Posted in Whathaveyou on November 24th, 2014 by H.P. Taskmaster
Seems an unlikely coincidence that German two-piece The Picturebooks played Astra Kulturhaus last night and here they are today being announced for Desertfest Berlin 2015, which is held at the same venue. You’d almost swear these things were planned out ahead of time. The duo are currently on tour among the formidable ranks of Kadavar and The Shrine and were previously announced for Roadburn 2015 as well. Still fresh of the release of their RidingEasy Records debut and third album overall, Imaginary Horse, they’re also veterans of this year’s Desertfest in Belgium.
I wouldn’t be surprised if they showed up on the bill for London as well (they recently played in Camden Town for the first time), but that announcement hasn’t come yet, so don’t quote me on it. The bluesy roll of Imaginary Horse can be heard in full below and it comes with the info from Desertfest Berlin, in case, you know, it slipped your mind in the three days since they last added a band. Ha:
Alright folks, here we go!
Today we announce a band you have surely heard of in the last couple of weeks and months: the German duo The Picturebooks!!
Their unique sound combines a great bluesy-driven-altern rock mixed with garage and punk elements. Currently supporting Kadavar allover europe, they got amazing feedbacks from press and fans for their incredible live shows. Yesterday, they blew the Astra Kulturhaus Berlin, and will do it again next year! Seeing them live and listening to their tunes, you can´t stand still, promised. This will be FUN!!
Get your limited HARD TICKET (with a free Desertfest T-Shirt) or a PRINT-AT-HOME TICKET onwww.desertfest.de/tickets! Make your choice
DESERTFEST BERLIN #4 – APRIL 23th, 24th, 25th 2015 ASTRA KULTURHAUS / F-HAIN/X-BERG BERLIN (GER)
Red Fang + Orange Goblin + My Sleeping Karma + Black Pyramid + Karma To Burn + Brutus + Dopethrone + The Atomic Bitchwax + The Picturebooks + Lo-pan + Mountain Witch + Mother Engine + many many more acts:)
Posted in Whathaveyou on November 21st, 2014 by H.P. Taskmaster
German heavy psych trio Mother Engine are the latest confirmation for Desertfest Berlin 2015. They join the esteemed ranks of Orange Goblin, Red Fang, Black Pyramid and Karma to Burn in the lineup for the fest, which is set for the end of next April at the Astra Kulturhaus, where Desertfest has been held since its inception. I won’t pretend to know a lot about the three-piece, who got their start in 2011 and decided to press on as an instrumental act following the departure of their frontman, but if the jammy heavy rock they propagated on their 2012 Fuzzmatazz Records debut, Muttermaschine, is any indicator of where they’re at now, they should fit right in on the bill.
The album is rife with warm tones and a natural, jammed-out vibe in the post-Colour Haze vein, though a little rougher around the edges for Mother Engine being a new band. Since it will be about two and a half years after the release by the time they take the stage at Desertfest, I’d be interested to hear how they’ve changed in that time. Maybe the slot coincides with a new album? I guess we’ll find out sooner or later.
For now, the announcement:
Mother Engine confirmed for DesertFest Berlin 2015!!
Since their legendary campsite gig at the Stoned From The Underground 2013, everyone has either heard of their name or even their great debut record, “Muttermaschine”. Their music is chill-out music to the max, music that touches your soul, and they truly deserved to be part of the festival next year!
Posted in Whathaveyou on November 20th, 2014 by H.P. Taskmaster
If I had any funds whatsoever or, you know, a job through which I might acquire some, I’d have a plane ticket and hotel room booked for Freak Valley 2015 faster than you could put two and two together on the Kyuss reference in the festival’s name. Organizer Jens Heide has put together an incredible assemblage already, and with the likes of Crippled Black Phoenix and Tombstones, we’re beginning to see the fest branch out from its purely stoner roots into other areas of heavy. It’s a fascinating process to watch, even from afar, and the addition today of Electric Moon to the Freak Valley lineup only increases the appeal as far as I’m concerned, the German trio concocting top-grade heavy psychedelic jams seemingly everywhere they go.
They join an enviable lineup that boasts such gotta-sees as Goatsnake, Siena Root, Monkey3, Egypt (!) and Gas Giant, along with the aforementioned. Fucking a. If anyone needs me, I’ll be daydreaming about covering it while you peruse the announcement below:
Electric Moon @ FREAK VALLEY FESTIVAL 2015 !!!
Here we go Freaks!!
ELECTRIC MOON will bring the finest Acid Rock to Freak Valley Festival 2015 !!
The german acid-rocker Electric Moon were founded in late 2009 by Komet Lulu (bass), Sula Bassana (guitar) and Pablo Carneval (drums). Electric Moon belong to the upper shelf of the European Psych- and Krautrock scene, headlined many festivals and concerts. By creating their own style of music, Electric Moon unite many different genres.
They have a fanbase, which is growing more and more.
Take a huge dosis of Psychedelia, blend it with some acid colors and get as high as you can – this is the state of mind, Electric Moon create with their sound. Especially their live appearances are a unique thing. They want to celebrate the love of the music together with the FREAK VALLEY audience and the highest point of communication gets reached when there is happening a symbiosis between listeners and band.
