Posted in Whathaveyou on December 7th, 2022 by JJ Koczan
I know what you’re thinking, and before you start, just indulge me. Yes, it’s another post with another festival lineup. And yeah, I’m about to tell that with Gnod and Mars Red Sky and Slomatics, Ecstatic Vision, 1782, Vinnum Sabbathi and all the rest on Astral Festival VIII, it’s a pretty killer assemblage. I know you’ve heard it a lot lately. I get it.
Here’s the thing. Human memory is fickle, but I recall vividly a couple years ago when you, me, nobody, had any fucking clue if this kind of thing would ever be able to happen again. So you know what? I actually feel pretty god damned good about being so onslaughted with festival lineup announcements that I’ve run out of shit to say about them other than, “Hey cool fest bruh, would go if I could,” which is pretty much where I’m at here. A bunch of bands getting together for a two-dayer in a place? Great. There’s about zero chance I’ll be there to see it, but I would much, much rather live in a world where it’s happening than the one where it wasn’t.
That’s my two cents. Here’s the lineup set for April 29-30 in Bristol, UK:
We still have a few more surprises lined up. Grab weekend or day ticket now!!
As always huge thank you for your support. It goes without saying there is no festival without you. Tickets are very limited so act fast!
Saturday April 29 Th Gnod Vinnum Sabbathi Phoenician Drive Slomatics Terror Cosmico Ivan the Tolerable and His Elastic Band Black Ends El Universo Dan Johnson
Sunday April 30 Th Mars Red Sky 1782 Wyatt E. Ecstatic Vision Chew Dusty Mush Sum of R Bonnacons of Doom Margarita Witch Cult Solar Corona
Posted in Whathaveyou on December 2nd, 2022 by JJ Koczan
I mean, what can you say to this other than ‘can I come?’ I’ve known this festival was capable of some real-deal shit over the last decade, but this is absolutely epic, which is a word I do my best to avoid. And they end it by saying there’s more to come. God damn. Really. God damn.
Wow.
Here:
Desertfest London announce over 40 bands for 2023
Friday 5th May – Sunday 7th May 2023 | Weekend Tickets on sale now
Desertfest London is rounding off the year with an ear-shattering bang, announcing a mammoth 43 artists to their 2023 line-up. Joining the likes of Uncle Acid & The Deadbeats, Graveyard, Kadavar and Church of Misery, the Camden-based festival also welcomes back Corrosion of Conformity as headliners.
Pioneers of a groove-laden sound that is undeniably their own, Corrosion of Conformity have not been back on UK soil since 2018 so expect big, loud and memorable things from their appearance at Desertfest next year. Corrosion of Conformity have been due to play the event since 2020 – making their return one of the most widely requested in the event’s history.
Japan’s own avant-garde maestros of down-tuned psychedelia Boris leap over to London alongside the crushingly loud tones of NOLA’s own Crowbar. One of the most exciting bands in recent memory King Buffalo, make their long-awaited debut plus Desertfest favourites, Weedeater are back after five long years of chugging whiskey lord-knows-where.
The pace moves up a notch with New York City’s noise-rock guru’s Unsane and British punk-legends Discharge, all of whom bring a detour from the slow’n’low sounds the festival is best recognised for. Montreal’s Big | Brave will play the festival for the first time showcasing their experimental and minimalist take on the notion of ‘heavy’, whilst the doors to the Church of The Cosmic Skull are open, as they ask Desertfest revellers to join them in a union unlike any other.
Desertfest also warmly welcomes noise from STAKE, British anti-fascist black metallers Dawn Ray’d and London’s loudest duo Tuskar as well as some of the best recent stoner acts in the form of Telekinetic Yeti, Weedpecker & Great Electric Quest. Elsewhere the weekend will also see Wren, The Necromancers, Dommengang, Samavayo, Morass of Molasses, Sum of R & GNOB offer up unique live performances.
Rounding off this beast of an announcement are Acid Mammoth, Deatchant, Zetra, Trevor’s Head, Our Man in The Bronze Age, Wyatt E., Iron Jinn, Mr Bison, Troy The Band, Oreyeon, Warren Schoenbright, Early Moods, Longheads, Terror Cosmico, Thunder Horse, TONS, Vinnum Sabbathi, Bloodswamp, The Age of Truth, Earl of Hell and Black Groove.
Weekend Tickets for Desertfest London 2023 are on-sale now via www.desertfest.co.uk with more acts still to be announced.
Day splits and day tickets will be on sale from January.
