Posted in Whathaveyou on April 26th, 2022 by JJ Koczan
The 2020 debut album from Hammada, Atmos, has been picked up for vinyl release by StoneFly Records and will be available to preorder later this week. It’s damn near May already, which surprises me to realize, but I guess, you know, time and all that. Hammada join the roster of the burgeoning imprint, which already includes the likes of Paralyzed, Elk Witch, ZOM and No Stone, and if you didn’t hear Atmos at the time, one can hardly even call you late considering the journey the record’s had from its digital release until now. Just saying. Time means nothing. Did you know it’s almost May?
Get them tones warm’d up, vibe out, and dive in. The hype was pretty significant when the record came along, at least on that social-media-this-is-a-cool-thing-on-Bandcamp kind of way, but I can’t argue with that, since it is a cool thing, and indeed, it is on Bandcamp. Hype away, internet. I think that’s how vinyl releases happen in the first place these days.
StoneFly offers the following:
GERMAN PSYCHEDELIC DESERT ROCK BAND HAMMADA SIGNS TO STONEFLY RECORDS FOR A WORLDWIDE VINYL RELEASE OF THEIR ALBUM ATMOS ON MAY 6th, 2022.
StoneFly Records is stoked to announce the signing of Freiberg, Germany Psychedelic Desert Rockers Hammada and look forward to releasing their first album ATMOS on 2 x 180g vinyl. This album will be the 5th album released by StoneFly Records.
I recall back in 2020 that Atmos made a strong impression on me; you know that’s the kind of album you need to own on wax… But the album was only available digitally… So, when HAMMADA reached me, I didn’t think about it for too long, I knew this album deserved a vinyl release and I accepted quickly to help them do it.
ATMOS is the debut album by German Psychedelic Desert Rock band Hammada. The basic tracks have been recorded live in October 2018 at Barren Rock Studios in Freiberg, Saxony. Guitar Overdubs, Solos, Organ, Synth and Vocals have been recorded between November 2018 and September 2019 at Barren Rock Studio and with The Eden Project in Freiberg. Mixed by Lukas Jonscher at The Eden Project Studios in Dresden. Mastered by Yeti Cave Sounds in Leipzig.
Hammada’s ATMOS released digitally on June 26th, 2020. Vinyl officially releases on May 6th, 2022. Vinyl sales will go live on April 29th, 2022.
BAND BIO
The project HAMMADA was brought to life in 2012 by guitarist Christian Döring. Together with drummer Sönke Tautorus, who joined at the end of the same year, work began on own songs. In 2013 singer and organist Kristian Schulze and bassist Lenz Fiedler completed the quartet. In this line-up HAMMADA is active until today.
After releasing two EPs SFAIRA and Monument (both 2017), the band released their debut album ATMOS digitally in 2020. The sound of ATMOS is characterized by the alternation between fuzzy and psychedelic guitars, a deep bass and driving drums. In addition, there is a powerful, but for the genre rather unconventional voice, as well as the use of organ and synthesizer. The following year HAMMADA signed with the Canadian label StoneFly Records to release ATMOS on vinyl.
Lukas Jonscher (Eden Project): Recording, Mixing Tom Bretschneider (Barren Rock Studio): Recording Nathan Jonscher (Yeti Cave Sounds): Mastering Christian Döring (Sun Is Burning Visuals): Artwork
Hammada are: Kristian Schulze: Vocals, Organ Christian Döring: Guitars, Synthesizers Lenz Fiedler: Bass Guitar Sönke Tautorus: Drums
Well then, here we are. Day two of the Spring 2022 Quarterly Review brings a few records that I really, really like, personally, and I hope that you listen and feel similar. What you’ll find throughout is a pretty wide swath of styles, but these are the days of expanded-definition heavy, so let’s not squabble about this or that. Still a lot of week to go, folks. Gotta keep it friendly.
