Wren Post “The Herd” Video

Posted in Bootleg Theater on June 15th, 2017 by JJ Koczan


Preorders are up now for Wren‘s debut album, Auburn Rule, which is out July 14 via Holy Roar Records. How’s that old song go? To everything, churn, churn churn? Something like that. The post-sludging UK four-piece seem to have taken that ethic to heart either way, if “The Herd” is anything to go by. It’s the first audio to be made public from Auburn Rule, which follows Wren‘s 2016 EP, Host (review here), a 2015 split with Irk (review here) and their 2014 self-titled debut EP (review here), and it would seem to be the next logical step forward in their sonic development, which has proven equal parts menacingly heavy and markedly progressive.

Like the song itself, the video for “The Herd” wants little for atmosphere. In fact, that’s kind of the whole thing. Black and white nature shots, hooded figure, dark grayscale kaleidoscopic imagery — all of it is appropriately suited to Wren‘s aggressive but spacious aural crux. The band has pointedly evolved with each new offering, and “The Herd” seems to take its cues from where they were with Host in its cerebral flow from one movement to the next as Wren evoke bleak pastures akin to the clip’s visual depictions. Hardcore roots shine through in starts and stops and the buried-beneath-tone shouted vocals, lending even more bite strength to the track’s sharpened-tooth assault.

Auburn Rule is out in less than a month, and I have my doubts “The Herd” will be the last sneak preview given to listeners before it arrives, so keep an eye out. I’ve been looking forward to finding out what Wren can do in the context of a first full-length since I heard the EP three years ago, and I continue to be excited at the prospect after getting to know this track better. I’ll hope to have more to come soon.

Till then, dig in and enjoy:

Wren, “The Herd” official video

Taken from their debut album ‘Auburn Rule’.

Out 14.07.17 on Holy Roar Records, preorder now: www.holyroarrecords.com

Directed by: www.gardenback.com

Following on from the release of their ‘Host’ EP last year, London-based progressive sludge/noise-rock four-piece Wren, have announced details of their new album ‘Auburn Rule’, which is due out 14th July 2017 via Holy Roar Records.

To coincide with the release of ‘Auburn Rule’ Wren have also announced a short UK release tour with Fvnerals, they will be playing the following dates:

30th June – London – Birthdays
1st July – Birmingham – The Flapper
2nd July – Bristol – The Cube
3rd July – Cardiff – The Full Moon
4th July – Brighton – The Prince Albert

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Witch Charmer Post “Copernicopia” Video

Posted in Bootleg Theater on June 14th, 2017 by JJ Koczan

witch charmer

Maybe it’s my heavy metal roots, but I remain a sucker for some good wordplay. Accordingly, the title of UK five-piece Witch Charmer‘s new track/video immediately caught my eye. Well, maybe not immediately. I had to read it twice, but once it sunk into my lizard brain, I got a legit chuckle out of “Copernicopia” — it’s like a cornucopia of Copernicus! — and the doomers back up that weighty song name with a rolling riff and trades between ethereal themes and burly delivery in the verses and choruses, so all the better. I guess when you decide to call something “Copernicopia” you have to make extra sure it doesn’t suck. Fair enough.

I hope someone will correct me if I’m wrong, but I believe “Copernicopia” is the first new material to come from Witch Charmer since the band’s 2014 full-length debut, The Great Depression (review here), which makes the track all the more of an event. Frontwoman Kate McKeown and drummer Dave McQuilan share vocal duties, first in call and response as the former brings a sensibility to the early going not unlike what Sharie Neyland did for The Wounded Kings during her time with that sadly-defunct outfit, and the latter answering with a gruff dudeliness of the sort found throughout London’s busy heavy rock underground, eventually taking the fore over an uptempo section in the second half.

The video was recorded live, and presumably the same applies to the audio, so I don’t know if Witch Charmer have a new studio release in the works or where they might be in that process, but they’re clearly been putting together songs, so however they might show up, you won’t hear me complain.

Check out “Copernicopia” below, followed by more info/background on the band. Hope you enjoy:

Witch Charmer, “Copernicopia” live Blank Slate Session

Witch Charmer perform ‘Copernicopia’

Camera/Editor: Graeme Baty. Camera: Kenzie Cairns. Sound: David Curle First Ave Studios, Newcastle, Heaton

Witch Charmer are a five piece that play a unique blend of stoner rock, doom, metal & blues to create a rich tapestry to tell stories of darkness and depression about this world gone mad.