Full Line-Up for Desertfest London 2023: UNCLE ACID & THE DEADBEATS | GRAVEYARD | CORROSION OF CONFORMITY | KADAVAR | BORIS | CROWBAR | CHURCH OF MISERY | WEEDEATER | KING BUFFALO | BLOOD CEREMONY | DISCHARGE | SOMALI YACHT CLUB | UNSANE | BIG|BRAVE | INTER ARMA | CHURCH OF THE COSMIC SKULL | VALLEY OF THE SUN | STAKE | MARS RED SKY | SPACESLUG | GRAVE LINES | GAUPA | TUSKAR | TELEKINETIC YETI | WEEDPECKER | DAWN RAY’D | WREN | GREAT ELECTRIC QUEST | THE NECROMANCERS | DOMMENGANG | ECSTATIC VISION | SAMAVAYO | MORASS OF MOLASSES | SUM OF R | HIGH DESERT QUEEN | GNOB | EVEREST QUEEN | ACID MAMMOTH | DEATHCHANT | ZETRA | CELESTIAL SANCTUARY | TREVOR’S HEAD | OUR MAN IN THE BRONZE AGE | WYATT E. | MR BISON | TROY THE BAND | PLAINRIDE | IRON JINN | OREYEON | WARREN SCHOENBRIGHT | EARLY MOODS | LONGHEADS | TERROR COSMICO | THUNDER HORSE | TONS | VINNUM SABBATHI | BLOODSWAMP | VENOMWOLF | THE AGE OF TRUTH | EARL OF HELL | BLACK GROOVE | MARGARITA WITCH CULT
Somewhat unbelievably, we’ve reached the penultimate day of the Summer 2022 Quarterly Review. I believe it because every time I blink my eyes, I can feel my body trying to fall asleep. Doesn’t matter. There’s rock and roll to be had — 10 records’ worth — so I’mma get on it. If you haven’t found anything yet that speaks to you this QR — first of all, really??? — maybe today will be the day. If you’re feeling any of it, I’d love to know in the comments. Otherwise, off into the ether it goes.
In any case, thanks for reading.
Quarterly Review #81-90:
Hemlock Branch, Hemlock Branch
[Note: art above (photo by Nikita Gross) is not final. Album is out in September. Give it time.] Those familiar with Ohio sludge metallers Beneath Oblivion might recognize Scotty T. Simpson (here also guitar, lap-steel and vocals) or keyboardist/synthesist Keith Messerle from that band, but Hemlock Branch‘s project is decisively different on their self-titled debut, however slow a song like “The Introvert” might be. With the echo-laden vocals of Amy Jo Combs floating and soaring above likewise big-sky riffs, the far-back crash of drummer David Howell (White Walls) and the it’s-in-there-somewhere bass of Derda Karakaya, atmosphere takes a central focus throughout the 10 tracks and 22 minutes of the release. Hints of black metal, post-metal, doom, heavy psychedelia, and noise-wash dirgemaking experimentalism pervade in minute-long cuts like “Incompatible,” the sample-topped “Temporal Vultures” and “Küfür,” which gives over to the closing duo “Lifelong Struggle” and “High Crimes & Misdemeanors.” As even the longest track, “Persona Non Grata,” runs just 4:24, the songs feel geared for modern attention spans and depart from commonplace structures in favor of their own ambient linearity. Not going to be for everyone, but Hemlock Branch‘s first offering shows an immediate drive toward individualism and is genuinely unpredictable, both of which already pay dividends.
In “Siren” and at the grand, swelling progression of “Zero Trust,” one is drawn back to The Devil’s Blood‘s off-kilter psychedelic occultism by Swedish five-piece Știu Nu Știu — also stylized all-caps: ŞTIU NU ŞTIU — and their fourth album, New Sun, but if there’s any such direct Luciferianism in the sprawling eight-song/47-minute long-player, I’ve yet to find it. Instead, the band’s first outing through respected purveyors Heavy Psych Sounds takes the stylistic trappings of psychedelic post-punk and what’s typically tagged as some kind of ‘gaze or other and toss them directly into the heart of the recently born star named in the title, their sound subtle in rhythmic push but lush, lush, lush in instrumental and vocal melody. “New Sun” itself is the longest piece at 8:17 and it closes side A, but the expanses crafted are hardly more tamed on side B’s “Nyx” or the get-your-goth-dance-shoes-on “Zero Trust,” which follows. Opening with the jangly “Styx” and capping with the also-relatively-extended “Dragon’s Lair” (7:57) — a noisy final solo takes them out — Știu Nu Știu bask in the vague and feel entirely at home in the aural mists they so readily conjure.
