Posted in Whathaveyou on September 20th, 2016 by H.P. Taskmaster
Aussie heavy rockers Arrowhead will issue their second LP, Desert Cult Ritual, via Ripple Music on Nov. 4. They made their debut in 2013 with Atomsmasher (review here) and offered up Desert Cult Ritual early last year. They join a string of others in similar reissue circumstances in working with Ripple, who continue to have their collective ear to the ground in terms of picking up acts who’ve met with a decent digital response in order to translate that into physical sales. As far as sustainable business models go for the modern music industry, one could do way worse. Like trying money on Pandora. That would be worse.
So yeah, it’s kind of a reissue, but to my knowledge it’s actually also the first physical pressing. If you didn’t hear Desert Cult Ritual when it first came out, you can get a listen via the Bandcamp player below.
From the PR wire:
ARROWHEAD: Oz trio summon spirits with the release of Desert Cult Ritual
Desert Cult Ritual is released worldwide on vinyl/digital on 21st October and on CD on 4th November
Rising from the underground of Sydney’s stoner rock scene, the brotherhood of Arrowhead fire an explosive, all killer/no filler triptych of volume, attitude and down-tuned grooves.
Having paid their dues as a band since late 2009, the iniquitously titled Desert Cult Ritual is the latest addition to the power trio’s quiver and first for the Californian label Ripple Music, following the release of their self-titled EP in 2010 and Atomsmasher, their storming full-length debut from 2013.
Hitting you harder than a Frank Frazetta-airbrushed panel van travelling at 100mph, Arrowhead is very much a band defined by the riffs that raised them. Fronted by guitar player, vocalist and chief songwriter Brett Pearl – the son of a self-confessed “hippy-dippy mom” with a record collection to die for – Brett was brought up on a staple diet of classic rock with Hendrix, Zeppelin, Floyd and Sabbath rarely leaving the turntable. Joined by fellow purveyor of low-end grind in bass player/Viking Dave Lopez and steel backbone, Matt Cramp on drums, all three feed into the Arrowhead-approved vision of hard rock reverie via Hollywood monsters and science fiction cinema.
Arrowhead’s Desert Cult Ritual is released on vinyl/digital on 21st October and worldwide on CD on 4th November through Ripple Music.
Arrowhead: Brett Pearl – Guitar/Vocals Matt Cramp – Drums Arron Fletcher – Bass Guitar
Track Listing: 1. Desert Cult Ritual 2. Hypnotiser 3. Hell Fire 4. Bone Mountain 5. Maneater Blues 6. Weed Lord 7. Rogue Asteroid 8. Dragon Whips Its Tail
Posted in Whathaveyou on September 20th, 2016 by H.P. Taskmaster
Preorders are up now for the self-titled debut from Melbourne sludge rockers The Ruiner, which comes out Sept. 26 on Desert Highways. The band have a couple tracks streaming on their Bandcamp from prior digital singles, and as it seems like both those cuts will be featured on the album as well with their aggressive take underscoring the band’s more extreme origins and early-Crowbar-style push, I’m not sure if they’re re-recorded or from the original sessions in 2013, but either way, there’s a whole bunch of others that have never with them because, you know, that’s how it works with albums and whatnot.
The PR wire had this to say about it:
THE RUINER Self-Titled Debut Album OUT MONDAY SEPTEMBER 26
Established in 2013, The Ruiner were originally brought together to play a one-off show as a tribute to legendary death / grind / stoner band Christbait (1989-1996). They appeared under the moniker Dirtypunkmutha, the name of Christbait’s 1996 release. Somehow, amid much arm-twisting and promises of fame and fortune, two of Christbait’s original members decided to get the project off the ground as a proper band.
Featuring Craig Westwood (guitar – Christbait, Dern Rutlidge, Budd), Jason Vassallo (vocals – Christbait, Dread), Jason PC (bass – Blood Duster, Dern Rutlidge, Birdcage) and brothers Adam Stokes (guitar – Legends Of Motorsport, Pillow) and Ben Stokes (drums – Pillow, Tailbone, Piggy). The Ruiner blends heavy and dark doom riffs with hard stoner grooves; they’re a cross between Isis, Goatsnake and the band you always wanted to join, super heavy while not being afraid of a song.
