Formed in 2007 as Spice and the RJ Band, Swedish five-piece Band of Spice will issue their sophomore full-length and first outing in half a decade on April 28. Economic Dancers is the name of the album and it’s coming out via Italian imprint Scarlet Records, which has a relationship with Band of Spice frontman and principal songwriter Christian “Spice” Sjöstrand — noted for his past work in co-founding Spiritual Beggars and singing on their first four records, as well as fronting The Mushroom River Band — going back a decade to the debut album of the more aggressive project Kayser. Spice and the RJ Band, which was initially the trio of Spice himself on guitar/vocals along with drummer Bob Ruben (“R”) and bassist Johan (“J”), expanded to a foursome after 2009’s Shave Your Fear, the follow-up to their 2007 debut, The Will, and with the inclusion of rhythm guitarist Anders Linusson, the name no longer applied. Spice and the RJ Band became Band of Spice.
The fifth member is pianist/organist Hulk, and while “You Can’t Stop” from Economic Dancers is short, it doesn’t take long for Hulk to make his presence known. Pretty much the first riff, actually. The song is a two-minute rush, constant movement propelled along by Ruben‘s kick drum, and in addition to taking a solo after the second chorus, the organ follows the start-stop riffing early on, leaving Spice plenty of room to soulfully belt out the verse lines, the whole thing sounding rushed but still in control. How “You Can’t Stop” portends the rest of Economic Dancers, I couldn’t really say, but Spice is a proven entity in terms of songwriting, so I’d expect some shakeup within the band’s framework of classically styled heavy rock and roll, traditional in its construction but pulsing with an energy all its own. Oh yeah, and it’s catchy as hell. The video, fittingly, captures the band on stage tearing it up to a vibrant crowd, booze, moshing, the whole bit. Looks like a good time to me.
On the player below, you’ll find the video premiere for “You Can’t Stop,” and some more info from Scarlet Records with some comment from Spice about Economic Dancers, which, again, is out April 28.
Band of Spice, “You Can’t Stop” official video
Band Of Spice, the new band featuring Swedish singer/songwriter Spice (Spiritual Beggars, Kayser), have released the video for the song ‘You Can’t Stop’, taken from their new album ‘Economic Dancers’, which will be available available starting from April 28th, 2015 on Scarlet Records.
Here is how Spice himself commented this new release: “When I wrote these songs I was listening a lot of music from the end of the Seventies and the early Eighties. As we recorded them, the songs came out quite smooth, organic and melodic, with a touch of “dirt” I would say. This time, instead of renting a studio to record the album, as we did with the previous albums, we decided to build our own studio. We felt that we needed the time to get it right. We didn’t want to rush it. We wanted to fill the songs with just the right amount of warmth, love and justice. The lyrical concept is about abuse, hope, hopelessness, weakness and strength. To try to live life without safety nets and still be able to stay sane. I hope you will enjoy it.”.
Posted in Whathaveyou on March 27th, 2015 by H.P. Taskmaster
Swedish trio Kamchatka aren’t all that far removed from their last album, 2014’s The Search Goes On, but the PR wire brings details of a May release for their next outing, titled Long Road Made of Gold. The three-piece have unveiled the new song “Get Your Game On” with its decidedly Clutchy groove and snare runs, and will issue the record May 22 through Despotz Records. They were recently on the road in Europe, so I wouldn’t be surprised if they found themselves out there again soon to promote the new LP. Once you manage to squeeze in so much, the only thing to do is keep doing more.
Those details and audio:
KAMCHATKA ANNOUNCES NEW ALBUM “LONG ROAD MADE OF GOLD” ON DESPOTZ RECORDS
Sixth studio album out May 22
Swedish blues rock trio, Kamchatka, will release its sixth studio album, Long Road Made of Gold, on May 22, 2015 via Despotz Records.
“‘Get Your Game On’ is one of those songs you can’t wait to play live – an up tempo rocker with an uplifting vibe. This is a true energy pill to wake you up like a slap in the face!”
