Posted in Whathaveyou on February 5th, 2024 by JJ Koczan
At this point it’s been over six years since Darmstadt, Germany, heavy rockers Bushfire put out their last album, 2018’s When Darkness Comes (review here), and it seems like if a follow-up is something that’s ever going to happen, now’s probably a good time. The long-running troupe sent word that they’ve welcomed bassist Nicolas Kurz back into the fold and they don’t go so far as to announce recording plans or say a thing is done, but they do say flat out they’re targeting a 2024 release, and there’s a lot of year left, so they might even get there.
The band released their Live at 806qm recording in 2020 and played Desertfest Belgium last year. I’d assume any future live plans will come together around the recording, whenever that happens, so it might be a bit before they’re out for anything more than a getaway, but that they’re moving forward is still good news. Proceedings proceeding, and so on.
Frontman Bill Brown checked in on socials:
Yo, BILL here, on behalf of BUSHFIRE.
Well, you might have noticed we’ve been off the radar for quite some time. And trust me, it’s not been easy.
Understanding. For me this means in these almost 20 years as a BUSHFIRE member, in this band you must have a love for music and share with other musicians, musical ideas, a common ground and goal so to say. Sometimes that’s tougher than you’d think. As a lyricist, I depend on the music to drive me into the emotional journey so I can reflect and convey, if nothing but, a feeling. I can only assume every musician has exactly that feeling no matter the instrument. Dependance, on one another. We take a journey together and it’s tough sometimes. I’m nothing without my band. Well ok, a poet maybe.
As always in life, things change. Our bassist and good buddy Vince, has decide to depart from the BUSHFIRE saga, on his own terms and personal reasons. It lay heavy in our hearts but understanding is key. We wish him nothing but the best.
From Vinz:
“When I joined Bushfire I was a fan of the band. I had seen them in 2012, playing a gig in Das Bett in Frankfurt and I thought “This is the music I would like to play!”. Fast forward a couple of years and I was waking up at 6 every morning to practice dozens of songs after Billorone had asked me: “Do you have time for a 2 weeks tour of the Balkans?”. It has been 10+ years of efforts and rewards, sacrifices and satisfactions, sweat and thrills, passionate fights and passionate harmonies, crazy highway trips, long stage-time waits, amazing concerts. I leave now because I need to find a new perspective, you know when sometimes a cycle must close? I will stay a Bushfire fan. I wish you good luck, guys, and I bow one last time to all the people that have been supporting us all along. Rock on!”
As bittersweet as this may be, we are excited to announce and love to re-welcome, NICK. (Nicolas Kurz)
Nick has shared the stage with us through the years with countless heroes of music.
We have a history, it’s comforting. Between (2011-2013) (recorded: Heal Thy Self), we’ve crossed Europe, destroying minds and ears along the way. It’s amazing to have him back for the support and journey. So let’s raise a glass to our brother’s return!
That being said, we’ve been focusing on our new album diligently. Our goal is to record, produce and release this album this year. Determined to take a new journey and return to the light, love, family, friends and stage that we’ve been so greatly missing.
Understanding is key. See you very soon. Love. BUSHFIRE
Posted in Whathaveyou on July 28th, 2023 by JJ Koczan
Man this looks like a wild time. Desertfest Belgium 2023 has just about finalized its lineup, bringing Enslaved, Quicksand, Black Mirrors, Khan, Iron Jinn, Bushfire and a host of others to the bill and teasing that there’s still one more to add. Belgian native. A surprise. You’ll note below that it says “artist” instead of “band.” Could it be a solo act? Curious.
Whoever it is, they’ll join a packed bill that stands out even among the crowded European Fall festival circuit. You can see the list of names below and I sincerely doubt you need me to tell you how badass an assemblage it is, so I won’t. I will point out that it’s a great mix of European and American acts with representatives from Australia in Khan and South Africa in Ruff Majik. If you’re keeping score at home, that’s four continents accounted for across the three days of the fest. Not too shabby.
