Elden Premiere “Anubis” Video from Nostromo out Jan. 24

Posted in Bootleg Theater on December 4th, 2019 by JJ Koczan

ELDEN

Swedish four-piece Elden will release their second album, Nostromo, as their label debut through Fuzzorama Records on Jan. 24. If you think you know what you’re getting just by the imprint involved, two things: One, kudos on your savvy and careful eye. Two, you’re wrong. While Fuzzorama, the aptly-named outlet helmed by Örebro fuzz kingpins Truckfighters, is known for doling out wonderfully hairy riffage and heavy rock groovies from the likes of Valley of the SunWe Hunt BuffaloTruckfighters themselves, AsteroidDeville and a host of others, Elden are on an entirely more pointed tack. On the nine-song/41-minute Nostromo, they show some flashes of Queens of the Stone Age influence in the post-intro leadoff cut “Sail and Savour,” the subsequent “Anubis” and maybe elsewhere here and there, but it’s filtered through a post-Mastodon modern progressive metal mindset, rife with winding riffs, a consuming largesse and persistent melody that holds regardless of how heavy the surroundings get. And by the time the title-track comes around on side B, following the particularly atmospheric “Heavy Rain” and leading into the lumber-unto-onslaught “Creatures Follows,” the surroundings get pretty gosh darn heavy.

That’s the surprise, I suppose, as Elden tap out Remission-style leads on “Creatures Follows” or find clarity in cacophony on the earlier “Fossilised” — just how “metal” Nostromo is. Elden NostromoCould it be a sign of an expanding aesthetic interest on the part of Fuzzorama? Your guess is as good as mine — probably better, if my history of guesses is anything to go by — but one way or the other, it makes Elden immediately distinct on the label’s roster, and much to their benefit, Nostromo has the personality and the songwriting to hold up to that distinction. The album is executed precisely but not without emotion behind it, and even as the penultimate interlude “The Passage” shifts into the nine-plus-minute riffer “Two-Faced Wizard” — a song that the band simply had to know would close the record when it was written — the sense of careening from one movement to another that makes the rest of Nostromo as exciting as it is doesn’t so much abate as find its destination and manifest. From its earlier hooks to this last blowout, the thoughtful nature of their songcraft and attention to detail in both the mix and performance come through in the listening experience, and whatever familiar elements are at play in the songs come tinged with enough feeling behind them to stave off redundancy. You’d have to catch them first, I suppose.

“Anubis,” premiering below, is the second video ahead of the January release of Nostromo behind the clip for “Sail and Savour,” which you can find at the bottom of this post, included just because one likes to keep up with these things. Preorders are up now through Fuzzorama should you be thusly inclined, and that link and more info follow here, courtesy, as ever, of the PR wire.

Please enjoy:

Elden, “Anubis” official video premiere

Second single from the upcoming album “Nostromo” due to be relased 24th of Jan 2020. Pre-order album – https://eu.fuzzoramastore.com/en/elden.html

Elden believes in the power of heavy metal riffs, melodic choruses and an all out head banging experience. Formed in 2012 in Karlstad, Sweden, the band started writing songs influenced by artists like Mastodon, Baroness, The Sword and classic bands from the 70s and 80s. They recorded and released their first demo one year later and performed on a regular basis at local venues. Come 2015, Elden released their first EP and started touring across the country. Having built a small following of both local and international fans the band started developing their sound, taking their songwriting in an interesting direction even heavier riffs, more distinct vocals and an overall more impressive production.

The future is very much exciting for fans of Elden. Having been picked up by critically acclaimed label Fuzzorama Records, Elden will release their new album “Nostromo” on the 24th of January 2020. Inspired by the cold darkness of time and space, these are by far the best songs the band have written.

Elden, “Sail & Savour” official video

Elden on Thee Facebooks

Elden on Instagram

Fuzzorama Records

Fuzzorama Records on Thee Facebooks

Fuzzorama on Bandcamp

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Sun of the Dying Release The Earth is Silent Vinyl

Posted in Whathaveyou on December 4th, 2019 by JJ Koczan

It’s winter and there’s snow on the ground, which means only two things: I want to leave the house even less than usual and it’s time for death-doom. Madrid-based Sun of the Dying have plenty of the keyboard-orchestral morose vibes and mournful wails that my soul needs this time of year, and their new album, The Earth is Silent, is newly issued through Art of Propaganda. The PR wire mentions Swallow the Sun as a reference point amid the classics of the style, and yeah, I can hear that in some of the more melodic moments of “A Dying Light,” but when that deathliness hits in Eduardo Guilló‘s growls, one almost can’t help but raise a claw in salute. I guess I missed out on their 2017 debut, The Roar of the Furious Sea, when that came out — hi, I suck at this, thanks — but I’m glad to be getting caught up now.

