull in a deliciously doomy way….”
Stream DIRT WOMAN’s The Glass Cliff, exclusively at Cvlt Nation, at THIS LOCATION.
Recorded, mixed, and mastered in the fall of 2019 by Noel Mueller at the Tiny Castle in Baltimore, The Glass Cliff’s five tracks bulge with gargantuan riffs, thundering rhythms, and lyrics speaking directly to the cries of today’s youth; a fittingly titled record that’s equal parts enraged and dejected by a world whose once great promise has been decimated by the pursuit of power and material wealth.
DIRT WOMAN’s The Glass Cliff comes swathed in the trippy cover renderings of Hayden Hall and will be released on limited edition CD and digital formats March 13th. For preorders, go to THIS LOCATION.
DIRT WOMAN will play a special record release show this Friday with additional live dates to be announced in the weeks to come.
3/13/2020 Record Release Show @ Salisbury University Art Gallery – Salisbury, MD
Forged in Ocean City, Maryland in the summer of 2017 as a duo featuring vocalist/guitarist Zoe Koch and drummer Gabe Solomon, DIRT WOMAN is named in honor of the late Donnie Corker. Better known as Dirtwoman, Corker was a cross-dresser living in Richmond, Virginia known for involvement in Richmond politics, arts, music, and food banks as well as being the human floral arrangement of the annual Hamaganza holiday rock ‘n’ roll charity benefit show that, for twenty-years had paired Dirtwoman with a revolving cast of politicians, luminaries, and journalists. “His story was truly inspiring to us,” notes Koch. “His charitable work and activism make him forever an icon in our eyes.” Koch and Solomon wrote casually and played sporadic shows. By the spring of 2018, they expanded their lineup to include bassist Kearney Mallon and his twin brother, drummer Avery Mallon, shifting Solomon to guitar. With the twin rhythm section and a dual guitar attack, their thick, quaking sound had truly begun to shape itself into what would become The Glass Cliff.
“Five songs, three of them thirteen-plus minutes, and a colossal sound that will leave you overwhelmed, clutching your head, wondering if you still have ears… The Maryland quartet are newcomers to the scene, with a handful of Bandcamp tracks and very little social media presence to their name. Just don’t expect it to remain this way for long. The Glass Cliff is too good for them to remain fully underground.” — Metal Injection
“It’s like they live in a riffy valley between two riff mountains cut by a river of riffs where they subsist on riffy agriculture and have enough left over to make a tidy living exporting them to other, less riffy regions… “ — The Obelisk
“Fans of the fuzzed-out, body-swaying stoner doom of Electric Wizard and Windhand may want to keep their ears peeled for the debut album by Ocean City, Maryland’s DIRT WOMAN, who are cut from that very same cloth and who do a fine job of churning out mammoth riffs and psychedelic haze.” — BrooklynVegan
“Not only [is] DIRT WOMAN’s…The Glass Cliff filled with smoky, swaggering songs that overdeliver, the production sounds absolutely perfect, like you’re left with dusty sunburn when it’s all over. Koch is a killer singer out front, helping make these songs even more mesmerizing, and the rest of the band packs a punch that promises doom muscle and stoner gazing in equal amounts.” — Meat Mead Metal
“…the songwriting just nails what stoner doom needs to do. Zoe Koch (vocals, guitars) and Gabe Soloman (guitars) have a good interplay, finding fun ways to deliver tried-and-true payloads. The Mallons, Avery (drums) and Kearney (bass), are the glue guys. Kearney has that right-place-right-time Tim Bagshaw feel down cold. Avery’s swing and irrepressible energy keeps even the trudgiest sections moving. Koch’s voice puts all of this over the top, reminding of Ken Baluke’s not so much in timbre, but in how it’s utilized. When she sings, it fills up the whatever space is left in the spectrum, the final brick in a glorious wall of sound.” — Stereogum