The latest from the fest is below, as per social media:
We are excited to announce the following final bands. Some are big, some badass, some barbaric, some boisterous, and some all of the above! (#129304#) We are talking about:
Enslaved – Quicksand – Kid Congo and The Pink Monkey Birds – Khan – Black Mirrors – LA MUERTE – Fire Down Below – BUSHFIRE – Red Sun Atacama – Iron Jinn – Astodan – Witch Piss
Unfortunately REZN’s European tour was cancelled, so they won’t make it to this year’s Desertfest. We sure hope to welcome them back somewhere in the near future.
On the bright side, we have one final, very talented Belgian surprise artist tugged away in our sleeve! The project is so secret that we can’t say much more just yet, but we will be lifting a corner of the veil pretty soon…
Posted in Whathaveyou on February 7th, 2022 by JJ Koczan
Bringing together players from Germany, the Netherlands, France, the UK, Austria, Northern Ireland, Italy, Greece, Sweden, the US and Brazil, the Stoner Rock Worldwide Community Album 2021 boasts seven tracks of remote compositions and recordings, with the songs emerging from members having participated in a call to arms during the pandemic. It’s a hugely ambitious project. In regular circumstances, it would be impressive enough to curate a series of bands and players coming together on a new anything. To sort various parties across international borders into working units even in the age of social media, and then to have them work together creatively, is an oh-hell-no kind of job. Kudos to Felix Melchhardt on making it happen.
Pretty astounding stuff. Vinyl’s in the works as we speak, and the stream went live this past Friday. You’ll find it at the bottom of this post, and considering the amount of effort that seems to have gone into every level of making it, the download is dirt-frickin’-cheap.
More info:
Stoner Rock World Wide Community Album Digital Release out now! 35+ Musicians, Remotely composed and recorded.
Remotely composed, recorded and finally pressed on vinyl together as a worldwide community of heavy rock lovers – The Stoner Rock World Wide Community Album.
26. May 2020: “What if we release an album remotely composed, recorded and finally pressed on vinyl together as a worldwide community of heavy rock lovers? Musicians world wide writing an album for our lovely world wide community, that’s the deal and we think we could make this happen.” – And we did so.
Key Facts – 7 Tracks – Remotely composed, recorded and mixed by more than 35 musicians spread over the globe. Magic definitely happened, friendships were made. – Mastered by Niklas Källgren (Truckfighters). – Once pressed, worldwide distribution via various heavy rock labels. – Special guests: Bob Balch (Fu Manchu), Papanikolaou Babis (Planet of Zeus), Tolis Motsios (Nightstalker). – People participating in the project did not know each other before. Only the love for heavy rock connects them. They were brought together by an open call-out to the community by SRWW 2 years ago. – Groups were brought together via Facebook. They internally organized themselves on how to approach the songwriting process, exchanged ideas and finally put together 7 unique songs. – Anything that could go wrong, went wrong (really) – but we made it. **ck COVID. – Pressed on vinyl right now. – Bandcamp digital release co-finances the master, distribution and further costs. – Endurance was key. Shoutout to all the people involved. – Coordinated by Felix Melchhardt in the name of SRWW. (Cone (Band), Blackdoor Music Festival, SRWW)
Personnel: Track 1 – Dreams of Space Francesco Bonardi – Guitar (Hackberry, Netherlands) Eric Frantzen – Bass (Mantra Machine, Netherlands) Drev – Vocals (Descarado, Sweden) Miguel Pereira – Guitar (Bushfire, Germany) Sascha Holz – Drums (Bushfire, Germany)
Track 2 – Remain Martin Frank – Bass / Vocals (White Noise Generator, Germany) Thomas Berger – Drums (Timestone, Austria) Tony Hochhuber – Guitars (Germany)
Track 3 – The All Seeing Sun Diamond Pr – Guitar / Vocals (The Same River, Greece) Oscar Flanagan – Guitar (Insonika, Sweden) Armin Lehner – Keys (Ozymandias, Austria) Brien Gillen – Drums (Elder Druid, Northern Ireland) Rafael Denardi – Bass (Rafael Denardi, Brazil) Special Guest: Papanikolaou Babis (Planet of Zeus, Greece)
Track 4 – Raw Luke Taylor – Drums (White Noise Generator, Germany) Derek Fisher – Guitar (Moth66, USA) Niels van Eldijk – Bass (Ramkoers, Netherlands) Ben Plochowietz – Guitar / Vocals (Scorched Oak, Germany) Christoph W. – Vocals (Ozymandias, Austria) Special Guests: Tolis Motsios Nightstalker (Greece)
Track 5 – Calypso Tom Maene – Guitar (Motsus, Belgium) Jeroen Schippers – Drums (Mantra Machine, Netherlands) Linda Hackmann – Bass / Vocals (Scorched Oak, Germany) Dimitris Vardoulakis – Vocals (Honeybadger, Greece) Jonas Hartmann – Keys (Willow Child, Germany) Special Guest: Bob Balch (Fu Manchu, US)
Posted in Questionnaire on November 19th, 2021 by JJ Koczan
The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.
Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.
Thank you for reading and thanks to all who participate.
The Obelisk Questionnaire: Bill Brown of Bushfire
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How do you define what you do and how did you come to do it?
Vocalist in BUSHFIRE. My mother had music in the house constantly, all genres from a-z and movie musicals. No matter how hard times were or how much trouble I was in… we could sing. (Even at the dinner table) my first band was with 15/16.
Describe your first musical memory.
I’m guessing impressions? I guess it would have to be Kris Kristofferson ripping off his mask singing “go to hell” (hellacious acres) in the Barbra Streisand remake of A Star is Born in a movie theatre when it was released.
Describe your best musical memory to date.
That’s a tough one because I love to perform, so I guess it’s just being out with my guys rocking it out with my band and the crowd, every and anywhere.
When was a time when a firmly held belief was tested?
I’m quite stubborn, open but stubborn. What I believe is just that and I won’t be swayed. Sadly the some of the world doesn’t comply with my beliefs of humanity, charity and brotherhood. Greed and power seem to be more important for some.
Where do you feel artistic progression leads?
Mine? I love to turn the stone and see what’s lurking, stabbing into the dark and going to uncomfortable places to reveal possibly more to myself about myself. The bonus is recording it, rereading it, transforming it into something, in this case a song/album.
How do you define success?
Being happy doing what you do and what you have done.
What is something you have seen that you wish you hadn’t?
My mother’s last breath. Don’t get me wrong, it was a privilege to comfort her on her way out but that last second just haunts me to this day.
Describe something you haven’t created yet that you’d like to create.
A German Schlager song… more for just the humor of it. And a really over the top trippy psychedelic album, possibly spoken word.
What do you believe is the most essential function of art?
Expression and inspiration.
Something non-musical that you’re looking forward to?
Okay then. We got past the first day and I thought it went reasonably well. No casualties. Nobody’s brain melted from trying to find another word for “riffs” for the 19th time, so yeah, mark it a win. There’s a good spread of stuff in today’s batch — a little of this, a little of that — so hopefully somewhere in the mix you’re able to run into something you dig. Hell, I’ll say the same for myself as well. Come on, let’s go.
Quarterly Review #11-20:
The Sword, Used Future
Now-veteran Austin heavy rockers The Sword have gotten a mixed response to the more progressive approach their recent work has taken, and I doubt Used Future (on Razor & Tie) is going to be any less polarizing, but its crisp 13 tracks/43 minutes are pulled off with professionalism. Yes, it has its self-indulgent aspects in “Sea of Green” or the earlier instrumental “The Wild Sky,” but The Sword have never done anything other than deliver accessible heavy rock and tour like hell, so while I get the mixed response, at this point I think the band has at very least earned a measure of respect for what they’ve accomplished as ambassadors of underground heavy. They wanna throw a little John Carpenter influence into “Nocturne?” Fine. They’re not hurting anybody. The unfortunate truth about The Sword is that neither polarized side is right. They’re not the end of heavy metal as we know it; some crude ironic take on what metal should be. And they’re not the greatest band of their generation. They have a good record deal. They write decent songs. Where’s the problem with that? I don’t hear it on Used Future.
