Posted in Whathaveyou on October 13th, 2016 by H.P. Taskmaster
Actually hooded and often menacing Finnish death doomers Hooded Menace have signed to Season of Mist. They’ll head Stateside this weekend in order to play California Deathfest in Oakland as the beginning point of a week-long tour down and then back up the West Coast, ending in Vancouver on Oct. 23. Their last album, Darkness Drips Forth, was recorded at Skyhammer Studio and came out on Relapse in 2015, and Season of Mist will issue the next one sometime in the early going of 2017.
As you might imagine, details are pretty sketchy on the new release at this point — no titles, art, release dates, audio, etc. — but the fact that they’ve switched labels and their hitting the US even prior to any announcements of that stuff seems to be significant groundwork on their part to make way for the album’s coming. One doubts it will be their last time over here.
To the PR wire:
HOODED MENACE signs to Season of Mist
Season of Mist are proud to announce the signing of HOODED MENACE. The Finnish death doom prodigies will release their highly anticipated new album on the label next year.
Regarding their signing, HOODED MENACE comment, “We are stoked to join the very diverse roster of Season of Mist. This is a rather logical step onward on our path. New possibilities under new circumstances. We have exciting plans for the next HOODED MENACE album and we are glad we have a strong, forward-thinking label backing us up.”
Founded in 2007, HOODED MENACE are a death doom metal band formed in Joensuu, Finland, by guitarist Lasse Pyykkö. By citing early CANDLEMASS, CATHEDRAL,PARADISE LOST, AUTOPSY, ASPHYX, and WINTER as influences, the Finns successfully blended a compelling take on doom-laden death metal that combined crushing riffs with somber melodies. Their lyrics are often inspired by the classic 1970’s Spanish horror movie series ‘The Blind Dead’ that included such films as ‘Tombs of the Blind Dead’, ‘Return of the Evil Dead’, ‘Horror of the Zombies’, and ‘Night of the Seagulls’.
As an active live band, HOODED MENACE have toured the world over, appearing at many prestigious metal festivals including Hellfest, Roadburn, Maryland Deathfest, Tuska Open air, and Party San Open Air among many others. The band recently toured Europe as a headliner in 2015 and are about to embark on a North American outing with DEMILICH and VASTUM, kicking off their live dates at California Deathfest this month.
HOODED MENACE tour dates: Oct. 16 Oakland, CA @ California Deathfest Oct. 18 San Diego, CA @ The Merrow Oct. 19 Los Angeles, CA @ Complex Oct. 20 San Francisco, CA @ Elbo Room Oct. 21 Portland, OR @ The Raven Oct. 22 Seattle, WA @ Highline Oct. 23 Vancouver, BC @ The Red Room
[Click play above to stream Seremonia’s Pahuuden Äänet in full. Album is out Sept. 30, 2016, on Svart Records.]
Even if one doesn’t speak Finnish, as I most certainly don’t, it’s hard to ignore the engaging oddity that Seremonia have become. Pahuuden Äänet (on Svart) is the fourth album the dark-psych rockers — working with the returning lineup of vocalist Noora Federley, guitarists Teemu Markkula and Ville Pirinen, bassist Ilkka Vekka and drummer/flutist Erno Taipale — have released since their 2012 self-titled debut (track stream here), and it follows last year’s Kristalliarkki (review here, stream here), which only upped the bizarro quotient from 2013’s second offering, Ihminen.
There have been elements consistent throughout their work in songwriting and a penchant for catchy bounce, but each record has found its own personality as well, and the 10-track/40-minute Pahuuden Äänet is no different. While roughly produced with a vintage sound in mind, as all their work has been, and given to a classic sense of boogie in “Sielun Kuolema” (“the death of the soul”) and “Me Kutsumme Sitaä” (“we call it”), there’s a sense of pushing “far out” as far out as far out will go on the brief “Sähkolintu” (“electric bird”), and where Kristalliarkki had its greatest impact in its 15-minute, two-part title-track, Pahuuden Äänet spreads some of that vibe around, so that the seven-minute “Ne Ovat Jo Täällä” (“they are already here”) and the later, six-minute “Riivatut” (“possessed”) both come across as patient, rich in their cultish swirl and still fitting with the overarching flow of the album, which winds up being one of its greatest assets.
