End of the World Festival 2019: Dead Witches, Elephant Tree, Tuskar, Oak & More to Play

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

end of the world festival logo

At very least, it’ll be the end of your liver. Nestled into the southwest of England in the port town of Plymouth, the third End of the World Festival 2019 is set to feature the formidable likes of Dead Witches, Elephant Tree, Gandalf the Green, Cybernetic Witch Cult, Lacertilia, Oak and a likewise formidable slew of others for a one-dayer that looks like a marathon and will likely feel like one for anyone in attendance over the age of 30. As a one-and-done-type event, it’s a celebration of the UK’s native scene, which is indeed worthy of celebrating, and its lineup showcases not only regional heavy, but a bit of the various forms in which that heavy plays out — some sludge, some rock, some doom, some this, some that. There’s a lot to dig here, so needless to say I’ll be sailing in for it.

Nah, not really, but that would be awesome. Book project! I set sail from Massachusetts’ Plymouth to the real Plymouth for a fest, caught in a storm, stranded on an island, etc. The whole bit.

Ah screw it. Here’s the lineup:

end of the world festival

End Of The World festival in Plymouth is in their third year, showcasing some of the best stoner, psych, doom and sludge metal bands in the UK. This year they’ve expanded to include Dead Witches, featuring the legendary Mark Greening (ex-Electric Wizard). These are exclusive South-West shows for many of these acts; the event typically showcases the South-West scene but has expanded to include Manchester’s Ritual King, Welsh alt-stoner act Heavy on the Ride and London-based blues-doom outfit Oak. In their third outing, they’re stronger than ever and hoping for their best turnout yet.

The event takes place between The Underground and The Junction in Plymouth on 06.07.19.

The bands playing are:

Mother Vulture
Oak
Heavy on the Ride
Victus
Gandalf the Green
Greenhorn
Ritual King
Beggar
Lacertilia
Tuskar
Cybernetic Witch Cult
Elephant Tree
Mother Vulture

Tickets are £15 in advance or £17 OTD

Ticket link: https://cyberneticwitchcult.bigcartel.com/product/end-of-the-world-festival-2019-ticket

https://www.facebook.com/events/2306912209531667/
https://www.facebook.com/endoftheworldfestivalUK

Elephant Tree, “Dawn” live at HRH Doom vs. Stoner 2018

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Quarterly Review: Blood of the Sun, Evoken, IAH, Asylum, Merlin, The Hazytones, Daily Thompson, Old Man Lizard, Tuskar, Space Coke

Posted in Reviews on December 11th, 2018 by JJ Koczan

quarterly-review

I had to think long and hard just now about what day it is. It’s Tuesday. — See how confident I was in saying that? A mask for insecurity, as always.

Anyway, the QR continues today with 10 more records and a pretty solid mix of whatnot. Some of this I’ve written about before here, but basically want to have another shot at the records themselves, so as we wind down 2018, it seems like the time to do that is now. As always, I hope you find something you dig. Seems pretty likely, frankly. If you go the entire 100 records with nothing but a “meh” to show for it, the problem isn’t likely to be the records. Not trying to insinuate anything, I’m just saying. 100 records is a lot. 10 records is a lot. And that’s what we’re doing today, so let’s get going.

Quarterly Review #61-70:

Blood of the Sun, Blood’s Thicker than Love

blood of the sun bloods thicker than love

Drummer Henry Vasquez (also Saint Vitus) returns to his ultra-Texan heavy rock roots with Blood of the Sun‘s first album in six years, Blood’s Thicker than Love (on Listenable). Driven by his own fervent rhythmic push, the six-song collection is given further classic heavy vibe through the prominent organ/keyboard work of Dave Gryder. Oh, and also the riffs from newcomer guitarists Wyatt Burton and Alex Johnson. Oh, and also bassist Roger “Kip” Yma‘s quick turns on bass. Oh, and also Sean Vargas‘ vocals. So yeah, pretty much the whole damn thing is classic uptempo heavy boogie, produced modern but making no mistake about where its heart lies. Vargas‘ voice has a pre-metal swagger that helps define tracks like “Livin’ for the Night” and the capper “Blood of the Road,” and while the follow-up to 2012’s Burning on the Wings of Desire (review here) is enough to make one wistful for the days when their contemporaries in Dixie Witch once also roamed the land, Blood of the Sun make classic rock their own and give it a vibrancy that’s nothing if not a show of love, regardless of how thick that may be.

