Posted in Whathaveyou on November 24th, 2015 by H.P. Taskmaster
Heavygaze two-piece Low Flying Hawks — also stylized as one word — will release their debut full-length, the spacious Kofuku (there’s an accent over the ‘o’ that I can’t seem to replicate), on Feb. 12, 2016, via Magnetic Eye Records. The duo offer pretty rare heft for something that might be classified as post-anything, and guest drum spots from Trevor Dunn and Dale Crover are enough to make me wonder who the hell these guys actually are, so I guess as far as being provocative goes, mission accomplished. When I find out more, I’ll let you know, but you can stream a couple tracks below for the time being.
And as always, the PR wire has the goods:
LOW FLYING HAWKS to release debut album K?fuku on Magnetic Eye Records
Kofuku by Low Flying Hawks will be released on 12th February 2016
Magnetic Eye Records is thrilled to announce the signing of Low Flying Hawks, and with it the release of their debut album K?fuku in February next year.
Working with producer Toshi Kasai (Big Business) at Sounds of Sirens studio in LA, and featuring Trevor Dunn (Mr Bungle, Melvins) and Dale Crover (Melvins, Nirvana) on drums, Low Flying Hawks is a project that consists chiefly of longtime collaborators and enigmatic multi-instrumentalists EHA and AAL.
Compellingly dark in content and undeniably heavy in tone, K?fuku – which comes from the Japanese word for ‘Surrender’ – has the ability to both satisfy and mollify listeners with an unerring confidence, that over ten tracks draws in funereal doom, grey echoes and psychedelic waves of post-rock disorder. A work that in no small part is informed by a diverse array of influences which include the likes of Richard D James, Estonian composer Arvo Pärt and bands such as Black Sabbath and My Bloody Valentine.
Album highlight ‘Ruins’ stands tall as a gripping arrangement that merges metal, rock and roll and crawling, corporeal drumming with the lysergic/elegiac mirrors in songwriter EHA’s mind. Whereas prolonged pieces such as ‘Wolves Within Wolves’ and ‘Destruction Complete’ explore profound themes such as loss and rebirth, amid the dramatic hefts in mood and guitar play that switch freely between seismic drone; noise-rock and shoegaze. All of which make K?fuku a remarkably moving experience.
K?fuku by Low Flying Hawks will be released on 12th February 2016 through the New York-based label, Magnetic Eye Records.
Posted in Whathaveyou on November 24th, 2015 by H.P. Taskmaster
Did you know Black Shape of Nexus made a 24-hour-long song? I didn’t. I’m about 10 minutes in and so far it’s droney as hell. It may not pick up at all. It may be a day’s worth of drone. I’m okay with that. I’m just glad it exists. Hell, I might even add it to The Obelisk Radio just to be a jerk. I have no idea why it isn’t on their Bandcamp. They should divide it up and press it to 24 individual hour-long CDRs, hand-number them, make 10 box set editions, send me one, and then never speak of it again. It’ll be like a secret.
Now, onto something that has nothing to do either with that or with Carrier, their new full-length being mastered by Rashad Becker that will allegedly be released CD/2LP-style in March 2016 via Exile on Mainstream. Bassist Stefan Kuhn helms the label Meta Matter Records, and in conjunction with Wolfbiker Records, he’ll release the Black Shape of Nexus compilation, Nothing New: 10 Years of Fresh Air Enjoyment, marking in the Mannheim-based band’s special, self-deprecating way their first decade of existence.
The comp brings together tracks from splits with Kodiak (2010) and Lazarus Blackstar (2014; streamed here) as well as other odds and ends that haven’t been pressed to CD before. Release date, if you didn’t see it in the headline, is Dec. 4. Art, info, links and the stream of the five included tracks follow here — in that order because I’m just that goddamned organized:
BLACK SHAPE OF NEXUS from Mannheim / Germany, with a compilation of material which was never before released on compact disc. Contains the two songs from the split LP w/ LAZARUS BLACKSTAR, the song from the CLONE Vol. IV Sampler, the track from the split LP w/ KODIAK and one more track from the same session, which was only released as download until now.
Pressing Info: 500 copies. Split label release w/ WOLFBIKER RECORDS.
[Please note: Click play above to stream Vargariis in full. It’s out Dec. 4 on Soulseller Records. Thanks to Tombstones and Soulseller for letting me host the stream.]