Long Road Made of Gold was recorded in Kamchatka’s own studio and rehearsal room, the “Kamchatka shelter,” and mixed and mastered by Russ Russell (Napalm Death, Dimmu Borgir).
“Even though our music is rooted in ’60s and ’70s music, it’s important for us to have a contemporary sounding album,” explained drummer Tobias Strandvik. “We don’t want to repeat ourselves either, and having Russ Russell mixing and mastering certainly gives it the punch and power we wanted. Russ is mostly known for extreme metal like Napalm Death etc., but embraced this project with open arms and the sonic outcome is definitely our strongest to date.”
Album artwork comes courtesy of Hippograffix, creator of all the Kamchatka graphics since day one.
01. Take Me Back Home 02. Get Your Game On 03. Made of Gold 04. Human Dynamo 05. Rain 06. Who´s to Blame 07. Mirror 08. Slowly Drifting Away 09. Long Road 10. To You 11. No One That Can Tell 12. Devil Dance
Long Road Made of Gold follows Kamchatka’s 2014 release, The Search Goes On. Stay tuned for more information.
Kamchatka is… Per Wiberg – bass/vocals Tobias Strandvik – drums Thomas “Juneor” Andersson – guitar/vocals
Posted in Reviews on March 26th, 2015 by H.P. Taskmaster
As slow as some of their riffs are, heads have turned correspondingly fast toward Swedish tone constructionists Monolord. They leave little mystery as to why. Their 2014 debut, Empress Rising, garnered vast attention with its onslaught of riffs and volume-as-ritual appeal, and their sophomore outing, titled Vænir after the largest lake in Sweden an released, like the first LP, by RidingEasy Records, is sure to follow suit. Comprised of six tracks that offer minimal variance from the band’s central ethic of earth-moving low end and buried-deep watery vocals, Vænir taps into a kind of neo-primitivism in stoner-doom riffing. The point is that it should be overwhelming, and there are times where it is. With elements repurposed from the likes of Sleep, Electric Wizard, a keyboard-less Ufomammut, and even some of YOB‘s spacious minimalism in a midsection break on Vænir‘s closing title-track, the Gothenburg three-piece of guitarist/vocalist Thomas V. Jäger, drummer Esben Willems and bassist Mika Häkki conjure a sound that’s at once simplistic and increasingly easy to see as their own, pushing into deep, chest-vibrating rumble while keeping enough of a handle on their songwriting as to make Vænir a memorable experience for more than the impact factor. That’s not to take away from that either, however. Primarily, the impression Vænir leaves is like a flag planted on a holy mountain, Monolord staking a claim on a time-honored ritual of volume and sonic excess. It is heavy, in other words. Very heavy. It knows it’s heavy and it knows that heaviness is something worth celebrating. By the time the explosive opener “Cursing the One” is through with its nine-minute rollout, arguing against it seems futile.
There is a large difference between those who worship heaviness and those engaged in building their own temple of it, and to Monolord‘s credit, they seem engaged in the latter, poised toward the development of an individual sensibility within a tricky host of familiar impressions. As much as Vænir‘s tones could be heard as a godsend for heads itching for that ever-elusive (until you look) next nod, the real miracle of the album is that it doesn’t collapse under its own weight. Häkki‘s bass and Willems‘ drums are essential to this, as they manage to keep a song like “Cursing the One” or its more open, loose-swinging follow-up, “We Will Burn,” together, but the atmospheric effect of the vocals, awash in effects and universally deep in the mix — purposefully obscured — isn’t to be understated. Not only does the placement of Jäger‘s voice give it the opportunity to slice through the wall of distortion created by the guitar and bass, which it does effectively throughout Vænir, but it makes the whole thing sound even bigger and otherworldly. “We Will Burn” shifts into Conan-esque rolling groove in its back half, finishing by hammering down a stonerly-headbanger of a riff that leads into the classic-styled intro of “Nuclear Death,” which sets up a comfortable mid-pace push with wraparound drum fills and a crashes only to pull the rug out from the whole thing as it approaches its fourth minute. A thudding slowdown is met by a watery verse and grueling solo, and while the pace is revived somewhat with a kick-in from Willems, the impression is made. “Nuclear Death” would seem about as far into the abyss as Vænir wants to go, but in truth, it’s really just the beginning of the album’s next stage.