Blood of the Sun on Thee Facebooks

Listenable Records on Bandcamp

 

Evoken, Hypnagogia

evoken hypnogogia

Unremitting. Unrelenting. Unforgiving. Whatever else one might say about New Jersey death/doombringers Evoken, it better start with the prefix “un-.” The negativity runs through the 60 minutes of their latest work, Hypnagogia (on Profound Lore), and one would expect no less than the ultra-mournful crush of “To Feign Ebullience” or the buzzing, resonant disdain of “Valorous Consternation,” the string sounds playing such a large role in crafting both the melodies and the relentless nature of their lung-deflating atmosphere. They may only break into speedier sections on rare occasion, but there’s no way to listen to Hypnagogia and call it anything other than extreme metal. It’s so cast down and so grinding that it not only conveys mood but affects it. Evoken are masters of the form, of course, and while Hypnagogia is their first full-length since 2012’s Atra Mors (review here), their history spans more than a quarter-century and time seems only to have made their miseries plunge even deeper.

Evoken on Thee Facebooks

Profound Lore Records website

 

IAH, II

iah ii

In part, the gift that Argentinian trio IAH give with their aptly-titled second outing, II — following their 2017 self-titled debut EP (review here) — is to allow their parts to flesh out naturally across the six-song/38-minute span, so that even as second cut “HH” turns to more weighted chug, that in turn evolves into something no less spacious than the drift brought to bear in the second half of the later “La Niña del Rayo,” which makes its way ultimately through similar interplay. This back and forth is exceptionally smooth throughout II, as the instrumental outfit blend heavy psychedelia and progressive metal with an unflinching cohesion of their songwriting. The longest inclusion is the penultimate “Pri” at 7:35, which caps with massive start-stops en route to closer “Sheut,” which serves as one last showcase of the cosmic doom dynamic burgeoning in the band’s sound, as much ready to depart the earth as leave impact craters on it.

IAH on Thee Facebooks

IAH on Bandcamp

 

Asylum, 3-3-88

asylum 3-3-88

The band who a short time later would evolve into Unorthodox, Asylum have long stood as a testament to the enduring power of Maryland doom. 3-3-88 is the second official issue of their material Shadow Kingdom has stood behind, following 2008’s reissue of 1985’s The Earth is the Insane Asylum of the Universe (review here), and it’s no less a document of the classic metal that’s still very much the foundation of what Maryland doom is. From the Sabbathian opening of “World in Trouble” and the later “Psyche World” to the kind of feeling-out-the-riff happening in “Funk 69” and the concluding instrumental “Unorthodox,” there’s a rawness to the sound that suits it well in the spirit of Pentagram‘s First Daze Here, but even in barebones form, Asylum‘s doomly vibes brook no bullshit and weed out the feint of heart. Straightforward working-class doom grit stripped to its essentials. Hard to ask for anything more when you actually hear it.

Unorthodox on Thee Facebooks

Shadow Kingdom Records website

 

Merlin, Dank Souls and Dark Weed: A Live Experience

merlin dank souls and dark weed

Kansas City doom rockers Merlin expanded to a six-piece early in 2018, and Dank Souls and Dark Weed: A Live Experience, as the title hints, captures this form of the band on stage. They’re playing a hometown gig at the Riot Room, and from the nodding groove that opens with “Abyss” from this year’s The Wizard (review here) to the extended reaches of a 19-minute take on “Tales of the Wasteland” that’s actually shorter than the studio version from 2016’s Electric Children (review here), the band explore reaches that are vast with a patience befitting their quickly-earned veteran status. The recording is remarkably clear and allows for the wash of “The Wizard Suite” to be discernible in its progressive rollout, and as they close with “Night Creep” from the 2016 LP, their energy comes through no less prevalent than the distortion driving it forward. The crowd are right to holler.

