Greenleaf Post “The Rivers Lullaby” Lyric Video; On Tour Now

Posted in Bootleg Theater on November 14th, 2018 by JJ Koczan

greenleaf the rivers lullaby

I’m going to review this album in the coming weeks — actually it’s slated for Monday, Nov. 26, if you’re curious — but as I watch the wobbly Wonka-esque letters of Greenleaf‘s new lyric video for “The Rivers Lullaby” roll past, I can’t help but be reminded of the clip Truckfighters put out in 2016 for their song “Calm Before the Storm” (posted here) that wound up catching such hell for directly telling the story of a grisly murder that took place in both bands’ native Sweden. It doesn’t seem like Greenleaf are talking to the same circumstance, but in lines like “Came from the shadows” and “I’m gonna have what it is mine,” the sense of threat comes through clearly as they touch on the title of the record itself, which is Hear the Rivers.

They’ve been out supporting the album alongside Samavayo and only have a couple of dates remaining on the tour, but expect Greenleaf to hit the road again in 2019, since that’s basically their modus nowadays. Album cycles. Since 2014’s Trails and Passes (review here), they’ve been a full-fledged touring act, but Hear the Rivers, which follows 2016’s also-righteous Rise Above the Meadow (review here), is their first with the complete lineup of vocalist Arvid Hällagård, bassist Hans Fröhlich and drummer Sebastian Olsson around founding guitarist Tommi Holappa, who has essentially transmuted what might’ve been the continuation of his other outfit, Dozer, onto what was once a side-project while retaining Greenleaf‘s signature classic heavy rock elements.

I haven’t seen this lineup of Greenleaf live, and it’s starting to give me that existential ache. Sadly it won’t happen on this tour — off to Eindhoven! — but hopefully at some point soon the paths will align.

Enjoy the video and the song. The album is out now:

Greenleaf, “The Rivers Lullaby” lyric video

GREENLEAF give a second glimpse of how the rivers sound by revealing “The Rivers Lullaby”. Today the Swedes illustrate the floating stoner groover with a lyric video that underlines the song’s essence in the typical GREENLEAF way.

The band on the new video and their plans for the next weeks: “We feel very happy with the lyric video for “The Rivers Lullaby”. It captures the mood and the essence of the song itself that for the most part describes a reaper’s helpless and weary thoughts. We also can’t wait to get on the road on Thursday and play this beast of a song for a live audience!”

GREENLEAF – Remaining dates w/ SAMAVAYO:
14.11.18 DE – Cologne / Helios 37
15.11.18 UK – London / Underworld
16.11.18 FR – Paris / Glazart
17.11.18 NL – Eindhoven / Helldorado Festival*
*without SAMAVAYO

Line-up:
Arvid Hällagård: Vocals
Tommi Holappa: Guitar
Hans Fröhlich: Bass
Sebastian Olsson: Drums

Greenleaf on Thee Facebooks

Greenleaf on Instagram

Greenleaf at Napalm Records

Napalm Records website

Napalm Records on Thee Facebooks

Greenleaf at Sound of Liberation

Tags: , , , , ,

Feature: Going Deep on The Wall [Redux]; Band Commentaries, Track Premieres and More

Posted in Features on October 26th, 2018 by JJ Koczan

va magnetic eye pink floyd the wall redux

Two things you should know about this post. First: It’s huge. Apart from the year-end lists that get posted each Jan. 1, it’s the longest post I’ve ever put up. The Q&As alone are 11,000 words. It’s more compendium than interview.

Second: That’s entirely on purpose.

What on earth would possibly earn such a vast landscape of text if not The Wall [Redux]? The third and most ambitious yet of Magnetic Eye Records‘ series of [Redux] compilations captures Pink Floyd at arguably (or, really, inarguably) their most iconic and comes accompanied by The Best of Pink Floyd, another Various Artists take on a swath of tracks from the generation-defining British band’s storied discography.

Like few records before it and even fewer since, The Wall is a landmark for what rock and roll could be, and the enduring emotional and sociopolitical relevance of a work of art that’s the better part of 40 is only part of what makes it so timeless when one considers the actual songwriting itself. Even for rock heads who aren’t Pink Floyd fans, it’s undeniable.

Before we get down to business on this thing, I need to thank Jadd Shickler of Magnetic Eye and Blue Heron (who take on “Stop”) for essentially putting it all together. He chased down the commentaries from the bands and we went back and forth about whether to run the whole thing or edit it down, but in the end, it seemed too crucial to me to not include everybody’s every word. I won’t be so self-aggrandizing as to call this a companion for The Wall [Redux] or The Best of Pink Floyd or anything like that, but it’s a look at the bands talking about how Floyd came into their lives, how they got to do the songs they did, and how they view the album in the context of today. Some take a political angle, some just dig the record. Both are valid, and The Wall stands up to scrutiny on both levels.

I’ve put the bands in alphabetical order, so you’ll get to see comments from: ASG, Blue Heron, Creepers, Los Disidentes del Sucio Motel, Domkraft, Forming the Void, Ghastly Sound, Greenleaf, Howling Giant, Mark Lanegan, Low Flying Hawks, Mars Red Sky, the Melvins, Mos Generator, Open Hand, Pallbearer, Red Mesa, Scott Reeder, Ruby the Hatchet, Sasquatch, Solace, Somnuri, Summoner, Church of the Cosmic Skull, Sergeant Thunderhoof, The Slim Kings, Spaceslug, Sunflo’er, T-Tops, WhiteNails, Worshipper, Yawning Man, Year of the Cobra. That’s nearly everybody involved in the project.

The copy is pretty raw — if you have time to precisely edit 11,000 words, congratulations on your life — but I’ve done a bit of formatting to hopefully make it clear. You’ll find it all beneath the track premieres below for Solace‘s take on “In the Flesh” and Red Mesa‘s version of “Breathe.” The Wall [Redux] and The Best of Pink Floyd are out Nov. 9 on Magnetic Eye Records. Preorders are available here.

Solace, “In the Flesh”

Red Mesa, “Breathe”

Behind The Wall [Redux]:
Inspirations and Motivations

Jason / ASG / Mother

As musicians and music fans, what’s your connection to Pink Floyd?

I think for us as musicians, Pink Floyd was there in the beginning of learning how to play guitar, drums etc. The relative simplicity of many Floyd tunes went hand in hand with the primitive stages of guitar lessons-if you knew a handful of chords you could play many of their songs. So as a teenager that was a big deal, being able to play one of your favorite band’s songs in the early stages of playing an instrument – it kind of cemented a lifelong bond of influence and fandom with Pink Floyd.

How did you arrive at your approach in covering “Mother?”

In our attempt of covering “Mother” we chose to stay relatively true to the original- we recorded out in the desert of Texas so perhaps a bit of country western influence slipped in with some guitar tremolo and mandolin making their way on to the track. And as a vocalist trying to do both the Waters and Gilmour “voices” it provided a bit of a challenge – but hopefully our version retained the intriguing and beautiful dichotomy their voices created in many classic Floyd tunes.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

I think any time or year is a good time to revisit Pink Floyd!

Jadd / Blue Heron / Stop

As musicians and music fans, what’s your connection to Pink Floyd?

I was late getting turned onto Pink Floyd, I think in my late 20s… I’d always heard the hits on rock radio but never spent any time going deeper. For some reason, I decided to buy an unauthorized biography about Pink Floyd while at a big bookstore in Denver when I was 27 or so. And then, who knows why, I read it from cover to cover while driving cross-country from Erie, Pennsylvania to Albuquerque, NM. I don’t mean I read it at rest stops and hotels or listened to the audio version, I mean I read the physical book perched on my steering wheel while driving 80 miles per hour across the width of the United States – it was that engrossing, and I heard and learned things about constructing songs and being in a band that would affect me forever.

How did you arrive at your approach to your song?

Well, we claimed this song as a way to be part of the record but not feel like we were taking the more sought-after songs away from anyone. No one was fighting over the 42-second piano and vocal instrumental, but that was nice, we were free to kind of ingest it and blast out something uniquely us. Chav basically took on the heavy lifting of turning that sparse piano melody into multiple layers of texture and fuzz, and then we drew it out a little bit so it didn’t feel rushed. There are very few lyrics, so I really just tried to find a different point of view on them… Roger Waters does plaintive well, I was aiming more for resignation and self-disgust as the character recognizes his errors in judgement and skewed perspective… I like to think that came across in what we did.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

As soon as Mike told me his plan to make The Wall the next Redux album, I was on board. It was February of 2017, and we were maybe a month into the Trump presidency, hearing about the wall he was going to build on the border and feeling completely alienated in our own country. Even though Floyd’s album was maybe not as political originally in its message, it seems like it took on more of that position over the years as it came to be associated with East Germany and such. So, given how powerless we were feeling after the most recent presidential election, the idea of re-building and re-imagining such a seminal album couldn’t have been a better way to make a statement about totalitarianism, divisiveness, and the kind of ignorance and hatred this administration makes people feel empowered to embrace. We should probably Redux the Sex Pistols next just to drive the point home.

Bill / Church of the Cosmic Skull / The Trial

As musicians and music fans, what’s your connection to Pink Floyd?

Although Dark Side and the Syd Barrett era are the usual ‘way in’, The Wall was played a lot around the house when I was younger, so it was my introduction to the band. As we’re all aware it’s something of a marmite album, and certainly more Waters than anything else, but it’s undeniably a great concept album, from one of the many incarnations of Pink Floyd.

How did you arrive at your approach in covering your song?