Goatsnake – Crippled Black Phoenix – The Vintage Caravan – Electric Moon – Gas Giant – Monkey3 – Danava – Egypt – Siena Root – Sigiriya – Kamchatka – Purson – Dead Man – Tuber – Valley of the Sun – Tombstones – more tba soon!!
Posted in Radio on November 14th, 2014 by H.P. Taskmaster
Managing to do rounds of adds to The Obelisk Radio two weeks in a row? Why, that’s almost too much on-it to bear. I’ll try really hard to contain my self-satisfaction. Okay no I won’t.
A pretty diverse bunch of records joining the playlist today. There are 11 total that went up, and in addition to correcting the oversight of not having put up YOB‘s Clearing the Path to Ascend yet (infinite apologies), there are also new ones from Lord Dying and Primordial, It’s Casual and the recently-reviewed Elephant Tree. Also the Atavismo that I put up the info for the other day and which will be reviewed at some point soon, and five records I thought it would be worth highlighting out of the bunch. Some of these artists I’m sure you know, one or two maybe not, but again, it’s a fairly wide stylistic berth and that’s just the way I like it best.
The Obelisk Radio adds for Nov. 14, 2014:
Jakob Skøtt, Taurus Rising
His third solo album, Taurus Rising is also the second of the year for Copenhagen-based Causa Sui drummer Jakob Skøtt. Released through El Paraiso Records, it continues in the vein of earlier 2014’s Amor Fati in pursuing more of a full-band vibe, but strips that down somewhat to incorporate just synth and live drums. The result across Taurus Rising‘s five tracks is an unremitting progressivism, showcasing Skøtt‘s allegiance to krautrock in songs like opener “Escape from the Keep” while the centerpiece “Pleiades” has a little more of a psychedelic swirl. Keyboards arrive in multiple layers throughout, filling out the mix, and Taurus Rising becomes all the more impressive when one considers that Skøtt is essentially jamming with himself. He does so with a strong sense of evoking varied atmosphere from the tracks, the closing duo of “Bucket Brigades” (10:13) and “Taurus Ascendant” (7:59) pushing deep into spaced-out dynamics and, in the case of the latter, providing the album with its fullest wash and most satisfying linear build. Whether or not Skøtt intends to keep up this pace of releases, I don’t know — no reason not to so long as he’s inspired; it’s his playing, recording and label — but the prog-jazz sensibility of Taurus Rising seems ripe for further development. Jakob Skøtt on Thee Facebooks, El Paraiso Records.
Sleeping Pulse, Under the Same Sky
Sleeping Pulse are not yet fully through “Parasite,” the opening track on their Prophecy Productions debut, Under the Same Sky, before Mick Moss lets loose the full emotional juggernaut of his vocal delivery. The duo is a collaboration between Moss, best known as the frontman and founder of Antimatter, and Portugal-based guitarist Luís Fazendeiro of Painted Black, who wrote the music. At 10 songs and 55 minutes, Under the Same Sky is tied together both through Moss‘ voice and a persistent airiness that, were it not so cleanly presented, I’d almost be tempted to call post-rock. It is darkly progressive, and the lyrics match, weaving tales of manipulation in the subtly building “The Puppeteer” (also watch out for the sampled applause about a minute in) and betrayal throughout moody cuts like the later “Noose” and “War.” For those who know Antimatter – whose latest full-length, Fear of a Unique Identity (review here), was released in 2012 — Sleeping Pulse finds Moss well in his element across the board, but Fazendeiro varies the style such that the piano-led “The Blind Lead the Blind” and emergent distortion chug of “Painted Rust” fit well alongside each other, and Under the Same Sky flows smoothly to its concluding title-track, a minimal piano piece backed by ebow-style tones and once more showcasing the resonance in Moss‘ blend of fragility and defiance. A sleeper not to be slept on, particularly with winter ahead. Sleeping Pulse on Thee Facebooks, Prophecy Productions.
Palm Desert, Pearls from the Muddy Hollow
Perhaps unsurprising when one considers they take their name from the hometown of California’s ’90s desert rock movement, but Poland’s Palm Desert owe a large sonic debt to Kyuss. In the Wroc?aw four-piece’s style of riffing, tonality and propensity for the occasional stoner jam on their third album, Pearls from the Muddy Hollow (Krauted Mind Records), they show their allegiance to the desert style and its blend of fuzzed-up punk and laid back psychedelia. Vocalist Wojciech Ga?uszka helps change things up, however, with some elements of Soundgarden-era Chris Cornell to go with periodic John Garcia gruffness, so that Pearls from the Muddy Hollow‘s nine tracks make a suitable companion piece to Steak‘s 2014 full-length debut, Slab City, which basks in a similar mindset. That’s not to say Palm Desert bring nothing of their own to the style — both the quick “Rise Above” (not a Black Flag cover) and extended closer “Forward in the Sun” (8:19) branch beyond idolatry to an individualized moment — just that the resounding impression throughout Pearls from the Muddy Hollow is Kyuss loyalism. Within the style, they do well in portraying a warm-toned feel and shift smoothly between movements both inside of and between their songs. They’re not revolutionary, but Palm Desert do justice to a familiar sound and sometimes that’s plenty to make for a quality record. Another decent bit of output from Poland’s fertile scene. Palm Desert on Thee Facebooks, on Bandcamp.
