Monolord, Rust: Shimmer in Dirt

Posted in Reviews on October 26th, 2017 by JJ Koczan

monolord rust

Over the course of the last four years, Gothenburg trio Monolord have worked efficiently on a mission to establish themselves among the heaviest of riff-driven bands the world over. Rust is their third album for RidingEasy Records behind the 2016 Lord of Suffering / Die in Haze EP (review here) and 2015’s Vænir (review here) and 2013’s debut Empress Rising full-lengths, and in some crucial ways it continues the thread. For example? It’s incredibly heavy. Should be said outright. Self-produced with drummer Esben Willems at the helm of Berserk Audio, it finds guitarist/vocalist Thomas V. Jäger, bassist Mika Häkki and Willems unfolding a molten cascade of riffy largesse worthy of the reputation they’ve earned from their studio output and corresponding significant time on tour. At the same time, however, it’s easier to read a narrative of progression within Monolord‘s sound even as the title-track lumbers into some of the record’s most weighted doom — the Swedish trio have grown melodically bolder, and Jäger‘s vocals, while still coated in effects, are more confident in their delivery than they were even two years ago.

As a unit, they were already on a progressive path coming from Empress Rising into Vænir, but the shift feels even more marked on Rust, particularly as it caps with its two longest inclusions, “Forgotten Lands” (12:45) and “At Niceae” (15:36), which seem to bring Monolord successively into new depths and new heights of places they’ve never explored before. While it’s not necessarily a shock that a band who’ve spent as much time on the road as Monolord have and who have two prior LPs under their collective belt would be coming into their own in terms of songwriting, the corresponding uptick of scope they present across Rust‘s 54 minutes isn’t to be understated, and as much heft as they offer, it’s the space they cover with it that impresses even more.

Naturally, when one hears the rumble that begins “Dear Lucifer” or the roll of “Where Death Meets the Sea,” the temptation is to think of Rust as a continuation of Monolord‘s seismic plod, but the truth is that by the first verse of “Where Death Meets the Sea,” which opens, they’re telling a more complex sonic story of where they are as a group. It would be an oversight to discount the vocal performance of Jäger in conveying this — almost immediately (there’s an intro to “Where Death Meets the Sea,” but we’re talking soon after that) he steps into a prominent frontman role in a way that simply wasn’t done on the last record or Empress Rising before it, and by setting that vibe early, he’s better able to maintain it even as the three-piece trudges later into the deep recesses of “Forgotten Lands” and “At Niceae.” But it’s not just his voice.

The guitar opens up to a subdued, almost airy tone during the verse, and while Häkki‘s bass adds plenty of oomph to the low end in the hook — yup, it’s a hook — as the five-plus-minute track unfolds, Monolord demonstrate an intention to do more than simply overwhelm with tonal weight. Though slower, “Dear Lucifer” ultimately does likewise, with the vocals out front of a progression that, while still about as post-Electric Wizard as the band get on Rust, is even more their own. Organ starts the title-track and provides a backdrop for the first minute, but recedes once the guitar, bass and drums kick in, bringing forth a densely-fuzzed march around a straightforward verse/chorus interchange that builds on what “Where Death Meets the Sea” accomplished with less back and forth interplay of volume, and a chugging second half bridge that, much to its credit, doesn’t veer into being overdone either before or after its last run through the hook en route to the ending guitar solo that brings about the instrumental “Wormland.”

monolord

I’m not sure where the sides/platters split for Rust, but it’s fair either way to say that “Wormland” feels as much like an introduction leading the way into “Forgotten Lands” and “At Niceae” as it does a capstone for the three shorter cuts before it. The groove comes easily and is maintained likewise across the six-minute instrumental piece, and a hypnotic effect from the early repetition is given further breadth through the arrival of violin just after the four-minute mark. like the verse of “Where Death Meets the Sea” or the heavy psych vibing that the last two tracks will touch on, this is yet another moment on Rust where the breadth comes into direct focus, though admittedly, in the case of “Forgotten Lands,” the overarching impression is much more geared toward weight than reach. Still, even as they seem to plummet downward into this low-end mire, they complement with higher-register vocals from Jäger to give a more rounded feel. And as thoroughly doomed as Rust is, that turns out to be the story of the album.

