Quarterly Review: Glanville, Destroyer of Light, The Re-Stoned, Ruff Majik, Soldat Hans, High Priestess, Weed Demon, Desert Storm, Ancient Altar, Black Box Warning

Posted in Reviews on July 17th, 2018 by JJ Koczan

quarterly-review-CALIFORNIA-LANDSCAPE-Julian-Rix-1851-1903

So Day 1’s done and it’s time to move on to Day 2. Feeling stressed and totally overwhelmed by the sheer amount of stuff still to be done? Why yes, I am. Thanks for asking. In the past, I used to handle the Quarterly Review well ahead of time. It’s always a lot to get through, but the week before, I’d be setting up back ends, chasing down links and Bandcamp players, starting reviews, etc., so that when it came time, all I had to do was the writing and plug it all into a post and I was set.

There was some prep-work done this past weekend, but especially this time, with my old laptop having been stolen in May, it’s all been way more jazz-improv. I was still adding releases as of last Friday, and writing beforehand? Shit. With the baby having just figured out how to climb? Not bloody likely. Accordingly, here we are, with much to do.

It’ll get done. I haven’t flubbed a Quarterly Review yet, and if I took an extra day to get there, I’m under no delusion that anyone else would care. So there you go. Let’s hit it for Day 2:

Quarterly Review #11-20:

Glanville, First Blood

glanville first blood

First Blood is the aptly-titled five-song debut EP from Glanville, a newcomer dual-guitar outfit with established players Philip Michel (The Earwix) on lead and Christopher West (Named by the Sun, ex-Stubb, etc.) on rhythm, Wight’s Peter-Philipp Schierhorn on bass and René Hofmann on vocals, and Thomas Hoffman (ex-Bushfire) on drums. Based in Germany and the UK, the group present 23 minutes of material on their first outing, drawing from the guitar-led likes of Thin Lizzy and Judas Priest to capture early metal and present it with a heavy rocking soulfulness and modern production. The most raucous of the cuts might be centerpiece “Durga the Great,” but neither “God is Dead” nor “Dancing on Fire” before nor “Demons” and “Time to Go” after want for action, and especially the latter builds to a furious head to close out the release. Hofmann as a standalone singer wants for nothing in range or approach, and the band behind him obviously build on their collective experience to dig into a stylistic nuance rarely executed with such confidence. They’ve found a place willfully between and are working to make it theirs. Can’t ask for more than that.

Glanville on Thee Facebooks

Glanville on Bandcamp

 

Destroyer of Light, Hopeless

destroyer of light hopeless

Having just recently signed to Argonauta Records for a new album in 2019, Austin doomers Destroyer of Light follow their 2017 long-player, Chamber of Horrors (review here), with a further auditory assault in the lumbering Hopeless. Psychedelic and yet still somehow traditional doom lingers in the brain after “Nyx” and “Drowned” have finished – the latter with an Alan Watts sample discussing alcoholism – and the band moves into demos for Chamber of Horrors cuts “Into the Smoke,” “Lux Crusher” and “Buried Alive.” Between the two previously unreleased songs and those three demos, Hopeless pushes to 39 minutes, but it’s probably still fair to call it an EP because of the makeup. Either way, from the miserable plod of “Nyx,” in which each chug in the riff cycle seems to count another woe, to the rolling nod early and surprising melody late in “Drowned,” Hopeless is anything but. Anticipation was already pretty high for Destroyer of Light’s next record after the last one, but all Hopeless does is show further depth of approach and more cleverly-wielded atmospheric murk. And the more it sounds like there’s no escape, the more Destroyer of Light seem to be in their element.