They begin with Federley‘s echoing proclamations on “Orjat” (“the slaves”), itself longer than cuts like “Sielun Kuolema,” which immediately follows, and given to a languid initial groove. No strangers to the otherworldly, Seremonia do well throughout Pahuuden Äänet to blend ethereal and terrestrial impulses, but “Orjat” opens the record with particularly hypnotic motion, its second half tripping out instrumentally on effects-laden guitar repetitions, growing washes of noise and a growing sense of the weird-worship to come as the album plays out. As noted, “Sielun Kuolema” plays against this impulse with a faster, more straightforward rush, but the interplay between Markkula and Pirinen and the layering of vocals still makes it a standout, only bolstering its memorable hook. The album’s title itself translates to “the sound of evil,” so it’s no doubt with a sense of irony that the title-track has some of the sweetest sounds to be found herein.
Aside from providing Taipale with a subtle showcase of far-back push, “Pahuuden Äänet” boasts a weepy guitar line and sense of consuming melancholy that suits its place on the record, picking up in its last minute to a space rock thrust that almost seems to be snuck in, like Seremonia were trying to get away with something. It’s that sense of playfulness that makes their material so dangerous and really gives the impression they enjoy what they do. Helps as well that both “Sähkolintu,” with its key/guitar freakout, and “Ne Ovat Jo Täällä,” with its slow-wah drift circa the halfway point and own shift into exploratory madness, are an absolute blast, the latter breaking before five minutes in to gleefully wander beneath a forest canopy of noise that presumably serves as the end of side A.
“Me Kutsumme Sitaä” starts the second half of the tracklisting at as full a speed as Seremonia move on Pahuuden Äänet, the thrust underscored by Vekka‘s bass and Taipale‘s drums nonetheless putting the guitars forward along with Federley‘s reverb-soaked voice. They’ve come to excel at this kind of 45RPM-ready burst, but there’s not much for which I’d trade the creepy bass/flute intro of “Riivatut,” or the forward build that it begins. Just before two minutes in, the song takes off and Seremonia revel in their class-M space impulses, seeming to draw together the various sides they’ve shown already — the boogie, the psych, the experimentalism — it’s all there even before they land in the engulfing wah wash march that ends the track, leading to the standout push of “Kuoleman Planeetta” (“death planet”), less of a speedy shuffle than “Sielun Kuolema” — another cut with a direct reference to “death” in the title; I learned something today — but no less rhythmically engaging in an easy groove ridden to a natural conclusion that in no way overstays its welcome, stopping short to move into the molten, flute-topped start of “Riudut Ja Kuolet” (“squares and killing”), with a spoken-word verse and thudding behind its chanted chorus.
That’s swapped out circa 2:30 in favor of a push derived either from classic rock, classic metal or both (or neither?) that seems to throw out the songwriting rulebook but works all the same, particularly with closer “Uusi Aamu Sarastaa” (“the new morning dawns”) behind it. Perhaps because one might expect Seremonia to finish with another turn of effects and improv-sounding strangeness, “Uusi Aamu Sarastaa” caps the record with a relatively straight-ahead feel — take that, expectation — which is also a noteworthy turnaround from the last album. There are a few here, further proving that while Seremonia have clearly established a sonic niche within quirky, heavy, and psychedelic cult-ish rock, they’re not at all content to rest on that in terms of creative growth. They’ve kept an impressive pace to this point and show no signs of slowing, so it seems only fair to look forward to their next one even while still enjoying Pahuuden Äänet.
Posted in Whathaveyou on September 26th, 2016 by H.P. Taskmaster
The last Spiritus Mortis full-length, The God Behind the God, was released in 2009, but on Nov. 11, the long(est)-running Finnish doom purveyors return with The Year is One, on Svart Records. Their fourth album overall, it’ll be their second behind the aforementioned outing to be fronted by Sami “Albert Witchfinder” Hynninen, formerly of Reverend Bizarre. They’ve put a couple teasers out on their Thee Facebooks page over the last however long — one of which, for the song “Jesus Chris, Son of Satan,” you’l find below — but the PR wire has confirmed the album info and release date, and sent that along with the cover art and tracklisting.