The first of two cuts on Vænir to top 10 minutes, “Died a Million Times” is the most landmark hook included, and Monolord put it to good use. Its opening minutes set a quicker tempo, and before a line of vocals arrive, the song is already catchy, a stoner bounce counteracted by the fact that it should be too heavy to even get off the ground. It does though, and a quick verse leads to the chorus, which plays off the title line to particularly memorable effect — as much as Vænir has a signature moment that summarizes what the record is about, “Died a Million Times” is it. Verse and chorus cycle through again and a stop leaves just Jäger‘s guitar to act as a bed for a sample from the 1960 film adaptation of H.G. Wells‘ The Time Machine, Häkki‘s bass coming in shortly before the captured lines, “I don’t much care for the time I was born into/It seems people aren’t dying fast enough these days,” signal a return for Willems and full-tonal burst, leading to a combined solo and final chorus that crashes to an end with rumble and amp noise to carry it out, leading into the two-minute interlude-plus of “The Cosmic Silence,” a sort of “Planet Caravan”-meets-“Paint it Black” progression where the guitar and percussion are as obscure as the vocals have been all along. It’s a stylistic turn that fits well where it is but is perhaps late in arriving — I don’t know what it would do to the vinyl structure to have something similar, or different for that matter, earlier in the album too — though its purpose seems to be as much to allow some recovery between “Died a Million Times” and “Vænir” as to establish its own quiet, serene psychedelic vibe. Ultimately, it succeeds in both, and when “Vænir” kicks in, its slow, crushing churn feels all the more weighted for the lead-in. “Vænir” breaks roughly into three movements: the early plod, the spaceout and the final jam.
Of those (and yes, it’s a simplified categorization), the middle spaceout probably adds the most to the context of Vænir overall. The lumbering initial progression and the well-rode capper reaffirm a lot of what has worked all along on the record, but its in that expansive soundscape of guitar that the closer really establishes its own dynamic, following impulses that have, again, been there the whole time, but reinterpreting them similarly to how Monolord has successfully taken the lessons of their key influences and used them to create something new from them. A relatively new band (formed in 2013) of experienced players, the chemistry between Jäger, Häkki and Willems is markedly developed even for a sophomore outing, but there’s a sense that Vænir isn’t the sum total of what Monolord have to offer stylistically. That is to say, while their sound has been well established over their first two albums, the trio has also still left themselves open avenues for progression should they choose to pursue them. Whether they will and what shape their evolution will continue to take is anyone’s best guess, but with Vænir, they effectively demonstrate that Empress Rising was no fluke and that their intention is to leave a footprint befitting the deep heft they bring to bear across these songs.
Posted in On Wax on March 18th, 2015 by H.P. Taskmaster
It seems unlikely at this point that I’d need to once more trumpet the quality of STB Records‘ vinyl. The NJ-based label has quickly thrust itself to the fore of American heavy rock purveyors, bringing forth limited releases that seem to be gone before they’re even out and delving into next-generation heavy rock with an ear for tone and a consistently mindful presentation. In the case of the split 12″ between Sweden’s Lé Betre and New York’s King Buffalo, the vinyl is, of course, already gone. Second pressing coming soon. Numbers were limited — 350 or so copies in white, orange, white and orange or clear with orange splatter — but as with everything STB puts out at this point, speed is required if you actually want to get a copy. Pressed to 180g white vinyl with a two-sided liner (one side for each band) and evocative cover art, the Lé Betre and King Buffalo split does justice to the up and coming nature of both bands.
