Tomorrow, March 15, is the release date of the fourth Långfinger full-length, Pendulum. It’s the Gothenburg, Sweden, classic heavy rock trio’s first long-player since 2016’s Crossyears (review here), which, if you live in an anachronistic time bubble as I do, I’ll remind you was eight years ago. Even with their 2019 live album, aptly-titled Live (review here), and a concurrent split shared with countrymen JIRM, plenty of live work in the intervening time and guitarist Kalle Lilja‘s involvement with Wolves in Haze, Toad Venom and Welfare Sounds Studio, the latter being where Pendulum and Crossyears and a whole bunch of stuff for other bands have been recorded over that span of time, it’s probably been long enough. Comprised of 10 tracks — the player on their Bandcamp lists “Towering” twice, so shows 11 — the well-appreciated check-in from Lilja, vocalist/bassist Victor Crusner, who caps the aforementioned track with Mellotron as well, and drummer Jesper Pihl reminds of their foundation vintage-style heavy songcraft while expanding on the modern sound with which the album prior presented it.

Offered with a clarity of vision and sharp, clever twists of craft across its 36 minutes, Pendulum has no time to waste at its outset as “A Day at the Races” all but dispenses with intro formalities to start with its verse. That makes the trip to the chorus that much more efficient, and with a Spidergawdian electric surge in its hook and a quick glimpse in the bridge at some of the bluesy Greenleafery to come as “Dead Cult” caps side A and answers back to the strut and clearly purposeful kick-in-the-pants momentum-gathering of “A Day at the Races” and the subsequent “Cycles,” which is more brash as it proceeds through a still-efficient three-plus minutes, as well as some of the moodier Graveyard-style groove of “Arctic” before that song’s especially fervent payoff, with a full tonal push, lead notes in the chorus, and an adrenaline-bent last course of riffing. “Arctic” makes it clear that Långfinger are doing more on Pendulum than straight-ahead rocking, but in both that and “Towering,” which starts out mellower and lets its chorus largesse rear up from the verse with unhurried-but-not-lifeless guidance — also a ripping solo just past the middle before Lilja breaks out the Mellotron near the end; a stark change but well in line with both the traditions Långfinger are playing toward and the flow of the track itself — Pihl, Crusner and Lilja resonate with a command over their twisting grooves, melodies and structures that they’re not the same kids who put out Skygrounds in 2010, though even that debut knew where it wanted to be sound-wise.

And to that, weren’t Långfinger a boogie band? Retro ’70s vintage heavy? Wasn’t that the thing? Yeah, that’s part of it, but it’s hard to ignore Pendulum swinging like some kind of summary of the last two decades of pan-Scandinavian heavy highlights or the manner in which the three-piece place themselves in that same sphere. If they’re playing classic heavy, they are the classic heavy ideal they’re working toward. Side B rolls out with the two-minute instrumental “Observationsnivåer,” which meets its early drum gallop with a slap of Iommic shred — and did I actually hear piano flourish in that transition after? — and the saunter of “Team Building” that becomes a light lumber as the second verse sets up the solo turn at 2:05. Do they bring back the chorus of course they bring back the chorus. How do you think teams are built? “Orbiter,” which follows, is the longest inclusion on Pendulum at 4:33, and is more charged than “Team Building” while working in a similar atmosphere early on, bringing together some of the impulses from side A and finding its own balance. A brief moment of heavier pummel gives over to a psychedelic wash of effects and toe-tapper shimmer-prog, but by this point the listener can readily trust Långfinger won’t lose the thread, and indeed they don’t.

