Posted in Whathaveyou on June 14th, 2016 by H.P. Taskmaster
Always adventurous and never far off from their next outing, Russian psychedelic progressives The Grand Astoria have just issued a collection of tracks from members’ other outfits. This follows up on 2015’s Soft Focus quieter outing and the grandiose, classically-influenced The Mighty Few, and brings together cuts from The Legendary Flower Punk and other side-projects related to The Grand Astoria proper. To coincide with the latest in a prolific string of outings, The Grand Astoria will hit the road next month through Western Europe, hitting France and the Iberian Peninsula over the course of two weeks before August brings a few select festival dates, among them Yellowstock in Belgium.
This follows up on a run the band did between February and March of this year, as they continue to be somewhat underappreciated in the wider European sphere despite years of steady, quality work. They’re a lot to keep up with at this point — admittedly I feel like I fail to do so more often than not — but their material has always proven to be well worth the effort.
Dates, of which there are reportedly more to come, and other info follow:
First bunch of dates of The Grand Astoria summer tour. We are building around these ones. If you are interested in booking us – please mail to: firstname.lastname@example.org
Posted in Whathaveyou on February 18th, 2016 by H.P. Taskmaster
It’s not every band in the world you’d believe when they say they’re going to play a different set each night of a tour, but coming from Saint Petersburg progressive heavy rockers The Grand Astoria — who have both the sense of adventure and the back catalog to make such a thing possible — I have no trouble at all imagining they’ll live up to their word. The prolific outfit’s latest outing is last year’s The Mighty Few, a two-song full-length exploration that melds classical and riffy ideas together in a concoction that for just about anyone else would fall flat. Somehow, The Grand Astoria make that work, as you can hear for yourself on the player under the tour dates below.
Not their first tour by any stretch, but also noteworthy since that different set each night will reportedly include a generous helping of new material. All the better from these guys, whose evolution remains ongoing.
The boss of booking is here! Come to our shows! We play different set every night. Don’t miss and tell your friends.
We promise you a nice set with a bunch of absolutely new songs from the forthcoming album! They are epic!
Poster by Sophia Miroedova.
The Grand Astoria on tour: 19.02 – Wroclaw (PL) – Ciemna Strona Miasta 20.02 – Katowice (PL) – Pub Korba 21.02 – Krakow (PL) – Jazz Rock Cafe 22.02 – Budapest (HU) – Instant 23.02 – Graz (A) – Wakuum 24.02 – Ljubljana (SI) – Gromka 25.02 – Zero Branco (IT) – Altroquando 26.02 – Milan (IT) – Cox 18 27.02 – Cremona (IT) – Circolo Arci Arcipelago 28.02 – Pescara (IT) – Orange Rock Cafe 29.02 – Palermo (IT) – Fabbrica 102 01.03 – Catania (IT) – Magazzini Sonori 02.03 – Reggio Calabria (IT) – Limitazione 03.03 – Bologna (IT) – Freakout 04.03 – Trieste (IT) – Tetris 05.03 – Maribor (SI) – Gustaf Pekarna 06.03 – Bistrica ob Sotli (SI) – Klub Metulj 07.03 – Brno (CZ) – Bajkazyl 08.03 – Ostrava (CZ) – Plan B 09.03 – Hradec Kralove (CZ) – Klub 4 10.03 – Prague (CZ) – Dead Jack Club 11.03 – Karlsruhe (DE) – Cafe Bistro KA 12.03 – Nuremberg (DE) – Artischocken 15.03 – Plzen (CZ) – Divadlo Pod Lampou 16.03 – Halle (Saale) (DE) – Huhnermanhattan 17.03 – Dresden (DE) – Sabotage 18.03 – Potsdam (DE) – Spartacus 19.03 – Berlin (DE) – Urban Spree 20.03 – Warsaw (PL) – 2Kola
Posted in Whathaveyou on September 15th, 2015 by H.P. Taskmaster
You might not always know what Russian progressive heavy rockers The Grand Astoria are up to on any given day, but rest assured they’re always up to something. The restless and accordingly prolific outfit are looking to raise funds for an impending European tour — their umpteenth, to be specific — and have issued a new single, “Masterplan,” in order to help pay for stuff like having merch made, gas, food, lodging, etc. Their asking price for a download? A euro. I’ve seen crowdfunding efforts asking way more and delivering way less than the hook of the new track from the ever-expansive outfit.
