Maryland Doom Fest 2019 Announces Lineup: Pentagram, Conan, Earthride, Mothership, Lo-Pan and More to Play

Posted in Whathaveyou on October 31st, 2018 by JJ Koczan

maryland doom fest 2019 announcement

Holy fucking shit. It’s a good thing Maryland Doom Fest 2019 isn’t until next June, because it’s going to take me that long to process how badass this lineup is. It’s like JB decided this was the year everybody plays. A fourth day has been added. A second venue has been added — it’s Cafe 611 and Guido’s Speakeasy now — and wow. Just, fucking, wow. The headliners: PentagramConanEarthride and Mothership. And the list of bands that follows is absolutely staggering. Of course some things are bound to change between now and then, and there are announcements yet to be made about the pre-show, but really. They’ve absolutely, positively gone to a completely new level of festival here.

It’s gonna be crowded.

And it’s gonna be a blast. If you need me, I’ll be booking my room at the Motel 6 in Frederick.

The announcement was simple and came just in the form of the poster — art is by Kyle Stratton, whose band Atala also make a return to the bill — and from near and far, far and wide, acts are coming in to make what looks like it’ll be an absolutely unforgettable weekend (-plus) of heavy.

Here’s the lineup:

maryland doom fest 2019 poster

MARYLAND DOOM FEST 2019 – JUNE 20-23

DOOMSTERS, GRUNGERS, SLUDGERS, STONERS, & PAGANS —

We are extremely pleased to present to you……The Maryland Doom Fest 2019 lineup!!!

50 of the heaviest, most talented bands to grace the stage.

We bring you INTERITUM from Tasmania, CONAN from England, PENTAGRAM from our soil, and an additional 47 top performing USA acts traveling from all across the continent!!

As if that’s not enough, the MDDF Pre-Fest Party will be celebrating the 20th Anniversary of the SHoD (Stoner Hands of Doom) Festival with a spectacular lineup of bands who have performed at the great SHoD fests in years past!! The Pre-Fest / SHoD 20th Anniversary Celebration will be monumental in countless ways!!!!

Please support the Doom scene and share this epic event with your comrades and we will see you at #4daysofdoom !!!!

EARLY BIRD Discounted ticket sales start Dec. 17th, 2018 – for two weeks only.

This astronomical lineup and the 2019 festivities are dedicated to my very good friend and prior MDDF partner from 2015 – 2018, Mark Cruikshank!!

DooM !!! ~JB

Lineup:
Earthride
Warhorse
Solace
Wasted Theory
Devil to Pay
Deer Creek
Weed is Weed
Freedom Hawk
After the Sun
Mothership
Pale Divine
Lo Pan
Year of the Cobra
The Age of Truth
Backwoods Payback
Kingsnake
Interitum
The Druids
Clouds Taste Satanic
Benthic Realm
Dead Sisters
Funeral Horse
Pentagram
Apostle of Solitude
Foghound
Beelzefuzz
Atala
Sixes
Forming the Void
Knoxxville
Atomic 26
Eternal Black
Greenbeard
Electric Age
Pale Grey Lore
Thunderchief
Seasick Gladiator
Crooked Hills
Conan
ZED
Kings Destroy
Toke
Thousand Vision Mist
Horehound
Thonian Horde
Shadow Witch
Faith in Jane
Temptations Wings
Wolf Blood
Stone Dust Riders

https://www.facebook.com/events/371836710006412/
https://www.facebook.com/MdDoomFest/
https://www.themarylanddoomfest.com/

Earthride, Live at Maryland Doom Fest 2018

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Feature: Going Deep on The Wall [Redux]; Band Commentaries, Track Premieres and More

Posted in Features on October 26th, 2018 by JJ Koczan

va magnetic eye pink floyd the wall redux

Two things you should know about this post. First: It’s huge. Apart from the year-end lists that get posted each Jan. 1, it’s the longest post I’ve ever put up. The Q&As alone are 11,000 words. It’s more compendium than interview.

Second: That’s entirely on purpose.

What on earth would possibly earn such a vast landscape of text if not The Wall [Redux]? The third and most ambitious yet of Magnetic Eye Records‘ series of [Redux] compilations captures Pink Floyd at arguably (or, really, inarguably) their most iconic and comes accompanied by The Best of Pink Floyd, another Various Artists take on a swath of tracks from the generation-defining British band’s storied discography.

Like few records before it and even fewer since, The Wall is a landmark for what rock and roll could be, and the enduring emotional and sociopolitical relevance of a work of art that’s the better part of 40 is only part of what makes it so timeless when one considers the actual songwriting itself. Even for rock heads who aren’t Pink Floyd fans, it’s undeniable.

Before we get down to business on this thing, I need to thank Jadd Shickler of Magnetic Eye and Blue Heron (who take on “Stop”) for essentially putting it all together. He chased down the commentaries from the bands and we went back and forth about whether to run the whole thing or edit it down, but in the end, it seemed too crucial to me to not include everybody’s every word. I won’t be so self-aggrandizing as to call this a companion for The Wall [Redux] or The Best of Pink Floyd or anything like that, but it’s a look at the bands talking about how Floyd came into their lives, how they got to do the songs they did, and how they view the album in the context of today. Some take a political angle, some just dig the record. Both are valid, and The Wall stands up to scrutiny on both levels.

I’ve put the bands in alphabetical order, so you’ll get to see comments from: ASG, Blue Heron, Creepers, Los Disidentes del Sucio Motel, Domkraft, Forming the Void, Ghastly Sound, Greenleaf, Howling Giant, Mark Lanegan, Low Flying Hawks, Mars Red Sky, the Melvins, Mos Generator, Open Hand, Pallbearer, Red Mesa, Scott Reeder, Ruby the Hatchet, Sasquatch, Solace, Somnuri, Summoner, Church of the Cosmic Skull, Sergeant Thunderhoof, The Slim Kings, Spaceslug, Sunflo’er, T-Tops, WhiteNails, Worshipper, Yawning Man, Year of the Cobra. That’s nearly everybody involved in the project.

