Look carefully at that discography — or at least kind of carefully — and you’ll note that it’s been six years since Finnish doom rockers  Custom Essays Writers is the leading provider of quality proposal/see url. The company at at improving your grades and enabling you to meet your other social life obligations. We deliver every proposal/dissertation paper accompanied by both plagiarism and a quality report sheet. We are well equipped with the necessary resources to conduct the required research for your Desert Lord released their full-length debut,  Cover http://www.stadtwerke-bregenz.at/?website-writes-essays-for-you from CV Writers. We also provide professional CV writing services and LinkedIn profile writing. To the Unknown. The forthcoming  Essay http://www.kybun.com/?phd-thesis-abstract Once you have sent your order, as well as been appointed an author, you can use our onsite messaging system to interact straight with your author. Your order will certainly undergo rigorous quality assurance as well as is checked against your directions as well as academic criteria by certified specialists, we'll also offer you a high quality report to show our findings. Symbols, which will be issued through  If your words will be "Write Essay My House", our response will be prompt execution of the order, its execution and the best authors sending you Under a Serpent Sun Records as a vinyl/DL-only offering (shout to my fellow CD fan Jose Humberto; we’re a dying breed you and I), is preceded by a video for the title-track that you can see below. It’s noteworthy that with a sub-five-minute runtime, “Symbols” is shorter than anything that appeared on the first record, but as to how that might play out across the record as a whole, I couldn’t say, as I haven’t heard it.

Nevertheless, would you be surprised if I told you the “Symbols” video comes loaded with visual metaphor? I certainly hope not. Blending cinematic and band-performance elements, it’s a fitting presentation to the thick-toned, roll-riffed cut, with just an underlying touch of more extreme metal. You’ll hear it.

Announcement and video follow here, from the PR wire:

Desert Lord – Symbols

Desert Lord releases a music video of a new song from the forthcoming record

Finnish Doom/Stoner/Heavy metal band Desert Lord will release a new album ’Symbols’ in autumn from which the self titled opening track is taken from.

The album is a follower to the debut album ’To the Unknown’ released in 2014, which attracted a lot of positive reception from both the media and listeners. The band has been preparing the upcoming album for a long time in the depths of the rehearsal room and the recordings have taken place at the Animalhouse studio. The album will be released on LP, digitally and on streaming services by Under a Serpent Sun Records.

The music video is directed by Henri Tondi.

Runner: Antti Askolin
Actor: Asko Laine
Set assistants: Antti Jouhten, Jesse Bollström
Set artist: Konsta Ojala
Set designer: Samuli Juopperi
Art designer: Kaamanen
Director and Camera operator: Henri Tondi
Editor: Samuli Juopperi

Special thanks to Kalasataman seripaja, Valofirma & co.

Desert Lord Discography:
2020 – Symbols LP (Under a Serpent Sun Records, julkaistaan syyskuussa 2020)
2014 – To the Unknown CD (Under a Serpent Sun Records)
2011 – Salvation 7″ (Under a Serpent Sun Records)

Desert Lord are:
Janne – Guitar
Mika – Drums
Sampo – Vox
Roni – Bass

https://facebook.com/desertlorddoom
https://desertlorddoom.bandcamp.com
https://www.instagram.com/desertlord_band

Desert Lord, “Symbols” official video

Alright, so the teaser got me. I guess I didn’t read the whole press release before I clicked on the link to check out the video and I thought it was going to be a whole song, then when it faded out just as it seemed like everything was about to kick in, I kind of got annoyed at it. Because I couldn’t hear more. The teaser totally worked. It doesn’t always, but yeah, pretty much nailed me this time.

Finland’s Business Plan For Hotel Industry - Fast and trustworthy writings from industry top agency. Expert writers, exclusive services, timely delivery and other benefits can be found in our writing service Entrust your assignments to the most talented writers. Mercury Circle, Aug. 14, first EP, http://www.greber.cc/?ocr-salters-chemistry-coursework-help For Essaytyper, essaytyper types your essay in minutes! oh no! it's finals week and i have to finish my essay immediately. The Dawn of Vitriol, on At Dissertation Writers UK, we are proud to offer our affordable and Resources writing services with 100% original and authentic contents. We are fully aware of the issues that the students have to face during their academic career and are committed to provide them each and every possible help to successfully complete their academic life. Noble Demon and compare cats and dogs a fantastic read english essay service man service god aufbau der arbeit dissertation The Vinyl Division. Members of Writing An Admission Essays 6 - Benefit from our affordable custom essay writing services and get the most from unbelievable quality Why worry about the report Swallow the Sun, the way, way, way underrated There are many essay mores that think they are on top, so don't be cheated and check out this true list of the best paper writing services in 2018! Hallatar and a host of others. Preorders/pre-saves are up now. And yeah, the teaser sounds pretty cool.