The Grand Astoria released an acoustic EP earlier this summer called Soft Focus, and already have a 2015 full-length under their collective belt in the classically-vibing The Mighty Few, as well as a split with Samavayo that Setalight Records released as a 10″ (review here), but next up seems to be a split between all the bands associated with The Grand Astoria‘s members, whether it’s The Legendary Flower Punk or, presumably, Lucifer in the Sky with Diamonds.
Cool things in the works. Here’s the info and track stream:
Hello dear heavy psych lovers and friends of The Grand Astoria Here is the new electric song by yours truly. It will be a part of the very special The Grand Astoria Family split record which will also include new music from The Legendary Flower Punk, Organic Is Orgasmic and our other side-projects!
We decided to publish the first song from it to raise some funds for our forthcoming tour! We need to rent a van, print the merch, pay for the studio so every dime will be really appreciated!!! And the most important – THIS SONG IS REALLY WORTH IT Enjoy and share!
Released to mark a month-long tour together earlier this year, the Setalight Records split 10″ between Berlin heavy rockers Samavayo and Russian genrenauts The Grand Astoria holds a few surprises along the way. Pressed to black vinyl, it’s a follow-up to Samavayo‘s 2014 joint release with One Possible Option, and for The Grand Astoria, who’ve worked with Setalight in the past on 2014’s La Belle Epoque (review here), as well as 2013’s Punkadelica Supreme (review here) and several other short releases along the way.
Though on paper it might seem like an awkward pairing — come to think of it, just about anybody paired with The Grand Astoria is kind of awkward on paper; their sound is expansive, and they’re more than capable songwriters, but you never quite know what they’re going to do next — they mesh pretty well, and with a side split between them, both bands give a quick glimpse at where they’re at stylistically without completely losing a thread going one into the other.
One might notice The Grand Astoria‘s skull-headed mascot on the cover art by Sophia Miroedova walking away from a temple — or maybe having his portrait painted in front of it? — over which Samavayo‘s sun-style logo resides in the sky. Both acts, then, are represented, one perhaps more subtly than the other. It’s much the same way with the music. On side A, Samavayo offer two tracks: “Intergalactic Hunt” (4:03) and “Soul out of Control” (8:06), while on side B, The Grand Astoria reaffirm their shift toward progressive rock with “Kobaïa Express” (11:30).
Each cut is distinct from those around it, one way or another, and “Intergalactic Hunt” stands out for its immediate sense of movement, the guitar of Behrang Alavi (also vocals) setting a tight rhythm that drummer/backing vocalist Stephan Voland and bassist/backing vocalist Andreas Voland match both in groove and nuance, building and releasing tension in the instrumental verses and chorus of the first half before shifting in the second to a bridge that gradually leads them back to where they started, the guitar line that started it all serving also as the leadout. Fitting somehow for Samavayo in terms of showing their range that they should go from an entirely instrumental track to one centered almost completely on its vocal hook.
Well, “almost completely” is a stretch. “Soul out of Control” still has its riff — a more laid back chug over which Alavi calls to mind any number of ’90s alt melodies — and at eight minutes, there’s plenty of room for Samavayo to give the song a sense of space. They do precisely that, even slowing down over the last two minutes to march the way out, but “Soul out of Control” remains a deceptively quick listen for topping eight minutes, and that too suits Samavayo well, their songwriting always at the core no matter how expansive a given track may or may not be.
And speaking of expansive, The Grand Astoria‘s “Kobaïa Express” takes its name from the fictional planet created by Magma drummer Christian Vander — or at least from the train that presumably gets you there with the minimum of stops en route — and is presented in the accompanying alien language, a morass of syllables sometimes closer to Italian, sometimes more Slavic depending on where the music is going in any particular movement. And it does go. Recorded as the six-piece of Kamille Sharapodinov (vocals, electric and acoustic guitar), Danila Danilov (vocals, keys, flute), Eugene Korolkov (bass), Vladimir Zinoviev (drums), and Igor Suvorov (lead guitar) with Ravil Azizov on clarinet, “Kobaïa Express” is nigh on visionary progressive metal, at times operatic and at times grinding, but always precise, heavy and intricately constructed.