“Forgotten Lands” and “At Niceae” invariably define much of it, in a way the extended “Died a Million Times” and “Vænir” did at the end of Vænir, but as those two were split by the two-minute “The Cosmic Silence,” the way Monolord thrust their listeners into this world feels more brazen, and even more so as “Forgotten Lands” dips into its post-midpoint tripout, anchored by the bass as the weedy guitar goes wandering around dreamy layered vocals. They come back around to crush again and cap just before the 12-minute mark, which leaves silence as a transition into “At Niceae,” which strums YOB-like at the outset but soon enough moves into its own thundering roll, finding a defining fuzzy moment right around eight minutes in as a setup for instrumental hypnosis that gives way at 13 minutes to pure Floydian acoustics.

Vocals return and so does a line of electric guitar that marks the fadeout, but by then the pivotal shift in impression has been made and Monolord have sent the last confirmation of the growth they’ve undertaken as a band, no less striking than the tonal onslaught with which they first made their mark on an international audience. Their narrative may in part always remain centered around that consuming sonic largesse, but if Rust proves anything about Monolord, it’s that they’re still just beginning to reveal their full potential.

Monolord, Rust (2017)

Monolord on Thee Facebooks

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Monolord on Instagram

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RidingEasy Records on Twitter

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RidingEasy Records website

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Here are 40+ New Releases to Look for in the Next Three Weeks

Posted in Features on September 21st, 2017 by JJ Koczan

Starting tomorrow, the next three weeks are absolutely stupid with new albums. Over-the-top, ridiculous. An immediately-go-broke amount of music. Nothing less than an onslaught. We’re under attack.

Far be it from me to tell you how to spend your money — also far be it from me not to — but there’s some really killer stuff in here. As to why it’s all landing now? Some of it of course has to do with the timing of when it was recorded, bands hitting the studio in Spring before heading out on the road over the summer, but Fall releases also line up nicely for tours in October and November, heading into the holiday season, when the music industry basically shuts down. This is the last chance for releases to come out in 2017 and be considered for best-of-year lists.

I doubt the likes of Chelsea Wolfe or Godspeed You! Black Emperor or even Kadavar would cop to that as a motivating factor, instead pointing to the timing of Fall touring and so on, but these things are rarely coincidental. You know how there aren’t any blockbusters in January but every movie feels like it’s trying to win an Oscar? Same kind of deal.

Nonetheless, 2017 is laying it on particularly thick these next couple weeks, and as you can see in the lists below, if you’ve got cash to spend, you can pretty much choose your rock and roll adventure. I’ll add to this as need be as well, so keep an eye for changes:

Sept. 22:

Alcest, Souveinirs d’un Autre Monde (10th Anniversary Edition)
Brant Bjork, Europe ’16
Chelsea Wolfe, Hiss Spunthe-flying-eyes-burning-of-the-season
Epitaph, Claws
Faces of the Bog, Ego Death
The Flying Eyes, Burning of the Season
Fvzz Popvli, Fvzz Dei
Godspeed You! Black Emperor, Luciferian Towers
Jarboe & Father Murphy, Jarboe & Father Murphy
Monarch, Never Forever
Nibiru, Qaal Babalon
Process of Guilt, Black Earth
Satyricon, Deep Calleth Upon Deep
Spelljammer, Inches from the Sun (Reissue)
Thonian Horde, Inconnu
Trash Titan, Welcome to the Banana Party
Ufomammut, 8
With the Dead, Love from With the Dead
Wolves in the Throne Room, Thrice Woven

Sept. 29:

monolord rust
Cities of Mars, Temporal Rifts
Deadsmoke, Mountain Legacy
A Devil’s Din, One Hallucination Under God
Disastroid, Missiles
Jim Healey, Just a Minute More (Sept. 26)
Idylls, The Barn
Kadavar, Rough Times
Lucifer’s Chalice, The Pact
Monolord, Rust
Outsideinside, Sniff a Hot Rock
Radio Moscow, New Beginnings
Scream of the Butterfly, Ignition
Tronald, Tronald (Sept. 30)
Unsane, Sterilize
Wucan, Reap the Storm

Oct. 6:

fireball-ministry-remember-the-storyElder Druid, Carmina Satanae
Fireball Ministry, Remember the Story
Frank Sabbath, Are You Waiting? (Oct. 2)
Himmellegeme, Myth of Earth
House of Broken Promises, Twisted EP
O.R.B., Naturality
Primitive Man, Caustic
Spirit Adrift, Curse of Conception
Spotlights, Seismic
Sumokem, The Guardian of Yosemite
Torso, Limbs
White Manna, Bleeding Eyes

Also:

Oct. 13: Enslaved, Firebreather, I Klatus, R.I.P., Uncle Acid and the Deadbeats (reissue), Weird Owl, etc.