Merlin on Thee Facebooks

Merlin on Bandcamp

 

The Hazytones, II: Monarchs of Oblivion

the hazytones ii monarchs of oblivion

Touching on garage-doom influences, Montreal three-piece The Hazytones effectively sleek into the groove of “The Great Illusion” on their second Ripple LP, II: Monarchs of Oblivion, finding a balance between swing, melody and heft that pushes beyond the seemingly-requisite Uncle Acid influence to a place that isn’t shy about working in crisp tones or unabashed vocal harmonies. The title-track is a two-parter, and touches on theatrics-sans-pretense in the first piece while dedicating the second to following a central riff well worthy of the attention they give it toward a galloping solo finish. Opener “Empty Space” sets a creper vibe, and by the time they’re down to finishing out with the “Hole in the Sky”-style riff of “The Hand that Feeds,” that sensibility is reaffirmed as an essential component of The Hazytones‘ aesthetic. Whether it’s the chugging “Hell” or the way-blown-out “The Beast,” they hold firm to that central purpose and work with it to effect a sound that one can hear becoming their own all the more.

The Hazytones on Thee Facebooks

Ripple Music on Bandcamp

 

Daily Thompson, Thirsty

daily thompson thirsty

Three albums in, Dortmund’s Daily Thompson indeed sound Thirsty — or maybe it’s hungry, but either way, the Dortmund trio’s MIG Music offering captures a tight presentation based around nonetheless natural energy born of their time on tour, as the three-piece of guitarist/vocalist Danny Zaremba, bassist Mercedes, and drummer Stefan Mengel touch on Spidergawd-style classic heavy rock strut with “Brown Mountain Lights” and make their way through the semi-acoustic drift of “Stone Rose” and toward the later roll of “River Haze” with a trail of hooks behind them. Songwriting is central to what they do, but while Thirsty isn’t a minor undertaking at a CD-era reminiscent 10 songs/53 minutes, the band offer a chemistry between them and a fullness of sound that allows them to play to different sides of their approach, be it the fuzz-blues of “Gone Child” or the final summation “Spit out the Crap” that seems to shove all the more to its cymbal-wash finish. The title Thirsty brings to mind connotations of need, but Daily Thompson sound like they’ve got it all taken care of.

Daily Thompson on Thee Facebooks

MIG Music website

 

Old Man Lizard, True Misery

old man lizard true misery

A strong enough current of noise rock runs beneath Old Man Lizard‘s True Misery (on Wasted State) that leadoff track “Shark Attack” is enough to remind of Akimbo‘s Jersey Shores, and in under two minutes, the subsequent “Snakes” ties that into crawling-paced doom riffery such that the lumbering “Tree of Te?ne?re?” opens like the gaping jaws of some deep-sea trench. From there it unfolds a bit more uptempo than one might initially think, but it shows how fluidly Old Man Lizard shift from one impulse to the other. Accordingly, True Misery plays out with familiar-enough tones put to deceptively subtle and unpredictable purposes, making one-two highlights of the eight-minute back-to-backers “Cursed Ocean, Relentless Sea” and “Misery is Miserable” — which says it all, really — ahead of the finale, well titled “Return to Earth.” A better band than people know, Old Man Lizard bring a progressive touch to what from many others would just be sludge riffing — a bit of Elder on that closer — and manage to do so without losing touch with the righteousness of their groove. True Misery takes a couple listens to sink in, but well earns those and more besides.

Old Man Lizard on Thee Facebooks

Wasted State Records website

 

Tuskar, The Tide, Beneath, The Wall

tuskar the tide beneath the wall

Tuskar‘s second offering through Riff Rock Records arrives titled for its three songs, “The Tide,” “Beneath” and “The Wall,” and comprises three tracks of largesse-minded sludge, burying its shouted vocals beneath mountainous low end. The Tide, Beneath, The Wall sets itself up through noisy churn and a roll that’s somehow misanthropic at the same time it seems well geared to have an entire bar headbanging. Either way, the feedback-worship in “The Wall” — sure enough a massive thing to slam into — makes a fitting end to the 20-minute release that seems to run so much longer, as “The Tide” and “Beneath” each set forth a grueling sprawl of malevolence that touches on the chaos to come without ever fully giving away what’s in store for the finale. At the same time this assault is cast, there’s an atmosphere to the proceedings as well such that Tuskar aren’t simply bludgeoning for the sake of bludgeonry, but finding a place for themselves within that in order to develop their attack. They do that successfully here and sound well up to the inevitable task before them of a debut full-length.

