Shadowmaster to Release Self-Titled Debut on Seeing Red Records

Posted in Whathaveyou on November 30th, 2017 by JJ Koczan

Preorders are up now from Seeing Red Records ahead of a Dec. 22 CD release of Shadowmaster‘s self-titled debut. The album was originally issued by the band earlier this year and the label, fueled apparently by what it saw as a lack of due appreciation for it, snagged it and will have it out just in time for the holidays, for that lover-of-lady-sacrifice in your life. We’ve all got one, I guess?

Either way, the doom runs thick here, so it’s easy enough to see/hear what motivated Seeing Red, and the band was kind enough to give some comment about the making of the album and where they were headed with it in terms of intention. Other than lady-sacrifice, that is. Take that, ladies. With your lady parts and whatnot.


Okay, here’s label and band comment from the PR wire:

shadowmaster self titled

Seeing Red Records – Shadowmaster – DOOM to melt your face off!

I am very excited to announce our newest signing to the Seeing Red Records family, Sweden’s SHADOWMASTER.

Originally releasing a demo in 2015 under the guise, Desert Crone, the band recorded a full length in 2016 and decided to change their name to Shadowmaster before self-releasing the album digitallty in August of this year. We were fortunate to sign the band and decided to press a physical release in the form of a Cd digipack that will be out December 22!

Somehow completely overlooked by labels, press, and fans in general, Shadowmaster have crafted a completely devastating offering that demands your attention immediately upon listening. Cited by renown artist, Stephen Kasner (Sunn 0)), Khanate, Rotting Christ) as one of his favorite new acts, the bands imagery is just as gripping as their music. There is not much more I can say as the music speaks for itself.

Says Shadowmaster: “With the making of this album, we took every step carefully and worked hard on the details so we felt one hundred percent satisfied. We are very pleased with the results and hope that everybody who listens to the music feels the same way that we do.”

1. Lost Reality 05:51
2. Seven Witches 07:29
3. Blind Shades in a Breeze 05:38
4. Shadowmaster 08:46
5. The Lizard King 02:10
6. We Won’t Be Alive 07:48
7. When Shadows Binds Your Soul 09:28
8. Under His Black Skies 19:06

Shadowmaster is:
Cedermark – Bass & Vocals
Micke – Guitar
Jumbo – Battery

Shadowmaster, Shadowmaster (2017)

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Iron Monkey Announce UK Shows in Manchester and London

Posted in Whathaveyou on November 30th, 2017 by JJ Koczan

The response to Iron Monkey‘s return opus, 9-13, has been a considerable slather. To the point that one wonders if the band finds it gross or gratifying. Either way, the barrage of hyperbole holds a mirror to the resurgent UK sludgers’ barrage of riffs, and at this point there’s no stopping the inevitable next step, which is live shows. Three have been newly announced — two in Manchester, one at The Underworld in London — for next April, and though one might’ve speculated that an appearance would be in the cards, I saw confirmation the other day that indeed Iron Monkey will not appear at Roadburn 2018. Can’t help but feel like that’s a mistake on the band’s part, but they seem to be doing alright without, I guess, and if they gave a fuck generally-speaking, it just wouldn’t be Iron Monkey, would it?

Here’s info from the PR wire:

iron monkey

IRON MONKEY Announces 2018 UK Live Dates

Cult UK doom/sludge unit IRON MONKEY has announced three headlining shows the UK this coming April. Tickets go on sale Wednesday, November 29th at 10:00am GMT. A full list of confirmed shows is available below.

IRON MONKEY will be supporting their 9-13 full-length, recently issued via Relapse Records. Recorded in their hometown of Nottingham in Spring 2017 A.D. with producer Johnny A. Carter, 9-13 is nine songs and forty-eight minutes of total nihilism. Now older, more cynical and more isolationist, IRON MONKEY are back to usurp the scene, then crush it’s skull. Without question, their most focused, aggressive and direct material to date, 9-13 is an all-out assault of violent hatred and nightmarish negativity. Recommended listening for fans of pain, suffering, and misanthropy.

9-13 is out now on CD, LP, and digital formats via Relapse Records. Physical packages and digital orders are available via HERE and all retail outlets HERE.