And by glad, I mean miserable.

You find solace where you can:

sun of the dying the earth is silent

Spain’s quickly rising death/doom band SUN OF THE DYING has released their second album, The Earth Is Silent, with AOP Records. Fans can check out the record that’s storming the genre now!

PURCHASE “THE EARTH IS SILENT” VINYL LP:
AOP Records (EU-Store) https://shop.aoprecords.de
AOP Records (US-Store) https://www.indiemerchstore.com/b/aop-records

SUN OF THE DYING crafts a style of death and doom with its roots drawing influence from early acts like MY DYING BRIDE, PARADISE LOST and ANATHEMA, and adding a more modern sound inspired by the likes of SHAPE OF DESPAIR, AHAB and SWALLOW THE SUN.

SUN OF THE DYING began in 2013 as a side project between Casuso and Lavín from their main bands (APOCYNTHION and CRYSTALMOORS). In April of 2017, the band released their debut record, “The Roar of the Furious Sea,” with the mexican label Throats Productions, and after which they performed shows with OCELON, ADE, TRONO DE SANGRE, MALAMMAR and ATREXIAL and WOMB.

Now the SUN OF THE DYING returns with a breathtaking and ferocious follow up, The Earth Is Silent; a bleak and beautifully chaotic record of some of the best death/doom to come out of Spain in years.

The Earth Is Silent Track Listing:
The Earth Is Silent
A Dying Light
A Cold Unnamed Fear
Orion
When The Morning Came
Monolith
White Skies and Grey Lands

Lineup:
Eduardo Guilló – vocals
Casuso – guitars
Roberto Rayo – guitars
José Yuste – bass
Diego Weser – drums
David Muñoz – keyboards and backing vocals

https://www.facebook.com/SunofTheDying/
https://www.instagram.com/sunofthedying
https://sunofthedying.bandcamp.com
http://www.aoprecords.de/
https://www.facebook.com/aoprecs/
https://www.instagram.com/aop.records/
https://artofpropaganda.bandcamp.com/
https://www.indiemerch.com/aoprecords

Sun of the Dying, The Earth is Silent (2019)

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Snail Recording Pink Floyd Cover “Fearless”; New LP in the Works

Posted in Whathaveyou on December 3rd, 2019 by JJ Koczan

snail in studio

As 2019 starts to wind down, it’s time to start looking ahead at some of what next year will offer, and I can pretty much tell you right now that if a new Snail full-length actually materializes, there’s just about no damn way I’m not going to spend a lot of time telling you to listen to it. Now then, the three-piece based in Los Angeles and Seattle aren’t quite recording the LP yet — that starts next month. But they’re currently tracking a take on Pink Floyd‘s “Fearless” as well as a new song called “Nothing Left for You” that will feature alongside it on a precursor single. Digital release seems to be how it’s going to happen, given the timing, but of course they’re open to a 7″, because why wouldn’t they be, should someone be up for releasing. Can’t imagine there wouldn’t be a taker there.

So we’re not to titles or release dates for the album yet. Hold your horses and I’ll do the best to do the same, but realizing it will have been five years since 2015’s Feral (review here) was released by the time the new one arrives, well, I think you’re almost justified in letting the anticipation run wild. It’s officially “a while in the making” as far as I’m concerned.

Bassist/vocalist/recording engineer Matt Lynch — pictured above with drummer/vocalist Marty Dodson this past weekend, while vocalist/guitarist Mark Johnson will track his parts in the Pacific Northwest — was kind enough to give an update on the proceedings:

We are recording Pink Floyd’s Fearless and a song I wrote that has lyrics partially inspired by Fearless [“Nothing Left for You”]. We have been wanting to cover Fearless for over 20 years now and feel the time is finally right. This will be released as an advanced digital single for the coming LP. Unless of course someone wants to put it out on a 7”, which would rule.

Currently no working title for the LP. We want to release this advance single for the new year, so early January. We are recording the rest of the basic tracks for the LP the second week of January. The material’s direction is similar to Feral in that it is varied with a wide range of sound and influences. There is melodic psych and heavy doom. Straight up Camaro stoner rock to galloping metal.

