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Notes From GRIM REEFER FEST 2023 in Baltimore, MD, 04.29.23

Posted in Reviews on May 1st, 2023 by JJ Koczan

Grim-Reefer-Fest-2023-banner-scaled

Before the show, at The Ottobar

Never been here before, but it’s a spot on the circuit so certainly The Ottobar is a familiar name. I expect that by the time the sun goes down later it’ll be a good deal warmer in here, and fair enough.

My first time in the space, my first time at Grim Reefer Fest. A little anxious as will happen. I ran into Mersch from Sun Voyager on my way in, did dad talk, which is probably what I’m good for these days. The first-face familiarity was a welcome reminder I’m here to enjoy myself. It was to some degree perilous leaving the house, Grim Reefer Fest 2023 scheduleand my car slipped on a wet Rt. 202 in the Flemington Circle and nearly ran into the driver’s side of a Toyota SUV — far be it from me to impugn the handling or traction of the Chevy Malibu, a car that’s as comfortable as a couch and gets the same gas milage, but you know — but beyond that, pretty smooth getting here for the three and a half hours of road time. I was in this town a week ago, if not the room.

But the fest is soon to start, and I worked really hard not to get here at like 10AM or otherwise stupid early, such is always an impulse to b fight. Hard to argue with 10 bands, though looking at that schedule above, I’m willing to bet that by the time Bongzilla go on, I’ll be rethinking various life choices, but screw it, it’s been a while since I got out and I need a day of having riff-forward audio dropped on my head. Desperately. These things remind us who were are, and, if we’re lucky, why. Ate half a gummy. Might disappear into a hole of myself for a while later, I don’t know. We’ll see what the afternoon brings.

So let’s see:

Blightbeast

Blightbeast (Photo by JJ Koczan)

Their first show, and they were likely the most aggressive band of the day, if not the heaviest, whatever that means at this point. They went to it hard, some bass trouble at the start, and tore the early crowd the proverbial new one. Solos were shredded, riffs were bludgeoned, screams were screamed, and a merry air of shenanigans pervaded, even with (because of?) the chicken bone necklace and bulletbelt on vocalist Phil Doccolo, who doubles as part of the team behind Grimoire Records. Blightbeast also share personnel with Haze Mage (playing later; it’s their party as I understand it) and Random Battles, among others. Everybody seemed to know them, but they were a heavy metal meatgrinder sound-wise, blackthrashing here and slinging sludge periodically throughout. I’m not sure they’d be my thing on record, but I don’t regret seeing their first show in the slightest, and if the record follows suit from the set, I retract my earlier supposition.

Holy Fingers

Holy Fingers (Photo by JJ Koczan)

Meanwhile, on the other end of the spectrum, and from maybe as far afield as across town, Holy Fingers heavy folk-psyched their way into my heart. My admittedly limited experience of their studio work in this incarnation, 2018’s Holy Fingers II (discussed here), was irrelevant to the liquid progressions coming from the stage. With a guitar on either side, bassist/vocalist Tracey Buchanan held down both the brooding low rhythm of “Hunted” and from about there on, everything else today is gravy. That’s a band that needs to do a record. Like, today. Release that set. Anything, just take my fucking money. I don’t generally think of a band’s music itself as inspiring, but Holy Fingers made me want to write. In a field. On another planet. Three-sun day. Space birdsong and shit. Their setlist, which yes, I got, had six songs. I don’t know if they played all six but I lost time in there somewhere maybe. Mesmerized. Hell’s bells.

Faith in Jane

Faith in Jane (Photo by JJ Koczan)

A resounding argument in favor of live music are Faith in Jane. Band is hot shit. So what, you say? They were hot shit seven years ago, you say? That’s true, and they’ve grown into themselves a little bit since then — they had a single out in March, if you’re up for studio documentation — but they’re still young and they’re more confident on stage. Guitarist/vocalist Dan Mize, bassist Brendan Winston and drummer Alex Llewellyn — I can’t help but feel like if it was 1991 or maybe even 1971 would’ve been scooped up by some major label by now and turned into household names. True, they would not be the first heavy band from Maryland to miss out on the commercial potential of another era, but Faith in Jane are on their way to being on-stage masters — again, a road they’ve been walking for a while now — and they’ve got like 15 records or some such and none of them suck. They picked up on the pastoralia and guitar nuance of Holy Fingers and found the only grunge-blues bar in existence to present them in. And I know Mize is a beast, he is, a genuine talent and a pleasure to watch play since he still puts his soul in it when he’s good enough to probably get away with not, but Winston and Llewellyn too, each one of them locked into being part of the trio. Classic.

Sun Voyager

Sun Voyager (Photo by JJ Koczan)

Looked up and didn’t recognize Sun Voyager until I looked stage right and saw bassist Stefan Mersch. They’re using a drummer who played or plays in fellow King Pizza Records denizens The Daddies, filling in for Kyle Beach, who had a good excuse. Between that and still-new-to-me guitarist/vocalist Christian Lopez, they were two-thirds a new lineup since I last saw them, which is also since they released their self-titled LP (review here) on Ripple Music. Fill-in drummer and new-ish guitar player, plus the change in dynamic bringing Mersch to a more prominent role vocally, while Lopez’s voice is blown out through effects, it feels almost unfair to point out how much fun the set was since the band’s got so much flux going on and who knows what it’ll be next time. What’s going to happen with Sun Voyager? Forefront of a generation of East Coast heavy psych? Inheritors to Naam? Barely-upstate curio? I feel like it may take the next five years to find out. In the meantime, they’re doing the work, doing everything they need to be doing, including not forcing it, putting out killer records and burning even more barns on stages of rooms like The Ottobar moments ago, and no, I’m not going to fix that metaphor because fuck it biker space rock. Early headliners for me.

False Gods

False Gods (Photo by JJ Koczan)

They were a big change in vibe coming off Sun Voyager, Faith in Jane, Holy Fingers, but False Gods claimed the stage for their own and smashed it accordingly. The New York outfit are hardcore-rooted, sludge-adjacent, and aggressive enough in presentation to give Blightbeast a challenge in that regard. They bring the styles together though, so it’s not just a hardcore part then a doom riff then the big mosh break, but something of the band’s own made from those parts and impulses. They seemed happy to be here, and their 2022 album, Neurotopia, was no less dense. There are a few different presences within the four-piece, but that came together around some pretty mammoth groove and by the time they were done, they had well established dominance over the room, and by extension, the greater Chesapeake region. Vocalist fell to his knees — which, first of all, man, I don’t know which side of 40 you’re in but having had surgery in November and still wearing a brace here, take it easy on those knees — twice, which was a bold move but earned by the subsequent screams. That shit can make you lightheaded and I’m not even being a smartass. Safety first.