The arrival of the organ that leads into the penultimate title-track stands it out from its surroundings, but becomes a grounding element for a song that seems to find the farthest points of shove and drift on the album that shares its name. As they have all the while, Långfinger demonstrate a particular attention to endings, and “Pendulum” races to its own to let closer “Skuggornas Hov” stand apart with the returning Mellotron and what I’m pretty sure are the first in-Swedish lyrics they’ve ever had for a song. Led by acoustic guitar with its vocals sounding farther off the mic and loosely folkish, “Skuggornas Hov” is no less considered in not kicking into full-weight tone and half-shouted urgency than “Towering” or “Pendulum” were in doing so. It’s been a hell of an eight years for just about everybody on the planet one way or the other, and Långfinger — who were actively tracking a follow-up to Crossyears in 2021 — are no exception, but the maturity that bleeds through Pendulum‘s component material delivers the record as a whole with a firm sense of intention, and however much went into its construction over whatever stretch of that time, it was anything but wasted.

Pendulum premieres in its entirety below, followed by the album info unceremoniously hoisted from Bandcamp.

Please enjoy:

Stalwarts of the underground rock scene in Sweden for the better part of two decades, Långfinger is set to release their fourth album “Pendulum”. An album that is as much of a retrospective as it covers new methods of noise as the band reemerges for the first time since 2016’s LP “Crossyears”.

“Pendulum” delivers direct, intense and playful rock music in an immersive long play format which might not make sense in the grown-up digital age, but for Långfinger, rock n roll is not about growing up, or making sense for that matter. It’s about the exploration and continuum of all things related to their sound that was, is and will be.

Tracklisting:
1. A Day at the Races
2. Cycles
3. Arctic
4. Towering
5. Dead Cult
6. Observationsnivåer
7. Team Building
8. Orbiter
9. Pendulum
10. Skuggornas hov

Produced by Olle Björk, Johan Reivén & Per Stålberg
Recorded at Welfare Sounds by Olle Björk, Johan Reivén, Per Stålberg & Kalle Lilja
Mixed by Olle Björk at Welfare Sounds
Mastered by Johan Reivén at Audiolord Mastering
Additional Engineering & Editing by Kalle Lilja
Artwork: Tage Åsén
Cover Design: Emma Lilja

Långfinger are:
Kalle Lilja – guitar/backing vocals
Victor Crusner – vocals/bass/keys
Jesper Pihl – drums

Långfinger on Facebook

Långfinger on Instagram

Långfinger on Bandcamp

Långfinger website

The original intention of Sweden’s Toad Venom was to remain anonymous, but in the words of the band themselves, “it didn’t work.” The project, in fact, was founded circa 2021 at the behest of Kalle “Ian Venom” Lilja (also Wolves in Haze and Långfinger) and Mikael “Tord Venom” Backendal (JIRM), who anchor the alternatingly foggy and sunshiny psych-pop rock purposes of Toad Venom‘s debut album, EAT!. And usually it’s Lilja (who also recorded and mixed; Esben Willems mastered and Martin Björk is credited as producer) drumming and Backendal (who did the art) playing guitar, but they switch around as well, with Lilja adding guitar and bass to “Three Hearts” while Backendal plays percussion, both adding synth to the early instrumental “Fraggelgaggel,” and so on, their recording and engineering experience making the studio no less of an instrument throughout than the various guitar, bass, keys, synth, percussion, philicorda, and so on they employ throughout, never mind the other players brought in.

Delivered through the band’s own studio-affiliated imprint, Welfare Sounds, the album employs a host of vocalists, notably Cornelia “Virginia Venom” Adamsson (also Virginia and the Flood), who appears on opener “Grip of a Vice” and brings a more than respectable Blondie vibe to the dreamy “Three Hearts,” immediately following. Adamsson, in fronting the first two of the 10 total tracks on the 41-minute offering, helps set the tone of mindful, structured drift in which much of the album resides, a modern sheen looking back on and reimagining ’60s acid pop as Patrik “John Lennon Venom” Kolar (also Weeping Willows) makes no attempt to hide the primary inspiration for the piano progression that starts “Grip of a Vice” — the first thing on the record you hear is piano and it’s a pleasant surprise — and the Mellotron that joins later.