The title of Veljet‘s debut LP, Emerger de la mentira llamada dios, translates from Spanish as, ‘Emerge from the lie called god.’ So yes, the point gets across. And Veljet hint toward metallism and an overarching darkness of purpose in “Estar vivo es nada,” “La construcción de los sentimientos negativos,” and the buzzing, bounce-bass-until-it-falls-apart “Arder al crecer,” despite being instrumental for the album’s half-hour duration save perhaps for some crowd noise filling out the acoustic “Mentir con tristeza” at the finish, people talking over acoustic guitar notes, as they almost invariably, infuriatingly will. That three-minute piece rounds out and is in form a far cry from the push of “Inundata” or the buzz-tone-click-into-airiness “Lucifer luz del mundo,” but there’s room for all of these things in what feels like Satanic escapism more than any occult trappings — that is to say, while it’s pretty safe to say Veljet aren’t religious types, I don’t think they’re rolling around holding devil-worship masses either — and the album as a whole is drawn together by this immersive, mood-altering slog, a sense of the day’s weight conveyed effectively in that of the guitars, bass and drums, making the acoustic finish, and the human shittiness of speaking over it, all the more of a poignant conclusion. If god’s a lie, people aren’t much better.
Longform avant metal that draws on atmospheres from Pacific Northwestern blackened tropes without bowing completely to them or any other wholly rigid style, doom or otherwise. Some of the vocals in the more open moments of “Still Life” bring to mind Ealdor Bealu‘s latest in their declarative purpose, but Swamp Lantern‘s The Lord is With Us takes its own presumably-left-hand path toward aural identity, finding a sound in the process that is both ambient and obscure but still capable of deep heft when it’s called for — see “Still Life” again. That song is one of two to cross the 10-minute mark, along with closer “The Halo of Eternal Night,” though wholly immersive opener “Blood Oath (on Pebble Beach)” and “Graven Tide” aren’t far off, the latter nestling into a combination of groove-riding guitar and flourish lead notes intertwining on their way toward and through a well charred second half of the song, the way eventually given to the exploratory title-track, shorter but working off a similarly building structure. They cap vampiric with “The Halo of Eternal Night,” perhaps nodding subtly back to “Blood Oath (On Pebble Beach)” — at least the blood part — while likewise bookending with a guest vocal from Aimee Wright, who also contributed to the opener. Complex, beautiful and punishing, sometimes all at once, The Lord is With Us is a debut of immediate note and range. Who knows what it may herald, but definitely something.
The hellscape in the Jason Barnett cover art for Mexico City duo Terror Cósmico‘s fourth full-length, Miasma, is a fair update for Hieronymus Bosch, and it’s way more Hell than The Garden of Earthly Delights, as suits the anxiety of the years since the band’s last album, 2018’s III (review here). The eight instrumental selections from guitarist Javier Alejandre and drummer Nicolás Detta is accordingly tense and brooding, with “En un Lugar Frio y Desolado” surging to life in weighted push after seeming to pick at its fingernails with nervousness. A decade on from their first EP, Terror Cósmico sound fiercer than they ever have on “Tonalpohualli” and the opener “Necromorfo” sets the album in motion with an intensity that reminds both of latter day High on Fire and the still-missed US sans-vocal duo Beast in the Field. That last is not a comparison I’ll make lightly, and it’s not that Miasma lacks atmosphere, just that the atmospherics in question are downtrodden, hard-hitting and frustrated. So yes, perfectly suited to the right-now in which they arrive.
Somewhere between aggressive post-metal, post-hardcore, sludge and ambient heavy rock, Stockholm’s Urna find a niche for themselves thoroughly Swedish enough to make me wonder why their self-titled debut LP isn’t out through Suicide Records. In any case, they lead with “You Hide Behind,” a resonant sense of anger in the accusation that is held to somewhat even as clean vocals are introduced later in the track and pushed further on the subsequent “Shine,” guitarist Axel Ehrencrona (also synth) handling those duties while bassist William Riever (also also synth) and also-in-Ocean–Chief drummer Björn Andersson (somebody get him some synth!) offer a roll that feels no less noise-derived than Cities of Mars‘ latest and is no more noise rock than it either. “Revelations” fucking crushes, period. Song is almost seven minutes. If it was 20, that’d be fine. Centerpiece indeed. “Werewolf Tantrum” follows as the longest piece at 8:06, and is perhaps more ambitious in structure, but that force is still there, and though “Sleep Forever” (plenty of synth) has a different vibe, it comes across as something of a portrayed aftermath for the bludgeoning that just took place. They sound like they’re just getting started on a longer progression, but the teeth gnashing throughout pulls back to the very birthing of post-metal, and from there Urna can go just about wherever they want.