The Ruiner’s intensity and strength live didn’t take long for them to impress. Having all played together in their numerous projects, The Ruiner boys know each other’s strengths and weaknesses, and fit together well. They’ve released two digital singles to date with their debut album set for release Monday 26 Sept 2016 through Desert Highways, with tracks being recorded between Goatsound by Jason PC (Witchskull, Watchtower, Broozer, I Exist) and Toyland by Adam Calaitzis (Blood Duster, Damaged, Dern Rutlidge), with mixing duties between Jason PC and Billy Anderson (Melvins, Sick Of It All, High On Fire, Cathedral, Sleep).
The Ruiner: Jason V- Vocals Craig Westwood- Guitar Jason PC- Bass Adam Stokes- Guitar Ben Stokes- Drums
Posted in Reviews on September 16th, 2016 by H.P. Taskmaster
Marked out by their tonal warmth and immersive progressions, the long-form fluidity of Melbourne trio Ahkmed makes a welcome return with The Inland Sea, the band’s first full-length since 2009’s Distance (review here). That outing was also released by Elektrohasch Schallplatten — which, if you know the label run by Stefan Koglek of Colour Haze, should be about as far as you need to read in this review to let you know you should get on board.
After seven years, there have been some notable shifts in Ahkmed‘s sound, veering away from post-rock more pure heavy psych jamming, here presented in raw, mostly-instrumental form across five extended tracks — “Kaleidoscope” (10:44), “The Inland Sea” (12:53), “Last Hour of Light” (20:09), “Pattern of Atolls” (11:54) and “The Empty Quarter” (15:31) — totaling a satisfyingly symmetrical 1:11:11 runtime.
Not a minor investment in terms of the front-to-back listen, but the dreamtones and spaciousness of the title-track, the graceful manner in which the songs unfold and the varied atmospheres between them assure that the journey remains engaging for the duration, drummer John-Paul Caligiuri adding vocals over the slow wash of “The Inland Sea” (though that might be a sample; it’s kind of obscure in the mix) and the subsequent centerpiece after the hypnotic opening of “Kaleidoscope” to bring a definitively human presence to the material just when it seems to be pushing out further and further.
Also the introduction of new bassist Finn Rockwell, who comes aboard to replace Dan McNamara, alongside Caligiuri and guitarist Carlo Iacovino, The Inland Sea casts out cosmic with a natural chemistry and patient execution, indulging itself as a release like this invariably must, but not doing so in an offputting or pretentious fashion.
That can be a hard line to walk, but Ahkmed make it work in the best way possible — by simply doing it. From the fuzzy guitar line that starts “Kaleidoscope” onward, the three-piece ease their way into progressive spacedelia with an underlying command that speaks to the years they’ve been at it, Caligiuri and Iacovino having started the band circa 1998.
As they approach 20 years in and mark their resurgence from a dormant period, The Inland Sea lacks nothing for vitality, though admittedly they’re not exactly shooting for uptempo party rock. That’s not to say their delivery isn’t energetic or they don’t sound like they’re making the music they want to be making — quite the opposite, actually — just that the trance that takes hold about halfway through “Kaleidoscope” and continues into “The Inland Sea” would seem to be closer to the endgame goal the album is pushing toward.
It’s about the texture and spirit that emerges from the material; something to get lost in. They build “Kaleidoscope” to a formidable apex and end it with a fading wash to let the title cut take hold with two builds of its own, patiently marched forward by cymbal washes as the guitar spaces out, the song almost dividing in half for when one part ends and the next one starts.
By its finish, it too gets to significant proportion, but the difference in ambience is noteworthy, and another balance Ahkmed strike subtly throughout The Inland Sea as “Last Hour of Light” — an obvious focal point, for even more than its sheer length — arrives with about two minutes of introduction from the guitar before the vocals and quiet drums join in. At this point, the ethereal mood is fully constructed, but Caligiuri does have a grounding effect when he starts with the first verse, something to give a sense of place to what can seem to be so willfully formless.
At first, it seems like “Pattern of Atolls” might be trying to bridge the the two sides between Ahkmed‘s post-rock and more heavy psych liquefaction, but it winds up pushing further, thickening its tones in the second half and pushing into territory more outwardly heavy than anything The Inland Sea has yet offered. Caligiuri returns on vocals earlier in the track but recedes into the molten flow that seems to rise up after his lines are done, and it’s Rockwell whose low end seems to signify the heft to come, fuzzed-out as it is.
They start to dive into a payoff but hold back, saving it for the end of the song, which feels about right once they hit the nine-minute mark and crash into a blown-out final three minutes that cap with bass-noise swirling directly into the guitar intro of “The Empty Quarter” — the most purposeful transition they’ve yet made and one that ties the final two tracks together in a way that brings to mind a linearity that The Inland Sea invariably wouldn’t have as a 2LP, on which “The Empty Quarter” and “Pattern of Atolls” would each likely occupy a side.