“Grip of a Vice” is originally by Inventors of the Universe and is one of three covers here, as Toad Venom also take on The Electric Flag‘s “Peter’s Trip” and Serge Gainsbourg‘s “Laisse Tomber les Filles” back to back as the album makes its way into its midsection following the Devoian “Fraggelgaggel” and the six-minute joy-piece “Calling All the Creatures,” which aligns Backendal and Lilja with vocalist Ester “June Venom” Nannmark, who adds a mellow, melodic spirit to the track that could easily be called modern indie instead of classic psych but that makes the first of only two six-minute tracks on EAT! — the other is the penultimate “Deadless Time” — an absolute highlight and immersive in a way that “Grip of a Vice” and “Three Hearts” didn’t seem to want to be, favoring instead that classic pop mindset.

Wait. Is it possible Toad Venom want to do more than one thing? Actually it’s kind of the point of the record. On the most basic level, it’s kind of the point of the band, with Lilja and Backendal each stepping aside from other bands to make these songs, but also in bringing in so many other players — Karl “Torsten Venom” Apelmo of JIRM and Jessica “Vera Venom” Mengarelli of The Presolar Sands on backing vocals for “Three Hearts,” bassist Per “Steel Venom” Stålberg of Division of Laura Lee on “Fraggelgaggel,” Kolar on the opener and the final three tracks adding Mellotron, vibraphone early, Hammond and Wurlitzer on “Swirling Hands” (video premiere here) or “Deadless Time,” helping add to the languid garage psych of closer “When They Leave,” on which Hanna “Nommnomm Venom” Samara tops the subtly weighted progression with a suitably lysergic melody.

So yes, the songs have different goals. The siren of guitar on “Peter’s Trip” and Mengarelli‘s suitably ‘tombling’ delivery of “Laisse Tomber les Filles” speak to that well enough to make the point, and neither of those are originals. From employing artists outside the core unit of the band — or, perhaps, not having a core unit beyond Lilja and Backendal in the first place — to the actual shifts that take place throughout like “Alla är likadana” bringing in Charly “Vulva Venom” Paulin of The Presolar Sands for a shoutier, proto-punk verse made gleefully weird in an almost cult rock kind of way by the synth behind it, or the way Mengarelli‘s final appearance as Vera on “Swirling Hands” seems to be struggling to stay atop the wash of melody around, to the all-hands-on-deck, whistle-and-trumpet-inclusive spaghetti Western Morricone-ism in “Deadless Time,” which doesn’t introduce its Tilde “Wild Venom” Hjelm-vocalized verse until the second half of the song, establishing first a deceptively tense chug of who knows how many layers of guitar.

This confusing swap of players — it’s Daniel “Danne Venom” Ekborg on trumpet and Teodor “Telos Venom” Boogh (also Telos Vision, Truls Mörck) on the guitar solo for “Deadless Time,” by the way — and switching between different kinds of vintage synths and keys and who knows what else, is a mess. There’s no other way to say it. On paper at very least, it’s a mess. And in listening terms, it shouldn’t work. At all. It’s nearly impossible to know who’s where around Backendal and Lilja throughout, or to keep track of the comings and goings between singers and styles. By the simple math, the album should be a disjointed collection more about the self-indulgence of its makers than the listening experience of its audience.

But the horrifying truth of EAT! is that it does work, and that it’s in serving that very listening experience that the material is most united. The album’s 41 minutes pass in a breeze of sweetheart reverie, fluid one to the next and able to build momentum across the whole. The songs’ unabashed poppiness and accessibility provide a grounding effect that renders all the change surrounding not at all meaningless, but a part of the expression of the songs themselves, which in turn serve as the foundation for the record. They might and do vary in purpose and touch on different aesthetics, certainly on different instrumentation and a sense of the experimental, but the ultimate mission of Toad Venom is to build these songs into something memorable in their own right, and if Lilja and Backendal — one might be inclined to include Kolar in that list as well; I don’t know how involved he was in the writing, but his contributions throughout are pivotal — draw this too from a classic ethic of psychedelic rock of the mid and late ’60s, they’re headed in the right direction. If you want to make sense of nonsense, you need to expand your mind.