Oct. 20: Iron Monkey, Spectral Haze, Bell Witch, The Spacelords, etc.

Something I forgot?

Invariably, right? If you know of something not seen above that should be, then by all means, please leave a comment letting me know. My only ask is that you keep it civil and not call me a fucking idiot or anything like that. I write these posts very early in the day, and if something has been neglected, I assure you it’s not on purpose and I’m happy to correct any and all oversights.

Thanks for reading and happy shopping. Support local record stores.

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Keep it Low 2017: Colour Haze, Belzebong, The Necromancers and A Great River in the Sky Added

Posted in Whathaveyou on June 26th, 2017 by JJ Koczan

keep it low 2017 banner

I was kind of wondering if the Munich-based Keep it Low festival would add Colour Haze for Keep it Low 2017. The long-running German heavy psych progenitors have played multiple editions of the event and have kind of become a staple of the lineup, so to see them added as they support their new album, In Her Garden (review here), is definitely cool. Joining them in this round of adds are BelzebongThe Necromancers and A Great River in the Sky, and on a bill with Saint VitusBrant BjorkRadio MoscowMars Red SkyConanUfomammutStoned JesusMonolordMos Generator and so on — the list is fucking wild — they only make it stronger and richer.

Of all the Fall fests in Europe — there are many and I won’t take away from what any of them are doing — Keep it Low has been the one I’ve most wanted to see over the past few years. It’s grown into what really seems like a unique vibe between its stages, skatepark, biergarten, and so on, and though they’re promising heavier acts this year and delivering that already with the likes of Ufomammut and Vitus and Conan, etc. — see also Belzebong here — there’s still plenty of heavy psych and rock and roll to be had, and that blend, as we all know, is what it’s all about. Anyway, it looks awesome. It won’t be this year, but I’ll get there one of these days.

It’s presented, of course, by Sound of Liberation, who updated the lineup thusly:

keep-it-low-2017-new-poster

Keepers,
Today we have 4 new band announcements for Keep It Low Festival 2017! We’re happy to present you:

Colour Haze
BelzebonG
The Necromancers
A Great River In The Sky

It has become a kind of tradition that mighty Colour Haze headline Keep It Low’s Friday, so never change a winning team!

Get your 3-day tickets here: http://bit.ly/2lr4hzH and….keep it low!

Line Up:
BRANT BJORK (with Special Guest Sean Wheeler) | SAINT VITUS | RADIO MOSCOW | MARS RED SKY | UFOMAMMUT | STONED JESUS | CONAN | MONOLORD | NAXATRAS | HOUSE OF BROKEN PROMISES | BEASTMAKER | MOS GENERATOR | USNEA | ELEPHANT TREE | KALEIDOBOLT | MOUNT HUSH | GODSGROUND
+ many more TBA

Limited 3-day tickets available!

October 20 | 21 | 22 2017
Feierwerk München

After an amazing and once again sold out edition in 2016 you can expect 3 days, 27-30 bands, amazing people and good vibes at Keep It Low 2017! For the very first time we will have the “Doom-Frühschoppen” with some HEAVY bands on the last day of the Festival.

https://www.facebook.com/events/201489380309269/
https://www.facebook.com/keepitlowfestival/

Colour Haze, In Her Garden (2017)

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Six Dumb Questions with Esben Willems

Posted in Six Dumb Questions on June 21st, 2017 by JJ Koczan

esben-willems-photo-Hank-Henrik-Oscarsson

Swedish tone-crushers Monolord recently finished work on their impending third album, which will be out later this year via RidingEasy Records. For drummer Esben Willems, the accomplishment is two-fold. In addition to playing, Willems also engineered — a credit he shares with guitarist/vocalist Thomas V. Jäger and bassist Mika Häkki — and mixed and mastered. This was done behind the board in the capacity of Berserk Audio, the nom de guerre under which Willems has helmed projects not only for his own outfits Monolord and formerly Marulk, but many others over the years including Långfinger, Vokonis and Cities of Mars.