Euphoric Curse was the band’s first EP. It was self released on Bandcamp.com as a free or ‘name your price’ Mp3 download, as well as 2 pressings of 100 CDs. It received a great response from the underground stoner rock and doom scene. The response to Euphoric Curse invited a few interested record labels, Witch Charmer decided to work with Italy’s Argonauta Records to release their debut album ‘The Great Depression’ on CD & Mp3 worldwide in September 2014. The Great Depression was also released on Limited Edition cassette by Hevisike Records.

Witch Charmer is:
Kate McKeown – Vocals
Dave McQuillan – Drums & Vocals
Len Lennox – Guitar & Vocals
Adam Clarke – Guitar & Vocals
Richard Maher – Bass

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Conan & Monolord Announce Co-Headlining European Tour

Posted in Whathaveyou on June 14th, 2017 by JJ Koczan

Goodness gracious this is going to be heavy. If you live somewhere in Europe they’re not hitting or in the US and you’re jealous that Conan and Monolord won’t be co-headlining their way across your particular country this time around, don’t worry. I’m pretty sure wherever you’re at you’ll be able to hear them anyway. Just put your ear to the ground — not in a dirty or wet spot; nothing gross — and listen for the rumble. That’s them. Can’t miss it.

I don’t know who had the idea to pair up the UK riff destroyers with the Swedish masters of nod, but yeah, good work. You get a gold sticker. Conan, of course, are still out supporting early-2016’s Revengeance (review here), and this will mark their second European run of 2017 and follow a recent Obelisk-presented US stint that included a stop at Maryland Deathfest. For Monolord, they go heralding the arrival of their third album, newly completed and awaiting the publication of its release details. Presumably by the time October comes around, we’ll know when and how the record will be out even if we don’t yet.

You’ll note the included slots here at Desertfest Belgium 2017 in Antwerp and Keep it Low 2017 in Munich. I wouldn’t be surprised if another fest or two got added, time permitting. Poster and currently announced dates follow, as hoisted from the social medias:

conan monolord tour

Conan and Monolord – Co-Headline Fall 2017 European Tour

CONAN & MONOLORD live dates:
07.10.17 NL – Nijmegen / Soulcrusher II – Doornroosje
08.10.17 FR – Paris / GLAZART
09.10.17 FR – Nantes / La Scène Michelet
10.10.17 FR – Bordeaux / VOID // BDX
11.10.17 ES – Barcelona / Razzmatazz 3
12.10.17 ES – San Sebastian / Dabadaba
13.10.17 FR – Lyon / Jack Jack
14.10.17 FR – Audincourt / Le Molodo
15.10.17 BE – Antwerp / Desertfest Antwerp 2017
16.10.17 DK – Aarhus / Atlas
17.10.17 DE – Hamburg / Bambi galore
18.10.17 DE – Berlin / Musik & Frieden
20.10.17 DE – Bischofswerda / Morbvs Maximvs
21.10.17 DE – Munich / Keep It Low Festival 2017
22.10.17 CZ – Prague/Brno / Kabinet MÚZ
23.10.17 AT – Vienna / DasBACH
24.10.17 CH – Olten / Coq d’Or
25.10.17 IT – Bologna / Freakout Club
26.10.17 IT – Milan / Bloom
27.10.17 CH – Winterthur / Gaswerk
28.10.17 DE – Siegen / The VORTEX

Poster by Error! Design



Conan, “Throne of Fire” live at Maryland Deathfest 2017

Monolord, Vænir (2015)

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Green Lung Post Green Man Rising Single as Name-Your-Price Download

Posted in Whathaveyou on June 6th, 2017 by JJ Koczan

green lung

I don’t know about you, but when UK newcomers Green Lung call their debut single Green Man Rising, my head immediately goes to Type O Negative. I acknowledge not everyone is from the New York area, so that association might not be universal, but given how both “Green Man Rising” and “Freak on a Peak” take flight in their hooks, I can’t help but wonder if the London-based outfit aren’t looking to be in conversation with October Rust-era Type O, among other, more directly stonerly influences. It’s an engaging mix, either way.