These two [tracks] Mark will do his parts from home in Seattle. The rest of the LP we will all do together at [Mysterious Mammal Recording/All Welcome Records] as much as possible with continued overdubs for Mark’s parts at home as usual.

SNAIL IS
Mark Johnson – Guitars, lead vocals, keys
Matt Lynch – Bass, keys, vocals
Marty Dodson – Drums, percussion, vocals

www.snailhq.com
www.facebook.com/snailhq
https://www.instagram.com/snail_hq/
www.smallstone.com
http://www.facebook.com/smallstonerecords
http://www.smallstone.bandcamp.com

Snail, “Nothing Left for You” drum recording

Snail, Feral (2015)

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Pale Divine Sign to Cruz Del Sur Music; Consequence of Time Due in May

Posted in Whathaveyou on December 3rd, 2019 by JJ Koczan

I don’t mind telling you this is the one I’ve been waiting for. No doubt Cruz Del Sur have been on a trad doom and metal tear, from Ogre and Orodruin to Death the Leveller and Tower, but I’ve heard rumblings of Pale Divine joining those ranks for a few months now, and it’s well earned on the part of the Pennsylvania, etc., four-piece. The band will mark a quarter-century of existence in 2020 with the release of their new album, Consequence of Time in May, and as they follow-up 2018’s stellar self-titled (review here), they’ll also have their first offering not only through the new label home — where they’re all the more kin to Apostle of Solitude, Argus, etc. — but their first as a four-piece, having shortly welcomed guitarist/vocalist Dana Ortt (now ex-Beelzefuzz) to the lineup after the release of the last record.

Mark this one a win. A genuine feel-good story for the month, and a genuine feel-doomed album to look forward to.

The PR wire makes it official:

pale divine

Cruz Del Sur Music is proud to announce the signing of Pennsylvania doom mainstays PALE DIVINE.

Founded in 1995, Pale Divine has made a name for itself with its time-honored and distinctive take on classic doom metal. Albums such as 2004’s “Eternity Revealed” and 2007’s “Cemetery Earth” cemented the band’s reputation as one of the best pure torchbearers of BLACK SABBATH and SAINT VITUS-styled doom.

PALE DIVINE — who comprise of vocalist/guitarist Greg Diener, guitarist Dana Ortt, bassist Ron Fezzy McGinnis and drummer Darin McCloskey — is currently hunkered down in the studio with producer Richard Whittaker recording their sixth studio album, “Consequence Of Time”, which will see the light of day in May 2020. The album’s artwork will be handled by Brian Tutlo, the man responsible for the eye-catching “Thunder Perfect Mind” and “Eternity Revealed” covers.

“It’s definitely a natural progression but maybe not in the way people might expect, which is one of the reasons we’re excited,” says McCloskey. “We have a new lineup now which includes Dana, whom Greg and I played with in BEELZEFUZZ. Dana has brought a new element to the band that blends perfectly with PALE DIVINE that has helped us take things to the next level.”

PALE DIVINE came to join Cruz Del Sur Music through a familiar face: WHILE HEAVEN WEPT leader Tom Phillips. The band originally crossed paths with Cruz Del Sur label head Enrico at the 2018 Hammer Of Doom festival in Germany, but it was Phillips who initiated the proper discussions. After that, according to McCloskey, it was a no-brainer to sign with Cruz Del Sur.

“We had heard great things about Cruz Del Sur from our friends in Argus and Apostle of Solitude so we were already familiar and very interested. We discussed things with Enrico and he offered us a great deal. Moving forward, we’re really excited to be part of the Cruz Del Sur Music roster. It feels like we’re part of a family now. This is where we belong.”

PALE DIVINE will be celebrating its 25th year as a band in 2020. McCloskey says the highlights have been numerous, starting with the bands they’ve played with and the people they’ve met over the years, as well as their first trip to Germany in 2005 playing alongside PLACE OF SKULLS and RISING DUST. “In many ways, it always sort of feels like we’re just starting out,” he says. “Every new experience, every new song and new album pretty much reinforces that. We still have a lot of music in us and a lot more to accomplish. It hardly seems like it’s been 25 years, in all honestly. Going overseas for the first time and playing for people who were fans of our music was pretty mind-blowing for us at the time…still is, really. Even our recent trip to Würzburg last year for Hammer Of Doom was an awesome experience as well. Certainly, the chemistry we have in our current lineup has been a big highlight and, of course, signing with Cruz Del Sur!”