The copy is pretty raw — if you have time to precisely edit 11,000 words, congratulations on your life — but I’ve done a bit of formatting to hopefully make it clear. You’ll find it all beneath the track premieres below for Solace‘s take on “In the Flesh” and Red Mesa‘s version of “Breathe.” The Wall [Redux] and The Best of Pink Floyd are out Nov. 9 on Magnetic Eye Records. Preorders are available here.

Solace, “In the Flesh”

Red Mesa, “Breathe”

Behind The Wall [Redux]:
Inspirations and Motivations

Jason / ASG / Mother

As musicians and music fans, what’s your connection to Pink Floyd?

I think for us as musicians, Pink Floyd was there in the beginning of learning how to play guitar, drums etc. The relative simplicity of many Floyd tunes went hand in hand with the primitive stages of guitar lessons-if you knew a handful of chords you could play many of their songs. So as a teenager that was a big deal, being able to play one of your favorite band’s songs in the early stages of playing an instrument – it kind of cemented a lifelong bond of influence and fandom with Pink Floyd.

How did you arrive at your approach in covering “Mother?”

In our attempt of covering “Mother” we chose to stay relatively true to the original- we recorded out in the desert of Texas so perhaps a bit of country western influence slipped in with some guitar tremolo and mandolin making their way on to the track. And as a vocalist trying to do both the Waters and Gilmour “voices” it provided a bit of a challenge – but hopefully our version retained the intriguing and beautiful dichotomy their voices created in many classic Floyd tunes.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

I think any time or year is a good time to revisit Pink Floyd!

Jadd / Blue Heron / Stop

As musicians and music fans, what’s your connection to Pink Floyd?

I was late getting turned onto Pink Floyd, I think in my late 20s… I’d always heard the hits on rock radio but never spent any time going deeper. For some reason, I decided to buy an unauthorized biography about Pink Floyd while at a big bookstore in Denver when I was 27 or so. And then, who knows why, I read it from cover to cover while driving cross-country from Erie, Pennsylvania to Albuquerque, NM. I don’t mean I read it at rest stops and hotels or listened to the audio version, I mean I read the physical book perched on my steering wheel while driving 80 miles per hour across the width of the United States – it was that engrossing, and I heard and learned things about constructing songs and being in a band that would affect me forever.

How did you arrive at your approach to your song?

Well, we claimed this song as a way to be part of the record but not feel like we were taking the more sought-after songs away from anyone. No one was fighting over the 42-second piano and vocal instrumental, but that was nice, we were free to kind of ingest it and blast out something uniquely us. Chav basically took on the heavy lifting of turning that sparse piano melody into multiple layers of texture and fuzz, and then we drew it out a little bit so it didn’t feel rushed. There are very few lyrics, so I really just tried to find a different point of view on them… Roger Waters does plaintive well, I was aiming more for resignation and self-disgust as the character recognizes his errors in judgement and skewed perspective… I like to think that came across in what we did.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

As soon as Mike told me his plan to make The Wall the next Redux album, I was on board. It was February of 2017, and we were maybe a month into the Trump presidency, hearing about the wall he was going to build on the border and feeling completely alienated in our own country. Even though Floyd’s album was maybe not as political originally in its message, it seems like it took on more of that position over the years as it came to be associated with East Germany and such. So, given how powerless we were feeling after the most recent presidential election, the idea of re-building and re-imagining such a seminal album couldn’t have been a better way to make a statement about totalitarianism, divisiveness, and the kind of ignorance and hatred this administration makes people feel empowered to embrace. We should probably Redux the Sex Pistols next just to drive the point home.

Bill / Church of the Cosmic Skull / The Trial

As musicians and music fans, what’s your connection to Pink Floyd?

Although Dark Side and the Syd Barrett era are the usual ‘way in’, The Wall was played a lot around the house when I was younger, so it was my introduction to the band. As we’re all aware it’s something of a marmite album, and certainly more Waters than anything else, but it’s undeniably a great concept album, from one of the many incarnations of Pink Floyd.

How did you arrive at your approach in covering your song?

I love the old story that Dark Side syncs up with The Wizard of Oz if you press play at the right time. The Trial has some of Gerald Scarfes darkest animation visuals as part of the feature film, so we have synced up the cover version with the original, so you can play both simultaneously and it will fit together. Musically we have changed the verses considerably, and as the original has parts from all the different characters on the album it made sense we gave each one to different singers in the band:

The Prosecutor – Brother Sam
The Teacher – Brother Michael
The Wife – Sister Caroline
The Mother – Sister Joanne
Pink & The Judge – Brother Bill

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Politically it makes sense, and the increasing awareness of mental health issues, especially in the music industry, makes it all the more poignant.

Shiv Mehra / Creepers / Us and Them

As musicians and music fans, what’s your connection to Pink Floyd?

As musicians and music fans Pink Floyd has been one of the most inspiring bands of a lifetime. I connected to them personally from the early days of Syd Barrett to the latter. They’ve pushed sonic boundaries for rock into a realm of psychedelia that opened the doors for so much of our music today.

How did you arrive at your approach in covering your song?

Well “Us and Them” was one of our first picks for covering because it sits in a range for us vocally and reflects our own personal taste and sound as a band.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

2018 is a perfect time for revisiting The Wall because it has been 39 years and music has transformed in so many ways since, but The Wall paved the path for psychedelic bands like us.

Nicolas / Los Disidentes Del Sucio Motel / Welcome to the Machine

As musicians and music fans, what’s your connection to Pink Floyd?