Finnish songwriter, synthesist, vocalist, guitarist, bassist, etc. Santtu Laakso started Astral Magic as a solo-project, and he’s already got a follow-up out to Magical Kingdom called Alien Visitations that’s almost if not entirely synth-based and mostly instrumental, so he’s clearly not at all afraid to explore different vibes. On Magical Kingdom, he somewhat magically transports the listener back to a time when prog was for nerds. The leadoff title-track is filled with fantasy genre elements amid an instrumental spirit somewhere between Magma and Hawkwind, and it’s only the first of the eight explorations on the 42-minute offering. Keyboards are a strong presence throughout, whether a given song is vocalized or not, and as different international guest guitarists come and go, arrangements in “Dimension Link” and “Rainbow Butterfly” are further fleshed out with psychedelic sax. Side B opener “Lost Innocense” (sic) is a weirdo highlight among weirdo highlights, and after the spacious grandiosity of “The Hidden City” and the sitar-drone-reminiscent backing waveforms on “The Pale-Skinned Man,” closer “Seven Planes” finds resolution in classic krautrock shenanigans. If you’re the right kind of geek, this one’s gonna hit you hard.
The story of Turn to Stone seems to take place in opener “The Man, the Devil and the Grey Giant” in which a man sells his soul to the devil and is cursed and turned into a mountain for his apparent comeuppance. For a setting to that tale, Santander, Spain’s Grey Giant present a decidedly oldschool take on heavy rock, reminiscent there of European trailblazers like Lowrider and Dozer, but creeping on chunkier riffing in “Unwritten Letter,” which follows, bassist/vocalist Mario “Pitu” Hospital raw of throat but not by any means amelodic over the riffs of Ravi and Hugo Echeverria and the drums of Pablo Salmón and ready to meet the speedier turn when it comes. An EP running four songs and 26 minutes, Turn to StoneSabbath start-stops in “Reverb Signals in Key F,” but brings about some of the thickest roll as well as a particularly righteous solo from one if not both of the Echeverrias and the Kyussy riff of closer “Last Bullet” is filled out with a grim outlook of Europe’s future in warfare; obviously not the most uplifting of endings, but the trippier instrumental build in the song’s final movement seems to hold onto some hope or at very least wishful thinking.
Symmetrically placed for vinyl listening, “The Return” and “Golden Skies” open sides A and B of Great Rift‘s second long-player, Utopia, with steady grooves, passionate vocals and a blend between psychedelic range and earthier tonal textures. I feel crazy even saying it since I doubt it’s what he’s going for, but Thomas Gulyas reminds a bit in his delivery of Messiah Marcolin (once of Candlemass) and his voice is strong enough to carry that across. He, fellow guitarist Andreas Lechner, bassist Peter Leitner and drummer Klaus Gulyas explore further reaches in subsequent cuts like “Space” and the soaringly out-there “Voyagers” as each half of the LP works shortest-to-longest so that the arrival of the warm heavy psych fuzz of “Beteigeuze” and minor-key otherworldly build-up of the closing title-track both feel plenty earned, and demonstrate plainly that Great Rift know the style they’re playing toward and what they’re doing with the personal spin they’re bringing to it. Four years after their debut, Vesta, Utopia presents its idealistic vision in what might just be a story about fleeing the Earth. Not gonna say I don’t get that.
Most prevalent complaint in my mind with Torpedo Torpedo‘s The Kuiper Belt Mantras is it’s an EP and not a full-length album, and thus has to go on the Best Short Releases of 2022 list instead of the Best Debut LPs list. One way or the other, the four-song first-outing from the Vienna psychedelonauts is patient and jammy, sounding open, lush and bright while retaining a heaviness that is neither directly shoegaze-based nor aping those who came before. The trio affect spacious vibes in the winding threads of lead guitar and half-hints at All Them Witches in “Cycling Lines,” and cast themselves in a nod for “Verge” at least until they pass that titular mark at around five and a half minutes in and pick up the pace. With “Black Horizon” the groove is stonerized, righteous and familiar, but the cosmic and heavy psych spirit brought forth has a nascent sense of character that the fuller fuzz in “Caspian Dust” answers without making its largesse the entire point of the song. Loaded with potential, dead-on right now, they make themselves the proverbial ‘band to watch’ in performance, underlying craft, production value and atmosphere. Takes off when it takes off, is languid without lulling you to sleep, and manages to bring in a hook just when it needs one. I don’t think it’s a listen you’ll regret, whatever list I end up putting it on.