Deep breath in, and…
Quarterly Review #11-20:
Arð, Take Up My Bones
Hard to know at what point Winterfylleth‘s Mark Deeks decided to send his historically-minded solo-project Arð to Prophecy Productions for release consideration, but damned if the six-song Take Up My Bones doesn’t feel quintessential. Graceful lines of piano and strings give way to massively-constructed lumbering funeralia, vocals adding to the atmosphere overall as the story of St. Cuthbert’s bones is recounted through song, in mood perhaps more than folk balladeering. Whatever your familiarity with that narrative or willingness to engage it, Deeks‘ arrangements are lush and wondrously patient, the sound of “Boughs of Trees” at the outset of side B building smoothly toward its deathly sprawl but unrelentingly melodic. The longer “Raise Then the Incorrupt Body” and “Only Three Shall Know” come across as more directly dramatic with their chants and so on, but Arð‘s beauty-through-darkness melancholy is the center around which the album is built and the end result is suitably consuming. While not incomplete by any means, I find myself wondering when it’s over what other stories Deeks may have to tell.
Oh, Seremonia. How I missed you. These long six years after Pahuuden Äänet (review here), the Finnish troupe return to rescue their cult listenership from any and all mundane realities, psych and garage-fuzz potent enough to come with a warning label (which so far as I know it doesn’t) on “Neonlusifer” and the prior opener “Väärä valinta” with the all-the-way-out flute-laced swirl of “Raskatta vettä,” and if you don’t know what to make of all those vowel sounds, good luck with the cosmic rock of “Kaivon pohjalla” and “Unohduksen kidassa,” on which vocalist Noora Federley relinquishes the lead spot to new recruit Teemu Markkula (also Death Hawks), who also adds guitar, synth, organ and flute alongside the guitar/synth/vocals of Ville Pirinen, the drums/guitar/flute/vocals of Erno Taipale and bass/synth/vocals of Ilkka Vekka. This is a band who reside — permanently, it seems — on a wavelength of their own, and Neonlusifer is more than welcome after their time out of time. May it herald more glorious oddness to come from the noisy mist that ends “Maailmanlopun aamuna” and the album as a whole.
Swedish heavy rockers The Quill mark 30 years of existence in 2022 (actually they go back further), and while Live, New, Borrowed, Blue isn’t quite an anniversary release, it does collect material from a pretty broad span of years. Live? “Keep it Together” and an especially engaging take on “Hole in My Head” that closes. New? The extended version of “Keep on Moving” from 2021’s Earthrise (review here), “Burning Tree” and “Children of the Sun.” Borrowed? Iron Maiden‘s “Where Eagles Dare,” November‘s “Mount Everest,” Aerosmith‘s “S.O.S.” and Captain Beyond‘s “Frozen Over.” Blue? Certainly “Burning Tree,” and all of it, if you’re talking about bluesy riffs, which, if you’re talking about The Quill, you are. In the narrative of Sverige heavy rock, they remain undersung, and this compilation, in addition to being a handy-dandy fan-piece coming off their last record en route to the inevitable next one, is further evidence to support that claim. Either you know or you don’t. Three decades on, The Quill are gonna be The Quill either way.
Though it’s just 20 minutes long, the six-song debut from Ohio’s Dark Worship offers dark industrial heft and a grim psychedelic otherworldliness in more than enough measure to constitute a full-length. At the center of the storm — though not the eye of it, because it’s quiet there — is J. Meyers, also of Axioma, who conjures the spaces of “Culling Song” and “We’ve Always Been Here” as a bed for a selection of guest vocalists, including Nathan Opposition of Ancient VVisdom/Vessel of Light, Axioma‘s Aaron Dallison, and Joe Reed (To Dust, Exorcisme). No matter who’s fronting a given track — Reed gets the lion’s share, Dallison the title-track and Opposition the penultimate “Destroy Forever (Death of Ra)” — the vibe is biting and dark in kind, with Meyers providing backing vocals, guitar, and of course the software-born electronic beats and melodies that are the core of the project. Maybe hindsight will make this nascent-feeling, but in terms of world construction, Flesh of a Saint is punishing in its immersion, right up to the howling feedback and ambience of “Well of Light” at the finish. Conceptually destructive.