My connection with PF is huge! This band has been part of my main influences for years. I have all Floyd albums and a lot of solo albums of each member. Unfortunately, I never had the chance to see the whole band performing together, but I was lucky enough to see David Gilmour and Roger Waters in concert. I saw the last tour of The Wall at the Stade de France in Paris in 2013. This concert was a turning point in my life. Probably the biggest concert I’ve ever seen and will ever see. Recently I saw Waters with my dad, it was also a wonderful moment. Pink Floyd is one of those timeless groups that cross generations. My father loves PF, I love PF and I hope my son will love PF too!

How did you arrive at your approach in covering your song?

Pink Floyd is one of the few bands that connects us all in LDDSM. We all listen to this band on a daily basis, really. For each new album, we work on a cover that we play at the end of our concerts. For the album “Human Collapse”, it was “Welcome to the machine”. This appeared quite obvious by itself, because HC was written under the influence of PF from the start and is composed somewhat like “The Wall”. The way of composing and Gilmour’s guitar playing guided me a lot during the writing of this album. This man is a real god and I have immense respect for him. The sound he has created, his way of placing always the right notes at the right time, the sensitivity he puts in it, is pure genius. When we cover a song, we like to make it our own, as if the song could have been written by ourselves. But above all, we are always looking to keep its original identity. We don’t like to leave its uniqueness behind. People must be able to recognize it in the first seconds and have to say at the end “goddam, it really sounds like an LDDSM song!” That’s the point, make LDDSM stuff with the composition of another and respect the original song.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

It is obvious that we are in a sadly perfect context for that. The political scope of the album has never been so justified. What we do with our planet is a shame. Trump is a shame, a monstrosity. But he is unfortunately not the only one. We live in an extremely violent and difficult world and I worry a lot, every day for the future of my children. In the manner of Waters, we might be tempted to build a wall around us to protect ourselves from others, but isolation is never the answer. We must break this wall, open ourselves to the unknown, reach out to others, it’s the only way for humanity to survive. This is the message of this album and it must be heard today more than never before.

Martin W. / Domkraft / Empty Spaces / One of These Days

As musicians and music fans, what’s your connection to Pink Floyd?

As a band, we probably would not sound the way we do had it not been for Floyd. They have been THE band for our guitar player Martin, who basically has listened to them all his life and they were the sole reason for him picking up the guitar in the first place. The rest of the band are also fans, but we both discovered them at a later stage in life.

How did you arrive at your approach in covering your song?

We right away decided that we wanted to do something in the vein of “Domkraft interpreting Floyd” rather than note-perfect cover versions. Why try to match something that is already perfect? Let’s do our own take instead and create alternate versions of classic tracks. Like, we found ourselves stretching short segments of the songs into actual parts of our versions. Small sounds and vibrations from the originals getting more space and importance. When we got to do “Empty Spaces”, we immediately knew that we wanted to go even deeper into the brooding, desolate aspects of the song. We soaked it in reverb to achieve an almost drone-like vibe to emphasize the lonely, bare and exposed feeling of the track.

“One of these Days” is such a seminal track and probably one of our absolute favorites from the Floyd catalog, so that one felt like an obvious and insane choice at the same time. With both the studio and the Pompeii versions just oozing perfection, we just decided to just go for it, not look back, and do our own take – more fuzz-drenched and with the same kind of psych-inspired over-the-top guitar work that is to be found in most Domkraft songs. Plus, we took some liberties and incorporated a segment from another “Meddle” classic – the falling note arpeggio break from “Echoes” – which worked really nicely and gave it some breathing space in the freight train section of the track.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Oh, hell yes. Frighteningly good. These are Orwellian times, possible more in the Animal Farm sense than 1984, though. That particular album has gone from being political (at the time of its release) to being “just” a classic (post-Glasnost) to being super-political again. A super political classic.

Shadi / Forming the Void / Fearless

As musicians and music fans, what’s your connection to Pink Floyd?

The first time I heard Pink Floyd was when I was 12. I had been studying music for a while and my father decided I was “ready” to hear them. We sat down together, and he played me the entire Wish You Were Here album. That moment changed my life forever. Pink Floyd became the band that I studied obsessively for the next few years. They sparked my lasting passion and serious pursuit of music and influences me deeply to this day.

How did you arrive at your approach in covering your song?

We had a short list of favorite Pink Floyd songs we might hypothetically cover one day. When we got this opportunity, it was with two weeks’ notice. From our list, ‘Fearless’ adapted the most naturally to our sound and fit most readily the time constraints we were given so it was an easy choice.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Anytime is a good time to revisit Pink Floyd! They are timeless.

TJ / Ghastly Sound / Another Brick in the Wall, Pt. 1

As musicians and music fans, what’s your connection to Pink Floyd?

Pink Floyd was one of the first and most important bands we were introduced to as children. I remember seeing posters for “The Wall” hanging up in my uncle’s bedrooms and being completely captivated by the artwork. In the 90’s, my father was really into home theater systems. When the Pink Floyd Pulse Live DVD came out, I was 8 years old. Our entire house would shake as we watched this and the cinematic adaptation of The Wall. This stuck with me until my teenage years and I began to discover cannabis. Thankfully, my parents were really open-minded about this specific substance and one summer night in my 13th year, they gifted me and a friend a half a bowl to smoke in the garage. Following our consumption of this gift, my friend and I got into my dad’s car and listened to Comfortably Numb on full blast in the driver and passenger seat. This experience was honestly a crucial moment in my development as a person and a musician.

How did you arrive at your approach in covering your song?