Wizard Rifle

Wizard Rifle (Photo by JJ Koczan)

Well, Nanotear has been right all along about Wizard Rifle. I had the feeling. The rest of us, you, me, we’ve been missing out. Or maybe not you since you’re cooler than I am. Me. I’ve been missing out. Fortunate, then, that the duo are on tour with Bongzilla, who are fellow clients of Nanotear Booking, the aforementioned agency who’ve been so thoroughly correct. Wizard Rifle, whose press shots I know better than their songs, took West Coast quirk riffing to its logical prog extension, and it was impressive energetically as much as technically. I wouldn’t say they laid waste, since they’re not really that kind of band, but in terms of style they’re firecracker heavy rock, bursts and booms set up in contrast to skyward sprints, but they’re dug in too and surprisingly immersive as they seem also to be testing each other and themselves onstage and with the material. I guess it’s time to go back and get with the records — there’s merch upstairs but I don’t want to leave my spot up front — because having seen that in-person, I’m interested to learn how it translates. Nothing says, “this was a very cool and fun rock and roll show” like assigning yourself homework.

Haze Mage

Haze Mage (Photo by JJ Koczan)

Well that was a win. Haze Mage didn’t take it easy on themselves, picking their own slot after Wizard Rifle, but they have a deceptive amount going on for a band who are also such a party. They’re metal one minute, weed-worship the next, classic doom, bit of char on the tremolo — it was a blast. Songs brought in some slide guitar, some tambourine, all in the name of differentiating the songs, and they had only the second standalone frontman of the day, and perhaps Matthew Casella was more subdued than he might’ve otherwise been owing to whatever apparatus that was on his leg — I’m telling you, you gotta watch out — it looked significant, but he still delivered in terms of performance, as all five of them did in their own way, guitarists Nick Jewett and Kevin Considine kind of on Planet Guitar together on stage left while bassist Scott Brenner took advantage of the extra space to boogie on his own side, John De Campos behind on drums, occasionally adding vocals. They were a trip, to be sure, and while I dug their March 2020 (oof) split with Tombtoker (review here), the really good news is most of what they played was new, so they should hopefully have some kind of release or another in the works soon.

Borracho

Borracho (Photo by JJ Koczan)

Could not possibly tell you the last time I saw Borracho, and I tried looking back. It’s been a while since I’ve or another doom fest but definitely it was before the pandemic, so I’ll say it’s been at least half a decade. Long enough, to be sure. The D.C. trio — guitarist/vocalist Steve Fisher, bassist/vocalist Tim Martin, drummer Mario Trubiano, as they’ve been since they first pared down from a four-piece to a trio like 11 years ago now. They posted two new tracks yesterday in kind of a space rocking feel, but they’ve got a new record coming out to follow-up 2021’s Pound of Flesh (review here), and it’s a Borracho record which means it’s the kind of heavy you can rely on. One consequence of my not watching them in however many years, I haven’t gotten to appreciate Fisher’s guitar face. He’s got the best one. It’s as though he’s telling the crowd, “oh gee, these riffs are really heavy I don’t know if I can roll ’em this time,” but then of course he does, with help from Martin and Trubiano. However long it had been, it had been too long. I’ll have more on their new record as we get there — at least I hope; would be some shit if I stopped covering the band after 12 years or some shit — but this was a blast as a herald for that.

Ilsa

Ilsa (Photo by JJ Koczan)

Rumor had it Ilsa were quite, quite loud. Can confirm. Three guitars playing through full stacks, then bass, then shouts and screams, and drums back there giving the marching orders. I don’t know if Ilsa are the most aggressive band of the day or not — they’re more sad and pissed off at themselves about it, it would seem — but they’re both loudest and nastiest thus far, and their crust beneath their dark hardcore sludge metal will be a fitting transition to Bongzilla. They had the first mosh I’ve seen all day, though I’ll grant I haven’t turned around an awful lot to see either way. They were devastatingly heavy, in any case, and that’s clearly what they were going for. I’ve sort of casually followed their trajectory in the way one gets Relapse press releases, but can’t recall ever seeing them live before. And having seen them now, safe to say that’s something I would remember. Now homework? Could be, but that kind of volume push is hard to capture on a full-length and frankly, I’m tired as crap after standing in the same spot for the last eight hours and I finished my water bottle and can’t leave the front because I’ll lose my spot and so there you go. Ilsa punished that, I guess. Reasonable, somehow, and brutal in kind.

Bongzilla

Bongzilla (Photo by JJ Koczan)

I remember very clearly the last time I saw Bongzilla. Slushy April day in 2016 (review here), and they were on a bill with Kings Destroy, Black Cobra and Lo-Pan, presented by this very site. Good fun. So it’s been a while. In the interim, the Wisconsin band — who, yes, will absolutely trade merch for THC in any number of incarnations, many of while Muleboy listed from the stage — “anybody else do a dab today? you’re freebasing marijuana.” — have released one album in 2021’s Weedsconsin (review here), and their new one, Dab City, is due June 2. It sounds like fucking Bongzilla. And on stage? They sounded like fucking Bongzilla. Dirt-coated, weed-worshipping, slow, heavy nod. They are largely above reproach in concept or execution; were it not for the fact that they helped create stoner sludge, they might be out of the critical sphere entirely. It doesn’t matter. The day came down to the core message — get high, be loud — and certainly I’m not about to fight them on it. Bongzilla are statesmen of this. Ambassadors from planet Delta 9. Even if I had a complaint about seeing them again as they get ready to release a new album — and mind you, I don’t — no way in hell would I say so. Bongzilla need to make one of those bumper stickers in the ‘Virginia is for lovers’ design except it says ‘Bongzilla are for stoners.’ Yes, I just thought of that right now. Goodnight everybody!

Thanks to Scott Brenner and whoever was playing Genghis Tron and then Ween’s “Baby Bitch” between the bands. Thanks to the Holy Fingers crew for saying hi. Thanks to Chris and Lew for the crash spot. Thanks to The Patient Mrs., through whom all things are possible.

More pics follow the jump. Thanks for reading.