Unsurprisingly, as Monolord‘s reputation has grown, that of Willems‘ capacity as an engineer has done likewise, and Berserk Audio has become more established as a result. Founded on principals of flexibility and passion — and coffee, of course — the studio is as mobile as the hard-touring Willems himself, and that’s fortunate, because as Monolord make ready to release the aforementioned new full-length, they’ve already announced a co-headlining Fall 2017 European tour with Conan (dates here) that will follow stops this summer at Stoned from the Underground in Germany, SonicBlast Moledo in Portugal, and so on.

A busy schedule, however, is the lifesblood of a recording engineer, and it would seem Willems‘ position is the more the merrier. Right on. Though he was interviewed here around the 2015 release of the second Monolord album, Vænir (review here), which was followed by the 2016 two-songer EP, Lord of Suffering / Die in Haze (review here), the work he’s done in bringing Berserk Audio to fruition isn’t to be underestimated, and it was high time to give due attention to this side of Willems‘ creative persona, which I hope the Q&A below does, at least in some measure.

Please enjoy the following Six Dumb Questions:

berserk audio logo

Six Dumb Questions with Esben Willems

How did you get your start in recording? What were some of your early projects and how did your technique develop? Do you have a philosophy when it comes to tracking bands or is each project different in what it requires from the engineer?

My first steps in recording was when I moved out of my parents’ house and to a different town in the early ‘90s, where I soon spent all free time in a rehearsal complex. After spending most of my childhood caught in uninspiring music theory in the local municipal music school – I’ve forgotten almost all of that, haha – I finally met likeminded people who just played music with focus on the music, not the strict theory behind it. That was a real eye-opener for me; I’ve been fascinated with the band format since before I even knew how to phrase that, and to be in an environment that was based on constant curiosity, testing, jamming, constantly forming new bands and side-projects, was pure inspiration. I learned so much more about music during those years than all previous years confined inside the make-believe rules of how music should be executed. The latter is still very mechanic to me; I think that mediating a feeling, a mood, a story, is the essence of music, regardless of genre. That’s still always the base of everything music related I do.

Anyway, that rehearsal complex was where I first started playing around with recording. The place had a small and very basic recording studio. One tiny recording room and one even tinier control room. The equipment wasn’t much more than a handful of crusty SM57’s and 58’s and a 4-track cassette recorder (constant creative mixdowns to get the channels you wanted, haha). That was it. We had so much fun at that house, I’m equally happy and sad that all those endless recording sessions are long gone.

Regarding my technique – if I really have any – I think that developed by the boundless and playful atmosphere at that place. Trying to capture a death metal session properly with a half broken 4-track machine forces your mind to come up with creative solutions. I still like to work that way, I’ve always felt that a certain amount of limitations is a good thing. It forces inspiration.

That also applies when recording different bands. All bands and all musicians are of course very different, with different references and experiences. So I don’t believe much in having a work template, apart from always – always – having a reliable supply of fresh coffee where I work.

Tell me about Berserk Audio. Did you build the studio? How did it all come together? What is the atmosphere like, what’s the layout of the rooms and how do you feel like the studio has developed over the last couple years as you’ve been doing more and more work there?

When I first started working professionally with audio I was aiming at building my own studio, and I wanted to do it by first being an apprentice at one or more established studios. I got the dream chance at a place I don’t want to name here, but it was everything I could ever hope for as a newly-graduated sound tech – welcoming atmosphere, fully booked with professional bands, great acoustics and equipment; and, I got the offer very early on to work there part time. But, the majority of bands recording there played a genre I just couldn’t stand, or understand, which is even more important. Also, the recording method was everything I feel takes the music out of music; sound replacing and quantizing drums, autotuning vocals, cut-and-paste editing in the mix and so on. So, after some grueling soul searching I came to the conclusion that it would kill my passion for music over time and I also wouldn’t do a proper job, since I wouldn’t be able to judge when the material was what the bands wanted. “Is this mechanic and sterile enough for you guys?” might not be the question a band wants. But with that said, I’m fully aware of that’s how the main part of the recording industry works and that it makes things very hard to exclude those studios.

