Friday Full-Length: Graveyard, Graveyard

Posted in Bootleg Theater on May 24th, 2019 by JJ Koczan

Even though it came out three years later, Graveyard‘s 2007 self-titled debut was the album that showed retro heavy didn’t just belong to Witchcraft. Yeah, I know that’s an easy narrative and there were other bands out there at the time digging into the heavy ’70s sound for inspiration, but frankly, not at this level, and even Graveyard‘s fellow Swedes had begun by then to pull away from the proto-doom rock of their first outing by ’07. The two groups were further linked by a common lineage in Norrsken, with guitarist/vocalist Joakim Nilsson and then-bassist Rikard Edlund having played in that outfit alongside Witchcraft‘s Magnus Pelander from 1996-2000 and produced several demos and singles as well as appearing on the tributes Bastards Will Pay: A Tribute to Trouble (discussed here) and Blue Explosion: A Tribute to Blue Cheer (discussed here) in 1999. But not only were Graveyard on the earlier end of Sweden and greater Europe’s retroist movement, and not only did they play a significant role in putting it into motion, but they showed there was more to it than Pentagram worship.

I’ll readily admit that the first time I saw them, in 2010 at Roadburn Festival (review here), I didn’t get it. I’d heard the self-titled, then three years old after coming out in the States on Tee Pee and in Europe on Transubstans. They were too cool-looking for me. Everything just seemed too perfect, it felt like a put-on for cool kids that just didn’t sit nearly as well with me as falafel I went outside and ate instead of watching them through the open doorway of the old Green Room at the 013 in Tilburg. I was wrong, of course. Not that Graveyard weren’t fashion-conscious in a way that even Witchcraft would never be and that Germany’s Kadavar would raise to yet another level, but I just got a mistaken impression. It was the end of a long weekend. I was tired. So it goes. Those more clued in to what Nilsson, Edlund, drummer Axel Sjöberg, guitarist Jonatan Ramm and guitarist/vocalist/keyboardist Truls Mörck were creating in terms of vibe dug it plenty. The problem, in short, was me. As ever.

By then, Graveyard were already due for a follow-up to Graveyard that wouldn’t arrive for another two years. That long stretch between a first album and a second one would crush a lesser band graveyard self titledlooking to capture some audience share, but with Graveyard, it seemed only to let the nine-song/39-minute long-player — crafted with a focus on vinyl, which was rare in 2007 — simmer as a burgeoning social media word-of-mouth spread its legend. Graveyard became a thing you knew if you were in the know, and their boogie blues rock was perfectly suited for building a cult following. Capping with the mega-hook of “Satan’s Finest,” the album was a clarion to the converted that wasn’t to be missed, and whether it was the shuffle in Sjöberg‘s snare on “Thin Line” or the swapping out of lead vocals for side A closer “Blue Soul” and side B’s “As the Years Pass by the Hours Bend” and the bass/percussion arrangement in the penultimate “Right is Wrong” that seemed so distant from the rush that began the album on “Evil Ways,” there was so much to dig about what Graveyard were doing that even if you got sucked in by the vintage-style production of the whole outing, you were still only getting part of the story. It was at least as much about the band’s songwriting and performance, if not more so, than the aesthetic they so purposefully donned to present it.

“Evil Ways” and “Satan’s Finest” — the start and the finish — were powerful enough in themselves, and managed to embrace cliché enough to be fun while other tracks took a more emotionalist direction that, in hindsight, foreshadowed some of Graveyard‘s and particularly Nilsson‘s delving into soul-driven fare on subsequent offerings. But the self-titled’s more raucous moments, on the short side B leadoff “Submarine Blues” or the bouncing-down-stairs rhythm of “Lost in Confusion,” as well as the fluidity in “Blue Soul,” were a new branch of heavy rock springing up right in front of the listener, and they were received accordingly. I don’t think it’s a hard argument to make that Graveyard became one of the most essential heavy rock bands of this decade in the wake of this debut, and what they’ve gone on to accomplish in the years since — signing to Nuclear Blast to finally release the landmark sophomore full-length Hisingen Blues (review here) in 2011, followed on a quick turnaround by 2012’s Lights Out (review here), touring the universe and then releasing 2015’s more mature Innocence and Decadence (review here) and 2018’s Peace (review here) — is matched by an elite few who might still be considered underground acts.