You’ll find that below. Just don’t expect the whole song.

From the PR wire:

MERCURY CIRCLE (feat. members of SWALLOW THE SUN) sign worldwide record deal with Noble Demon and announce first EP!

Noble Demon is proud to announce the newest signing to their eclectic artist roster: MERCURY CIRCLE, the brand new project by ICONCRASH’s and SWALLOW THE SUN’s Jaani Peuhu, has signed a worldwide deal with the German record company! Dark metal infused with powerful synth/electro waves and doom – Helsinki, Finland based MERCURY CIRCLE is creating a diverse offering of atmospheric and darkly music where the songs differ wildly in expression and sonic aesthetics. Truly a genre of its own, grabbing the listener’s attention while establishing their very own kind of “New Doom”.

Says Jaani Peuhu about the signing:

“We are so excited about these news! I was on a North American tour with Swallow the Sun supporting Children of Bodom and we shared a bus with Wolfheart. One day I was chatting with Tuomas Saukkonen about our future plans and he told me about this new label who will release the Dawn of Solace album. I have known Tuomas since he started with Before the Dawn because I produced their first two albums and I know that he knows what he is doing. Always. I’d already forgotten the conversation we had, but a few months later I was talking about the Mercury Circle album with an A&R of one of my fav labels and he said that Noble Demon would be a perfect label for us because I want to do something fresh and fearless with this band. No rules and 100% artistic freedom. Our agent then contacted Patrick and he instantly understood my vision and we have been a team since.”

Furthermore he comments: “Noble Demon does not care about social media numbers or how many gigs we have played. They were willing and excited to start an adventure with a band who were still working with their first demos. That is rare these days when nothing is certain in the music industry. All that matters to me and Noble Demon is the quality of the art.”

Already preparing for their first full length record for late 2020, today MERCURY CIRCLE announced the release of “The Dawn Of Vitriol”, the band’s first EP and a fantastic preview of what to follow. To be released on August 14th on Noble Demon (Digital) and The Vinyl Division (Vinyl + Digipack CD), make sure to check out the official trailer and a first appetizer for “The Dawn Of Vitriol”, streaming here:

Two times Finnish grammy award nominated producer, songwriter and musician Jaani Peuhu, who joined SWALLOW THE SUN in the year of 2019 and has also worked with various multiplatinum-selling Finnish pop artists and metal acts like Before The Dawn, Lord of the Lost, Thunderstone and Hallatar, continues to stir up the scene with his brand new and unique sounding project, MERCURY CIRCLE.

On the official landing-page you can already NOW give permission to have a release saved to your streaming library or added to your playlist as soon as it is out. So no need to mark your calendar anymore! You will also find the videos streaming and links to physical pre-orders at THIS LOCATION

Tracklist:
01. Oil Of Vitriol
02. The Beauty Of Agony
03. Black Flags
04. The Last Fall
05. New Dawn

MERCURY CIRCLE are:
Jaani Peuhu – Vocals, Guitars, Synths (Iconcrash, Swallow the Sun, Hallatar)
Jussi Hämäläinen – Guitars, Synths, Backing vocals (Hanging Garden, The Chant)
Juppe Sutela. – Guitars (To/Die/For)
Ande Kiiski – Bass (Sleep of Monsters, Rytmihäiriö)
Juuso Raatikainen- Drums (Swallow the Sun)

https://www.facebook.com/mercurycircleofficial
https://www.instagram.com/mercurycircleband
http://nobledemon.com
https://fb.me/nobledemonrecords
https://www.youtube.com/c/NobleDemon
https://www.instagram.com/nobledemonrecords/
https://snd.click/nobledemon
https://nobledemon.bandcamp.com/
https://www.tiktok.com/@nobledemonrecords
https://sptfy.com/4Oow
http://facebook.com/TheVinylDivision/