Maybe that’s Ahkmed acknowledging the digital/vinyl companionship, the sort of symbiotic the most and least physical formats have developed over the years since Distance, or maybe it’s just the way the songs flowed the best. I wouldn’t hazard a guess. Either way, the closer follows a similar pattern of a guitar intro leading to a verse that shifts into a jam quiet, louder, quiet again, noisy for a bit, then at last arriving at the groove that will carry it out.
To listen to The Inland Sea by this time and look for intricacies almost feels like missing the point, which is clearly to let the album wash over you and move you from one end of its span to the other. Nonetheless, “The Empty Quarter” and the four cuts before it do offer a depth of experience for those willing to dig in — headphones recommended — and the spaces they evoke seem vast enough to hold a presence until next time. Hopefully that’s not another seven years.
Posted in Whathaveyou on September 6th, 2016 by H.P. Taskmaster
I love this. I love every second of it. I’m so on board with Bunny Racket that I might actually donate to the Kickstarter launched to continue the project and make more videos, and I almost never do that kind of thing (because I’m a bad person). It’s brilliant, it’s ostensibly for kids and it’s called “A Chicken is Not a Fruit.” The project, spearheaded by Australia’s Andy Walker, also involves Brant Bjork — who previously discussed it here — and Robby Krieger of The Doors, so I’m just going to assume Thunder UndergroundStudios was involved in some way, shape or fashion, since that’s usually how it goes, but wow, it’s so brilliantly and charmingly weird in a way that the best kids’ entertainment should be.
Lots of info follows, but I encourage you to watch the video as well to really get a sense of what the project is about, then go give it all your money at the crowdfunding link. You’ll probably want to do that anyway. Behold Bunny Racket:
Introducing.. BUNNY RACKET
Created by Andy Walker feat. Brant Bjork (Kyuss) and Robby Krieger (The Doors)
There’s a new rabbit bringing some rock’n’roll to the kid’s entertainment patch. His name is King Bunny and his band is BUNNY RACKET.
Today Bunny Racket officially releases its first single, a bass heavy thumper called ‘A Chicken is not a Fruit’. Check it out…
‘A Chicken is not a Fruit’ is a taste of things to come, including an album and an online music video series that follows the adventures of King Bunny – a guitar wielding, skateboard riding, nature loving rabbit with a passion for playing rock’n’roll… LOUD!
The creation of Australian musician Andy Walker, Bunny Racket’s forthcoming debut album ‘Rock’n’Roll Animals’ features the work of some pedigree rock rabbits with Walker’s mate Brant Bjork (Kyuss, Fumanchu) taking on drums and backing vocals, Robby Krieger of The Doors joining the studio line-up as lead guitarist and Sam Cutler, legendary tour manager for The Rolling Stones and Grateful Dead, adding spoken word.
And it doesn’t stop there. Hopping on stage with King Bunny is an all-star, revolving live line-up including members of The Vines, Wolfmother, Skunkhour and Grinspoon. They ruled Little Splendour at this year’s Splendour in the Grass and will soon hit the stage at Aussie kid’s festival Dress Up Attack.
The sound… Imagine the Ramones, KISS and AC/DC joining forces with The Cat in The Hat and you get an idea of where Bunny Racket sits on the musical spectrum.
“Rock’n’roll struck me like lightening when I was 12 and went to my first gig, the Ramones. I was struggling to see the band when some older guys, punks, saw me and put me up on their shoulders. The feeling of that experience has stayed with me. Music brings people and generations together.” said Walker.
It’s this idea of shared experience that brought Bunny Racket to life, driven by Walker’s fierce love for rock music and a yearning for kid friendly tunes that are relevant, positive, educational and inspiring. There are lessons to be learned in spelling, counting, colours, geography and of course music.
With ‘A Chicken is not a Fruit’ set to prick up the ears of both young and old, it’s time to bring Bunny Racket to life. Backed by a great crew and an epic soundtrack, Andy Walker and the team are ready to get filming, but they need help to make it happen.
Coinciding with the release of ‘A Chicken is not a Fruit’, a Bunny Racket Kickstarter Campaign launches today and will help fund the production and post-production phases of the first 4 episodes. Each episode will be released free to air via YouTube, and feature two music videos within each story. Please spread the word!