I love the old story that Dark Side syncs up with The Wizard of Oz if you press play at the right time. The Trial has some of Gerald Scarfes darkest animation visuals as part of the feature film, so we have synced up the cover version with the original, so you can play both simultaneously and it will fit together. Musically we have changed the verses considerably, and as the original has parts from all the different characters on the album it made sense we gave each one to different singers in the band:

The Prosecutor – Brother Sam
The Teacher – Brother Michael
The Wife – Sister Caroline
The Mother – Sister Joanne
Pink & The Judge – Brother Bill

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Politically it makes sense, and the increasing awareness of mental health issues, especially in the music industry, makes it all the more poignant.

Shiv Mehra / Creepers / Us and Them

As musicians and music fans, what’s your connection to Pink Floyd?

As musicians and music fans Pink Floyd has been one of the most inspiring bands of a lifetime. I connected to them personally from the early days of Syd Barrett to the latter. They’ve pushed sonic boundaries for rock into a realm of psychedelia that opened the doors for so much of our music today.

How did you arrive at your approach in covering your song?

Well “Us and Them” was one of our first picks for covering because it sits in a range for us vocally and reflects our own personal taste and sound as a band.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

2018 is a perfect time for revisiting The Wall because it has been 39 years and music has transformed in so many ways since, but The Wall paved the path for psychedelic bands like us.

Nicolas / Los Disidentes Del Sucio Motel / Welcome to the Machine

As musicians and music fans, what’s your connection to Pink Floyd?

My connection with PF is huge! This band has been part of my main influences for years. I have all Floyd albums and a lot of solo albums of each member. Unfortunately, I never had the chance to see the whole band performing together, but I was lucky enough to see David Gilmour and Roger Waters in concert. I saw the last tour of The Wall at the Stade de France in Paris in 2013. This concert was a turning point in my life. Probably the biggest concert I’ve ever seen and will ever see. Recently I saw Waters with my dad, it was also a wonderful moment. Pink Floyd is one of those timeless groups that cross generations. My father loves PF, I love PF and I hope my son will love PF too!

How did you arrive at your approach in covering your song?

Pink Floyd is one of the few bands that connects us all in LDDSM. We all listen to this band on a daily basis, really. For each new album, we work on a cover that we play at the end of our concerts. For the album “Human Collapse”, it was “Welcome to the machine”. This appeared quite obvious by itself, because HC was written under the influence of PF from the start and is composed somewhat like “The Wall”. The way of composing and Gilmour’s guitar playing guided me a lot during the writing of this album. This man is a real god and I have immense respect for him. The sound he has created, his way of placing always the right notes at the right time, the sensitivity he puts in it, is pure genius. When we cover a song, we like to make it our own, as if the song could have been written by ourselves. But above all, we are always looking to keep its original identity. We don’t like to leave its uniqueness behind. People must be able to recognize it in the first seconds and have to say at the end “goddam, it really sounds like an LDDSM song!” That’s the point, make LDDSM stuff with the composition of another and respect the original song.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

It is obvious that we are in a sadly perfect context for that. The political scope of the album has never been so justified. What we do with our planet is a shame. Trump is a shame, a monstrosity. But he is unfortunately not the only one. We live in an extremely violent and difficult world and I worry a lot, every day for the future of my children. In the manner of Waters, we might be tempted to build a wall around us to protect ourselves from others, but isolation is never the answer. We must break this wall, open ourselves to the unknown, reach out to others, it’s the only way for humanity to survive. This is the message of this album and it must be heard today more than never before.

Martin W. / Domkraft / Empty Spaces / One of These Days

As musicians and music fans, what’s your connection to Pink Floyd?

As a band, we probably would not sound the way we do had it not been for Floyd. They have been THE band for our guitar player Martin, who basically has listened to them all his life and they were the sole reason for him picking up the guitar in the first place. The rest of the band are also fans, but we both discovered them at a later stage in life.

How did you arrive at your approach in covering your song?

We right away decided that we wanted to do something in the vein of “Domkraft interpreting Floyd” rather than note-perfect cover versions. Why try to match something that is already perfect? Let’s do our own take instead and create alternate versions of classic tracks. Like, we found ourselves stretching short segments of the songs into actual parts of our versions. Small sounds and vibrations from the originals getting more space and importance. When we got to do “Empty Spaces”, we immediately knew that we wanted to go even deeper into the brooding, desolate aspects of the song. We soaked it in reverb to achieve an almost drone-like vibe to emphasize the lonely, bare and exposed feeling of the track.

“One of these Days” is such a seminal track and probably one of our absolute favorites from the Floyd catalog, so that one felt like an obvious and insane choice at the same time. With both the studio and the Pompeii versions just oozing perfection, we just decided to just go for it, not look back, and do our own take – more fuzz-drenched and with the same kind of psych-inspired over-the-top guitar work that is to be found in most Domkraft songs. Plus, we took some liberties and incorporated a segment from another “Meddle” classic – the falling note arpeggio break from “Echoes” – which worked really nicely and gave it some breathing space in the freight train section of the track.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Oh, hell yes. Frighteningly good. These are Orwellian times, possible more in the Animal Farm sense than 1984, though. That particular album has gone from being political (at the time of its release) to being “just” a classic (post-Glasnost) to being super-political again. A super political classic.

Shadi / Forming the Void / Fearless

As musicians and music fans, what’s your connection to Pink Floyd?

The first time I heard Pink Floyd was when I was 12. I had been studying music for a while and my father decided I was “ready” to hear them. We sat down together, and he played me the entire Wish You Were Here album. That moment changed my life forever. Pink Floyd became the band that I studied obsessively for the next few years. They sparked my lasting passion and serious pursuit of music and influences me deeply to this day.

How did you arrive at your approach in covering your song?

We had a short list of favorite Pink Floyd songs we might hypothetically cover one day. When we got this opportunity, it was with two weeks’ notice. From our list, ‘Fearless’ adapted the most naturally to our sound and fit most readily the time constraints we were given so it was an easy choice.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Anytime is a good time to revisit Pink Floyd! They are timeless.

TJ / Ghastly Sound / Another Brick in the Wall, Pt. 1

As musicians and music fans, what’s your connection to Pink Floyd?

Pink Floyd was one of the first and most important bands we were introduced to as children. I remember seeing posters for “The Wall” hanging up in my uncle’s bedrooms and being completely captivated by the artwork. In the 90’s, my father was really into home theater systems. When the Pink Floyd Pulse Live DVD came out, I was 8 years old. Our entire house would shake as we watched this and the cinematic adaptation of The Wall. This stuck with me until my teenage years and I began to discover cannabis. Thankfully, my parents were really open-minded about this specific substance and one summer night in my 13th year, they gifted me and a friend a half a bowl to smoke in the garage. Following our consumption of this gift, my friend and I got into my dad’s car and listened to Comfortably Numb on full blast in the driver and passenger seat. This experience was honestly a crucial moment in my development as a person and a musician.

How did you arrive at your approach in covering your song?

Approaching this cover was one of the most challenging experiences I’ve ever had as a musician. I think I threw away 3 or 4 instrumental versions before we landed on what we have now. Approaching a cover from such an iconic album is intimidating enough on its own. We had an extra challenge given that our specific track is more of an interlude; and comprised almost exclusively of David Gilmour playing guitar. Me, not being a guitarist, faced with executing something so clean in tone and performance was nothing short of terrifying. Our two main focuses were keeping true to the pace of the album and trying to maintain the feeling of crescendo as the album moves from Another Brick in the Wall Part 1 to Happiest Days of Our Lives. Ultimately, we decided that starting off true to the original and utilizing the ambient section of the song to take some liberties and transition into the next track was the best possible scenario. Hopefully we’ve succeeded and added something special for the listener to experience.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

2018 is a great time to introduce this album to a new generation of listeners. Not only because of the juxtaposition of the current political climate, but because guitar-based music is coming back in a huge way. It’s my hope that people can take these adaptations and use them to expand upon more traditional approaches to songwriting in the stoner or doom genres.

Tommi Holappa / Greenleaf / Another Brick in the Wall, Pt. 3 / Goodbye Cruel World

As musicians and music fans, what’s your connection to Pink Floyd?

For me it all started with seeing the Live at Pompeii DVD. The musicianship, the sound landscapes, the songwriting, it’s just simply amazing! Since then I have bought all their albums and yes You can easily say the I have been influenced by them. On each Greenleaf album there is at least one or two songs that has a little bit of Pink Floyd influences in them, it could just be a little reverb/delay thing, a riff or just the mood of the song.

How did you arrive at your approach in covering your song?

Well we knew that we couldn’t just do ”covers” of the songs because nothing can beat the originals. So, we decided to not try to copy the songs too much and try to make them sound more like Greenleaf, a bit more bluesy and a bit more heavy.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Yes, it does! If you look all the stupidity that is going on in the world today it could drive any sane man crazy…

Tom and Zach / Howling Giant / Matilda Mother

As musicians and music fans, what’s your connection to Pink Floyd?

They pioneered the idea of the concept album. While each song can stand alone, everything they wrote had a specific purpose within the album. Pink Floyd also showed us that you don’t have to fit within a certain genre, they were all about writing what they wanted, when they wanted.

How did you arrive at your approach in covering “Matilda Mother?”

It’s a weird song, and its focus on fairytales and escapism is something that appeals to us. ‘Piper at the Gates of Dawn’ is often overlooked in the Pink Floyd catalogue and we wanted to represent that era.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

The songwriting on The Wall is definitely worth revisiting, especially with the resurgence of classic rock influence on the heavy scene.

Mark Lanegan / Nobody Home

As musicians and music fans, what’s your connection to Pink Floyd?