The Grand Astoria have already followed this split up with a two-song full-length titled The Mighty Few on which each track tops 20 minutes, so we know it’s not as far as they’ll push into fleshing out arrangements and the like, but “Kobaïa Express” thrills nonetheless for its direct Magma-ism and the poise the band demonstrates throughout, and Samavayo‘s inclusions, both of which were recorded at the end of last year, bode well for what they might do on their own next outing. If nothing else, the moral of the story with their split would seem to be that that must have been one hell of a tour. Even though it’s long since over, the scope both bands show here does justice to the fact that they got together in the first place and unites in unexpected ways across a bridge of progressive stylization and heavy craftsmanship.
Posted in Reviews on January 14th, 2015 by H.P. Taskmaster
Russian heavy rockers The Grand Astoria have only gotten more progressive and more prolific. La Belle Epoque, which was released last month by Setalight Records, is their first long-player since 2013’s Punkadelica Supreme (review here) and their fifth overall, but in the time between the two albums, the Saint Petersburg-based outfit have unleashed a barrage of outings, including singles, EPs, splits and live releases, plus side-projects from guitarist/vocalist Kamille Sharapodinov (The Legendary Flower Punk) and lead guitarist Igor Suvarov (Lucifer in the Sky with Diamonds). Their increasing tendency toward exploration has led them to a more metallic approach on La Belle Epoque, and what seemed on their earlier works like a defining core of stoner rock and punk has become only pieces of a puzzle to which, apparently, more is being added. Their first three records, 2009’s I (review here), 2010’s II (review here) and 2011’s Omnipresence (review here), showed an increasing tendency to look outside the band itself — a rotating lineup around Sharapodinov and Suvarov has been part of that; near as I can tell, keyboardist/floutist/vocalist/metallophonist Danila Danilov is the only other returning player from Punkadelica Supreme — and La Belle Epoque further extends that impulse stylistically. It is their proggiest work to date, though at seven-tracks/43 minutes it’s not like they’ve gotten so indulgent as to surpass an easy vinyl fit, but the range of their material and their ability to fluidly bring listeners along for the ride throughout is indicative of their growth. As much as it is exploring, La Belle Epoque is also a mature, not-at-all-confused offering.
Opener “Henry’s Got a Gun” makes a surprising first impression in calling to mind Faith No More sonically, and I find the more I listen to La Belle Epoque, the more that band fits as a comparison point. Not always in sound — The Grand Astoria aren’t limited to aping one group or genre at this point, if they ever were — but in method. The likeness comes more from the ability to translate experimental tendencies into traditional or semi-traditional forms of songwriting; that is, to take the experiment and develop it into a fully-realized song. Be it the slight country touch of guest banjo in “The Answer,” the Metallica groove early in “Gravity Bong,” the Devin Townsend-style harmonies and prog-metal range of the 14:05 “Serpent and the Garden of Eden” or the sweet melodicism of the clarinet-inclusive title-track and the brief, positive moment provided in closer “Charming,” each song offers something different, but La Belle Epoque does not overbake its ideas or push too far in one direction or another, instead keeping a balance sound-wise and through Sharapodinov and Danilov‘s vocals that guides the listener across the various movements on hand. Overarching flow winds up one of the great strengths of the CD — the vinyl presumably splits just before “Serpent and the Garden of Eden” — though that’s not really a surprise given it’s The Grand Astoria‘s fifth full-length. The tonal quality is a bit more of a surprise, the guitars having more bite and bassist Eugene Korolkov and drummer Vladimir Zinoviev following them on runs like those of “Lisbon Firstborn”‘s instrumental first half, which shifts after four minutes to an acoustic homage to Lisbon that in turn builds to organ-topped classic rock groove and soloing to finish out.