Pale Divine is:
Greg Diener – vocals & guitar
Dana Ortt – guitar
Ron “Fezzy” McGinnis – bass & vocals
Darin McCloskey – drums

https://www.facebook.com/serpentspath/
http://www.paledivineband.com/
cruzdelsurmusic.com
facebook.com/cruzdelsurmusic
cruzdelsurmusic.bandcamp.com

Pale Divine, Pale Divine (2018)

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Coogans Bluff Post “Gadfly” Video; Metronopolis out Jan. 24

Posted in Bootleg Theater on December 3rd, 2019 by JJ Koczan

coogans bluff

In the interim since German horn-laced progressive heavy rockers Coogans Bluff issued their last full-length in 2016’s Flying to the Stars, the five-piece outfit celebrated 15 years since the origin of the band in 2003. 2017 brought the release through Noisolution of their Bluff Live collection recorded over the course of their touring to support the year prior’s studio LP, and on Jan. 24, 2020, the same imprint will stand behind their next studio album, Metronopolis. Fun to say, hard to type, the fifth album from the now-Berlin-I-guess?-based troupe was first introduced to the universe at large at the beginning of November with a teaser and so on, but to my knowledge, “Gadfly” is the first full-track to make its way to public ears.

Sound like a nifty proposition? Well, it turns out to be exactly that, so, you know, good instincts and whatnot. In “Gadfly,” which runs a usually paltry 3:23, Coogans Bluff offer a head-spinning array of kraut-laced executions, timing mathy guitars, bass and drums with King Crimson-y Mellotron, and yes, a goddamn wild sax solo, all the while meting out coherent verses and melodies to somehow manage to tie it together. They’re in a rush to get through it, to be sure, but when that sax solo comes around, check out the bass tone underneath — yes, I know; always the bass tone with me, but still — and dig the Mellotron grandiosity that comes out of it. At very least, it’s less than three and a half minutes. What’ve you got to lose?

Though when it comes to what you might actually gain by taking on “Gadfly” — the video for which features the band in a studio setting running through the track and making it look almost obnoxiously easy to play — that’s probably a list that should include whiplash, so keep that in mind as well.

They’re on tour with intermittent runs starting in January after Metronopolis hits. Dates and LP preorder link follow here, as posted by the band.

Good luck, and enjoy:

Coogans Bluff, “Gadfly” official video

Taken from COOGANS BLUFF‘s new album ‘METRONOPOLIS’ available January 24th 2020

Preorder the album here: https://www.flight13.com/coogans-bluff-metronopolis/138010

METRONOPOLIS TOUR 2020
30.01.2020 – Hamburg, Knust
31.01.2020 – Köln, Blue Shell
01.02.2020 – Bielefeld, Forum
13.02.2020 – Dortmund, Musiktheater Piano
14.02.2020 – Oldenburg, Cadillac
15.02.2020 – Hannover, Lux
28.02.2020 – Dresden, Groovestation
29.02.2020 – Leipzig, Noels Ballroom
12.03.2020 – München, Feierwerk
13.03.2020 – Stuttgart, Goldmarks
14.03.2020 – Jena, KuBa
26.03.2020 – Nürnberg, Z-Bau
27.03.2020 – Olten, Coq D’Or
28.03.2020 – Frankfurt a. Main, The Cave
24.04.2020 – Rostock, Peter-Weiss-Haus
25.04.2020 – Berlin, Lido

Coogans Bluff website

Coogans Bluff on Thee Facebooks

Coogans Bluff on Instagram

Noisolution webstore

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Review & Track Premiere: Colour Haze, We Are

Posted in audiObelisk, Reviews on December 3rd, 2019 by JJ Koczan

colour haze we are

[Click play above to stream the title-track of Colour Haze’s new album, We Are. Digital release is this week through Elektrohasch, followed by CDs next week and LPs in January.]

It is no small thing for a band to change its construction after about 20 years of working with the same lineup, but as they cap their 25th anniversary celebration in 2019 with the release of the new album, We Are (formerly titled Life), that is precisely what Munich’s Colour Haze have done. The godfathers of European heavy psychedelia have operated since 1998 as the core trio of guitarist/vocalist Stefan Koglek, bassist Philipp Rasthofer and drummer Manfred Merwald, but with 2017’s In Her Garden (review here), they began to experiment more with adding flourish of organ and various synth from Jan Faszbender, and since then, Faszbender has become a part of a new four-piece incarnation of Colour Haze.