As a teenager, I stole a record one day. Walking out of the store carrying it behind an empty record cover I’d brought in with me. When I heard the store clerk shouting behind me to stop, I turned a corner and out of his vision for a second, I threw it like a knife into a bank of deep snow. Not finding it, the guy let me go. Hours later I returned to retrieve my copy of ‘The Wall’ and listened to it nonstop for a long time. One of the great records of all time, I’m pleased I was able to participate in this tribute. Legally, of course.

Low Flying Hawks / The Thin Ice

As musicians and music fans, what’s your connection to Pink Floyd?

There’s always been a connection, we’ve always been into Pink Floyd, mostly the early years, the Syd Barrett stuff, atom heart mother, more, meddle, etc. probably up until the wall. We feel the true magic obviously after Syd left (cause Syd was the magic) was the mix of Roger and David, but once Roger started to lead we thought it was too rigid to forced and the other way around when David was in the lead it got too honey-dripped, too forced to the exact opposite, so together it was a perfect balance.

How did you arrive at your approach in covering your song?

We wanted to do something very simple, stripped to the core, the opposite of the operatic circus approach roger gave the album and obviously the song.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

We’re not political at all so we really never mix politics and music etc., we get the connection and the timing, but we feel you can always revisit an album if the bands are good and the songs are interesting.

Mars Red Sky / Comfortably Numb

As musicians and music fans, what’s your connection to Pink Floyd?

Mat: To be honest, Pink Floyd belongs for me to the generation of my parents, they had some of their records, so it has always been familiar, and it took years to rediscover it by myself. Also, songs like “division bell” was constantly on the air in the early ’90s when I was digging Punk Rock and Grunge… One day I listened to ‘The Piper at the Gates of Dawn”, and I went crazy about what was coming out from the speakers!

Julien: My dad had ‘Dark Side of The Moon’ in his record collection, I liked that a lot. Later I got more into them through a couple of friends when I was twenty and was a bit fascinated by the whole Syd Barrett mystery. I like most of their albums a lot, with a preference for some of the earlier ones (‘A Saucerful of Secrets’ especially)

Jimmy: ‘The Piper at the Gates of Dawn’ and ‘Atom Heart Mother’ are two of my favorite albums ever…

How did you arrive at your approach in covering your song?

Julien: We got the opportunity to pick Comfortably Numb, that was great because it’s one of our favorites. We had fantasized on covering this song for a long time, I had tried it awkwardly with a previous band. Here we put it all together fairly quickly, and we really like the way it came out. Our friend Benjamin Mandeau did a killer job at recording and mixing it.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Mat: Definitely there’s always a good reason to revisit such an album like that!

Dale Crover / The Melvins / In the Flesh?

As musicians and music fans, what’s your connection to Pink Floyd?

I’ve been into the Floyd since I was in grade school, thanks to older brothers. The first record I had of theirs was “Animals.”

How did you arrive at your approach in covering “In the Flesh?”

We always put our own spin on the song we’re covering. We came up with a genius idea for this one. If I tell you it will spoil the surprise. You’re just going to have to hear it.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Sure, why not now? Roger Waters keeps revisiting it for his mega buck tours. They didn’t really tour that record when it came out. In the US they only played New York and LA. Here’s a fun fact: when we recorded Stoner Witch we used the same Fender Precision bass that Roger used on The Wall. I believe it belonged to Bob Ezrin, producer of the Wall.

Tony Reed / Mos Generator / Goodbye Blue Sky

As musicians and music fans, what’s your connection to Pink Floyd?

There is no getting away from the influence of Pink Floyd. Their music has always seemed to be there and growing up in the 70s helped make them a part of the soundtrack of my youth. I have to be honest, when I first started playing music in around 1982, I was really burned out on the Pink Floyd “radio” songs and had never taken the time to explore the catalog. It wasn’t until about 15 years later that I heard the Meddle album and I was hooked on “Echoes”. Soon after, I took very little time hunting down the discography and studying it. Now they hold a very high place in my top bands.

How did you arrive at your approach in covering your song?

My usual approach at a cover is to try and replicate the song as close as I can, in performance and production. Using that technique, I come away from the project learning something about the recording and playing of the song. It makes me take an approach that I may not have chosen if I had written the song. In the end, I learn something that can possibly be applied to my own producing and writing. Not everybody agrees with this approach but it’s fun for me.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

The Wall is a timeless piece of music. It’s a human album, that to me, speaks about a struggle that we all go through as we move through life. It doesn’t manifest itself as intensely in most people as it does in the “Pink” character, but we’ve all been “through some sh**” at one time or another. Some more than others and years of it can change a person into a different soul. It’s seriously heavy thinking for a rock ‘n’ roll album.

Justin / Open Hand / The Show Must Go On

As musicians and music fans, what’s your connection to Pink Floyd?

What always has drawn us in to Floyd is Gilmour… his guitar playing and his voice … for those of us lucky enough to be exposed to Floyd at a young age (by our dads) you can’t help but be inspired by that band for the rest of our lives … and when you start playing guitar, Gilmour is a must study.

How did you arrive at your approach in covering your song?

We based our approach on the live version of “Show Must Go On” … it is a little longer live (extended) … they added another verse etc. … the live version of that song is better than the album version actually … so we went with that. As far as working with past Pink Floyd touring sax player Scott Page… I have known him for decades…met him when I was 13 or 14 … he was always involved in amazing bands (reo speedwagon… Supertramp…etc.) and Floyd … he gave me my first instrument … a saxophone… still have it … when it came time to record this cover … it was an obvious choice to go to the source … and even though there was never sax on the original he jumped at the chance to add some shit to it … recorded in the bathroom of my apartment…

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s a great time to revisit… having a whole new generation be turned on to Floyd via modern relevant bands that kick ass. … and Mike does an amazing job collecting those bands for these killer redux records… to be a part of two of these redux series for our favorite artists (Jimi Hendrix and pink Floyd) … so fucking cool man.

Pallbearer / Run Like Hell

As musicians and music fans, what’s your connection to Pink Floyd generally or The Wall specifically?

Pink Floyd has been a major source of inspiration for us, since long before we started Pallbearer. The experimentation, the innovative production, and most importantly the great songwriting has always been a benchmark for us to strive for since we started this band

How/why did you choose “Run Like Hell,” and how did the amped-up take on it come about?

When we were approached about doing this project, we initially inquired about 3 or so tracks to see if they had already been claimed by other artists, RLH being one of them. We were excited to take on RLH because it would give us the opportunity to totally subvert the notion that we would end up doing something obvious. The song is already kind of outside of the realm of our already-Floyd-indebted style. It was different for them, so it gave us a chance to really think outside the box.

Our initial inspiration on how to approach it actually came from watching as many early live performances of it as we could find. We found that all of them were really vicious sounding, and a bit unhinged. They just felt off the rails, so we decided to just go full steam in that direction.

Does today/2018 feel like a good time to revisit an iconic album like The Wall, and why or why not?

The Wall is very much an album that explores different aspects of isolation. In 2018, our world is essentially more “connected” than ever before via technology, yet it feels like we are also becoming more and more isolated from one another as individuals. Additionally, nationalist tendencies are increasing globally at a terrifying rate. It seems like a perfect time to revisit and re-examine this classic album.

Brad / Red Mesa / Breathe

As musicians and music fans, what’s your connection to Pink Floyd?

I started listening to Pink Floyd in high school in the mid-nineties. The first two albums I owned were on CD. ‘The Wall’ and ‘Dark Side of the Moon.’ I didn’t start paying music until after high school, so I was just a rabid fan of rock and roll, hungry to listen all the classic stuff. Both albums completely blew my mind. I spent hours in my room after school listening and reading the lyrics. I felt that Pink Floyd was the most intelligent band. Besides being phenomenal musicians, Roger Water’s lyrics spoke to me. He somehow managed to take philosophical concepts and weave them into a rock and roll band. It wasn’t just about women, drugs, and fast cars. Nothing wrong with that as subject matter, but Pink Floyd made you think about and question existence. As my younger brother and I digested The Wall and Dark Side, we discovered the rest of their albums. I fell in love with Meddle and Animals. The song “Echoes” on Meddle is my favorite psychedelic song of all time.

How did you arrive at your approach in covering your song?

We covered the song “Breathe” from Dark Side of the Moon. Picking the right song for the band was a challenge. We wanted to play to the strength of the band. Roman, our drummer texted me “How about Breathe?!” as I was looking at the guitar tab and plucking out the chords and rhythm. I thought that was a sign. I sent the band a voice memo of guitar stuff, they liked it, said we should make it heavier. We ran through it in practice and it felt great! We all love Pink Floyd so much. We felt honored to be asked to cover one of their songs. We wanted to do our very best and pay our respects.

In the studio, we played all the rhythm section ‘live’. It has a very organic feel to it. We really liked how it came out. I went back over and doubled the guitar track. For the iconic Dave Gilmour slide part, I played lap steel with a bunch of delay and reverb and heavy overdrive. We had a blast recording this one.

Matthew from Empty House Studio orchestrated us for “On the Run” the trippy instrumental song that comes in directly after “Breathe” ends. I stuck my head inside a grand piano banging away on the strings, while Roman was holding down that super cool drum part. At that point we had already polished off a bottle of Jameson, Matthew says “be careful, that piano is worth more than a house”. And I’m just banging away in there. Matthew was pushing us to get more creative and weirder. Super fun.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Yes, absolutely. Politically, spiritually, and environmentally things are fucked in the US. It seems that The Wall’s concept and message is timeless. It came out in 1979. It could have been released in 2018 without altering a single word. As much as that album is brilliant, it’s sad we haven’t seemed to have evolved much in the past 40 years. However, revisiting this album will hopefully bring Pink Floyd’s message and music to a younger generation of fans.