All of which you’ll find immediately following, in case you needed a totta doom fix:
SPIRITUS MORTIS set release date for new SVART album – features ex-Reverend Bizarre member
Finland’s most ancient purveyors of doom metal, Spiritus Mortis are back with a vengeance! Seven years have passed since their previous offering, The God Behind The God, also their first featuring ex-Reverend Bizarre vocalist Albert Witchfinder. Now on their fourth album, The Year Is One is a mirror to your childhood’s occult fantasies. It is what you thought you heard when listening to your favorite headbanging music – even though those bands actually sang about sex and drugs and driving fast cars, whereas Spiritus Mortis’ material really does deal with black magic and necrophilia. It is as heavy and evil as one can get without slipping away from the world of pure old-school heavy metal.
Prepared with the kind of passion and time-consuming concentration that is fitting of the doom metal genre, The Year Is One was several years in the making, and the dedication is palpably present in the music. The band’s roots in Dio-era Sabbath sounds are there, but the men play with a heavy-handed yet melodic vigor rather unusual in the genre. Albert Witchfinder’s voice carries a newfound joy of expression, and he delivers his bedtime stories about demon summoning and corpse violation as if possessed by evil genius.
Svart Records will release this work of supreme darkness on November 11th on CD, digital, and double vinyl. At this point, the only confirmed live appearance will be in November in Helsinki, supporting Satan and Pentagram. The first track premiere shall be announced shortly. Cover and tracklisting are as follows:
Tracklisting for Spiritus Mortis’ The Year is One 1. Robe of Ectoplasm 2. I am a Name on Your Funeral Wreath 3. Babalon Working 4. Jesus Christ, Son of Satan 5. Holiday in the Cemetery 6. She Died a Virgin 7. Black Magic, White Powder 8. World of No Light
Reverend Bizarre, In the Rectory of the Bizarre Reverend (2002)
Finnish doomers Reverend Bizarre were only really around for 11 or 12 years, depending on what you count as their last official release, but their impact was massive in Europe and beyond. I’ll readily admit that for a long time, I didn’t get it. Some stuff resonates, some stuff doesn’t, and for me, Reverend Bizarre were one of those bands that other people really liked. It wasn’t until 2010 — and it’s way easier to remember exact dates on these kinds of things when you have an archive of posts about them — when I put up a short Buried Treasure piece about being in London and buying a copy of Reverend Bizarre‘s 2002 debut, In the Rectory of the Bizarre Reverend, and discussed how I’d always been relatively lukewarm on them, that I began to come around. The difference was made in a comment that post got from a reader who went by the moniker Shrike who commented around here for a while with much appreciated band recommendations — people come and go; nature of the beast — and what he did was really take the time to help me understand the context in which Reverend Bizarre first arrived. Here’s what he said:
Shrikesays: May 15, 2010 at 3:44 am To me it’s not just the music, which is good, but about the fact that they made their music when nobody else was making it. They wrote music which was a tribute to the masters of the old, very rigidly anchored to the traditions of doom metal and very arrogant in their attitudes towards other modern music.
So I think their influece (sic) was huge and propelled doom metal into the spheres it is today, traditional doom metal in particular. Which also means that their influence and style was significant back then, but doesn’t necessarily translate “to today” as well.
What I’d been neglecting was understanding how little of this kind of thing there really was happening at the turn of the century. Even The Gates of Slumber here in the US, who started roughly concurrent to Reverend Bizarre in 1998, would take another two years to get their first album out, and while there was plenty of heavy rock around the US and Europe alike at that point and the two styles are closely linked in my estimation, in terms of doom by doomers for doomers, the names are fewer and farther between, especially when it comes to new bands (at the time) producing material with the quality of “Burn in Hell!,” “In the Rectory,” “The Hour of Death,” “Sodoma Sunrise,” “Doomsower” and “Cirith Ungol,” as much Saint Vitus as Black Sabbath, but delivered with the vitality and passion of a newer generation that, even 14 years later, is still palpable. I didn’t even respond to that comment at the time, because I’m a dick, but it’s been among the most helpful responses I’ve had to a piece of writing on this site, and it genuinely helped shape my opinion on Reverend Bizarre‘s contributions to the sphere of modern traditional doom.