High Fighter, The Goat Ritual EP
Formed earlier this year as an amalgam of members from A Million Miles and Buffalo Hump, Hamburg, Germany’s High Fighter storm out of the gate with the five-song The Goat Ritual EP, a 21-minute thrust of modern metal and heavy rock ideals. Vocalist Mona Miluski shifts readily between a bluesy clean delivery and searing screams over the nod-ready riffing of guitarists Christian “Shi” Pappas and Ingwer Boysen, bassist Constantin Wüst and drummer Thomas Wildelau trading off between riding the grooves on “2Steps Blueskill” and energizing the bounce on “Fire in the Sun.” Second cut “Breaking Goat Mountains” seems to be particularly geared toward Kyuss‘ “Green Machine” in its riff, but bleaker, screamier centerpiece “Black Waters” shifts between the EP’s heaviest assault and a guitar-only peaceful moment that rounds out with a bit of fading feedback that leads to the wakeup punch of “Fire in the Sun,” in turn given over to the mosh fodder of “In Veins”‘s early going, which somehow transitions into more laid-back heaviness in its second half, of course building back to the initial riff to round out. In its production and much of its execution, it’s metal, but High Fighter keep command of heavy rock elements in such a way as to showcase the nascent moments of what has the potential to be a fascinating progression. The ritual, it would seem, is only beginning. High Fighter on Thee Facebooks, on Bandcamp.
Sans Soleil, A Holy Land beneath a Godless Sky
Calling a string-infused, instrumental post-metal release “atmospheric” seems completely superfluous, but Austin fivesome Sans Soleil put enough of a focus on ambience throughout their four-track Tofu Carnage Records debut long-player, A Holy Land beneath a Godless Sky, that to not say so would be worse. Eva Vonne‘s viola plays a major role in the band’s sound on “A Holy Land” and is complemented there and thereafter by guitarists Dustin Anderson and Lee Frejyalune and bassist Theron Rhoten, but it doesn’t come across as trying to fill a gap where vocals might otherwise be, instead just a weaving current between the distortion and sub-doom plod of drummer Zach Hoop, whose crash distinguishes itself on “An Umbral Plain” in keeping a slow march together early and moving fluidly to double-time in the middle third. Dense but not claustrophobic, the subsequent “Across Brilliant Sands” opens direct interplay between Vonne and a line of lead guitar before moving into Grayceon-style sparseness and explosion, or at least a more doomed interpretation thereof, and building to what feels like an apex for the album until the 11-minute closer “Beneath a Godless Sky” busts into a gallop as it passes the halfway point and relents from there only to resume again with greater force, closing out A Holy Land beneath a Godless Sky with a fitting push to coincide with the tonal weight preceding. An exciting and engaging debut from a group who arrive with a firm sense of what they want to convey sonically and emotionally. Sans Soleil on Thee Facebooks, Tofu Carnage Records.
Like I said at the outset, a little all over the place this week, but hopefully you find something to dig one way or another. To check out the full list of adds for this week and every week back to late 2012, and to see what’s been played on The Obelisk Radio today (some good stuff there), check out The Obelisk Radio Updates and Playlist page. It’s where the cool kids hang out, or something.
Posted in Whathaveyou on November 10th, 2014 by H.P. Taskmaster
They call them a Massachusetts band, but the truth of the matter is much more complex than that. Their roots are in the Bay State, and Black Pyramid guitarist/vocalist Darryl Shepard still resides there, but drummer Clay Neely lives in Georgia and bassist Dave Gein is on the West Coast in Los Angeles, so it’s not exactly like these dudes are just going to call each other up and meet in a basement and jam and then go play Berlin. The mere fact that they’re getting together at all is an event, let alone that their performance at Desertfest 2015 will be part of a European tour with dates still to be announced.
There hasn’t been much word from Black Pyramid since Neely moved following their 2013 release, Adversarial (review here), and performance at Hellfest in France. With Shepard and Gein having subsequently moved forward with the offshoot project The Scimitar, whose debut, Doomsayer (track stream here), came out earlier this year, it was easy to speculate that Black Pyramid‘s day had come and gone. We’ll see if they manage despite the distance to put together any kind of new offering to coincide with the tour, but even the fact that Shepard, Gein and Neely are able to coordinate hitting the road is excellent news as far as I’m concerned, even if I’ve got about a snowball’s chance in hell of being there to see it.
Desertfest Berlin kept the announcement short and sweet, confirming Black Pyramid thusly:
Massachusetts Black Pyramid confirmed to bring their Psychedelic War Metal to DesertFest Berlin 2015! Prepare to be crushed!
I think Germany’s Blind Guardian are probably still a little too current to fall into the realm of “classic metal,” but if they were going to enter the discussion, I think 1998’s Nightfall in Middle-Earth would be grounds on its own for consideration. The album followed 1995’s Imaginations from the Other Side, which wasn’t exactly where they made the turn from thrash to power metal, but was just about where they perfected their approach to the latter. What makes Nightfall in Middle-Earth stand out from its predecessor is the complexity and execution of its theme, based around narratives culled from J.R.R. Tolkien‘s The Silmarillion.