But, I finally made the decision that most aspiring sound techs would feel was stupid: I kindly quit the apprenticeship at that studio, got freelance audio work at intensely boring conferences and invested in a small but efficient portable studio rig. I felt that if recording music that would just make me bitter, I might as well have a boring and undemanding day job and focus on recording bands I liked and with that contribute to a relevant production. That was over a decade ago and I haven’t regretted it once.

Of course I’d love to have my own studio, but never at the expense of the passion for music. I currently have a collab with a really cool place here in Gothenburg called Studio Svavel, which I rent when needed.

What have been some of your favorite projects to work on? Do you have a preference between recording, mixing and mastering?

I think my favorite projects are the ones where I’m part of the entire process, all the way from the rehearsal space. As I see it, most of the work should be done before entering the studio. Writing and selecting material, arranging, pre-production, discussions about sound, mood and feel of the production and so on. Most bands don’t have the possibility to rent a studio for a few months and just enter it with a blank slate, so in order to make the most of the time bands pay me for, I always emphasize the importance of that. If you’re well prepared, you’re actually able to compete with the bands that have all the studio time in the world. And the listener will never know or care about your budget. They’re gonna compare you with any and all of their favorite bands regardless.

That’s where that true essence of music comes in again. If your band is well rehearsed with songs you stand behind and your band sounds like an unbreakable unit – as opposed to a collection of humans just playing correctly in time – you actually will be able to make an album that kicks ass in spite of the ever-limited budget and time.

How has it been for you to record your own band? Is there a difference in how you approach working with Monolord as opposed to other acts? How do you coax a great performance out of a bandmate as opposed to someone who has hired you to work as a producer?

It’s weird and great. It’s inevitable that there’s a difference, since I’m one of the band members. But when we record, we all produce it collectively. We’re all part of the entire recording process. So in some ways the recording part doesn’t differ that much from everything else we do in the band. And the coaxing, I guess that’s a mutual three-way process, haha. When I tell my drum kit to go fuck itself, I rely on Thomas and Mika to filter my anger. And that goes the other way around as well.

The only part where I work alone is during mixing and mastering. But I constantly update my bandmates online, so they’re very much part of that process as well.

Recording your own band makes it a bit harder to be objective and to kill your darlings. But I enjoy that challenge. I’ve learned a lot from it through the years.

You recently finished mixing the third Monolord album. What’s the status of that release now? When can fans expect it to come out and what’s in store this time around from the band? How does splitting your time with being on the road and in the studio affect your ability to take on more recording jobs?

I really wish I could tell you everything about, but we’ll announce all details shortly. What I can tell you is that musically it’s groovier and more dynamic, in all aspects. Still misanthropic and still rumbling, though. The humanity is broken and this is our safety valve, as always.

The mixing and mastering is done and the album will be released in all its glory later this year. Hope you’ll like it!

Being a touring musician and also a studio leprechaun is actually the perfect combo. When I can, I work from home, which means I only have a deadline to consider. I’m not a fan of daily routines when it comes to working hours, so that fits me and my family life just perfectly. And my world is a world without borders, so I can easily have clients all over the planet. And when it comes to mixing and mastering they can easily hire me without insane travel expenses. I’m old enough to have grown up in an internet-free world, so I love the possibilities that has opened up thanks to the online community culture. Borders and flags are war tools. I’d rather work past them.

Who’s next in the studio? Any other recordings coming up, closing words or other plans you want to mention?

Next up is always working on new stuff with Monolord. That’s an ongoing process, so we’re always fiddling with ideas, regardless of actual future plans.

But apart from that, I have a few mastering projects this week I’m gonna sink my teeth into. I break every rule possible when I master and I’m sure most audiophiles would like to subject me to public torture, but the clients I’ve worked with seem to hear things the way I do, so I keep getting requests to do the things I do with their music.

And, with some actual free time for the first time in forever, I’m gonna start working on some side solo stuff that’s been rattling in the back of my head for a while. I have no idea what will come of it.

