Quarterly Review: Monolord, Teacher, Rosy Finch, Holy Mountain Top Removers, Chris Forsyth & the Solar Motel Band, Swan Valley Heights, Cambrian Explosion, Haunted, Gods & Punks, Gaia

Posted in Reviews on October 4th, 2016 by H.P. Taskmaster


Day Two starts now. I don’t know if you’re ready for it. I don’t know if I’m ready for it. Ah hell, who am I kidding? I love this stuff. No place I’d rather be right now than pounding out these reviews, batch by batch, all week. This one gets heavy, it goes far out, it rocks hard and relentless and it gets atmospheric. And more. But don’t let me try to sell you on reading it. Even if you skim through and click on players, I hope you find something you dig. If not today, then yesterday, or tomorrow or the next day. Or hell, maybe the day after. It’s 50 records. There’s bound to be one in there. Here we go.

Quarterly Review #11-20:

Monolord, Lord of Suffering / Die in Haze


A relatively quick two-songer issued via RidingEasy to mark the occasion of the Swedish trio’s first US headlining tour this summer, Lord of Suffering / Die in Haze offers a more stripped-down feel than did Monolord’s second full-length, Vænir (review here), which came out last year. The roll elicited by guitarist/vocalist Thomas V. Jäger, drummer Esben Willems and bassist Mika Häkki, however, remains unspeakably thick and the band’s intent toward largesse and nod continues to ring true. They’re in and out in 11 minutes, but the ethereal, watery vocal style of Jäger and the more earthbound pummel of the three-piece as a whole on “Lord of Suffering” and the grueling spaciousness of “Die in Haze” – not to mention the bass tone – show that Monolord are only continuing to come into their own sound-wise, and that as they do, their approach grows more and more dominant. They make it hard not to be greedy and ask for a new album.

Monolord on Thee Facebooks

RidingEasy Records website


Teacher, Teacher


Seattle two-piece Teacher served notice early this year of their then-forthcoming self-titled, self-recorded debut LP, and it was easy to tell the Tony Reed-mastered full-length would be one to watch out for as it followed-up their prior EP1812, released in 2015. Arriving via Devil’s Child Records, the 10-track Teacher does indeed dole out a few crucial lessons from drummer/guitarist/vocalist Jonathan Ethan Mercer and guitarist/vocalist Solomon Arye Rosenschein. Whether it’s “Heavy Metal Parking Lot 1979” or the swinging “Peripatetic Blues” or the gone-backwards psych interlude “Wildcard Jambalaya” that immediately follows, the record basks in an organic diversity of approach drawn together by the clear chemistry already present between Mercer and Rosenschein. A harder edge of tone keeps a modern feel prevalent, but even the forward punker charge of “Mean as Hell” has classic roots, and as they finish with “Home for the Summer” as the last of three out of the four EP tracks included in a row to round out the LP, they seem to have entered the conversation of 2016’s most cohesive debuts in heavy rock. Their arrival is welcome.

Teacher on Thee Facebooks

Devil’s Child Records webstore


Rosy Finch, Witchboro


There’s an element of danger to Rosy Finch’s debut long-player, Witchboro (on Lay Bare Recordings). Actually two. One: it sounds like it could come apart at any given moment – it never does. Two: any given one among its nine component tracks could wind up just about anywhere. Though the Spanish trio of bassist/vocalist Elena García, guitarist/vocalist Mireia Porto and drummer Lluís Mas keep individual songs relatively raw sounding – or at very least not overproduced as something so progressive could just as easily have wound up – but even the soothing “Ligeia” holds to a driving sense of foreboding. Punk in its undercurrent with more than a touch of grunge, Witchboro is as much at home in the atmospheric crush of “Polvo Zombi” as the quick-turning finale thrust of “Daphne vs. Apollo,” and its overarching impression is striking in just how readily it manipulates the elements that comprise it. Ambitious, but more defined by succeeding in its ambitions than by the ambitions themselves.