If you’ve never read it — I’ll confess that I didn’t get the whole way through — The Silmarillion tells tales of the first age of Middle-Earth, before the coming of men and the decline of the immortal elves. It is essentially a Bible with many gods for the world in which the Lord of the Rings trilogy takes place, and as ever for Tolkien, it’s a world no less winding than it is complete. For Blind Guardian to tackle such a thing wasn’t necessarily new for them even then — as early as 1992’s Somewhere Far Beyond they were referencing Tolkien‘s The Hobbit – but for them to do so with such a narrative thread while still writing songs so stellar as to be highlights of their discography now 16 years later like “Mirror Mirror,” “Nightfall” (“…quietly it crept in and changed us all,” goes the chorus), “Blood Tears” and “Time Stands Still (At the Iron Hill)” feels like twice the achievement. Imaginations from the Other Side is a damn good record, but when it comes to Blind Guardian and everything they’ve embodied as a band ever since, Nightfall in Middle-Earth is a genuine masterpiece.
And though those tracks and others will mark themselves out on any listen, first or 50th, it remains an album best heard front to back, its many interludes and narrative components — some just spoken word over foreboding ambience — feeding into the overall listening experience. This version has a couple bonus tracks tacked onto the end, but even in its bare form, Nightfall in Middle-Earth tops 65 minutes and is no meager undertaking. Like The Silmarillion itself, it is a world to enter and be changed by, and one no less magical. The lineup of the band at that point was vocalist Hansi Kürsch, who as far as I’m concerned deserves mention among the greatest voices in metal regardless of genre, guitarist André Olbrich, rhythm guitarist Marcus Siepen, drummer Thomas Stauch, guest bassist Oliver Holzwarth, and a host of others including keyboardist, choir vocalists, flautist and pianist, and what they created was a sound larger than life that Blind Guardian — with Kürsch, Olbrich and Siepen still at the heart of the band — continues to refine to this day. It was announced today that in 2015, they’ll release a new album on Nuclear Blast called Beyond the Red Mirror, weaving an original fantasy tale set in the same universe as some of the tracks from Imaginations from the Other Side and employing no less than three full choirs and two 90-piece orchestras. They remain unafraid to go big.
Hope you enjoy.
Kind of a departure, right? That’s what I was hoping for. Something a little different, but it’s a record I’ve lived with and enjoyed since around the time it came out, so it seemed fair. If you feel like it’s not stoner rock enough, there’s always the radio stream. Plenty of that stuff in there, which I should know because (1:) I put it there and (2:) I listen to that friggin’ thing all the time because it’s badass.
Not my best week. I could elaborate. I’d rather not. Suffice it to say I’m still basically recovering from being on tour — though that ebola seems to have for the most part passed, and for that I’m thankful — and that my poor feeble brain hasn’t really managed to settle back down without feeling like it should be racing off somewhere else. I still have Bang and Pentagram and Radio Moscow and Kings Destroy songs stuck in my head, and it was a little disconcerting today when I scrolled down and realized all those posts were off the frontpage. Things go pretty quick around here, I guess.
Next week, I think I’ll have a stream of the new album by Rhode Island’s Balam at some point. I have a thing Monday — it’s like a job recruitment thing, I don’t really know — in the afternoon that will probably eat up a decent chunk of the day, but I’ll be reviewing the Ufomammut DVD sooner or later and the new Brant Bjork as well. Some vinyl to catch up on too, and a tape from The Heavy Company. I’m also still waiting to get that Lowrider interview back, but one of these days.
In the meantime, it’s down to Connecticut and subsequently New Jersey for family stuff and then back up on Sunday. We actually drove down to Connecticut tonight on I-95, the same route I had the van headed back from Rhode Island the other day. I kept thinking about how dazed I was on that trip, my head just completely somewhere else. It’s an adjustment being home, especially when — and I’ll just be honest here — I don’t have jack shit going on. Not like I went back to work, or went back to doing something with my day. Full speed to dead stop. Me and the dog on the couch, listening to records and reviewing them for nobody to read. Oh, and it’s nighttime at like 4PM now too. Awesome. Things are going really well. Definitely none of that broke-as-shit, 33-years-old-total-failure, what-the-fuck-am-I-doing-this-for stuff going on. Whatever.
Posted in Whathaveyou on November 6th, 2014 by H.P. Taskmaster
Hot off the release of their fourth album, Colossus (review here), Ohio fuzz rockers Lo-Pan have been announced as taking part in Desertfest Berlin 2015. The announcement follows a recent schism/split with guitarist Brian Fristoe, and since Lo-Pan are also slated to play Roadburn and have shows booked before then and will be touring Europe as well, one can’t help but wonder who’ll be handling guitar for them going forward. No word has come out yet in that regard, but I’ll let you know when I hear what’s up.
In the meantime, good for the band — who killed when they came through recently with Black Cobra– for getting over to Europe. Feels a little overdue for how hard they’ve slogged it out in the States, but better late than never, and I’m sure they’ll find open arms waiting for them at Desertfest, Roadburn and wherever else they might wind up.