Monolord, “Lord of Suffering” official video

Berserk Audio on Thee Facebooks

Monolord on Thee Facebooks

Monolord on Twitter

RidingEasy Records website

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Conan & Monolord Announce Co-Headlining European Tour

Posted in Whathaveyou on June 14th, 2017 by JJ Koczan

Goodness gracious this is going to be heavy. If you live somewhere in Europe they’re not hitting or in the US and you’re jealous that Conan and Monolord won’t be co-headlining their way across your particular country this time around, don’t worry. I’m pretty sure wherever you’re at you’ll be able to hear them anyway. Just put your ear to the ground — not in a dirty or wet spot; nothing gross — and listen for the rumble. That’s them. Can’t miss it.

I don’t know who had the idea to pair up the UK riff destroyers with the Swedish masters of nod, but yeah, good work. You get a gold sticker. Conan, of course, are still out supporting early-2016’s Revengeance (review here), and this will mark their second European run of 2017 and follow a recent Obelisk-presented US stint that included a stop at Maryland Deathfest. For Monolord, they go heralding the arrival of their third album, newly completed and awaiting the publication of its release details. Presumably by the time October comes around, we’ll know when and how the record will be out even if we don’t yet.

You’ll note the included slots here at Desertfest Belgium 2017 in Antwerp and Keep it Low 2017 in Munich. I wouldn’t be surprised if another fest or two got added, time permitting. Poster and currently announced dates follow, as hoisted from the social medias:

conan monolord tour

Conan and Monolord – Co-Headline Fall 2017 European Tour

CONAN & MONOLORD live dates:
07.10.17 NL – Nijmegen / Soulcrusher II – Doornroosje
08.10.17 FR – Paris / GLAZART
09.10.17 FR – Nantes / La Scène Michelet
10.10.17 FR – Bordeaux / VOID // BDX
11.10.17 ES – Barcelona / Razzmatazz 3
12.10.17 ES – San Sebastian / Dabadaba
13.10.17 FR – Lyon / Jack Jack
14.10.17 FR – Audincourt / Le Molodo
15.10.17 BE – Antwerp / Desertfest Antwerp 2017
16.10.17 DK – Aarhus / Atlas
17.10.17 DE – Hamburg / Bambi galore
18.10.17 DE – Berlin / Musik & Frieden
20.10.17 DE – Bischofswerda / Morbvs Maximvs
21.10.17 DE – Munich / Keep It Low Festival 2017
22.10.17 CZ – Prague/Brno / Kabinet MÚZ
23.10.17 AT – Vienna / DasBACH
24.10.17 CH – Olten / Coq d’Or
25.10.17 IT – Bologna / Freakout Club
26.10.17 IT – Milan / Bloom
27.10.17 CH – Winterthur / Gaswerk
28.10.17 DE – Siegen / The VORTEX

Poster by Error! Design

https://www.facebook.com/conancavemanbattledoom/
http://www.hailconan.com
napalmrecords.com
https://www.facebook.com/napalmrecords/

https://www.facebook.com/monolordsweden/
twitter.com/MonolordSweden
https://monolord.bandcamp.com/
http://www.ridingeasyrecs.com/

Conan, “Throne of Fire” live at Maryland Deathfest 2017

Monolord, Vænir (2015)

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SonicBlast Moledo 2017: Colour Haze, Acid King, Black Bombaim & Bar de Monjas Added

Posted in Whathaveyou on May 31st, 2017 by JJ Koczan

sonicblast-moledo-2017-banner

If you had a two-band festival, and those two bands were Colour Haze and Acid King — and that’s it — no one else — I’d still call it an awesome time. Accordingly, kudos to SonicBlast Moledo 2017 for signing up both acts and setting my mind immediately adrift on a daydreaming course of Portuguese wonders that could be had. Of course, Colour Haze and Acid King aren’t the only bands playing — see also Elder, Sasquatch, The Machine, Monolord, Death Alley, Blaak Heat, Orange Goblin, Kadavar, and so on — but yeah, that’s a special couple days right there when you can get those groups together. “Kudos” is probably an understatement.

The PR wire has the latest:

sonicblast moledo 2017 colour haze

SonicBlast Moledo 2017 | Haze of acid in sight!

With the dates settled for August 11th and 12th, the seventh edition of SonicBlast Moledo closes the two-day lineup with Colour Haze, Acid King, Black Bombaim, Stone Dead, It Was the Elf, Ana Paris and Bar de Monjas !