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Darsombra Announce June Tour Dates; New Album Dumesday Book Later This Year; New ‘Darsombra TV’ Episode This Week

Posted in Whathaveyou on April 17th, 2023 by JJ Koczan

darsombra

In a couple days — on April 20, as it happens — Baltimore psychic energy transfer specialists Darsombra will air a new installment of what they call ‘Darsombra TV,’ which in this case is a video of a 2017 performance in Wyoming in the path of totality of a solar eclipse plus resultant shenanigans, because frickin’ of course it is. This news came out last week — Quarterly Review takes its toll in the timeliness of everything else — but it’s not too late to set a reminder for that clip, and not too late to check out the June tour the band has announced that features a stop at Mutants of the Monster in Arkansas and a support slot for YOB and Cave In at The Ottobar that makes that night that much more of a winner, as well as shows with Lark’s Tongue and a merry cast of others throughout the Midwest, where they’ll spend most of the month.

The duo have also announced their next album will be called Dumesday Book and issued sometime later in 2023 either on their own or through some label TBA. The more the merrier, and it’s been a bit, as their last full-length was 2019’s Transmission (review here), though the years since have found them touring as much and as often as possible, and they’ve had various live and studio offerings in that time, all consistent in their on-own-wavelength weirdo art-drone purposes, all different and vibrant and exploratory as Darsombra always manage to be. I don’t know if you’re looking forward to their next record, but I am.

From the PR wire:

darsombra tour june 2023 poster

DARSOMBRA: Baltimore Psychedelic Galaxy Rock Duo Announces North American Great Lakes Tour Dates; New Album To See Release This Year

Maryland’s psychedelic tour machine DARSOMBRA has just announced their next excursion, confirming a month-long late-Spring/early-Summer tour, as they complete their new album for release later this year.

Initially planned for 2020, the DARSOMBRA duo has rescheduled their tour through the Central, Midwest, and Eastern US and Canada encircling the Great Lakes from May 31st to June 25th. The tour includes a performance at Mutants Of The Monster Fest in Little Rock, Arkansas running from June 1st through 4th with with Yob, Cave In, Deadird, Pallbearer, Thou, -16-, and more, and a set supporting Yob and Cave In on June 8th in DARSOMBRA’s hometown of Baltimore. See all confirmed dates below and watch for new tour dates for later Summer and Fall to post over shortly as well.

Preceding the tour, DARSOMBRA will be releasing the third episode of Darsombra TV on 4/20, a thirty-minute show documenting the band’s outdoor generator show livestream in Lost Springs, Wyoming, in the path of totality during a total solar eclipse in 2017, and all the coolness/weirdness involved in it and the aftermath. Join the band in the digital realm to watch Darsombra TV’s “The Eclipse Show,” premiering live on Thursday, April 20th (or 21st if you’re in the Eastern Hemisphere), at 8:40 pm EDT, at THIS LOCATION: https://www.youtube.com/watch?v=Nb9iFMVqnso

The band writes, “Greetings From DARSOMBRA! We’ve been hermiting in the DARSOMBRA Mothership (a.k.a. Whale Manor) here in Baltimore since November of last year, so we’ve got some really great things on the horizon for you — a North American tour and another episode of Darsombra TV. Also, keep an eye out for our new album Dumesday Book, to be released later this year!”

Watch for details on the new album to post over the months ahead.

DARSOMBRA Tour Dates:
5/31/2023 Hideaway – Johnson City, TN w/ Cosmicosis
6/01/2023 Corner Lounge – Knoxville, TN w/ Leslie Walker & Dark Mountain Orchid
6/02/2023 Mutants of the Monster Fest – Little Rock, AR
6/04/2023 Black Lodge – Memphis, TN w/ General Labor
6/06/2023 Northside Tavern – Cincinnati, OH w/ Hemlock Branch, Sharp Toys, Cold Stereo
6/07/2023 Westside Bowl – Youngstown, OH
6/08/2023 Ottobar – Baltimore, MD w/ Yob, Cave In
6/09/2023 Music on Main – Bridgeport, WV w/ The Long Hunt, Grey Harbinger
6/10/2023 RHAD – Detroit, MI w/ Botanical Fortress, Oscillating Fan Club
6/11/2023 The Burlington – Chicago, IL w/ Lark’s Tongue, Sanford Parker, Plague Of Carcosa
6/13/2023 Cactus Club – Milwaukee, WI w/ Powerwagon, Spidora
6/15/2023 The Crib – Marquette, MI
6/16/2023 Witches Tower – Minneapolis, MN w/ Comets Ov Cupid, PLVS VLTRA
6/17/2023 RT Quinlan’s – Duluth, MN w/ Aural Paradox, The Nevins
6/18/2023 Cumberland Cinema 5 Indoor Skatepark – Thunder Bay, ON w/ Jake & The Town, Ukkon3n
6/21/2023 Bellevue Park – Sault Ste Marie, ON w/ Chase James Wigmore
6/22/2023 Zig’s – Sudbury, ON w/ Mark Howitt
6/23/2023 Tranzac – Southern Cross Room – Toronto, ON w/ Alia Synesthesia
6/24/2023 Rosen Krown – Rochester, NY
6/25/2023 Mohawk – Buffalo, NY w/ Cult Mother

http://facebook.com/darsombra
https://www.instagram.com/darsombra/
https://darsombra.bandcamp.com
http://www.darsombra.com/

Darsombra, ‘Darsombra TV Episode 3’

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Severed Satellites Post New Single “Apollo”; Debut EP in Progress

Posted in Whathaveyou on February 7th, 2023 by JJ Koczan

severed satellites

Keytar-inclusive Baltimorean heavy instrumentalists Severed Satellites are making their way toward a debut EP hopefully later this year, recording with Noel Mueller of Grimoire Records, as one will in that region. The band, which boasts the current rhythm section of Ripple Music shovemasters Foghound in bassist Adam Heinzmann and drummer Chuck Dukehart alongside guitarist Matt Naas and Dave Drell on the aforementioned synth, have been eeking out rehearsal videos over the better part of the last however long, a year, maybe, and offer up the single “Apollo” as their first actual studio recording.

In addition to FoghoundDukehart and Heinzmann have a pedigree between them that goes back to the former’s work in Sixty Watt Shaman and Serpents of Secrecy — apparently also an affinity for starting bands with the letter ‘s’ — and the latter is a founding member of Internal Void and was in Pentagram for a stretch in the early ’00s. Together with the melodic substance of Drell‘s keys and Naas‘ guitar, the four-piece create a carved-from-jams sensibility in “Apollo,” holding off the impulse to go longform exploring in favor of a tighter adherence to plot. The impression you get is that if you showed up to rehearsal, they might just plug in and go for a couple hours wherever the music took them, but that by the time they got into the studio with Mueller, they’d hammered out specifically what they wanted the song to be.