Scott Reeder / Is There Anybody Out There?

As musicians and music fans, what’s your connection to Pink Floyd?

When The Wall was released, it was my entry into Pink Floyd’s universe; and to this day is probably my biggest musical influence… right up there with The Beatles. My solo stuff always draws comparisons to Floyd. The damage is done deep – they were all I listened to for a long time! I feel lucky to have seen them a couple of times. Roger Waters quite a few times, too. Oddly enough, I had dinner with their final long-time bassist, Guy Pratt, and his wife few years ago at a Warwick Bass party. We were showing each other pictures of our properties and horses and had an awesome time. I didn’t realize at the time that his lady was Richard Wright’s daughter, Gala. She was very sweet.

How did you arrive at your approach in covering “Is There Anybody Out There?”

There’s not much to it… You’ve got the title question asked a few times, and then that iconic guitar run that I struggled to do some justice to. Structure-wise, that’s it. My fretting hand had developed trigger finger – my pinky and ring finger were locking closed, and after every take, it got worse, but I patched it up alright. The ambient stuff I constructed to reflect the desolate feeling out here on the ranch – I recorded guns in the distance, and our dog Rocky was scared and whimpering next to me, while his pal Harry was barking in the distance. My Chihuahua Scooter is in the mix towards the end, too – she passed shortly after this was finished – I’m so glad she’s on it! Got my 8-string bass in there for the scrapes run through a Whammy pedal to raise the tension. And it’s my first time using trombone on a track!

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

At almost 30 years out… why not? It’s my favorite album of all time – probably the only album that I could sing all the words to! It’s an honor to be a part of this tribute to the greatest album of all time, and it’s absolutely killing me waiting to hear how the whole thing plays out!

Jillian Taylor / Ruby the Hatchet / Vera / Pigs (Three Different Ones)

As musicians and music fans, what’s your connection to Pink Floyd?

Pink Floyd was one of the bands I was brought up on and a favorite of my father’s. I remember thinking they were really weird and scared me when I was young; especially The Wall movie which seemed to always play in the wee hours when I was sneaking TV. My mother’s side is from England and there are so many crossovers with Floyd lingo and English pride and reprimand (cue “hanging on in quiet desperation is the English way…”). When I was a teenager, and after an ugly divorce between my parents, my father gave me The Wall for my birthday. It was then that I felt like I understood their strangeness and the rebellious and political undertones. I even went through a rough year where I had to listen to The Dark Side of the Moon every single day to relate to all the beauty and pain in it.

How did you arrive at your approach in covering your songs?

Everyone dove in to their respective parts. Pigs was a huge labor of love by all parties; especially Sean (keys) who recorded and engineered both tracks for us. It’s a lengthy track that we made even longer (additional apologies to Sean for having to mix down a 12-minute song dozens of times). We didn’t veer off course with Pigs much, it was fun to play it straight and make small twists with the organ, harmonies and vocals in female register. Vera was completely different as it’s a very short interlude (we managed to at least triple the length of it, of course). It came naturally to play around with Vera. I’ve always thought that song was so hauntingly pretty and used to hum an additional part I’d imagine there which we made happen in a bridge.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

I’d say yes, and until we reach some kind of Utopian society which doesn’t seem like it will realistically arrive; then maybe always. There’s a George Orwell quote from 1984 that always reminds me of The Wall: “If you want a picture of the future, imagine a boot stamping on a human face — forever.”

Cas, Keith and Riggs / Sasquatch / Another Brick in the Wall, Pt. 2

As musicians and music fans, what’s your connection to Pink Floyd?

Riggs: PF is one band that has consistently punctuated moments in my life from the age of 8 to whatever I am now. My brothers got tickets to The Wall at Madison Square Garden when I was a wee lad. I was completely bummed that I didn’t get to go, and I have spent the rest of my song-writing life trying to rip them off.

Keith: Floyd has had a big influence in many ways on me personally and our music. I guess it might not come through so much in our songs themselves, but I think about PF when I’m incorporating dynamics and textures into the songwriting. It’s definitely played into having Unger come in and drop more Hammond and B3 on our new record, Maneuvers.

Cas: To be honest, I’m the young buck in the band. Growing up as a metal kid in the late 80s, my first exposure to PF wasn’t a direct connection, but through Voivod’s cover of Astronomy Domine. Obviously, I had heard PF hits on classic rock radio, but hadn’t paid attention until I heard this tune in 8th grade. That take on that song drove me to dive into the PF catalog and I haven’t looked back since. Waters may not be flashy, but he writes some of the most memorable bass lines out there in rock. Huge influence on how I approach the instrument.

How did you arrive at your approach in covering your song?

Riggs: Another Brick in The Wall has always been an odd song for PF. I remember kids in school singing the song to be rebellious, but the disco beat always freaked me out. We wanted to change it up in a more soulful way and lose the kid chorus and disco beat. It’s the same approach we would take if we were to cover Money.

Cas: Keith and Riggs played around with several different versions. We thought about both extremes: a) keeping it true to form or b) deconstructing it to the point where it would be completely unrecognizable. We eventually ended up slowing it down and beefing it up but kept the melodies intact. The guys were definitely adamant about pulling out the Bee Gees beat from the original. In the end, we decided pulling the drums completely out of the verses gave the choruses a much larger impact. Then Riggs tried out his best (worst?) Academy Award-winning English accent on the wrap-up. Made me crave some pudding.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Riggs: It’s always a good time to revisit any PF album. Just as Roger Waters is accentuating the current political aspects on his tours, it’s great to see a bunch of talented bands give it their own take.

Keith: I think anytime you can cobble together such a great list of bands like the roster here, why not do it?

Cas: Given the current climate, there’s no better time than the present.

Dan / Sergeant Thunderhoof / The Happiest Days of Our Lives / Time

As musicians and music fans, what’s your connection to Pink Floyd?

They were a mainstay in my household as a child. Those songs are so solidly imprinted within me that they’ve almost taken on another dimension. Floyd have a sound of their own that is pretty hard to pigeonhole and I guess we try to emulate that philosophy.

How did you arrive at your approach in covering your song?

“Happiest Days of our Lives” was a fun song for us to do, I even got to mimic the teacher’s voice at the beginning which was cool. We wanted to add a little bit of our theatricality to it which was quite hard given how short the song is, but we’re happy with what we did. Essentially the song acts as prelude to probably the most notable song on the album so our job was to set that up in the best way possible.

As for “Time,” this was really just a song that we all love. When it came to messing around with it, we found that by trying to make it more ‘hoof’ it simply sounded trite and a bit ‘try-hard.’ In the end after trying out different ideas, we pretty much just played it straight. In a way, this was us not trying to emulate Floyd but instead showing some respect to the song and humbly admitting that we can’t do any better that the original!

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

I guess it depends on what it is you think The Wall is. For me the album represented a rejection of indoctrination, whether that be the education system, political structures or financial institutions. What we’ve seen over the last few years is a complete breakdown of social interaction. There is such a divide between what we perceive to be the two sides of the argument. For me, The Wall represents a mental prison, not a physical one. Some people are so quick to assume the worst in everyone and everything, it would be nice to get back to a place where we can all respectfully disagree with each other but still enjoy a beer and a good riff without fighting!

The Slim Kings / Young Lust

As musicians and music fans, what’s your connection to Pink Floyd?

They are musically up there with the best. One of the bands to be studied in their song writing, production. They set up a mood that is undeniably Pink Floyd. Great teenager headphone music.

How did you arrive at your approach to your song?

So, there is no pressure to compete and make it sound like an original hit that people are used to – but we tried to cop most of the tricky licks so nobody would call us out. We recorded it live to tape quickly. Kacie Marie is a burlesque influenced singer and Instagram star who was hanging in the studio that day. She was the perfect woman to sing those background vocals.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

There is never a bad time to listen to the wall. Particularly when you are on this side of it! Joking aside, the country is in a cold civil war right now, so anything ever written about people being divided and conquered is relevant.

Tommy Southard / Solace / In the Flesh

As musicians and music fans, what’s your connection to Pink Floyd?

They’re an iconic band that influenced me as a young kid long before I even picked up a guitar. It helps when your cool uncle lives with you and has a copy of Ummagumma and it blows your mind in 2nd grade.

How did you arrive at your approach in covering In the Flesh?

Plug in and play like ourselves, hope for the best! I think we put our take on a classic tune from a masterpiece of an album. Tried to do it justice while still sounding like Solace.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Any day of any year is a good time to revisit any of the classic Floyd albums!

Somnuri / Sheep

As musicians and music fans, what’s your connection to Pink Floyd?

We all have an appreciation for Pink Floyd but if you asked us individually, our favorite albums would probably vary. As a whole, there’s no denying Pink Floyd’s sound and aesthetic as being an influence on us as musicians and artists.

How did you arrive at your approach in covering “Sheep?”

This project was interesting because there weren’t many songs left to choose from and given the timeframe to complete it, ‘Sheep’ was a very ambitious choice. As much as we tried to make it our own, we felt we had to honor the original song as much as possible. Ultimately, recreating the vibe and atmosphere was the most intensive part of the process. We feel proud of the way we conveyed the song and took it above and beyond what we expected.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Absolutely. With our current political and societal climate, the stories and concepts from the album seem as relevant as ever. One of the things that makes an album iconic is the sense of timelessness, and The Wall certainly has that feel, at least topically.

Bartosz Janik / Spaceslug

As musicians and music fans, what’s your connection to Pink Floyd?

It’s very personal music for me. A lot of good and bad memories. Floyds were with me in hard times and help me stand on the ground. Love this band and David Gilmour is in fact a big inspiration for my guitar playing.