And I’d be remiss too if I didn’t consider the nature-worship and rolling grooves of Alunah as a point of reference along with Steak and the godfathers in Orange Goblin, but Green Man Rising — as one might expect for a debut single — hits with a bit of a rawer take. Cool vibe in any case, and the solo in “Freak on a Peak” and a name-your-price download only sweeten the pot for Green Lung as one to watch in springing from London’s seemingly-perpetually-fertile underground.

Art, info and audio follow:


Green Lung Release Debut Single ‘Green Man Rising’

Formed in March 2017, GREEN LUNG play heavy psychedelia that is more attuned to wild woodlands than desert dunes. Made up of current and former members of stoner heavies Oak, occult doom trio Tomb King and instrumental sludge minimalists Deadbox Radio, the London-based four-piece have combined strengths to record an opening salvo that balances gargantuan heaviness with intricate melody.

‘Green Man Rising’ gallops from lysergic guitar freakouts to megalithic breakdowns and will soon have the listener frenziedly worshipping at the altar of its titular leaf-adorned deity. B-side ‘Freak on a Peak’ is no less potent, a cosmic paean to wilderness that couples soaring vocals with a riff that’s as ruggedly magnificent as any mountain range.

Recorded at Vatican Studios with engineer Steve Good, these two monumental tracks announce Green Lung as one of the freshest and most dynamic new bands on the UK heavy scene.

Side A: Green Man Rising
Side B: Freak on a Peak

Green Lung is:
Vox: Tom Killingbeck
Guitar: Scott Masson
Bass: Andrew Cave
Drums: Matt Wiseman


The band will be playing a launch show with Wychhound and Purple Kong at Surya on Wednesday, June 7th.

We are also playing the Stone Frequency All Dayer alongside Mammoth Wizard Weed Bastard, Desert Storm and Sigiriya at the Black Heart on the 22nd July.


Green Lung, Green Man Rising (2017)

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Pagan Altar Announce Final Album Room of Shadows Due Aug. 24

Posted in Whathaveyou on June 5th, 2017 by JJ Koczan

One tends to bristle at the prospect of a ‘last’ anything when it comes to rock and roll, but with the 2014 passing of frontman Terry Jones, it does seem likely that Pagan Altar‘s forthcoming Room of Shadows will be their final studio outing. Completed by guitarist Alan Jones behind Terry‘s vocal tracks with bassist Diccon Harper and drummer Andy Green, the record is set to arrive Aug. 24 via Temple of Mystery Records, which will launch preorders in July. Still, maybe they’ll have a live record or some lost recordings or something else out at some point. A ‘last’ album is pretty rare, even if this is the last ‘new’ one.

Jones, Harper and Green will subsequently team with Magic Circle frontman Brandon Radigan and Cauchemar guitarist Andres Arango as Time Lord — also the name of the EP by which Pagan Altar made their initial return in 2004 — at the Wings of Metal Festival in Montreal. The PR wire has details:

pagan altar

PAGAN ALTAR to release long-awaited final album through TEMPLE OF MYSTERY, unearth rare video

Legendary NWOBHM/doom band Pagan Altar will release their long-awaited final album, Room of Shadows, on CD, cassette, and vinyl through the Canadian label Temple of Mystery Records on August 24th, 2017.

Originally set to be out in 2014 as Never Quite Dead, this brilliant album will feature exquisite unreleased Pagan Altar material with Terry Jones on vocals. Having being heavily postponed for various reasons, the recordings were completely redone with Alan Jones on guitar, and former Pagan Altar members Diccon Harper on bass and Andy Green on drums.

The band, reformed in 2004, was put to a halt in 2014 with the tragic passing of its beloved frontman Terry Jones, who had been bravely battling cancer for a year prior. The album will thus be released in homage to this true gentleman, who was well loved by his treasured family and fans.

Room of Shadows, which will feature artwork by painter Adam Burke, is certain to delight fans who enjoyed the band’s previous timeless work with its epic riffs and enchanting, poetic macabre lyrics of olde.

Release party at Wings of Metal Festival

Alan Jones, Diccon Harper, and Andy Green – under the moniker “Time Lord” – will be paired with session members Brandon Radigan (vocals – Magic Circle) and Andres Arango (second guitar – Cauchemar, Metalian) to play a special release party/tribute to Terry in Montreal at the Wings of Metal show on September 9th, 2017.

Pre-orders for Pagan Altar – Room of Shadows (TEMPLE-005) will be offered in early July at www.templeofmystery.ca.