They’ll be joining the previously confirmed Orange Goblin, Kadavar, Elder, Sasquatch, Kikagaku Moyo/?????, Dead Witches, Monolord, The Machine, Yuri Gagarin, The Well, Death Alley, Blaak Heat, Toxic Shock, Löbo, Vinnum Sabbathi and Holy Mushroom!

Now heading to its seventh edition, the festival located at the small beach village of Moledo, North of Portugal, includes two stages (the smaller one with a pool), free camping (to ticket holders) right by the beach and an amazing ambient for any heavy rock, psych, doom or stoner fan.

Colour Haze

With more than twenty years on the road, almost twenty studio records and a relentless will to keep going, it’s more than comprehensible that Colour Haze are easily considered one of the highest exponents within the European Psychedelic Stoner culture. On their course, they count with innumerable presences throughout all Europe and also on USA, although, they never had the chance to debut on Lusitanian territory. Following the release of their newest full-length album “In Her Garden”, the German trio embraces themselves to descend upon Portuguese lands for the first time ever in their career, received with all the enthusiasm for this seventh edition of SonicBlast Moledo.

Acid King

Formed by the charismatic Lori S. during the year of 1993, Acid King are, without any doubt, one of the classic acts of the Stoner Doom’s genre. Their intense and powerful sound, turn them into one of the most influential band within this musical circuit, only having passed through Portugal once. On 2017, they make their debut on Moledo and we can only wait for a triumphant presence.

Bar de Monjas

The Mexican / German duo Bar de Monjas promises a thunderous discharge of agitated rhythms, always heavy and filled with fuzz. On the road since 2010, they already count with one full-length studio record, two EP’s and an amazing split, released in collaboration with the already confirmed Vinnum Sabbathi.

Black Bombaim

After being obliged to cancel their presence at the last edition, Black Bombaim are ready to return to Moledo to spread their contagious psychotropic Rock.

We also receive the fresh Rock n Roll of Stone Dead, as well as the energetic Stoner Metal of It was the Elf and the return of Ana Parisw ith their characteristic Stoner Rock force.

Tickets Price:
2nd pre-sale : 42€ | From 01/03/17 to 30/06/17
3rd pre-sale : 48€ | From 01/07/17 to 31/07/17
4th pre-sale: 55€ | From 01/08/17 to the event’s final

https://sonicblastmoledo.bol.pt/
https://www.facebook.com/SonicBlast-Moledo-242619262427066/
https://www.facebook.com/events/1818493011695737/
https://sonicblastmoledo.wordpress.com/

Colour Haze, In Her Garden (2017)

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Keep it Low 2017: Saint Vitus, Brant Bjork, Radio Moscow, Ufomammut, Naxatras, Mos Generator and More to Play

Posted in Whathaveyou on May 23rd, 2017 by JJ Koczan

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Well, the bill for Keep it Low 2017 is packed. It would be packed if it was just Brant Bjork and Saint Vitus and Ufomammut in the lineup, but of course it goes well beyond that, with the likes of Radio Moscow, Naxatras, House of Broken Promises, Conan, Monolord, Mos Generator, Elephant Tree, Mars Red Sky and everyone else you can see below. If you can take a look at this roster of bands and not immediately start daydreaming about making the trip to the fifth installment of the Munich, Germany-based festival, you’re a better person than I am. Or you’re dead. One or the other, I guess.

One suspects that, as with last year, the Fall European fest season will have some overlap. You’ll note Beastmaker here as well as on Up in Smoke. Ditto that VitusBrant BjorkUfomammutRadio MoscowUsnea and Kaleidobolt. Aside from the hand of Sound of Liberation in putting these events together, weekend fests make great anchors for touring groups. Club shows all week, fests every weekend? I can’t imagine a touring act wouldn’t sign up for that, so yeah, probably some more familiar names will be making their way out between these, the Desertfests in Antwerp and Athens, and whatever else might come along. Keep an eye out.