Rosy Finch on Thee Facebooks

Lay Bare Recordings website


Holy Mountain Top Removers, The Ones Disappearing You


Psychedelic surf? Wah-soaked, bass rumbling foreboding? Euro-inflected lounge? All of the above and much more get a big check mark from Nashville instrumentalists Holy Mountain Top Removers, whose The Ones Disappearing You LP covers an enviable amount of stylistic ground and still leaves room near the end for bassist/keyboardist Mikey Allred to lead a blues dirge on trombone. He’s joined by drummer/percussionist Edmond Villa and guitarist Anthony Ford, as well as guest trumpeter Court Reese and violinist Allan Van Cleave, and as they careen through this vast terrain, Holy Mountain Top Removers only seem to revel in the oddness of their own creation. To wit, the early jangle of “Monsieur Espionnage” is delivered with gleeful starts and stops, and the later “Serenade for Sexual Absence” given a mournful snare march and what sounds like tarantella to go with Van Cleave’s violin lead. Playful in the extreme, The Ones Disappearing You nonetheless offers rich arrangements and a drive toward individuality that stands among its core appeals, but by no means stands there alone.

Holy Mountain Top Removers on Thee Facebooks

Holy Mountain Top Removers on Bandcamp


Chris Forsyth and the Solar Motel Band, The Rarity of Experience I


Philadelphia four-piece Chris Forsyth and the Solar Motel Band must have worked quickly to turn around so soon a follow-up to last year’s debut album, Intensity Ghost (review here), but their second offering, The Rarity of Experience lacks nothing for growth. A two-disc, 72-minute 10-tracker also released through No Quarter, The Rarity of Experience hops genres the way rocks skip on water, from the exploratory psychedelic vibing of “Anthem II” to the Talking Heads-style jangle of “The Rarity of Experience II” and into horn-infused free-jazz fusion on “The First 10 Minutes of Cocksucker Blues” – which, by the way, is 12 minutes long. A big change is the inclusion of vocals, but the penultimate “Old Phase” still holds to some of the pastoral atmospherics Forsyth and company brought together on the first record, but principally, what The Rarity of Experience most clearly shows is that one doesn’t necessarily know what’s coming from Chris Forsyth and the Solar Motel Band, and as much as they offer across this massive stretch, I wouldn’t be surprised if they continue to expand their sound.

Chris Forsyth and the Solar Motel Band on Thee Facebooks

No Quarter


Swan Valley Heights, Swan Valley Heights


Initially released by the band in January, the self-titled debut from Munich heavy rockers Swan Valley Heights sees wider issue through Oak Island Records in an edition of 200 LPs. After rolling out the largesse of welcome-riff in opener “Slow Planet,” the three-piece dig into longform groove on “Alaska” (9:09), “Mammoth” (11:02) and “Let Your Hair Down” (9:35), finding a balance between hypnotic flow and deeply weighted tones. Riffs lead the way throughout, and while there aren’t a ton of surprises, once they make their way through “Caligula Overdrive,” the shimmer at the start of “Mountain” and some of the more patient unfolding of closer “River” called Sungrazer to mind and I couldn’t help but wonder if Swan Valley Heights would make their way toward more lush fare over time. Whether they do or not, their debut engages in its warmth and cohesion of purpose, and offers plenty of depth for those looking to dive in headfirst.

Swan Valley Heights on Thee Facebooks

Oak Island Records at Kozmik Artifactz


Cambrian Explosion, The Moon EP


I can’t help but feel like Portland, Oregon’s Cambrian Explosion are selling themselves a little short by calling The Moon an EP. At five songs and 35 minutes, the follow-up to their 2013 The Sun outing boasts a richly progressive front-to-back flow, deep sense of psychedelic melodicism and enough crunch to wholly satisfy each of the payoffs its hypnotic wanderings demand. Sure sounds like a full-length album to my ears, but either way, I’ll take it. The four-piece set an open context in the intro noise wash of “Selene,” and while “Looming Eye” and “Mugen = Mugen” push further into ritual heavy psych, it’s in the longer “Innocuous Creatures” (9:24) and closer “Crust of Theia” (8:23) – the two perfectly suited to appear together on the B-side from whatever label is lucky enough to snap them up for a release – that The Moon makes its immersion complete and resonant, blowing out in glorious noise on the former and basking in off-world sentiment as they round out. Gorgeous and forward-thinking in kind. Would be an excellent debut album.