That in itself is saying something. Lé Betre also released what was apparently a super-limited, 30-copies-only edition of their 2014 debut album, Melas, through STB that likewise vanished as soon as it arrived, and it’s from that album that most of their material for this split comes. Three out of their five tracks, “Gowns and Crowns,” “Snake Eyes” and “By the Great White Lights,” which has a companion piece included on the prior release, seem to have their roots on Melas, the four-piece of guitarist/vocalist/pianist Marcus Jonsson, guitarist/vocalist Anders Westman, bassist/vocalist Roger Lysén and drummer Jonas Sahlberg tapping into Graveyard-style blues rock without going full-retro in terms of the production, a song like “Jesper Eriksson” pushing vocals forward amid a steady roll that’s open and natural-sounding, but not nearly as analog-minded as one might expect going into it. Keyboard and/or organ plays a large part as well, and with the due fuzz and strum, it’s hard to tell on “Gowns and Crowns” where the guitars end and the keys begin, but that winds up being half the fun. Soulful if familiar, the jangle of “By the Great White Lights” makes a suitable centerpiece to side A, though handclap-infused closer “Mother,” also the longest Lé Betre inclusion, is their most resonant take, providing a better look at the band’s balance of organic flow and tight songwriting than earlier, shorter cuts, catchy as those are.
I’ll admit to some pretty high anticipation when it came to hearing new material from King Buffalo, whose 2013 demo (review here) still gets regular plays. Then a four-piece and now a trio — if you’re looking for former guitarist/vocalist Randall Coon, check out Skunk Hawk — King Buffalo seem to have solidified some of their jammier impulses. Of their three inclusions, closer “Providence Eye” is the only one that previously appeared on the demo, and it was re-recorded by guitarist/vocalist Sean McVay along with the two new tracks, “New Time” and “Like a Cadillac,” which both follow suit from Lé Betre‘s jammy songwriting blend, if with their own, more pastoral take. McVay, bassist Dan Reynolds and drummer Scott Donaldson started out with a noteworthy chemistry and have only pushed it forward over the last year-plus, as a comparison of the two versions of “Providence Eye” shows, but “New Time” and “Like a Cadillac” tell more of the story of their progression, taking the swing and molten vibe of their looser, longer demo material and tightening it up with more structured songwriting. I’m dying to hear what these guys come up with for a full-length, and what experimental edge they might be able to bring to that form in acoustic parts, keyboard interludes, etc., but the commitment to a natural sound King Buffalo show on this split shines all on its own and wants little for expansion. They were on the right track before, they’re still on the right track. It’s good to know, and hopefully they keep writing.
While it would be inappropriate to call either band “established” at this point, both seem to be heading in that direction, Lé Betre following their Melas album, King Buffalo following their demo and lineup change, and it’s particularly remarkable that Lé Betre, for whom this split is ostensibly the first North American release, would get the A side and King Buffalo the B, considering the latter act has toured at least on the East Coast and is native to the region from which the label also hails. I chalk it up to STB and both bands making the decision to put exposing Lé Betre to as many ears as possible a top priority, and that proves a worthy cause as the Swedish act’s five songs play out. Lé Betre‘s bluesy inflection and King Buffalo‘s rural roll wind up giving a glimpse at where European and American heavy rock are headed, and wouldn’t you know, they fit together very, very well.
Posted in audiObelisk on March 12th, 2015 by H.P. Taskmaster
Epic doom and classic metal resound throughout Sorcerer‘s much-awaited debut LP, In the Shadow of the Black Cross, which is out March 24 on Metal Blade Records. The band are something of a myth in doom, having released two demos in 1989 and 1992 — both later compiled and release by John Perez of Solitude Aeturnus‘ imprint, Brainticket Records — before breaking up and sending its members on to other acts like Therion, Tiamat, 220 Volt, Soilwork and so on. Under the guidance of founding bassist Johnny Hagel and vocalist Anders Engberg, who are joined by guitarists Kristian Niemann and Peter Hallgren and drummer Robert Iverson, Sorcerer made a return in 2010 and have been constructing In the Shadow of the Inverted Cross ever since, with Iverson in the role of engineer.