Looking forward to the EP when it’s ready, and in the meantime, “Apollo” also features on Weedian’s Trip to Maryland compilation (on Bandcamp here), issued in homage to Dave Sherman of Earthride, whose suicide last year devastated the MD doom community and many others around the world.

Info and stream:

severed satellites logo by bill kole

The new single “Apollo” now available on Bandcamp!

Catch us live at The Depot Baltimore Mon Feb. 20 w/ Bone Church & Indus Valley Kings!

New logo design by the indomitable Mr. Bill Kole.

“Apollo” released January 29, 2023. Recorded/ Mixed at Tiny Castle by Noel Mueller. Additional guitars recorded at Developing Nations by Kevin Bernsten.

Severed Satellites are:
Chuck Dukehart III – Drums
Adam Heinzmann – Bass
Matt Naas – Guitar
Dave Drell – Keys

https://www.facebook.com/Severed-Satellites-140672783460825/
https://severedsatellites.bandcamp.com/

Severed Satellites, “Apollo”

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Grim Reefer Fest 2023 Announces Full Lineup

Posted in Whathaveyou on January 10th, 2023 by JJ Koczan

Good one, Grim Reefer Fest. The 2023 edition of the Baltimorean all-dayer is the biggest lineup yet, showing some geographic reach in bringing Bongzilla and Wizard Rifle to proceedings — the former being in Wisconsin and the latter Oregon; one suspects they’ll be announcing a tour together any minute now, and if they do, they make a complementary pair — and rounding out with a sonically diverse cast of locals and regional acts, from natives Haze Mage and Holy Fingers to Borracho and Ilsa from D.C., Sun Voyager heading down from New York, and so on.

I’m gonna go ahead and put this one in my calendar. Seems like a pretty cool way to spend a Saturday. Drive down in the morning, see the show, find a spot to crash, leave Sunday AM after coffee and be home in time for lunch? That’s doable, right? I’ll talk to The Patient Mrs. before I start bugging the fest about it, but yeah, this looks like a good time and I’ve wanted to get down to one of these for a couple years now. In a universe of infinite possibilities, maybe 2023 is my year.

From the PR wire:

Grim reefer fest 2023

Grim Reefer Fest returns to the Legendary Ottobar on Saturday April 29th with our biggest and best lineup to date! Join us for the annual celebration of the high holidays, good vibes, and all your favorite variations of heavy music!

Bongzilla
Ilsa
Borracho
Haze Mage
Wizard Rifle
False Gods
Sun Voyager
Faith in Jane
Holy Fingers
Blightbeast

And as always we will have a food truck parked right outside the venue throughout the duration of the event to take care of all of your munchie needs!

Tickets are $35 in adv and $50 at the door.

Tickets can be purchased here starting 1/13/23 at 10am
https://www.etix.com/ticket/p/6831820
Doors at 2pm – Music starts at 3pm and runs all day and night

Poster by GhostBat.

We will not be live streaming this time around but we do hope to have all of the sets recorded and eventually uploaded to our YouTube Channel (where you can currently see all of our GRF 2022 performers).

https://www.facebook.com/GrimReeferFest
https://www.instagram.com/grimreeferfest/
https://www.youtube.com/channel/UC3BL9lkMWbIC2qaqWZ4LH8g
https://www.grimreeferfest.com/

Haze Mage, Live at Grim Reefer Fest 2022

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Darsombra Announce Fall Tour Dates

Posted in Whathaveyou on July 29th, 2022 by JJ Koczan

Four dates in Tennessee? That’s a Darsombra tour. In accordance with the duo’s perpetual wont, Darsombra have announced a slew of East Coast tour dates that will account for the bulk of September and October as they run north and south and in between, swinging as far as Texas — note the trio of gigs with Austin’s Cortège — as they continue to spread their particular brand of art-rocking drone-out psychedelic bliss. You’ll recall they were on the West Coast this past Spring, so Fall on the Eastern Seaboard makes sense. Colorful leaves to see and all that.

Brian Daniloski and Ann Everton have a remix project in the works, and they’re looking for participants, so if you find you need a bit more weird in your life and you’ve got the software, reach out. I can think of way worse ways to spend your time than tooling around with the open spaces Darsombra inhabit. Like capitalism. And war. And having a day job. You should really quit that.

From the PR wire:

DARSOMBRA with tapes

DARSOMBRA: Baltimore Psychedelic Duo Announces Dozens Of Summer And Fall US Tour Dates; New Album Under Construction

Baltimore, Maryland psych/prog duo DARSOMBRA has just rolled out nearly three dozen new tour dates for the late Summer and early Fall months while they slowly continue to construct their next album.

DARSOMBRA released their Call The Doctor/Nightgarden single in April 2021 as a bridge between their 2019-issued Transmission LP and its successor, a massive double-album, which is currently under construction. For their Spring 2022 tour, the band released a cassette maxi-single of Call The Doctor/Nightgarden, featuring two exclusive bonus tracks – “Thunder Thighs” (live 2020) and “Fill Up The Glass” – on the B-side, totaling more than fifty-three minutes of sonic bliss.

Brian Daniloski writes, “DARSOMBRA is excited to report that after a very quiet June and July following our return from our spring tour in late May, we have a fantastically loud rest of the year planned for you all, with local and domestic shows aplenty!”

DARSOMBRA is also working on a remix project, collecting re-imagined versions of their song “Call The Doctor.” Artists interested in taking part in the remix project are invited to contact the band through their website or social media channels.