More Experience, Electric Laboratory of High Space Experience
Nature sounds feature throughout More Experience‘s 2021 third album, Electric Laboratory of High Space Experience, with birdsong and other naturalist atmospheres in opener “The Twilight,” “Beezlebufo,” closer “At the Gates of Dawn,” and so on. Interspersed between them is the Polish troupe’s ’60s-worship psych. Drawing on sonic references from the earliest space rock and post-garage psychedelics — think Hendrix, Jefferson Airplane, King Crimson’s “Epitaph” is almost remade here as the penultimate title-track — band founder Piotr Dudzikowski (credited with guitars, organs, synthesizers, backing vocals, harmonium, tambura, and cobuz) gets by with a little help from his friends, which means in part that the vocals of extended early highlight “The Dream” are pulled back for a grain-of-salt spoken word on “The Trip” and the later “Fairy Tale.” The synthy “The Mind” runs over nine minutes and between that, “The Dream” and the title-track (9:56), I feel like I’m digging the longer-form, more dug-in songs, but I’m not going to take away from the ambient and more experimental stuff either, since that’s how this music was invented in the first place.
Young Indonesian riffers Jawless get right to the heart of heavy on their debut album, Warrizer, with a raw take on doom rock that’s dead-on heavy and classic in its mindset. There’s nothing fancy happening here other than some flourish of semi-psych guitar, but the self-produced four-piece from Bandung kill it with a reverence of course indebted to but not beholden to Sabbathian blues licks, and their swing on “Deceptive Events” alone is enough proof-of-concept for me. I’m on board. It’s not about progressive this or that. It’s not about trying to find a genre niche no one’s thought of yet. This is players in a room rocking the fuck out. And they might have a bleak point of view in cuts like “War is Come,” and one does not have to look too far to get the reference in “The Throne of Tramp,” but that sense of judgment is part and parcel to originalist doom. At 50 minutes, it’s long for an LP, but as “Restrained” pays off the earlier psychedelic hints, “Metaphorical Speech” boogie-jams and “G.O.D.” rears back with each measure to spit its next line, I wouldn’t lose any of it.
Adding a guest guitar solo from Earthless‘ Isaiah Mitchell wasn’t going to hurt the cause of Indianapolis duo The Heavy Co., and sure enough it doesn’t. Issued digitally in 2020 and premiered here, “Shelter” runs a quick three minutes of psych-blues rock perfectly suited to the 7″ treatment Rock Freaks Records gives it and the earlier digi-single “Phoenix” (posted here), which had been the group’s first offering after a six-year break. “Phoenix,” which is mellower and more molten in its tempo throughout its six minutes, might be the better song of the two, but the twang in “Shelter” pairs well with that bluesy riff from guitarist/vocalist Ian Daniel, and Jeff Kaleth holds it down on drums. More to come? Maybe. There’s interesting ground here to explore in this next phase of The Heavy Co.‘s tenure.
All that “Witch Boogie” is missing is John Lee Hooker going “boom boom boom” over that riff, and even when opener “Strange Fruit” or “Dreamin'” is indebted to the Rolling Stones, it’s the bluesier side of their sound. No problem there, but Freiburg, Germany, four-piece Sound of Smoke bring a swagger and atmosphere to “Soft Soaper” that almost ’70s-style Scorpions in its beginning before the shuffling verse starts, tambourine and all, and there’s plenty of pastoral psych in “Indian Summer” and 10-minute “Human Salvation,” the more weighted surges of which feel almost metallic in their root — like someone between vocalist/keyboardist Isabelle Bapté, guitarist Jens Stöver, bassist Florian Kiefer and drummer Johannes Braunstein once played in a harder-focused project. Still, as their debut LP after just a 2017 EP, the seven-song/43-minute Tales shows a looser rumble in “Devil’s Voice” behind Bapté, and there’s a persona and perspective taking shape in the songs. It’ll be hard work for them to stand out, but given what I hear in these tracks, both their psych edge and that sharper underpinning will be assets in their favor along with the sense of performance they bring.
