I’d take an album of this happily, and I don’t imagine it would be much more trouble than is apparent here to make one happen, which doesn’t look like much trouble at all, unless you count the cross-continental logistics. Willems Lilja Mann is an exploratory trio featuring in its ranks Gothenburg-based drummer Esben Willems of Monolord and Studio Berserk, synthesist Marcus Lilja of the experimentalist Eyemouth, who worked closely with Willems on February’s A Headlong Fall into the Vast Ocean of Anxiety and who shares space with the studio, and multi-instrumentalist Geoff Mann, known for his work in Los Angeles afrobeat-infused heavy rockers Here Lies Man, who reside on RidingEasy Records, which is the same label that put out the first three Monolord albums.
Thus the connections between the players are multidimensional, and hey, it’s cool the way connections can be made across borders and styles in the underground, and more generally speaking, I hear it’s really nice to have friends, but fun as it is to connect those dots, it’s “Transatlantic Explorations” itself that’s the focus here, Lilja hitting up his wall-sized, many-plugged synth while Willems and Mann frame either side of the video, the latter also filling out the arrangement with punches of doubly-layered flutes that offer melodic complement to the dual-drummer rhythm, all of it resulting in instrumentalist semi-psych jazz fluidity that’s fleshed out across the song’s four minutes, the ultimate sound lush and maybe a bit inherently indulgent if one takes it at face value, but immersive nonetheless and not leaving the listener behind as it embarks on the mini-journey.
Could be a one-off, could be a side-project, could be that the video doesn’t even exist and I’m living in an alternate reality where it does; the universe hosts infinite possibilities playing out in infinite succession. Entirely possible they made it as a means to promote their other work in the age of algorithmic content demand. One way or the other, Willems Lilja Mann‘s “Transatlantic Explorations” offers a reminder that what genuinely matters most is what’s happening now rather than what could or could not follow, and whether or not these three players do anything else in collaboration, the vibrancy of what they’ve created here is resonant and engaging. It’s a cool sound. I dig it. Maybe you will too if you’re up for giving it a shot.
To wit:
Willems Lilja Mann, “Transatlantic Explorations”
Esben Willems on “Transatlantic Explorations”:
This impromptu sudden collab stems from an amazing snippet of a pulsating modular synthesizer soundscape created by Marcus Lilja, the brilliant mind who’s permanently residing in one room in my studio. It sparked instant inspiration, I asked if I could add some drums and subsequently asked Geoff Mann if he’d like to add some of his magic to it all. And suddenly we apparently made this little laidback groove nugget. I love unexpected creations like this, it’s both heart and brain fuel.
Drums left: Esben Willems Modular synthesizers: Marcus Lilja Flutes and drums right: Geoff Mann
Mixed and mastered at Studio Berserk by Esben Willems.
Posted in Whathaveyou on December 2nd, 2022 by JJ Koczan
No lack of substance as Desertfest Berlin 2023 moves forward this morning (afternoon CET) with its second announcement for next May, adding the likes of Corrosion of Conformity, Bongzilla, Monolord, Slift, Minami Deutsch, Valley of the Sun, Dommengang, Kanaan, Mother Engine, and Gnome to what was already a packed bill. Accordingly, the European underground’s touring sphere — of which this fest is a significant part in the Spring season — is also starting to take shape, and if you’re paying attention, you can start to connect some of the dots for who will be on the road when and where, as well as speculate who will be out with whom, and so on. These are things I enjoy thinking about.
I’ve never been to this fest, would love to go. I imagine it’ll be a little different this year with a shift in venue, but my understanding is the vibe is where it’s at in Berlin, and after so many years, I have no trouble thinking Desertfest Berlin feels like home to many who will attend, no matter where it’s actually taking place. I mean, as long as it’s in Berlin. Would be weird if they decided to run Desertfest Berlin in Copenhagen one year or something (though an extension of the festival brand in that Danish city would likely be ace in its own right).