DARSOMBRA Tour Dates:
8/12/2022 Sacred Root – Ithaca, NY w/ Human Resources, Staticer, and Microbes, Mostly
8/13/2022 Neitzche’s – Buffalo, NY w/ Chloroform, Wickerman, shapesrepeat
8/14/2022 Rosen Krown (early brunch show) – Rochester, NY
9/03/2022 Space 4321 – Baltimore, MD
9/07/2022 Mama Tried – Brooklyn, NY w/ GRIDFAILURE, Breeeze
9/08/2022 Sun Tiki Studios – Portland, ME w/ Cadaverette, Snap! Thee Asparagus
9/13/2022 The Loading Dock – Littleton, NH
9/14/2022 Radio Bean – Burlington, VT
9/15/2022 O’Brien’s – Allston, MA w/ Jarvaland, Blackwolfgoat, This Bliss
9/16/2022 AS220 – Providence, RI w/ Minibeast, Burr, LVMMVX
9/17/2022 Century – Philadelphia, PA w/ Stinking Lizaveta, Kohoutek
9/23/2022 Shadow Woods Reunion @ The Kennel at West York Inn – West York, PA w/ Barishi, Cultic, Seasick Gladiator, Ralph
10/05/2022 Spot on Kirk – Roanoke, VA w/ Dover
10/06/2022 The Hideaway – Johnson City, TN
10/07/2022 Static Age – Asheville, NC
10/08/2022 Corner Lounge – Knoxville, TN
10/09/2022 Springwater – Nashville, TN w/ Weird Sisters
10/11/2022 Hi Tone – Memphis, TN
10/12/2022 White Water Tavern – Little Rock, AR w/ The Lights Inside The Woods
10/13/2022 Division Brewing/Growl Records – Arlington, TX w/ Pastel Dynasty
10/14/2022 The 101 – Bryan, TX w/ Cortège
10/15/2022 Faust Tavern – San Antonio, TX w/ Cortège
10/16/2022 Chess Club – Austin, TX w/ Cortège
10/18/2022 Freetown Boom Boom Room – Lafayette, LA
10/19/2022 The Goat – New Orleans, LA w/ Three Brained Robot, Cloud Powers, Soul Glimpse
10/20/2022 The Kelly – Wetumpka, AL
10/22/2022 Sabbath Brewing – Atlanta, GA w/ Posadist
10/23/2022 The World Famous – Athens, GA w/ Sacred Bull, Rat Babies
10/25/2022 El-Rocko – Savannah, GA
10/26/2022 Tua Lingua – N. Charleston, SC w/ data_corrupter
10/27/2022 New Brookland Tavern – Columbia, SC
10/28/2022 Monstercade – Winston-Salem, NC w/ Elevated Weirdo Gameshow
10/29/2022 TBA – Greenville, NC

http://facebook.com/darsombra
https://www.instagram.com/darsombra/
http://www.darsombra.com/

Darsombra, Call the Doctor / Nightgarden (2021)

Darsombra, “Transmission” official video

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Quarterly Review: The John Denver Airport Conspiracy, Clara Engel, Cormano, Black Lung, Slowenya, Superlynx, Øresund Space Collective, Zone Six, The Cimmerian, Ultracombo

Posted in Reviews on July 1st, 2022 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Today’s Friday, and in most but a decreasing number of circumstances, that means a Quarterly Review is over. Not this one. Remember, doublewide means it goes to 100 albums. The really crazy part? It could go longer. I could add another day. It could go to 11! Have I done that before?

Probably. That Spinal Tap reference is too obvious for me to have never made it. In any case, I’ve got something booked for Monday after next already, so I won’t be adding another day, but I could just on the releases that came in over the last couple days. Onto the list for next time. Late September/early October, I think.

If you’re hurting for Quarterly Review in the meantime? Yeah, stick around. There’s a whole other week coming up. That’s what I’ve been saying. Have a great weekend and we’ll pick back up on Monday with another 10 records.

Quarterly Review #41-50:

The John Denver Airport Conspiracy, Something’s Gotta Give

John Denver Airport Conspiracy Something's Gotta Give

Hail Toronto psych. The John Denver Airport Conspiracy released Something’s Gotta Give as a 16-tracker name-your-price Bandcamp download nearly a year ago, and vinyl delays give squares like yours truly who missed it at the time another opportunity to get on board. The 14-song LP edition runs 42 minutes, and it’s time well spent in being out of its own time, a pedal steel Americana-fying the ’60s drift of “Comin’ Through” while “Jeff Bezos Actually Works for Me” pairs garage strum-and-strut with a cavernous echo for an effect like shoegaze that looked up. “2000 November” and closer “The Lab” dares proto-punk shimmy and “Green Chair” has that B3 organ sound and lazy jangle that one can’t help but associate with 1967, “Ya, I Wonder” perhaps a few years before that, but “The Big Greaser” works in less directly temporal spaces, and the whole album is united by an overarching mellow spirit, not totally in a fog because actually the structures on some of these songs are pretty tight — as they were in the 1960s — but they’ve definitely and purposefully kept a few screws loose. Their sound may solidify over time and it may not, but as a debut album, Something’s Gotta Give is deceptively rich in its purpose and engaging in its craft and style alike. I wish I’d heard it earlier, I’m glad to have heard it now.

The John Denver Airport Conspiracy on Instagram

Cardinal Fuzz Records webstore

Little Cloud Records website

 

Clara Engel, Their Invisible Hands

Clara Engel Their Invisible Hands

Clara Engel‘s experimentalist folk songwriting moves into and across and over and through various traditions and methods, but their voice is as resonant, human and unifying as ever, and that’s true from “O Human Child” through the softly echoing guitar pieces “Golden Egg” and “High Alien Priest,” the more ethereal “Glass Mountain,” and so on, while excursions like “I Drink the Rain,” “Cryptid Bop” and “Dead Tree March” earlier add not only instrumental flourish but an avant garde sensibility consistent with Engel‘s past work, even if as songs they remain resoundingly cohesive. That is to say, while founded on experimentalist principles, they are built into songs rather than presented in their rawest form. The inclusion of organ in finale “The Devils are Snoring” is striking and complements the minimalist vocals and backing drone, but by then Engel has long established their ability to put the listener where they wants, with the image of “Rowing Home Through a Sea of Golden Leaves” duly poetic to suit the music as demonstration. Gorgeous, impassioned, hurt but striving and ever moving forward creatively. Engel‘s work remains a treasure for those with ears to hear it. “I Drink the Rain” is an album unto itself.

Clara Engel on Facebook

Clara Engel on Bandcamp

 

Cormano, Weird Tales

Cormano Weird Tales

Though the initial push of doomer riffing and melodic vocals in the post-intro title-track “Weird Tales” reminds a bit of Apostle of Solitude, the hooky brand of heavy wrought by Chilean three-piece Cormano — vocalist/guitarist Aaron Saavedra, bassist/backing vocalist Claudio Bobadilla, drummer/backing vocalist Rodrigo Jiménez — on their debut full-length is more about rock than such morose proceedings, and in fact it’s the prior intro “La Marcha del Desierto” that makes that plain. They’ll delve into psychedelic airiness in “El Caleuche” — the bassline underneath a highlight on its own — and if you read “Bury Me With My Money” as a capitalist critique, it’s almost fun instead of tragic, but their swing in “Urknall” and the roll of “Rise From Your Grave” (second Altered Beast reference of this Quarterly Review; pure coincidence) act as precursor to the thickened unfurling of “Futuere” and “A Boy and His Dog,” a closing pair that reinforce Cormano‘s ultimate direction as anything but settled, the latter featuring a pointedly heavy crash before a surprisingly gentle finish. Will be curious to see where their impulses lead them, but Weird Tales is that much stronger for the variety currently in their influences.