Approaching this cover was one of the most challenging experiences I’ve ever had as a musician. I think I threw away 3 or 4 instrumental versions before we landed on what we have now. Approaching a cover from such an iconic album is intimidating enough on its own. We had an extra challenge given that our specific track is more of an interlude; and comprised almost exclusively of David Gilmour playing guitar. Me, not being a guitarist, faced with executing something so clean in tone and performance was nothing short of terrifying. Our two main focuses were keeping true to the pace of the album and trying to maintain the feeling of crescendo as the album moves from Another Brick in the Wall Part 1 to Happiest Days of Our Lives. Ultimately, we decided that starting off true to the original and utilizing the ambient section of the song to take some liberties and transition into the next track was the best possible scenario. Hopefully we’ve succeeded and added something special for the listener to experience.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

2018 is a great time to introduce this album to a new generation of listeners. Not only because of the juxtaposition of the current political climate, but because guitar-based music is coming back in a huge way. It’s my hope that people can take these adaptations and use them to expand upon more traditional approaches to songwriting in the stoner or doom genres.

Tommi Holappa / Greenleaf / Another Brick in the Wall, Pt. 3 / Goodbye Cruel World

As musicians and music fans, what’s your connection to Pink Floyd?

For me it all started with seeing the Live at Pompeii DVD. The musicianship, the sound landscapes, the songwriting, it’s just simply amazing! Since then I have bought all their albums and yes You can easily say the I have been influenced by them. On each Greenleaf album there is at least one or two songs that has a little bit of Pink Floyd influences in them, it could just be a little reverb/delay thing, a riff or just the mood of the song.

How did you arrive at your approach in covering your song?

Well we knew that we couldn’t just do ”covers” of the songs because nothing can beat the originals. So, we decided to not try to copy the songs too much and try to make them sound more like Greenleaf, a bit more bluesy and a bit more heavy.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Yes, it does! If you look all the stupidity that is going on in the world today it could drive any sane man crazy…

Tom and Zach / Howling Giant / Matilda Mother

As musicians and music fans, what’s your connection to Pink Floyd?

They pioneered the idea of the concept album. While each song can stand alone, everything they wrote had a specific purpose within the album. Pink Floyd also showed us that you don’t have to fit within a certain genre, they were all about writing what they wanted, when they wanted.

How did you arrive at your approach in covering “Matilda Mother?”

It’s a weird song, and its focus on fairytales and escapism is something that appeals to us. ‘Piper at the Gates of Dawn’ is often overlooked in the Pink Floyd catalogue and we wanted to represent that era.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

The songwriting on The Wall is definitely worth revisiting, especially with the resurgence of classic rock influence on the heavy scene.

Mark Lanegan / Nobody Home

As musicians and music fans, what’s your connection to Pink Floyd?

As a teenager, I stole a record one day. Walking out of the store carrying it behind an empty record cover I’d brought in with me. When I heard the store clerk shouting behind me to stop, I turned a corner and out of his vision for a second, I threw it like a knife into a bank of deep snow. Not finding it, the guy let me go. Hours later I returned to retrieve my copy of ‘The Wall’ and listened to it nonstop for a long time. One of the great records of all time, I’m pleased I was able to participate in this tribute. Legally, of course.

Low Flying Hawks / The Thin Ice

As musicians and music fans, what’s your connection to Pink Floyd?

There’s always been a connection, we’ve always been into Pink Floyd, mostly the early years, the Syd Barrett stuff, atom heart mother, more, meddle, etc. probably up until the wall. We feel the true magic obviously after Syd left (cause Syd was the magic) was the mix of Roger and David, but once Roger started to lead we thought it was too rigid to forced and the other way around when David was in the lead it got too honey-dripped, too forced to the exact opposite, so together it was a perfect balance.

How did you arrive at your approach in covering your song?

We wanted to do something very simple, stripped to the core, the opposite of the operatic circus approach roger gave the album and obviously the song.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

We’re not political at all so we really never mix politics and music etc., we get the connection and the timing, but we feel you can always revisit an album if the bands are good and the songs are interesting.

Mars Red Sky / Comfortably Numb

As musicians and music fans, what’s your connection to Pink Floyd?

Mat: To be honest, Pink Floyd belongs for me to the generation of my parents, they had some of their records, so it has always been familiar, and it took years to rediscover it by myself. Also, songs like “division bell” was constantly on the air in the early ’90s when I was digging Punk Rock and Grunge… One day I listened to ‘The Piper at the Gates of Dawn”, and I went crazy about what was coming out from the speakers!

Julien: My dad had ‘Dark Side of The Moon’ in his record collection, I liked that a lot. Later I got more into them through a couple of friends when I was twenty and was a bit fascinated by the whole Syd Barrett mystery. I like most of their albums a lot, with a preference for some of the earlier ones (‘A Saucerful of Secrets’ especially)

Jimmy: ‘The Piper at the Gates of Dawn’ and ‘Atom Heart Mother’ are two of my favorite albums ever…

How did you arrive at your approach in covering your song?

Julien: We got the opportunity to pick Comfortably Numb, that was great because it’s one of our favorites. We had fantasized on covering this song for a long time, I had tried it awkwardly with a previous band. Here we put it all together fairly quickly, and we really like the way it came out. Our friend Benjamin Mandeau did a killer job at recording and mixing it.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Mat: Definitely there’s always a good reason to revisit such an album like that!

Dale Crover / The Melvins / In the Flesh?

As musicians and music fans, what’s your connection to Pink Floyd?

I’ve been into the Floyd since I was in grade school, thanks to older brothers. The first record I had of theirs was “Animals.”

How did you arrive at your approach in covering “In the Flesh?”

We always put our own spin on the song we’re covering. We came up with a genius idea for this one. If I tell you it will spoil the surprise. You’re just going to have to hear it.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Sure, why not now? Roger Waters keeps revisiting it for his mega buck tours. They didn’t really tour that record when it came out. In the US they only played New York and LA. Here’s a fun fact: when we recorded Stoner Witch we used the same Fender Precision bass that Roger used on The Wall. I believe it belonged to Bob Ezrin, producer of the Wall.