It may or may not be right to call such barbarity progressive, but there is definitely a sense of growth in Vargariis, the new full-length from Norwegian trio Tombstones. Released by Soulseller Records, it’s their fourth long-player — something I also said about late-2013’s Red Skies and Dead Eyes (review here) — and finds the lineup of guitarist/vocalist Bjørn-Viggo Godtland, bassist/vocalist Ole Christian Helstad and drummer Markus Støle in an entirely more brutal, vicious era. Granted, the rather sizable wall of fuzz in Godtland and Helstad‘s tones remains, but they’ve shifted the context in which that wall is constructed, and Vargariis‘ six-track/56-minute run is made simultaneously broader and more oppressive by flourishes of sludge and black metal extremism, as on “The Dark High,” which starts side B, or “Oceans of Consciousness” right before it.
On one side or the other, each track hovers around the nine-minute mark in runtime, but what Tombstones do with that time is varied in aesthetic despite being universally dark appropriate to the tones of the album’s cover art. Like the release before it, Vargariis was recorded live, tracked by Joona Hassinen at at Studio Underjord in Norrköping, Sweden (Audun Strype mastered), but the two are very different in terms of concept and execution, Tombstones having grown thanks to some considerable roadtime the last couple years into a more patient, sonically ambitious and lethally grooving outfit, willing and capable to bend the genre of doom to suit their purposes rather than the other way around.
They start with a slow-motion pummel in “Barren Fields,” which seems to nod at Conan in its tablesetting opening riff before shifting into more hypnotic fare. For a release so aggressive on the whole, it doesn’t seem appropriate to think of Vargariis‘ leadoff track as easing the listener into the rest of what’s to come, but a big function of “Barren Fields” seems to be in establishing a baseline — also a bassline; that roll is thick — on which the rest of the songs continue to build. Godtland and Helstad trade vocals effectively as Støle, who makes his first studio appearance with the band here, bashes away beneath the morass, a midsection break providing a breather before a quickened ending movement grows more and more headbang-worthy as it thrusts toward an inevitable conclusion. Bass and drums start the semi-title-track, “And When the Heathen Strive, Vargariis Rise,” and the snare continues to be a punctuating factor through an extended intro and into a punishing slowdown of corresponding screams and growls that sets up a stretch of chugging, abrasive sludge topped with screams, moving into roaring shouts, Tombstones clearly having as much fun toying with the instrumental back and forth as that in the vocals.
There’s not much by way of hope to be found in any of it, but the guitar takes just a touch of brightness to its tone in the final third before a sudden drop-off in the drums brings about a quick fade and the blasting, charred-black opening of “Oceans of Consciousness” to stamp it out. They don’t keep up the onslaught for the entire 10:14 (the longest runtime), but play again with tradeoffs and heathen and sludge nod before all the bombast and gutturalism crashes to a halt at about 5:20 in and they begin the linear build that will consume the rest of the track with minimalist rumble and percussive gruel. Even in the quietest reaches, “Oceans of Consciousness” is filthy, and the lead that marks the beginning of the last minute is likewise, but by the time they get there, Tombstones‘ plunder is long-since established and the only thing to do is sit back and be impressed at how they manage to make mud so dense flow so well.
Vargariis is a definitive step forward from Red Skies and Dead Eyes because where that album played one side off another somewhere between stoner and doom impulses — and did it well, I’ll add — Vargariis flagrantly refuses to be bound by those or other constrictions, and where the predecessor worked its two sides with a duality in accord with its title, Vargariis is multi-faceted throughout and cohesive in spite of which element might be forward at any given moment. Even for appearing on a band’s fourth record, that cohesion is an impressive feat in “Oceans of Consciousness,” and the second half of Vargariis continues to build outward from there, “The Dark High” conjuring darkened swirl early on, breaking in the middle and finishing with more uptempo push à la “When the Heathen Strive, Vargariis Rise” as Støle distinguishes himself on drums and a long-sustained scream reminds of how effective harsh vocals can be when put to the right use. In addition to supplying a surprising dual-vocal hook, “Underneath the Earth” also brings about the most crushing tones on offer early on before shifting after six minutes — via standalone drums — into a fuzzier build that closes out.