Posted in Whathaveyou on August 9th, 2016 by H.P. Taskmaster
After issuing their debut album, The Vast Electric Dark, on deluxe vinyl through STB Records, Australian trio Witchskull will release the same offering on CD/DL through Ripple Music. The impending disc furthers the bicoastal alliance between NJ’s STB and CA’s Ripple, two of the strongest up and coming American heavy rock labels, and will be out on Sept. 23. Witchskull will head to US shores this fall for The Rage for Armageddon Fest at Saint Vitus Bar in Brooklyn, which is no small trip to make from their native Canberra, and if I hear of other gigs around that appearance — doesn’t seem unlikely, given the distance — I’ll let you know.
For now, Ripple Music speaks through the PR wire:
Proto-metal trio WITCHSKULL to release The Vast Electric Dark this September
The Vast Electric Dark is released worldwide on 23rd September via Ripple Music
Ripple Music is psyched to announce the official worldwide release of The Vast Electric Dark, the crushing debut album from Australian blues-based doom trio, Witchskull.
Formed in Canberra in early 2014 by drummer and former member of acclaimed Australian thrash legends Armoured Angel, Joel Green, along with old school friends Marcus De Pasquale (guitar) and bass player Tony McMahon; Witchskull is less a band and more a brotherhood.
Borne out of a love for Dio, Black Sabbath, Motörhead and the NWOBHM movement the trio locked into an almost hermetic groove from the very beginning. So much so by the Summer of that same year Witchskull were road testing freshly demoed songs at countless shows across Canberra, Melbourne and Sydney. Capable of unleashing raw, balls-to-the-wall doom indebted in no small part to the influence of heavy blues-rock and proto-metal, their unmistakably primal sound marks them out as a stunning live spectacle… a force of nature awakening again and again, night after night.
Decamping to Mebourne’s Goatsound Studios with producer/engineer Jason Fuller (Blood Duster) in January last year, the trio emerged with what quickly became one of 2015’s finest underground releases. A mélange of gnarled vocal tones, pummeling drums and outright guitar majesty that provided the perfect tomb for the dark lyrics contained within, the self-released The Vast Electric Dark struck an instant chord with purveyors of heavy rock.
Following the exclusive STB vinyl-only version of the album which sold out in record time, Ripple Music will give everyone the chance to find out what makes Witchskull so special when The Vast Electric Dark is given an official worldwide release on CD and digital download on 23rd September 2016.
Live: 30th October 2016 – The Rage for Armageddon Fest – St Vitus Bar, New York
Posted in Whathaveyou on August 8th, 2016 by H.P. Taskmaster
If you’ll recall, Melbourne’s Holy Serpent got a nod at the start of the year for their impending second album as being one of the most anticipated for 2016. They were an easy pick, to be honest. Their 2015 self-titled debut (review here) effectively tapped into and built on a foundation of classic stoner rock, and the news that RidingEasy Records will have the follow-up, titled Temples, out on Sept. 30 is most welcome. I haven’t heard the whole thing yet, but they have the new song “Toward the Sands” streaming now to give an advance sampling, and it sounds right on.
It has been and no doubt will be interesting to hear RidingEasy bands — Electric Citizen, Holy Serpent, The Well, Monolord, etc. — as they start to kind of develop in their own directions. The label seems to have done well in picking acts who bring a focus on songwriting but have a will toward growth as well. Good ears. Looking forward to hearing the rest of Temples when the time comes.
Preorders are available now, as the PR wire confirms:
Holy Serpent announce followup to acclaimed 2015 debut
The concept of “skate-rock” has been around for many years, but it has never been embodied as well as on Temples, the new album by Holy Serpent. While the band members are just casual skateboarders themselves, one might be tempted to think that skating has subtly influenced the band’s sound. Not only are there the elements of 70s hard rock crossed with punk values and energy. But, the music itself is like riding a skateboard: slow grooving passages can shift on a dime into fast thrill-ride riffs. There’s an exhilarating freedom of movement and unpredictability to the sound.
In the short time since their self-titled RidingEasy debut in mid-2015, Melbourne, Australia’s Holy Serpent have gained a lot of attention for their rather punk version of heavy psych and metal. Fittingly, there’s a strong vibe of early Soundgarden, Saint Vitus and Kyuss to Temples in that it’s undeniably heavy, but also clever in its experimentation with subtle tempo shifts, multiple vocal effects and other production techniques. But it’s still more Sabotage than Sabbath Bloody Sabbath.