4/13/2018 Rescue Rooms – Manchester, UK
4/14/2018 The Underworld – London, UK
4/21/2018 Ruby Lounge – Manchester, UK

The band reformed for no reason in the winter of two thousand sixteen with original members J. Rushby and S. Watson, with the addition of current Chaos UK drummer Brigga, forming the shape of an inverted black triangle of vitriol and phase two of operations. IRON MONKEY do not care about your scene, bands, or opinions… ELECTROCUTION, DOOM, OMEGA OMEGA OMEGA.

Iron Monkey, “Toadcrucifier – R.I.P.PER” official video

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Eternal Elysium, Searching Low and High: Found at Last

Posted in Reviews on November 30th, 2017 by JJ Koczan


To be sure, if you’re looking to start a collection of underrated and ripe-for-broader-appreciation riffage, there are probably few better ways to kick off than with Eternal Elysium. The long-running Nagoya-based outfit trace their stoner rocking Sabbathian loyalties back more than 20 years at this point, and they have a discography chock full of memorable songs that have gone rampantly undervalued in their time. Accordingly, one can only applaud the efforts of Ukrainian imprint Robustfellow Productions in giving due homage to Eternal Elysium‘s 2005 fourth album, Searching Low and High, which from the initial boogie of “Reefer Happiness” through the Hendrixian strut of “Twilight High” and into the depths of 16-minute jammer finale “Green Song” makes just about a perfect lead release for what’s been dubbed the Robust Relics Series.

Given new cover art by Yura “xNinja” Nagorniy and a complete 2017 remix and remaster courtesy of Eternal Elysium founding guitarist/vocalist Yukito Okazaki, the new version of Searching Low and High is comprised of 10 songs and runs a suitably robust 73 minutes thanks in part to the inclusion of two bonus tracks, “Eternal Elysium” (13:53) and “The Spiral Conclusion” (6:59), but even without these, it’s a substantial work of heavy rock idolatry, digging into the roots of the style and focusing less on nuance of presentation than quality of songcraft. That’s not a tradeoff you’re ever going to hear me complain about, and indeed, the band works it to their advantage even for a weirdo interlude like “Approaching Stranger on the Electric Trail of Dreams,” efficiently bringing a sense of atmosphere to the otherwise straightforward attack of the subsequent post-grunge of “No Isolation.”

Following their 1996 debut, Faithful, the next two Eternal Elysium records — 2000’s Spiritualized D and 2002’s Share — were released by MeteorCity, marking their introduction to North American audiences. They’ve had a number of EPs and splits out along the way, including one in 2007 with Black Cobra, and have issued two full-lengths since Searching Low and High in 2009’s Within the Triad and last year’s excellent return, Resonance of Shadows (review here).

Originally issued on Diwphalanx Records with a follow-up vinyl through Hydro-Phonic in 2011, Searching Low and High finds Eternal Elysium at an interesting point in the arc of their overarching progression, confident enough four records deep to throw a little country swing into “Before the Morning Comes” as might a Pepper Keenan-fronted C.O.C. or to play off acid folk on the 1:42 aside “Hazy Sublime” earlier, but well aware that the core of their approach lies in the thickened groove of a song like second cut “Not So Far,” which answers the faster initial rollout of “Reefer Happiness” by unfolding a doomer nod before turning at its halfway point to madcap stoner punk that here jumps from one channel to the other as it makes its way through its careening course toward a solo-topped bookending slowdown.

eternal elysium

The opening salvo, followed immediately by the aforementioned “Hazy Sublime,” represents the very roots of what works best about Searching Low and High, but Eternal Elysium aren’t content to rest on that alone, and the substance of the album proves more varied and more satisfying than it would if they stuck to the same ideas across the span. And it’s precisely there that the band’s experience as songwriters becomes most relevant and, frankly, easiest to discern.

Earlier outings showcased no shortage of fervent stonerism and were righteous in doing so, but with Searching Low and High, Yukito, bassist/vocalist Tana Haugo and drummer Antonio Ishikawa move fluidly between a more varied swath of influences in a way that, in context, seems to provide a model they’d follow even on Resonance of Shadows, planting their feet firmly and moving outward from there. As the organ-laced “Before the Morning Comes” jives into the psychedelically languid “Green Song,” the trio effectively draw the listener along this path as they go, and the final act of immersion into drift is made all the more satisfying by its dynamic ebbs and flows throughout, guitar leads taking the fore of the new mix with a steady rhythmic foundation behind.