It wasn’t an especially quick process, but the precision with which Sorcerer execute the record’s eight tracks justifies the extra care. Songs like the eight-minute “Lake of Lost Souls” unfold with latter-day Iommi-style metallic grace, the album’s first three tracks — “The Dark Tower of the Sorcerer,” “Sumerian Script” and “Lake of the Lost Souls” — forming a triumvirate of classic doom that, because they hail from Stockholm, one might be tempted to relate to Candlemass. In the context of the album as a whole, however, Grand Magus seems a more appropriate fit, since neither are Sorcerer shy about establishing a metallic foundation for cuts like “Exorcise the Demon” or “The Gates of Hell,” stepping forward in tempo and aggression while remaining in full command of their sound to the point of seeming to nod at Enslaved‘s “Fusion of Sense and Earth” with the central riff of In the Shadow of the Inverted Cross‘ title-track.
Wherever they might be headed at any given moment on their quarter-century-later debut, though, the material is drawn together by a sense of grand mystery and gracefulness, so that the synth-underscored verses of “Prayers for a King” or the final, solo-topped apex of “Pagans Dance” and quiet epilogue that follows fit seamlessly with the rest of the album’s shifts, including those of “The Gates of Hell” preceding, the shortest and perhaps most metallic cut on In the Shadow of the Inverted Cross. With it, the five-piece dip for four and a half minutes into near-power metal stylizations, blurring a usually distinct genre line effectively as they dig crisply into what winds up being a singularly infectious hook, peppered with guitar leads, chanting and more fist-pump-worthy riffing than your wrist can handle.
I’m pleased to be able to host the premiere of “The Gates of Hell” ahead of the album’s March 24 release. Please find it on the player below, followed by some more bio background on the band/record from Metal Blade, and enjoy:
SORCERER was formed in Stockholm, Sweden in 1988 but disbanded after two demos in 1992. Both demos are considered true Doom Metal classics and have been released on CD in 1995. In 2010 the band came back together to play the Hammer of Doom festival in Germany and a year later the Up The Hammers festival in Athens, Greece. Both shows were received extremely well and the thoughts of putting together a new album started to take form. In the end it took over two years to write, arrange and record it but the result is nothing but pure, heavy epic doom metal. The process of putting all bits and pieces together and making it ready for mix and mastering was the work of drummer Robert Iversen, also a very fine recording engineer, who was acting as the spider in the recording web. The album was mastered by Jens Bogren (Opeth, Amon Amarth, Devin Townsend).
With years of professional experience and top-class instrumental abilities among its band members the SORCERER of the 21st century is determined to deliver epic doom metal for many years to come; on record and on stages all around the world!
Track Listing: 1. The Dark Tower of the Sorcerer 2. Sumerian Script 3. Lake of the Lost Souls 4. Excorcise the Demon 5. In the Shadow of the Inverted Cross 6. Prayers for a King 7. The Gates of Hell 8. Pagans Dance
SORCERER is: Anders Engberg – vocals Kristian Niemann – guitars Peter Hallgren – guitars Johnny Hagel – bass Robert Iversen – drums
I don’t think there’s any measure by which Candlemass‘ 1987 sophomore outing, Nightfall, doesn’t rate as a doom classic. On a sheer album level, in terms of what I grab off the shelf when I want to listen to the band, I’ll admit to a preference for the Stockholm unit’s 1986 debut, Epicus Doomicus Metallicus, with Johan Längquist singing,but Nightfall is an LP of undeniable force, and it was their first to be fronted by Messiah Marcolin, beginning what some would argue is the most pivotal era in their tenure. It’s fair to argue that Epicus had its epic side, but Marcolin‘s voice brought a new theatrical element to bassist Leif Edling‘s songwriting, and while it would continue to develop over the band’s next two albums, 1988’s Ancient Dreams and 1989’s Tales of Creation — as with a lot of classic metallers, the ’90s were not especially kind to Candlemass — one can already hear the grandiosity taking hold in the band’s approach on songs like “The Well of Souls,” “Samarithan,” and “At the Gallow’s End.” Peppered with instrumentals and interludes, Nightfall wanted nothing for atmosphere, and in a time when doom and metal could hardly have been considered as separate entities, it opted for a more poised, classical character.