Temples is heavier in tone than the first album, and also more sonically rich and aggressive. The 5-song, 44-minute album finds vocalist/guitarist Scott Penberthy, guitarist Nick Donoughue, bassist Dave Bartlett and drummer Danny Leo (new drummer Lance Leembrugen has replaced Leo since recording to complete the live lineup) expanding the hooks while simultaneously taking listeners on a rigorous ride.
“We’ve found playing slow all the time got a tad boring so we’ve mixed it up a bit with tempo changes and added more parts to each song to make them sort of flow like a story,” Penberthy says. “The challenge was making sure it still flowed as it should. ‘All killer no filler’ was a bit of a motto this time around when writing the songs.”
Album opener “Purification by Fire” emerges slowly from a primordial swamp of a reversed gong crash, synth swells, guitar feedback and lightly plucked bass notes before it all coalesces into a driving but slow-burn riff that spans the length of the fretboard as the drum patterns also subtly shift and slide underneath. It’s a brilliant effect, albeit one you might miss if you’re not paying attention. “Bury Me Standing” launches full throttle with a raging guitar solo over a driving riff/rhythm before a quick about-face into a march as Penberthy’s effect-soaked vocals wail above the proceedings. The song builds slowly upon its elements until Penberthy howls an impassioned plea, “bury me standing, I will not forgive you.” Album centerpiece “Toward the Sands” further pushes the tempo changes and sonic experimentation to great effect as the song effortlessly turns on a dime from fast rager to doom, while all sounding cohesive and melodically infectious. Album closer “Sativan Harvest” is an epic nearly 12-minute multi-part journey, built around a central blues motif that drifts into a massive haze of droning guitars set to fat rhythm pickup tone as it swells then recedes, only to restructure into a mutated version of the original motif that eventually abruptly ends with violin, cello and synths in a slow fade into the ether.
Temples will be available on LP, CD and download on September 30th, 2016 via RidingEasy Records. Pre-orders are available for physical here and digital here.
Artist: Holy Serpent Album: Temples Label: RidingEasy Records Release Date: September 30, 2016
01. Purification By Fire 02. Bury Me Standing 03. Toward The Sands 04. The Black Stone 05. Sativan Harvest
Posted in Whathaveyou on August 1st, 2016 by H.P. Taskmaster
Seems to me like time’s kind of short on this one, so I won’t waste a lot of yours. Melbourne heavy psych rockers Seedy Jeezus have issued a one-time-pressing, limited-to-300-copies vinyl edition of their set from the 2015 Freak Valley festival. Titled Live at Netphen, Freak Valley 2015, the LP is a crisp 40-minutes that found the Aussie trio making friends and making waves across Europe that was clearly a landmark moment for them — shit, just look at that pic on the cover; you’re gonna tell me they’re not into it? — and worthy of the deluxe treatment they’re giving it for this for-fans release, tapestry and all.
Yeah, that’s right, tapestry. Dig it:
Seedy Jezeus – Live at Freak Valley 2015 ( x300 Limited Edition Vinyl)
Available on Rock Freaks Green Vinyl.
Hidden in a forested valley in Netphen, Germany, The Freak Valley Festival is a well-loved event that celebrates at its heart: good bands, good people and definitely good times!
In 2015, sharing the bill with the likes of Blues Pills, Orchid, Electric Moon and Earthless, Seedy Jeezus took to the stage on a gloriously sunny afternoon in June with a large curious crowd, interested to see the first Australian band to fly the flag at Freak Valley. It was Seedy’s second show on their first tour of Europe.
Seedy Jeezus were supporting their acclaimed self-titled debut album and they showed everyone that they can pull off their own form of crushing heavy psych rock live, just as well as they can in the studio.
Their Freak Valley Festival performance was recorded and is now presented on vinyl as Seedy Jeezus: Live at Netphen, Freak Valley 2015. The full 40 minute set captures a mixture of their most popular tracks from their debut self-titled album plus the captivating instrumental opus Three Million Light Years. The tracks are a manifestation of the studio versions but have been stretched, jammed and reinterpreted to highlight the frenetic pace of a Seedy Jeezus live set containing mammoth riffage, psych freak outs and sci-fi soundscapes.
Seedy Jeezus during their 40 min set won the crowd over and made alot of new friends and fans who have continued to support and follow the bands progress with each release. Part of the bands performance was also shown on the local German news that night.