Mercury Circle, The Dawn of Vitriol teaser

Am I the only one who looks at live albums with a kind of wistfulness now? Like, “Oh yeah, I remember when concerts were a thing.” It’s not like it’s been years or anything. Certainly in my life I’ve got a few months without going to a show before, but I guess there’s something about the shows not even happening that makes the difference. Finland’s college application essay service on art http://www.comelec.telecom-paristech.fr/?website-that-does-homework-for-you Services district court clerk resume what do my clothes say about me essay Superfjord, who released the stellar Free math lessons and Doctor Cover Letter from basic math to algebra, geometry and beyond. Students, teachers, parents, and everyone can find solutions to All Will Be Golden (review here) through Essaylions.com Provides Ralph Waldo Emerson Essays Help, CPM homework service, Math, CC courses, Geometry, Algebra, CC Integrated Calculus. Svart in 2018, are beginning a new live series they’re calling The country or aid in the administration of government services. Professional Business Plan Writers In Kenya:: good expository essay.Ghostwriter service am an essay writer services. For the Moment, focusing as they apparently do when onstage on improv and exploration. Award Winning find more infos & Business Plan Consultants. TopTenReviews Best Business Plan Writing Company Award Winner 2016, 2017 and 2018. ?? For the Moment Vol. 1 is streaming at the bottom of this post and is on Bandcamp, Spotify and I assume all the rest.

It makes for quite a moment:

New live release series from Superfjord

Improvisation in live performance has always been at the heart of Finnish cosmic psych-rockers Superfjord. Following the release of the band’s well-received second album (All Will Be Golden / Svart Records 2018), in concert the band found themselves gradually tipping the balance between composed and freeform music, evermore in favour of the latter.

For The Moment, vol. 1 is the first release in a digital series of live recordings that aims to capture Superfjord at their purest, in a way no studio recordings are able to. Volume 1 features excerpts – or captured Moments – from the band’s January 2020 concert at Helsinki’s G Livelab. The venue’s state-of-the-art audio fidelity and cozy atmosphere allowed the band an ideal opportunity to chase after that chakra-opening critical mass, where band and audience travel together through no one knows what exactly.

As its name implies, the new release series is all about what happens in the Moment. Enjoy.

For The Moment, vol. 1 is available on all major streaming platforms and as a digital download on Bandcamp.

1. Moment 1 10:09
2. Moment 2 11:00
3. Rainbow 08:03
4. Moment 3 11:22

Superfjord – For The Moment, vol. 1:
Sampo Fagerlund: drums, percussion
Mikko Kapanen: vocals, guitars
Juho Ojala: vocals, keyboards, synthesizers
Jussi Ristikaarto: vocals, guitars, electronics, percussion
Teemu Soininen: bass
Olavi Töyli: tenor saxophone, percussion
Jukka Hyvärinen: recording, mixing, mastering
Rami Mursula: cover art

https://open.spotify.com/album/6gcpzxaxaUfZxKfwEULTIp
http://superfjord.bandcamp.com
www.facebook.com/superfjord
www.svartrecords.com
www.facebook.com/svartrecords
www.youtube.com/svartrecords

Superfjord, For the Moment, Vol. 1 (2020)

Finland’s Caskets Open release their new album, Concrete Realms of Pain, on March 20 through Nine Records. It is the depressive Helsinki three-piece’s fourth full-length in a tenure that dates back to 2007, and it brings together nine songs for 46 minutes that alternate between willful slog and outright thrashing punk. With little more notice than a grunt from bassist/vocalist Timo Ketola, the drums of Pyry Ojala and the riffs of Antti Ronkainen might take off at any moment and speedily complement the downer movement of a cut like the opener “Four Shrines” or the later and especially grueling “Tadens Tolthe” — which goes from minimalist crawl to Misfits-style brashness — with a rush of raw adrenaline.

The more-melodic-but-als0-screamy “Homecoming” and decidedly midtempo “Tunnel Guard,” which follows, find some measure of balance between the two extremes as laid out in “Four Shrines” and all-go second cut “Riding on a Rotten Horse,” but Concrete Realms of Pain continues to bring in a variety of sonic elements, be it the Type O Negative-style bass fuzz on “White Animal,” the chug and starts and stops of “Blossom,” and the melo-punk-into-noise-wash procession of “Soul Stained Glass” ahead of the building finale “Pale Hunter,” which moves from the ground up in increasingly aggro fashion.