Tony Reed / Mos Generator / Goodbye Blue Sky

As musicians and music fans, what’s your connection to Pink Floyd?

There is no getting away from the influence of Pink Floyd. Their music has always seemed to be there and growing up in the 70s helped make them a part of the soundtrack of my youth. I have to be honest, when I first started playing music in around 1982, I was really burned out on the Pink Floyd “radio” songs and had never taken the time to explore the catalog. It wasn’t until about 15 years later that I heard the Meddle album and I was hooked on “Echoes”. Soon after, I took very little time hunting down the discography and studying it. Now they hold a very high place in my top bands.

How did you arrive at your approach in covering your song?

My usual approach at a cover is to try and replicate the song as close as I can, in performance and production. Using that technique, I come away from the project learning something about the recording and playing of the song. It makes me take an approach that I may not have chosen if I had written the song. In the end, I learn something that can possibly be applied to my own producing and writing. Not everybody agrees with this approach but it’s fun for me.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

The Wall is a timeless piece of music. It’s a human album, that to me, speaks about a struggle that we all go through as we move through life. It doesn’t manifest itself as intensely in most people as it does in the “Pink” character, but we’ve all been “through some sh**” at one time or another. Some more than others and years of it can change a person into a different soul. It’s seriously heavy thinking for a rock ‘n’ roll album.

Justin / Open Hand / The Show Must Go On

As musicians and music fans, what’s your connection to Pink Floyd?

What always has drawn us in to Floyd is Gilmour… his guitar playing and his voice … for those of us lucky enough to be exposed to Floyd at a young age (by our dads) you can’t help but be inspired by that band for the rest of our lives … and when you start playing guitar, Gilmour is a must study.

How did you arrive at your approach in covering your song?

We based our approach on the live version of “Show Must Go On” … it is a little longer live (extended) … they added another verse etc. … the live version of that song is better than the album version actually … so we went with that. As far as working with past Pink Floyd touring sax player Scott Page… I have known him for decades…met him when I was 13 or 14 … he was always involved in amazing bands (reo speedwagon… Supertramp…etc.) and Floyd … he gave me my first instrument … a saxophone… still have it … when it came time to record this cover … it was an obvious choice to go to the source … and even though there was never sax on the original he jumped at the chance to add some shit to it … recorded in the bathroom of my apartment…

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s a great time to revisit… having a whole new generation be turned on to Floyd via modern relevant bands that kick ass. … and Mike does an amazing job collecting those bands for these killer redux records… to be a part of two of these redux series for our favorite artists (Jimi Hendrix and pink Floyd) … so fucking cool man.

Pallbearer / Run Like Hell

As musicians and music fans, what’s your connection to Pink Floyd generally or The Wall specifically?

Pink Floyd has been a major source of inspiration for us, since long before we started Pallbearer. The experimentation, the innovative production, and most importantly the great songwriting has always been a benchmark for us to strive for since we started this band

How/why did you choose “Run Like Hell,” and how did the amped-up take on it come about?

When we were approached about doing this project, we initially inquired about 3 or so tracks to see if they had already been claimed by other artists, RLH being one of them. We were excited to take on RLH because it would give us the opportunity to totally subvert the notion that we would end up doing something obvious. The song is already kind of outside of the realm of our already-Floyd-indebted style. It was different for them, so it gave us a chance to really think outside the box.

Our initial inspiration on how to approach it actually came from watching as many early live performances of it as we could find. We found that all of them were really vicious sounding, and a bit unhinged. They just felt off the rails, so we decided to just go full steam in that direction.

Does today/2018 feel like a good time to revisit an iconic album like The Wall, and why or why not?

The Wall is very much an album that explores different aspects of isolation. In 2018, our world is essentially more “connected” than ever before via technology, yet it feels like we are also becoming more and more isolated from one another as individuals. Additionally, nationalist tendencies are increasing globally at a terrifying rate. It seems like a perfect time to revisit and re-examine this classic album.

Brad / Red Mesa / Breathe

As musicians and music fans, what’s your connection to Pink Floyd?

I started listening to Pink Floyd in high school in the mid-nineties. The first two albums I owned were on CD. ‘The Wall’ and ‘Dark Side of the Moon.’ I didn’t start paying music until after high school, so I was just a rabid fan of rock and roll, hungry to listen all the classic stuff. Both albums completely blew my mind. I spent hours in my room after school listening and reading the lyrics. I felt that Pink Floyd was the most intelligent band. Besides being phenomenal musicians, Roger Water’s lyrics spoke to me. He somehow managed to take philosophical concepts and weave them into a rock and roll band. It wasn’t just about women, drugs, and fast cars. Nothing wrong with that as subject matter, but Pink Floyd made you think about and question existence. As my younger brother and I digested The Wall and Dark Side, we discovered the rest of their albums. I fell in love with Meddle and Animals. The song “Echoes” on Meddle is my favorite psychedelic song of all time.

How did you arrive at your approach in covering your song?

We covered the song “Breathe” from Dark Side of the Moon. Picking the right song for the band was a challenge. We wanted to play to the strength of the band. Roman, our drummer texted me “How about Breathe?!” as I was looking at the guitar tab and plucking out the chords and rhythm. I thought that was a sign. I sent the band a voice memo of guitar stuff, they liked it, said we should make it heavier. We ran through it in practice and it felt great! We all love Pink Floyd so much. We felt honored to be asked to cover one of their songs. We wanted to do our very best and pay our respects.

In the studio, we played all the rhythm section ‘live’. It has a very organic feel to it. We really liked how it came out. I went back over and doubled the guitar track. For the iconic Dave Gilmour slide part, I played lap steel with a bunch of delay and reverb and heavy overdrive. We had a blast recording this one.