When Graveyard announced they were calling it quits in 2016, it seemed fair enough. After four records, they’d never hit a snag, and as they’d taken on a more modern production sound and toured hard for about half a decade, it was understandable they might have burnt themselves out. The breakup didn’t take, and when they got back together, with Oskar Bergenheim on drums in place of Sjöberg (since of Big Kizz) and Mörck back in the band on bass instead of guitar, with Ramm and Nilsson as the remaining founders, the revamped rhythm section changed the character of the band. That was evident on Peace, though the songwriting was consistent and arguably the broadest it had ever been. I don’t know what the future holds for Graveyard, except perhaps more touring — they announced last week they’ll be on the road with Clutch in Europe for a quick run this December — and headlining festival gigs if they want them, but listening back to their self-titled, it’s astounding how vital and assured this band was of what they were doing.

There are no shortage of acts out there who aim toward and eventually capture some sense of individuality. Who you put on and immediately know what you’re listening to. Graveyard would prove identifiable by the time the three and a half minutes of “Evil Ways” were done and wherever they’ve gone in terms of their sound, they’ve never lost that. While of course the context of their career since helps, I don’t think you can really look at their debut as anything other than a pivotal moment for this generation of heavy rock.

As always, I hope you enjoy.

Gonna keep this quick if I can. A plug:

Today at 1PM Eastern is The Obelisk Show on Gimme Radio. It’s the first time it’s airing in its new timeslot. I hope you get the chance to listen, and if you do, I hope you dig it. Please, if you can check it out, I’d very much appreciate it. I should be in the Gimme chat for it as well if you want to say hi.

Then later on tonight, The Patient Mrs., The Pecan and I are flying to Ireland. It’s been a hell of a week. We loaded and brought a truckload of stuff — including CDs, the packing of which was a task both mentally and physically — to the house in New Jersey where we’ll be living by the end of this summer, on Tuesday. We were there for Wednesday hanging out with family and whatnot, then came back north yesterday to Massachusetts so The Patient Mrs. could go to a farewell work party, and today we have a bunch of running around to do and packing to go on this trip, which is one of the last things she has going for Bridgewater State University: a study-abroad excursion to Ireland with another professor and 15 students. I’m going basically so she doesn’t have to be away from the baby for two weeks, though it means flying on a red-eye with an 19-month-old, stuffing him onto a bus multiple times and sleeping in the same room with him, which we haven’t done in a little over a year. It’s going to be… interesting. I’d be lying if I said I wasn’t nervous about all of it.

Fortunately, we’re bringing his headphones. He has a little pair of blue wireless over-ears that The Patient Mrs. bought on Amazon. I loaded a micro-SD with the Beatles catalog and it’s an immediate calm-down for him. He can be in the midst of an absolute shit-fit and you put the headphones on him and it snaps him out of it. It’s astounding. Dude loves it. I just have to make sure he doesn’t get to “Revolution 9.” I don’t think children should be exposed to such horrors.

The plan though is to stop in and visit Slomatics though while we’re in Belfast, so I’m looking forward to that, and I may hit a record shop somewhere along the way. We’ll see. I don’t really know. I haven’t even looked at shows as compared to our itinerary or anything, mostly because I have no idea what our itinerary is. I’m really just along for the ride and the child-care on this one.

Because I love flying so much.

But it’s Ireland until June 6, then back to MA, then down to Jersey to see Solace with a bunch of other badass bands on June 8, then back to MA June 13 for more dental work — the saga continues! — then south to NJ, then further south for Maryland Doom Fest, then up to CT for a bit to cover babysitting my niece and nephew, and somewhere in there maybe we’re going to redo the kitchen in NJ before we actually move in? Oh yeah, and the place in Massachusetts goes on the market today, so if this place sells we’ll have to be out by some appointed closing date, then actually sort finances with buying the house in NJ and do that, finish packing — ugh, vinyl — and actually move. It’s a ton of shit, and completely overwhelming. That’s what it is.