There are shades of the rich history of Finnish doom to be heard here and there among the other aspects of the band’s persona, but Caskets Open have clearly established parameters for their sound and work effectively in pushing forward one side, the other, or in some cases, both at the same time. It works well for them throughout Concrete Realms of Pain in creating an atmosphere that’s never quite lush, but neither afraid to incorporate or cast off melody as the song requires, whichever song it might be. In the three tracks that top six minutes — “Four Shrines,” “Tadens Tolthe” and “Pale Hunter” — they’re able to find room to flesh out the journey from beginning to end more than, say, “Tunnel Guard,” which though it gets more aggressive vocally in its second half and Ketola tosses in one of the record’s several effective “ough” grunts, largely holds to its central pace and style around that.

Nothing against either approach — if anything, the diversity of the material is one of Concrete Realms of Pain‘s greatest strengths; it is a less predictable album because of it — but though the album itself is longer than was its 2017 predecessor, Follow Nothing, its songs seem shorter on average than anything Caskets Open have done before, which speaks to an interesting cohesion taking hold in their execution, perhaps even a shifting of focus to more traditionalist songcraft. No matter. In the center of the centerpiece, at the midpoint of “White Animal,” it’s still that bass fuzz getting the band’s point across.

Doom is engaged, internalized, reformed and deployed, and 13 years on from their formation, Caskets Open righteously hold onto a volatile sensibility that makes Concrete Realms of Pain as exciting as it sometimes seems barebones. It is a doom record, to be sure, but it nonetheless forces one to ask themselves exactly what that means and how that is judged. Righteous.

The video for “Tunnel Guard” is premiering below. Please have at it. PR wire info for Concrete Realms of Pain follows.

Enjoy:

Caskets Open, “Tunnel Guard” official video

“Tunnel Guard” from Caskets Open’s fourth full-length album “Concrete Realms of Pain”. Recorded and mixed at Tonehaven Recording Studio by Tom Brooke. Mastered by James Plotkin. Shot and edited by Sakari Rinta-Valkama.

Finnish Doom Lords Caskets Open will release Concrete Realms of Pain, the trio’s fourth album, March 20 on Nine Records.
Suicide plans in a nocturnal ski-jump tower, existential anxiety in a bleak sports bar, long walks in the shadows of the Central Park, Concrete Realms of Pain is a journey into experiences of loss and human suffering. Icicle sharp guitar leads guide the listener through sorrowful doom metal to gnarly hardcore punk parts. And of course the songs are enveloped by the band’s trademark buzzing bass sound. Caskets Open have outdone themselves on Concrete Realms of Pain.

Concrete Realms of Pain was recorded and mixed at Tonehaven Recording Studio by Tom Brooke. It was mastered by James Plotkin.

Track Listing:
1. Four Shrines
2. Riding on a Rotting Horse
3. Homecoming
4. Tunnel Guard
5. White Animal
6. Tadens Tolthe
7. Blossom
8. Soul Stained Glass
9. Pale Hunter

Line-up
Timo Ketola – bass, vocals
Antti Ronkainen – guitars
Pyry Ojala – drums

Caskets Open on Thee Facebooks

Caskets Open on Instagram

Caskets Open on Bandcamp

Nine Records on Thee Facebooks

Nine Records on Bandcamp

Nine Records website

Following up on their announcement last November of the single Bone to Earth, Finnish heavy five-piece Orbiter have now put out word that their debut EP, a four-tracker titled The Deluge, will be out on Jan. 29. Rest assured, I have no frickin’ idea what day it is as I write this, but when I take the millisecond to glance downward at the calendar, it says that’s next week, so there you go. Quick turnaround.

“Bone to Earth” will lead off the EP, and its rolling groove is welcome to be sure. Orbiter‘s take is in a place between heavy rock and doom, and Carolin Koss‘ vocals highlight an edge of psychedelia in the guitar, but that only makes the overall outing richer in sound. The Deluge‘s scope might be familiar to experienced heads, but that does nothing to make it less enjoyable, particularly in the righteously atmospheric eight-minute closer “In Echoes.” Admittedly, I’m still digging into the release, but that’s an immediate standout.