How did you arrive at your approach to your song?

We managed to make our version of it and reverse the structure. The original has more doodling and ambient sound and this massive guitars on the end. We managed to make it little different and change that to have less ambient and more guitars and factures.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s always good! My dream is to be on Dark Side of The Moon Redux in some future! Hope this will happen! Also, that kind of initiative will keep good vibe that Floyds deliver years ago. Great band and this was really an honor to be part of this re-edition!

AJ / Summoner / Hey You

As musicians and music fans, what’s your connection to Pink Floyd?

I think our connection to Floyd is similar or the same to everyone else who plays this style of music. We’ve all been exposed to Pink Floyd our whole lives. I personally can say that it started with my parents listening to them when I was a kid. Followed by me taking that torch and running with it. Learning their discography as a teenager and striving to emulate them in the music I still write today. Summoner takes a lot from PF musically. When we get into our more ambient/atmospheric writing Floyd is always in the front of our minds. Not only do we draw from them musically, we are also influenced by their production style and studio magic.

How did you arrive at your approach in covering “Hey You?”

If I remember correctly, when we were asked to be a part of this we all agreed unanimously that “Hey You” should be our tune. You always have to be careful when covering a band like Pink Floyd. Everything they did was done right. You can’t expect to make one of their songs “better” you can only take what they have done and expand upon it and make it your own. We kept it tight to the template on our version because it was already so damn good. What we thought we could add was our style and texture to the tune and I think we did that well.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s as good a time as any. As I said previously, it’s always a risky venture to cover such an iconic band/album. Those songs are engrained in everyone’s mind and to switch that up almost seems like a losing battle. But done right it can be pulled off and I think MER has done just that with the bands they have chosen to do this project. We were just so happy to be a part of it. I guess the timing is kind of right since (I think) we are coming up on the 40th anniversary of the release.

Carter / Sunflo’er / Bring the Boys Back Home

As musicians and music fans, what’s your connection to Pink Floyd?

The riff in seven at the beginning of “Money” is a legendary use of odd meter. There’s so few solid examples of it in mainstream radio and making the realization as a youth leads to asking other questions about rhythm and where it comes from.

How did you arrive at your approach in covering “Bring the Boys Back Home?”

The original recording features a full marching band and choir, which we weren’t going to compete with, so the obvious choice for the cover was playing as minimally as possible. We wrote a chord melody for the guitar, reduced drum hits to only the most necessary, Ethan played saxophone and nailed it. Bohren & Der Club of Gore vibes were sought and achieved.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

For all the obvious geopolitical reasons: yes.

Patrick / T-Tops / Nile Song

As musicians and music fans, what’s your connection to Pink Floyd?

The Wall was my first introduction to Pink Floyd. When I first dug into the album 20+ years ago, the thing that struck me most was the overt loneliness & desolation at the heart of the record. This theme runs throughout much of their music, but obviously this is especially true with The Wall. What separates it from other Floyd records for me, is how it’s just a really solid, well-focused rock album (rock opera?) about brutal isolation & loss. These two themes are universally identifiable.

Though this album was inspired by WWII & the horrendous grief and loss it caused, I identify most with the songs about fractured relationships & the war & desolation that exists inside the narrator’s mind. Lyrically, my favorite songs on The Wall are “One of My Turns” which explores the madness & absurdity someone can exhibit to a loved one. First “love turns gray” then the narrator admits to being bored out of his skull and just going through the motions until he snaps into a manic scatterbrained episode of violence and destruction, scaring the hell out of the other person & then asks, “why are you running away?” Brilliantly followed by the backhanded apologetic begging of “Don’t Leave Me Now” where he reminds his partner about the “flowers I sent” & goes on to plead with them that he needs them (if only to “beat to a pulp” or “put through a shredder”) while simultaneously begging them not to leave.

How did you arrive at your approach to your song?

The Nile Song is possibly the most “straightforward” rock song in Pink Floyd’s catalog which is what drew me to it. The simplistic musical pattern and yelled/half screamed lyrics make it stand out from other Floyd songs and made it an easy choice for a cover. I was surprised no one else snagged this one before we were given the chance to. Of course, I’m aware of The Melvins covering this song in the early ’90s. Not that we (or anyone) could ever sound like the Melvins, but we kind of took a similar approach to covering it in just playing it basically the same as Pink Floyd just with louder more distorted guitars.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s never a bad time to revisit a classic.

Taylor / WhiteNails / Waiting for the Worms

As musicians and music fans, what’s your connection to Pink Floyd?

Pink Floyd is one of the quintessential musician’s bands. Their level of creativity and pushing boundaries has always been an inspiration to us. David Gilmour is one of our all-time favorite guitarists and there aren’t many musicians who have the taste and flair that he does. As well as one of the greatest guitar tones of all time!!!

How did you arrive at your approach in covering your song?

Covering “Waiting for the Worms” was sort of a trial and error process. We wanted to add our own touch but really didn’t want to stray too far from the original work. We ended up changing the verses musically and tried to stray somewhat true to the vocal melody. We generally beefed up most of the guitar work and allowed Darcy to really sing on the track.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Releasing an album like the Wall again seems entirely appropriate in the political and social climate we find ourselves in today. Pushing against the powers that be has never run out of fashion and it stands equally as true today.

Worshipper / One of My Turns

As musicians and music fans, what’s your connection to Pink Floyd?

ALEJANDRO: I don’t recall a time when Pink Floyd wasn’t a part of my awareness. My father was an avid music fan and record collector, so Floyd was often on the record player when I was young. “The Wall” was one of the first gatefold records I held as a kid. The towering butt overlord was mesmerizing. As a musician, my appreciation for the band goes in cycles. There was a time in my 20s when I couldn’t get away from The Wall or Dark Side because they were everywhere. Friends couldn’t wait to gift me a copy of “The Wall” the movie on VHS or DVD which is difficult because, let’s face it, it’s a dark movie. Who has the emotional fortitude to watch this Pink guy slice his eyebrows off? It’s tough. But, at some point a revisit of The Final Cut or Relics b-sides or Echoes or Shine on or Animals sends me back into another Floyd-obsession phase. For some reason I never got around to seeing the Pompeii stuff until recently, when we started writing our current record, so I climbed into that rabbit hole for a bit. The connection, for me, is the fearlessness in songwriting and the immense power four guys can make together and all the inventiveness that goes along with that. I think if you’re going to be in a band you need to see what Floyd was all about. They invented a lot of what you need to make it work. If you don’t you’re just being an asshole to yourself and your bandmates.

JB: It’s funny, my dad is a GIGANTIC Floyd fan and that is probably the #1 reason. He had all the records and a bunch of bootlegs (which he has since passed along to me) and while he would play them around the house while I stared in amazement at the back cover of Ummagumma, he never forced them on me or anything. It wasn’t until I borrowed his van in college and found a tape of a bootleg from ‘72 under the seat that it really sealed the deal for me. We had Live at Pompeii on Laser Disc and everything, but it wasn’t until I discovered what I liked about them on my own terms that it all clicked for me in a personal way. I tend to gravitate toward the early stuff like Obscured by Clouds, MORE, Relics, and Meddle, but I love it all. But, to answer your question more concisely, they have basically been a part of my life for as long as I can remember and a huge part of my relationship with my dad.

I think all of us are into Floyd in different ways, which is cool, as well. Like, Jarvis is a maniac about the Wall, but not much appreciation for the Syd stuff, while I am sort of the opposite. I like all of that ridiculous British 60s acid-damaged tea and crumpets stuff.

How did you arrive at your approach in covering “One of My Turns?”

ALEJANDRO: It was a different type of song for us. We do covers all the time but this one was a challenge since it’s kind of two songs in one. The front half is a bit of a theatrical vignette, so we debated if we should stick to the actual narrative from the record, where we use the dialogue of Pink’s guest in his room while he’s watching “The Dam Busters” on TV. In the end we ditched the groupie and focused on the significance of what a protagonist in “The Wall” in 2018 might be watching which, in our version, is the scene from “All the President’s Men” where Robert Redford gets the “follow the money” speech from Deep Throat. Seems an appropriate commentary right now. On top of that, there was the opportunity to record and build a section based on John’s synth and keys treatment which we did separately from the second, more-straightforward half of the song.

JB: I had to really dissect this one, personally, to get to the bones of it and figure out what was going on. With such a grand production, it was a little tricky to pick apart. Al said that he was working on the strategy for the front half, and I kind of took the lead with the back half, doing a demo at home and trying to figure out how to put our stamp on it and how to approach the vocals without trying to imitate Roger’s utterly unhinged performance. I basically had to reharmonize the vocal melody a little (ok, a lot) to make it work with my range and demeanor. And then the front half was really our first attempt at creating something from scratch in the studio (not working from playing live.) I’m really into synths, so I had fun doing the pads in the intro and making more of a “headphone experience” … Al had a map of the chord structure of the intro, so he kind of yelled out chords and we built it up piece by piece until the vibe was right. I really wasn’t sure I would be able to pull off such an intimate vocal like Roger does, but, I’m happy with how that came out. It should be noted that Chris Johnson did an amazing job recording and producing it. Especially since we had to kind of graft the front half onto the back half, but he made it work!