Coming off their 2020 full-length, The Path to the Deathless (review here), Albuquerque-based trio Red Mesa — guitarist/vocalist Brad Frye, bassist/vocalist Alex Cantwell, who alternates here with Frye, and drummer/backing vocalist Roman Barham, who may or may not also join in on the song’s willfully lumbering midsection — take a stated turn toward doom with the 5:50 Forest Cathedral single. The grittier groove suits them, and the increasing sharing of vocals (which includes backing), makes them a more complex act overall, but there’s not necessarily anything in “Forest Cathedral” to make one think it’s some radical shift in another direction, which there was enough of on The Path to the Deathless to warrant a guest appearance from Dave Sherman of Earthride. Still, they continue to do it well, and honing in on this particular sound, whether something they do periodically to change it up, never touch again after this, or see as a new way to go all-in, I’m content to follow along and see where it goes.
In keeping with the tradition of over-the-top weed-doom band names, Margarita Witch Cult crawl forth from the birthplace of sonic weight, Birmingham, UK, with their debut two-songer cassingle-looking CD/DL Witchfinder. That’s not the only tradition they’re keeping. See also the classic riffer doom they capture in their practice space on the not-tape and the resulting rawness of “The Witchfinder Comes” and “Aradia,” bot nodders preaching Iommic truths. There’s a bit more scorch in the solo on “Aradia,” but that could honestly mean the microphone moved, and either way, they also keep the tradition of many such UK acts with goofball monikers in actually being pretty right on. Of course, they’re in one of the most crowded heavy undergrounds anywhere in the world, but there’s a lot to be said for taking doom rock and stripping it bare as they do on these tracks, the very least of which is that it would probably work really well on tape. If I was at the gig and I saw it on the merch table, I’d snag and look forward to more. I’ll do the same with the Bandcamp.
Posted in Whathaveyou on September 30th, 2020 by JJ Koczan
Playing out across four extended tracks, the debut full-length Cactus Eater by Freiburg, Germany, desert-fuzz duo Desert Tree House was first released digitally by the band in June 2019. That’s about a year after Alpha and Pedro (the latter also of Deaf Proof) got together and started jamming, so yeah, they made pretty good time coming up with circa 45 minutes of material for the record. Safe to assume they had a pretty good idea of what they were going for, and the guitar-and-drum rawness conveys the spirit of their desert rock homage pretty smoothly, and as I apparently missed it the first time around, I’m glad to have caught wind of their doings via the news of the Cactus Eater vinyl release today through Clostridium Records.
For the converted, there’s little to argue with, and if you’re looking for some trippy groove to wander along with, the ebbs and flows of “Blue Sun Overdrive” do quite nicely. I’m not gonna say they’re changing the world — or trying to for that matter — but on a by-genre-for-genre level, they’ll get knowing heads nodding.
Stream’s at the bottom of the post if you want to check it out before you chase down a platter:
Desert Tree House – Cactus Eater LP
Desert Tree House is Alpha (guitars) and Pedro (drums), an instrumental Stoner Rock duo from Freiburg (GER) delivering songs ranging from doom to psychedelic and onward toward more progressive elements.
CLOSTRIDIUM RECORDS released their kick-ass debut on vinyl on 30.09.20. As DIE HARD “Sunrise Skytrip” edition in transparent and black with red and white splatter (incl. exklusive CACTUS EATER THE VOCAL SESSIONS CD feat Anti Man (Vocals LOA RIDE) & Isa (Vocals SOUND OF SMOKE), download code, poster and beer mat) or in classic black (incl. download code and beer mat).