Pagan Altar, “The Black Mass” live in 1984

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Anathema, The Optimist: A Fine Day to Return

Posted in Reviews on June 2nd, 2017 by JJ Koczan

anathema the optimist

A significant reason Anathema‘s The Optimist succeeds as it does is because it doesn’t attempt to recapture a moment that’s long since gone. The album, which is released by proggy Peaceville offshoot Kscope Music as the follow-up to 2014’s Distant Satellites and is upwards of the UK-based melodic progressive rockers’ 13th full-length, depending on what you count — they’ve had a couple offerings reworking prior material — is intended as a sequel to 2001’s A Fine Day to Exit (reissue review here). Accordingly, one almost looks at the title The Optimist as ironic at first, as that turn-of-the-century outing had depression and near-suicidal mania so much at its core, but optimism is something the previously-grim Anathema seem to have discovered within their own sound circa 2010’s We’re Here Because We’re Here, and they don’t necessarily cast it off for The Optimist for the sake of pretending to be something they’re not aesthetically.

From the quick electronic pulses that rhythmically transition from intro “32.63N 117.14W” to the ocean waves that start closer “Back to the Start” — that being a direct reference to “Temporary Peace” from A Fine Day to Exit — the six-piece are free to nod at the work they’ve done before, but their songwriting in no way feels beholden to it, even if they’re picking up a story where they left it some 16 years ago. This has been a consistency throughout their career, as Anathema have always embraced change and development within their style and generally managed to bring their fanbase — of which I’d consider myself a part — with them for the ride, and just because they’re looking back in theme doesn’t necessarily mean they’re giving up that approach. Vocalist Lee Douglas might be taking on the voice of our main character’s consciousness in lead-single “Springfield” when she asks, “How did I get here?,” but the arrangement behind her is by no means playing to a darkness that is no longer there.

Crucially, as melancholy as they get, particularly in the back half of the record, the band — led, as ever, by vocalist/guitarist/keyboardist Vincent Cavanagh and guitarist/keyboardist/vocalist Danny Cavanagh, with Douglas sharing intermittent lead and backing vocal roles, bassist Jamie Cavanagh, keyboardist Daniel Cardoso and drummer John Douglas — don’t try to remake or directly reinterpret “Panic,” the frenetic emotional and sonic apex of A Fine Day to Exit. After “32.63N 117.14W” starts the journey — if one plugs in the coordinates, it’s a beach off the coast of San Diego; presumably intended to be where the cover art of A Fine Day to Exit takes place and where this take begins — with our character getting in his car and hearing on the radio, among other things, an Anathema song, “Leaving it Behind” picks up with a fervent energy and burst-forth hook the tempo of which will inform even quieter moments like “San Francisco” before finding more direct complement in the later track “Can’t Let Go,” but the bulk of The Optimist‘s 11-song/hour-long runtime is given to lush, patient and deeply resonant emotional fare.

Vincent and Lee bolster an abiding instrumental flow throughout by switching lead-singer duties. He soars in “Leaving it Behind,” she answers back on the subsequent “Endless Ways” over a hair-stand-on-end instrumental wash, and after a ringing phone leads directly into the title-track from there, the two come together over an orchestral swell and rhythmic push held together by John‘s drums and a crescendo of lead guitar. Piano plays a large role throughout, including in “San Francisco,” on which more pulsations are met with crashing cymbal sounds in a five-minute instrumental push that ends in traffic giving way fluidly to “Springfield” as the centerpiece of The Optimist‘s linear presentation. Slower and patient in its build, “Springfield” rolls forward but maintains an airy feel thanks to the echo on Lee‘s vocals, the piano line that remains at its core and the light tone of the lead guitar, but the questions it asks as it moves into its voluminous peak would seem to be the essence of what the album is looking to express and a moment of direct relation to the character of The Optimist himself; a crucial moment on the record given its due in melody and flourish.


Gentle ride cymbal and keyboard string sounds back Lee‘s vocal highlight performance in “Ghosts,” and a sense of stillness pervades that the quicker, more active rhythm guitar and drum progression — not to mention the far back keyboard swirl — of “Can’t Let Go” immediately contrast, Vincent taking over on vocals as if to emphasize the dynamic that has been at play all throughout The Optimist to one degree or another, and the meticulousness with which Anathema at this stage in their career present their material. A swell of guitar near the halfway point of “Can’t Let Go” arises and brings another melodic wash, but never gets louder than it needs to be, with Danny adding backing harmonies before a long fadeout brings the sound of a door opening and our main character sitting down to watch television/listen to the radio comes on quietly, giving us a sampled line of A Fine Day to Exit opener “Pressure” before the piano-led minimalism of “Close Your Eyes” quickly takes hold, drums and horns sound arriving in the second half behind Lee‘s voice to draw out a jazzy, lounge-style vibe.