Posted in Whathaveyou on May 11th, 2022 by JJ Koczan
Situated in the hotbed of heavy that is Mexico City, the two-piece Terror Cósmico are set to release their fourth album (and first in four years) Miasma on May 23 through UK imprint Stolen Body Records. The links are below if you want to just hit it and quit it — I won’t be offended — and if you need more info on what’s up, I might recommend you just dive into the six-minute album opener “Necromorfo,” for which there’s a new video at the bottom of this post. The instrumentalist track is what Karma to Burn might’ve been had they been raised on Gojira, but its heart and its tones are clearly given to capital ‘H’ heavy, which they admirably shove along at a near-thrasher’s pace.
I’d say something here like, “hey, cool vibe,” but it kind of vibes like a downward mental spiral. So maybe I’ll just say I hope everyone’s alright.
Info from the PR wire:
Stolen Body Records – TERROR CÓSMICO – MIASMA PRE ORDER
Stolen Body Records is thrilled to announce the release of Mexican Doom Metal band Terror Cósmico’s first album in 4 years – Miasma. Out on LP/CD/DL on May 23rd.
Miasma is the fourth album from Mexico City based duo, Terror Cósmico. The record takes a different turn in production from past albums, having a more aggressive tone, having drums and guitar recorded separately in the studio, being able to create an intense and surrounding sound.
Miasma is made up of 8 tracks which deliver a great range of emotions, going through desperation, anguish and desolation mixed with an air of nostalgic mystery.
Recorded in January of 2021 in Testa Studio in Leon, Guanajuato, Mexico. The sessions held a vibe of doubt and fear to what the pandemic could bring. The album is charged with all the emotions of a very strange moment in our timeline. The artwork was a commissioned task by Portland artist Jason Barnett.
Track Listing Necromorfo En un lugar frío y desolado Carbunco Alguien vendrá desde el fondo del mar Cepa mortal Las máquinas colapsan Tonalpohualli Se mueren
Posted in audiObelisk on August 29th, 2018 by JJ Koczan
Mexico City-based duo Terror Cósmico have a Sept. 3 digital release date for their aptly-titled third album, III. With impending CD issue via Concreto Records to follow and vinyl sometime in 2019 — presumably before they embark on a European tour in May — the two-piece of guitarist Javier Alejandre and drummer Nicolás Detta make an impression in crunch tones, hard-hit drums and a variety of atmospheres from the Earth-meets-near-traditional doom of opener “Nocturno” through the ambient-vocalized “La Cabalgata de Asmodeo” and the foreboding tension in the dirge “Hypnos.” The screams in “La Cabalgata de Asmodeo” and the growls/throatrippers later in the penultimate “Salió de Pantano” are standout moments, to be sure, but ultimately they become part of the atmosphere created by the guitar and drums, surely influenced in its most raging moments by bands like Black Cobra but having more in common in Alejandre‘s tone on “Kronosauris” with the defunct Beast in the Field, though even that comparison is a stretch as Terror Cósmico set off on the 10-minute journey that is closer “La Montaña,” a patient build that disintegrates in its second half only to ebb and flow again before its sudden cold-stop finish. There’s even some melody late in the guitar, just in case you think you might have Terror Cósmico at all figured out.
And from the rumble and spaciousness of “Nocturno” onward, the seven-track/43-minute offering never quite gives its audience a chance to be fully hypnotized. “Nocturno” has underlying movement and a subtle angularity that’s just enough to stave off trance-inducement, and just when it might begin to dull the consciousness, “Tlatecuhtli” picks up directly with a more active thrust and popping, forceful snare work and an ultimate noise assault that’s as precise as it is tonally and rhythmically dense. It probably doesn’t need to be noted that for all their lacking a bassist there’s no shortage of low end in Alejandre‘s guitar, and as he loops through layers and tops a steady rhythm line with a scouring lead on “Kronosaurus,” the sound is indeed full and deep-running. They’re three albums in, and have several other singles and shorter-releases besides, so Detta and Alejandre have a clear sense of what they want their sound to do and the impact they want it to make, and III manifests that in both an aggressive pummel and steady-handed shifts in mood. “La Cabalgata de Asmodeo” is the centerpiece and particularly extreme in both its faster and slower stretches — and Detta does excellently in leading the way through both — but even there, Terror Cósmico remain coherent and able to slip into a second half of relatively-minimalist guitar, the residual noise fading en route to “Hypnos.”