Destroyer of Light on Thee Facebooks

Destroyer of Light on Bandcamp

 

The Re-Stoned, Stories of the Astral Lizard

the re-stonEd stories of the astral lizard

The inevitable question is “Why a lizard?” and if you make it four minutes into 11-minute opener “Fractal Panorama” and don’t have your answer, go back ad start over. Moscow heavy psych instrumentalists The Re-Stoned intend the reptile as a spirit guide for their new outing Stories of the Astral Lizard (on Oak Island Records), which follows quickly behind their late-2017 offering, Chronoclasm (review here), and given the ultra-patient desert vibes in the opener, the acoustic-laced folk-prog of “Mental Print for Free,” the languid meander of “A Companion from the Outside,” the swirling sprawl of the 16-minute “Two Astral Projections” and the final cowpoke drift of “The Heather Carnival,” one might indeed just find a lizard sunning its belly amid all the atmospheric evocations and hallucinatory vibes. I’ll take “Two Astral Projections” as the highlight, but mostly because the extra length allows the band to really dig in, but really the whole album feeds together gorgeously and is a new level of achievement when it comes to atmosphere for The Re-Stoned, who were already underappreciated and find themselves only more so now.

The Re-Stoned on Thee Facebooks

Oak Island Records on Thee Facebooks

 

Ruff Majik, Seasons

Ruff Majik Seasons

Right on fuzz, right on groove, right on vibe – there isn’t much else one might say about Ruff Majik’s Seasons (on Rock Freaks Records and Forbidden Place Records) beyond “right on.” Heavy rock with twists of psychedelia, the Pretoria, South Africa, three-piece of Johni Holliday, Jimi Glass and Benni Manchino make their home on the lines of various subgenres, but wherever they go, the proceedings remain decisively heavy. To wit, a cut like “Breathing Ghosts” or the later “Birds Stole My Eyes” might dig into shuffle boogie or extreme-metal-derived thrust, but there’s a chemistry between the members and a resonant looseness that ties the material together, and as the last 14 of the total 66 minutes are dedicated to “Asleep in the Leaves,” there’s plenty of progressive weirdness in which to bask, one song moving through the next such that neither “Hanami Sakura (And the Ritual Suicide” nor the semi-doom-plodding “The Deep Blue” nor the funky twists of “Tar Black Blood” come across as predictable. Seasons might take a few listens to sink in, but it’s easily worth that effort.

Ruff Majik on Thee Facebooks

Ruff Majik at Rock Freaks Records webstore

Forbidden Place Records on Bandcamp

 

Soldat Hans, Es Taut

SOLDAT HANS ES TAUT-750

Hyperbole-worthy post-ism from Switzerland’s Soldat Hans makes their sophomore outing, Es Taut – on Wolves and Vibrancy Records as a 2LP – a forward thinking highlight. As rich in atmosphere as Crippled Black Phoenix and as lethal as Converge or Neurosis or anyone else you might dare to put next to them, the six-piece made their debut with 2014’s Dress Rehearsal (review here) and served notice of their cross-genre ambitiousness. Es Taut finds them four years later outclassing themselves and most of the rest of the planet across three extended tracks – “Story of the Flood” (26:15), “Schoner Zerbirst, Part I” (8:03) and “Schoner Zerbirst, Part II” (18:56) – that sprawl out with a confidence, poise and abrasion that is nothing short of masterful. Es Taut may be a case of a band outdoing their forebears, but whatever their legacy becomes and however many people take notice, Soldat Hans singlehandedly breathe life into the form of post-metal and prove utterly vital in so doing, not only making it their own, but pushing forward into something new in ambience and heft. This is what a band sounds like while making themselves indispensable.

Soldat Hans on Thee Facebooks

Wolves and Vibrancy Records website

 

High Priestess, High Priestess

high priestess high priestess

Calling to order a nod that’s immersive from the opening strains of leadoff/longest-track “Firefly” (still immediate points), Los Angeles trio High Priestess build out the psych-doom ritualizing of their 2017 demo (review here) to make their self-titled full-length debut through Ripple Music. The difference between the demo and the album in terms of what’s included comes down to artwork and the track “Take the Blame,” which adds its bell-of-the-ride swing between the atmosphere and melodic focus of “Banshee” and the spacious roller “Mother Forgive Me.” Potential is writ large throughout from guitarist/vocalist Katie Gilchrest, bassist/vocalist Mariana Fiel and drummer Megan Mullins, as it was on their demo, and even the harsh growls/screams on “Despise” seem to have found their place within the proceedings. As they wrap with the guitar-led jam of “Earth Dive,” High Priestess put the finishing touch on what’s hands-down one of 2018’s best debut albums and offer a reminder that as much potential as there is in their sound for future development, the accomplishments here are considerable unto themselves.