Whatever this project turns into, whether it remains as nebulous in makeup as it is here around Lilja and Backendal or becomes a band with either Adamsson or Mengarelli on vocals (or someone else), Kolar on keys, and so on, as part of a permanent lineup, the songwriting and the creativity and the cohesion of purpose across EAT! are not to be underestimated. They might have considered calling it ‘feast’ instead.

Toad Venom, EAT! (2022)

Toad Venom on Facebook

Toad Venom on Instagram

Toad Venom on Bandcamp

Welfare Sounds on Facebook

Welfare Sounds on Instagram

Welfare Sounds store

I had two ideas in my head for this episode. The first was to do a stuff-to-look-forward-to-next-year playlist, which I did, and the second was to do a me-spending-your-money-on-Black-Friday-Bandcamp-recommendations edition, which I did not do.

Was it the right choice? I don’t know, but it kind of feels like a victory for the good guys every time I get to play All Souls, or King Buffalo, or Sasquatch — or Gozu, or Conan, Stöner, Colour Haze, etc. — and there’s some small chance anybody will hear it, so I won’t exactly say I regret going the way I did. There will be other Bandcamp Fridays, I think.

And to be perfectly honest, I like thinking about this stuff, about new records coming out. I like to wonder what bands will come up with, song-wise, sound-wise, how things will have changed since their last record, how the identity of a group can shift over time. Think of High on Fire. Think of Dozer! A new Dozer album after 14 years. Who the hell knows what that’s going to sound like?

So yeah, that’s what I went with. And since preorder is up for some of this stuff — 40 Watt Sun, the PostWax series of which Dozer are a part, Naxatras, Messa, Earthless — I guess maybe you could spend some money anyway here. Plus there’s always older records to buy. It’s a big planet. There are a lot of albums on it.

Thanks for listening if you do and/or reading. I hope you enjoy.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.

Full playlist:

The Obelisk Show – 11.26.21

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Dec. 10 (subject to change). Thanks for listening if you do.

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Probably okay now to admit that I wasn’t sure there was going to be another album from Swedish classic heavy rockers Långfinger, but as of a week ago, the band have finished basic tracks for the follow-up to 2016’s Crossyears (review here). Guitarist Kalle Lilja has been plenty busy as one of the operators of Welfare Sounds in Gothenburg, and drumming in Wolves in Haze, who have a new record out, so without hearing that Långfinger were actively… active… I kind of assumed they weren’t. Happy to have been mistaken.

I don’t know their recording schedule — the below was posted on Nov. 14 through social channels — so it’s possible the recording for the next Långfinger is done by now and the band have moved on to mixing and eventual mastering. While we’re talking about things I don’t know, I also have no clue what their release plan for their next outing might be. Crossyears came out on Small Stone, so that’s a possibility, certainly, but I can name three other labels off the top of my head that would likely welcome the trio with open arms — make it four — so I’m not even going to guess who or when.

But the “what” is a new Långfinger record and that possibility suits me just fine. Earlier this year, they filmed two songs live at Spinroad Studios outside Gothenburg and that clip can be viewed at the bottom of this post, along with the stream of Crossyears from Bandcamp, in case you’d like a refresher:

Hello earth!

As you all have noticed, we are in full swing of recording our first album in five years!

After six intense days at Welfare Sounds, pretty much all of the backing tracks are done. Next up is vocals and overdubs!

And as with our previous album ’Crossyears’, we once again chose to work with Olle Björk and Johan Reivén as the producing team, because we wanted the best!

The return of Långfinger is approaching fast!