If it was Mountain Tamer’s intention to get listeners excited about the prospect of a second full-length from the Santa Cruz, CA three-piece, then the Living in Vain demo serves this purpose well. Their 2016 Argonauta Records self-titled debut (review here) expounded on the potential they originally showed with 2015’s Mtn Tmr demo (review here), and though it’s only two songs, Living in Vain would seem to do the same in building on the accomplishments of the album before it. The opening title-track is labeled “Living in Vain Pt. 1” and nestles easily into a mid-paced shuffle before shifting into psychedelic lead layering and a more jammed-out spirit, from which it returns in the last 30 seconds to hit into a more solidified ending riff, leading to the immediately slower “Wretched.” More spacious, more of a march, it plays into an instrumental hook and holds to its structure for its entire 5:40, ending with guitar on a quick fade. Obviously the intention with a release like this is to entice the listener with the prospect of the band’s next album. Living in Vain does that and more.
Returning just about a year after issuing their second album, Thunder on the Fields (review here), Copenhagen-based proto-metallers Demon Head offer a new two-songer single titled The Resistance that at least to my ears speaks to the current political moment of populism opposing liberalism – as much at play in Europe as in the US, if not more so – and the fight for an open society. They present it as a six-plus-minute languid groove with flashes of militaristic snare; something of a turn from the cult rock of their two-to-date long-players. One could say the same of the sci-fi themed “Rivers of Mars,” though like its predecessor, it remains sonically on-point with the band’s vintage aesthetic, fostered through naturalist guitar and bass tones, bluesy, commanding vocals and classy, creative drumming. Actually, apply that “classy” all around. As Demon Head continue to come into their own sound, they do so with poise that’s all the more striking for how raw their presentation remains.
When Darkness Comes is German heavy rocking five-piece Bushfire’s follow-up to late-2013’s Heal Thy Self (review here), and it retains the Darmstadt-based outfit’s penchant for quality riffcraft and a showcase for the vocals of frontman Bill Brown, which hit in bottom-of-the-mouth melodies and gruff shouts fitting to cuts like “The Conflict” and the swinging “Shelter.” Bushfire are no strangers to a semi-Southern element in their sound, and that remains true on When Darkness Comes from the opening title-track through the later “Another Man Down” and closer “Liberation.” Somewhat curiously, that closer is instrumental, and where the vocals play such a role in the overarching impression the record makes, it’s an interesting twist to have them absent from the final statement, leaving guitarists Marcus Bischoff and Miguel Pereira, bassist Vince and drummer Sascha to finish out on their own. If groove is the measure, they’re certainly up to the task, but then, that was never really in doubt.
I’m sorry. I don’t see how you could dig anything calling itself “stoner” and not be down with what Motherslug are doing with their second long-player, The Electric Dunes of Titan. Plus-sized riffing all over the place, languid rollouts, excursions into psychedelic splendor (see “Followers of the Sun,” etc.), explosions into massive groove (see “Staring at the Sun”), a nod to High on Fire in “Tied to the Mast” and a Sleep-style march on closer “Cave of the Last God” that’s probably the best I’ve heard since the Creedsmen Arise demo in 2015. Really, if Motherslug doesn’t do it for you, nothing will. Five years after they initially released their self-titled EP (review here), which was later expanded into their debut album for NoSlip Records (review here), the Melbourne outfit charge back with what should be a litmus test for riff-heads. In all seriousness, from tone to structure to songwriting to production to the cover art, there’s just nothing here that doesn’t deliver the message. Should’ve been on my best of 2017 list.
In the wake of Floor’s disbanding, drummer Henry Wilson formed Dove. They were around for about five years, did some touring (one remembers picking up their self-titled in a Manhattan basement with $2 Rolling Rocks calling itself The Pyramid), and disbanded to a cult status not so different from that which Floor enjoyed prior to their own reunion, if to something of a lesser degree. As the title indicates, Dove Discography compiles “every listenable track” the band ever put out, including their self-titled, Wilson’s original demo for the project, compilation and 7” material. All told, it’s 20 tracks and just under an hour of documentation for who Dove were and the kind of punk metal they were about, never quite stoner, but heavy rock to be sure, and definitely of the Floridian ilk that produced both Floor and Cavity and a style Wilson has progressed with House of Lightning. Dove could be blazingly intense or they could plod out a huge riff, holding a deceptively wide purview that was only part of the reason they were so underrated at the time.