Cambrian Explosion on Thee Facebooks

Cambrian Explosion on Bandcamp


Haunted, Haunted


Not sure if there’s any way to avoid drawing a comparison between Italian five-piece Haunted’s self-titled debut (on Twin Earth Records) and Virginian doomers Windhand, but I’m also not sure that matters anymore. With the two guitars of Francesco Bauso and Francesco Orlando meting out post-Electric Wizard churn and Cristina Chimirri’s vocals oozing out bluesy incantations on top as Frank Tudisco’s low end and Valerio Cimino’s drums push the lumber forward, it’s all doom one way or another. “Watchtower” has a meaner chug than opener “Nightbreed,” and the centerpiece “Silvercomb” delves into feedback-laden horror atmospherics, but it’s in the closing duo of “Slowthorn” and “Haunted” that Haunted most assuredly affirm their rolling intention. They’ll have some work to do in distinguishing themselves, but there’s flourish in the wash of guitar late and some vocal layering from Chimirri that speaks to nuance emerging in their sound that will only serve them well as they move forward from this immersive first offering.

Twin Earth Records on Thee Facebooks

Haunted on Bandcamp


Gods and Punks, The Sounds of the Earth


Taking their name from a track off Monster Magnet’s 2010 outing, Mastermind, Brazilian heavy rockers Gods and Punks mark their debut release with The Sounds of the Earth, a self-released five-track EP awash in classic influences and bolstered through a double-guitar dynamic, maybe-too-forward-in-the-mix vocals and a rock solid rhythm section. These are familiar ingredients, granted, but the Rio de Janeiro five-piece present them well particularly in the mid-paced “The Tusk” and the catchy, more extended closer “Gravity,” and are able to put a modern spin on ‘70s vibing without becoming singularly indebted to any particular band or era, be it ‘70s, ‘90s or the bizarre combination of the two that defines the ‘10s. Gods and Punks are setting themselves up to progress here, and how that progression might play out – more space rock to go with the theme of their excellent artwork, maybe? – will be worth keeping an eye on given what they already show in their songwriting.

Gods and Punks on Thee Facebooks

Gods and Punks on Bandcamp


Gaia, A Cure for Time


Mostly instrumental, deeply atmospheric and clearly intended to divide into the two sides of a vinyl for which it seems more than primed, A Cure for Time is the second album from Copenhagen post-metallers Gaia. Each half of the four-track/39-minute outing pairs a shorter piece with a longer one, and the flow the trio set up particularly on the closing title cut calls to mind some of YOB’s cosmic impulses but with a spaciousness, roll and context that becomes their own. Shades of Jesu in the vocals and the balance of rumble and echo on the earlier “Nowhere” make A Cure for Time all the more ambient, but when they want to, Gaia produce a marked density that borders on the claustrophobic, and the manner in which they execute the album front to back emphasizes this spectrum with a progressive but still organic flourish. I wouldn’t call A Cure for Time directly psychedelic, but it’s still easy to get lost within its reaches.sh

Gaia on Thee Facebooks

Virkelighedsfjern on Bandcamp


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

Keep it Low 2016 Finalizes Lineup; John Garcia European Tour Canceled

Posted in Whathaveyou on September 21st, 2016 by H.P. Taskmaster


With the news that former Kyuss vocalist John Garcia has pulled the plug on his Fall 2016 European tour plans, Munich-based Keep it Low festival has had to accordingly update its already-completed festival lineup. I’m not sure if they’ll add someone to replace Garcia — also not sure how the tour cancellation coincides with the planned late-2016 release of a new solo record from him; as there’s been no word from Napalm Records on it, I wouldn’t necessarily count on it arriving before 2017 — but the fest is exactly one month away, so it seemed only fair to post the new lineup, which remains strong with the likes of Colour Haze, Elder, Greenleaf, Karma to Burn, and so on.

The following comes direct from Keep it Low 2016. Dig it:


Keep It Low Festival 2016

Keep it Low is a cozy 2 days Indoor Festival with family character and loads of good vibes.Fans of Heavy Rock, Psychedelic, Doom, Stoner and Rock´n Roll should mark 21 & 22 October 2016 in their calendar.The first three editions were sold out and the upcoming 4 th edition will also see an excellent line up. The “Feierwerk”-Areal is only 2 subway stations away from the centre of Munich. KIL 2016 greets with 3 stages and around 20 bands, cozy and rain protected outside beergarden, next to a skatepark. For the ones keeping it really low, we decided to end both festival nights with an aftershow party (+DJ) in one of the concert rooms.