In many other contexts, such shifts might come across as manic or disjointed, but by the time they get around to “Lisbon Fuzzborn,” The Grand Astoria have bent the rules far enough that they can more or less squeeze through whatever they want. Of course, at 14 minutes, “Serpent and the Garden of Eden” is a focal point, and from its grandiose opening build through the metallic tension that arises early, the tight groove, psychedelic vibe in Suvorov‘s first-half solo, and progressive changes and turns made from there on out, winding up in a second-half payoff for song and album alike, it’s a singular achievement in the band’s discography in its arrangement and execution. As an example of how far they’ve come since their debut six years ago, I don’t think there’s much more one could ask of it, though one could just as easily say the same of “La Belle Epoque” itself, which clocks in at a much shorter 3:19. So it’s not just about how they’ve written a long track, or found a metal-sounding production. It’s about how La Belle Epoque demonstrates a progression hard won through constant evolution of songwriting and work on the road. Most satisfying of all is how increasingly these elements belong solely to The Grand Astoria, and how they’ve carved an identity for themselves in their willful searching for their sound. They’re only going to keep moving forward, and while La Belle Epoque features their familiar cow-skull mascot on its cover by Sophia Miroedova, the tracks on the album itself are anything but repetitive. If anything, this is one in a series of ambitious adventures that character has had, and I’d be very surprised if it’s all that long before the next one arrives.
Posted in Reviews on January 2nd, 2015 by H.P. Taskmaster
Yesterday was pretty rough. Some excellent stuff in that batch of 10 discs, but man, by the end of it I don’t mind telling you I was dragging more than a bit of ass. I guess that’s to be expected. Still, I think that, as a project, this was worthwhile. There was a lot of stuff — too much — sitting around that was going to go undiscussed coming out of 2014, and now here we are, it’s the New Year, and I feel like at least a small percentage of what came my way got its due. Small victories.
So this is it. Reviews 41-50. After this, there isn’t much from 2014 that I’ll be looking back on; it’s mostly stuff to come, which is a different matter entirely. I’m sure we won’t be out of Jan. before I’m behind again in a major way, but what the hell, at least I’m trying, and at least there’s 50 discs that showed up on my desk that can be put on the shelf instead. Yes, it’s a very complex filing system. Ask me sometime and I’ll tell you all about it. Until then, let’s finish it like the final battle from Highlander. There can be only… 10… more…?
Okay maybe not.
Thanks for reading.
The Re-Stoned, Totems
Helmed since 2008 by the multifaceted Ilya Lipkin, Moscow mostly-instrumentalists The Re-Stoned release their fourth album in the form of Totems on R.A.I.G., a 58-minute wide-breadth journey into heavy rock groove with touches of psychedelia, plotted jazz-jamming and a raw tonal sensibility. Wo Fat guitarist/vocalist Kent Stump contributes a noteworthy solo to “Old Times,” and along with bassist Alexander Romanov, Lipkin (who himself handles the artwork design, guitar, bass, shaman drum, jew’s harp, mandala and some voice work) employs a guest drummer, percussionist and didgeridoo player, so there’s a measure of variety to the proceedings, be it the jerky pauses in “Shaman” or the earlier effects-laden exploration of “Chakras.” “Old Times” has a bit of funk to it even before Stump’s arrival, and the acoustics of “Melting Stones,” which follows, border on cowboy Americana. They’ve never had the most vibrant production, but The Re-Stoned manage to convey a natural feel and confidence as they progress, the creative growth of Lipkin always at the center of what they do.
For his second album under the moniker Anthroprophh, guitarist/vocalist Paul Allen (also of The Heads) brings in a rhythm section to aid him in his time-to-get-really-weird purposes. Thus, bassist Gareth Turner and drummer Jesse Webb, who together form the duo Big Naturals, add to the strangeness of songs like “2013 and She Told Me I was Die” on Anthroprophh’s Outside the Circle, a 45-minute excursion into warped sensibilities and things meant to go awry. Songs are made to be broken, and that happens with drones, sudden shifts in atmosphere, some smooth transitions, some jagged, all designed to transport and ignite stagnation. It does not get any less bizarre as Outside the Circle moves toward its nine-minute title-track, but one doesn’t imagine Allen would have it any other way, and one wouldn’t have it any other way from him. I call a fair amount of music adventurous for deviating from the norm. Anthroprophh makes most of that sound silly in comparison with its buzzsaw guitar and raw experimental display.