High Priestess on Thee Facebooks

Ripple Music website

 

Weed Demon, Astrological Passages

weed demon astrological passages

Four tracks of gurgling riffy plunder pervade Astrological Passages, the 41-minute – longer if you get the digital version or the tape/CD, which includes the 7:24 “Dominion of Oblivion” – debut album from Columbus, Ohio’s Weed Demon. Delivered on vinyl through Electric Valley Records, the nodder/plodder carves out a cave for itself within a mountain of tonally thick stoner metal riffing, infusing a sense of sludge with shouted and growled vocals from guitarists Andy and Brian and bassist Jordan – only drummer Chris doesn’t get a mic – and an overarching sense of bludgeoning that’s Sleep-derived if not Sleep-adjacent in terms of its actual sound. Nasty? Why, yes it is, but as “Sigil of the Black Moon” heads toward the midpoint of its 10-minute run, the repetitive groove assault makes the band’s intention plain: worship weed, worship riff. They get faster on “Primordial Genocide” and even sneak a bit of speed in amidst the crawl before the banjo takes hold in the second half of 12-minute closer “Jettisoned” – more Americana sludge please; thank you – but they never lose sight of their mission, and it’s the uniting factor that makes their debut hit like the brick to the head that it is.

Weed Demon on Thee Facebooks

Electric Valley Records website

 

Desert Storm, Sentinels

desert storm sentinels

With Sentinels, Oxford, UK, five-piece Desert Storm pass a decade since making their self-titled debut in 2008. They followed that with 2010’s Forked Tongues (review here), 2013’s Horizontal Life and 2014’s Omniscient (review here), and though they had a single out in 2014 on H42 Records as a split with Suns of Thunder (review here) in 2016, Sentinels is their first outing on APF Records and their first long-player in four years. Burl has always been an important factor in what they do, and the High on Fire-meets-Orange Goblin slamming of “The Brawl” backs that up, but Desert Storm have left much of the hyper-dudeliness behind in favor of a more complex approach, and while Sentinels isn’t a minor undertaking at 10 songs and 51 minutes, longer cuts like “Kingdom of Horns” and “Convulsion” demonstrate the maturity they’ve brought to bear, even as the one-two punch of “Drifter”  and “The Extrovert” offer swinging-fist hooks and beard-worthy chug that assures any and all testosterone quotas are met.

Desert Storm on Thee Facebooks

APF Records on Bandcamp

 

Ancient Altar, Cosmic Purge/Foie Gras

ancient altar cosmic purge foie gras

Based in Los Angeles, Ancient AltarScott Carlson (bass/vocals), Barry Kavener (guitar/vocals), Jesse Boldt (guitar) and Etay Levy (drums) – were last heard from on 2015’s dug-in atmosludger Dead Earth (review here), and they return lo these several years later with the two-tracker Cosmic Purge/Foie Gras, pushing into more extreme crush-of-riff with an abandon that’s anything but reckless. On the contrary, there’s some clear development in the 10-minute “Cosmic Purge” and 13-minute “Foie Gras,” rolling out oppressive grooves with blended screams/shouts and cleaner vocals. As with the last album, a drive toward individuality is central here, and Ancient Altar get there in tone while bringing forth a sense of scope to a sound so regularly thought of as closed off or off-putting in general. In its early going, “Foie Gras” hypnotizes with echoing melody and spaciousness only to resolve itself in a deeply weighted dirge march, furthering the pummel of “Cosmic Purge” itself. I don’t know if the EP – on vinyl through Black Voodoo Records, CD on Transcendental Void Records – will lead toward another album or not, but the sense of progression in Ancient Altar’s style is right there waiting to be heard, so here’s hoping.