Matthew from Empty House Studio orchestrated us for “On the Run” the trippy instrumental song that comes in directly after “Breathe” ends. I stuck my head inside a grand piano banging away on the strings, while Roman was holding down that super cool drum part. At that point we had already polished off a bottle of Jameson, Matthew says “be careful, that piano is worth more than a house”. And I’m just banging away in there. Matthew was pushing us to get more creative and weirder. Super fun.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Yes, absolutely. Politically, spiritually, and environmentally things are fucked in the US. It seems that The Wall’s concept and message is timeless. It came out in 1979. It could have been released in 2018 without altering a single word. As much as that album is brilliant, it’s sad we haven’t seemed to have evolved much in the past 40 years. However, revisiting this album will hopefully bring Pink Floyd’s message and music to a younger generation of fans.

Scott Reeder / Is There Anybody Out There?

As musicians and music fans, what’s your connection to Pink Floyd?

When The Wall was released, it was my entry into Pink Floyd’s universe; and to this day is probably my biggest musical influence… right up there with The Beatles. My solo stuff always draws comparisons to Floyd. The damage is done deep – they were all I listened to for a long time! I feel lucky to have seen them a couple of times. Roger Waters quite a few times, too. Oddly enough, I had dinner with their final long-time bassist, Guy Pratt, and his wife few years ago at a Warwick Bass party. We were showing each other pictures of our properties and horses and had an awesome time. I didn’t realize at the time that his lady was Richard Wright’s daughter, Gala. She was very sweet.

How did you arrive at your approach in covering “Is There Anybody Out There?”

There’s not much to it… You’ve got the title question asked a few times, and then that iconic guitar run that I struggled to do some justice to. Structure-wise, that’s it. My fretting hand had developed trigger finger – my pinky and ring finger were locking closed, and after every take, it got worse, but I patched it up alright. The ambient stuff I constructed to reflect the desolate feeling out here on the ranch – I recorded guns in the distance, and our dog Rocky was scared and whimpering next to me, while his pal Harry was barking in the distance. My Chihuahua Scooter is in the mix towards the end, too – she passed shortly after this was finished – I’m so glad she’s on it! Got my 8-string bass in there for the scrapes run through a Whammy pedal to raise the tension. And it’s my first time using trombone on a track!

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

At almost 30 years out… why not? It’s my favorite album of all time – probably the only album that I could sing all the words to! It’s an honor to be a part of this tribute to the greatest album of all time, and it’s absolutely killing me waiting to hear how the whole thing plays out!

Jillian Taylor / Ruby the Hatchet / Vera / Pigs (Three Different Ones)

As musicians and music fans, what’s your connection to Pink Floyd?

Pink Floyd was one of the bands I was brought up on and a favorite of my father’s. I remember thinking they were really weird and scared me when I was young; especially The Wall movie which seemed to always play in the wee hours when I was sneaking TV. My mother’s side is from England and there are so many crossovers with Floyd lingo and English pride and reprimand (cue “hanging on in quiet desperation is the English way…”). When I was a teenager, and after an ugly divorce between my parents, my father gave me The Wall for my birthday. It was then that I felt like I understood their strangeness and the rebellious and political undertones. I even went through a rough year where I had to listen to The Dark Side of the Moon every single day to relate to all the beauty and pain in it.

How did you arrive at your approach in covering your songs?

Everyone dove in to their respective parts. Pigs was a huge labor of love by all parties; especially Sean (keys) who recorded and engineered both tracks for us. It’s a lengthy track that we made even longer (additional apologies to Sean for having to mix down a 12-minute song dozens of times). We didn’t veer off course with Pigs much, it was fun to play it straight and make small twists with the organ, harmonies and vocals in female register. Vera was completely different as it’s a very short interlude (we managed to at least triple the length of it, of course). It came naturally to play around with Vera. I’ve always thought that song was so hauntingly pretty and used to hum an additional part I’d imagine there which we made happen in a bridge.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

I’d say yes, and until we reach some kind of Utopian society which doesn’t seem like it will realistically arrive; then maybe always. There’s a George Orwell quote from 1984 that always reminds me of The Wall: “If you want a picture of the future, imagine a boot stamping on a human face — forever.”

Cas, Keith and Riggs / Sasquatch / Another Brick in the Wall, Pt. 2

As musicians and music fans, what’s your connection to Pink Floyd?

Riggs: PF is one band that has consistently punctuated moments in my life from the age of 8 to whatever I am now. My brothers got tickets to The Wall at Madison Square Garden when I was a wee lad. I was completely bummed that I didn’t get to go, and I have spent the rest of my song-writing life trying to rip them off.

Keith: Floyd has had a big influence in many ways on me personally and our music. I guess it might not come through so much in our songs themselves, but I think about PF when I’m incorporating dynamics and textures into the songwriting. It’s definitely played into having Unger come in and drop more Hammond and B3 on our new record, Maneuvers.

Cas: To be honest, I’m the young buck in the band. Growing up as a metal kid in the late 80s, my first exposure to PF wasn’t a direct connection, but through Voivod’s cover of Astronomy Domine. Obviously, I had heard PF hits on classic rock radio, but hadn’t paid attention until I heard this tune in 8th grade. That take on that song drove me to dive into the PF catalog and I haven’t looked back since. Waters may not be flashy, but he writes some of the most memorable bass lines out there in rock. Huge influence on how I approach the instrument.

How did you arrive at your approach in covering your song?

Riggs: Another Brick in The Wall has always been an odd song for PF. I remember kids in school singing the song to be rebellious, but the disco beat always freaked me out. We wanted to change it up in a more soulful way and lose the kid chorus and disco beat. It’s the same approach we would take if we were to cover Money.