That fuzzier vibe holds firm as the drums lead the way into “Pyre of the Cloth,” which is something of a further departure from the material before it in terms of its overall affect, though the oppressive heft is certainly a factor, particularly in the faster parts of the first half. There’s something psychedelic lurking beneath the surface ooze of “Pyre of the Cloth,” however, that isn’t in songs like “The Dark High,” and the closer locks in a central groove even as it rolls its way past excruciatingly slow sludge and higher-speed chugging Sleepism, ultimately finishing on the latter, and that winds up being the uniting factor holding it together. Like the bulk of the album before it, “Pyre of the Cloth” works structurally to hold together material that’s deceptively broad beyond its superficial drive toward the extreme, and most importantly, it shows Tombstones four albums in as a band whose palette is continuing to expand and who are clearly making the most of the experience they’re gaining along their way.
Posted in Whathaveyou on November 23rd, 2015 by H.P. Taskmaster
This news came through the other day, but now that tickets are on sale, I didn’t figure anyone would really mind a retread of the fact that Neurosis have added Sleep and Shellac as openers for their 30th anniversary shows next March in San Francisco. They’ll play two nights at the Regency Ballroom March 4 and 5, doing career-spanning sets that they’ll be taking overseas a month later to perform again at Roadburn 2016. Hard to imagine a career as landmark as theirs being summed up even in two nights, but no doubt that 30 years after the fact, Neurosis know what the hell they’re doing.
And they’re certainly keeping good company. The PR wire has it like this:
NEUROSIS Announces Sleep And Shellac As Support For San Francisco 30th Anniversary Shows; Tickets Go On Sale Tomorrow
NEUROSIS announces the details for the band’s upcoming stateside 30th anniversary performances set to take place in San Francisco this March, including the opening support acts and ticket links.
Passing their thirty-year mark this Winter, NEUROSIS will celebrate this milestone with two stateside performances on March 4th and 5th at San Francisco’s Regency Ballroom, and then two more sets on April 16th and 17th headlining Roadburn Festival in Tilburg, The Netherlands. At these four very special performances, NEUROSIS will deliver a massive two-hour set list, invoking material spanning their entire recorded lineage, from 1987’s Pain Of Mind through 2012’s Honor Found In Decay, with varied set lists at each event. These sets will span the band’s entire career, showcasing the comprehensive evolution, from their primitive beginnings into the seminal, epic outfit of today, as the band’s ever evolving, sonic palette has become a genre-defying template for underground music over the last three decades, avoiding genre classification.
Support for NEUROSIS on Friday, March 4th will be provided by longtime Bay Area comrades and masters of the sonic doom riff, Sleep. Support for Saturday, March 5th will be handled by Steve Albini’s minimalist rock outfit, Shellac, also longtime friends of NEUROSIS through Albini’s involvement in helping capture much of the band’s recorded material since before the turn of the millennium.
Tickets to all of NEUROSIS’ San Francisco and Netherlands 30th Anniversary shows go on sale, Friday, November 20th, at Noon Pacific.
NEUROSIS 30th Anniversary Performances: 3/04/2016 Regency Ballroom – San Francisco, CA 3/05/2016 Regency Ballroom – San Francisco, CA 4/15/2015 Hat Patronaat – Roadburn, Tilburg, NL *STEVE VON TILL and SCOTT KELLY solo performances 4/16/2016 013 – Roadburn, Tilburg, NL 4/17/2016 013 – Roadburn, Tilburg, NL
Nashville four-piece All Them Witches may or may not be about to unveil their first European tour dates, presumably for sometime early in 2016, but one never knows. It’s a prospect they teased the other day by posting, “Europe: you are about to be very happy,” which would be a notable change for Europe of late, and whenever they do go, it will be in support of their newly-issued third album, Dying Surfer Meets His Maker (review here), the mellow vibes and resonant grooves of which continue to enthrall, and which they’ve already supported in the US alongside Kadavar and The Sword, which is no minor shakes as far as touring partners goes.
The reason I say early 2016 is more likely for a European run, in fact, is because All Them Witches will spend most of December and January on the road in the States, dipping into Canada for Montreal and Toronto shows but mostly focusing on the East and West Coasts, though hitting select spots between too. They’re setting themselves up for 2016 to be a pretty road-heavy year, but when they started touring to support their second album, Lightning at the Door (review here), they worked quickly to make wider intentions known. A prior European appearance had been confirmed for Desertfest Belgium in 2014 that fell through, but it seems like it won’t be long before they cover that ground as well. Could just as easily be a Spring tour in time for festival season that’s going to be announced as it could something prior. We’ll just have to wait and find out.