All you can do is keep your head down and keep working.

But putting my head down, I notice on the baby monitor that The Pecan is up. Coming on 6AM, so that’s fair. Gonna go grab him and start the day. Laundry to do and whatnot.

Have a great and safe weekend. Forum, radio, merch at Dropout.

The Obelisk Forum

The Obelisk Radio

The Obelisk shirts & hoodies

 

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Hazemaze Sign to Cursed Tongue Records & Ripple Music; Hymns of the Damned Due This Fall

Posted in Whathaveyou on May 24th, 2019 by JJ Koczan

Vinyl-loving platterheads should welcome the news that Cursed Tongue Records has picked up Sweden’s Hazemaze for a Fall 2019 release of their second full-length, Hymns of the Damned. The Danish imprint has proven its mettle time and again at this point when it comes to things plastic and turntable-spinny, and with a CD through Ripple Music, the children of the ’90s don’t have to feel left out either. It’s nice to have everyone included, isn’t it?

Hazemaze join an increasingly packed Cursed Tongue roster — let alone Ripple! — and Hymns of the Damned follows behind their 2018 self-titled debut, which was issued through Kozik Artifactz. For those of you keeping score at home, that’s two records with three rousing endorsements. There’s no audio from the new offering yet — Fall’s a ways off, so maybe check back in later? — but you can stream the self-titled at the bottom of this post if you need a refresher on why all these labels seem so keen to get behind these guys. I think it’ll be clear by the time they get to the opening riff of “Lord of Cubensis.”

Here’s news from Cursed Tongue via the PR wire:

hazemaze

HAZEMAZE SIGNS TO CURSED TONGUE RECORDS AND RIPPLE MUSIC FOR WORLD WIDE RELEASE OF THEIR SOPHOMORE ALBUM ‘HYMNS OF THE DAMNED’ FALL 2019.

Cursed Tongue Records and Ripple Music have teamed up for a joint release of Stockholm, SE 70’s stoner doom trio Hazemaze’s dark and menacing sophomore album ‘Hymns of the Damned’.

When the three Swedes released their debut album last year on German label Kozmik Artifactz it was to much applaud from the heavy underground community. Fans and critics alike acknowledge the sincerity and skill that Hazemaze exhibits on record and that has been further cemented by a string of live performances in their home country and beyond.

With the signing of Hazemaze to both Cursed Tongue Records (DK) and Ripple Music (US) the next phase in the Hazemaze evolution is ready to unfold as they will bring the power of their riffs to even further regions and new ears.

The band has just finished recording of the follow-up album to their successful self-titled debut LP. We have had a sneak-peak on the pre-production of the new album and we can ensure you that you are in for a thrilling, riff-heavy showcase of retro-tinged stoner doom from the top drawer. Brace yourself to hear Hazemaze at their darkest, most energetic and heaviest yet as they have truly upped the irons on ‘Hymns of the Damned’.

Hazemaze is ready to take on the big league and are bringing the riffs the size of mountains, so get ready to be washed over with heavy, fuzzy riffs and low-ends. It’s soon time to rip it up to one this year’s best heavy stoner doom albums, ‘Hymns of the Damned. We are all damnned, we are all cursed so let the ripple of riff-waves carry us away. Get psyched!

BAND BIO

Hazemaze is a stoner/doom power trio from Sweden that took form in the spring 2016. The band first began with the intention of becoming a garage-rock outfit, but that all changed when they come to realize that they all shared the same passion for seventies hard rock music. 6 months after, the band recorded their first EP “Wicked Ways” and began playing shows around Stockholm and other cities nearby. However, it did not take long before the band began writing more songs, which evolved into a more doom-oriented sound.

Two years later, their self-titled debut album was released through Kozmik Artifactz, and the overwhelmingly positive respond, from every corner of the stoner/doom scene, helped the band break new territories and gaining recognition in the local doom scene, as well as abroad. Now it’s time for the next chapter in the story of Hazemaze, a record that is far heavier, darker and doomier than its predecessor. “Hymns of the Damned” will see the light of day in the fall of 2019.