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

ALEJANDRO: It does. There’s never a bad time to revisit “The Wall,” but today seems a particularly good time. The Wall as Roger Waters conceived it was metaphorical, right? A dude with dad-issues and a lifetime of intimacy problems? Now the idea of “a wall” is an analogue for the ideologies of greed, division, nationalism, fear that, in America, play out constantly on social media, tv, newspapers, it’s everywhere. Working with MER to add a voice to a commentary about it and celebrate the music and message of Pink Floyd? Sounds right. Sign us up. This is one of the reasons we play in a band. It’s a shitshow out there and it’s time to get dressed and show up to the party. America is pretty happening party, but insane assholes are soiling the punch and passing out bad drugs, and the DJ is a punishing monster right now. I’m glad I got a band that wants to kick down the door, squeeze off a few rounds on the fire extinguisher, and put some Floyd on the stereo ‘cause whatever’s on at the moment has got to stop.

JB: Did you see Roger Waters on that last tour? If anything, this is a PERFECT time to revisit this album. All of his lyrics can be interpreted as being completely current in today’s political climate. Maybe the Animals record more than this one, but wow, he really created some timeless lyrics that make sense in pretty much any era. Until everybody gets along, I think Roger’s lyrics will always resonate. This has also been great for me, personally, because The Wall was never really “my Floyd album” so it gave me a reason to really dig into it again and learn to really appreciate it. Not that I didn’t appreciate it, I just always found it to be a little on the “emotionally draining” side. Now, I don’t see it that way anymore, so thanks for helping me with that!

Gary Arce / Yawning Man / Outside the Wall / Mudmen

As musicians and music fans, what’s your connection to Pink Floyd?

To be honest we grew up with punk rock and we were very young when we started doing music, not caring much for references. As for Pink Floyd I can see how we share a similar approach to guitar sounds and spatiality, as well as riffs and tempo with some of their songs. It’s that they started with blues and you can hear rock is a part of us. I think some members of Pink Floyd also kind of grew up together as we did. Playing in the desert with our mates, most of them are luckily still around doing their thing, that’s what pushed us.

How did you arrive at your approach in covering your song?

Our approach is usually very instinctive. We love jamming and see what we come up with. That’s how we did the covers, too. We‘re not like wracking our brains too much before we start, that’s not how we play. We just start and the music keeps flowing. It was fun and lots of Mexican food kept us going.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

The Wall made the history of music. Many have been if you want it or not (consciously or unconsciously) influenced by it. On tour I talk to many fans after concerts or they come up and talk to me. They know a lot about music and love to establish connections between their idols and the younger bands. Psych sounds are having a huge revival in Europe, the US and Canada. We see that when we play live and most of the shows are sold out. So I guess it’s a good moment to revisit The Wall and see what it’s got to tell us now.

Amy Tung / Year of the Cobra / When the Tigers Broke Free / Have a Cigar

As musicians and music fans, what’s your connection to Pink Floyd?

The funny thing about Pink Floyd is that they’re not one of my favorite bands, but they’re certainly one of the most influential bands in my life. If I think about the time in my life where music influenced me the most, like as a preteen or a teenager, they’re certainly one of the top 5. They’re one of those bands that, at some point in your life, you have to dive into, head first, and in doing so, you become a more fulfilled human being. It obviously doesn’t apply to everyone, but to most of the people that I relate to, it does. It is impossible to not have the utmost respect for them and never in my life did I imagine I would be asked to cover any of their music. I never thought I would be able to, but to have the opportunity to do so was outrageously challenging and exciting. I don’t expect anyone to find our take on their music better than what already existed. I just hope people find it interesting and inventive and I hope it opens their minds to something different and new.

How did you arrive at your approach in covering your song?

My approach to covering any song is to find a way to change it. I feel like you can never make a song exactly like the original because it will never sound better than it already does. The only option you have is to change it. My goal is to find a way to keep the essence of the song intact but insert a little bit of me in it. Covering the songs “Have a Cigar” and “When the Tigers Broke Free” as Year of the Cobra was certainly limiting, seeing that we’re only a drum and bass duo, but it was also fun trying to find a way to do justice to the music, while also doing justice to us as a band. In the studio, we added some more instrumentation (I.e. keyboards), but I feel like it’s still something we could play (and maybe… hopefully… will play) live, one day.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

The Wall will always be an album to revisit; today, tomorrow, in the future. It’s timeless. There are no contemporary bands that even come close to writing an album of epic proportions like The Wall and there are too many kids that have grown up listening to the formulaic music that is spewed out on modern radio these days, it’s depressing to think what their lives would be like if they weren’t introduced to albums like The Wall. It is imperative that we keep these albums alive in any way we can, so they are never forgotten. Finding bands to cover them, breathe new life into them, is such an exciting way to keep them alive, to keep us talking about them. I hope in 10 years, more bands are covering this album and keeping it alive for more generations to come.

Magnetic Eye Records webstore

Magnetic Eye Records website

Magnetic Eye Records on Thee Facebooks

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Greenleaf Solve Lineup Issue in “Good Ol’ Goat” Video

Posted in Bootleg Theater on October 9th, 2018 by JJ Koczan

greenleaf good ol goat

So I guess maybe Hans Fröhlich couldn’t make his flight and Greenleaf and video director Peder Bergstrand — a bassist himself — decided to run with it as a video concept? Fair enough. The results are pretty hilarious in the Swedish heavy rockers’ new clip for “Good Ol’ Goat,” which comes from the impending Hear the Rivers, out Nov. 9 on Napalm. The song itself — its bluesy hook with Arvid Hällagård‘s vocals an all the more essential element to their approach and the classic stomp in Sebastian Olsson‘s drums — is kind of lighthearted, so it works on that level, but the story they go with is that because Fröhlich didn’t get there in time, they decide to hold open auditions for a bass player to fill in for the video. Chicanery ensues.

A bunch of first names appear at the end of the video: Jugglo, Kapsylen, Linus, Chris, Rikard, Lena, and so on, but I’d love to see a comprehensive list of who all the people are who show up to “audition” for the bassist role, because I’m willing to bet a couple of them would be familiar. Not to spoil it — though it’s handled pretty cleverly, and I won’t give that away — but it’s all the more fitting that they resolve the issue by having guitarist Tommi Holappa step into the bassist role himself. As the founder and sole remaining original member of the band, who are coming up on 20 years as a unit around Holappa, it’s kind of always been his answer anyway. Perhaps the biggest surprise of all is that Bergstrand does not himself show up for an audition spot. Maybe he didn’t want to give the impression that anything was taking away from the work he’s currently doing in the studio on a long-awaited new album from his band, Lowrider.

In any case, the video rules, and could hardly be a better lead-in for the arrival of Hear the Rivers, a month away. Also a month away is that release tour — and I think at this point I’ve posted these dates at least three times before; watch out, this might not be the last, either — Greenleaf will do with Germany’s Samavayo, who as well will herald a new album.

Clip follows. Have fun:

Greenleaf, “Good Ol’ Goat” official video

Mighty Swedish Stoner force GREENLEAF just released their amazing and amusing music video for “Good Ol`Goat”. The band on their epic movie:

“We wanted to do something funny and entertaining and Peder Bergstand came up with this idea. It’s a very fitting video since it’s packed with dad jokes and some of us recently became fathers. Enjoy the bass!”

On November 9th, Hear The Rivers comes into world via Napalm Records. This album turns out to be quite the mesmerizing bag of tricks that seizes the Swedish Stoner sound and enriches it with so many wonderful things, like the just released unforgettable riff-o-rama “Good Ol`Goat” or the slow soul-feeder “We Are The Pawns”. An absolute gem of an album that is best kept in the family – which is why former GREENLEAF- and Dozer drummer Karl Daniel Lidén (Craft, Bloodbath, Crippled Black Phoenix amongst others) produced it.

Pre-Order HERE!

GREENLEAF – Live w/ SAMAVAYO
08.11.18 DE – Dresden / Beatpol*
09.11.18 DE – Berlin / Musik & Frieden
10.11.18 DE – Stuttgart / Keller Club
11.11.18 AT – Vienna / Viper Room
12.11.18 DE – Munich / Feierwerk
13.11.18 CH – Olten / Coq d’Or
14.11.18 DE – Cologne / Helios 37
15.11.18 UK – London / Underworld
16.11.18 FR – Paris / Glazart
17.11.18 NL – Eindhoven / Helldorado Festival*
*without SAMAVAYO

Greenleaf is:
Arvid Hällagård: Vocals
Tommi Holappa: Guitar
Hans Fröhlich: Bass
Sebastian Olsson: Drums

Greenleaf on Thee Facebooks

Greenleaf on Instagram

Greenleaf at Napalm Records

Napalm Records website

Napalm Records on Thee Facebooks

Greenleaf at Sound of Liberation

Tags: , , , , ,

Greenleaf Set Nov. 9 Release for Hear the Rivers

Posted in Whathaveyou on September 6th, 2018 by JJ Koczan

greenleaf photo by edko fuzz

Swedish heavy rock institution Greenleaf will release their seventh album, titled Hear the Rivers, on Nov. 9 through Napalm Records. Among the many reasons this news should make you excited is the fact that Karl Daniel Lidén recorded it. Even just the drum sound immediately bears his signature to the point that, having had a bit of a preview, I knew it was him before I even read it. The guy adds a sense of space to a sound like no one else, and he brings to Greenleaf once again this time around and the results are nothing short of phenomenal. That’s not of course to discount the work of the band itself, which has only grown more stellar as the current lineup has settled in around founding guitarist Tommi Holappa.

I don’t want to say to much about it because we still have two months before November gets here, but the short version is make sure you save some room on your top albums list.

Greenleaf will tour with Berlin’s Samavayo to coincide with the record release, as the PR wire informs:

greenleaf hear the rivers

GREENLEAF – “Hear The Rivers” Comes Into The World In November 2018

Album Pre-Orders Start Now

On November 9th, the mighty Swedish Stoner force GREENLEAF present their latest album “Hear The Rivers” via Napalm Records.