To support the tiding-over process, the band has newly revealed a video for Dying Surfer Meets His Maker‘s most raucous track, “Dirt Preachers.” The song, also an advance single from the album, is set to an animated narrative of wizardry, questing and I’m not even sure what else, but a demon shows up and all hell seems to break loose, so yeah, it’s fitting enough. If I’m not mistaken — and I’m not — they had given a sneak preview of the clip on Halloween before removing it again, but this time it seems to be out there permanently. Directed and animated by Chad VanGaalen, you can find it below, followed by the currently-confirmed tour dates. When I hear of more, I’ll post accordingly.
All Them Witches, “Dirt Preachers” official video
All Them Witches on Tour:
NOVEMBER 28 Atlanta, GA – The EARL 29 Winston-Salem – The Garage * 30 Carrboro, NC – Cat’s Cradle *
DECEMBER 1 Charlottesville, VA – The Southern * 2 Washington, D.C. – Black Cat * 3 Philadelphia, PA – Boot & Saddle % 4 Brooklyn, NY – Rough Trade % 5 Boston, MA – Great Scott % 6 Ithaca, NY – The Haunt *! 8 Montreal, QC – Le Ritz * 9 Toronto, ON – Garrison * 10 Buffalo, NY – Studio at Waiting Room *! 11 Cleveland, OH – Beachland * 12 Rochester, NY – Bug Jar *! 13 Pittsburgh, PA – Brillobox * 15 Detroit, MI – Marble Bar * 16 Columbus, OH – Ace of Cups * 17 Grand Rapids, MI – Founders * 18 Milwaukee, WI – Cactus Club * 19 St. Paul, MN – Turf Club * 20 Indianapolis, IN – Hi-Fi * ^ with Chrome Pony ++with The Sword & KADAVAR ! with The Sword, Kadavar and Windhand + with The Sword % with Slothrust * with New Madrid *! with New Madrid and King Buffalo
JANUARY Wed. 13 – Louisville, KY – Zanzabar Thu. 14 – Chicago, IL – Lincoln Hall + Schubas Fri. 15 – Madison, WI – High Noon Saloon Sat. 16 – St. Louis, MO – The Demo STL Mon. 18 – Denver, CO – Larimer Lounge Wed. 20 – Crystal Bay, NV – Red Room @ Crystal Bay Casino Thu. 21 – San Francisco, CA – Rickshaw Stop Fri. 22 – West Hollywood, CA – The Roxy Theatre Sat. 23 – San Diego,CA – Casbah San Diego Mon. 25 – Fullerton, CA – The Continental room Tue. 26 – Phoenix, AZ – The Rebel Lounge Wed. 27 – El Paso, TX – The Lowbrow Palace Fri. 29 – Austin, TX – Stubb’s Austin Sat. 30 – Dallas, TX – Club Dada
Posted in Whathaveyou on November 23rd, 2015 by H.P. Taskmaster
Houston five-piece the Linus Pauling Quartet signed with Vincebus Eruptum Recordings — the label arm of the ultra-respected Italian ‘zine of the same name — earlier this year, and at the time, it was announced that their next full-length, Ampalanche, would be out this summer. Well, here we are talking about preorders, so obviously that didn’t happen. As usual of late, seems likely there was some delay in pressing the thing on the plant’s end. Turns out the only bummer about the vinyl resurgence has been the complete lack of infrastructure to sustain it. Whoops.
Doesn’t matter though, at least in this instance, because Linus Pauling Quartet‘s Ampalanche will be out on Jan. 15 as one to look forward to early in the New Year. Vincebus Eruptum cover artist Kabuto has helmed the thematically-appropriate piece that will adorn the front of the LP, and of course there will be multiple color editions of the platter itself, all of which will be available to order soon.
Editor of Vincebus Eruptum and head of the label Davide Pansolin — who also had a fascinating interview with the band in the ‘zine’s most recent issue that gave much insight into their origins and the Houston noise rock scene in the ’90s — shared his excitement about the release thusly:
I’m really proud, glad, excited, … to announce the official details about the new masterpiece by Houston’s band THE LINUS PAULING QUARTET!