Cormano on Facebook

Cormano on Bandcamp

 

Black Lung, Dark Waves

Black Lung Dark Waves

Like the rest of reality, Baltimorean heavy psychedelic blues rockers Black Lung have undergone a few significant changes in the last three years. Guitarist/vocalist Dave Cavalier (also Mellotron) and drummer/synthesist Elias Schutzman (also Revvnant, ex-The Flying Eyes) bid farewell to fellow founding member Adam Bufano (guitar, also ex-The Flying Eyes) and brought in Dave Fullerton to fill the role, while also, for the first time, adding a bassist in Charles Braese. Thus, their first record for Heavy Psych Sounds, the J. Robbins-produced/Kurt Ballou-mixed Dark Waves is a notable departure in form from 2019’s Ancients (review here), even if the band’s core methodology and aesthetic are the same. The sound is fuller, richer, and more able to hold the various Mellotrons and other flourishes, as well as the cello in “Hollow Dreams” and guest vocals on “Death Grip” and guest keys on “The Cog” and “The Path.” Taking inspiration from modern global uncertainties sociopolitical, medical and otherwise, the band put you in a mind of living through the current moment, thankfully without inducing the level of anxiety that seems to define it. Small favors amid big riffs. With shades of All Them Witches and further psychedelic exploring transposed onto their already-a-given level of songwriting, Black Lung sound like they’re making a second debut.

Black Lung on Facebook

Heavy Psych Sounds website

 

Slowenya, Meadow

Slowenya Meadow

Make a big space and fill it with righteousness. Finland’s Slowenya are born out of an experimentalist hotbed in Turku, and the three-piece do justice to an expectation of far-out tendencies across the nonetheless-concise 31 minutes and six songs of Meadow, their second long-player in as many years. There’s an undercurrent of metal as “Synchronized” holds forth with a resilient, earthy chug, but the melodicism that typifies the vocals running alongside is lighter, born of a proggy mindset and able to keep any overarching aggression in check. With synths, samples, and ambient sounds filling out the mix — not that the massive tonality of the guitar and bass itself doesn’t do the job — a breadth is cast from “Intro” onward through “Nákàn” and the gone-full-YOB swell of “Irrevocable,” which is yet another of the tracks on Meadow one might hear and expect to be 20 minutes long and instead is under seven. The penultimate “Transients” pushes deeper into drone, and “Resonate and Relate” (7:53) caps Slowenya‘s impressive second LP with a due blend of melodic wash and lurching rhythmic physicality, the screams into a sudden stop effectively carrying the threat of more to come. You want to hear this.

Slowenya linktr.ee

Karhuvaltio Records on Facebook

 

Superlynx, Solstice EP

Superlynx Solstice

As their growing fanbase immediately set about waiting for their third full-length after 2021’s Electric Temple, Norwegian heavy-broodgaze trio Superlynx issued at the very end of the year the Solstice EP, combining covers from Saint Vitus, Black Rebel Motorcycle Club, Nat King Cole (because obviously he’d be third on that list) and Nirvana with two originals in “Reorbit” and “Cosmic Wave.” As bassist/vocalist Pia Isaksen has already put out a solo release in 2022, drummer Ole Teigen has a blues band on the side among other projects, and one assumes guitarist Daniel Bakken is up to something else as well, Solstice serves as a welcome holdover of momentum after the album. It’s worth the price of admission (eight Euro) for the take on Nirvana‘s “Something in the Way” alone, but the so-slow-it-sounds-like-it’s-about-to-fall-apart “Reorbit” and the leadoff adaptation of “Born Too Late” enforces that song’s message with a modernized and made-even-more slogging sense of defeat. Maybe we were all born too late. Maybe that’s humanity’s fucking problem. Anyway, after you get this, get Isaksen‘s solo record as Pia Isa. You won’t regret that either, especially with the subdued vibe in some of the material on this one.

Superlynx on Facebook

Dark Essence Records website

 

Øresund Space Collective, Oily Echoes of the Soul

oresund space collective oily echoes of the soul

The always-hit-record ethic of multinational conglomerate jammers Øresund Space Collective pays dividends once again as Oily Echoes of the Soul emerges publicly — it was previously released in a different form to Bandcamp subscribers — as carved from a session all the way back in 2010. At the time I’m pretty certain all members of the band actually lived in Denmark, but sitarist K.G. Westman, who appeared here while still a member of Siena Root, is from Sweden, so whatever. Ultimately the affair is less about where they’re from than where you’re going while hearing it, which is off to a laid-back, anything goes psychedelic improvisation, beginning with the funky and suitably explorational, half-hour-long opener “Bump and Grind ØSC Style” before moving into the sitar-led “Peace of Mynd” (13:27) and the 24-minute title-track’s organic surges and recessions of volume; proggy, ’70s, and unforced as they are. Before twang-happy and much shorter closer “Shit Kickin'” (4:10), the 15-minute “Deep Breath for the EARTH” offers affirmation of the project’s reliably expansive sound. I’ve made no secret that I listen to this band in no small part for the emotionally and/or existentially soothing facets of their sound. Those are on ready display here, and I’ll be returning to this 12-year-old session accordingly.

Øresund Space Collective on Bandcamp

Space Rock Productions website

 

Zone Six, Beautiful EP

ZONE SIX BEAUTIFUL

Recorded in Dec. 1997 at Zone Six‘s practice space, the two-song Beautiful EP portrays a much different band than Zone Six ultimately became, with Australian-born vocalist Jodi Barry and then-Liquid Visions members Dave “Sula Bassana” Schmidt (bass, effects), Hans-Peter Ringholz (guitar, noise) and drummer/recording specialist Claus Bühler as well as keyboardist/etc.-ist Rusty and bringing two longform, molten works of pioneering-at-the-time heavy psychedelia. I mean, we’re talking 20 years ahead of their time, at least, here. It’s still forward-thinking. The guitars and breathy vocals in “Something’s Missing” are a joy and “Beautiful” plays off drone-style atmospherics with intermittently jazzy verses and a more active rhythm, winding guitar and pervasively spaced mindbending. Imagining what could’ve been if this record had been finished, one could repaint the scope of 2010s-era European heavy psychedelia as a whole, but on their own, the two extended inclusions on the 23-minute EP are a gorgeous glimpse at this fleeting moment in time. It is what it says it is.