Saskatoon four-piece Lavagoat continue to challenge themselves even as they bludgeon eardrums. Their single-track CD EP, Weird Menace, pulls together six individual songs recorded mostly live in their rehearsal space with a purposeful drive toward rawness and a horror thematic. Sure enough, where their 2012 LP, Monoliths of Mars (review here) and 2010 self-titled debut (review here) offered increasing stylistic complexity, Weird Menace steps forward atmospherically by pulling back on the production value. Murky screams permeate “Ectoplasm” only to be immediately offset by the low growls and deathly groove of “Creature from the Black Lagoon,” presented as nasty as possible. There are still some touches of flourish in the guitar – one can’t completely cast off a creative development, even when trying really, really hard – but to call Weird Menace’s regressive experimentalism anything but a success would be undervaluing the turn they’ve made and how smoothly they’ve made it. Note: a follow-up LP, Ageless Nonsense (actually recorded earlier than this EP), has already been released.
Limited to 50 CD copies and presented in an oversize sleeve, soon-to-be-picked-up-by-somebody Colorado five-piece Ketch’s self-titled debut demo/EP is death-doom brutal and doom-death grooving. Vocalist Zach Salmans and guitarist Clay Cushman (who also recorded) trade off growls and screams over plus-sized, malevolent riffs and guitarist Jeremy Winters, bassist Dave Borrusch and drummer David Csicsely (also of The Flight of Sleipnir) only add to the pummel, which hits a particularly vicious moment in the grueling second half of “Counting Sunsets,” a dirge of low growls giving way to churning, nodding despair. Beginning with 9:18 longest cut “Shimmering Lights” (immediate points), Ketch deliver a precision extremity that even on this initial offering makes its villainous intent plain with volume and overarching drear. The midsection stomp of “Chemical Despondency” and the gurgle in closer “13 Coils” affirm that Ketch have found their stylistic niche and are ready to begin developing their sound from it. One looks forward to the growth of this already maddening approach. Bonus points for no obvious Lovecraft references.
Somewhere between death, black and doom metals, one finds Rhode Island three-piece Eternal Khan exploring cosmic, existential, literary and mythological themes on their self-released debut full-length, A Poisoned Psalm, the jewel case edition of which includes both lyrics and liner note explanations of each of its seven tracks. It’s an ambitious take from a trio who seem destined at some point to write a concept album – maybe based on Faust, maybe not – but the actual songs live up to the lofty presentation, be it the suitable gallop of “Raging Host,” despondent push of centerpiece “The Tower” or double-kick bleakness of “Void of Light and Reconciliation.” Guitarist/vocalist N. Wood, guitarist T. Phrathep and drummer D. Murphy mash their various styles well, but there’s room to grow here too, and I’d wonder how “The Black Stork” might work with an element of drone brought into the mix to add to the atmosphere and provide contrast to the various sides of Eternal Khan’s extremity. Even without, A Poisoned Psalm serves vigorous notice.
Rife with ‘70s swagger and easy-rolling blues grooves, Get Pure is the third record from Columbus, Ohio trio Mount Carmel, and it goes down as smooth as one could ask, the guitar work of Matthew Reed, bass of his brother, Patrick Reed (since out of the band and replaced by Nick Tolford) and drums of James McCain meshing with a natural, classic power trio dynamic only furthered by the vocals, as laid back as Leaf Hound but with an underlying bluesiness on cuts like “One More Morning” and “No Pot to Piss.” At 11 tracks and a vinyl-minded 35 minutes, neither the album as a whole nor its component tracks overstay their welcome, and late pushers like “Hangin’ On” and “Fear Me Now” leave the listener wanting more while closer “Yeah You Mama” bookends with opener “Gold” in hey-baby-ism and irrefutable rhythmic swing. Comfortable in its mid-pace boogie, Get Pure offers a party vibe without being needlessly raucous, and its laid back mood becomes one of its greatest assets.