To anyone who might complain that all sludge sounds the same, I humbly submit Treedeon, whose second album for Exile on Mainstream, Under the Manchineel, is a work both noise-laden and righteously avant garde. Perhaps even more ferocious than its 2015 predecessor, Lowest Level Reincarnation (review here), the seven-track/44-minute outing offers a touch of melody in “Breathing a Vein” and buried deep in the midsection of 16-minute closer “Wasicu,” and arguably in guitarist Arne Heesch’s delivery in opener “Cheetoh” as well, but he and bassist Yvonne Ducksworth mostly keep to harsh shouts as they create consuming washes of noise over the madcap drumwork of newcomer Andy Schuenemann, who punctuates every punch of Ducksworth’s gotta-hear-it bass tone on album centerpiece “No Hell” as Heesch goes lands the chorus with the line “No hell can hold me” as its standout line. Bringing a sense of themselves to an established style to a degree that’s rare, rarer, rarest, Treedeon are no less aggressively weird than they are aggressive, period.
There are some post-Electric Wizard shades that emerge in the debut single from London’s Falun Gong by the time it reaches its feedback-soaked finale, but really, “Figure 1” is much more about digging into its own cultistry than that of the Obornian sort. Still, the overarching impression is somewhat familiar, and will be particularly to those who were fans of The Wounded Kings, but the duo who remain anonymous present themselves with a clearheaded intent toward maximum sonic murk, and with the lumbering misery they trod out in “Figure 1,” they seem to achieve what they’re going for. I don’t know who they are, but I’d guess this isn’t their first band, and as crowded as London’s heavy underground has become over the course of this decade, acts like Falun Gong are fewer and farther between than some others, and during these 10 minutes, they make a striking first impression. One hopes for “Figure 2” sooner rather than later.
Intended as a thematic continuation to some degree of 2016’s Ark of Oktofelis, the four-song Concise and Sinister finds long-running multi-genre UK outfit Spider Kitten bookending two extended crushers around two shorter pieces, one of which is a cover of Hank Williams’ “Alone and Forsaken” (also memorably done by 16 Horsepower) and the other of which is a noise-punk assault that lasts 46 seconds and is called “I’m Feeling So Much Better.” Whether fast or slow, loud or quiet, the intention of Spider Kitten doesn’t seem even at its most abrasive to be to punish so much as to challenge, and whether it’s the cinematic elements dug into the march of opener and longest track (immediate points) “A Glorious Retreat” (11:33) or the harmonies that accompany especially-doomed 10-minute closer “Martyr’s Breath,” Spider Kitten and founder Chi Lameo demonstrate a creativity acknowledging that bounds exist and then simply refusing to accept them, making even the familiar seem unfamiliar in the process.
Comprised of guitarist, vocalist and songwriter Lukas, bassist Martin and drummer Jakub, Greynbownes hail from Moravia in the Czech Republic and the moniker-explaining Grey Rainbow from Bones is their self-issued debut full-length. It is comprised of nine tracks of inventive heavy rock, pulling elements from grunge and ‘90s-era stoner noise on cuts like “Across the Bones” while veering into fare more aggressive, or psychedelic or jammy in the trio of six-minute tracks “Seasons,” “Death of Autumn Leaves” and “B 612” that precedes the closing duo of the funky “Sitting at the Top” and the mellow-but-still-heavy finisher “Weight of Sky,” which feels far removed from the opening salvo of “Boat of Fools,” the fuzz-punker “Madness” and the fuckall-chug of “What is at Stake.” Yes, it’s all over the place, and one might expect Greynbownes’ sound to solidify over time, but to the trio’s credit, Grey Rainbow from Bones never flies apart in the way that it seems at multiple points it might, and that’s an encouraging sign.