LINK

TO THE PAST

 

The Cimmerian, Thrice Majestic

The Cimmerian Thrice Majestic

Thrice Majestic and four-times barbarous comes this debut EP release from Los Angeles’ The Cimmerian, a new trio featuring Massachusetts expat David Gein (ex-bass, The Scimitar, etc.) on guitar, and the brand of heavy that ensues readily crosses the line between metal and doom, as the galloping “Emerald Scripture” reinforces directly after the eight-minute highlight and longest groover “Silver and Gold.” Drummer David Morales isn’t shy with the double-kick and neither should he be, and bassist/vocalist Nicolas Rocha has a bark that reminds of Entombed‘s L.G. Petrov, and that is not a compliment I’m ever going to hand out lightly. Lead cut “Howls of Lust and Fury” promises High on Fire-ist thrash in its opening, but The Cimmerian‘s form of pummel goes beyond any single point of inspiration, even on this presumably formative suckerpunch of an EP, which balances intensity and nod in the finishing move “Neck Breaker,” a last growl perhaps the most brutal of all. Fucking a. More of this.

The Cimmerian on Facebook

The Cimmerian on Bandcamp

 

Ultracombo, Season II

Ultracombo Season II

You could probably sit and parse out where Ultracombo are coming from — geographically, it’s Vincenza, Italy — in terms of sound on the sequentially titled follow-up to 2019’s Season I (review here), but to do so denies the double-guitar five-piece credit for the obvious efforts they’ve put into making this material their own. Those efforts pay off in the listening experience of the five-tracker, which runs 25 minutes and so offers plenty enough to make an impression. Witness the slowdown in centerpiece “Umanotest” or the keyboard-or-keyboard-esque lead in the back half of the prior “Follia,” the added jammy feel in “Specchio,” the this-is-the-difference-the-right-drummer-makes “12345” or the return of the synth and an added bit of playfulness before the big ending in — what else? — “La Fine.” That this EP manages to careen and pull such hairpin turns of rhythm is a triumph unto itself. That it manages to do so without sounding like Queens of the Stone Age feels like a fucking miracle. “Dear Ultracombo, Hope you’re well. Time to make an album. Put in an interlude or two depending on space. Sincerely, some dude on the internet.”

Ultracombo on Facebook

Ultracombo on Instagram

 

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Lathe Premiere “Vinegar”; Announce Tongue of Silver Release

Posted in audiObelisk, Reviews, Whathaveyou on June 9th, 2022 by JJ Koczan

lathe (Photo by Tyler W. Davis)

Baltimore heavy prairie rockers Lathe release their debut album, Tongue of Silver, July 29 on Grimoire Records and Apt. 66 Records. “Vinegar,” which is the opening track premiering below, begins the record with an immediate Americana wistfulness of pedal steel and electric guitar, the trio of Tyler Davis, Eric Paltell and Flynn Diguardia working to convey an emotional presence as well as to gather spaces for their tones to inhabit. Instrumental for the duration, the eight-song/36-minute offering is outwardly heavy at times in a way that some other acts of this ilk don’t dare to be, but the vibe is maintained, both throughout “Vinegar” and what follows as “Drain” finds a midtempo roll, “Heat Wave” taps more countrified sounds ahead of “Rodeo Fumes” channeling rockabilly gallop before a noisy blowout leads to the sub-two-minute harsh noise interlude “351W” reminding of something The Body or Primitive Man would try to hurt you with — plus pedal steel. Meantime, “Cauliflower” honors that most noble of vegetables by diving into blues guitar via Earth‘s Hex: Or Printing in the Infernal Method for a different kind of drone, the six-minute penultimate “Journey to the East” seems to find water at last and closer “Morris” brings thicker tones and a less Western-tinged spirit on the whole, swelling in volume for Tongue of Silver‘s last march into residual amplifier hum, organ notes and feedback.

What was I talking about again?

Oh yeah. PaltellDavis and Diguardia recorded with the esteemed Noel Mueller at Tiny Castle, whose one-stop-shop as an engineer, mixer and Lathe Tongue of Silverlabel continues to cross genres with ease and no dip in quality. To wit, Tongue of Silver is one of few Grimoire Releases to come this year, but it adds something that even the once-instrumental Cavern didn’t bring to the roster with its deep focus on atmospherics and the subtleties that inhabit therein. If we’re picking favorites, I might go with “Journey to the East” for the quiet urgency of the tempo in its bassline and the volume shift in guitar at around two minutes in, but the entirety that surrounds is evocative and feels like it’s telling a story, whether that’s the languid drawl of guitar in the midsection of “Heat Wave” — remember, Baltimore is humid in summer — before it breaks to tambourine-punctuated minimalism or “Morris” adding more than just a touch of Euro-doom style melancholy to the record’s final apex, something surprising but even more surprising for how out of character it doesn’t actually feel.

Which is to say, it works without pulling too far away from the world Tongue of Silver has worked diligently to create up to that point. It gives the ending that follows a sorrowful tinge, but especially with this being the trio’s first full-length, it seems fair to grant that they’re looking to set up future avenues of growth either consciously or not, and in terms of identity, that last track stands out as one of Tongue of Silver‘s most individualized. I won’t try to predict how their sound might develop over time, but that they put enough depth into this outing to make one curious in the first place says something.

This was supposed to be an album announcement, not a review, but screw it, here we are. Little bit of everything. “Vinegar” is streaming on the player below — or will be at some point soon; private Bandcamp embeds are hard — and you’ll find it duly immersive and transportive as you go. Keep your mind open, maybe close your eyes if you’re not driving or whathaveyou.

That album announcement follows, courtesy of the PR wire. Because there’s only one new song out as of now, I’ve also included Lathe‘s 2021 Cavalier EP at the bottom of the post should you be up for digging further.

Enjoy:

Baltimore, Maryland-based instrumental Americana-inspired drone/doom trio LATHE will release their Tongue Of Silver full-length debut via Grimoire Records with Apt. 66 Records on July 29th, today unveiling the record’s track listing, cover art, and first single.