LINE UP 2016:
FRIDAY Oct 21:


KEEP IT LOW 2016 will happen on October 21st and 22nd in FEIERWERK (Munich) and will greet with 3 stages and outside beergarden & skatepark. On this upcoming edition we are setting up a cozy and rain protected outside area with food and drink station. We also decided to play already on 2 stages on the Friday night and ending both KIL nights with aftershow parties and Dj Sets (Friday until 3 am and Saturday until 5 am).

Hard Tickets (2-day passes) are available on Woolheads for 65 €! Online tickets are also available on Eventim!

You can purchase tickets on http://woolheads.com/ but be quick! E-Tickets are also available on http://www.eventim.de/


Elder, Live at Saint Vitus Bar, Aug. 23, 2016

Tags: , , , ,

Colour Haze, Live Vol. 1 – Europa Tournee 2015: Praising High Gods

Posted in Reviews on August 3rd, 2016 by H.P. Taskmaster


Technically speaking, this isn’t the first Colour Haze live record, but it most definitely is the first they’ve put out through Elektrohasch, and it’s their most complete-feeling to date. A set from the Berg Herzberg festival aptly-titled Berg Herzberg Festival 18 Juli 2008 was issued in 2009, but in comparison, Live Vol. 1 – Europa Tournee 2015 attempts to capture the best performances of a whole tour and winds up with two discs and over two hours and 11 minutes of music as a result. Spend an afternoon with Colour Haze. There are few better ways I can think of to dedicate that time, honestly, though I’m hardly impartial as a fan of the band. Comprised of 13 tracks, Live Vol. 1 – Europa Tournee 2015 culls material recorded in Paris, Frankfurt, Wurzberg, Berlin, Köln and puts it together fluidly — presumably in an effort to give an idea of what any given night’s setlist might’ve been — while spanning a decent portion of the Munich trio’s widely influential career.

As ever, Colour Haze are guitarist/vocalist Stefan Koglek, bassist Philipp Rasthofer and drummer Manfred Merwald, and this live outing was taped early last year as they were out with Radio Moscow, Cherry Choke and The Sun and the Wolf to support the late-2014 release of To the Highest Gods We Know (review here), their 11th studio album. Though they continue to be regular denizens of Duna Jam — and why not? — they’ve done less overall touring the last several years, having nestled themselves into a kind of statesman-like status in Europe’s heavy rock scene and provided a formative blueprint for an entire swath of jam-based heavy psychedelia with their unmatched instrumental chemistry, depth of tone and memorable songcraft.

Fortunately for anyone who might pick it up, all of those are on display throughout Live Vol. 1 – Europa Tournee 2015, and Colour Haze show just how successful they’ve been in bringing an on-stage feel to their recordings all along as they dig into the still-exploratory-feeling title-track from 2012’s double-LP She Said (review here), from which “Transformation” and “Grace” are also featured, in succession, both with different arrangements than appear on the album. To the Highest Gods We Know gets its due as well, with a medley of “Überall” and “Call” joined together, a shortened, string-less take on its “To the Highest Gods We Know” and the righteously-riffed album opener “Circles,” on which Koglek‘s and Rasthofer‘s tones come through no less brilliantly than on the record itself. They go as far back as 1999’s Periscope, opening with that album’s title-track, feature “Love” and a 26-minute version of “Peace, Brothers and Sisters!” from their 2004 self-titled, “Aquamaria” and “Tempel” from 2006’s Tempel, and “Moon” from 2008’s All.


Transitions across this swath of time — 16 years’ worth of material — are of course as seamless as anyone familiar with their work would expect, the three-piece having set their course with Periscope and continued to refine their processes ever since. Granted, for a live offering like this, there wouldn’t necessarily be the warts-and-all missteps one might find in, say, a single recorded set from any group — a flubbed note here, a flat line there — but at no point does Live Vol. 1 – Europa Tournee 2015 sound anything other than blissfully natural in its execution, and as the band hop from town to town, “Überall and Call” in Frankfurt, “Circles” in Paris, and so on, they give the genuine impression that the circumstances are the same, every night, every city, and so succeed in making Live Vol. 1 – Europa Tournee 2015 a representation of the tour and their live show in general. Whether it’s getting lost in the 13-minute “Transformation” or the far-ranging jam they embark on as part of “Peace, Brothers and Sisters!,” Colour Haze bring their legend to life in welcoming fashion.