Capped with a fadeout and feedback, “Green Song” gives Searching Low and High a fitting conclusion — gone with no return — but the bonus tracks assure that the proceedings aren’t done yet. The eponymous “Eternal Elysium” appeared on the band’s demo in 1992 and “The Spiral Conclusion” featured on their 2012 split with SardoniS, but both were also on the Hydro-Phonic vinyl as well, so they’re hardly out of place here, and if you’re prone to complain about an extra 20 minutes spent with Eternal Elysium coming out of your speakers, you’re probably not taking on a reissue of Searching Low and High in the first place. Another jam. More nodding riffs. Zero argument.

It will be fascinating to see where Robustfellow takes its Robust Relics Series from here. Of course, I’ve discussed on numerous occasions the treasure trove of pre-social media heavy rock and roll that exists both in and out of current print, so there’s no shortage of fodder for the imprint to dig through and stand behind for reissue should it choose to do so, but in beginning with Eternal Elysium, a clear signal and a high standard have been set, and whether Searching Low and High will ultimately mark a departure point into the discographies of other acts or a series of revamped offerings from the Japanese rockers on their own, its arrival is as welcome as its riffs are timeless.

Eternal Elysium, Searching Low & High (2005/2017)

Eternal Elysium website

Eternal Elysium webstore

Eternal Elysium on Thee Facebooks

Eternal Elysium on Twitter

Robustfellow Productions on Thee Facebooks

Robustfellow Productions website

Robustfellow Productions on Twitter

Robustfellow Productions on Bandcamp

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Hundred Year Old Man Announce Rei EP out Jan. 26; Title-Track Streaming

Posted in Whathaveyou on November 30th, 2017 by JJ Koczan

hundred year old man

Got nine minutes to spare and a skull that wants cleaving? If so, Leeds-based post-sludgers Hundred Year Old Man would like to share with you the title-track of their forthcoming debut EP, Rei. Set for release on Jan. 26 through Gizeh Records and Wolves and Vibrancy Records, Rei answers the band’s initial single “Black Fire” and while I usually see phrases like “debut EP” and wistfully remember the days when we called such things “demos” and left it at that, I think a listen to “Rei” itself — stream it at the bottom of this post — justifies the distinction in its cohesiveness and bludgeonry alike. In other words, it’s pretty clear these cats know what they’re doing.

I haven’t heard the full thing yet, but the groove on “Rei” kind of kicked my ass, so here’s info from the PR wire including current and future live dates:

hundred year old man rei


Leeds-based post-metal six-piece Hundred Year Old Man follow up their stunning debut single Black Fire with Rei, a three track EP, released via Gizeh Records and Wolves & Vibrancy on January 26th. Rei is released as a limited 12” vinyl with an etched b-side in an edition of 300. With a debut album due for release in 2018, this EP is the perfect offering to stoke the fires for a full-length whilst comfortably holding its own as a stand-alone piece of work.

Pre-orders are now open and we have an assortment of different bundles on offer. These will ship in late January. Hundred Year Old Man take to the road in February in support of the release. Stream the lead track from the EP below.

Pushing even further into the abyss, this new work opens with Sun & Moon and a monstrous slab of heaving guitars fall out of the atmospheric beginnings. Paul Broughton’s vocal erupts and the track explodes into life, destroying everything in its path until the shadows return to close, leading the way into an interlude that corrodes and drifts before joining these two monolithic pieces together. The title track demonstrates the staggering ambition that Hundred Year Old Man posses. Ripping into a cathartic sludge reminiscent of Neurosis at their best, it’s a towering, immersive, nine minute journey that refuses to loosen its grip until the dying moments.

02.12 – Newcastle (UK) – Byker Grave Festival
02.12 – Bradford (UK) – Lizardfest
15.12 – Nottingham (UK) – The Angel
01.02 – London (UK) – The Black Heart
02.02 – Boulogne (FR) – L’Horloge
03.02 – Paris (FR) – Olymipic Cafe
04.02 – Mouscron (FR) – El Bar
06.02 – Hamburg (DE) – AstraStube
07.02 – Braunschweig (DE) – Nexus
08.02 – Prague (CZ) – Eternia
09.02 – Berlin (DE) – Nuke Club
16.02 – Birmingham (UK) – tba w/ Nadja
17.02 – Manchester (UK) – Gizehfest
21.02 – Liverpool (UK) 27 Club
?23.02 – Sheffield (UK) Mulberry
+ more to be announced

Hundred Year Old Man, “Rei”

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Somali Yacht Club to Release The Sea Jan. 22

Posted in Whathaveyou on November 30th, 2017 by JJ Koczan

somali yacht club

Ukrainian heavy psych rockers Somali Yacht Club made a resonant impression with, well, the resonance, of their debut album, The Sun (discussed here), which was issued by Robustfellow in 2014 and Kozmik Artifactz in 2016. The same two imprints combine their efforts in order to stand behind vinyl and CD pressings of the band’s second full-length, the six-song The Sea, which follows suit in vibe from its predecessor while further marking the progressive growth on the part of the group.