Here’s the latest, courtesy of the fest:
DESERTFEST BERLIN — NEW BANDS ADDED TO THE 2023 LINE-UP
Desertfest Berlin is happy to add to the line-up of the 2023 edition (May 19-21, 2023):
CORROSION OF CONFORMITY MONOLORD SLIFT BONGZILLA MINAMI DEUTSCH MOTHER ENGINE VALLEY OF THE SUN DOMMENGANG KANAAN GNOME
Along with: UNCLE ACID & THE DEADBEATS THE OBSESSED KING BUFFALO CHURCH OF MISERY DOZER BLOOD CEREMONY L.A. WITCH SOMALI YACHT CLUB GNOD ECSTATIC VISION DAILY THOMPSON GAUPA PSYCHLONA + much more TBA
Weekend tickets for Desertfest Berlin 2023 are on sale NOW via the link in our bio or www.desertfest.de
The new venues for the 2023 edition will be Columbiahalle and Columbia Theater Berlin (with additional outdoor space & stage). Address: Columbiadamm 13-21, 10965 Berlin.
Desertfest Berlin May 19th – 21st 2023 will take place at Columbiahalle and Columbia Theater (with additional outdoor space & stage) this year.
Posted in Radio on September 16th, 2022 by JJ Koczan
I don’t know how many of these posts I’ve done by now. Fewer than actual episodes, the number of which I do keep track. But it always feels a little weird. Yeah, guess what? I think it’s a cool show. Of course I fucking do. I made it. What, I’m going to try to suck?
So hey, this is a pretty good show. You should listen.
In all seriousness, I want to express my thanks to Gimme Metal for allowing me to continue to do this. Their platform has gotten huge in the last few years and they need my ass taking up two hours of precious air time like they need a reminder of traditional radio’s downfall, so it really means something to me that I get to weird out and share music for a new show every two weeks. I can’t even turn my playlists in on time. My voice tracks weren’t submitted until Tuesday! Terrible.
Bottom line though is Gimme doesn’t at all have to let me keep doing a show. In my embarrassing number of years, I’ve seen outside-the-genre interest in heavy rock, psych, doom, sludge, and so on wax and wane, and my experience is that if you’re not all the way in it, you’re eventually going to move on to something else that speaks to you. Nothing wrong with that, of course; it’s how life works. It’s why I’m not catholic. But for a company with their hands in so much other shit to allow someone like me to do my thing in my own way and my own time is pretty god damned rare and viscerally appreciated.
That’s all I’ve got to say about it, except that, again, this show is pretty good.
Thanks if you listen and thanks for reading.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.
Full playlist:
The Obelisk Show – 09.16.22 (VT = voice track)
King Buffalo
Mammoth
Regenerator
DRÖÖG
Stormhatt
DRÖÖG
Slomosa
There is Nothing New Under the Sun
Slomosa
VT
Fu Manchu
Mongoose
California Crossing
Stöner
Space Dude & The Burn
Totally…
Monolord
The Siren of Yirsinia
Your Time to Shine
Corrosion of Conformity
The Door
Wiseblood
Colour Haze
Goldmine
Sacred
Mythic Sunship
Equinox
Light/Flux
Blue Rumble
Brasas
Blue Lightning/Brasas
Solanhum
Basti (Falling into the Natural Realm)
Rostratum
Fogteeth
Delirium Man
Headspace
Electric Wizard
The Chosen Few
Witchcult Today
Alain Johannes
If Morning Comes
Hum
Red Sky Blues
Glowing
Red Sky Blues
VT
Kungens Män
Keeper of the One Key
VA – International Space Station Vol. 1
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Sept. 30 (subject to change). Thanks for listening if you do.
Posted in Features on August 22nd, 2022 by JJ Koczan
Early
Ah, the last day. If last night had been the end, I wouldn’t have been able to complain, but if you’re going to do a thing, do it, so Psycho ends on Sunday. And tonight is Mercyful Fate after High on Fire and Paradise Lost, then Monolord closing out the proceedings. And Witch Mountain with Uta Plotkin and Billy Anderson before that. That would be enough, but that’s not it either. Mothership play Famous Foods later. And I can’t help but imagine them leading the entire room in an Animal House-style food fight. Not saying I think it will happen — they’re a smarter band than that — but it would make sense.