And yeah, maybe the two-plus-hour live record is a fan piece. We’re coming up on being two years removed from the release of To the Highest Gods We Know and Live Vol. 1 – Europa Tournee coincides with Colour Haze‘s return to the US to take part in Psycho Las Vegas after a decade since their last US show, at Emissions from the Monolith in Ohio, so that they’d want to get something out makes sense from a practical standpoint as well, but it says something about the band that clearly this material has been carefully compiled, edited together so smoothly, and done in a manner worthy of the quality of the performances contained within. It is in no way half-assed, up to the point of including “Get it On” from 2000’s CO2 as a bonus track after the show-unto-itself “Peace, Brothers and Sisters!” caps what would be the regular set. An encore! After a 26-minute song!

There are few acts who could get away with such a thing, let alone as gloriously as KoglekRasthofer and Merwald do here — the latter’s snare subtlety even coming through on the live recording — but Colour Haze aren’t just any band. As they’ve demonstrated time and again, their strange brew is endlessly potent, and while they’ve marched past 20 years since the release of their first album in 1995’s Chopping Machine (discussed here), this collection proves their luster has only shone brighter over time and that their vision of a new classic rock finds no conflict in being as loyal to its roots as it is forward-thinking. Live Vol. 1 – Europa Tournee will be essential for any Colour Haze fan regardless of geography or how often they might tour in a given place, but for newcomers as well, it gives not only a sense of the spectrum of (much of) their catalog, but also provides a wholly immersive listening experience, and so pushes forward an essential aspect of the band’s sonic personality. Go with it.

Colour Haze website

Elektrohasch Schallplatten website

Tags: , , , , ,

High Fighter, Scars and Crosses: Trials to Bear

Posted in Reviews on July 27th, 2016 by H.P. Taskmaster

high fighter scars and crosses

What ultimately stands High Fighter‘s Svart-delivered debut long-player, Scars and Crosses apart, aesthetically, is its aggression. The Hamburg, Germany, five-piece of vocalist Mona Miluski, guitarists Christian “Shi” Pappas and Ingwer Boysen, bassist Constantin Wüst and drummer/backing vocalist Thomas Wildelau made their debut in 2014 with the impressively cohesive The Goat Ritual EP (review here), and at its foundation, the story was much the same. Though High Fighter have been duly embraced by the heavy rock community in Europe and beyond, they’re really a metal band. That’s audible in their tonality, their attention to detail, in the clean singing and screams and growls of Miluski and in the arrangements of how and when she switches between them.

Mixed and mastered by Toshi Kasai (Melvins, Leeches of Lore, etc.) from a recording by Jens Siefert at RAMA Studio in Mannheim, the album’s 41-minute span is vehemently straightforward, with some flourish of effects in the guitars and bluesy undertone, but interested primarily in thrust, and when there’s any letup at all as on the swaying start of “Portrait Mind,” it doesn’t last long. It’s an active listen, and the energy with which they deliver the included eight tracks gives the impression of an active band — punching someone in the face, after all, can be a real workout — but what’s going to be the deciding factor for many listeners particularly within the sphere of the heavy underground is whether they view High Fighter‘s metallurgy as righteous in its defiance of a genre status quo that’s only gotten lazier over the last half-decade or a group simply trying to meld styles to whatever degree of success depending on the audience’s point of view.

Listening to the command with which Miluski and the band behind her execute this material makes it easier to argue toward the former. Adrenaline is a major element at work even in the slower chug and wah of the penultimate “Down to the Sky,” but in its more intense moments — looking at you, “Blinders” — Scars and Crosses plays to modern metal sensibilities with a viscerally screamed verse and soaring clean chorus. The dual guitars of Pappas and Boysen careen through riffs of winding thrash on that song but are no less comfortable dug into the more rolling groove of the preceding “The Gatekeeper,” which also trades melody for screams between its verses and choruses, but swaps the structure to suit the groove and the linear built taking place over the song’s five and a half minutes.