Seedy Jeezus, Live at Netphen, Freak Valley was mixed and mastered by Jason Fuller at Goatsound in Melbourne, Australia from multitrack recordings, this album sounds as rocking and brutal as can be expected of any live Seedy set.
Track List: Chasing the Dragon’s Tail Wormhole Three Million Light Years Pick Up How Ya Doin Sun in my Car
Seedy Jeezus Live at Freak Valley will be limited to only 300 copies worldwide on vinyl with no intention of being repressed once it is sold out.
Blown Music in Australia will be releasing as part of the 300 pressings, 50 Deluxe Editions. The deluxe edition will contain the album on Rock Freaks green vinyl with the embossed Deluxe edition seal, a large 80s style fabric wall hanging, 5 promo photos of Seedy Jeezus all contained in a very cool limited edition Freak Valley Festival tote bag…. available from Seedy Jeezus website. Check the links below.
Front cover photo by Laurent Remazeilles / desert-rock.com. All other photos by Ange Strangis , Clemens Mitscher and Lex Waterreus.
Posted in Whathaveyou on July 5th, 2016 by H.P. Taskmaster
Guitarist Isaiah Mitchell will team up with Melbourne’s Seedy Jeezus for an Australian tour this September. In addition to playing the support slot on the run, Seedy Jeezus will also double as the backing band for Mitchell — known of course for his work in Earthless, Golden Void, Howlin’ Rain, Black Elk Medicine Band and so on — as he performs what’s been dubbed an “Under the Influence” set, featuring decades-spanning covers and some original material as well. Hardly the California-based Mitchell‘s first trip to Australia — Earthless have been more than once, he’s been with Black Elk Medicine Band, etc. — but though he’s sat in with other acts before, to the best of my knowledge this will be the first time he’s toured solo with a backing band. Hard to argue with his choice of accompaniment.
If you’re in that part of the world, note the Doomsday Fest date Sept. 30 with Acid King. That’s an easy bill to get behind.
The tour announcement, courtesy of the PR wire:
Blown Music and Tone Deaf present ISAIAH MITCHELL / SEEDY JEEZUS AUSTRALIAN TOUR SEPT 2016
Isaiah Mitchell (Earthless, Golden Void and Howlin Rain) on tour with Melbourne’s Seedy Jeezus; blazing a psychedelic trail across the east coast of Australia!
Isaiah Mitchell is known for creating and turning on crazy psychedelic jams into journeys that take you beyond the confines of a typical guitar solo. He has gained a reputation as one of the finest psych blues guitarists in the world from his work with Earthless, Golden Void and Howlin Rain. He has previously toured Australia numerous times with his band Earthless and also solo with the Black Elk Medicine Band. Isaiah Mitchell returns to Australia this September playing a string of shows on the east coast with buddies Seedy Jeezus.
Seedy Jeezus are a Melbourne power trio. The description of Pink Floyd meets Black Sabbath at a Jimi Hendrix Experience gig is a close description of Seedy Jeezus. The band is known for breaking off into jams that will extend and evolve the songs into new directions. The adage that no two gigs are the same applies when these guys are onstage. Seedy Jeezus have spent the last five years tearing up stages in Australia and Europe building a strong following both locally and internationally. Their debut album on Lay Bare Recordings ( Netherlands) quickly sold out and has recently been reissued on Kozmik Artifactz in Germany. They head back into the studio to record the follow up album in January 2017.
Sept 2016 Seedy Jeezus will be joining Isaiah Mitchell for his ‘ Under the Influence ‘ tour. This will give fans of Isaiah a chance to see him play songs that have influenced him as a musician since he first picked up a guitar at the age of 8. After performing their own set of blistering psych freakout, Seedy Jeezus will be Isaiah’s backing band as he works through songs from ‘60s, ‘70s and ‘80s. He will play original material that has been rarely heard here in Australia on any of his previous tours. If you’re a fan of heavy guitar jams and great tunes then this is the gig you wont want to miss. All the shows will be up close and personal.
ISAIAH MITCHELL /SEEDY JEEZUS TOUR DATES September 22 – Oct 1 2016 Sept 23 – Melbourne @ The Tote, Collingwood Sept 24 – Wagga Wagga@ Beer Deluxe Sept 25 – Canberra @ Phoenix Bar Sept 26 – Brisbane @ Beetle Bar Sept 27 – Brisbane @ Tyms ( instore) Sept 29 – Newcastle @ Small Ballroom Sept 30 – Sydney @ Newtown Social Club Doomsday Fest w/ Acid King Oct 1 – Geelong @ the Barwon Club.