That’s not to say it didn’t also spawn the cult-classic video for “Bewitched,” just that musically and vocally it was shooting for something more sophisticated than either thrash or the by-then-waning NWOBHM. Or at least that’s how it sounds 28 years later. Marcolin left the band in 1991 and was replaced by Thomas Vikström and then Björn Flodkvist. After a dissolution following 1999’s From the 13th Sun, Candlemass reformed in 2005 with Marcolin once more up front with Edling, guitarists Mats “Mappe” Björkman and Lars “Lasse” Johansson, and drummer Jan Lindh, but by the time 2007’s King of the Grey Islands surfaced, it was Robert Lowe of Solitude Aeturnus in the vocalist role; a position he’d hold through 2009’s Death Magic Doom (review here) and 2012’s Psalms for the Dead (review here), also earning the distinction of being the singer for Candlemass‘ first-ever US tour. Though they’ve threatened retirement several times, Candlemass are still active, with former Therion vocalist Mats Levén as their frontman and Per Wiberg (ex-Opeth, also Kamchatka) on keys. The last few years have seen numerous compilations and live album released, including the Epicus Doomicus Metallicus Live at Roadburn 2011 LP (review here) that reunited them with Johan Längquist for the first time since he sang on the debut.
Hope you enjoy it.
Lot of posts this week. Like a lot. The least any day had was five, two days had six (that includes today) and yesterday I think there were seven. Madness. I got a note yesterday from someone on Thee Facebooks who said The Obelisk was one of his “favorite news sites,” which was interesting to me because that’s not really how I think about what I do. I guess the news posts are cool and it’s nice when people share the links and all that and I try to keep up as best I can — I’m already behind for Monday, so you can see how well that goes — but the reviews take so much more time and thought. Can’t fight City Hall, though. News it is. A fascinating glimpse at an identity for a project that’s been in flux more than six years now. One day I’ll settle into something.
Tonight I’m going to see Elder, Mos Generator and Magic Circle in Providence, so expect a review of that on Monday. Next week is The Patient Mrs.‘ Spring Break, and we’ll be traveling — to Maryland; woo. — so I’m not sure how much I’ll be able to get posted on any given day. One imagines less than seven posts. Fucking madman. But anyway, Monday will bring a full-album stream from Black Rainbows and I’ve got a special Wino Wednesday premiere booked for a Wino & Conny Ochs track from their forthcoming Freedom Conspiracy release, so keep an eye out for those. Other stuff is in the works too. Very hush-hush. Hopefully by the end of the week the new Acid King and Blackout records will have been reviewed.
Spring Break, woo!
At least baseball’s back on.
Hope you have a great and safe weekend and that you dig the Candlemass. Please check out the forum and radio stream.
Posted in Whathaveyou on March 6th, 2015 by H.P. Taskmaster
Originally announced almost a full year ago for a Summer 2014 release on Ripple, the second album from Swedish heavy rockers Space Probe Taurus, MondoSatan, has now been given an April 28 arrival date from the label. The four-piece, who trace their roots back to the early ’90s, released their first, self-titled long-player through Buzzville Records in 2008, and so yeah, it’s been a minute. One can’t help but wonder when Mondo Satan was actually recorded, but I guess that’s what liner notes are for finding out.
To whet groove appetites — groovepetites? nah… — the PR wire has seen fit to unveil “The Iguana” as the first audio to come from the album, and it comes accompanied by announcement of the release date. Apparently the first run of CDs has already sold out on preorder (and here I thought I was the last person on the planet who gave a crap about the format), but one imagines more are in the works. If you dig, then dig:
Space Probe Taurus to release new album Mondo Satan this April via Ripple Music | Listen and stream ‘The Iguana’ now
This April, acclaimed hard-hitting acid rockers Space Probe Taurus congregate with fellow psych worshippers Ripple Music to release their latest foray into the world of biker-flicks, lysergic rock ‘n’ roll and feral fuzz.
Ladies and gentlemen, may we present for your listening pleasure ‘The Iguana’, taken from their soon to be unleashed new album Mondo Satan.