Ancient Altar on Thee Facebooks

Black Voodoo Records on Thee Facebooks

 

Black Box Warning, Attendre la Mort

black box warning attendre la mort

Listen to it on headphones and the kickdrum on Black Box Warning’s Attendre la Mort is downright painful. Next-level blown-out aggro pulsations. Brutal in a physical sense. The rest of the band doesn’t follow far behind in that regard. Riffs are viscous and violent in noise rock tradition, but denser in their tone despite some underlying punkishness, and the vocals are likewise distorted and abrasive. The five-song/23-minute EP’s title translates to “Waiting for Death,” and each of the tracks is a dose: Opener “5 mg” is followed by “4 mg,” “1 mg,” “2 mg” and “3 mg.” Unsurprisingly, pills are a theme, particularly on “4 mg,” and the sense of violent threat is clear in “2 mg” and 3 mg,” which boast lines like, “Watch them all scream/Watch your enemy bleeded,” and “You are the pig/I am the butcher,” respectively. Between the lyrical and the general aural cruelty, the dis-ease is consuming and unmitigated, sludge becoming a slow-motion grindcore, and that’s clearly the point. Not stabbing, but gouging.

Black Box Warning on Thee Facebooks

Black Box Warning on Bandcamp

 

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Ruff Majik Announce Seasons Physical Releases

Posted in Whathaveyou on May 17th, 2018 by JJ Koczan

ruff majik

A conceptual work wherein each batch of three songs was actually written in a different season, the suitably titled Seasons was self-released by Pretorian trio Ruff Majik digitally on April 20. As the band is set to tour Europe this summer twice, making stops first at Freak Valley and then at SonicBlast Moledo, and, you know, as the album kicks ass, it’s not a huge surprise that it’s been picked up for physical release. And it’s all the more telling that rather than trickle out one format at a time over a period of years (or seasons, for that matter), Ruff Majik are taking care of it all in one shot. The limited 2LP will be out through the Freak Valley-associated Rock Freaks Records in a variety of editions, and the CD and tape versions will arrive through US imprint Forbidden Place.

Both labels have the album up for preorder now. Here’s the PR wire to tell you pretty much exactly what I just told you using different words:

ruff-majik-seasons

Ruff Majik Reveal Details to Release SEASONS on CD, Cassette and Vinyl

2018 is turning out to be an incredible year for South African Sludge n Rollers Ruff Majik. With two European tours booked that will see them playing Freak Valley Festival and SonicBlast as well as a host of club shows.

They also released their debut full-length album Seasons on the 20th April to widespread critical acclaim. The guys are happy to announce that they have signed deals with US label Forbidden Place Records to release and distribute Seasons on CD and cassette, while German label Rock Freaks Records will be releasing three versions of the double LP: classic black, coloured (still a secret) and die-hard (very limited).

Vocalist and guitarist Johni Holiday commented on the news “Ruff Majik is immensely excited to take the next step in furthering our career by bringing out physical copies. With the backing of Rock Freaks and Forbidden Place, we’re making a lifelong dream come true!”

Pre-order Seasons on CD or Cassette here and on Vinyl here.

Tracklisting:
1. Harpy 04:49
2. Gone down in the woods today 05:15
3. Breathing ghosts 04:20
4. Last of the witches 03:53
5. It flies at night 03:48
6. Hanami Sakura (and the ritual suicide) 04:26
7. The deep blue 08:04
8. Hammered are the gods 04:42
9. Birds stole my eyes 04:17
10. Tar black blood 03:15
11. Come all ye druids 05:04
12. Asleep in the leaves 14:10

Ruff Majik:
Johni Holiday – Guitar, vocals
Jimi Glass – Bass guitar
Benni Manchino – Drums

https://www.ruffmajik.com/
https://www.facebook.com/ruffmajik
https://twitter.com/ruff_majik
https://www.instagram.com/ruffmajik/
https://forbiddenplacerecords.bandcamp.com/album/ruff-majik-seasons
http://shop.rockfreaks.de/en/home/92-ruff-majik-seasons-coming-soon-.html

Ruff Majik, Seasons (2018)

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Ruff Majik Premiere “Come all Ye Druids” from New Album Seasons

Posted in audiObelisk on March 21st, 2018 by JJ Koczan

ruff majik Christelle Duvenage Photography

Come this Spring/early Summer, Pretorian heavy psych trio Ruff Majik will embark on a European tour for the first time. They do so supporting their upcoming new album, Seasons, and in addition to a Sound of Liberation showcase on May 26 in Wiesbaden that also includes My Sleeping Karma and Colour Haze in the lineup — not too shabby — they’ll be appearing at Freak Valley 2018 in Germany and SonicBlast Moledo 2018 in Portugal. Clearly the plan is to get around.