On the seven-track/45-minute We Are, which is released as ever through Koglek‘s Elektrohasch Schallplatten imprint and opens its first side at a rush with its quick-boogie title-track, they continue to experiment and drive themselves forward in that integration, with Faszbender moving between playing off the energy of Merwald‘s drumming, running along with Koglek‘s guitar in the graceful instrumental sweep in the second half of “Life,” and generally filling out the melodic and rhythmic foundations of the material while offering a few standout moments of his own, such as the organ laying the bed for the soaring vocals — and I mean “soaring”; there are some pointedly operatic guest vocals going on there too — of the album apex “Be with Me.” The change, in other words, suits Colour Haze. Their studio arrangements have been branching out since well before 2012’s She Said (review here) brought in strings and horns and 2014’s To the Highest Gods We Know (review here) answered back and built on those impulses, but from where the branching out is happening has changed, and their sound is that much richer for having Faszbender in the lineup on a hopefully ongoing basis.

Of course, signature elements remain. Rasthofer‘s bass is still of singular tonal warmth and execution, and Merwald‘s drumming makes progressive and jazzy changes no less fluid than the bassist’s runs from one fret to the next. Koglek is still an explorer, and while longtime followers of Colour Haze will recognize snippets like a push-off from the central riff of “Aquamaria” from 2006’s Tempel (discussed here) in “I’m with You” on side B, there’s also the four-and-a-half-minute centerpiece “Material Drive” to contend with, led as it is by acoustic guitar with Koglek in the RichieHavens-at-Woodstock role as the rest of the band gradually joins in behind, Faszbender in particular making the song that much more of a high point of We Are with a two-handed approach of organ and synth running concurrently while the bass fills out the mix. And I don’t know if that’s flute — which has been used on Colour Haze records before — or flute Mellotron, but anytime they want to do a record of semi-acoustic acid folk protest songs, I’m ready for it.

colour haze (Photo by JJ Koczan)

That’s not to take away from the running jam of closer “Freude III” or the earlier one-into-the-next-like-the-phrase-it-spells-out “We Are,” “The Real” and “Life” on side A or even the two-part side B complement in “I’m With You” / “Be With Me,” I’m just saying the arrangement of “Material Drive” works well. Really the same applies across the board on We Are, and the band are careful to acknowledge the role of the mix in their presentation of the material, balancing guitar and keys well even just as “The Real” takes off after the initial hooky shuffle of “We Are” itself starts the record at a rush, setting the tone in a way for what’s to come on an almost subconscious level for the listener. In some ways it’s less pointedly prog than was the prevailing spirit of In Her Garden, which ran 72 minutes and was a 2LP of marked immersiveness, but as the band’s 13th long-player, We Are confirms that even in their relatively new four-piece incarnation, Colour Haze‘s focus remains on an organic feel and delivering the most natural sound possible.

Some spoken lines from Koglek and his voice following note for note with his subsequent guitar lead are the only vocals on “The Real,” but as both that and the peaceful-build-int0-fervent-thrust of “Life” top eight and a half minutes, it’s early on that the band captures the listener’s attention and sets to unfolding the course of We Are as a whole, which of course side B expands beginning with “Material Drive” and moving through the layered vocals of “I’m With You” and more flute sounds on “Be With Me,” a whirlwind of guitar turns opening wide to the payoff of the album in the spirit of songs like She Said‘s “Transformation” circa four minutes in, just before the vocals begin their aforementioned flight. That would seem to leave “Freude III” (‘freude’ being ‘joy’ in English) as an afterthought, but it turns out instead to seem to be answering some of the progressions of In Her Garden while still holding to We Are‘s particular balance, an enticing cascade of nuance and natural impulses that plays out across the seven-minute instrumental finale in two distinct movements, the last of which ends — suitably enough — on a long fadeout of synth as if to underscore how far Colour Haze‘s journey has taken them not only since the riffier beginning of the record on “We Are,” but in general across their span of years and span of albums.