Tuskar on Thee Facebooks

Riff Rock Records website

 

Space Coke, L’Appel du Vide

space coke lappel du vide

I just about never do this, but I’m gonna go ahead and make the call: Space Coke‘s L’Appel du Vide is going to get picked up for a vinyl release in 2019. I don’t know who, how or when, but it’s basically a lock. The Columbia, South Carolina, organ-laced four-piece play classic-as-now heavy rock with right-on songcraft and a hard-hitting presentation that’s begging for some label with ears to hear it and press it to the platter it deserves. Be it the molten unfolding of the title-track or the fuzz-swirl of “Thelemic Ritual” or the cosmic stretch of “Kali Ma,” they’re locked in to a degree that utterly defies the notion that this is their first record, and from the vocal-effects smash in “Lucid Dream” and the samples laid over-top of “Interlude,” there’s never really a sense of where Space Coke — extra kudos for the Cheech & Chong reference — might go next, and yet their sound is cohesive, directed, and well aware of exactly what it’s doing and what it wants to do. Never a guarantee of anything in this world, but with Space Coke‘s take on modern stoner sprawl, I’d be amazed if someone didn’t grab this in the New Year, if not before. Eyes peeled on the PR wire for the announcement.

Space Coke on Thee Facebooks

Space Coke on Bandcamp

 

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Cvltfest 2018: Witchsorrow, Desert Storm, Mastiff, Diesel King, BongCauldron and More to Play

Posted in Whathaveyou on October 19th, 2018 by JJ Koczan

Well, you know I’m a sucker for a good all-dayer, and Cvltfest 2018 hits that mark with a super-sludged lineup of UK-based acts including BongCauldronMastiffPIST and Witchsorrow, among a slew of others slated to appear. The fest is Nov. 10 — one day only — and will include a staggering 13 acts to pummel those fortunate enough to be in attendance into the hard ground of Scunthorpe’s Cafe INDIEpendent. I looked and that’s just over two hours by train from King’s Cross in London, but if a full day of sludge thrown in your face isn’t worth the trip, then I don’t know what is.

Info and ticket links follow for those up for the journey:

cvltfest 2018

CVLTFEST 2018

One day. 13 heavy bands. Scunthorpe, UK

Scunthorpe is the United Kingdom’s largest steel processing centre, also known as the “Industrial Garden Town”. Other than that, it’s an unremarkable small town where the Wacky Warehouse is listed as one of the 5 best places to visit.

It would be fair to say, then, that Scunthorpe isn’t ready for the musical bombshell which will be dropped on it on Saturday 10th November. At the Café INDIEpendent – which is a coffee house during the day and an arts venue at night – 13 of the UK’s noisiest, gnarliest riff machines will be plugging into obscene amounts of amplification and giving the sleepy northern town a good hiding. Welcome to Cvltfest!

Lizard King Promotions have secured WITCHSORROW, Candlelight Records recording artists and one of doom metal’s most happening propositions, as headliner. There are six bands performing from the up and coming APF Records roster including Oxford’s stoner rock legends DESERT STORM, northern sludge titan’s BONGCAULDRON, riff juggernauts DIESEL KING, Hull sludgecore merchants MASTIFF, Bury drunks PIST and Manchester’s BARBARIAN HERMIT, who are launching their new album “Solitude And Savagery” in November. Also appearing are sludge metal trio EVEREST QUEEN, Grimsby stoner doom crew CHURCH OF LIES, blues rockers RITUAL KING, psychedelic stoners DELTANAUT, French doom sludge marvels CRACKHOUSE and the massive noise rock duo TUSKAR from down south.

If all goes to plan, there will be no Scunthorpe on Sunday 11th November. It will lie in ruins.

Lizard King Promotions proudly presents CVLTFEST 2018

On November 10th, 2018 @ Cafe INDIEpendent, Scunthorpe

You have prayed to the God’s of Tone, and the Lizard King will deliver once again!

LINEUP:
Witchsorrow
Desert Storm
PIST
BongCauldron
Diesel King
Barbarian Hermit
Everest Queen
Ritual King
Church of Lies
Deltanaut
Mastiff
Tuskar
CRACKHOUSE

(Running order / set times coming soon)

Doors: 12pm
Adv Tickets: £10 (Plus admin)
OTD: £15

Event page:
https://www.facebook.com/events/312064439353101

Tickets:
https://lizardkingpromotions.bigcartel.com/product/cvltfest-lkp-all-dayer

Venue:
http://cafeindiependent.org.uk/

https://www.facebook.com/LizardKingPromotions
https://lizardkingpromotions.bigcartel.com
http://instagram.com/lizardkingpromotions
https://twitter.com/LizardKingPromo

Witchsorrow, No Light, Only Fire (2015)