BAND STATEMENT

“We are extremely excited and humbled to announce that we have signed a record deal with Cursed Tongue Records and Ripple Music for the release of our second album entitled “Hymns of the Damned”. It´s an honor to collaborate with two amazing labels that really embraces the heavy underground scene in both Europe and US, and becoming a part of that family.”

‘Hymns of the Damned’ will be out on CD and digital via Ripple Music and vinyl via Cursed Tongue Records in Fall 2019.

Hazemaze is:
Ludvig – Guitar/Vocals
Nils – Drums
Estefan – Bass

All tracks written and performed by Hazemaze
Recorded & Produced at Studio Underjord together with producer Joona Hassinen
Track listing: TBA! 8 tracks of riff-worshipping songs

https://hazemazeband.bandcamp.com
https://www.facebook.com/hazemazeband/
https://instagram.com/hazemazeband
http://cursedtonguerecords.bigcartel.com/
https://www.facebook.com/CursedTongueRecords
https://www.instagram.com/cursedtonguerecords
https://www.facebook.com/theripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

Hazemaze, Hazemaze (2018)

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Långfinger Premiere “Feather Beader” from Live LP out May 24

Posted in audiObelisk on May 14th, 2019 by JJ Koczan

LANGFINGER (Photo by Edko Fuzz)

On May 24, Swedish heavy rockers Långfinger will release the limited LP Live in an edition of 200 copies only. It arrives through Beduin and Sound Pollution less than a full month after Långfinger‘s new split 7″ with JIRM (formerly Jeremy Irons and the Ratgang Malibus), and presents a show that took place on Xmas 2017 in the band’s hometown of Gothenburg. In short, it sounds like a holiday. In total, Långfinger rip through eight songs and every bit sound like they knew they were going to end up releasing the gig. Rising to the occasion and all that.

Mixed and mastered by guitarist/backing vocalist Kalle Lilja and with Lukas Väremo sitting in on keys for “Fantasy Ridge” and “Atlas” — from their first album, 2010’s Skygrounds, and their third album, 2016’s Crossyears (review here), respectively — along with bassist/vocalist Victor Crusner and drummer Jesper Pihl, Live lives up to any live album cliché one might be tempted to apply. Whether it’s “capturing a moment in time” or presenting the band’s studio material in raw and raucous fashion, whatever. It’s all true. It’s all there. It all works. By the time they’re through “Fox Confessor” and “Caesar’s Blues” from Crossyears and into the winding riffery of “Feather Beader,” the sense of witnessing a kickass classic heavy rock show is palpable, and it seems like no coincidence at all that in talking about the record below, Lilja would shout out Deep Purple‘s Made in Japan or Thin Lizzy‘s Live & Dangerous.

langfinger liveAnyone who encountered Skygrounds, 2012’s Slow RiversCrossyears or any of the handful of shorter outings they’ve had along the way can tell you Långfinger work to a pretty high standard. Live demonstrates plainly that the same applies to their stage work, and for someone like me, who’s never been fortunate enough to see them live, hearing the no-nonsense strut of “Crossyears” and the arrival of the telltale guitar and key line of “Atlas” is a boon that only emphasizes the pivotal forward-looking nature of their approach, as rooted in the classics as it is. Somewhat curiously, Slow Rivers isn’t represented at all on Live, but I guess there are only so many spots in the set, and with the fact that Långfinger were playing a special gig in their hometown, maybe the blend of old(est) and new(est) was something they decided to go with to make the night stand out all the more. Can’t argue with the reception the older songs are given, though one might say the same of the newer ones as well.

Either way, Skygrounds opener “Herbs in My Garden” and closer “Ragnar” make a righteous final pairing for Live, the latter of them taking the three-piece into a flowing final jam that carries smoothly to the end of the set. By then, Långfinger have handed the Musikens Hus its ass, and that’s all there is to it. There is less embellishment than in some of the ultra-classic live records from the earlier masters of the form — maybe that’s where Unleashed in the East comes in — but I considered Långfinger to be underrated before, and that’s only become all the more the case with Live. Even with the recent JIRM split and this offering, they’re due for a new studio album sometime soon, and whether or not it happens this year, you’d be wise to keep an eye out. And as for the 200 copies of Live that have been pressed to orange-colored vinyl? I wouldn’t expect them to last long either.