Reverend Bizarre would release two more albums after In the Rectory of the Bizarre Reverend in 2005’s II: Crush the Insects and their 2007 swansong, III: So Long Suckers, along with an innumerable slew of splits, EPs an singles that actually make up the bulk of their catalog. Today, one can find bassist/vocalist Sami “Albert Witchfinder” Hynninen in Spiritus Mortis (who have a new LP coming), drummer Jari “Earl of Void” Pohjonen in Orne and guitarist Kimi “Peter Vicar” Kärki (Obelisk Questionnaire here) in that band as well as Lord Vicar — who already released an LP this year in Gates of Flesh (review here) — E-Musikgruppe Lux Ohr, his own solo work, and a host of other adventurous projects well worth digging into. That the one-time members of Revered Bizarre would still be contributing to the style these years after the band’s breakup only seems to prove their commitment to doom was no fluke, but a lifestyle choice, and one from which there’s no easy escape. Likewise, the tragic abysses into which In the Rectory of the Bizarre Reverend so willfully and dramatically plunges will not easily let the listener out again.
It’s autumn, so here’s some doom. I hope you enjoy.
This weekend, actually Sunday, marks my 12th wedding anniversary. As of next week, The Patient Mrs. and I will have been together for 19 years. Well more than half of my life. As soon as I get out of work, we’re going to Vermont for the weekend to celebrate. There’s no way you’d recall, and that’s cool, but six years ago, in 2010, we rented a cottage up there for a month (I did some writing while there, a couple posts about the trip) and had what were some of our best times to-date. This time we’re getting a house on the same piece of property just for a couple days, but I expect it will also be awesome. I’ve been very much looking forward to it and feeling generally fortunate to have such love as a defining portion of my life, which is a good way to feel. I’m a lucky, lucky boy. Far luckier than I deserve to be.
Next week, and really the next few weeks, are packed. Monday, a review/stream from Heavy Temple. Tuesday, a Seremonia album stream. Wednesday, a Yeti on Horseback album stream. Thursday, a Nightstalker review/stream. Friday, might post that Truckfighters interview I did at Høstsabbat last weekend. Then the week after that is the Quarterly Review and I have a few streams up my sleeve besides already, so yeah, we’re jammed just about into the middle of next month as it is. Plus there are some tour announcements and things like that slated, videos and so on. Much, much to discuss. I don’t know if the site’s ever had direction so far ahead as it does right at this moment. Then we get into list season as the holidays approach, the next Quarterly Review, the readers poll, etc. It’s madness from here on out, folks. I guess it’s been madness for a while.
But while I’ll spend some time preparing for the week probably early on Sunday, the focus this weekend is on hanging out with The Patient Mrs., basking in good times with her and the little dog Dio, maybe doing a little record shopping and generally feeling excellent about what is unquestionably the best part of my life.
My brain’s kind of all over the place as I wrap up the day/week, but while I mentioned it, I’d like to extend one more round of thanks to Ole Helsted and all involved with Høstsabbat last weekend in Oslo, Norway. I can’t even begin to tell you how validating it is for this entire ongoing project to have people half a world away appreciate the work done on this site enough to extend such a generous invitation and to be so incredibly welcoming and considerate upon my arrival. It was truly humbling and I was honored to be there. Then I met Slomatics. And that fucking ruled too. So yes, thank you again to Høstsabbat for having me.
I can’t help but feel like I’m forgetting something — always — but I think that should do it either way. I hope whatever you’re up to that you have a great and safe weekend. Please check out the forum and the radio stream.
I had occasion this past weekend to revisit the third and latest full-length from Finnish forest-progressives Hexvessel, When We are Death (review here) — also their debut on Century Media — and I gotta tell you, the songs hold up. All of them. I listened to this record a lot leading up to reviewing it, was genuinely surprised by the turn the band took from the folkishness of their prior two LPs, and it took a while for that to sink in, but the more I put it on, the more the hooks stuck with me, and they still do. I know it’s only been a few months, but you’ll have to believe me when I say that’s more than many, many albums last in rotation on my mental jukebox (it’s an old fashioned one, with neon), particularly front-to-back in such a manner as When We are Death.
So, as the band head out on a quick run through Germany starting tonight and concluding at the Reeperbahn Festival, their new video for “Drugged up on the Universe” lands with welcome. The clip — which seems to feature a lot of the regular kind of drugged up, in addition to the universe — brings to life the track’s nigh-on-maddening hook, duly otherworldly and tripped out, hippie-tastic, but still weird enough to be of Hexvessel‘s own stock. This is the third video from When We are Death behind ones for “When I am Dead” (posted here) and “Cosmic Truth” (posted here), and I think if you want to get a glimpse at the deep variety Hexvessel display throughout, look no further than each of them, as sure enough, those are three very different videos. Hopefully they keep going, as there honestly isn’t a track on the record not worthy of highlight.