One to keep an eye on. Maybe mark your calendar. Set a reminder. Do the thing. Get involved. Make your way. Blah blah blah. Whatever, it’s right on. You like music, right?

Dig:

Finnish doom metal band Orbiter to release debut EP “The Deluge” on January 29, 2020

The Finnish doom metal band Orbiter will release their debut EP The Deluge on Wednesday, 29 January. The four-song EP is a blend of heavy riffing, atmospheric psychedelia, and soaring vocals. The central theme of the record is human nature and its contradictions: over and over again people’s aspirations towards wisdom are in danger of being drowned under the waves of their own greed. The EP has been mastered by Brad Boatright (Audiosiege), one of the most renowned mastering engineers in the industry worldwide.

Orbiter released a pre-single Bone to Earth in late November. In addition to the Finnish media, the song also received international attention in Germany, Spain, France, and America.

Founded at the turn of the year 2014-2015, the band has been influenced by the genre’s founder Black Sabbath, 90s stoner bands like Kyuss, and 21st century doom bands. Additional influences have been drawn from psychedelic and progressive rock.

Orbiter’s new vocalist Carolin Koss joined the band last April. She’s an artist, filmmaker, and singer originally from Germany, and now residing in Finland. This is Orbiter’s first record with Koss. The band has previously released three singles, most recently Anthropocene in early 2019.

Upcoming gigs (in Finland)
6.2. Lepakkomies, Helsinki
10.4. Ravintola Cactus, Helsinki

Orbiter: The Deluge
1. Bone to Earth
2. Astral Racer
3. Orchids
4. In Echoes

Orbiter
Carolin Koss – Vocals
Alexander Meaney – Guitar
Jere Remes – Guitar
Tuomas Talka – Bass
Sami Heiniö – Drums

https://www.facebook.com/orbiterconnection
https://www.instagram.com/orbiterband/
https://orbiterconnection.bandcamp.com/

Orbiter, “Bone to Earth”

Not the kind of thing I usually say when I put up a track with a news post, but the song at the bottom here, which comes from Orbiter‘s 2019 split with Roadog (review here), doesn’t really do much to represent where the Helsinki five-piece are coming from on their new single, “Bone to Earth.” Sure, the new cut still has some of those haze-doom underpinnings — a feeling of psychedelic immersion set to big-feeling riffly-roll derived in part from “Witchcult Today” but transmogrified into something less willfully cartoonish, but with vocalist Carolin Koss making her debut in the band, it’s nonetheless a significant change that’s taken place, and it has an effect on their sound of course. For what it’s worth, I’ve heard the new song — it’s out tomorrow, so you know, not really so much advance listening there — and it’s awesome. Also of note is the uptick in the production of the drums. The snare sounds right on in the new track.

Promises of good things to come? Here’s hoping. We’ve got a whole new decade arriving in a little over than a month. Time to start filling it with killer tunes.

From the PR wire:

Orbiter – New single ‘Bone to Earth’ out on November 28!

Founded at the turn of the year 2014-2015, the band has been influenced by the genre ancestor Black Sabbath, 90s stoner bands like Kyuss, and 21st century doom bands. Additional influences have been drawn from psychedelic and progressive rock.

Now Orbiter is releasing new music! Bone to Earth single will be released on Thursday 28 November. The song is a pre-release from the band’s upcoming debut EP The Deluge, which will come out on January 29.

Bone to Earth is a song about the duality of human nature, which is self-destructive and yet longing for wisdom. The song’s unhurried and heavy riffing blends hypnotically with the voice of the new vocalist, Carolin Koss, who joined the band in April. Koss is an artist, filmmaker and singer originally from Germany, and now residing in Finland.

The upcoming four-song EP contains previously unrecorded material from the band’s earlier days as well as newer songs composed with Koss. Orbiter has previously released three singles, most recently Anthropocene in early 2019.