Originally formed as Snake Machine in 1992 it wasn’t until a name change and shortening of their songs in ’97 that the band settled into doing what they do best; preaching the gospel of dirty garage rock. Swedish style.
Often compared to the likes of Mudhoney, The Stooges, MC5 and Blue Cheer – the latter of whom SPT paid tribute to with a ripping cut of ‘Second Time Around’ on Black Widow Records’ Blue Explosion – their music is influenced by late ’60s psych rock and low-budget B-movies like Psychomania and Angels From Hell. A dual obsession that quickly led on to the band contributing music to the 2005 “snuff documentary” Actress Apocalypse and revenge thriller I Am Vengeance in 2012.
Mondo Satan is the band’s follow up to their self-titled debut album from 2008 and will be released worldwide via Ripple Music on 28th April 2015.
Posted in Whathaveyou on February 27th, 2015 by H.P. Taskmaster
With their new album in the can, Swedish blues rock trio Kamchatka have headed out on a new round of European tour dates. I’m not sure when the record will be out — I could tell you later this year, which is pretty much the same as saying “ever” — but the tour is underway now, and Snuff Lane, which is presenting the three UK headlining shows, has announced the support acts. In addition to Germany’s Coogans Bluff, who’ll join up with Kamchatka fresh off a round of gigs with Spidergawd, the likes of Baron Greenback and newcomer Dopefight-offshoot Chubby Thunderous Bad Kush Masters will open shows.
The PR wire brings more details, courtesy of Snuff Lane:
We are very proud to announce that the first ever headline UK tour for Swedish Power-Trio Kamchatka will be taking place March 16 to 18, courtesy of Snuff Lane Promotions. A night of psychedelic stoner rock – with unique blends of fuzz, blues, funk, jazz and soul – is coming to the UK this March.
Snuff Lane Promotions proudly presents Swedish Power-Trio Kamchatka’s first ever headline tour, following their highly successful one-off London headline show last September. Drawing influence and inspiration from blues rock bands of the 60’s and 70’s, Swedish power-trio Kamchatka have created a sound that invokes blues, stoner and psychedelic rock.
Snuff Lane are also delighted to add the debut UK appearance of German jazz-rock hybrid Coogans Bluff to the tour, whose latest album ‘Getting Dizzy’ was released in March 2014. As part of this three date tour, Kamchatka will host a FREE show at The Unicorn in Camden on Tuesday 18 March.
This free London event will also be showcasing a debut performance by the heavily anticipated Chubby Thunderous Bad Kush Masters, comprised of members from Dopefight, Grey Widow, Witchfist and Mama Moonshine, these tye-dye metal stoners will be reigning their throbbing chubby fuzz for the FIRST TIME EVER in support of Kamchatka.
MARCH UK TOUR DATES: Monday 16 – Moon Club, Cardiff Kamchatka // Coogans Bluff // Sump // Gulah
Tuesday 17 – Unicorn Camden, London [FREE SHOW] Kamchatka // Coogans Bluff // Chubby Thunderous Bad Kush Masters
Wednesday 18 – The Exchange, Bristol Kamchatka // Coogans Bluff // Baron Greenback // Howl Tickets available at We Got Tickets.
Kamchatka on tour: 27.2 DE-Erfurt, Museumskeller 28.2 DE-Bordesholm, Savoy 03.3 DE-München, Backstage 04.3 DE-Mannhein, 7 er Club 05.3 DE-Hamburg, Marx 06.3 DE-Rostock, Mauclub 07.3 DE-Münster, Hot Jazzclub 08.3 DE-Dortmund, Piano 12.3 DE-Köln, Werkstatt 13.3 DE-Oldenburg, Cadillac 14.3 DE-Frankfurt (Main), Das Bett (High In The Sky High Festival) 20.3 NL-Deventer, De Hip 21.3 NL-Den Haag, Musicon 22.3 NL-Hoorn, Swaf 16.4 NL-Arnhem, Brigant 17.4 NL-Zeist, De Peppel With Karma to Burn 18.4 NL-Sneek, Bolwerk With Karma to Burn 23.4 HU-Dürer Kert, Budapest