Two-in-one news: first, we are pleased to tell you that fuzz rockers Lo-Pan join the SOL family and will be touring in April! Then, we are proud to add them to our DesertFest Berlin line-up! Stay tuned for more news!
We stoked to announce that fuzz rockers Lo-Pan are now confirmed to kick a good deal of ass at Desertfest Berlin 2015!
With “Colossus”, LO-PAN’s last album – released about a month ago on Small Stone Records – the Columbus’ four-piece have moved beyond their influences and arrived at their own sound – a “style built on aggression without caricature, fuzz without cliché, melody without redundancy and their meanest groove to date.” (The Obelisk)
Posted in Whathaveyou on November 4th, 2014 by H.P. Taskmaster
With former members of A Million Miles and Buffalo Hump in the ranks, Hamburg five-piece High Fighter have released their debut EP, The Goat Ritual. It’s available now using something called the “internet” — I think I spelled that right — and features five tracks that pull together elements from classic stoner rock and modern metal, screams intertwining with melodic vocals over heavy and propelled riffing. The full thing can be streamed on the player below, and they’re asking one euro for a download, which I’m pretty sure translates to $75 by now. Ask about generous interest rates.
Info and audio:
HIGH FIGHTER: Former members of A Million Miles, Buffalo Hump & Pyogenesis Unveil New Band!
Stream First EP The Goat Ritual in Full
After the release of their critically acclaimed album in early 2013 & their surprising split right after in early 2013, former A Million Miles frontwoman Mona Miluski & guitarist Christian Shi Pappas, have teamed up with Stoner Rock group Bufallo Hump – who had already been joined by ex-Pyogenesis drummer Thomas Wildelau – have just unveiled a brand new band known as HIGH FIGHTER!
Born in summer 2014 & with those great, former bands involved, HIGH FIGHTER delivers heavy stoner metal riffs, sludgy blues rock, hardcore elements and the relentless, intense and almost violent vocals by Mona. The band just recorded their first EP called The Goat Ritual – accordingly to the band live over one weekend in their rehearsal room – “no studio, no highclass polished production, just pure, simple and heavy!” stated the band just recently on their Facebook page.
And from there it became more than just a representable demo. HIGH FIGHTER’s brand new EP The Goat Ritual is now available to stream free at:http://bit.ly/1nHeqnC
Based in Hamburg, Germany, HIGH FIGHTER have announced their first show in their hometown on December 19th 2014. The band is currently in writing process for a full-length album and will be unveiling more gigs & news soon!
High Fighter are: Mona Miluski – vocals (ex-A Million Miles) Christian “Shi” Pappas – rhythm guitar (ex-A Million Miles) Ingwer Boysen – lead guitar (ex-Buffalo Hump) Constantin Wu?st – bass (ex-Buffalo Hump) Thomas Wildelau – drums (ex-Pyogenesis & Buffalo Hump)
Posted in Whathaveyou on October 21st, 2014 by H.P. Taskmaster
The ink barely dry on earlier-this-year’s Into the Absolute EP, German death-doom outfit Owl have announced a follow-up short release, The Last Walk, to be issued next month on Zeitgeister Music. The Bonn-based project of Christian Kolf, Owl switches off between blurring and demolishing genre lines, as Into the Absolute showed, songs like “Unearthly Arcana” pushing into progressive death and black metals while the opening title-track recalled slow-motion Meshuggah chugging and post-metal atmospheric churn and the brief, ambient “Apparition” added ghostly malevolence to the surrounding tonal crush. What Kolf, who may or may not still be joined by drummer Patrick Schroeder in the band, might come up with over the course of a single 25-minute stretch is something to look forward to finding out.
Ever reliable in this regard, the PR wire brings details of the new release. I’ve also included the Bandcamp stream of Into the Absolute should you feel compelled to dig in:
OWL: German Death/Doom Obscurists Return With 25 Minute Opus “The Last Walk”
Epic Track to be Released as Digital Download via Zeitgeister on November 19th
Less than 6 months after the crushing release of their Into The Absolute EP, OWL are preparing to return with a 25-minute opus entitled The Last Walk.
On this release OWL continue their ever-evolving and unpredictable path by combining their ambient style with sorrowful doom metal, influenced by bands such as My Dying Bride, early Anathema, Nadja, Dead Can Dance, alongside ambient music as well as band leader Christian Kolf’s experimental project Gruenewald.
The Last Walk was written, recorded, and produced by Kolf in his own DH Studios from March – September 2014. Mastering was done by Simon Hawemann at Sludge Studios.
The song will be available as a digital download via Zeitgesiter on November 19th.
Posted in Whathaveyou on October 15th, 2014 by H.P. Taskmaster
A sort of double-dose of news from German heavy rockers Stonehenge, whose debut, Bunch of Bisons (review here), was released last year. They’ll be reissuing that album on vinyl through Fuzzmatazz Records in December, and they’re also at work on their second full-length. The organ-laced riffers have posted some footage from the studio — not much music in the clip, but a lot of giggling — and while there’s no word on a solid release date for the sophomore outing, they’ll hit the road also in December alongside Operators for a few shows and presumably have some new material in tow for their set as they support the Bunch of Bisons vinyl.