Cas: Keith and Riggs played around with several different versions. We thought about both extremes: a) keeping it true to form or b) deconstructing it to the point where it would be completely unrecognizable. We eventually ended up slowing it down and beefing it up but kept the melodies intact. The guys were definitely adamant about pulling out the Bee Gees beat from the original. In the end, we decided pulling the drums completely out of the verses gave the choruses a much larger impact. Then Riggs tried out his best (worst?) Academy Award-winning English accent on the wrap-up. Made me crave some pudding.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Riggs: It’s always a good time to revisit any PF album. Just as Roger Waters is accentuating the current political aspects on his tours, it’s great to see a bunch of talented bands give it their own take.

Keith: I think anytime you can cobble together such a great list of bands like the roster here, why not do it?

Cas: Given the current climate, there’s no better time than the present.

Dan / Sergeant Thunderhoof / The Happiest Days of Our Lives / Time

As musicians and music fans, what’s your connection to Pink Floyd?

They were a mainstay in my household as a child. Those songs are so solidly imprinted within me that they’ve almost taken on another dimension. Floyd have a sound of their own that is pretty hard to pigeonhole and I guess we try to emulate that philosophy.

How did you arrive at your approach in covering your song?

“Happiest Days of our Lives” was a fun song for us to do, I even got to mimic the teacher’s voice at the beginning which was cool. We wanted to add a little bit of our theatricality to it which was quite hard given how short the song is, but we’re happy with what we did. Essentially the song acts as prelude to probably the most notable song on the album so our job was to set that up in the best way possible.

As for “Time,” this was really just a song that we all love. When it came to messing around with it, we found that by trying to make it more ‘hoof’ it simply sounded trite and a bit ‘try-hard.’ In the end after trying out different ideas, we pretty much just played it straight. In a way, this was us not trying to emulate Floyd but instead showing some respect to the song and humbly admitting that we can’t do any better that the original!

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

I guess it depends on what it is you think The Wall is. For me the album represented a rejection of indoctrination, whether that be the education system, political structures or financial institutions. What we’ve seen over the last few years is a complete breakdown of social interaction. There is such a divide between what we perceive to be the two sides of the argument. For me, The Wall represents a mental prison, not a physical one. Some people are so quick to assume the worst in everyone and everything, it would be nice to get back to a place where we can all respectfully disagree with each other but still enjoy a beer and a good riff without fighting!

The Slim Kings / Young Lust

As musicians and music fans, what’s your connection to Pink Floyd?

They are musically up there with the best. One of the bands to be studied in their song writing, production. They set up a mood that is undeniably Pink Floyd. Great teenager headphone music.

How did you arrive at your approach to your song?

So, there is no pressure to compete and make it sound like an original hit that people are used to – but we tried to cop most of the tricky licks so nobody would call us out. We recorded it live to tape quickly. Kacie Marie is a burlesque influenced singer and Instagram star who was hanging in the studio that day. She was the perfect woman to sing those background vocals.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

There is never a bad time to listen to the wall. Particularly when you are on this side of it! Joking aside, the country is in a cold civil war right now, so anything ever written about people being divided and conquered is relevant.

Tommy Southard / Solace / In the Flesh

As musicians and music fans, what’s your connection to Pink Floyd?

They’re an iconic band that influenced me as a young kid long before I even picked up a guitar. It helps when your cool uncle lives with you and has a copy of Ummagumma and it blows your mind in 2nd grade.

How did you arrive at your approach in covering In the Flesh?

Plug in and play like ourselves, hope for the best! I think we put our take on a classic tune from a masterpiece of an album. Tried to do it justice while still sounding like Solace.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Any day of any year is a good time to revisit any of the classic Floyd albums!

Somnuri / Sheep

As musicians and music fans, what’s your connection to Pink Floyd?

We all have an appreciation for Pink Floyd but if you asked us individually, our favorite albums would probably vary. As a whole, there’s no denying Pink Floyd’s sound and aesthetic as being an influence on us as musicians and artists.

How did you arrive at your approach in covering “Sheep?”

This project was interesting because there weren’t many songs left to choose from and given the timeframe to complete it, ‘Sheep’ was a very ambitious choice. As much as we tried to make it our own, we felt we had to honor the original song as much as possible. Ultimately, recreating the vibe and atmosphere was the most intensive part of the process. We feel proud of the way we conveyed the song and took it above and beyond what we expected.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Absolutely. With our current political and societal climate, the stories and concepts from the album seem as relevant as ever. One of the things that makes an album iconic is the sense of timelessness, and The Wall certainly has that feel, at least topically.

Bartosz Janik / Spaceslug

As musicians and music fans, what’s your connection to Pink Floyd?

It’s very personal music for me. A lot of good and bad memories. Floyds were with me in hard times and help me stand on the ground. Love this band and David Gilmour is in fact a big inspiration for my guitar playing.

How did you arrive at your approach to your song?

We managed to make our version of it and reverse the structure. The original has more doodling and ambient sound and this massive guitars on the end. We managed to make it little different and change that to have less ambient and more guitars and factures.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s always good! My dream is to be on Dark Side of The Moon Redux in some future! Hope this will happen! Also, that kind of initiative will keep good vibe that Floyds deliver years ago. Great band and this was really an honor to be part of this re-edition!

AJ / Summoner / Hey You

As musicians and music fans, what’s your connection to Pink Floyd?

I think our connection to Floyd is similar or the same to everyone else who plays this style of music. We’ve all been exposed to Pink Floyd our whole lives. I personally can say that it started with my parents listening to them when I was a kid. Followed by me taking that torch and running with it. Learning their discography as a teenager and striving to emulate them in the music I still write today. Summoner takes a lot from PF musically. When we get into our more ambient/atmospheric writing Floyd is always in the front of our minds. Not only do we draw from them musically, we are also influenced by their production style and studio magic.