Fair enough. Imagine Goatsnake jamming a blowout tapped on mushrooms while backpacking during a semester abroad and you might be somewhere near the swing and sneer of Ruff Majik‘s new streaming single, “Come all Ye Druids,” which is premiering below. I haven’t yet had the pleasure of hearing Seasons — which is out April 20 and may or may not bear the subtitle A Stag in the Leaves — in its entirety, but the South African trio three-piece have put out three prior “chapters” under the Seasons banner in last June’s Ruff Majik Come all ye druidsSeasons 1, Chapter 1: The Hare and the Hollow, last September’s Seasons 1, Chapter 2: A Finch in a Cherry Tree and last December’s Seasons 1, Chapter 3: A Dragon and His Hoard, so whether the impending Seasons is part of the same overarching storyline — i.e., if it’s “Chapter 4” — or some next step in the cycle, I couldn’t say, but the mystery only adds intrigue to the track itself, which as intimated above, brims with riffy and tripped-out groove.

The tones are thick but not immobile, and guitarist/vocalist Johni Holidayis right when he asserts below that the band is getting heavier. What they haven’t done, at least going by “Come all Ye Druids,” is abandon the spirit of spontaneity that comes from jam-based songcraft, and so whether it’s Holiday‘s riffs, the washing crash of drummer Ben Manchino or the air-pushing low end from bassist Jimmy Glass, the four-minute track wants nothing for momentum as it pushes its way through its drity, sludge-infused nod. The hook arrives over toms and the central riff picks back up even more infectious than when it left, the swagger of the verse at once dangerous and immersive. A fuzzed out so fights for dominance in the second half of the track, but it seems nothing can overcome the main riff, which takes hold again and seems to override everything else as the track fades just past the four-minute mark.

As to just how much of what Ruff Majik are doing on Seasons might be represented in “Come all Ye Druids,” I couldn’t say. Given how loose-swinging the single is, I’d believe you if you told me the record went just about anywhere. Take a listen below and see if you can guess. A quote from Holiday and PR wire info follows.

Please enjoy:

Johni Holiday on Seasons:

With this release, Ruff Majik decided to set sail into newer, sludgier directions. We decided long ago that we wouldn’t be that band that people would complain about, saying ‘they used to be heavier.’ Hell no, every time we bring out new music we want to move forward, become heavier, more intense. We still like to include bluesy bits, sure. But this song is made to be filthy, heavy, oily sludge ‘n’ roll. Next time we might do something a bit more doom again, who knows hahaha. All I know is that right now, Ruff Majik is becoming a groove machine, and we like it.

The band embark on their 1st European tour in June 2018 which sees them play Freak Valley Festival in Germany along with a host of club shows supporting the likes of Colour Haze, My Sleeping Karma and The Devil and the Almighty Blues. They’ll be back in Europe in August to play SonicBlast in Portugal.

RUFF MAJIK NEW POSTERRuff Majik live:
Support for The Devil and the Almighty Blues:
24 May, Stuttgart, Goldmarks
28 May, Munich, Feierwerk
29 May, Vienna, Arena
30 May, Leipzig, Werk 2

Supporting Colour Haze and My Sleeping Karma:
26 May, Wiesbaden, Schlachthoff
31 May, Freak Valley Festival, Netphen
2 June, Dresden, Beatpol (supporting Mars Red Sky)

In a small, secluded mining town in rural South Africa, three friends heard the call of the void, and spat fuzz back at it. Thus, Ruff Majik was formed, and the boys decided it was time to move to the city to spread their gospel of riff worship and sound sorcery.

Ruff Majik moved to Pretoria, South Africa, where they’ve become infamous for their lively shows and aggressive on-stage persona. With their brand of what they call “stoner rock / sludge ‘n roll” they move between slow grooves and breakneck speeds in the blink of an eye, with live shows being described as ‘whiplash inducing’.

The band surfaced in 2015 with the release of their first 6 track, The Bear. This got them lots of attention from reviewers all over the world. They quickly followed up with The Fox in 2016. In 2017 Ruff Majik released The Swan, The Hare and the Hollow, A Finch in a Cherry Tree and A Dragon and his Hoard, the latter three being part of upcoming full-length Seasons.