What does that mean? How does it manifest in the songs? The record’s not out until late January, so there’s some time really before one can expect some audio to be made public to find out — and I hope to have more on the release sometime between now and then, be it a track premiere or whatever — but on first impression, there’s an immediate warmth and sense of flow that would seem to fit with the titular theme at the very least, and while in a heavy psych context I can hardly even look at anything named The Sea and not hear the chorus of the Sungrazer song, it’s obvious Somali Yacht Club are thinking of it more in direct relation to the prior debut. Maybe they’ll do The Sand next and make it a day at the beach. Who knows?

The PR wire knows:

somali yacht club the sea

Dreamtoned trio from Ukraine, Somali Yacht Club, are going to release their sophomore album “The Sea” on Robustfellow Prods. (CDs and limited editions) and Kozmik Artifactz (vinyls).

After their first LP “The Sun” – which was highly acclaimed both by critics and listeners worldwide and showed the band’s ability to mix styles, create dreamy vibe and submerge listeners into fantastic sound landscapes – the band is ready to continue their musical journey with their next album “The Sea”. Rich fuzz, blended with atmospheric psychedelia, warm grooves and airy leads show the band’s progression both musically and lyrically and once again prove Somali Yacht Club’s inventiveness in blending styles.

1. Vero
2. Religion Of Man
3. Blood Leave A Trail
4. Hydrophobia
5. 84 Days
6. Crows

Somali Yacht Club, “Sun’s Eyes”

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Shadow Witch Confirm Dec. 15 Release for Disciples of the Crow; Preorders Available Now

Posted in Whathaveyou on November 29th, 2017 by JJ Koczan

shadow witch

As first announced here back in September, New York dark heavy rockers Shadow Witch will release their second full-length, Disciples of the Crow, via Salt of the Earth Records. The label has made preorders available for the record, which will see its official issue on Dec. 15, and a new trailer has been posted to mark the occasion, as well as the final album art, tracklisting, and other background details. Consider this a heads up, as I’ll be streaming the album in its entirety with a review next week — currently booked for next Tuesday, according to the notes — so while there’s a lot here, there’s much more to come as well.

Dig it:

Shadow Witch Disciples of the Crow

SHADOW WITCH Announce ‘DISCIPLES OF THE CROW’ Album (out 12/15) via Salt Of The Earth Records

Kingston, New York’s Shadow Witch confirms the flight dates for their upcoming album, ‘Disciples Of The Crow’. The band’s second full-length is set for official release through Salt Of The Earth Records on December 15th, with pre-order available as of November 27th.

In 2015, a crew of veteran musicians in Kingston, New York shared a passion to create powerfully original music. Shadow Witch drew musical influences from various directions, but their goals were simple – harness decades of experience into a cohesive, monstrous sound. Considering members of Shadow Witch are known from previous bands such as Murphy’s Law, Hellride 102, Blue Coyote, Voodelic, Cold War Survivor, and The Blind Ambassadors, the velocity by which those goals were met is no surprise.

In August 2016, Shadow Witch released their first full-length album ‘Sun Killer’, to excellent reviews from the international heavy music community. The album is a diverse assemblage of songs pulling in doom, thrash, psychedelic and stoner metal, and they back it up with intense, explosive live shows to annihilate any listener hesitation.

While member resumes may have eased their footing inside the door of many venues, their future is unquestionably solid. Shadow Witch begins a new chapter in their music history with the official release of ‘Disciples Of The Crow’ on December 15, 2017, via Salt Of The Earth Records.

Shadow Witch returns with an amazing new release filled with mood, atmosphere, and killer riffs and vocals. Eight songs are all that’s needed to raise you above the light, surround you in darkness, and bind your ears, hearts, and mind as one.
Shadow Witch is coming for you.