Fuzzmatazz passed along the following:
Lets make it official! @FUZZMATAZZ records will re-release Stonhenge’s great first Album Bunch of Bisons in a strictly limited edition very soon. We are working really hard to make this LP to come in December. It will be a very special and ultra nice looking piece of vinyl with a shitload of extras inside – e.g. new mastering, poster, handprinted cover…
So make sure to get yours very fast! We will start a preorder as soon as we know the Date of the production! So stay tuned…
That is what stonhenge has to say about this…
Hello people, after long silence we’re back with a boom!
Last week we were in the studio to record our second album. Here’s a video. More news tomorrow and the day after.
2nd news-update: We’re touring with the OPERATORS in december. Also we’re playing 2 shows with Pyrior in Halle (18.10.) and Berlin (23.12.)
3rd news-update: our first album “Bunch Of Bisons” will be re-released on VINYL!!!
In the couple of next months we give you an ultra-limited special-edition in cooperation with the supercool label “Fuzzmatazz records”, the same label our friends “OPERATORS” put their record on. Stay tuned.
Posted in Whathaveyou on October 13th, 2014 by H.P. Taskmaster
Currently banging out a quick round of dates in Canada and a couple US shows surrounding ahead of hitting the road with Opeth and In Flames in December, raucous Portland heavy rock forerunners Red Fang have been announced as headliners for the London and Berlin 2015 editions of Desertfest. Both fests will take place at the end of next April. They join Sleep as one of the headliners for London and Orange Goblin‘s 20th anniversary special for Berlin, of course among many others and more to come.
Announcements from both Desertfests follow, yoinked from the PR wire:
RED FANG confirmed for Desertfest London 2015!
They need no introduction, each one of their gigs turns into the best metal party you’ll ever have: ladies and gents, we have the immense pleasure to confirm RED FANG as second headliner of DESERTFEST LONDON 2015, which will take place on April 24-26th in Camden.
For the fourth year running, Camden will be hosting one of the most exciting stoner/doom/sludge/psyche gatherings in Europe, for a full weekend of fuzzed-out tunes, psychedelia and partying. As the first headliner of this 2015 edition, American stoner rock pioneers SLEEP will be treating the Desertfest crowd to the finest smoked-out odysseys, with an exclusive headlining set at London’s famous venue Koko. Also headlining, Portland’s heavy rock’n’rollers RED FANG are set to turn this fourth edition into a massive metal celebration. The ground is set to tremble once again this year, with UK metal heavyweights ORANGE GOBLIN delivering their fiery metal anthems for a one-off 20th anniversary performance. It’s very rightfully than German psych foursome MY SLEEPING KARMA will be perfectly embodying the cosmic side of this first announcement.
Desertfest Berlin – April 23th, 24th & 25th 2015 – Red Fang added to the Line-up!
The fourth edition of our festival will take place once again in the famous ASTRA KulturHaus, in the beating cultural heart of BERLIN (F-Hain/X-Berg), from APRIL 23TH to 25TH 2015! We already look forward to welcome you again : 196 days left to wait :)
On the programme: 2 stages, around 25 bands playing across the 3 days, a beergarden, a hippie corner market and art exhibits… you know the formula… but also a bunch of new suprises that you will discover soon enough!
We started in September to unveil the first bands of a line-up that will totally blow you away, with a lot of exclusive/special shows: ORANGE GOBLIN “20 Year Anniversary Special Show”, MY SLEEPING KARMA “Album Release Party”… And we are proud to announce today that Portland’s Hard Rock Heroes RED FANG will headline one of the 3 nights!!
EARLY BIRDS TICKETS can already be purchased for 75€ via the link you will find a the end of this release!
Posted in audiObelisk on October 6th, 2014 by H.P. Taskmaster
Coming soon through Dutch imprint Headspin Records is a new split 12″ from German psych purveyors Krautzone and New Zealand’s Lamp of the Universe that features extended works from both bands and an overarching swirl between them that’s irresistibly if expectedly hypnotic. For Krautzone, whose lineup boasts members of Zone Six and Electric Moon – Sula Bassana and Modulfix on synth, Onkel Kaktus on bass, Komet Lulu on drums, Rainer Neeff (also The Pancakes) on guitar — it is the follow-up to their 2013 Sulatron Records debut, Kosmiche Rituale, and it presents in similar form. That album showcased three longer tracks of jammed out heavy space/Krautrock prog, and the new split follows suit, with the aptly-named two-parter “Superkraut” taking up the entirety of their side, accounting for 22 minutes of spaced-out instrumental progression, a steady current of organ and guitar fuzz marking out the improv-sounding jam in its first half while the second part gets even farther out into the cosmos, the drums holding firm as swirling drones begin a build of guitar that starts serene and ends serene but offers a surging wash of noise along the way in a satisfying trance of a journey.