Welfare Sounds
Bombastik Drum Recordings

https://www.facebook.com/Langfingerofficial/
https://www.instagram.com/langfingerband
https://twitter.com/langfingerband
https://www.youtube.com/langfingertube

Långfinger, “Meet the Hoopla” & “Skygrounds” Live at Spinroad Sessions (2021)

Långfinger, Crossyears (2016)

On May 24, Swedish heavy rockers Långfinger will release the limited LP Live in an edition of 200 copies only. It arrives through Beduin and Sound Pollution less than a full month after Långfinger‘s new split 7″ with JIRM (formerly Jeremy Irons and the Ratgang Malibus), and presents a show that took place on Xmas 2017 in the band’s hometown of Gothenburg. In short, it sounds like a holiday. In total, Långfinger rip through eight songs and every bit sound like they knew they were going to end up releasing the gig. Rising to the occasion and all that.

Mixed and mastered by guitarist/backing vocalist Kalle Lilja and with Lukas Väremo sitting in on keys for “Fantasy Ridge” and “Atlas” — from their first album, 2010’s Skygrounds, and their third album, 2016’s Crossyears (review here), respectively — along with bassist/vocalist Victor Crusner and drummer Jesper Pihl, Live lives up to any live album cliché one might be tempted to apply. Whether it’s “capturing a moment in time” or presenting the band’s studio material in raw and raucous fashion, whatever. It’s all true. It’s all there. It all works. By the time they’re through “Fox Confessor” and “Caesar’s Blues” from Crossyears and into the winding riffery of “Feather Beader,” the sense of witnessing a kickass classic heavy rock show is palpable, and it seems like no coincidence at all that in talking about the record below, Lilja would shout out Deep Purple‘s Made in Japan or Thin Lizzy‘s Live & Dangerous.

Anyone who encountered Skygrounds, 2012’s Slow Rivers, Crossyears or any of the handful of shorter outings they’ve had along the way can tell you Långfinger work to a pretty high standard. Live demonstrates plainly that the same applies to their stage work, and for someone like me, who’s never been fortunate enough to see them live, hearing the no-nonsense strut of “Crossyears” and the arrival of the telltale guitar and key line of “Atlas” is a boon that only emphasizes the pivotal forward-looking nature of their approach, as rooted in the classics as it is. Somewhat curiously, Slow Rivers isn’t represented at all on Live, but I guess there are only so many spots in the set, and with the fact that Långfinger were playing a special gig in their hometown, maybe the blend of old(est) and new(est) was something they decided to go with to make the night stand out all the more. Can’t argue with the reception the older songs are given, though one might say the same of the newer ones as well.

Either way, Skygrounds opener “Herbs in My Garden” and closer “Ragnar” make a righteous final pairing for Live, the latter of them taking the three-piece into a flowing final jam that carries smoothly to the end of the set. By then, Långfinger have handed the Musikens Hus its ass, and that’s all there is to it. There is less embellishment than in some of the ultra-classic live records from the earlier masters of the form — maybe that’s where Unleashed in the East comes in — but I considered Långfinger to be underrated before, and that’s only become all the more the case with Live. Even with the recent JIRM split and this offering, they’re due for a new studio album sometime soon, and whether or not it happens this year, you’d be wise to keep an eye out. And as for the 200 copies of Live that have been pressed to orange-colored vinyl? I wouldn’t expect them to last long either.

Good band. Good show. Good record. What the hell more would you ask?

Check out the premiere of “Feather Beader” below and hear what I mean:

Kalle Lilja on Live:

We all grew up listening to live albums. Whether it was Made in Japan, Unleashed in the East, Yessongs or Lizzy’s Live & Dangerous. It remains so powerful hearing a band (100% live or not…) cranking it up and delivering a grand snapshot of a moment in time. It’s embedded in our DNA as a group by now, to always portray everything of what we are on stage, and Live is a grand envoy for that directive.

Out May 24 on Beduin & Sound Pollution Distribution.