They are inherently in conversation with their past on We Are — the name of the record can certainly be taken as a declaration of self, despite how the songs portray it — as even those emergent titular phrases was an element put to use on 2008’s All (discussed here), and perhaps reflecting on a quarter-century of the band’s existence is a part of that either consciously or not, but they show as clearly as ever in this material that looking back by no means has to stop you from moving forward. I will gladly admit to being a fan of the band, so if you need to take this review with that in consideration, that’s fine. From where I sit, every time Colour Haze puts out a record — and again, this is their lucky 13th — it is nothing less than a gift, and We Are sneaks in under the wire as one of the best gifts 2019 has had to offer. For old fans, it offers something new in the shift of lineup and fleshing out of arrangements, and for newcomers, its refreshed sound should prove all the more welcoming. Quite simply, Colour Haze make the world a better place.

Colour Haze website

Colour Haze on Thee Facebooks

Elektrohasch Schallplatten website

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The Obelisk Presents: Kadavar Touring Australia & New Zealand in March 2020

Posted in The Obelisk Presents, Whathaveyou on December 3rd, 2019 by JJ Koczan

I’m rarely so filled with pride and sheer delight as I am when I see a logo for The Obelisk on a poster for a tour happening very, very far away from where I live. And if it’s something amazing, all the better. German heavy rock forerunners Kadavar will head Down Under for a tour in Spring — or I guess Fall — 2020 supporting their latest long-player, For the Dead Travel Fast (review here). As that album is sure to feature on my list later this month of 2019’s finest offerings, I’m all the more stoked to have The Obelisk on the admittedly-not-insignificant list of presenters for the run. I mean, seriously, I’m a dork from New Jersey. Who the hell am I to (even co-) present anything on the other side of the world? So awesome.

Special thanks to Beats Cartel for having The Obelisk on board for this one. To say it’s an honor would be putting it mildly.

Here’s the press release, as much for future-me to look back on fondly as for your current information:

kadavar aus nz tour

GERMAN FUZZ KINGS KADAVAR ARE COMING TO NEW ZEALAND

There are few bands who’ve had more of an effect on the course of classic heavy retro rock this decade than Germany’s KADAVAR, having never sounded so much in command of their music.

Arguably the hardest working band in European rock, Kadavar have established themselves quite simply in a different league form their retro-rock labelled peers, smashing out large capacity international tours and festivals (Hellfest/Psycho Las Vegas/Download/Wacken) en masse and landing German and US chart positions for a host of album releases. Latest album release For the Dead Travel Fast (Nuclear Blast), reignites new depths and heights alike on this their fifth and darkest full-length.

Highly regarded as one of the most explosive heavy psych live experiences on the planet, Kadavar return to Australian and New Zealand shores in March/April 2020 for Beats Cartel on the back of a Mojo Burning Festival appearance. Not having visited Australian since their 2013 tour with Blues Pills and the follow-up 2016 headline tour, interest will be paramount in 2020 to catch one of the best names in the business perform albums worth of new live material.

The band’s fifth record is a perilous journey into the land of the dead, a foray into the bleakest corners of our minds. A heavy, slow-paced, throbbing force of guitar, bass and drums, preciously enriched by spooky synths and a brooding narrative reminiscent of the Victorian death-cult.

“Something like this wouldn’t have been possible earlier in our career. Only now do we know each other well enough to pull off something like this” drummer Tiger nods, “We have the feeling we created something new while at the same time having rediscovered our core DNA. Feels damn good.”

Get ready to witness something special… Kadavar are coming. For the Dead Travel Fast 2020 Australian and New Zealand tour stops in a host of cities across the two countries including Sydney, Newcastle, Brisbane, Christchurch, Wellington, Auckland, Canberra, Adelaide, Melbourne, Scarborough and Perth. All shows on sale now at www.beatscartel.com. National supports will be announced soon.

Tickets: https://www.beatscartel.com/tickets

FB Event: https://www.facebook.com/tours/431252567765998/

KAVAVAR 2020 AUSTRALIAN & NEW ZEALAND TOUR
“For the Dead Travel Fast”
Thursday March 26 SYDNEY Frankies Pizza
Friday March 27 NEWCASTLE Stag & Hunter
Saturday March 28 BRISBANE MOJO BURNING FESTIVAL
Sunday March 29 CHRISTCHURCH Club Hotel
Monday March 30 WELLINGTON Valhalla
Tuesday March 31 AUCKLAND Whammy Bar
Wednesday April 01 CANBERRA The Basement
Thursday April 02 ADELAIDE Crown & Anchor
Friday April 03 MELBOURNE Stay Gold
Saturday April 04 SCARBOROUGH GERMANIUM DAZE *Festival to be announced
Sunday April 05 PERTH Lucy’s Love Shack