This gorgeous LP treatment will maximize the enjoyment of listening to CACTUS EATER!
Desert Tree House is Alpha on guitar and Pedro on drums, an instrumental Stoner Rock duo from Freiburg, Germany, founded in mid 2018.
For these two men, it is all about the music, any fan of the Stoner style will thoroughly enjoy their brand of music as their debut CACTUS EATER with four songs, most of them running over 10 minutes, delivers catchy melodies and Psychedelica in a Truckfighters Style (“Cactus Eater”), a really heavy, doomy stonergroove like Kyuss did (“Cyancali Desert”), straight-forward rocking (“Dry Valley”) or bluesy and progressive stuff (“Blue Sun Overdrive”). And it’s not a simple citation or an arbitrary mixture, it’s a unique sound, it is pure riff worshipping for mind and soul!
Alpha also plays in Zim Zum Crash for years and Pedro is part of the Psychedelic Stoner band Deaf Proof founded in 2006 and of Heavy Water Cult (Alternative Stoner), which started 2016. They are also the founding members of the four-piece Doom band Brocken which has been around since 2017.
Their thorough and methodic approach to their music helped the two men move quickly from their initial session right onto the stage in June, and their efforts were quickly rewarded as they soon were opening for bands like Elder from the States, the Great Machine from Israel, the Re-Stoned from Russia, or even one of Germany’s own Stoner stalwarts: Rotor.
Posted in Bootleg Theater on December 23rd, 2015 by JJ Koczan
Heavy psych rocking German trio Deaf Proof released their latest outing, Blood Red Sky Sessions (review here), earlier this year as a limited tape and will reportedly have it out on vinyl in the first part of 2016, but for their new video, “Death Sounds Angry and Hungry for More,” they dip back to their 2014 debut EP, Death Sounds Angry (review here). Why? Well, there are probably two reasons. Primarily, Blood Red Sky Sessions was more geared toward inviting listeners into the band’s songwriting process — to a degree — and getting a sense of how their material takes shape out of expansive, multi-faceted jams like the 34-minute “Far Beyond the Blood Red Sky,” which, though it had lyrics, was nonetheless instrumentally focused around the chemistry between guitarist/vocalist J. Fredo, bassist JP and drummer Pedro. As it turned out, that was plenty enough to carry it through.
Second, the choice was probably pretty easy for Deaf Proof because “Death Sounds Angry and Hungry for More,” at 6:39, is the shortest song they’ve put out since their second demo, Beyond the Orange Door, in 2013. I bet when you’re narrowing it down to one track or another for a video and your options are under seven minutes or over half an hour, you start to look back and think, maybe, yeah, we can use a song from the last release. And it’s not like the year between has lessened the charm or fuzzy rumble of “Death Sounds Angry and Hungry for More,” the video for which the band notes is a precursor to new material, presumably to be issued in 2016.
That’ll be one to keep an eye out for, and in the interim, the clip emphasizes the low-end rumble at the heart of Deaf Proof‘s grooving. You’ll see what I mean when you watch.
Enjoy:
Deaf Proof, “Death Sounds Angry and Hungry for More” official video
It’s been nearly a decade, since Deaf Proof touched the chord for the first time. During these years they released a couple of demos,the LP “Death Sounds Angry”, the “Blood Red Rky Sessions” tape/ vinyl and played lots of club shows and rocked together with influential bands.
To sweeten the time of waiting for their next output, Herr Potz/ Trashpop(t)ERROR (creative director/ video editor) and the band produced a music clip for “Death Sounds Angry and Hungry for More”, title track of the 2014 output! Enjoy this Christmas present!