Limited to 200 copies on orange 180g vinyl…

Jesper Pihl – Drums
Victor Crusner – Vocals/Bass
Kalle Lilja – Guitar
Lukas Väremo – Keyboards (Track 5 & 6)

Recorded live at Musikens Hus, Göteborg, Dec 25, 2017.
Engineered by Sven Jansson
Mixed & mastered at Welfare Sounds by Kalle Lilja
Produced by Långfinger

Långfinger on Facebook

Långfinger website

Långfinger on Instagram

Sound Pollution website

Swedish heavy rockers Långfinger continue to press the flesh in support of their 2016 third long-player and Small Stone Records debut, Crossyears (review here). This past Fall, in addition to premiering a charm-laden video for the track “Say Jupiter” (posted here), the three-piece hit the road in Germany, Belgium and the Czech Republic, and their parsing of Europe will seem to carry forward into the New Year as well with a week-long stretch of dates in Spain and Catalonia.

The run kicks off March 10 in Barcelona at Red Sun Fest, put on by Red Sun Records. I haven’t seen a full lineup for that yet, but will do my best to keep an eye out. As they finish at Dead Fest in Mallorca, they’ll join Fuzz Forward, Golgotha, El Altar del Holocausto and others across a pretty wide stylistic range. No substitute for variety.

Långfinger are also currently at work on their next record and will reportedly be tightening up new material on the road. The PR wire brings word of that and more:

LÅNGFINGER: Gothenburg Power Trio To Tour Spain This March

Gothenburg power trio LÅNGFINGER will perform a week’s worth of live dates in Spain this March. The journey will run from March 10th through March 17th. Comments the band, “We’re happy to announce that we’re heading back to Spain this spring. As we’re working on our new album, it’s hard to think of something better than to take a break and head down south. We’re looking forward to premiering a ton of new material as we’ll be frolicking our way over the peninsula!” See all confirmed shows below.

LÅNGFINGER:
3/10/2018 Red Sun Fest – Barcelona, ES
3/11/2018 Dabadaba – San Sebastian, ES
3/13/2018 La Nube Café Teatro – Bilbao, ES
3/14/2018 Sala Memphis – Gijón, ES
3/15/2018 Sala Son – Cangas De Morrazo, ES
3/16/2018 Barracudas – Madrid, ES
3/17/2018 Deadfest – Palma De Mallorca, ES

LÅNGFINGER’s latest studio offering, the ten-track Crossyears, was released last year via Small Stone.

Långfinger:
Kalle Lilja – Guitars & backing vocals
Victor Crusner – Bass, keys & lead vocals
Jesper Pihl – Drums & backing vocals

Långfinger, “Say Jupiter” official video

Långfinger, Crossyears (2016)

We’re more than a year out now from the release of Långfinger‘s third album and Small Stone Records debut, Crossyears (review here), and the Swedish trio continue to provide the offering worthy support. Last month, they wrapped yet another round of touring that took them through Germany, Belgium and the Czech Republic, and they’ve got a brand new video premiering today for “Say Jupiter,” the second cut from the record.

I don’t know who in Långfinger‘s world owns a restaurant and decided to give the three-piece access to the kitchen for the purposes of the Anders Bryngel-directed clip, but the results are pretty hilarious. As anyone who’s ever made one can tell you, a good meal is as much about preparation as it is about the taste of the outcome, and whether they’re in the kitchen rocking out or in the front of the house getting the royal treatment from the waitstaff — also played by them — bassist/vocalist Victor Crusner, guitarist/backing vocalist Kalle Lilja and drummer/backing vocalist Jesper Pihl seem to be having a great time putting it altogether. Whatever dinner turns out to be, it’s apparently a pretty transcendent experience. Must’ve had a lot of garlic.

God damn, I love garlic.

What were we talking about? Oh right, Långfinger. Well, the way I see it, the only question is whether or not the “Say Jupiter” video — which is the band’s second time working with Bryngel after their clip for “Fox Confessor” (premiered here) — is the band’s way of bidding farewell to Crossyears as they move ahead toward their fourth album. They’ve reportedly been at work on their next outing and even played some new material live on the aforementioned Fall tour, so it seems to me there’s a chance 2018 could bring that record to life at one point or another. Will be worth keeping an eye on for sure.