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Desertfest London 2018 Lineup Complete: Hawkwind, Radio Moscow, Wino, Sourvein, Monolord, Kind & Many More Added

Posted in Whathaveyou on February 1st, 2018 by JJ Koczan

A well-earned slow clap for Desertfest London 2018 on the occasion of completing what is unquestionably its broadest, biggest and most staggering lineup to-date. The festival has been outdoing itself every year since it got going, but this is a different league entirely. Kudos all around to the Desertfest London team. I really feel like there’s nothing else to say about it. It’s just amazing what these people have put together and I hope that those who are fortunate enough to be there realize the special event to which they’re bearing witness, because that’s what this is. Truly something special.

Here’s the final lineup update:

desertfest london 2018 square

Psych legends Hawkwind + complete lineup announced for DESERTFEST LONDON 2018!

DESERTFEST LONDON announce the final acts for its 2018 edition on May 4-6th in Camden, including psych legends HAWKWIND, plus The Quietus, Human Disease Promo & Nightshift Promotions stages all revealed.

Yes, you read that title correctly. Desertfest are honoured, thrilled, losing our minds, quivering in our boots to reveal that one of the most influential English bands in heavy musical history are gracing us with our presence this May, seminal space-rockers HAWKWIND will return to the hallowed ground of The Roundhouse to play a very special performance as main support to Monster Magnet. Hawkwind require no real introduction – genre-defining mavericks since 1969, it’s safe to say most of your favourite bands wouldn’t exist without Hawkwind; their legend precedes them, expect a life affirming, life altering show. We are beyond excited.

Yet more Carolina goodness is coming Desertfest’s way, underground skater heroes ASG will make their psych riddled, post-punk sound heard across London, earplugs recommended, party times guaranteed. 70’s blues-soaked hard rockers RADIO MOSCOW will also make their return, following a recently sold-out performance at The Borderline – this trio of psychedelic power are being met with hugely high acclaim and for a damn good reason. They’re groovy, heavy and damn near perfect.

No strangers to the Desertfest, doom heroes MONOLORD are back to offer up some of the finest riffs to have ever come out Sweden’s smoke. Fuelled by bongs and black coffee, they are one of the favourite returning acts for the fest – y’all better get in the queue now if you don’t want to miss it. Another act from the dirty South comes in the form of SOURVEIN, sludge and crust blended together in perfect guttural harmony. Leading man T-Roy’s been fighting the good fight for over two decades and the band are now easily at their strongest. Not one for the faint hearted.

Alongside his performance with The Obsessed, leading man WINO will perform an acoustic set across the Desertfest weekend. Last time we had the frontman play an acoustic set at DF the queue was out the door, it’s stripped back but still totally heavy. Belgian bulldozers STEAK NUMBER EIGHT are making a long awaited appearance at Desertfest London, a postmetal powerhouse their live performances have been met with high praise around Europe. A hypnotic haze will fall when the mighty DOPELORD take the stage, sickeningly smooth vocals hit the good spot whilst thunderous riffs and a mind altering magnitude of heavy rattle your core.

Also filling up the final line-up are newcomers DEAD WITCHES, psychedelic New York masters KING BUFFALO, out of this world riff rockers KIND, British noise rockers CATTLE plus NECROMANCERS, CRUMPET, SOLLEME, LIONIZE, LNN, CHRCH, MASTIFF, TUSKAR, TOM CAMERON and LO CHIE

ALSO RECENTLY ANNOUNCED:

The Quietus stage

The Quietus Stage usually brings some of the more diverse bands to Desertfest and this year is no different. Headlining the stage at The Black Heart on Friday 4th May are WHITE HILLS whose concentrated blasts of interstellar noise with a tank load of psychedelic glam makes them the truest space rock goliaths of our time. They’ll be joined by GHOLD, SNAPPED ANKLES, MELTING HAND, CASUAL NUN and SWEDISH DEATH CANDY.

Nightshift Promotions stage

The melodic tones of DARKHER will be headlining this year’s Nightshift Promotions stage at The Dev at Desertfest 2018. They’ll be joined by a diverse, but equally dark lineup which brings post-metal from TELEPATHY and SNOW BURIAL, the experimental noise of CROWD OF CHAIRS, blackened doom from MONOLITHIAN and the sludge of THE MOTH.