From Keep it Low‘s social medias:

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KEEP IT LOW FESTIVAL 2017

Line Up:
BRANT BJORK (with Special Guest Sean Wheeler) | SAINT VITUS | RADIO MOSCOW | MARS RED SKY | UFOMAMMUT | STONED JESUS | CONAN | MONOLORD | NAXATRAS | HOUSE OF BROKEN PROMISES | BEASTMAKER | MOS GENERATOR | USNEA | ELEPHANT TREE | KALEIDOBOLT | MOUNT HUSH | GODSGROUND
+ many more TBA

Limited 3-day tickets available!

October 20 | 21 | 22 2017
Feierwerk München

After an amazing and once again sold out edition in 2016 you can expect 3 days, 27-30 bands, amazing people and good vibes at Keep It Low 2017! For the very first time we will have the “Doom-Frühschoppen” with some HEAVY bands on the last day of the Festival.

HEAVY!

3-day tickets are selling fast so don’t wait too long and get it here:
http://bit.ly/2lr4hzH

https://www.facebook.com/events/201489380309269/
https://www.facebook.com/keepitlowfestival/

Ufomammut, “Warsheep” official video

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Desertfest Belgium 2017: Kadavar, Church of Misery, Monolord and Church of the Cosmic Skull Join Lineup

Posted in Whathaveyou on May 18th, 2017 by JJ Koczan

desertfest belgium 2017 banner

The plot thickens as regards Desertfest Belgium 2017, set for this October in Antwerp. A quick turnaround from the last announcement brings the news that Kadavar, Church of Misery, Monolord and Church of the Cosmic Skull will take part in this year’s fest, and while this latest round of additions keeps with the four-at-a-time theme that the festival has worked with thus far in unveiling its acts, it departs from the prior two updates in not including an actual Belgian band.

You’ll recall that Hidden Trails and Hemelbestormer had previously been added. One doubts those are the last Belgian outfits who’ll take the stage at Desertfest Belgium 2017 in any case, but it’s just something different this time around. I don’t think anyone could look a the roster of talent thus far assembled and say the organizational effort has been misspent.

To wit, this from the PR wire:

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Desertfest Belgium 2017 – NEW NAMES! Kadavar, Church of Misery and more!

Hot on the trails of our last announcement, we’re back already with a quadruple punch of heavy rocking goodness that will get the blood rushing for October to come, for sure!

We realize that for some of you internet-savvy Festers, the addition of the mighty Kadavar to the DF Antwerp line-up is a known fact already. So how about we turn it up even more, and drop Church of Misery as a headliner as well? And if that’s still not enough, would the announcement of Monolord do the trick?
Yep, that’s what we thought! So as a cherry on the cake, let’s round it off with the Nottingham supergroup Church of the Cosmic Skull, who dropped one of the more memorable rock albums from last year.

More details below, and more great bands to come in the near future!

KADAVAR

Whether in front of 3,000 sweating Mexican souls, in a remote pub in the Macedonian mountains or facing huge European festival crowds – every single night, KADAVAR performs as furiously as a tremendous tempest hailing down on earth! Now returning to the city where they recorded their eponymous live album in 2013, Kadavar will make sure to meet high expectations, and exceed them if possible!

CHURCH OF MISERY

The Church rises again! Now back on the stage with an entirely new line-up formed around founding bassist Tatsu Mikami, we can’t wait to hear what this most legendary of doom bands has in store for us. Whether it’s bonafide classics from the vaults, tracks from last year’s ‘And Then There Were None’, or entirely new material – be sure to find us in the front row!

MONOLORD

No flash and no frills, since their formation in 2013 Monolord has been a trusted staple for the stoner rock community for one reason: they’re a damn hard working band delivering the goods night after night. Finding themselves before ever growing crowds, their straightup workingman’s doom’n’sludge is certainly at its most effective when mainlined in a live setting.

CHURCH OF THE COSMIC SKULL

Church of the Cosmic Skull is a twofold entity: a new religious movement who seek to free mankind from their material possessions and unify all living beings into a singular cosmic whole… and a 7-piece supergroup from Nottingham playing seventies psychrock with six-part Queen-esque vocal harmonies and a touch of Thin Lizzy. Fans of Black Mountain, King Gizzard and Uncle Acid should get psyched for this.

http://www.desertfest.be/tickets
https://www.facebook.com/desertfestbelgium/
https://www.facebook.com/events/264364590656095/
https://twitter.com/DesertfestBE

Kadavar, “Last Living Dinosaur” live in France 2017

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