The shortest non-intro track at 3:43, “Close Your Eyes” nonetheless distinguishes itself from its surroundings with this semi-experimental feel, and a voice whispers, “It’s okay, it’s okay. It’s just a dream. Go back to sleep,” before piano begins the penultimate “Wildfires.” The title-line is delivered in drawling, effected fashion, as is the verse that follows, but an electronic urgency rises in the mix gradually, and at the 3:19 mark, the guitars and drums explode to prominence and a fullness of impact that lets the listener know they’re arriving at the conclusion of the narrative. Vincent‘s voice informs in repetitions, “It’s too late,” over his own lead guitar, and the song cuts to toy piano and guitar to transition into the aforementioned wave sounds that drift into “Back to the Start,” a six-plus-minute grand finale that works on a linear energy as a payoff for the entire course of the album preceding. In its melody and arrangement, it is among the most memorable stretches of The Optimist despite coming at the end of a long and varied trip, and when it’s over, our character walks up, knocks on a door and a voice says, “How are you?” And then it’s over.

One last thing The Optimist shares in common with A Fine Day to Exit is a tossoff, silly, home-recorded-sounding hidden track, but instead of the John Douglas goofing around, this time it’s primarily a child’s voice we hear. That last-minute acknowledgement of time gone by is subtle but evocative of the spirit of The Optimist as a whole, which though it revives a narrative thread the band clearly felt was unfinished, reshapes the story into one that sounds fresh in perspective and execution coming from them as they are today. Anathema‘s creative growth as songwriters has never stopped, and as a result, no two of their albums have found them in the same place in terms of sound. That remains true here, and even as they look to their past, they push brazenly ahead into their future, as ever.

Anathema, “Springfield” official video

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DVNE Announce New Album Asheran Due in July

Posted in Whathaveyou on May 25th, 2017 by JJ Koczan


Edinburgh-based four-piece DVNE have been playing shows steadily around the UK since the 2014 release of their last album, Aurora Majesty, so they haven’t been completely absent or anything like that. Their name tends to pop up in all-dayer lineups and things like that. Still, with three years between that record and the forthcoming Asheran, which the band touts as being an hour-long concept piece set to a story about a lost empire (about which you can read more below), the sense I get is that maybe this record took longer to come together than the standard “well, we’ve got eight songs and here they are”-type release might. Call me crazy.

With just over two months to go before the July 28 release through Wasted State Records, there’s no audio unveiled as yet, but you can see the Eli Quinn cover art and the tracklisting here, courtesy of the band’s Bandcamp page, where both Aurora Majesty and the prior Progenitor EP (review here) are streaming. Dig it:


DVNE – Asheran

Asheran is a 60 minute tapestry of music, an epic narrative following the tale of the rise and fall of civilisations, the return of an empire thought millennia lost, and the world-spanning events that unfold as a consequence.

Rich with themes of science fiction, environmental issues, and both dystopic and utopic visions for the future of humanity, listeners can expect the album to bring the pure heaviness vaunted during Aurora Majesty, whilst at the same time being tempered by the combination of more mature progressive, genre-spanning, and often at times melodic song-writing the band are quickly making their hallmark approach.

Releases July 28, 2017.

— I —
The Crimson Path
Viridian Bloom

— II —
Descent Of The Asheran

— III —
Sunsets Grace
Rite Of Seven Mournings

— IV —

Recorded and produced by Graeme Young at Chamber Studios

Mixed and Mastered by Tom Dring at Vagrant Recordings

Artwork by Eli Quinn

DVNE is:
Victor Vicart – Guitar, Vocals, Keys
Dan Barter – Guitar & Vocals
Dudley Tait – Drums
Allan Paterson – Bass

Jenni Sneddon – Vocals (Edenfall)

Release date: 28 July 2017 by Wasted State Records


DVNE, Aurora Majesty (2014)

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Trippy Wicked and the Cosmic Children of the Knight Premiere “75 What the Hell” Video

Posted in Bootleg Theater on May 25th, 2017 by JJ Koczan

trippy wicked and the cosmic children of the knight

Tomorrow, May 26, Trippy Wicked and the Cosmic Children of the Knight will issue Lost Songs, a two-songer double-A-side seven-inch with material originally intended for use on a 2011 split with Dopefight that never came to fruition, not the least because that band called it quits. Still missed. Anyhoozle, it’s the first Trippy Wicked standalone offering since their 2013 EP, Underground (review here), and their second outing through HeviSike Records behind last year’s Guppy split/collaboration with Gurt (review here). They mark its coming by today unveiling a new video for the song “75 What the Hell.”