Disciples Of The Crow – Track List:
1. Love Could Be Like This
2. Reap
3. Cruel
4. Disciples Of The Crow
5. Stranger Skies
6. The Sea
7. Beneath The Veil
8. Dead Heroes
All songs on ‘Disciples Of The Crow’ were written and performed by Shadow Witch. The album was recorded between May and August 2017, by Earl Walker Lundy at Temple Of The Downward Witness, with mixing and mastering by Paul Orofino at Millbrook Sound Studio. Additional performance on ‘The Sea’ with Nicholas Thompson (tympani) and Nick Glosque (operatic voicing).

Cover illustration by Earl Walker Lundy (after Frank Frazetta), Shadow Witch logo by David Paul Seymour, layout and graphics by Bill Kole, band photography by Kristin Troost Hall. ‘Disciples Of The Crow’ was inspired by the writings of Robert W. Chambers, H.P. Lovecraft, and Stephen King.

David Pannullo (bass)
Doug “Beans” Thompson (drums)
Earl Walker Lundy (vocals, mellotron, samples)
Jeremy H. Hall (guitars)

Shadow Witch, Disciples of the Crow album trailer

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Slow, V – Oceans: Drawn by the Ebb

Posted in Reviews on November 29th, 2017 by JJ Koczan

slow v oceans

Belgium’s Slow isn’t the first one-man outfit to wade into the aural cess of funeral doom metal by any means, but it goes in particularly resonant fashion. Helmed by multi-instrumentalist, vocalist and recording engineer Déhá Amsg — whose lengthy pedigree of projects includes Clouds, El Camino, Yhdarl and We all Die (Laughing), among a slew of others — the band’s name is properly written as the all-caps acronym SLOW, standing for ‘Silence Lives Out/Over Whirlpool,’ which was also the subtitle of the first full-length I from the project in 2009. The five-track/57-minute V – Oceans is the latest release, issued by GS Productions earlier in 2017 and picked up by Italian imprint Code666 for wider distribution, and it is a gloriously grueling affair.

Funeral doom has never been and will never be for everyone. By its very nature, it is an extreme form of music. With Slow, the pieces on V – Oceans each top 10 minutes, and the only time there’s much of an escape from the ultra-lumbering, churning tempo is in the 14-minute centerpiece “Déluge,” which veers eventually from its piano/keyboard intro into blastbeats. Otherwise, songs like “Ténèbres” and opener “Aurore” carry forth a wrought emotionalism through largely indecipherable echoing growls and dramatic but not necessarily theatrical arrangements, placed in such a way next to each other as to evoke an overarching linearity to which a lyrical narrative is also set — the theme, of course, drawing on the image of the ocean.

This also isn’t exactly new ground for the style — Germany’s Ahab and defunct UK practitioners Undersmile spring readily to mind, but there are many other examples of groups donning watery themes in funeral doom — but the manner in which Slow takes up this charge is emblematic of what distinguishes Déhà‘s work on the whole throughout the album. In the case of the lyrics, it is the specificity of the imagery put to the songs, the thread of plot that gets woven across “Aurore,” “Ténèbres,” “Déluge,” “Néant” and closer “Mort” that helps make it so immersive, just as it is the nuanced depths of the mix and the intricately balanced arrangements of guitar, keys, bass, drums, vocals, etc. that take place therein that so effectively complement the aquatic mindset.


For the first time with the band, Déhà brought in an outside party — Lore Boeykens, with whom he also founded the Ter Ziele blackened doom duo in 2016 — to work with him on lyrics, and the results are stunning and evocative. The first line of “Aurore” is “Moving into deep waters,” and in a way, that’s the story right there. That’s what’s happening in that song and all that follow, whether it’s the hypnotic undulations that cap “Déluge” or the flourish of spoken work in that song and “Ténèbres” before it or the patient unfolding and foreboding piano that starts the dirge march of “Néant” after. It is no coincidence that the tracklisting moves from “Aurore,” translating from French to ‘dawn,’ to “Néant” (‘nothingness’) and “Mort” (‘death’), as that is precisely where the story of V – Oceans winds up. It is a drowning told through poetry.

As beautiful, serene and resolved as it is sonically brutal and punishing, V – Oceans lets Déhà and Boeykens explore this resounding bleakness of spirit with a conceptual splendor, and as “Néant” resigns itself with the lines, “These dark seas now feel almost comfortable/I give in/May this darkness absorb me,” there’s a swell of keyboard melody that has an almost choral effect (just past the 10-minute mark), as if reaffirming the decision that’s been made. This is a crucial moment for Slow thematically, and perhaps the apex of the album, but to call it that is an oversimplification of the work, which is clearly meant to be taken in its entirety and experienced for the fullness of the headphone-worthy wash it presents. “Mort” caps with a post-death vision of one’s body in the water — “Here my remains drift for everyone to see/This wreck/My failure/Begone with the ebb” — following a description of the undersea voices that lured the protagonist/speaker into the sea in the first place set to chugging guitar, and another choral swell to answer that of “Néant” prior arises at about four minutes in to mark the shift into the final phase of V – Oceans, which stands out for its multi-tiered sense of weight and for the sense of conclusion it brings to the proceedings in their entirety.