This fest is social-ready in a way that things weren’t a few years ago. There’s stuff just strewn about to take your picture next for TikTok or Instagramming, and from the pool mosh to the black metal up in that airplane hangar of an Event Center, the crowd participation in hype before and during and after is very much factored in. Various algorithms will bring up these pictures in ‘memories’ for years to come. I know this because all my old memories are band photos. Kid stuff too now, which I’ll admit gets me sometimes.
But it goes to show the depth of consideration put into something like this. Someone had to design, render and manufacture that big playing card cartoon character by the Poker Tournament, and it’s not a cheap cardboard cutout, either. Shit lights up. Where’s it gonna go until next year? Would they even reuse it, or is it one and done because next year will need a new design?
A video chat with the kid proves restorative. His grandmother brought him home from Connecticut and he looked pretty wiped out from his weekend. I get that. I won’t see him tomorrow, but will be there Tuesday when he wakes up at some maddeningly early time. My flight leaves Vegas at noon tomorrow, gets into Newark at 8:30. Remember I said I’d get through half the day today without fretting about getting to the airport? Seems that was a bit of wishful thinking. So it goes.
Head upstairs as I finish coffee, just to sit in quiet for a minute. I could go back to bed. Don’t. Instead go back downstairs to where Famous Foods is doing Chessboxing with the Gza. No sign of the Genius, but it’s Mike from Elder and Buddy from Greenbeard right now and it seems like a good game, at least going by the overhead camera on the side. This is one of those things that makes sense because it’s Psycho.
I’m sorry, I think that picture is the funniest shit I’ve seen since I got here. Crazy rock and roll bacchanal, right? And I find the chess tournament. Welcome to the story of me at a party.
Not so terribly later
Man, Psychlona know how to ride a groove. This was the last show of their West Coast tour. Gotta be an interesting thing, coming over to play this fest for multiple sets in the heels of your best album yet. Tomorrow they fly back to the UK. That’s gotta feel like an accomplishment, right?
They finished their set with “Warped” from that new album, one more all-lined-up-and-go outbound groove, not just tight but all even in a way that makes it that much easier to get on board whenever. Like they took off a long time ago and you just walked in but it’s still cool and no worries on catching up, they’re still ready for you. I feel like I saw that happen a couple times during their set, folks wandering in and whatnot, though Psychlona, first band of the day in here, noon start, pulled a good crowd. They’re heavy rock for heavy rockers but I feel like there’s more identity starting to come out in their sound over the last two albums. I’ve seen them twice this summer now, here and Germany, so I’m a total fucking expert, mind you. Totally have every clue what I’m talking about.
Does it count as a confession or complaint that I’m exhausted? Either way, I know it’s not rock and roll. But I got chased off the floor spot I was sitting at in Dawg House, and that felt like a spiritual wound I didn’t need, so I apologize.
I saw the tail end of Mint Field’s set, kind of mellow atmospheric indie but they had a little space-kraut psych thing going at the end, a little bit of fuzz worked in with the programmed backbeat and fluid instrumentation between the duo. Lots of melody, kind of breezy but not checked out mentally. Vibe, in other words. Lord Buffalo are also a vibe band, spacious, heavy Americana, brooding rock and an underlying swell of blues doom — not doom the genre, but more like the apocalypse. I’d never seen them before, and I hope to again. Heavy Western is a hard sell at a Vegas sports bar, but the sound in Dawg House has been really good, and that goes for Lord Buffalo as well.
Today isn’t quite the same crunch for me as yesterday.
This is a good thing, however you want to look at it. More time to appreciate a set, offset by that last-day restlessness, knowing that each show is another step back toward real life. Tonight’s sleep is going to be the worst, because in my heart of hearts I’m ready to be home. That’s nothing against Psycho Las Vegas or any of the bands I’ve seen or will see before my night is up, I’m just good to go. I was tired when I came here. So yeah, give me a relaxed Psycho adventure. In a bit I’ll watch Witch Mountain and then head to the Event Center for Paradise Lost. Won’t be iced tea on the patio, but it’s not three bands in an hour either.
Not that I would expect any of them to ever see it, but shout to the door crew at Dawg House anyway, who’ve been nothing but kind and welcoming in a way that has been appreciated. I told them as much before I came in for what I think will be this last time.
Later. Who cares?