The members are Johni Holiday (guitar/vocals), Jimmy Glass (bass guitar) and Ben Manchino (drums).

Ruff Majik on Thee Facebooks

Ruff Majik on Twitter

Ruff Majik on Instagram

Ruff Majik on Bandcamp

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SonicBlast Moledo 2018: Earthless, Ufomammut, Purple Hill Witch, Atavismo and Ruff Majik Join Lineup

Posted in Whathaveyou on February 12th, 2018 by JJ Koczan

sonicblast moledo 2018 banner

Set for Aug. 11 and 12 in Portugal, SonicBlast Moledo 2018 continues to build a lineup varied in sound but seemingly unified in vibe. That is to say, whether you’re locked into a hypnotic jam from Earthless or getting crushed by Ufomammut or Conan and doomed by Purple Hill Witch, lost in Nebula‘s desert rock bliss or the lush progressive psych of Atavismo, SonicBlast Moledo 2018 strikes as looking to deliver to those fortunate enough to attend a good time through and through. A band can be dark and grim, or coated in melodic sunshine to match what is no doubt a powerful Iberia-in-August heat — though maybe it’s cooler by the shore — and you’re still going to enjoy yourself. It’s okay to have fun. It’s okay to like things. You’re worth it.

I mean that.

And if you are lucky enough to attend what’s clearly a labor of love on the part of the organizers, I hope you do enjoy. I’ll be jealous.

Here’s the latest word from the PR wire:

SonicBlast Moledo 2018 – Second wave of announcements!

SONICBLAST MOLEDO 2018

Stoner Doom Psych Heavy – Sea Beach Camping Pool Surf Skate

With the dates settled for August 10th and 11th, the eighth edition of SonicBlast Moledo is stoked to announce Earthless, Ufomammut, Purple Hill Witch, Atavismo and Ruff Majik! They join the previously confirmed acts Kadavar, Nebula, Conan and Naxatras!

The mighty Earthless. The Heavy Psychedelic Rock masters. The cosmic instrumental warriors whose power influences generations and leaves any soul stunned. Dominating their instruments like no one, Earthless know how induce unique transcendental states of mind, inspired by the eclectic Krautrock, the exotic Japanese Heavy Blues Rock and the ever-lasting presence of musical guides like Jimi Hendrix or Black Sabbath. From their live shows, we can only expect demolisher minutes of acid and ecstatic vibrations, marked by an incomparable caliber, where we set our own astral space as destiny.

Hailing from the Piedmont region, Ufomammut are easily distinguished as the Italian masters of the Psychedelic Doom Metal. With their 8th album already released, the trio keeps demonstrating the power of their cavernous and massive sounds, employing intense riffs and profound ambiences to induce incessant trances.During their live shows, they are frequently supported by Malleus Collective’s multimedia art, creating a whole new visual impact allied to their music.

Coming out from the far way countryside of Norway lands, Purple Hill Witch follow the Sabbathian law of Doom, conjuring up the sheer excellence of proto heaviness with the swirling vibes of Psychedelic Hard Rock, sculpting a flawless presence. Following their 2014 self-titled masterwork, the trio arrives at Moledo with its successor “Celestial Cemetery”, presenting themselves at their full splendor.

Popular for their energetic live shows, the young trio Ruff Majik doesn’t hold back when it comes to rock n roll. Arriving all the way from South Africa, more precisely Pretoria, these three fuzzy souls are ready to brings a lot of Psych Blues Stoner riffs and many good times with them, touring on European soil for the first time ever.

Born from the ashes of well-known underground bands such a Viaje A 800 or Mind!, the Spanish Atavismo are famous for their Progressive Psychedelic Rock, carefully created by the aid of experimental space rock and atmospherical sensations. After releasing their great sophomore album “Inerte”, the band toured throughout Europe, arriving now at the shore of Moledo.

https://sonicblastmoledo.bol.pt/
https://www.facebook.com/SonicBlast-Moledo-242619262427066/
https://www.facebook.com/events/181938749070159/
https://sonicblastmoledo.wordpress.com/

Atavismo, Inerte (2017)

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Freak Valley 2018: Russian Circles, Year of the Cobra, Black Bombaim, Ruff Majik & My Baby Added to Lineup

Posted in Whathaveyou on January 15th, 2018 by JJ Koczan

freak-valley-2018-banner

Not taking anything away from anyone in this latest announcement from Freak Valley 2018, but for me, the find of the bunch is South African heavy-grooving three-piece Ruff Majik, who, what they lack in spelling they more than compensate for with riff-led immersive roll as well as a prolific rate of releases.