The new awesome artwork by Kabuto is the best way to present “Ampalanche”, six tracks of rock’n’roll…no stoner-rock, no psychedelic music, no folk, no labels…it’s the best musical synthesis we ever listened!!!
The album will be officially released on the 15th of January 2016.
Limited edition vinyl (VELP010)
Ultra-limited edition of 100 hand-numbered (001/100) copies on coloured (colour #1 TBA) vinyl + inner + exclusive poster Limited edition of 200 hand-numbered (101/300) copies on coloured (colour #2 TBA) vinyl + inner Standard edition of 200 copies on black vinyl
[Please note: Click play above to stream Moon Curse’s Spirit Remains in full. It’s out Nov. 28 on Kozmik Artifactz. Thanks to the band and label for letting me host the premiere.]
When it comes to a record like Spirit Remains, one of the aspects easiest to appreciate is its honesty. Milwaukee trio Moon Curse make their intentions as plain and up-front as they possibly can over the course of their sophomore outing’s five tracks/42 minutes: They want to pummel and they want to do it with riffs. The three-piece of guitarist/vocalist Matt Leece, bassist/vocalist Rochelle Nason and drummer/synth-specialist Keith Stendler (as of this post, Matt Presutti, who also designed the Spirit Remains cover, may join/has joined as a second guitarist, but they are a trio on the record) issued their self-titled debut in 2012 and sold through multiple pressings both independent and through Kozmik Artifactz, which also stands behind the follow-up. Both full-lengths share largely the same mission, but Moon Curse clearly took some lessons from their debut, and these songs find them sounding massive, professional and confident in their ability to complete the task at hand, and though it has stretches that slow to an absolute crawl like that preceding the galloping finale of closer “Witches Handbook,” there’s more nuance to their approach than it might at first seem.
That fact shows itself in the vocal arrangements between Leece and Nason on “Vicious Sky,” the layered soloing on the preceding side-B opener “Lord of Memories/Spirit Remains,” the added psychedelic flourish that the tambura of Andrew Shelp (Moss Folk) lends to “Electric Veins” or even the marching pace that opener “Beneath the Waves” sets and the spaciousness of its riffing and leads. Yes, Moon Curse want to cave your head in, and with the help of the recording/mixing job Nolan Treolo does (Tony Reed mastered), they just might get there, but while heft is at the core of their purposes, it does not comprise the entirety thereof. Rather, while their nod and grooving largesse definitely puts them in the post-Sleep riff-led milieu, it’s the distinguishing elements of sonic personality throughout that provide the band’s most memorable impressions, whether that’s Leece howling upward from under the riffs of “Beneath the Waves” or the quick turns of chug in “Vicious Sky.”
As was the case when I was fortunate enough to see them play live in 2013, a major factor in driving home their plodding, stomping, running groove — whichever it might be at any given moment — is Stendler‘s drumming. At no point on the record is he putting on a clinic, technically-speaking, but from the first ride hits in the quiet intro of “Beneath the Waves” through to the rampaging toms at the apex conclusion of “Witches Handbook,” he is persistently in the right place at the right time to bolster the work of Leece and Nason and make the most of the material at hand. The album breaks into two sides, though not evenly, and both offer rolling or driving rhythms, and the fullness of sound that a seemingly persistent wash of cymbals provides is never too far from the forefront of the album’s heavier moments. Still, it is the riffs in the lead, and that is true even as “Beneath the Waves” breaks from its initial rollout to a section of layered psychedelic leads, backed by Nason‘s resonant bass tone on an extended instrumental excursion marked out by minor-key twists tossed in before the eventual return to the central verse riff and the echoing shouts that cut through it.
The aforementioned tambura does much to flesh out “Electric Veins,” but a slower tempo overall adds to the spaciousness as well, and shows immediate breadth coming after “Beneath the Waves,” even if it does return to a lumber more consistent with the opener before breaking into a subdued section of crashes and watery vocals that one just knows is setting up something huge. The drums pick up their pace on returning and push past a halfway point into a short but engaging solo and the eventual return of the verse for another cycle through, trading between Om, Sleep and High on Fire influences before finding itself in a more distinct solo section and the consuming cap of its near-11-minute span and that of side A as a whole. It is a finish worthy of the weight preceding.