***TICKETS NOW ON SALE at www.beatscartel.com/tickets***
National support acts to be announced

https://www.facebook.com/KadavarOfficial/
https://instagram.com/kadavargram/
https://www.facebook.com/nuclearblastusa
http://shop.nuclearblast.com/en/shop/index.html

Kadavar, “Children of the Night” official video

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Heavy Psych Sounds Fest California Lineups Announced

Posted in Whathaveyou on December 2nd, 2019 by JJ Koczan

heavy psych sounds logo

With a poster that would seem to honor the Frank Kozik heavy rock works of yore — and by “yore,” I mean about 20-25 years ago — Heavy Psych Sounds Fest will return to California for the second time in 2020, bringing the mightiest Golden State trio Earthless as headliners for stops in San Francisco and Los Angeles, while none other than desert ultra-pioneers Yawning Man will headline a second night in SF with a totally different lineup at a totally different venue. So it works out to be two nights in San Fran, one night in L.A., and the first San Fran show and the L.A. show are the same four bands — Earthless, DanavaHigh Reeper and Crypt Trip. Meanwhile, as that bill heads south along the coast to L.A., moving into SF is the five-pack of Yawning ManBrant Bjork — who’ll do a solo acoustic show! — Hot LunchTurn Me on Dead Man and recent Heavy Psych Sounds label signees Disastroid.

Not frickin’ shabby, as the kids might (not) say.

You had to know Heavy Psych Sounds Fest would be back in Cali in 2020 after the successful West Coast stint earlier this year, so now where know where and when and with whom it’s happening. Ticket presales are on as of today, so do it up.

Here’s the info:

heavy psych sounds fest california 2020 poster

Earthless, Brant Bjork, Yawning Man and More to Team Up for Heavy Psych Sounds U.S. Festival Dates

Influential Italian Rock ‘N’ Roll Record Label Continues to Expand Its Sphere into North America; Spring 2020 Showcases in Los Angeles and San Francisco Announced

Respected underground rock record label Heavy Psych Sounds is proud to announce details of its 2020 U.S. ‘Heavy Psych Sounds Fest’ live events. Set for March 27 in San Francisco and March 28 in both San Francisco and Los Angeles, the special shows will spotlight an exclusive selection of Heavy Psych Sounds’ blue-chip roster, including live sets from acts such as ex-Kyuss musician Brant Bjork, Yawning Man, High Reeper and Crypt Trip, as well as special guests Earthless, Danava and more.

Headquartered in Rome, Italy, Heavy Psych Sounds specializes in presenting the best artists in the global heavy psych, doom, fuzz blues and space rock realms, and the Heavy Psych Sounds Fest series is no exception, spotlighting the ever-growing label’s dedication to its craft. Earlier this year, the label launched the U.S. festival series with shows in Austin, Dallas, LA and San Francisco; the events met to shining acclaim.

“We are so delighted to announce the second edition of the Heavy Psych Sounds Fests set for this coming spring in California,” says Heavy Psych Sounds label owner Gabriele Fiore. “We are excited to get so many cool bands on board as these line-ups look incredibly rad. Heavy Psych Sounds Records is so proud to have a growing roster of both trendsetting and up-and-coming U.S. based bands and these special shows will prove exactly why.”

HPS FEST CALIFORNIA

Friday 27 March
San Francisco – Rickshaw Stop
EARTHLESS
DANAVA
HIGH REEPER
CRYPT TRIP

TICKETS PRESALE: https://www.eventbrite.com/e/83735662621

Saturday 28 March
San Francisco – Bottom of the Hill
YAWNING MAN
BRANT BJORK solo acoustic show
HOT LUNCH
TURN ME ON DEAD MAN
DISASTROID

TICKETS PRESALE: http://www.bottomofthehill.com/stubmatic/event20200328.html

Saturday 28 March
Los Angeles – The House of Machines
EARTHLESS
DANANVA
HIGH REEPER
CRYPT TRIP
THE FREEKS

TICKETS PRESALE: https://www.eventbrite.com/e/heavy-psych-sounds-fest-california-at-the-house-of-machines-tickets-84274821259

heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/

Yawning Man, Macedonian Lines (2019)

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