Following behind 2015’s Devorador de Sueñosand 2013’s Muerte y Transfiguración, III is a record for which genre is a thing to be manipulated to suit its own ends, not the other way around. As Terror Cósmico roll and nod through “Salió del Pantano,” which is the shortest inclusion at 4:11, the full-album flow of which that song is part becomes all the more apparent, and with “La Montaña” still to climb, there’s no loss either of the presence of the band’s delivery or the deceptive breadth they conjure in the material. Though it would seem to be a contradiction to have a two-piece that’s as expansive as it is crushing, Alejandre and Detta break the glass of expectation and use the shards to expose the raw flesh of their creation. It is a powerful and consuming release.
Below, you can stream the premiere of “Salió del Pantano,” which you’ll find on the YouTube embed followed by some more info off the PR wire. More on the European tour when I hear it, but in the meantime, please enjoy:
Terror Cósmico, “Salió del Pantano” official track premiere
An instrumental duo born in 2012 in Mexico City, Terror Cósmico is made up of guitar and drums. Even with only two instruments, the dynamics of their music lead you from mystic and harmonic passages to dark and violent cuts.
On September 2013 they released their first full-length album, “Muerte y Transiguración”, with the Mexican label Concreto Records. With this material they toured México, the U.S. and Argentina. On August 2015 they released their second album, “Devorador De Sueños” (Concreto Records), this time touring Mexico, the west coast of the US and finally Europe alongside mexican stoner metal band “Weedsnake” through 2017´s summer. In 2018 the band will release their 3rd full length album.
Third LP from the Mexico City duo, having as title the number of release “III”. The band shows 7 tracks redefining the sound they’ve had since the beginning. Recorded at Testa Studio in Leon, Guanajuato in May 2018. The tracks travel through different sonic sceneries, going through introspective ambient moods to raw and aggressive songs that mutate with each other. An album that maintains the sound of the band but has new elements, more loops and vocals without lyrics in 2 tracks. The artwork is done by Karmazid and the album will be released on September 3 in all digital platforms. Cd will be released by Mexican label Concreto Records before the end of the year and vinyl will be coedited by different labels for next year.
Posted in Whathaveyou on July 27th, 2016 by JJ Koczan
Mexican upstarts Vinnum Sabbathi are on the cusp of releasing their debut full-length, Gravity Works, and to herald its arrival they’ll hit the road at the end of next month alongside Terror Cósmico for a quick run of shows in cities like Guadalajara and Monterrey before closing out with a gig together in Mexico City a few nights after the tour-proper ends. You might recall Vinnum Sabbathi issued their Fuzzonaut split (review here) with Bar de Monjas last year, and Terror Cósmico‘s own sophomore album, Devorador de Sueños, will have been out for a year by the time the tour starts.
The Fuzzonaut split left an encouraging impression of Vinnum Sabbathi, so I’ll look forward to hearing what might be in store with Gravity Works, but in the meantime, you can find a brief announcement on the album — which will be out through LSDR Records and Aim Down Sight Records — and the tour dates below:
Terror Cósmico & Vinnum Sabbathi will be touring 6 cities around Mexico plus a show in Mexico City where the bands are based during the end of August and beginning of September.
Terror Cósmico are promoting their second album “Devorador De Sueños” wich came out on August of the last year via Concreto Records, their live sets will also include a bunch of songs from their debut album “Muerte Y Transfiguración” also released by Concreto Records.
Vinnum Sabbathi will be supporting their upcoming first Album “Gravity Works” to be released in later August via LSDR Records in Mexico and Aim Down Sight Records in Germany.
Terror Cosmico/Vinnum Sabbathi Mexico Tour 2016 Tour Dates 25.08.2016 – Queretaro – Cultubar 26.08.2016 – Jalisco – Foro Independencia 27.08.2016 – Morelia – Jeudi 27 01.09.2016 – Matehuala – Soul Rebels Bar 02.09.2016 – Monterrey – Nodriza Studio 03.09.2016– San Luis Potosi – Loud Open Stage 09.09.2016 – Mexico City – El Mundano