Over the years, we’ve heard Trippy Wicked — guitarist/vocalist Peter Holland, bassist Dicky King and drummer Chris West — cover a pretty wide range of sonic terrain. trippy wicked lost tracksTheir earlier material on 2009’s Movin’ On (review here) explored a kind of semi-Southern heavy rock, and over time they gradually took on a more aggressive edge, resulting in a particularly metallic feel for the songs on Underground. “75 What the Hell,” which would’ve preceded their 2012 second album, Going Home (review here), once again turns expectation on its head by featuring a two-minute punker blast built off an almost Karma to Burn-style riff. It’s got a hook to be sure, but Holland‘s vocals are blown-out in a way that’s way more Helmet-style noise rock than one would think. I guess sometimes you just have to belt one out.

“75 What the Hell” comes accompanied on the platter by “In a Bottle,” and it seems like Lost Songs will be a lead-in for the next Trippy Wicked full-length, which would be their first since the aforementioned Going Home. I don’t know the timeline on when one might expect that, but given that it’s already been half a decade, it doesn’t seem like there’s much of a rush on it, particularly with Holland keeping busy in Elephant Tree and West (who might be tapped to record even though he’s not currently in the lineup of the band) playing bass in psych-proggers Landskap. Still, as a fan and someone who’s been fortunate enough to see Trippy Wicked live, their next long-player will be welcome whenever it wants to show up. Hell, I’ll be around either way.

Enjoy “75 What the Hell” below, followed by more info from HeviSike about Lost Songs, courtesy of the PR wire:

Trippy Wicked, “75 What the Hell” official video

London-based hard rock / metal trio TRIPPY WICKED & THE COSMIC CHILDREN OF THE KNIGHT are set to unleash two previously unheard tracks on 26th May.

When founding member Chris West opened the great vault that is the Trippy Wicked archive, he found two songs that were recorded in 2011 for a planned split release with Brighton sludge act DOPEFIGHT. The two bands couldn’t co-ordinate schedules before Dopefight split up and the songs went on the backburner eventually lost to time. Now exhumed from their digital resting place the songs have been freshly mastered by Tony Reed (MOS GENERATOR) for release by UK label HeviSike Records.

‘Lost Songs’ captures a snapshot at a key period in the band’s evolution and will prove to be essential listening for fans of Trippy Wicked and the wider underground rock & metal community. A promotional video for ’75 What The Hell’ was planned and has now, 6 years later, been completed.

Trippy Wicked are currently writing their next album; their first full-length since 2012’s Going Home. The trio have recently released a split EP ‘GUPPY’ with fellow Londoners GURT, with whom they share current sticksman Bill Jacobs. At the same time as working on Trippy Wicked material, frontman Peter Holland has been gigging extensively across the UK and Europe with new band ELEPHANT TREE, including memorable sets at this year’s Desertfests London & Berlin. Chris West, who also previously played in STUBB alongside Peter, is currently performing bass duties in the psychedelic rock group LANDSKAP.

Regarding the recently completed video for ‘75 What The Hell’, West comments “Because the the songs had been shelved indefinitely I’d actually forgotten about the video we started work on. Releasing these songs has been a great opportunity to finish editing that. The song is a little unusual for the band but the video is 100% in the spirit of Trippy Wicked. I’d also say with the time it took to filming/photograph that last sequence Pete has a solid career as a living statue ahead of him.”

As well as a digital release, Lost Songs will be made available via a limited edition 7” single.

Side A – 75 What The Hell // Side AA – In A Bottle

‘Lost Songs’ credits
Pete Holland: Vocals, Guitar, Tuba
Dicky King: Bass
Chris West: Drums

Recorded by Westminster Brown at Dropout Studios.
Mixed and mastered by Tony Reed at HeavyHead Recording Co.
Artwork & Video by Chris West

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