This album turns out to be quite the mesmerizing bag of tricks that seizes the Swedish Stoner sound and enriches it with so many wonderful things, like the unforgettable riff-o-rama ‘Good Ol`Goat’ or the slow soul feeder ‘We Are The Pawns’. An absolute gem of an album that is best kept in the family – which is why former GREENLEAF- and Dozer drummer Karl Daniel Lidén (Craft, Bloodbath, Crippled Black Phoenix amongst others) produced it.

GREENLEAF summarize this record in the following way:

” ‘Hear The Rivers’ is our full length number 7. Lucky number 7? Well, we like to think so! All the songs give us huge smiles on our faces and we are extremely proud of what we have done! As always we try to take our listeners on a trip with our music, make them wanna bang their heads, dance, smile and cry (of happiness of course).
This is easily the biggest sounding record we have ever done and we hope people will enjoy it as much as we do!”

The full track listing of Hear The Rivers reads as follows:
1. Let It Out!
2. Sweet Is The Sound
3. A Point Of A Secret
4. Good Ol´Goat
5. The Rumble And The Weight
6. We Are The Pawns
7. Oh My Bones
8. In The Caverns Below
9. High Fever
10. The Rivers Lullaby
“Hear The Rivers” will be available in the following formats:
-4 Page Digipack
-Double LP-Gatefold
-Digital Album

Pre-Order HERE!

GREENLEAF – Live w/ SAMAVAYO
08.11.18 DE – Dresden / Beatpol*
09.11.18 DE – Berlin / Musik & Frieden
10.11.18 DE – Stuttgart / Keller Club
11.11.18 AT – Vienna / Viper Room
12.11.18 DE – Munich / Feierwerk
13.11.18 CH – Olten / Coq d’Or
14.11.18 DE – Cologne / Helios 37
15.11.18 UK – London / Underworld
16.11.18 FR – Paris / Glazart
17.11.18 NL – Eindhoven / Helldorado Festival*
*without SAMAVAYO

Line-up:
Arvid Hällagård: Vocals
Tommi Holappa: Guitar
Hans Fröhlich: Bass
Sebastian Olsson: Drums

http://www.napalmrecordsamerica.com/store/greenleaf
http://shop.napalmrecords.com/greenleaf
www.facebook.com/greenleafrocks
www.napalmrecords.com
www.facebook.com/napalmrecords
http://www.soundofliberation.com/greenleaf

Greenleaf, “Goin’ Down” (Freddie King cover)

Tags: , , , , ,

Greenleaf Announce November Tour Dates & Album Release

Posted in Whathaveyou on July 3rd, 2018 by JJ Koczan

greenleaf

Can you feel it? Any minute now, the PR wire is going to bring news of a release date for Greenleaf‘s new album, Hear the Rivers. Any minute. The new outing from the mainstay and road-dog Swedish heavy rockers was first announced back in January ahead of the band embarking on an Australian tour in March. They’ve reportedly been in the studio off and on as well as busy with procreating/family life, but they’re still getting out in November for a quick run mostly in Germany that will also include stops in Paris, London and at the Helldorado Festival in Eindhoven. Starting out with a gig in Dresden alongside My Sleeping Karma and Ripple Music upstarts The Necromancers, support for the bulk of the run will come from German trio Samavayo, who also have a new album in the works.

I don’t know if the Samavayo will be out by November — anything’s possible — but the prospect of a new Greenleaf only makes an already amazing 2018 even better. Somehow it’s only been two years since 2016’s Rise Above the Meadow (review here) scorched eardrums and took Greenleaf‘s sound to its greatest accomplishment yet, but I guess it feels like longer because, you know, the record’s timeless. Seriously. I still put it on, and it’s way harder for albums to pass the after-the-year-ends test for me these days. Just saying.

But yeah, so given that, I’m gonna go back to waiting for that Greenleaf press release to come rollin’ in. Any minute now…

greenleaf samavayo tour

New album and tour in November! Are you as excited as we are?!?!

We’re psyched to announce Greenleaf’s “Hear The Rivers Tour 2018”, with Samavayo as support (*) as follows!

08.11.18 (D) Dresden | Beatpol (with MY SLEEPING KARMA & The Necromancers)
09.11.18 (D) Berlin | Musik & Frieden (*)
10.11.18 (D) Stuttgart | Keller Club (*)
11.11.18 (A) Vienna | Viper Room (*)
12.11.18 (D) Munich | Feierwerk (*)
13.11.18 (CH) Olten | Coq d’Or (*)
14.11.18 (D) Cologne | Helios 37 (*)
15.11.18 (UK) London | Underworld (*)
16.11.18 (FR) Paris | Glazart (*)
17.11.18 (NL) Eindhoven | Helldorado Festival

http://www.napalmrecordsamerica.com/store/greenleaf
http://shop.napalmrecords.com/greenleaf
www.facebook.com/greenleafrocks
www.napalmrecords.com
www.facebook.com/napalmrecords
http://www.soundofliberation.com/greenleaf

Greenleaf, “Goin’ Down” (Freddie King cover)

Tags: , , , , ,

Friday Full-Length: Greenleaf, Secret Alphabets

Posted in Bootleg Theater on March 9th, 2018 by JJ Koczan

As we approach 15 years since its 2003 release, there’s something ironic about listening to Greenleaf‘s second full-length and Small Stone Records debut, Secret Alphabets, and it very much has to do with their relationship to Dozer. After the band, founded by Dozer guitarist Tommi Holappa, Demon Cleaner drummer Daniel Lidén and producer Bengt Bäcke who had worked with both outfits on their early material and came aboard to play bass, released their oh-someday-it-will-be-mine self-titled EP in 2000 with Lowrider‘s Peder Bergstrand on vocals, the first of many lineup changes found them bringing in Dozer‘s Fredrik Nordin to front the band for their first LP, 2001’s Revolution Rock (discussed here), which of course he did handily. The second album, like any decent record, marked both the beginning and the end of an era. It was the start of Greenleaf‘s collaboration with Small Stone, which would see the band release not only Secret Alphabets, but the subsequent 2007 outing, Agents of Ahriman (vinyl reissue review here), 2012’s Nest of Vipers (review here) and 2014’s Trails and Passes (review here) under the imprint’s banner before signing to Napalm for 2016’s Rise Above the Meadow (review here), and it was also the last time Nordin would be in the lead-singer role full-time, though he’d show up for guest appearances as Bergstrand does for the moody “One More Year” here.

More than that, and even more than bringing in Demon Cleaner guitarist Daniel Jansson to play alongside HolappaSecret Alphabets represents an important step in Greenleaf‘s progression in defining its personality apart from DozerHolappa‘s songwriting has borne certain markers throughout his now-lengthy career in both bands (though it’s been more than a decade since the last time Dozer put out a record), among them a penchant for riffs and a tendency to make memorable tracks by updating classic-influenced methods with a modern production and energy. Secret Alphabets does this through and through, whether it’s “Black Black Magic” and “Never Right” bringing to mind KISS via the performance of guest singer Singe, the outright thrust of post-intro opener “10,000 Years of Revolution,” or the let’s-go-a-wanderin’ Monster Magnetic psychedelia of side A finale “The Combination.” The material has character and a welcome sense of push behind its delivery, a crisper production than one found on Revolution Rock (though Bäcke helmed both recordings) and a pervasive sense of craft that gives little idea just how much of a transition point it actually was for the band.

In 2003, Dozer put out Call it Conspiracy (discussed here), and in so doing, brazenly moved beyond the post-Kyuss desert rock impulses of their first two long-players and early singles. That this happened roughly concurrent to Greenleaf issuing Secret Alphabets represents something of a crossing point between the two bands, who would both head ultimately in different directions. Dozer became more aggressive with 2005’s Through the Eyes of Heathens and 2008’s to-date swansong (one can always hope) Beyond Colossal (discussed here), and ultimately fell by the wayside as Greenleaf was joined by Truckfighters‘ Oskar Cedermalm for Agents of Ahriman and Nest of Vipers, becoming more or less a full-time touring band after the latter, as current frontman Arvid Johnsson grabbed hold of the singer role and worked quickly to make it his own despite the considerable shoes to be filled. One might then think of Secret Alphabets and Call it Conspiracy as the intersection point between the two bands on their respective paths. One doubts that Holappa, who’s the key figure in all of this riffy intertwining, thought of it on that level at the time, but a decade and a half later, it’s perhaps a bit easier to have that perspective on what was going on creatively with Holappa as a songwriter and the direction of both his groups. In fact, if anyone out there can honestly say as regards where Dozer and Greenleaf each wound up, “Yeah I called that shit in 2003,” including any of the band members, I’ll gladly tip my hat in their direction.

So there’s no question that Secret Alphabets was a pivotal moment for Greenleaf as a band, but that leaves out one essential detail of the record itself: it frickin’ rocks. From the funk in “Witchcraft Tonight,” to the raw Fu Manchu fuzz of the instrumental “The Spectre,” to the sleek groove in “Masterplan” and the two-parter finale in “No Time Like Right Now!,” it’s a brook-no-argument roller that does “classic” right. I know for a fact that many Greenleaf fans argue in its favor as the band’s best album to-date, and while I’m not sure anything can take the special place Agents of Ahriman holds in my heart, the stomp of “Never Right,” the spaciousness in “One More Year” and the underline-the-point vibing of “Masterplan” make a more than solid case.

Wherever you land in that debate, as always, I hope you enjoy.