high fighter

Following 6:33 opener and longest track (immediate points) “A Silver Heart” and the subsequent “Darkest Days” — which features a choice “ough” grunt from Miluski and the most satisfying direct linear build on offer — “The Gatekeeper” expands the context of Scars and Crosses to a degree, finds High Fighter leaning more toward groove than assault, but as noted, “Blinders” is perhaps the most raging cut on the record, so the balance is readjusted almost immediately as side A rounds out. What unites those two tracks, the first two, and the four still to come on side B is the songwriting and the confidence in execution that High Fighter show across the board. The Goat Ritual showed solid potential, but Scars and Crosses takes pivotal steps in positioning High Fighter where they would seem to want to be sound-wise — in a space between worlds that few bands would be so bold as to willfully inhabit.

“Portrait Mind” continues the thread at the launch of the album’s second half but also boasts a highlight guitar solo, while the subsequent “Gods” seems to nod back at “The Gatekeeper” with a desert rock riff reconstituted to suit High Fighter‘s purposes, giving a fuller look at what might become an expanded context over time for their approach. That continues in “Down to the Sky” as they draw back on some of the urgency in order to let a fluidity take hold for a few minutes in the song’s first half, Wildelau‘s kick offering firm punctuation throughout and signaling the launch of the solo section in the final third with an uptick in pace leading back to the chorus. This leaves the title-track with an even more difficult task of summarizing the album as a whole.

It does so with a central push derived in part from Kyuss‘ “Odyssey” that arrives offset by a slowdown hook and layered-in lead work that solidifies around a still-upbeat but nod-ready groove before expanding outward with effects on the guitar, vocal harmonies and a move into the apex of the record itself before a final minute filled only by the hum of feedback. Certainly that says it all as much as anything I could come up with, and “Scars and Crosses” rounds out the album by emphasizing what are already the band’s strengths in songwriting and performance while also giving a look at possible sides of their personality they might play with going forward. Make no mistake, they’re already a solid band, and I think Scars and Crosses deserves consideration among 2016’s most accomplished debuts, but High Fighter give no indication in these songs that this is the sum total of what they have to say as a unit, and that only bodes well for their future progress.

High Fighter, “Blinders” official video

High Fighter on Thee Facebooks

High Fighter website

High Fighter on Bandcamp

Svart Records website

Tags: , , , , ,

Keep it Low 2016 Lineup Complete; Electric Citizen, Samavayo, Deadsmoke and Salem’s Pot Added

Posted in Whathaveyou on July 6th, 2016 by H.P. Taskmaster

keep it low 2016 final header

With the final additions of Electric CitizenSamavayoDeadsmoke and Salem’s Pot, the lineup for Keep it Low 2016 in Munich, Germany, is complete. Presented by Sound of Liberation at the Feierwerk venue, the fest boasts John GarciaColour HazeElder and Greenleaf at the top of the bill and pulls acts from around Europe and the US together for a two-nighter focused on vibe and groove, but still pretty varied in its spirit overall between the likes of 1000mods and Deadsmoke. Wherever they’re at sound-wise, you’d be hard-pressed to find a dud in the bunch.

Last announcement from the fest follows here:

keep it low 2016 final poster

KEEP IT LOW 2016! Oct. 21st & 22nd… Electric Citizen, Salem’s Pot, Mother’s Cake, Samavayo & Deadsmoke complete the line-up!

We are pleased to tell you that our 2016 line-up is now complete: 21 bands that will blow your mind!!

Today, the American 70’s heavy rock influenced four-piece Electric Citizen, the Swedish catchy spooky doom rock quintet Salem’s Pot, the German not-quite-like-anything else stoner/heavy rock outfit Samavayo and the monolithic Italian doom sludge trio Deadsmoke joined the bill alongside previously announced John Garcia, Colour Haze, Karma To Burn, Elder, Greenleaf, The Atomic Bitchwax, Monkey3, 1000Mods, Toner Low, Black Rainbows, Fatso Jetson, Moaning Cities, Duel, Bright Curse, Grusom and Swan Valley Heights!

All those 4 bands released amazing new albums during the spring that you can listen to by clicking on the links above.

Also, due to the unfortunate cancellation of Kind, we are able to add John Garcia’s touring support band, Austrian Alternative Space Rockers Mother’s Cake! And we are very happy about that!