Good band. Good show. Good record. What the hell more would you ask?

Check out the premiere of “Feather Beader” below and hear what I mean:

Kalle Lilja on Live:

We all grew up listening to live albums. Whether it was Made in Japan, Unleashed in the East, Yessongs or Lizzy’s Live & Dangerous. It remains so powerful hearing a band (100% live or not…) cranking it up and delivering a grand snapshot of a moment in time. It’s embedded in our DNA as a group by now, to always portray everything of what we are on stage, and Live is a grand envoy for that directive.

Out May 24 on Beduin & Sound Pollution Distribution.

Limited to 200 copies on orange 180g vinyl…

Jesper Pihl – Drums
Victor Crusner – Vocals/Bass
Kalle Lilja – Guitar
Lukas Väremo – Keyboards (Track 5 & 6)

Recorded live at Musikens Hus, Göteborg, Dec 25, 2017.
Engineered by Sven Jansson
Mixed & mastered at Welfare Sounds by Kalle Lilja
Produced by Långfinger

Långfinger on Thee Facebooks

Långfinger website

Långfinger on Instagram

Sound Pollution website

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Truckfighters Announce Fuzz Festival #1 on Dec. 7 in Stockholm

Posted in Whathaveyou on May 13th, 2019 by JJ Koczan

I’ll be honest, I’ve been kicking around the idea of doing an Obelisk All-Dayer in Stockholm, Sweden, sometime in summer 2020. Basically whenever wouldn’t conflict with Sweden Rock, which as I understand it, is massive. Oddly enough, in Europe, Sweden is not the hugest market despite the glut of bands from there, and Debaser is a club that had come up in conversation. The thought that Truckfighters are doing a fest there — let alone one with Greenleaf involved — might just shoot that idea in the ass. We’ll see. Either way, even with half the lineup unveiled, what’s been dubbed Fuzz Festival #1 already looks like a damn good time. Truckfighters will headline playing Gravity X in full — back to front, as I understand it, so they can close with “Desert Cruiser”; only fair — and there’s the aforementioned Greenleaf, as well as Motorowl from Germany and Swedish hard rockers Deville, who’ll represent TruckfightersFuzzorama Records imprint well.

Speculation as to the rest of the lineup? I have to think Asteroid will be involved, schedule permitting, but I don’t know that. As to the rest, it’s pretty wide open. Maybe Skraeckoedlan, if they’re looking for more Swedish representation? We’ll see June 5 when they make their next announcement, I guess. In the meantime, I’d go. I’ll leave it at that.

From the PR wire:

fuzz festival poster

Truckfighters presents Fuzz Festival #1, Stockholm

Get your ticket now! Early birds for just 330 SEK (ca 30 EUR)

CLICK HERE TO BUY TICKET

We are proud and happy to present our own fuzz festival!

After years of touring around the world we bring our favorite concept home to Sweden: a club festival dedicated to fuzz/stoner and heavy rock.

There’ll be two stages, eight bands and of course a lot of fuzz…

Line up so far:
TRUCKFIGHTERS (plays Gravity X)
GREENLEAF
MOTOROWL
DEVILLE

MORE BANDS TO COME! Next band announcement June 5th.

*Live music from 6pm til midnight. *Afterparty at Bar Brooklyn until 3am.

Early bird tickets cost 330 SEK (ca 30 EUR) and are sold until June 4th.

On June 5th our next band announcement will take place. From then the tickets will cost 395 SEK. (ca 37EUR)

The Venue is located on the island of Södermalm, in Stockholm. This is a very nice area in the central parts of town.