We have perhaps arrived at a moment of spiritual rejuvenation sought. I find myself low stress, sitting in back, not in VIP but around there, having just watched Witch Mountain and Katatonia in succession, a one-two brought on more by happenstance than anything. Witch Mountain finished on time, but Katatonia had started late and went late, so for leaving Dawg House on the quick after Witch Mountain were done, I got to catch at least a decent enough portion of Katatonia’s set to make me feel like I saw them.
That’s a win, damnit.
Not the least because Witch Mountain were incredible. I took pictures, very grateful to have the little barricade there for a photo pit, then moved to a good spot in the middle and just kind of dug in. I have fond memories of seeing Witch Mountain live. Having Uta Plotkin on vocals, who shouted out current singer Kayla Dixon, and Billy Anderson on bass didn’t hurt — it was a 25th bandiversary special celebration; and it indeed was pretty fucking special. Save perhaps for the universal exception that is Stinking Lizaveta, I’d say it was my set of the trip at least to this point. Kings Destroy doing “Smokey Robinson” belongs on that list too, if we’re making a list. But Rob Wrong is an unsung hero of doom riffs, and Nate Carson revels in the plod of his drums with an enjoyment that’s infectious. This was clearly something that meant more to the band than just being on stage in front of people at a cool festival, though sometimes that works too, I guess.
Alas, my magic email’s magic would seem to have worn out; I was denied access to the photo pit for the main stage. Said to the guy I wasn’t trying to make his day harder, I was just there to do what the fest brought me here to do, dude went back and checked and that was that. Okay. I took some pictures from the crowd then went up to sit on a real chair in the VIP section and soothe my unduly battered ego.
For what it’s worth, and I know it’s not much, I’ve shot Paradise Lost before. And High on Fire twice this summer on soil foreign and domestic, not to mention last time I was at this fest and shot them. Mercyful Fate I’ll probably never get the chance to shoot again, but I’ve lived this long without I’m sure I can keep going. The world has enough mediocre photos of King Diamond that I do not worry about mine being missed. I know I’m not like a pro photographer out there taking pictures of bands for the festival and I’m not trying to tell anyone otherwise. But I thought this was what I was brought here to do.
The fleeing nature of joy is what makes it worth trying to hold onto. That’s my last word on it. I’ll try again for Monolord at Rose Ballroom.
Earth spins.
It’s 8:34PM. Bet you thought I was going to say “later.”
Paradise Lost got cut short, maybe, but they played a Paradise Lost show before that, so fair enough. I spent most of their set up and in the back and that was fine if for some weird vocal echoey stuff, but if I’d wanted perfect sound I’d have stood by the soundboard. Most of all I wanted a chair.
I have consistently dug Paradise Lost’s work over the last 15 years solid, minimum, and had an appreciation for their early stuff before that, so I am not about to complain about watching them play. They and Katatonia both put in what seemed like a festival set by practitioners of the form. It’s engaging the room for its size, meeting the whole crowd and not just the people 10 feet in front of the stage. Pro shop, in other words.
High on Fire, on the other hand, do not care where you stand. They are happy to run you over regardless. Kind of surprised they’ve never done a live album here, since they’re pretty much the house band. And they’re playing right before Mercyful Fate, so clearly there’s love there in both sides. High on Fire Live at Psycho Las Vegas would make sense. I mean, it does, pretty much every year.
This was my third time seeing them this summer. Coady Willis wasn’t even a question in drums. Completely took for granted that all parts were going to be well and thoroughly nailed, and they were. I know High on Fire has had a few thinkpieces written about them because, whoa-oa, Nutty Matt Pike is nutty!, but this band dominates heavy like no one else I’ve ever seen. And that’s nothing against the thinkpieces, either. Those are conversations that need to be happening if heavy music is ever going to grow outside its very white, very dude optics. I’m sure Matt Pike reads some fucked up shit. Fine. I’m not cold-calling voters for a senate campaign. I’m trying to enjoy being pummeled by riffs. If I thought dude was a nazi I’d say so.
Later
High on Fire delivered what was promised, and there was an hour break before Mercyful Fate at the Event Center. I didn’t move. I had a chair, a little table, up in back. I put my head down, didn’t quite sleep, but rested my eyes for a while. When I looked back up, the room was fuller than I’ve seen it, though admittedly I haven’t spent a ton of time in there. And the King held court, first wearing a kind of ram’s horns headress to climb up the stairs to his own riser on the bi-level stage, topped as it was by a neon upside down cross. You would not call it subtle. Classic, yes. They played a new song too.