KEEP IT LOW 2016 will happen on October 21st and 22nd in FEIERWERK (Munich) and will greet with 3 stages and outside beergarden & skatepark. On this upcoming edition we are setting up a cozy and rain protected outside area with food and drink station. We also decided to play already on 2 stages on the Friday night and ending both KIL nights with aftershow parties and Dj Sets (Friday until 3 am and Saturday until 5 am).

Hard Tickets (2-day passes) are available on Woolheads for 65 €! Online tickets are also available on Eventim!

You can purchase tickets on http://woolheads.com/ but be quick! E-Tickets are also available on http://www.eventim.de/


Samavayo, Dakota (2016)

Tags: , , , , , , , ,

Keep it Low 2016: Karma to Burn, Moaning Cities, Grusom & Swan Valley Heights Added

Posted in Whathaveyou on June 20th, 2016 by H.P. Taskmaster

keep it low 2016 new header

Europe’s fall festival season continues to take shape as Munich-based Keep it Low 2016 returns with a new round of adds to its lineup that includes Karma to BurnMoaning CitiesGrusom and Swan Valley Heights. The Sound of Liberation-presented fest already has John GarciaElder and Colour Haze at the top of its bill, and though its prevailing reputation is for being a laid back event, it’s getting hard to ignore the increasing reach of heavy it’s bringing in. It’s two days as opposed to, say, the vaguely concurrent Desertfests in Belgium and Athens, which are three, so I wonder how many more acts there are to join the bill, but I guess we’ll see when we get there. As the poster says, “More TBA.”

From the PR wire:

keep it low 2016 new poster

KEEP IT LOW 2016! Oct. 21st & 22nd… Karma to Burn, Moaning Cities, Grusom & Swan Valley Heights Confirmed!

Our line-up for Keep It Low 2016 is shaping up more and more! Today, next to one more headlining act, the mighty Virginia-Riff-Machine Karma To Burn, we are happy to present you some fresh and talented newcomers: Moaning Cities, hailing from Belgium and presenting their new album on tour with Monkey 3 and 1000 Mods (better don´t miss their fantastic set of psychedelic, folk and melancholic songs); Danish heavy-psych-blues rockers Grusom (whose the impressively dark debut was released last year) and Munich’s local Swan Valley Heights (who just released their self-titled debut album).

17 Bands announced, yet some more great acts to come… stay tuned and keep it Low!

KEEP IT LOW 2016 will happen on October 21st and 22nd in FEIERWERK (Munich) and will greet with 3 stages and more than 20 bands, outside beergarden & skatepark. On this upcoming edition we are setting up a cozy and rain protected outside area with food and drink station. We also decided to play already on 2 stages on the Friday night and ending both KIL nights with aftershow parties and Dj Sets (Friday until 3 am and Saturday until 5 am).

Hard Tickets (2-day passes) are available on Woolheads for 65 €! Online tickets are also available on Eventim!

You can purchase tickets on http://woolheads.com/ but be quick! E-Tickets are also available on http://www.eventim.de/


Karma to Burn, “62” official video

Tags: , , , , , , , ,

Colour Haze Announce Live Vol. 1 – Europa Tournee 2015 Due this Month; Premiere “Circles (Paris)”

Posted in audiObelisk, Whathaveyou on June 10th, 2016 by H.P. Taskmaster

colour haze

Heavy psych masters Colour Haze announce Live Vol. 1 – Europa Tournee 2015, a new live release through Elektrohasch Schallplatten, due this month on CD with vinyl to follow in July. Comprising two discs with more than two hours’ runtime, Live Vol. 1 – Europa Tournee 2015 chronicles the Munich trio’s early 2015 run alongside The Sun and The WolfRadio Moscow and Cherry Choke on the Up in Smoke Vol. 5 tour to support their latest studio full-length, To the Highest Gods We Know (review here).

That record, which was a return to normalcy after a tumultuous release process for 2012’s double-LP, She Said (review here), and both albums feature heavily in the setlist for Live Vol. 1 – Europa Tournee 2015. With recordings from shows in Frankfurt, Paris, Köln, Würzburg and Berlin, tracks like “She Said,” “Transformation” and “To the Highest Gods We Know” shine with different interpretations and varied arrangements for the stage that make it plain why the band wanted to document the tour to give their worldwide audience a look at what’s rarely seen or heard outside Europe.