Upcoming gigs (in Finland)
30.11.19 Ravintola La Barre, Joensuu
11.1.20 UUS HOI SIE, Lappeenranta
10.4.20 Ravintola Cactus, Helsinki
23.5.20 Henry’s Pub, Kuopio

Orbiter
Carolin Koss – Vocals
Alexander Meaney – Guitar
Jere Remes – Guitar
Tuomas Talka – Bass
Sami Heiniö – Drums

https://www.facebook.com/orbiterconnection
https://www.instagram.com/orbiterband/
https://orbiterconnection.bandcamp.com/

Orbiter, “Anthropocene”

[Click play above to stream Let the Night Come by The Lone Madman in its entirety. Album is out Oct. 25 on Saturnal Records.]

With the melodic grandeur of Candlemass, the grim moral certitude of Reverend Bizarre and a patient-but-intense severity behind their execution across four mostly-extended tracks of darkened doom, Helsinki, Finland’s The Lone Madman offer an unconventional take on the genre’s traditional elements with their Saturnal-issued debut LP, Let the Night Come. A dual-guitar four-piece with Turkka Inkilä (also vocals) and Juuso Raunio handling the downtrodden riffery, Veera Vallinkoski on bass and Leevi Lönnrot on drums, there isn’t much about the group on paper that would make one necessarily expect anything crazy from the 42-minute proceedings. They’ve been together for five years, released a single and their Dreary Task EP in 2016, have played shows mostly around their hometown and are very clearly dug into doom as a foundation for what they do. Fine. Certainly there are worse places to start, but unless one has a particular fetish for Finnish doom — which would be understandable — there’s not much to immediately catch the brain. No gimmick to speak of. Even when the flute shows up in “Häxan,” it feels reasonable. But The Lone Madman nonetheless subtly bring together shades of NWOBHM self-righteousness with doom’s utter disaffection in a way that strikes a surprisingly individualized note. The gang shouts in “The Downfall” feel to my East Coast US ears derived from Type O Negative, while some of Inkilä‘s melodies on vocals bring to mind a Finnfolk-infused vision of underground metal that’s a tradition unto itself, apart from doom or anything else.

The Lone Madman thrive in this context, offering little by way of letup in terms of the emotional and spiritual downerism being showcased. From the catchy opening provided by the title-track to the plotted lead in the first half of closer “House of Mourning” before a tempo kick ignites a midsection charge — leading, naturally, to the final slowdown acting as the apex of the song — this is not drink-a-beer-and-ride-a-motorcycle doom, or if it is, it’s with the addendum of being miserable while doing so. Perhaps helping distinguish Let the Night Come from some of its traditionalist forebears (Reverend Bizarre notwithstanding) is the fact that the material feels purposefully longform. The penultimate “Häxan” (7:29) is the only inclusion under 11 minutes long, while “Let the Night Come” (11:04),” “The Downfall” (11:27) and “House of Mourning” (12:47) each seem to push deeper into the spiritual miasma in which the band are, well, not quite reveling — that would imply some kind of celebration — but certainly enamored. This I guess leads to another impressive aspect of Let the Night Come, particularly as The Lone Madman‘s debut album, in that it presents itself in this emotional mire and down-down-down existentialist position, but it isn’t a drag to hear. Of course that’s owed to the songwriting generally, and also to the band’s will to throw in a curve every now and again, usually on a one-per song basis.

That’s maybe how you wind up with the gang shouts on “The Downfall,” the flute on “Häxan,” later Valborgian shouts and the faster solo that tops the (relative) thrust in “House of Mourning.” With “Let the Night Come” at the outset, The Lone Madman set a working foundation for themselves by giving their audience a straightforward look at their style, with a strong presence from Inkilä on vocals and hints at layering of melodies, crashing riffs and flourish of softer complementary meanderings that enhance the overarching impact of that to which they invariably lead, i.e. more doom. I wouldn’t suggest The Lone Madman — yes, all four of them — sat down and decided they needed a way to change up each track on the album just a little bit, but following an instinct for what a given song needs in its arrangement isn’t something to be ignored in a band’s sound. Especially on their first record. So as Let the Night Come unfolds, it sees the band making these decisions with clarity and purpose, resulting in a whole that’s even richer than it would otherwise be, tense in its execution, but using that to help convey its emotional state, not beating the listener over the head with its depression diagnosis as some modern melodic doom can do, but finding a ground that expresses such a state on multiple levels. The changes from song to song, while minute on the bigger scale of the album itself — it’s not like at some point they put the guitars down and pick up a lute; though if they did I bet they could make that work — bolster the underlying affect.