We would love it if the venue got packed with happy people so please spread the word. Bring your friends, tell everyone!

https://www.facebook.com/events/2228095327452231/
http://www.truckfighters.com/festival

Greenleaf, “Highway Officer” live in Malmö, Sweden, 2018

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Gin Lady Release Tall Sun Crooked Moon LP May 24; “Sweet Country Livin'” Video Now Streaming

Posted in Whathaveyou on May 9th, 2019 by JJ Koczan

gin lady

Seems like no matter where Sweden’s Gin Lady go, they’re getting down to their roots. That was the case on 2017’s Electric Earth (review here), on which they gave up some of the twang in favor of a more ’60s rock-oriented sound, and it seems to be the case with Tall Sun Crooked Moon, as the track “Sweet Country Livin'” shows them bringing some of that twang right back in. I don’t know how much the song speaks for the new album as a whole, but it’s their fifth record, so I don’t think they’re novices at deciding which songs to lead with at this point going into a release. Call me crazy.

Either way, the album is out later this month, and I love the cover art — seriously, I’d take a poster of that; or better yet, a tapestry — so it seemed the least I could do to post it. Info and whatnots came down the PR wire:

gin lady tall sun crooked moon

Swedish Rockers Gin Lady Return with ‘Tall Sun Crooked Moon’ 24th May on Kozmik Artifactz

These northern Sweden rockers formed their band in 2011 and have released four studio albums so far: Gin Lady, Mother’s Ruin, Call The Nation and Electric Earth.

The band consists of singer and guitarist Magnus Kaernebro, drummer Fredrik Normark, bassist Anthon Johansson and guitarist Johnny Stenberg. Each member a gifted songwriter in their own right, Gin Lady are a highly productive unit able to craft and deliver a signature sound that oozes of early 70s vibes and soul soothing melody.

With their upcoming album Tall Moon Crooked Sun they take the listeners on a musical journey towards Laurel Canyon. Excellent musicianship, vocal harmonies, freedom and beautifully crafted songs with a message is what you can expect from these bliss merchants’ fifth album.

Tall Moon Crooked Sun will be released on limited edition heavyweight vinyl and CD on the 24th May on Kozmik Artifatcz.

VINYL FACTZ
– Plated & pressed on high
performance vinyl at
Pallas/Germany
– limited & coloured vinyl
– 300gsm gatefold cover
– special vinyl mastering

TRACKS
1. Everyone Is Love
2. Sweet Country Livin’
3. The Darkest Days Of All Time
4. The Visit
5. Gentle Bird
6. Into The Wasteland
7. Always Gold
8. Undertow
9. The Rock We All Push
10. Tell It Like It Is

Gin Lady are:
Magnus Kaernebro – Guitar/Vocals
Fredrik Normark – Drums
Anthon Johansson – Bass
Johnny Stenberg – Guitar

https://www.facebook.com/Gin-Lady-254447104608141/
https://ginlady.bandcamp.com/
https://www.facebook.com/kozmikartifactz
http://kozmik-artifactz.com/

Gin Lady, “Sweet Country Livin'” official video

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Graveyard in Mexico & South America Starting This Weekend; Australian Tour Announced

Posted in Whathaveyou on May 8th, 2019 by JJ Koczan

graveyard

For anyone who might look at the list of Graveyard dates below and wonder, hey, where’s the US tour?, well, they were just here with Uncle Acid. What more could you possibly want? Out of life? In the aftermath of that righteousness, the Swedish kingpins of heavy rock and roll are keeping plenty busy, touring Latin America starting on Friday in Guadalajara, Mexico, and wrapping May 19 in Rio de Janeiro, before heading back to Europe for festivals then returning to the US for Psycho Las Vegas — like you do — before shipping themselves out a week later to Australia for a quick run of shows there. They’ll also be at a big, commercial-type metal festival in Tennessee this October called Exit 111 that has a bunch of bands you’ve heard of. Someone actually recommended Fever 333 to me not so long ago. I should’ve been like, “Thanks brah, but I’m more of a Graveyard kind of guy.” It’s a shame sometimes the only one living in my head is me.

And The Patient Mrs., I guess. She’s all up in there.