I knew I wanted the closing chapter of my adventure to be Monolord at the Rose Ballroom. I left myself enough time en route for a pitstop upstairs — bathroom, drink water, eat bar, shoes back on, go — on the way, and it occurred to me that I was actually sure of where I was going for perhaps the first time in the last four days. I finally got it. I turned left coming out of the hotel hallway into the casino, then hung a right into the not-mall, and made my way down to the end then up the elevator to the third floor. Monolord were pretty much set up by the time I got there.
And you know, in the end, I’m a simple creature. I’ve never been a huge Mercyful Fate fan — nothing against them; that’s an important band I’m lucky to have seen — but I sure was happy to hear Monolord break into “I’ll Be Damned.” The crowd got a big boost I guess as Mercyful Fate wrapped up, but I was largely oblivious, completely exhausted, taking lousy pictures with the wrong ISO and getting ready to call it a night. No, I didn’t stay the whole time. I’m only one person. But I was glad to have gone, and as I look around the hotel room at all the shit I need to throw in my suitcase upon waking up in about six hours, showering and getting the hell out of town (hopefully; I feel like you never know with flying these days), I’m glad I came. Psycho very obviously didn’t need to let me be here, but I appreciate that they did anyway.
And again, thank you for reading. I’m going to bed.
Posted in Whathaveyou on July 19th, 2022 by JJ Koczan
Just kind of a no-brainer here, as Monolord‘s Thomas V. Jäger steps outside his main group to take part in the newcomer duo Bruised Lee — they’re not the only ones with that name, by the way, so watch who you search for — offering more open riffing, daring a bit of pastoralia in a way that Monolord likely wouldn’t on a two-songer with drummer Anders “Pompe” Jacobson of Woe Gothenburg and El Pompero. The sun shines in the second half as a counterpoint to the title “It’s a Bummer,” and Jäger — who also has a solo album to his name and apparently another at some stage of “in the works” — dares a couple lines of vocals, as if to lay claim to that territory for future reference: “By the way, this is gonna happen.” Given that quick verse, I hope it does.
The A side “Földszint” is three minutes of sans-bullshit jamming, topped with a multilayer lead and steady groove. I don’t know who’s playing organ on there, but it sure sounds like somebody. Either way, it’s quick and it’s limited and if you don’t get it these dudes are going to put out an album and it’s gonna be awesome and the platter’s gonna be sold out and you’re gonna be like, “damn shoulda got it when I had the chance” and then always remember when the band is on like their fifth album and it’s 15 years later that they put out that first 7″ and you flaked and missed it and you’ve amassed their whole discography since but that one single just gnaws at you until finally you lose your mind and disappear into the forest, never to be seen again, muttering something under your breath about “ba-bum-ba-bum-ba-bum, ba-dum.” That’s “It’s a Bummer” coming back for one last bit of revenge.
So anyhoozle. Here’s PR wire info:
PRE-SALE for BRUISED-LEE IS ON!
In December Majestic Mountain Records hinted about a special little collector’s nugget coming your way and this killer little 7” is all of that on classic black wax. NOTE! If you order any full length album you can add this single to the order without any extra shipping cost! The 7s SHIPS NOW!
Bruised Lee.
A project from Thomas V Jäger (Monolord) and Anders ‘Pompe’ Jacobson. (El Pompero).
Together, they bring us two tracks of seventies soaked, wavy gravy, down and dirty desert rock with heavy southern style licks, rhythm and instrumentation reminiscent of Zeppelin, Allman Bros, Skynrd, and Foghat.
This little two-track 7” jammer packs a mega 70’s punch with plenty of groove to boot! On side A, ‘Földszint’ is a languid, instrumental jam through a sticky, hot southern evening, a bottle of whiskey in a crinkled paper bag in hand. A crunchy, crawling bassline and repeated riffing give way to wailing solo action and shuffling drums. This jam seems like it could be a soundtrack illustrated straight out of an R. Crumb comic and its “keep on trucking” vibes carry on through the track at a hazy pace that’s remarkably easy listening and disturbingly thirst-inducing. Head noddi’n and foot tapin’ ensue as the bop continues to undulate down to a conclusion just as natural as it began.