DEAF PROOF’s sound can probably best be described as psychedelic stoner rock that creates a very specific and unique atmosphere. The band, which is from Freiburg/Germany, has made a handful of changes concerning their line-up ever since they were founded in 2006. They now consist of J. Fredo (lead vocals/guitar), JP (bass) and Pedro (drums). Since 2013, the band has released multiple highly acclaimed demos, of which “Beyond the Orange Door Demos” (2013) received special attention.
It soon became obvious that DEAF PROOF were aiming much higher than swirling up desert sand and coming up with catchy riffs for their songs. “DEATH SOUNDS ANGRY” (2014 on cd, 2015 on vinyl via KrautedMindRecords) made clear that the band has now reached new heights. “Blood Red Sky Sessions” (limited red tape, vinyl 2016 on KrautedMind) from 2015 is like a documentation of a songwriting and jamming process, which is delivering the listener some kind of a live experience and an inside view. Three different jam sessions take the listener on a psychedelic stoner rock trip in a fuzzy spaceship.
Posted in audiObelisk on April 2nd, 2015 by JJ Koczan
Well, it’s not quite “in full,” but with more than an hour’s worth of jamming unfolding across three tracks, it’s close enough, anyway. The fourth cut on what will become Deaf Proof‘s Blood Red Sky Sessions release — due out April 23 digitally with a limited-to-50 tape to follow this summer — is an 8-bit version of “Death Sounds Angry and Hungry for More” from last year’s righteously fuzzed Death Sounds Angry EP (review here), held out of the stream at the request of the band. What’s left? Three extended, jam-based pieces that run a course somewhere between heavy psychedelic improvisation and more structured songwriting. And as you listen, I think you’ll agree that’s plenty.
Comprised of “Dust and Bones Among Us” (11:22), “Ocean of Sand” (16:54) and “Far Beyond the Blood Red Sky” (34:26), Blood Red Sky Sessions is not Deaf Proof‘s first experimental release. The Freiburg, Germany, trio of guitarist/vocalist J. Fredo, bassist JP and drummer Pedro gained notice with 2013’s Beyond the Orange Door Demos (they had a different lineup at the time), but no question these three spacious tracks showcase a marked development in the band’s penchant for exploratory heavy psych. They were — still are, instrumentally — put together as jams. You can hear it in “Dust and Bones Among Us” and certainly throughout the sprawl of “Far Beyond the Blood Red Sky,” which retains long stretches of guitar-driven vibing, drawing down to bluesy minimalism only to raise the volume again, back and forth, but Deaf Proof wanted more than just a collection of jams, so vocals were added, and the difference is palpable.
Even in its far reaches, “Far Beyond the Blood Red Sky” retains a human presence, and the rolling groove of “Ocean of Sand” seems to come with an inherent structure, dooming out in a slowdown in its midsection for a bit, but winding up sweetly melodic by the finish. “Dust and Bones Among Us,” which feels short at 11 minutes by the time one gets around to a second listen, likewise places J. Fredo‘s vocals well, so that the lines he’s delivering are as much a part of the apex of the track as Pedro‘s crashing drums or JP‘s basslines, or, for that matter, his own wah-drenched lead. It’s called songwriting and people do it every day, but the way in which Deaf Proof have gone about it, listening back to these jams and realizing they had the potential to push further, stands these tracks out from the verse/chorus norm. The results of their efforts speak for themselves.
If you did or didn’t hear Death Sounds Angry, Blood Red Sky Sessions makes a better follow-up than the band gives it credit for. They’ve threatened a vinyl release, and doubtless that would require some editing of “Far Beyond the Blood Red Sky” — maybe they could call it “Not Quite as Far…” or something along those lines — but the fact is that if these songs showed up and Deaf Proof said, “This is our new album,” I’d have believed it, and if anything, these songs make me look forward that much more to what they might actually have planned for that next release.