While Krautzone plunge into the dark matter reaches of an unexplored spectrum, Lamp of the Universe provide fitting complement by taking that same search and turning it inward. Those familiar with the solo-project of Hamilton-based multi-instrumentalist and vocalist Craig Williamson know he’s always had a deeply spiritual approach, and his 22-minute track for this split, “Doors of Perception,” behaves accordingly, but where Williamson (ex-Datura) has spent the last couple years in the more straightforward heavy rock-minded Arc of Ascent and even Lamp of the Universe‘s last outing, 2013’s Transcendence (review here), seemed to move in a more traditional songwriting direction, “Doors of Perception” opens with seven-plus minutes of effects swirl before Williamson‘s signature clean-sounding acoustic guitar kicks in, and if you’ve been listening front to back after Krautzone‘s two tracks, the arrival of vocals about a minute later is like the exhale that must come when you reach the temple at the top of a mountain. Williamson unfolds a gorgeous, contemplative progression and then gradually gives way once again to psychedelic experimentation after the 13th minute, sitar, wah guitar and percussion gradually bringing the piece to a noisy apex.
The two acts pair together remarkably well, and both “Superkraut” and “Doors of Perception” offer substantial glimpses of psychedelic flourish that seem bent on drawing the distinction between consciousness and self. I encourage you to dig in on the player below, and be wary of getting lost in the lushness of the tones and vibes:
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Krautzone and Lamp of the Universe‘s split LP is coming soon on Headspin Records in a limited pressing of 500 copies — 200 color vinyl, 300 black — and boasts a silver embossed cover by Lulu Artwork. More info at the links.
Posted in Whathaveyou on October 3rd, 2014 by H.P. Taskmaster
German/Russian heavy psych rockers Iguana kick off a round of European dates tonight that will cover the next couple months, playing with Naam in Weil der Stadt. Later this month, they’ll hit the Keep it Low festival and then on from there for a series of weekenders that goes into December. Their debut album, Get the City Love You (review here), came out in 2012. Rumor has it — and by “rumor” I mean what they said on Thee Facebooks — they’ve got new songs written, so perhaps they’ll use these dates as a means for working out the kinks en route to recording their sophomore outing sometime this winter or next year.
Either way, if you happen to be somewhere these dudes are playing and up for a jammy good time, you know what’s up.
The IGUANA-Tour starts with some highlights. On 3rd of October IGUANA shares the stage with brooklyn based psychrockers NAAM. On the 18.10. they will play Keep It Low Festival, with acts like KADAVAR, BLUES PILLS, MARS RED SKY and THE SHRINE. The bands’ personal highlite will take place on the 25th of October, when IGUANA will be playing with SPIDERGAWD (including two members of the fabulous MOTORPSYCHO). So there is a lot of parties to come. Please join us!
IGUANA are touring Europe for some years now in the good old manner of DIY. IGUANA played more than 120 shows with bands such as Colour Haze, Kadavar, Saint Vitus, Brant Bjork. And they played Stoned From The Underground twice, also Void Fest and Blue Moon Fest.
Tourdates 2014 – IGUANA – Fall Winter Tour 2014: 03.10.2014 – Weil der Stadt (DE), JH Kloster, w. Naam 18.10.2014 – München (DE), Feierwerk – Keep It Low Festival, w. Kadavar, The Shrine, Mars Red Sky 24.10.2014 – Lüneburg (DE), Jekyll & Hyde, w. Eta Lux 25.10.2014 – Hamburg (DE), Bambi Galore, w. Spidergawd 31.10.2014 – St. Gallen (CH), Rümpeltum, w. Wight, Bushfire 01.11.2014 – Kranichfeld (DE), Crossing All Over Fest 14.11.2014 – Nijmegen (NL), De Onderbroek 15.11.2014 – Den Haag (NL), Club tba 20.11.2014 – Dresden (DE), Ostpol, w. Kalamahara 22.11.2014 – Würzburg (DE), Immerhin, w. Stone Troopers 13.12.2014 – Berlin (DE), Cortina Bob, w. Deaf Flow
Posted in audiObelisk on September 24th, 2014 by H.P. Taskmaster
Next Monday, Sept. 29, marks the release of the fifth Larman Clamor album, Beetle Crown and Steel Wand. The one-man outfit of Hamburg-based artist Alexander von Wieding has been something of a fixture around these parts the last few years, and over that time, the project’s progression has only become more evident, von Wieding taking Larman Clamor from swampy surrealism to an intricate potion of blues, psychedelia, heavy rock and gritty Southern-style twang. It’s been a satisfying and primarily weird journey, and I doubt very much if von Wieding would have it any other way.
The last couple Larman Clamor outings have come out courtesy of Small Stone Records — von Wieding has also provided art to numerous Small Stone artists from Wo Fat to Lo-Pan and so on — but Beetle Crown and Steel Wand sidesteps the collaboration for a limited self-release, 500 CDs available direct. One doubts it’s the last the two entities will join forces, as von Wieding is reportedly already at work on the sixth Larman Clamor album, but his one-year-one-record clip has been rolling for the last three or four years at this point, and there’s no slowing down now.