And in the meantime, the partnership between the band and Bryngel yields charm-laden dividends once again here with “Say Jupiter,” so check out the video below, followed by more info from the PR wire, and please enjoy:

Långfinger, “Say Jupiter” official video premiere

From Långfinger’s third full length album “Crossyears”, released September 30th, 2016 on Small Stone Records.

Directed, produced and edited by Anders Bryngel.

Långfinger:
Kalle Lilja – Guitars & backing vocals
Victor Crusner – Bass, keys & lead vocals
Jesper Pihl – Drums & backing vocals

Långfinger, from the fertile rock ‘n’ roll city of Gothenburg, have been playing together since they were in their early teens, and their third album, called ‘Crossyears’, is both the thrilling culmination of their collective endeavour, and a rumination on it – on how Time has shaped them and brought them to this point. Within its hard-hitting grooves, the interlocking of Långfinger’s three disparate characters – Kalle, the unflappable, precision axeman; Jesper, the athletic sticksman battering out physical revenge on his kit; and Victor, the intense, exploratory spirit, bridging thundering bass and howling exorcism – is a magical proposition.

Långfinger, Crossyears (2016)

Långfinger on Thee Facebooks

Långfinger website

Långfinger on Instagram

Långfinger on Twitter

Crossyears at Small Stone Bandcamp

Small Stone on Thee Facebooks

Swedish classic-style heavy rockers Långfinger have announced a new round of European touring for this September and October. The Gothenburg three-piece will head out for a run through Germany, Belgium, and the Czech Republic beginning Sept. 28 as they continue to support their 2016 offering, Crossyears (review here), released by Small Stone in the US in conjunction with Cargo Records in Europe.

Though they’re still young, Långfinger are fast becoming veterans of Europe’s heavy rock underground. With Crossyears as their third album behind 2010’s Skygrounds and 2012’s Slow Rivers, the band have more and more refined their sense of songcraft to make their tracks organic, memorable and engaging in their blend of ’70s roots and modern impulses. Earlier this year, they hit the road alongside labelmates Captain Crimson to represent two of Sweden’s strongest upstart presences in next-generation riffage.

Dates for the upcoming autumnal run and more info follow here, courtesy of the PR wire:

Långfinger Autumn Tour
28/9 Kiel (DE) – Schaubude
29/9 Oldenburg (DE) – MTS LP’s & CD’s
30/9 La Louviere (BE) – La Taverne du Theatre
1/10 Rodewisch (DE) – Ars Vitae
2/10 Prague (CZ) – Fatal Club
3/10 Pod?brady (CZ) – Boss Bar
4/10 Kolin (CZ) – Bar Pod Hodinama
6/10 Weimar (DE) – Kasseturm
7/10 Lubbeneu (DE) – Kulturhof

Poster design by: Thomas V. Jäger from Monolord.

Långfinger, from the fertile rock ‘n’ roll city of Gothenburg, are masters of the art. They’ve been playing together since they were in their early teens, and their third album, called ‘Crossyears’, is both the thrilling culmination of their collective endeavour, and a rumination on it – on how Time has shaped them and brought them to this point. Within its hard-hitting grooves, the interlocking of Långfinger’s three disparate characters – Kalle, the unflappable, precision axeman; Jesper, the athletic sticksman battering out physical revenge on his kit; and Victor, the intense, exploratory spirit, bridging thundering bass and howling exorcism – is a magical proposition.

Långfinger:
Kalle Lilja – Guitars & backing vocals
Victor Crusner – Bass, keys & lead vocals
Jesper Pihl – Drums & backing vocals

https://smallstone.bandcamp.com/album/crossyears
https://www.facebook.com/Langfingerofficial/
http://langfinger.net/

Långfinger, Crossyears (2016)