I was in New Jersey all week. We were supposed to go down last Sunday but we left a day early because the power had gone out owing to I don’t know wind of more than 20mph and lack of infrastructure spending? Blah blah blah, more government subsidy, less corporate dominance. Lot of family time. I had been anxious about it but it worked out really well and I was glad we went. They had cleared out the house formerly occupied by my grandmother and done it up nice to give us a place to stay, bought a pack-and-play for the baby and a bed for the dog — really went all out. It was appreciated and a nice reminder of what life can be like when you have any kind of support system whatsoever. You know, feeling supported and all that.

So of course about two feet of snow fell on Wednesday and the power — because infrastructure! — went out down there as well. We stayed Wednesday night because trees were coming down almost as hard as the snow itself, and took off back to Massachusetts yesterday morning. In August it will be five years that we’ve lived up here. All this trip south really did for me was emphasize how at home I continue not to feel here. Don’t get me wrong, I know good people here and I’ve had some good times in the last half-decade, but it ain’t home. Everything’s an hour away from where I live except The Patient Mrs.’ job, and when I think about what’s keeping us here, that’s pretty much it. She likes her job. I’m glad. And I’m glad I don’t have a job and can take care of the house and the baby and write and all that, but when I think about vacuuming this kitchen floor vs. the several righteous shag rugs down in Parsippany, well, it ain’t even really a contest. There’s a reason I keep calling it “my beloved Garden State,” and it’s not just because they put in a Wegman’s close by.

Though that’s nice too.

That it was The Patient Mrs.’ spring break made the trip south feasible — The Pecan did pretty well in the car, if you were wondering — and we had to be back for this morning because I have yet another appointment with yet another doctor. This one is in Brookline which is — you guessed it — a fucking hour’s trip each way from where I live. It’s cool though, I’m sure it won’t just be a they-take-blood-and-totally-waste-my-time kind of deal or anything. This is the doctor I’m going to because my nutritionist thinks my PCP doesn’t take my eating disorder seriously enough. He doesn’t, but who cares? So it’s “drive two hours to go to this doctor who’s going to take your blood then make you come back again to hear all the same shit I’ve been telling you for the last two months.” Won’t that be fun? Like I said, no way it’s a total waste of my fucking time or anything. Pas de chance.

Oh and though they gave me pills to mitigate, I’m still bloated as fuckall, though I’ll say that after upping my antidepressant dose on my own this week because I decided I was too lazy to cut pills — seriously? cutting pills? what is this, fucking 1930? — my general mood has improved, though this too could just as easily be a reaction to seeing my four-month-old son held in the arms of his laughing, Zelda-obsessed, about-to-be-awkward-as-hell cousin, which is, frankly, among the rawer examples of joy that I’ve experienced.

So yes, I’d like to move back to New Jersey. I also need a haircut. And to lose 50 pounds that kind of showed up out of nowhere. Ha.

Plan for next week, subject to change:

Mon.: Sammal album stream; Dollar Llama video.
Tue.: Et Moriemur track stream.
Wed. Merlin review; Black Salvation video premiere.
Thu.: Choral Hearse video premiere, maybe an Earthless review. That’d be fun.
Fri.: Desertfest Split 12″ stream and review.

Might head to Connecticut with The Patient Mrs. and The Pecan tomorrow, might take advantage of a day on my own to write like a bastard and get a jump on next week. We’ll see. In any case, whatever you’re up to, I hope it’s a good time. Stay safe, be well, and please check out the forum and the radio stream.

The Obelisk Forum

The Obelisk Radio

 

 

Tags: , , , , ,

Greenleaf Recording New Album Hear the Rivers; Touring Australia in March

Posted in Whathaveyou on January 29th, 2018 by JJ Koczan

Back in December, Swedish heavy rock mainstays Greenleaf wrapped up a European tour alongside New Jersey exports The Atomic Bitchwax and London desert anthropologists Steak that would seem to have been the final installment of their Euro touring cycle for 2016’s triumphant Rise Above the Meadow (review here) on Napalm. That album, their sixth overall and first for Napalm Records, was an unmistakable forward step from 2014’s preceding Trails and Passes (review here), which introduced the next phase of the band as founding guitarist/songwriter/spearhead Tommi Holappa (see also: Dozer) brought in vocalist Arvid Jonsson and seemed to be a moment whereby the group got its collective feet under them as a result of that shift.

In March, Greenleaf — HolappaJonsson, drummer Sebastian Olsson and bassist Hans Fröhlich — will head to Australia for the first time in their almost-20-year history, but before they go, the band has revealed that they’ve begun work on their seventh studio album, tentatively-titled Hear the Rivers, with longtime producer (and former drummer) Karl Daniel Lidén for a release through Napalm later this year. Over the course of Greenleaf‘s history, each record has built off its predecessor in one way or another, and I’d expect no less from Hear the Rivers, the making of which Jonsson is documenting in a series of vlog updates, because it’s the future and apparently that’s how we do things now. Wish I knew that earlier. Probably could’ve saved me a lot of time typing. Alas.

One more to look forward to as we move deeper into this still-relatively-New-Year. With Holappa‘s long-established approach at its core, Greenleaf‘s songwriting tack is essentially flawless, and if they can capture a fraction of the energy they brought to Rise Above the Meadow — mind you, there’s zero reason to think they won’t given all the momentum they’ve built on tour since that record came out — Hear the Rivers has the potential to stand among 2018’s finest offerings. Can’t wait to hear it.

Find Greenleaf‘s Aussie dates and one of Jonsson‘s studio vlogs below. They’ve been appearing regularly on Greenleaf‘s Thee Facebooks page, if you’d like to keep up.

greenleaf

Greenleaf Australia tour:
03/02 The Bendigo Hotel Collingwood
03/03 Singing Bird Studios Frankston
03/04 Barwon Club Geelong
03/06 Rad Bar Wollongong
03/08 The Chippo Sydney
03/09 Crowbar Brisbane
03/10 Jive Adelaide

http://www.napalmrecordsamerica.com/store/greenleaf
http://shop.napalmrecords.com/greenleaf
www.facebook.com/greenleafrocks
www.napalmrecords.com
www.facebook.com/napalmrecords

Tags: , , , , ,

Greenleaf Announce March 2018 Australian Tour

Posted in Whathaveyou on November 15th, 2017 by JJ Koczan

greenleaf

Ostensibly, when Greenleaf go to Australia for the first time in their 18-year history next March, it will be supporting their 2016 Napalm Records long-player, Rise Above the Meadow (review here). It might even be the final leg of their touring cycle for that album, which has been considerable. But here’s what I’m thinking: That’s an awfully long way to go behind a record that by then will be coming up on two years old. I think of bands touring Australia — especially never having done so before — as a major event. Maybe it’s not as long a trip from Sweden, from whence Greenleaf hail, as from Massachusetts, from whence I hail, but still. It’s significant.

So couldn’t it just be possible that the Tommi Holappa-led four-piece will announce a new full-length sometime between now and then? I’m not saying I know that’s going to happen — let me be clear: I do not. at all. in any way. have that info. — but golly, it sure would be awfully nice. Rise Above the Meadow was triumph enough that I’m not sure they necessarily need a follow-up as an excuse to get on that plane. They’d be fine just going as they are. But to go heralding a brand new record? To me, that just seems like a cake and its icing coming together perfectly.

Again, I’ve got no inside track or anything, I’m just thinking it would be awesome if it happened. Greenleaf have some December shows as well with Steak and The Atomic Bitchwax. Those dates and the Australian dates follow here, the latter presented by Your Mate Bookings and Get on the Stage:

greenleaf aus tour

Greenleaf – Australia Tour

The legendary Stoner Rockers from Sweden ‘Greenleaf’ are set to embark on their first ever Australian tour in March 2018. Brought to you by Get On The Stage and Your Mate Bookings!

From what started out as a side project for Tommi Holappa from the prestigious stoner rock band ‘Dozer’, GREENLEAF has now seen six albums, three record labels (Molten Universe, Small Stone Recordings and currently Napalm Records) and a revolving door of band members since inception in 2000.

The much anticipated australian tour is set to begin in Melbourne and will take the Swedes through Frankston, Geelong, Wollongong, Sydney, Brisbane and Adelaide.

Keep your eyes and ears peeled for local shows and tickets and get ready for a Stoner Rock gig you’ve never seen before!

Greenleaf Dec. shows:
DEC 1 Greenleaf, The Atomic Bitchwax, Steak, The Underworld Camden London, United Kingdom
DEC 3 Greenleaf at Markthalle, Hamburg, Germany
DEC 4 Greenleaf at Luxor, Macul
DEC 5 Greenleaf / the Atomic Bitchwax / Steak Schlachthof, Wiesbaden, Germany
DEC 6 Greenleaf, The Atomic Bitchwax, Steak, WERK2-Kulturfabrik, Leipzig-Connewitz, Germany
DEC 12 Greenleaf at Kleiner Klub, Saarbrücken, Germany
DEC 13 Greenleaf, The Atomic Bitchwax, Steak in Doornroosje, Nijmegen, Netherlands
DEC 16 Greenleaf • The Atomic Bitchwax • Steak, Bi Nuu, Berlin, Germany
DEC 27 Sankt Hell på Loppen

Greenleaf Australia tour:
03/02 The Bendigo Hotel Collingwood
03/03 Singing Bird Studios Frankston
03/04 Barwon Club Geelong
03/06 Rad Bar Wollongong
03/08 The Chippo Sydney
03/09 Crowbar Brisbane
03/10 Jive Adelaide

http://www.napalmrecordsamerica.com/store/greenleaf
http://shop.napalmrecords.com/greenleaf
www.facebook.com/greenleafrocks
www.napalmrecords.com
www.facebook.com/napalmrecords

Greenleaf, “Tyrants Tongue” official video

Tags: , , ,