Posted in Bootleg Theater on October 18th, 2017 by JJ Koczan
Apparently if you want to get into a headquarters building for EUMETSAT, it’s all about who you know. Having a killer van like the one from Dumb and Dumber probably helps too — one imagines that helps everything — and it would seem Darmstadt, Germany-based heavy rockers Bushfire have both working in their favor in their new video for “Die Trying.” The clip is the second to be unveiled from their forthcoming third full-length, When Darkness Comes, behind one for “Zombi” posted in August, and where that had kind of a creeper lyric video vibe going, the metaphor of zombies being put to use as a descriptor for our relationship to technology — think dead-eyed people staring at their phones, etc. — “Die Trying” plays up a little bit more of the fun side that Bushfire bring to their personality.
To wit, that Dumb and Dumber van. And if you’re not familiar — I certainly wasn’t — the EUMETSAT stands for “Europäische Organisation für meteorologische Satelliten” and is essentially a network of weather satellites used across the European Union to share meteorological data between member states. There are headquarters throughout the EU, and one is in Bushfire‘s native Darmstadt, so yeah, they clearly found some way to get in and have a good time in the process, so kudos all around. One assumes they didn’t knock any orbital apparatus out of alignment in the process, and the lighter-hearted spirit of the video does well to represent When Darkness Comes, which, while severe in its title, cover art and in the themes of cuts like the aforementioned “Zombi” and the later “Fallen from Grace,” does have some letup in brooding in this track as well as the fuzz-rolling march of closer “Liberation” amid the moodiness of songs like “Shelter,” “Another Man Down” and “Wild Eyes,” all of which seem to bring together elements from the sonic personae of bands like Borracho, Clutch and Down to follow Bushfire‘s 2013 outing, Heal Thy Self (review here), with their most cohesive sonic vision to-date.
You can check out the burl and the groove of “Die Trying” on the player below, followed by more info about When Darkness Comes, for which Bushfire have a hometown CD release show booked for Oct. 27. Last I heard the record was due in December, but I guess if you can get it while the getting’s good, then yeah, get it while the getting’s good. Maybe vinyl later? I don’t know anything anymore.
Enjoy the video:
Bushfire, “Die Trying” official video
BAND – BUSHFIRE SONG – DIE TRYING ALBUM – WHEN DARKNESS COMES (2017)
This video would not have been possible without the following persons and their contributions: EUMETSAT, Phil Harvey, Ry Evill, James Snook, Patrick Boyny, Beate Springer, and Jonas Roem — BUSHFIRE, THANKS YOU ALL!!!
Set for release in December, When Darkness Comes will serve as the third full-length from DIY Darmstadt, Germany, earth rockers Bushfire. The double-guitar five-piece were last heard from with Dec. 2013’s Heal Thy Self (review here), which was a formidable slab of wax in following their 2010 debut, Black Ash Sunday (review here), affirming the focus on songwriting and the dudely approach of frontman Bill Brown, which seems to be intact as well as Bushfire push forward, guitarists Marcus Bischoff and Miguel Pereira joined by the newcomer rhythm section of bassist Vince and drummer Sascha.
Heavy Southern groove is the thing, make no mistake, and at this point Bushfire have been doing it long enough that they’ve got the process down. The new video — animated, of the lyric-video type — for “Zombi” brings the first audio to be unveiled ahead of the release of When Darkness Comes, and not that there was any doubt about Bushfire‘s delivery, but it’s good to know that the last four years hasn’t dulled their affinity for what’s at root beneath their processes. One finds a Clutch-style blues bounce put to righteous use via a clear and full production, and some measure of social commentary in the words as belted out by Brown.
You know how Dawn of the Dead saw the zombies all go to the mall because blind consumerism was what they knew in life? Well, “Zombi” kind of makes a similar point, but about our current inability to disconnect from our mobile devices, cellphones and the like. The clip sees skulking figures in a dark world lit mostly by tiny screens and highlights lines like, “I see zombies transmitting with no communication/I see zombies restless when no connection is there.” The ups and downs of a connected culture are still very much a matter of some philosophical debate and likely will be until we’ve all uploaded our brains to the digitally-immortal singularity (which of course the last human being alive will trip over the plug for and wipe us all out; whoops), but Bushfire make their argument clear and back it with some pointedly heavy riffing, and as a first glimpse of When Darkness Comes, it bodes well in style and sound alike.