In any case, more Graveyard touring, wherever and whenever it happens, certainly isn’t going to hurt anybody. After all, we got a taste of the world without them during their brief breakup in late 2016, and that was enough to begin a riding tide of troubling right wing populism that even their reformation hasn’t been able to stem. That’s right. I’m blaming the outcome of the last US election on Graveyard‘s breakup. Live with it.

Stay tuned for more hard-hitting political analysis:

TOUR DATES GRAVEYARD
2019-05-10 Guadalajara (Foro Independencia) MX
2019-05-11 Monterrey (Café Iguana) MX
2019-05-12 Mexico City (Foro Indie Rocks) MX
2019-05-14 Lima (C.C. Festiva) PE
2019-05-16 Santiago (Rock y Guitarras ) CL
2019-05-17 Buenos Aires (Teatro Vorterix) AR
2019-05-18 São Paulo (Fabrique Club) BR
2019-05-19 Rio de Janeiro (BCO) BR
2019-06-08 Nürnberg (Rock im Park) DE
2019-06-09 Nürburg (Rock am Ring) DE
2019-06-13 Interlaken (Greenfield Festival) CH
2019-06-14 Fuengirola (Rock The Coast) ES
2019-06-16 Donington (Download Festival) GB
2019-06-21 Clisson (Hellfest) FR
2019-07-12 Kristianstad (Rockfest) SE
2019-08-08 Moledo (Sonic Blast) PT
2019-08-16 Las Vegas, NV (Psycho Las Vegas) US
2019-08-23 Brisbane (The Brightside) AU
2019-08-24 Sydney (Crowbar) AU
2019-08-25 Melbourne (Corner Hotel) AU
2019-10-12 Manchester, TN (Exit 111) US

Graveyard:
Joakim Nilsson (vocals, guitar)
Truls Mörck (bass)
Oskar Bergenheim (drums)
Jonatan Ramm (guitar)

https://www.facebook.com/graveyardofficial
https://twitter.com/graveyard
https://instagram.com/graveyardmusic/

Graveyard, “Please Don’t” official video

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Silver Devil Announce North American Release of Paralyzed on June 7

Posted in Whathaveyou on May 6th, 2019 by JJ Koczan

silver devil (Photo by Falk-Hagen Bernshausen)

I was having a conversation a couple weeks ago about being jaded. I won’t say I never feel burnt out — shit, I was burnt out 16 years ago; that’s kind of how I got into heavy rock in the first place — but in light of that conversation, here’s a post about Silver Devil. They’re a band from Sweden whose second album, Paralyzed, is being given a North American release on June 7 with a bonus track, and they’re a band I’ve never written about before. They put out a self-titled debut in 2011 and toured with Skraeckoedlan and haven’t really been heard from since until Paralyzed showed up in February of this year. I’d never heard them before the info below came down the PR wire and had all the right dogwhistles to pique my interest.

And they rule. Yeah, I get exhausted. Pretty much daily. But there’s another part of me that’s in continuous awe of the fact that all I have to do is open up my email and here’s some more badass shit from a group of people who I didn’t even know existed until I bothered to look. This kind of thing happens all the time. It’s incredible. So yeah, there are days where it’s drudgery and days where I’m dragging ass. Plenty of them. But there’s always more out there, and there’s always something new and something fresh if you’re willing to put in the minimal effort to engage it. The human race is a cruel, horror-filled shitshow. But on the other hand, riffs.

All of Paralyzed except the aforementioned bonus track can be streamed below — I wonder if they’d want to premiere it? — and if you have a second to bask in its Swedishy Swedishness, it’s well worth it.

Dig:

Silver Devil Paralyzed

Silver Devil – Paralyzed

After a successful European release, Silver Devil will now officially release their new album Paralyzed in North America on June 7th 2019.

Two cars drive at each other, one manned by a rock n’ roll rifflord, the other by a smoked-out hesher. The resulting collision explodes in a fireball starts rolling down the highway, drenched in fuzz, kerosene, and melancholy. Welcome to the world of Silver Devil, a Swedish troupe formed, as many are, from the ashes of other bands in a prolific scene. After an exploratory début that netted them a dedicated fanbase, they headed out on the road, taking them across Europe with Skraeckoedlan.