One could hardly accuse Stockholm classic proggers Pocket Size of living up to their name on Exposed Undercurrents, their second album. Even putting aside the expansive fullness of their sound itself, there are nine people in the lineup. It would have to be some pocket. The group is led by guitarist Peder Pedersen, whose own contributions are met by arrangements of saxophone, Hammond B-3, flute, theremin and so on as the 11 tracks of Exposed Undercurrents play off intricately-conceived purposes to engaging ends. One is reminded some of Hypnos 69’s takes on elder King Crimson, but Pocket Size have less of a heavy rock stylistic base and are more purely prog. A clean production – this is clearly a band that wants you to hear everything happening at any given moment – serves the 54-minute offering well, and though it’s by no means free of indulgence, Exposed Undercurrents is imaginative in both the paths it follows and those it creates, the joy of craftsmanship clearly at the core of its process.
Though it’s actually only about 41 minutes, I doubt if Zoltan’s Sixty Minute Zoom would benefit from the extra time in terms of getting its point across. The instrumental London trio of keyboardist Andy Thompson, bassist/keyboardist Matt Thompson and drummer/keyboardist Andrew Prestidge revel in ‘70s synth soundtrack stylizations. For good measure I’ll name-check Goblin as a central influence on “Uzumaki,” the second of Sixty Minute Zoom’s five inclusions, but John Carpenter’s clearly had a hand as well in brazenly cinematic texturing of synth and the late-‘70s/early-‘80s vibe. The various washes culminate in the side B-consuming 21-minute stretch of “The Integral,” which is broken into separate movements but flows smoothly between them, pulsations and drones interweaving for a classic atmosphere of tension and balance of the chemistry between the Thompsons and Prestidge and the progressive, immersive sound they create. Fans of earlier Zombi will find much to chew on, but Zoltan dive even further into soundtrack-style ambience. All that’s missing is Lori Cardille running down a dimly lit hallway.
Offered as a nine-track full-length plus a four-song bonus EP, the self-titled debut from Madison, Wisconsin’s The Garza meters out noise rock punishment with sludgy ferocity. A trio of notable pedigree – drummer/vocalist Magma (Bongzilla, Aquilonian), guitarist Shawn Blackler (Brainerd, Striking Irwin), and bassist Nate Bush (ex-Droids Attack, ex-Bongzilla) – they fluidly pull together post-hardcore elements and Crowbar-esque turns while retaining a core of punk rock. “Rage” is a solid example of this, but it’s true of just about all of the album proper, which largely holds to its approach, adding some melody to the seven-minute pre-bonus-tracks closer “Kingdoms End” and varying tempo here and there around its destructive central ideology. The four bonus tracks are of a similar mind as well, Magma switching up his vocals every now and then to add variety to proceedings that otherwise prove vehemently assured of their position. I’m not sure if the extra cuts help reinforce the album’s rawness or detract from the closer, but The Garza aren’t exactly light on impact either way.
Dot Legacy’s self-titled Setalight Records debut, particularly for a green-backed CD with vinyl-style grooves on front, is not nearly as stoned as one might think. The Parisian foursome of Damien Quintard (vocals/bass/recording), Arnaud Merckling (guitar/keys/vocals), John Defontaine (guitar/vocals) and Romain Mottier (drums/vocals) employ a broad range on the 46-minute album’s nine tracks, from the shoegaze post-rock of “The Passage” to the driving heavy psych of “Gorilla Train Station,” all the while holding firm to a creative reasoning geared toward individuality. If they wound up adopting “The Midnight Weirdos” as a nom de guerre, I wouldn’t be surprised, but in fact there’s little sense that at any point Dot Legacy aren’t in full command of where their material is headed. All the better for the surprising opening duo of “Kennedy” and “Think of a Name,” which shift between reverb-soaked meditation and vibrant, hook-laden heavy rock. A fascinating and original-ish debut that could be the start of something special. They should hit the festival circuit hard and not look back.
Posted in Whathaveyou on November 12th, 2014 by H.P. Taskmaster
Released by the band in a hand-painted box in an edition of ONE copy, The Beginner’s Guide to The Grand Astoria includes nine CDs, two 7″s and a plethora of other pieces of memorabilia: backstage passes, stickers, and so on, plus some stuff from Kamille Sharapodinov‘s side-project. It’s really more than just a beginner’s guide, considering it’s everything, but an impressive assemblage all the same, and even more tempting since it’s put together personally by the band and they’re only doing one of them.