LATHE’s sound can be found somewhere between sand and rust, where sparkling leads and pedal steel are met with blistering riffs and a pummeling rhythm section. Tongue Of Silver is a collection of songs that began as a studio project in 2018. After countless revisions and setbacks, a pile of demos were brought to producer and Grimoire Records owner Noel Mueller for a proper studio assessment throughout 2021. Now, nearly four years since most of these songs were initially composed, they are finally completed and pressed to vinyl!

Across its eight engrossing tracks, Tongue Of Silver seamlessly blends elements of doom, country, punk, swing, and black metal into a heavy wall-of-sound. A hearty array of instruments familiar to the spaghetti western landscape — organ, tambourine, and pedal steel to name a few — significantly alter the common tropes of stoner music. While each song has an independent story to tell, they are unified as a whole through driving bass lines and persistent percussion. This aesthetic comes to total fruition on “Rodeo Fumes,” as the d-beat track featuring field recordings of a monster truck rally climaxes into a full-on wave of distortion that drones into the dark oblivion of “351W.”

Tongue Of Silver will be released on limited edition 12″ vinyl and digitally. Find preorders at THIS LOCATION: https://grimoirerecords.bandcamp.com/album/tongue-of-silver

Fans of Earth, Sunn O))), David Lynch, Grails, Ennio Morricone, and the like, pay heed.

Tongue Of Silver Track Listing:
1. Vinegar
2. Drain
3. Heat Wave
4. Rodeo Fumes
5. 351W
6. Cauliflower
7. Journey To The East
8. Morris

Tongue Of Silver is the third vinyl release for LATHE. Their first, a 7” titled APT66 Split, was a distant collaboration with George Cessna after he moved away from Baltimore. LATHE’s second 7”, Cavalier, presented the band for the first time as a trio and was mixed by Matt Williams of Hell and Sub Odin Studios. As with those prior releases, Tongue Of Silver combines pieces of classic country twang with a roaring wall of amps; a fitting soundtrack to a demolition derby.

LATHE:
Tyler Davis – guitars, bass, organ
Eric Paltell – pedal steel, guitars
Flynn Diguardia – drums

http://www.facebook.com/lathe66
http://lathe.bandcamp.com

http://www.grimoirerecords.com
http://grimoirerecords.bandcamp.com
http://twitter.com/grimoiremetal
http://www.facebook.com/GrimoireRecords
http://www.instagram.com/grimoirerecords

https://www.apt66.com/

Lathe, Cavalier (2021)

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Darsombra Premiere “Call the Doctor” Video in All Time Zones

Posted in Bootleg Theater on April 20th, 2022 by JJ Koczan

darsombra

Well, it’s 4:20 somewhere. Today, as you may or may not already know, is April 20. High holiday for stoners, or at very least what would be one if everybody wasn’t just high all the time now anyway. By the way, legal weed sales in Jersey start tomorrow. Kind of jerk move to make it April 21, but whatever.

Anyhoo, about two weeks ago, Darsombra‘s Brian Daniloski — a friendly chap if e’er I’ve encountered one — reached out with what seemed like a fairly crazy idea. The duo — he and Ann Everton — are about to embark on their Spring tour going hither and yon, and to celebrate the day and the impending tour and the release of their upcoming 53-minute maxi-single cassette that, no, is not an album so don’t ask, and they wanted to premiere a video for the song “Call the Doctor.” Well heck, I’m on board for that.

Fine. Thing was, Darsombra weren’t just unveiling a video, which is pretty standard. They wanted to premiere the clip at 4:20PM in every time zone across the planet, so that all peoples in all nations could watch “Call the Doctor” at the appropriate moment on the just-right day and bask in the droner weirdness. It seems to have taken some finagling to make it happen, but they’ve done the thing, and today, you’ll find the clip below.

I haven’t even seen it yet. No clue what’s going on in it, flashing lights, whether it’s safe for work, any of that kind of thing. I’ve got a tab open in my browser with the countdown on for when it’s available in my time zone (Eastern US) and I’m looking forward to it, but if you haven’t watched, as of me writing this sentence, we’re in the same boat. Doesn’t matter. Darsombra‘s shenanigans are good times. If you’ve got friends in Secaucus, let ’em know.

Enjoy:

Darsombra, “Call the Doctor” 4/20 premiere

IT’LL BE 420 ALL OVER THE WORLD!!!

Darsombra’s new Official Music Video to “Call The Doctor” will be streaming LIVE in YOUR time zone on April 20th, 2022, at 4:20pm no matter where in the world you are!

Tune in to youtube.com/darsombra (direct link to livestream: https://youtu.be/zMce0VITr9c) to catch the brand new video (a meditation on the Earth origins of every science-fiction/fantasy narrative, and lovingly described as Star-Trek-meets-David-Attenborough), which will be playing on a loop at 20 minutes after the hour, every hour, on April 20th, from 12:20am EDT (UTC-4) through 11:20pm EDT—in other words, from 4:20pm at the International Date Line (UTC-12) to 4:20pm Kamchatka time (UTC +12)! Tell all your friends in Siberia! (and Belize! and Poland! and Micronesia! and Zimbabwe! and Secaucus, NJ!)

At 11:35pm EDT (UTC -4) on April 20, the video will be available on our youtube channel here: https://youtu.be/-s_rb3YlVi8

HAPPY 420!!!

DARSOMBRA SPRING TOUR 2022
Apr 23 – Pittsburgh (McKees Rocks) PA @ Black Forge II
Apr 24 – Cincinnati OH @ Northside Tavern
Apr 25 – Bloomington IN @ The I Fell
Apr 26 – Springfield MO @ Lindberg’s
Apr 27 – Oklahoma City OK @ Aces of 8
Apr 29 – Santa Fe NM @ Cirque Du So Gay
Apr 30 – Albuquerque NM @ Guild Cinema
May 4 – Flagstaff AZ @ Kickstand Kafe
May 6 – Tijuana Mexico @ Torre Astral
May 7 – San Diego CA @ The Brown Building
May 8 – Mexicali Mexico @ Planta Libre
May 13 – Los Angeles CA @ The Offbeat
May 14 – San Luis Obispo CA @ Mee Heng Low
May 15 – San Francisco CA @ Bottom of the Hill
May 24 – Colorado Springs CO @ Fritzy’s
May 25 – Denver CO @ Skylark
May 27 – Lawrence KS @ Eighth St. Taproom
May 28 – Kansas City MO @ miniBar
May 29 – Dayton OH @ Blind Bob’s

http://facebook.com/darsombra
https://www.instagram.com/darsombra/
http://www.darsombra.com/

Darsombra, Call the Doctor / Nightgarden (2021)

Darsombra, “Transmission” official video

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