This track was made for summer sun and lazy loving.
Side B brings us ‘It’s A Bummer’ the title of which, shouldn’t fool you. This little slice of Friday night cruise ride heaven is a decidedly good time.
Starting off with a raunchy riff right on into bouncing basslines and swinging skins, we see much of the track as instrumental with some killer and super smoothly integrated textural atmospherics bringing us some slightly wavy psychedelic feels.
Just when we’re settling into the comedown, the last minute of the track surprisingly offers us a slightly dreamy vocal chorus from Jäger. Groovy.
The ‘Bruised Lee’ 7-inch comes in – Old School Black Wax, strictly limited to 300 copies on a 45rpm 7″ vinyl – Matte outer sleeve with a 3mm spine – Black poly-lined inner sleeve
There’s also a killer tee shirt bundle with the awesome wonky mouth cover design by Thomas himself.
Written, recorded, mixed by Thomas V Jäger Mastered by Esben Willems at Studio Berserk Cover Design By Thomas Jäger Label Design By Hampus Sundell
Wax, gas or grass, nobody rides for free! Put the pedal to the metal and hop on the funky Bruised Lee train with MMR. Wax in-house at MMR HQ and shipping now!
Bruised Lee is: Thomas V Jäger: Guitars, bass, vocals & percussion. Anders ‘Pompe’ Jacobson: Drums.
Posted in Whathaveyou on June 13th, 2022 by JJ Koczan
Scorched Tundra XII will be held in Chicago on Sept. 1-3, and its three-night duration looks admirably not-totally-overwhelming, bigger on quality than filler and seems to use its time well in tapping the Myopia collaboration between Thou and Mizmor that made its debut at Roadburn for a first-time-in-the-US set headlining the final night. I’m starting to get annoyed that I haven’t seen REZN yet and Monolord put out their second best-album-of-their-career-so-far in a row last year, so yes, now would be a good time to catch them as well. Oh and whoever Earthless are, I’m sure they’re fine too.
That’s a joke of course. Someone on social media called it a request for Dorthia Cottrell and Monolord — who are touring together — to collaborate and I’ve had trouble getting the idea out of my head since then. Just about no way that wouldn’t be worth hearing. Let them cover Nina Simone or something. Or maybe have her sit in on “Your Time to Shine” if you want to keep it simple. Make an album if you don’t.
Good times in Chicago:
SCORCHED TUNDRA XII TICKETS ON SALE: FEATURING MONOLORD, EARTHLESS, THOU + MIZMOR COLLAB SET, REZN & MORE (9/1 – 9/3)
Tickets are now on sale for Scorched Tundra XII taking place on Thursday 9/1, Friday 9/2 and Saturday 9/3/22 at The Empty Bottle in Chicago. ST XII features newcomers and veterans of the festival, a number of first plays in the market, a North American debut, and a return to the three day format.
Thursday September 1st: Monolord Earthless Dorthia Cottrell (Windhand)
Friday September 2nd: REZN Thou Friendship Commanders Huntsmen
Saturday September 3rd: Thou + Mizmor Collaboration Set Mizmor Ready For Death DJ Heather Gabel (Hide)
“Collaboration has driven the development, articulation and curation of this event series over the last ten years and twelve editions,” states organizer Alexi D. Front. “Putting collaboration at the forefront is not only my way of sharing one of the most exciting convergences of talent in heavy music, but also nods to those who have stood by and supported Scorched Tundra over the last two years. This lineup is focused and charts a new course for the curation of this intimate event series.”
We anticipate tickets moving fast, so plan accordingly.
This year’s Scorched Tundra Poster was created by Bryn Gleason.
More details about beverage and food collaborations will be revealed as the festival draws nearer.
Posted in Whathaveyou on June 2nd, 2022 by JJ Koczan
Swedish kingpins o’ riff Monolord are headed back to US shores this summer. Following up on their run earlier this year with fellow Gothenburgers Firebreather, the three-piece will be on hand to begin a relatively brief stint at Psycho Las Vegas, making their way to the East Coast for a few dates before looping out to Chicago for Scorched Tundra and finishing at Muddy Roots in Tennessee. Three distinct festivals with three distinct vibes, and no doubt the trio will find welcome as they make their way to all of in continued celebration of last year’s Your Time to Shine (review here).