Its march takes a little longer to unfold, but there’s plenty of room for a hypnotic intro in the 11:26 runtime of side B opener “Lord of Memories/Spirit Remains,” which ultimately lands on a janga-janga riff for its central figure, Nason and Leece coming together on vocals as it marches past its midsection at a not-at-all hurried clip and into the already-noted solo section, which is followed by howling and crashes that finish out before what one presumes is the split between the first and second parts of its title. “Spirit Remains,” then, comprises the last two minutes of the track in a subdued acoustic break topped with quiet psychedelic vocals, wind sounds or manipulated amp noise taking hold near the end as a ringing bell marks the transition into the feedback-soaked opening of “Vicious Sky,” which is the shortest song on Spirit Remains at 5:03 and a chugging riff that gets married with some post-Baroness shouts to engrossing effect.
Perhaps the most encouraging portion of the track is toward its finish, however, when the drums, guitars, bass and vocals all align to move into a section of washing leads and repeated nod for about the last 50 seconds or so. It seems to bring the various sides of Moon Curse‘s approach together in a way that, if it went on for another two minutes, I wouldn’t argue, but one can only fit so much on a single platter. A direct bleed brings about the quiet but tense beginning of “Witches Handbook,” which bursts open shortly after the two-minute mark for a drawling verse and goes on to recede and swell again before shifting into the galloping ending section, a touch of Morricone thrown in for good measure as Stendler‘s snare matches step with the guitar, which closes out on a solo and relative lack of fanfare as if to tease a sequel already in the making. Given the three years it took for Spirit Remains to surface after Moon Curse, I wouldn’t be surprised if one is, but either way, what the band accomplishes across these tracks is worth more than a passing glance en route to the next thing. The converted will have a deeper appreciation for its preachings, but Spirit Remains gets its point across one way or another.
Posted in Whathaveyou on November 23rd, 2015 by H.P. Taskmaster
It hasn’t been long at all since the dates were announced for the Up in Smoke Roadfestival Vol. 6, which will feature Greenleaf, My Sleeping Karma and Mammoth Mammoth. Less than a month, actually. And now word comes through that Up in Smoke Vol. 7 will follow almost immediately thereafter, one installment of the package tour ending on Feb. 27 and the other picking up on March 1 and running through the bulk of the month, with Belzebong, Mars Red Sky and Stoned Jesus on the bill. Maybe Sound of Liberation, the booking agency presenting the shows, is just going to set up a year-long series of tours, have the next one start when the tour is over. Wouldn’t really surprise me — there are certainly enough bands around Europe to make it happen — and maybe if they keep it going long enough, SoL will eventually bring their game to the US. Just a thought.
For now, this is a show I’d love to see:
MARCH 2016 will see the next round of the beloved UP IN SMOKE ROADFESTIVAL and be sure… this one will kick ass!!
VOL.7 will feature Ukrainian heavy rockers STONED JESUS (presenting the re-release of their 2011 “Stormy Monday EP”), French fuzzcrafters MARS RED SKY (celebrating their new album to be released on February 26th) and weedian Polish five-piece BELZEBONG (touring their current album “Greenferno”).
All of them are now considered as references in the underground stoner rock scene, respectively crafting a fuzzed-out straightforward heavy rock, thick infectious grooves and melodic aerial guitar riffs all wrapped up in ethereal vocals, or even a powerful, bluesy riffs which straddle sludge and doom.
It’s gonna be a fun damn time leaving nothing but an intoxicating white smoke behind!
UP in SMOKE ROADFESTIVAL VOL. 7: 01/03 LEIPZIG (DE) Werk 2 02/03 HAMBURG (DE) Hafenklang 03/03 BRUSSELS (BE) VK 04/03 PARIS (FR) Le Divan Du Monde 05/03 ROTTERDAM (NL) Baroeg 06/03 BERLIN (DE) Lido 07/03 COLOGNE (DE) Underground 08/03 STUTTGART (DE) Universum 09/03 LINZ (A) Stadtwerstatt 10/03 VIENNA (A) Arena 11/03 LJUBLJANA (SL) Kino Šiška 12/03 MUNICH (DE) Under The Black Moon Festival 13/03 INNSBRUCK (A) PMK 14/03 LAUSANNE (CH) Le Romandie 15/03 PRATTELN (CH) Z7 16/03 WIESBADEN (DE) Schlachthof 17/03 ARLON (BE) L’Entrepôt 18/03 EINDHOVEN (NL) Tuchthuis 19/03 HANNOVER (DE) Faust