Looking forward to hearing more of the record as we get closer to the end of the year. Until then, dig this:
Bushfire, “Zombi” official video
Video: DADIVE STUDIO Band: BUSHFIRE Song: ZOMBI Album: When Darkness Comes (unreleased, est.12/17) Recorded: 05/17 Lofthaus studios Darmstadt, Germany Mastering: Tony Reed, Heavy Head Recording Studios, Seattle, WA, USA
By now, Bushfire‘s bio reads like that of one of the really big bands: three demo EPs and two albums, shows and tours through half of Europe, TV airplay on DMAX, a loyal fanbase – all of that WITHOUT any label or management. Because Bushfire means self-determination, passion, freedom, just DIY in its purest form. There‘s the band doing handicraft, drawing, designing, thinking, sawing, even signing in blood.
Bushfire is: Bill (vocals) Marcus (guitar) Miguel (guitar) Sascha (drums) Vince (bass)
Posted in Whathaveyou on February 25th, 2016 by JJ Koczan
Bushfire‘s addition to the lineup for Freak Valley 2016 continues a years-running relationship between the band and the festival, and their slot this year places them among the headliners for a special set to be accompanied by live fire dancing. Sounds like absolute madness? I agree, but they’re making it happen nonetheless. Bushfire released their most recent single, “Glossolalia,” in 2013 as a concurrent follow-up to their Heal Thy Self LP (review here), and have lacked nothing all along for a sense of adventurousness. Glad to know the last several years have not seen that diminish.
You know the drill by now. Freak Valley 2016 announced Bushfire as follows:
Way back in 2011, the Vortex Surfer Musikclub and Rock Freaks crew booked a band that soon would grow into the hearts and minds of the Siegen family.
After their first show, Jens inquired the band to play at a newly founded festival he and his team were preparing. So 2012 was a big year, as the first edition of their festival came into being.
The organizers knew one band, even though not locals, that has definitely been part of the family ever since their first show in Siegen. Every year, the band takes on new challenges with pride and honor, from a perfect stage time, to opening the festival, to creating a new stage to represent their own local scene and those who still belong, to an uber-packed festival, to dedicating their past show as a wedding gift for one of the Rock Freaks crew. Bushfire has always been present, in front of the stage rocking, and in the back, behind the scenes, helping.
This year, BUSHFIRE take on the newest, heaviest, and hottest challenge to celebrate the five year running FREAK VALLEY FESTIVAL. Saturday night, between the headliners, BUSHFIRE will light up the evening with a very special event on the small stage, as requested by the band itself. Joining up with a fire team, Dancing Flames – The Fire Sensation, BUSHFIRE will perform an unforgettable show for all of us to celebrate with!
Line-up 2016: GRAVEYARD [SW] – Vintage Rock DEAD MEADOW [US] – Psychedelic Stonerrock SPIDERGAWD [NO] – Post-Boogie WHITE HILLS [US] – Fuzzed Out Motorik Psychedelic THE SHRINE [US] – Psychedelic Violence Rock and Roll BABY WOODROSE [DK]- Psychedelic Garagerock LONELY KAMEL [NO]- Heavy Blues, Hardrock & Stoner ROTOR [D] – Instrumental StonerRock/Psychedelic MONOLORD [SW] – Doom/Sludge MANTAR [D] – Death Metal Doom Punk TOUNDRA [SP] – Postrock FARFLUNG [US] – Spacerock for 21st Century Heads BLACK RAINBOWS [IT] – Heavy Psych THE GOLDEN GRASS [US]- Heavy/Funk//Psych/Freakbeat SPIDERS [SW] – Hard/Glam Rock LÉ BETRE [SW] – Bluesy Hardrock GIÖBIA [IT] – Acid Rock THE DEVIL AND THE ALMIGHTY BLUES [NO] – HeavyBluesRock THE SONIC DAWN [DK] – Psychedelic Rock