Frontman Mat McNerney has some comment on the clip via the PR wire below, where you’ll also find Hexvessel‘s upcoming live dates.
Hexvessel, “Drugged up on the Universe” official video
HEXVESSEL’s singer Mat McNerney comments: “The video references the death of the hippie movement, with a Manson-like shamanic figure, or malevolent spirit. Bringing to life 60s/70s counter culture in an Eyes Wide Shut orgy of drugs, the Alice-like central character takes a spiritual journey. Enticed by the spirit, who has entered her expanded consciousness, her mind expands. She is lead outside and discovers there is a wider universe than the one she knows.
It’s a nature mystic metaphor for how that era has influenced the environmental movement which Hexvessel feel a part of. If you let it in, the spirit of nature will find you and expand your consciousness. You don’t need drugs to get high on the nature of the universe! It was directed by Frenchman David Fitt who has previously worked on videos for King Dude for example.”
HEXVESSEL live 09.20.2016 Bamberg (D), Weinstube Pizzini 09.21.2016 Hannover (D), Chez Heinz (w/ Dead Meadows) 09.22.2016 Cologne (D), MTC (w/ Dead Meadows) 09.23.2016 Osnabrück (D), Bastard Club 09.24.2016 Hamburg (D), Reeperbahn Festival 11.04.2016 Dortmund (D), Tapir Media (pre-Leafmeal Festival show) 11.11.2016 Athens (GR), Gagarin (w/ Ornassi Pazuzu)
HEXVESSEL line-up Mat McNerney – Vox & guitar Marja Konttinen – Vox & percussion Jukka Rämänen – Drums Simo Kuosmanen – Lead Guitar Niini Rossi – Bass Guitar Kimmo Helén – Keys/Trumpet/Violin
Posted in Whathaveyou on August 24th, 2016 by H.P. Taskmaster
You think you’re weird and that’s adorable, but Seremonia are working on a completely different scale when it comes to the bizarre. The Finnish cult-psych troupe will issue their fourth long-player, Pahuuden Äänet, on Sept. 30 through respected purveyor Svart Records, and it just so happens that the label has preorders up now. Svart is also streaming the closing track of the album, “Uusi Aamu Sarastaa,” which you can hear below. It seems to shift the vibe somewhat from where the band was their last time out, on 2015’s Kristalliarkki (review here), but I would not at all expect any single song from a Seremonia record to speak for the entirety of the release at this point, and neither should you.
Still, as a sampling, it speaks to some of the darker spirit that the PR wire refers to in the info that follows, as well as the cover art, which you can see here:
SEREMONIA set release date for new SVART album, reveal first track
Seremonia, Finland’s finest heavy psych outfit, travels to the outer limits and beyond with their fourth full-length album, Pahuuden äänet. Set for international release on September 30th via Svart Records, Pahuuden äänet (“Voices of evil” in English) boldly goes and explores previously unknown dark corners of the heavy psych universe.
It takes the lyrical story of Seremonia’s previous album, Kristalliarkki (“The Crystal Ark” in English), and shoots it across space and time into a feverish dystopian nightmare. This time, the apocalyptic visions have cosmic proportions, and lyrically, it’s the band’s gloomiest & doomiest album to date.
Musically, it’s even more diverse and adventurous than the band’s previous acid rock experiments. It’s Seremonia’s signature “’60s metal” sound, but the colossal doom-prog parts are more colossal and the passages of melancholic beauty more beautiful than ever before. There’s classic pop songwriting, spacey synthesizer freak-outs, dystopian dirges, victorious twin-lead guitars, out-of-control space-punk blasts, and plenty of glorious hard rock riffage to accompany the stories of cosmic horror.
And yes, Noora Federley’s vocal delivery is still blood-chillingly cool, Erno Taipale’s drumming still a pure force of nature, and the stringed instruments out-of-controlled by Teemu Markkula, Ville Pirinen, and Ilkka Vekka still make up an electric storm of fuzz. Here for yourself at Svart’s Soundcloud HERE with the new track “Uusi aamu sarastaa.”