For more than 20 years, Colour Haze have worked to craft an unmatched legacy in heavy psychedelia. Across their 11 studio albums, they’ve cast an influence that knows no borders and emphasizes the timeless nature of instrumental chemistry at its best. Comprised of guitarist/vocalist Stefan Koglek (also the head of Elektrohasch), bassist Philipp Rasthofer and drummer Manfred MerwaldColour Haze previously released the limited live outing, Burg Herzberg Festival 18. Juli 2008, in 2009, but Live Vol. 1 – Europa Tournee 2015 will be the first official Colour Haze live offering through Elektrohasch, and if the title is anything to go by, it might not be the last.

Colour Haze play their first US show in a decade in August at Psycho Las Vegas. Below, you can stream the premiere of “Circles (Paris)” from Live Vol. 1 – Europa Tournee 2015. More info on exact release dates — it’ll probably be an “out now” situation — when it comes in.

Cover art and tracklisting follow:


Colour Haze, Live Vol. 1 – Europa Tournee 2015:
CD 1
1. Periscope (Frankfurt)
2. Moon (Frankfurt)
3. Uberall & Call (Frankfurt)
4. She Said (Paris)
5. Aquamaria (Würzburg)
6. To the Highest Gods We Know (Köln)
7. Circles (Paris)

CD 2
1. Transformation (Berlin)
2. Grace (Berlin)
3. Tempel (Köln)
4. Love (Paris)
5. Peace Brothers and Sisters! (Frankfurt)
6. Get it On (Köln) (Bonus Track)


Colour Haze, “Circles (Paris)” Premiere

Tags: , , , , ,

Keep it Low 2016: John Garcia, The Atomic Bitchwax, Fatso Jetson & Bright Curse Added

Posted in Whathaveyou on May 20th, 2016 by H.P. Taskmaster

keep it low 2016 header

Man, I saw Fatso Jetson earlier this year, and let me tell you, wherever they are is where you want to be. They’re one of four bands to join the ranks of Keep it Low 2016 today, along with John Garcia, NJ’s venerable The Atomic Bitchwax and London trio Bright Curse, which only makes an already strong lineup stronger. Interesting that the news from Sound of Liberation mentions a new Garcia full-length. The former Kyuss/Vista Chino singer (along with UnidaHermano, etc.) has made some mention of a new full-band outing to be issued under his name and an acoustic solo record as well, but I haven’t seen concrete word of a release date yet for either. “By the time October gets here” makes for a decent ballpark figure though, so I guess I’ll run with that.

Details from the PR wire:

KEEP IT LOW 2016! Oct. 21st & 22nd… John Garcia, The Atomic Bitchwax, Fatso Jetson & Bright Curse Confirmed!

4 new bands joined the KEEP IT LOW FESTIVAL 2016 line-up this afternoon, bringing the total of bands to 13 so far!

Alongside Colour Haze, Elder, Greenleaf, Monkey3, Toner Low, 1000Mods, Black Rainbows, Duel and Kind, we are stoked to welcome to our 4th edition the almighty John Garcia (coming with his full band, a new album, and surely some Kyuss classics in the set!), legendary US Fuzz Rock Riffmasters The Atomic Bitchwax (still promoting their terrific 2015’s album “Gravitron”), Fatso Jetson (Desert rock godfather Mario Lalli is always welcome at our festival) and Bright Curse (which released their excellent debut album “Before The Shore” last week).

KEEP IT LOW 2016 will happen on October 21st and 22nd in FEIERWERK (Munich) and will greet with 3 stages and around 20 bands, outside beergarden & skatepark. On this upcoming edition we are setting up a cozy and rain protected outside area with food and drink station. We also decided to play already on 2 stages on the Friday night and ending both KIL nights with aftershow parties and Dj Sets (Friday until 3 am and Saturday until 5 am).

Hard Tickets (2-day passes) are available on Woolheads for 65 €! Online tickets are also available on Eventim!

You can purchase tickets on http://woolheads.com/ but be quick! E-Tickets are also available on http://www.eventim.de/


Fatso Jetson, “Swollen Offering” Live, April 2, 2016

Tags: , , , , , , , ,