Human Disease Promo/When Planets Collide stage

This year the Human-disease Promo and When Planets Collide Stage has gone for an all out colossus of weighty heaviness for Desertfest 2018. Headlining the stage are WEEDEATER, making their second appearance of the weekend with a special early years set. They’ll be joined by Denver’s most crushing PRIMITIVE MAN, Canadian bruisers BISON, Swedish heaviness from SUMA, St Louis filthsters FISTER, Notts nasties MOLOCH and heavyweight duo BISMUTH.

http://www.desertfest.co.uk/
https://www.facebook.com/DesertfestLondon
https://www.instagram.com/desertfest_london/
https://twitter.com/DesertFest
https://www.instagram.com/desertfest_london/

Hawkwind, Warrior on the Edge of Time (1975)

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Tuskar Sign to Riff Rock Records; Arianrhod EP out Oct. 20

Posted in Whathaveyou on September 8th, 2017 by JJ Koczan

I don’t know how schooled you might be on Welsh mythology, but the shit is complex. That’s where the title of Tuskar‘s debut EP, Arianrhod, comes from, and after falling down an internet rabbithole of summary reading of the story of the goddess-esque figure sharing that name, I feel no closer to understanding any kind of story involving the character than I was when my perspective was, “Hmm, I wonder what the word ‘Arianrhod’ means.” Score me a zero in reading comprehension, I guess. I remain ignorant as hell. Big surprise.

I’m flying likewise blind on what Tuskar actually sound like, since although the EP was previously been released, it’s been taken down from their Bandcamp ahead of its Oct. 20 issue through Riff Rock Records, and though there’s a stream through Spotify below, I don’t actually have a Spotify account because I’m fucking lame or whatever, so yeah. But hey, the EP is a thing that exists and the label’s cool, so there you go. It’s been that kind of morning.

Fortunately the PR wire can fill in the rest of the details:

tuskar

Riff Rock Records new signing – Tuskar

Milton Keynes “nuclear sludge” duo Tuskar have signed to Riff Rock Records.

The two-piece’s debut EP, “Arianrhod”, will be available on CD from Riff Rock Records on October 20th. It was recorded at The Cro’s Nest studio by Sam Thredder (Slabdragger).

Despite having formed less than a year ago, vocalist and drummer Tyler Hodges and guitarist Tom Dimmock’s chemistry is unmistakable both live and in the studio. The two 20-year olds have grown up playing together in bands and have struck out on their own with material that owes as much to Conan and Sleep as it does bands like Behemoth and Darkthrone.

Drummer and vocalist Tyler Hodges says of the signing: “We’re really excited to be a part of Riff Rock. We can’t wait for this chapter of our journey to start, and we can unleash the riff upon the masses. We’ve had an exciting year so far and with Riff Rock behind us it doesn’t seem like it’s going to slow down anytime soon!”

Tuskar plan to record another EP with Thredder before the end of 2017 to be released worldwide through Riff Rock, and a debut full-length will follow in 2018.

You can listen to and pre-order “Arianrhod” on Tuskar’s Bandcamp page (https://tuskar.bandcamp.com/album/arianrhod), or stream on all streaming services.

Riff Rock Records was started in 2015 to promote the best from the UK’s underground heavy scene. Riff Rock is extremely excited to add Tuskar to its roster which already boasts Afro-psych trio Vodun and tie-dye fuzzlords Chubby Thunderous Bad Kush Masters.

Tracklisting:
1. Fateweaver
2. Where Strides The Colossus
3. Toegrinder
4. Moon-Hooch
5. Crimson Skull

Tour dates:
11/09 – w/ Jucifer, Underworld, London
12/09 – The Star, Guildford
14/09 – w/ Jucifer, Anvil, Bournemouth
16/09 – Factory, Manchester
22/10 – New Cross Inn, London
04/11 – The Dev, Camden
10/11 – The Red Lion, Stevenage
01/12 – The Swamp, Reading
03/12 – The Craufurd Arms, Milton Keynes
3/2/18 – Underworld, Camden w/ Slomatics, Slabdragger, Chubby Kush

Tuskar is:
Tom Dimmock- Riffsmith (guitar)
Tyler Hodges-Throat Lord and Skin Smasher (vox and drums)

http://facebook.com/TUSKARband
http://tuskar.bandcamp.com/
https://www.facebook.com/RiffRockMusic/
https://twitter.com/riffrockrecords
https://www.riffrockrecords.co.uk/

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