The Grand Astoria are a hard band to keep up with. The prolific Russian rockers have, by my count, six releases out this year. Two are singles, one is a 29-minute track on a split with Argentina’s Montenegro, one’s a live record, one is a front-to-back cover of Black Flag‘s The Process of Weeding Out EP, and most recent is the full-length La Belle Epoque, which was released in September. It can be an overwhelming amount of material, but if you were ever thinking of diving in headfirst, The Beginner’s Guide to The Grand Astoria would at very least mean you’re all caught up. For now.
Here’s the post from Sharapodinov on the auction for the box, which seems to be taking place on Thee Facebooks:
Okay folks! I promised something special for the real fans and supporters of THE GRAND ASTORIA and my other projects! Here is the box hand-painted by our lovely Sophia Miroedova which includes 9 CDs of The Grand Astoria, 2 seven inch singles of The Grand Astoria, 2 CDs of The Legendary Flower Punk with latest albums, 9 backstage passes from different festivals we played during these years, gently saved by me for this very moment, 1 ticket for our very FIRST SHOW EVER and also 1 sticker. I want only 130 euro (plus shipping costs) for this box.
Only one single copy in the whole world was made Because I am not sure how many of you may want to buy this – I decided to start an auction for this beauty which actually starts right now and will end on 22-00 (Russian time) on 18th of November 2014. If nobody is interested – I will put it to ebay later. All the money will support my recent music activities and I will really appreciate any sum! Put your bid under this post! Thank you and go ahead, first bid is 130 euro.
Posted in Whathaveyou on October 3rd, 2014 by H.P. Taskmaster
German/Russian heavy psych rockers Iguana kick off a round of European dates tonight that will cover the next couple months, playing with Naam in Weil der Stadt. Later this month, they’ll hit the Keep it Low festival and then on from there for a series of weekenders that goes into December. Their debut album, Get the City Love You (review here), came out in 2012. Rumor has it — and by “rumor” I mean what they said on Thee Facebooks — they’ve got new songs written, so perhaps they’ll use these dates as a means for working out the kinks en route to recording their sophomore outing sometime this winter or next year.
Either way, if you happen to be somewhere these dudes are playing and up for a jammy good time, you know what’s up.
The IGUANA-Tour starts with some highlights. On 3rd of October IGUANA shares the stage with brooklyn based psychrockers NAAM. On the 18.10. they will play Keep It Low Festival, with acts like KADAVAR, BLUES PILLS, MARS RED SKY and THE SHRINE. The bands’ personal highlite will take place on the 25th of October, when IGUANA will be playing with SPIDERGAWD (including two members of the fabulous MOTORPSYCHO). So there is a lot of parties to come. Please join us!
IGUANA are touring Europe for some years now in the good old manner of DIY. IGUANA played more than 120 shows with bands such as Colour Haze, Kadavar, Saint Vitus, Brant Bjork. And they played Stoned From The Underground twice, also Void Fest and Blue Moon Fest.
Tourdates 2014 – IGUANA – Fall Winter Tour 2014: 03.10.2014 – Weil der Stadt (DE), JH Kloster, w. Naam 18.10.2014 – München (DE), Feierwerk – Keep It Low Festival, w. Kadavar, The Shrine, Mars Red Sky 24.10.2014 – Lüneburg (DE), Jekyll & Hyde, w. Eta Lux 25.10.2014 – Hamburg (DE), Bambi Galore, w. Spidergawd 31.10.2014 – St. Gallen (CH), Rümpeltum, w. Wight, Bushfire 01.11.2014 – Kranichfeld (DE), Crossing All Over Fest 14.11.2014 – Nijmegen (NL), De Onderbroek 15.11.2014 – Den Haag (NL), Club tba 20.11.2014 – Dresden (DE), Ostpol, w. Kalamahara 22.11.2014 – Würzburg (DE), Immerhin, w. Stone Troopers 13.12.2014 – Berlin (DE), Cortina Bob, w. Deaf Flow