Again, that’s not to detract at all from the radness of the fact that Year of the Cobra are making the trip, or that Russian Circles will no doubt feature somewhere near the top of the bill, but I wasn’t familiar with Ruff Majik prior to this announcement and was happy to have the chance to check them out.

If you’d like to do the same, their latest EP is streaming at the bottom of this post. Go ahead and give it a shot. Maybe name your price on one of those downloads they have set up on such terms.

Here’s the full announcement from the fest, which, as it happens, I wrote:

freak-valley-2018-russian-circles

Happy New Year, Freaks!

We’re creeping ever closer to the start of FREAK VALLEY FESTIVAL 2018, and you know what that means: More announcements, more reasons to come, and less time to plan your trip. If you missed out on tickets before they sold out, sorry, but you can’t say you weren’t warned. For everyone else, we’ve got FIVE awesome new confirmations to reveal for the lineup!

Please welcome Russian Circles, Black Bombaim, Year of the Cobra, Ruff Majik and MY BABY to the bill for Freak Valley 2018!

RUSSIAN CIRCLES

No way these guys need any introduction. For over a decade, Chicago instrumental trio Russian Circles have made themselves forerunners of heavy and psychedelic post-rock, and with their records Enter, Station, Geneva, Empros, Memorial and Guidance, they’ve become one of the most essential acts of their generation. Expect immersion like nothing else when they take the stage for all the Freaks! They might even leave the lights on! On second thought, nah, probably not.

BLACK BOMBAIM

If you’ve never experienced Portuguese jammers Black Bombaim live, you don’t even know what you’ve been missing. The raw chemistry, the dynamic turns – everything they do recalls the best of improvisational psychedelic rock. Their flow is molten and unlike anyone else’s in the style, and they come to Freak Valley as ready to explore new ground as ever in the far-out cosmic reaches.

YEAR OF THE COBRA

While the bass/drum two-piece recalled riffy greats like Sleep and Acid King on their debut album, In the Shadows Below, it was the 2017 EP, Burn Your Dead, that really showed off the diversity of sound Year of the Cobra could bring to bear. The Seattle duo hit Europe for the first time supporting the album and as they come back ahead of a new full-length in 2018, we’re thrilled to welcome them for their first visit to Freak Valley!

RUFF MAJIK

Traveling all the way from Pretoria, South Africa, the heavy-grooving trio Ruff Majik have been belting out releases at a prolific clip since their 2015 debut, The Bear. By the time they make it to Siegen this May, they’ll be riding high on the blues-psych vibes of their latest work, A Stag in the Leaves, and we can’t wait to introduce them to the Freaks and give everyone a taste of their laid back riffs and classic style.

MY BABY

Based in Amsterdam (because where else?), My Baby come to Freak Valley 2018 offering a spirit and a musical energy like nothing else on the bill. Their 2017 album, Prehistoric Rhythm, ran contrary to its name with a blend of soul, blues, funk, dance and classic rock that could only be from the future. Still, it spoke to something primitive in all of us – a basic need to move, to get up, to shake ass, and we know they’ll have the Freaks doing exactly that.

Freak Valley Festival 2018 // No Fillers – Just Killers

Line-up 2018:
OM, Russian Circles, My Sleeping Karma, My Baby, Yuri Gagarin, Dÿse, Black Bombaim, Year of the Cobra, Ruff Majik, Rage of Samedi, Nap
More tba soon

Have a freaky time – your Rock Freaks

www.freakvalley.de
https://www.facebook.com/freakvalley
https://www.facebook.com/events/738782742996668/
https://twitter.com/FreakValley

Ruff Majik, A Dragon and His Hoard (2017)

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