Tracklisting for Seremonia’s Pahuuden äänet 1. Orjat 2. Sielun kuolema 3. Pahuuden äänet 4. Sä?hko?lintu 5. Ne ovat jo täällä 6. Me kutsumme sitaä 7. Riivatut 8. Kuoleman planeetta 9. Riudut ja kuolet 10. Uusi aamu sarastaa
Seremonia: Noora Federley – vocals Teemu Markkula – guitar Ville Pirinen – guitar Erno Taipale – drums, flute Ilkka Vekka – bass
Posted in Whathaveyou on August 24th, 2016 by H.P. Taskmaster
In October, just as an ultra-busy Fall festival season begins to wind down so everyone can go back and record new albums, Helsinki venue Korjaamo will play host to Blowup Vol. 2. With the likes of Conan, Monolord, Lucifer and native Finnish acts like Skepticism, Oranssi Pazuzu, Lord Vicar, Atomikylä, Albinö Rhino and Morbid Evils, the broad and often bizarre spectrum of the country’s heavy scene is well represented, and those selected from outside Finland’s borders show a keen curation process at work.
The fest is set for Oct. 14 and 15, and will also feature a live-scored cinematic showing of 1967’s banned documentary, Titicut Follies, about a patient in a mental hospital in Bridgewater, Massachusetts, which by amazing coincidence is the next town over from where I live. Go figure.
The final lineup and show info came down the PR wire:
Blowup Vol. 2
October 14-15 Korjaamo Töölönkatu 51 a-b, 00250 Helsinki
BlowUp Vol. 2 is taking place 14 -15 October 2016 in Helsinki, Finland. The venue is Korjaamo Culture Factory, one of the largest independent art centres in the Nordic countries. Korjaamo was founded in an old tram depot in Töölö in 2004, and now hosts a concert venue as well as six smaller creative spaces for meetings and seminars plus movie theatre. The Vaunuhalli building is also home to Helsinki City Museum’s Tram Museum.
Blowup Vol. 2 also offers the cinematic art. Titicut Follies is directed by Frederick Wiseman documentary in 1967, which follows the lives of Massachusetts Bridgewater inmate in a mental hospital. Although the movie was awarded with freshly festivals in Germany and Italy, the United States, it crashed into censorship. Titicut Follies was shown to the public for the first time only in 1992. At Blowup Vol 2 it is presented in the early evening on Friday, 14 October.
Titicut Follies screen will be accompanied by Veli-Matti O. “Heap” Äijälän and Markku Leinonen, duo that made new music for the movie, which will necessarily be heard a second time.
Posted in Whathaveyou on July 12th, 2016 by H.P. Taskmaster
Finnish heavy psych rockers Kaleidobolt have announced that they’ll tour early next month in Europe alongside Radio Moscow. Significant company to keep. Kaleidobolt go supporting their second album, The Zenith Cracks (review here), which is newly released through Pink Tank Records, while Radio Moscow — not that they need an excuse; touring is just kind of what they do at this point — head over for their new live album, Live in California. As a still relatively new band who’ve worked hard and quickly through two albums and already have a couple tours to their name, Kaleidobolt would seem to be taking a next step in hooking up a higher-profile support slot, so it should be interesting to see what comes of it for the rest of the year, if this is the last time they get out before 2017 or if there’s more in the works. Working hard begets more hard work, and so on.
Dates, background and audio, culled from the internets:
Time to let the cat out of the box: we’re gonna play a bunch of shows with Radio Moscow in a few weeks!
01.08 IT Treviso ALTROQUANDO 02.08 IT Marina di Ravenna Hana-Bi 03.08 CR Zagreb KSET 04.08 AT Wien ARENA WIEN 05.08 AT Waldhausen LAKE ON FIRE FESTIVAL 2016 – 05.+06. August 07.08 DE Jena Kulturbahnhof Jena 08.08 DE Berlin Lido Berlin
Kaleidobolt is: Sampo Kurki: electric guitar, acoustic guitar, lead vocals. Marco Menestrina: bass, B3 Hammond, piano, theremin, vocals. Valtteri Lindholm: drums, maracas.
Kaleidobolt is a power trio that came together in early 2014 in Helsinki. In the short time they’ve been together, they’ve gained the reputation of being one of the most exciting live bands around. Their music is a dizzying maelstrom of progressive song structures, crushing riffs and loose psychedelic soundscapes, delivered with joy and ferociousness. Their first self titled album was released 2015 and brought the guys a huge success all over the world. In between two European Tours Kaleidobolt recorded 8 new tracks which will come out on their second album The Zenith Cracks on 01st of July 2016.