I’ve been starting to hear more and more bands who sound like Monolord, and it’s becoming interesting to note what that means in terms of a kind of riffing and nodding groove. They have a signature, despite consistently growing from one album to the next. They’ve already put years of road time in to get to this point, and their influence only seems to keep spreading like the fuzz tsunami it is.
They’ll be out with Dorthia Cottrell of Windhand. Dates follow, courtesy of the PR wire:
MONOLORD ANNOUNCE US SUMMER 2022 TOUR DATES
YOUR TIME TO SHINE FULL-LENGTH OUT NOW
Sweden’s MONOLORD announce Summer 2022 tour dates throughout the United States. The 11-date run begins at Psycho Las Vegas and ends at Muddy Roots Fest in Tennessee. Direct support by Dorthia Cottrell (Windhand) on all non-festival dates. A full tour schedule is below.
MONOLORD Comment:
“Now that touring is possible again it feels equally inspiring and unreal to be able to play live for all of you again. To say that we’re stoked to get back to the US for a second round after the world opened up again would be an understatement. See you in August, let’s do this!”
MONOLORD are touring in support of their 2021 full-length Your Time To Shine (physical: https://store.relapse.com/b/monolord; digital: orcd.co/monolord-ytts).
Monolord tour dates:
Sun 8/21 – Las Vegas, NV – Psycho Las Vegas Wed 8/24 – Brooklyn, NY – TV Eye Thu 8/25 – Baltimore, MD – Metro Fri 8/26 – Raleigh, NC – Pour-House Sat 8/27 – Columbia, SC – New Brookland Tavern Sun 8/28 – Atlanta, GA – Bogg’s Tue 8/30 – Columbus, OH – Skully’s Wed 8/31 – Grand Rapids, MI – Pyramid Scheme Thu 9/01 – Chicago, IL – Scorched Tundra Fest @ Empty Bottle Fri 9/02 – Louisville, KY – Portal Sat 9/03 – Cookeville, TN – Muddy Roots Festival
All dates w/Dorthia Cottrell except Psycho & Muddy*
Monolord are: Thomas V Jäger – Guitars & vocals Esben Willems – Drums Mika Häkki – Bass
Monolord recently returned to their native Sweden following their first North American tour since before lockdown. Not a minor advent. Their social media was rife with righteous posts of cities conquered and complaints about gas station coffee — dudes, you can do better; please don’t judge American coffee by Sheetz or Pilot or Flying J, etc. — and in the company of fellow Göteborgers Firebreather, with whom they’ve toured Europe in the past, there was a sense of (one hesitates to say the word) normalcy to the entire affair. It was a tour. They’re a touring band. They toured.
Of course, context makes that a novelty. It’s not the last run that Monolord have planned to support their 2021 album, Your Time to Shine (review here) — which I’m just as happy to tell you is the best work the band has ever done as I was to tell the same to drummer Esben Willems when we talked last week — but even now there’s trepidation in the planning stage. The infrastructure of touring has changed, maybe forever, in some surprising ways, and like anything, it’s a situation for an active outfit like Monolord to navigate. If covid-19 is going to be endemic like the flu, then it will need to be lived with, like the flu.
Willems — who also runs Berserk Audio and is joined in Monolord by guitarist/vocalist Thomas V. Jäger and now-it’s-a-band bassist Mika Häkki (you’ll get it when you watch the interview — talks below about that and about Your Time to Shine, about being on the road for the first time with a crew, about the comfort in the familiarity of having past-Euro-tourmates Firebreather along, about new projects at the studio, his own very drummerly sense of restlessness, and much more. I’ve been fortunate enough now to chat with him a couple times over the years — last time was Jan. 2021 — and it continues to be a pleasure.
Hopefully you enjoy it as well. Thanks for reading and/or watching:
Monolord, Interview with Esben Willems, April 6, 2022
Monolord’s Your Time to Shine is out now on Relapse Records. Tour updates coming soon. More info at the links.