What that rate has given those who’ve followed him for that stretch is basically a blow-by-blow account of the creative evolution at play, and Beetle Crown and Steel Wand is the latest step in that clearly ongoing process, branching further out from the project’s bluesed-out roots and into an earthy psychedelia that belongs solely to von Wieding. He’s still got an edge of Delta blues to the sound — as the banjo-plucking and slide guitar on “Bleak Heart’s Night Waltz” will attest — but his depth of arrangement, rhythmic stomp and melodic scope continue to flourish.
Check out “Bleak Heart’s Night Waltz” on the player below, followed by the bio I wrote for the album, and enjoy:
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Tales of brown-leafed mystery. Unseen threats lurking in high weeds. Something not quite human, not quite there, out of some other place. Feet stomping on wood porches. This is all familiar terrain for Larman Clamor’s blues, but with Beetle Crown and Steel Wand, it’s just another piece in an increasingly complicated puzzle of psychedelic experimentation.
It is the fourth Larman Clamor full-length in three years, the prolific heart of multi-instrumentalist/vocalist/artist Alexander Von Wieding proving relentless in its creativity, and while Beetle Crown and Steel Wand fits in line with 2013’s Alligator Heart, 2012’s Frogs, 2011’s Altars to Turn Blood and the preceding 2011 self-titled debut EP, no question it’s also the next step in an ongoing evolution of Von Wieding’s songwriting. Each Larman Clamor outing has developed from the last, and Beetle Crown and Steel Wand is no exception. It is Von Wieding’s most rhythmic, most expansive statement to date.
One can hear it in the familiar dirt boogie of “My Lil’ Ghost,” sure – how comfortable Von Wieding sounds in this form compared to just two years ago (he’s had plenty of practice) – but where Beetle Crown and Steel Wand really distinguishes itself is in the arrangements. In short movements like “Eggs in the Sand” and “Tangerine Nightfall” and the album’s apex, “Her Majesty, the Mountain,” Von Wieding pushes Larman Clamor into psychedelic spaces more than he ever has, and particularly in the case of the latter, into heavier tonal weight than he’s ever conjured before. Larman Clamor doesn’t just sound like a solo-project here, but a full band.
At the same time, the opening title-track offers layers of percussive sway, “We Shine Alright” ticks away on pots and pans jangling chains, and “Bleak Heart’s Night Waltz” taps into forgotten woodsman tribalisms. Von Wieding takes us far away from past minimalism on “Caravan of Ghouls,” with a full, ritualized sound, and could it be that he’s presenting us with a companion for Larman in “Aurora Snarling?” It seems too early to speculate, but if Aurora is another character in Larman’s dizzying tale, she’s bound to show up again.
What’s certain is that Beetle Crown and Steel Wand is Larman Clamor’s farthest-ranging album yet. Von Wieding is still loyal to the muddy waters from which the project first emerged, but in no way is he restrained by them, and if the last couple years have proved anything, it’s that this development is only going to keep moving forward. Now that Larman Clamor is out of the swamps, it seems more and more like it can go just about anywhere.
Posted in audiObelisk on September 22nd, 2014 by H.P. Taskmaster
To Take up the Cross is a debut, of sorts. For German one-man outfit Latitude Egress, it marks a significant change. Formerly known as Licht Erlischt, the band released two albums of depressive black metal, moving away from the conventions of the subgenre over the course of 2009’s The Narrow Path and 2012’s …And Below, the Retrograde Disciples until, with To Take up the Cross, the shift required a name change. So, To Take up the Cross arrives as the first Latitude Egress offering, released on Oct. 27 via Art of Propaganda, comprising seven stylistically varied songs named in thematic keeping with the album’s title that hold firm to a rich, emotionally resonant drama while consistently defying expectation.
The roots are in black metal. Some of the underlying bed of guitar distortion from multi-instrumentalist/vocalist Niklas “Nerrath” Thiele (Horn, ex-Chemosh) gives that away, but Latitude Egress is stubborn in its refusal to be easily pigeonholed. In its pacing and melancholia, it’s no less indebted to classic European doom, and shades of death/doom appear alongside Thiele‘s synth theatricality and clean, commanding, at times Nick Cave-esque singing style. Earlier cuts like “To Take up the Cross When through it You Can Win a Kingdom” and “To Cast a Spot upon the Death of Your Death” might bring to mind some of Primordial‘s post-blackened impulses, but the personality and mission behind Latitude Egress is different, and songs move fluidly between raging and contemplative quieter passages, never quite departing a full-band feel but giving a sense of personal expression from Thiele all the same.
Slotted as the penultimate inclusion, sixth of the seven, “To Restore the Pride to Petravore” builds over its first couple minutes subtly behind Thiele‘s vocals and guitar until at last boiling over to a push of shouts and distortion that, topped with a mournful lead guitar, serve as a fitting emblem of To Take up the Cross‘ doomed side, a memorable airiness of tone seeming sentimental for former glories until the piece seems to collapses, resigned, into itself and ends, giving way to closer “To March along the Desolate Peripheries of Mind,” which enacts the final stretch of bleakness in Latitude Egress‘ heavy-hearted salvo.
As much a work of emotional as sonic weight, you’ll final “To Restore the Pride to Petravore” on the player below. Please enjoy:
Latitude Egress‘ To Take up the Cross is due out Oct. 27 on Art of Propaganda. More info at the links.