Please find Blood Red Sky Sessions on the player below, followed by preorder info and more background, and enjoy:
Planned as pure jam recording, we decided to put a little more work in this baby, That’s why we decided to call it “sessions” and added some vocals. So it’s not a pure experiment and not a regular release. It’s something in between, but it works. It’ll be released digitally on April 23 and on tape later this year. Preorders/ Reservations can be placed by email (stuff@deafproof.de), the price will be 5€ plus shipping. Maybe there’ll be a vinyl release, we’ll see.
DEAF PROOF’s sound can probably best be described as psychedelic stoner rock that creates a very specific and unique atmosphere. The band, which is from Freiburg/Germany, has made a handful of changes concerning their line-up ever since they were founded in 2006. They now consist of J. Fredo (lead vocals/guitar), JP (bass) and Pedro (drums). Since 2013, the band has released multiple highly acclaimed demos, of which “Beyond the Orange Door Demos” (2013) received special attention.
It soon became obvious that DEAF PROOF were aiming much higher than swirling up desert sand and coming up with catchy riffs for their songs. “Death Sounds Angry” (2014 on cd, 2015 on vinyl via KrautedMindRecords) made clear that the band has now reached new heights: DEAF PROOF’S work is characterized by a very mature and multifaceted sound, driven by an unrelenting passion to create both extensive post-rock passages and epic psychedelic soundscapes. Often enough, the band rejects vocals altogether in order for the instrumental passages to gain new momentum. By reaching beyond their comfort zone and rejecting all standards, DEAF PROOF succeed in developing an idiosyncratic style. The trio composes highly dynamic and complex sound beasts that go well beyond the length of ten minutes, seamlessly transitioning from one epic passage to the next.
Posted in Whathaveyou on January 27th, 2014 by JJ Koczan
Death might sound angry, but you can’t really say the same for Deaf Proof‘s forthcoming CD EP, which is due out March 1. Death Sounds Angry basks in heavy psych tones, catchy vocal lines and hypnotic repetition, all of which play out to fascinating effect on the 18-minute centerpiece of the three-track release, “Origin of Pain.” The German trio have had a couple demos out to this point, and Death Sounds Angry will be their first offering as a three-piece. They’ve made the whole thing available to stream via Bandcamp (player below), and as you can hear for yourself, the configuration seems to be working for them.
See and hear:
Deaf Proof “Death Sounds Angry” EP to be released in March
“Good things come to those who wait. We finally hold the (digital) end result in our hands: The Death Sounds Angry EP is finally done and will be available in march as download and hard copy (digipak).
We finished recording, mix and mastering a few weeks ago. It took Johannes (Kopfüber) some time to finish the the cover artwork, because he was very busy. But take a look at that piece of work! It’s great, isn’t it? We are completely stoked! We recorded three different songs with three different vibes.
Look out for the EP and our new merch in march! Prelisten at Bandcamp in its entirety!”
Deaf Proof is J. Fredo (v/g), JP (b) and Pedro (d). Deaf Proof plays psychedelic fuzz.
The Band was formed in late 2006 by Pedro (d), Holger (b) and Fredo (v/g), later reinforced by Til (g).
From that point of time they started jamming and working out their ideas. In autumn 2007 the band split up with guitar-player Til who was replaced by Phil. In early 2008 the band decided to substitute Holger and to search for a new bassplayer. But nevertheless Deaf Proof recorded their first demo that was released in April 2008. The bass on the demo was played by Phil. Deaf Proof found the new four stringer Angus in june 2008. In december the band unfortunately had to search for a new bassplayer again and in march 2009 JP joined the gang. Together they recorded a 2-track live-demo in july. The combo recorded the “Beyond the Orange Door Demo” from autumn 2009 till winter 2012 and released it in april 2013. In april Phil also left band, but Deaf Proof continue as three-piece.
Since 2010 the band did some local shows with amongst others Stonewall Noise Orchestra (Swe), Snarf, Basel (Ch) and the Small Stone Artists Abrahma (Fr) and Mother of God (Swe). In 2013 Deaf Proof will expand their live radius over whole germany and further.