From the opening moments of “Howl”, it’s clear that Silver Devil mean business – the track wastes no time getting straight into the meaty riffs. Echoes of vintage Fu Manchu, Queens of the Stone Age and Dozer permeate, but there’s also a touch of despondency in numbers like “Nightwalker”, as the solo dances in front of the stomping backdrop. Meanwhile, the vocals are a plaintive cry soaring in the background over a wall of fuzzy strings and crashing cymbals. Colorful guitar tones interplay beautifully, showcasing a chemistry built up over their decade-plus existence, until it all comes to a head in the freak-out at the end of “Hypersleep”.

It’s been a few years since their self-titled début, brought about by a much-needed break and an urge to get things right. Letting the tracks marinate has done Silver Devil good – the combination of punch and psychedelia, fuzz and fury, makes a potent blueprint for the band to follow. Paralyzed in an important pillar in the band’s development, and it would be wise for people of a riff-minded persuasion to give this a spin.

Silver Devil are:
Vocals: Anders Löfstrand
Guitar: Jonas Hamqvist
Guitar: Otto Molin
Drums: Marcus Ström
Bass: Erik Bergkvist

Tracklisting:
1. Howl
2. Rivers
3. Paralyzed
4. Nightwalker
5. No Man Traveller
6. Octopus
7. Beast
8. Hypersleep
9. The Grand Trick (Bonus Track)

https://www.facebook.com/silverdevilmusic/
https://silverdevil.bigcartel.com/
https://silverdevil666.bandcamp.com/
https://oziumrecords.bandcamp.com/album/paralyzed

Silver Devil, Paralyzed (2019)

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Suma May Tour Starts This Week

Posted in Whathaveyou on May 6th, 2019 by JJ Koczan

suma

As it happens, I’m in a coffee shop putting this post together. It’s Sunday afternoon — earlier than it feels — and at the next table is a just-post-middle-aged guy telling his lady all about someone who after years of irresponsibility has finally started listening to their doctor. The woman, so it goes, is barely feigning interest. It could hardly be a better time to jack up my headphones with some Suma and absolutely exit Planet Earth in favor of whatever destructive alternate realm the Swedish four-piece occupy. Has it really been three years already since their last record? The hell kind of sense does that make?

Of course, the simple fact that they’re touring now and that they’ve been announced for Høstsabbat in Oslo this October makes me wonder if perhaps they’ve got another LP coming, but that’s rampant speculation and as fun as it is to indulge such things, I think I’ll hold off. Not like the last record’s impact has worn off. Shit is crushing like climate studies.

And see? That loud-talking goober and his companion have left. Suma fixes everything.

They’re gonna be in Berlin and then seemingly headed east and north from there if my minimal understanding of geography is anything to go by (it isn’t), but wherever they’re headed, they’re a band you should see if they’re in your path or likewise. I consider it a blight on my record that I’ve never caught them live, and that’s something I’m looking forward to correcting this Fall.

They posted the tour dates thusly:

suma tour

SUMA – May tour dates

GERMANY / POLAND / LITHUANIA / LATVIA / ESTONIA / FINLAND

09/05 HAMBURG – hafenklang
10/05 BERLIN – kantine am berghain
11/05 WROCLAW – into the abyss fest IV
12/05 TORUN – nrd
13/05 WARZAW – poglos
14/05 VILNIUS – xi20
15/05 JELGAVA – melno cepurisu balerija
16/05 TALLINN – sveta baar
17/05 HELSINKI – kuudes linja
18/05 TAMPERE – varjobaari

poster by NOISE ARMADA

SUMA:
>P. guitar
>J. bass/vocals
>E. drums
>R. samples/noise

https://www.facebook.com/sumanoise/
https://sumanoise.bandcamp.com/
http://www.argonautarecords.com/
http://www.initrecords.net/
http://tartarusrecords.com/
http://www.thronerecs.com/
https://www.facebook.com/doomstarbookings/

Suma, The Order of Things (2016)

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