I do not know how V – Oceans was composed, i.e., whether it was written as a single song or as individual cuts that Déhà and Boeykens subsequently worked to tie together in both the plot and instrumental presentation, but among the album’s most prevalent features is an overwhelming feeling of completeness, of a front-to-back arc — beginning, middle, end — that concludes in heartrending fashion in its final chapter. Maybe this shouldn’t be a surprise coming from an project that’s been around for a decade and released a full-length on every odd year like clockwork since 2009, but it is as realized in concept as in execution, and while it may not be groundbreaking in the grander scheme of the genre, it nonetheless brings forward the elements that can make funeral doom at its best so affecting.

Slow, V – Oceans (2017)

Slow on Thee Facebooks

Slow on Bandcamp

Code666 on Thee Facebooks

Code666 website

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Desert Storm Announce UK & European Touring; Sentinels Due March 1

Posted in Whathaveyou on November 29th, 2017 by JJ Koczan

Hasn’t been that long since UK burldudes Desert Storm were announced as having signed to APF Records to release their next album, Sentinels, in 2018. Now in short order the Oxford troupe are back with word that not only will their fourth long-player hit on March 1, but that they’ll spend much of February and March on the road to support it, playing shows in the UK and mainland Europe throughout the Netherlands, Belgium, Germany, the Czech Republic, Slovakia, Poland and the Ukraine.

In fact, the band has gone even further and laid out appearances they’ll make all the way into next Fall, when they’ll make a stop at the end of September at the HRH Doom vs. Stoner fest in Sheffield. I wish I knew where I was gonna be next September. Or, you know, could remember what I was supposed to do this afternoon. Was it grocery shopping? Was it writing about riffs? No? Well then, I’m at a complete loss.

The PR wire has fodder for calendar-marking:

desert storm sentinels tour


DESERT STORM are delighted to announce details of their European Tour in the support of “SENTINELS”, their fourth album, which will be released worldwide and on formats by APF Records on 1st March 2018.

Desert Storm have been making a name for themselves since they formed in late 2007. From the beginning the band have worked hard…with 3 albums and relentless touring of the UK & Europe with the likes of Karma To Burn, Nashville Pussy, Peter Pan Speedrock, Honky and Hang The Bastard as well as support slots to the likes of Orange Goblin, Red Fang, American Head Charge, Weedeater, Crowbar, Mondo Generator, The Atomic Bitchwax and festival appearances at Bloodstock Festival, Hammerfest, Hard Rock Hell, Giants of Rock, The Bulldog Bash, Desertfest (UK/DE) & Roadkill Festival.

SENTINELS tour dates are as follows:

3rd UK – Manchester – The Bread Shed (headlining the APF Records Showcase All-Dayer)
17th UK – Birmingham – 02 Academy
22nd NL – Rotterdam – Baroeg
24th NL – Eindhoven – The Jack Café
25th NL – tbc
26th BEL – Antwerp – Kids Rhythm & Blues
27th GER – Berlin – Urban Spree
28th GER – Weimar – Gerber 3

1st GER – Dresden – Chemiefabrik
2nd CZ – Prague – Klub Baryton
3rd PL – Warsaw – Hydrozagadka
4th SK – Bratislava – Fuga
5th SK – Kosice – Collosseum
6th UKR – Lviv – Freda 61 Klub
7th PL – Wroclaw – Black Moon
8th GER – Cologne – Limes
9th NL – Zwolle – Jacks Bar
10th BEL – Brussels – Rock Classic

7th UK – Bradford – Underground

25th UK – Bolton – Alma Inn (Riff Fest 2018)

29th UK – Sheffield – O2 Academy (HRH Doom Vs Stoner 2018)

Desert Storm is:
Chris White: Guitar
Ryan Cole: Guitar
Chris Benoist: Bass
Elliot Cole: Drums
Matt Ryan: Vocals

Desert Storm, “Signals from Beyond” official video

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