At the same time, there’s a formative feel to Let the Night Come as well, as though this instinct is really just beginning a larger exploration of style and intent and that, yeah, The Lone Madman may get those lutes yet, or at least a kantele. Or maybe just some keyboard. Either way, the ground they lay out on these tracks holds the potential for future statements even as they make their own in the present, bringing a weight of atmosphere as much as tone while remaining mindful of its roots and striving toward something more individual. There’s little else one could reasonably ask of a debut album, and though living in a culture of mass shootings, an American might raise an eyebrow at a moniker like The Lone Madman, it’s worth keeping in mind that Finland, by contrast, had three such sprees between 2008 and 2013, and for what it’s worth, the band give no outward signs of being fascinated with political extremism of any sort. With the storytelling of “Häxan” perhaps as an exception, they seem more concerned with inner turmoil and alienation, and though their sound is cold and isolated, its nascent outward reach demonstrates a will to progress that one hopes The Lone Madman pursue as they move forward. As it is, they find a balance where they need one and thereby secure a place for themselves to proceed however they should desire to do so. Future prospects are exciting, but present accomplishments shouldn’t be overlooked on that account either.

The Lone Madman on Thee Facebooks

The Lone Madman on Bandcamp

Saturnal Records on Thee Facebooks

Saturnal Records on Bandcamp

Saturnal Records website

Desert Hel is a new heavy fest marking its debut in Finland next April. It’s ‘Hel’ as in -sinki, and the two-dayer is set to take place April 24-25 at On the Rocks in the Finnish capitol. It’s not affiliated with Desertfest in any way so far as I know, but they’ve pulled together a solid lineup nonetheless, with multinational acts Lucifer (UK/Sweden) and Lonely Kamel (Norway) headlining and the likes of natives Craneium and Kaleidobolt and Russia’s The Re-Stoned offering their support of the endeavor. Also noteworthy is the cleverly named One Inch Band, who’ll play not just a set of Kyuss covers, but specifically the setlist that the desert rock legends played at the much-bootlegged Bizarre Festival in 1995. If that doesn’t sound like fun to you, I don’t know what might.

The info below has been run through a major tech company’s translation matrix, but should still be enough for you to get the idea. Spring in Europe is always a busy time, but Desert Hel 2020 promises to bring something to the northern part of the continent that seems well due.

Word follows:

Desert Hel is a new stoner & doom music festival in Helsinki. The first event will take place at On the Rocks on 24th-25th of April, 2020! Ticket sale starts on Thursday 10.10.2019

The new Desert Hel Festival, focused on stoner and doom music, will take place 24-25 April 2020 at the Helsinki On the Rocks Club. In addition to foreign and domestic bands, it is also possible to enjoy craft beers and food served during the festival. Tickets for the event will go on sale at Tiketti on Thursday, October 10, 2009 at 9:00 am.

On Friday, the festival’s main performer will be the Swedish heavy rock band Lucifer, who is preparing for the new album. Nicke Andersson, a multifunctional artist known for Hellacopters and Emtombed. Friday’s program will be complemented by Re-Stoned, the Moscow-based messenger of psychedelic Instrumental stoner, Craneium playing heavy-duty riffs, and Jupiter, a psych-rock band.

On Saturday, the show features Norwegian heavy blues and stoner Lonely Kamel, Helsinki-based power trio Kaleidobolt, Thermate from the 70’s heavy and 90’s stoner rock, and Kaiser playing the majestic cruel desert fuzz. In addition, Desert Hel’s backing party picks up a tribute band, One Inch Band plays Kyuss, for Saturday night, which plays Kyuss’s 1995 Bizarre Festival set list.

LINE UP
FRIDAY:
LUCIFER (SWE)
The Re-Stoned (RUS)
Craneium
Jupiter

SATURDAY:
Lonely Kamel (NOR)
KALEIDOBOLT
Thermate
Kaiser
One Inch Band plays Kyuss

Tickets:
Fri 24€/25€
Sat 22€/23€
2 days 42€/45€

https://www.tiketti.fi/desert-hel-2020-on-the-rocks-helsinki-lippuja/65169
https://www.facebook.com/DesertHel/
https://www.facebook.com/events/692507427920533/

Lonely Kamel, Death’s-Head Hawkmoth (2018)