How did you arrive at your approach in covering “Hey You?”

If I remember correctly, when we were asked to be a part of this we all agreed unanimously that “Hey You” should be our tune. You always have to be careful when covering a band like Pink Floyd. Everything they did was done right. You can’t expect to make one of their songs “better” you can only take what they have done and expand upon it and make it your own. We kept it tight to the template on our version because it was already so damn good. What we thought we could add was our style and texture to the tune and I think we did that well.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s as good a time as any. As I said previously, it’s always a risky venture to cover such an iconic band/album. Those songs are engrained in everyone’s mind and to switch that up almost seems like a losing battle. But done right it can be pulled off and I think MER has done just that with the bands they have chosen to do this project. We were just so happy to be a part of it. I guess the timing is kind of right since (I think) we are coming up on the 40th anniversary of the release.

Carter / Sunflo’er / Bring the Boys Back Home

As musicians and music fans, what’s your connection to Pink Floyd?

The riff in seven at the beginning of “Money” is a legendary use of odd meter. There’s so few solid examples of it in mainstream radio and making the realization as a youth leads to asking other questions about rhythm and where it comes from.

How did you arrive at your approach in covering “Bring the Boys Back Home?”

The original recording features a full marching band and choir, which we weren’t going to compete with, so the obvious choice for the cover was playing as minimally as possible. We wrote a chord melody for the guitar, reduced drum hits to only the most necessary, Ethan played saxophone and nailed it. Bohren & Der Club of Gore vibes were sought and achieved.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

For all the obvious geopolitical reasons: yes.

Patrick / T-Tops / Nile Song

As musicians and music fans, what’s your connection to Pink Floyd?

The Wall was my first introduction to Pink Floyd. When I first dug into the album 20+ years ago, the thing that struck me most was the overt loneliness & desolation at the heart of the record. This theme runs throughout much of their music, but obviously this is especially true with The Wall. What separates it from other Floyd records for me, is how it’s just a really solid, well-focused rock album (rock opera?) about brutal isolation & loss. These two themes are universally identifiable.

Though this album was inspired by WWII & the horrendous grief and loss it caused, I identify most with the songs about fractured relationships & the war & desolation that exists inside the narrator’s mind. Lyrically, my favorite songs on The Wall are “One of My Turns” which explores the madness & absurdity someone can exhibit to a loved one. First “love turns gray” then the narrator admits to being bored out of his skull and just going through the motions until he snaps into a manic scatterbrained episode of violence and destruction, scaring the hell out of the other person & then asks, “why are you running away?” Brilliantly followed by the backhanded apologetic begging of “Don’t Leave Me Now” where he reminds his partner about the “flowers I sent” & goes on to plead with them that he needs them (if only to “beat to a pulp” or “put through a shredder”) while simultaneously begging them not to leave.

How did you arrive at your approach to your song?

The Nile Song is possibly the most “straightforward” rock song in Pink Floyd’s catalog which is what drew me to it. The simplistic musical pattern and yelled/half screamed lyrics make it stand out from other Floyd songs and made it an easy choice for a cover. I was surprised no one else snagged this one before we were given the chance to. Of course, I’m aware of The Melvins covering this song in the early ’90s. Not that we (or anyone) could ever sound like the Melvins, but we kind of took a similar approach to covering it in just playing it basically the same as Pink Floyd just with louder more distorted guitars.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s never a bad time to revisit a classic.

Taylor / WhiteNails / Waiting for the Worms

As musicians and music fans, what’s your connection to Pink Floyd?

Pink Floyd is one of the quintessential musician’s bands. Their level of creativity and pushing boundaries has always been an inspiration to us. David Gilmour is one of our all-time favorite guitarists and there aren’t many musicians who have the taste and flair that he does. As well as one of the greatest guitar tones of all time!!!

How did you arrive at your approach in covering your song?

Covering “Waiting for the Worms” was sort of a trial and error process. We wanted to add our own touch but really didn’t want to stray too far from the original work. We ended up changing the verses musically and tried to stray somewhat true to the vocal melody. We generally beefed up most of the guitar work and allowed Darcy to really sing on the track.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Releasing an album like the Wall again seems entirely appropriate in the political and social climate we find ourselves in today. Pushing against the powers that be has never run out of fashion and it stands equally as true today.

Worshipper / One of My Turns

As musicians and music fans, what’s your connection to Pink Floyd?

ALEJANDRO: I don’t recall a time when Pink Floyd wasn’t a part of my awareness. My father was an avid music fan and record collector, so Floyd was often on the record player when I was young. “The Wall” was one of the first gatefold records I held as a kid. The towering butt overlord was mesmerizing. As a musician, my appreciation for the band goes in cycles. There was a time in my 20s when I couldn’t get away from The Wall or Dark Side because they were everywhere. Friends couldn’t wait to gift me a copy of “The Wall” the movie on VHS or DVD which is difficult because, let’s face it, it’s a dark movie. Who has the emotional fortitude to watch this Pink guy slice his eyebrows off? It’s tough. But, at some point a revisit of The Final Cut or Relics b-sides or Echoes or Shine on or Animals sends me back into another Floyd-obsession phase. For some reason I never got around to seeing the Pompeii stuff until recently, when we started writing our current record, so I climbed into that rabbit hole for a bit. The connection, for me, is the fearlessness in songwriting and the immense power four guys can make together and all the inventiveness that goes along with that. I think if you’re going to be in a band you need to see what Floyd was all about. They invented a lot of what you need to make it work. If you don’t you’re just being an asshole to yourself and your bandmates.

JB: It’s funny, my dad is a GIGANTIC Floyd fan and that is probably the #1 reason. He had all the records and a bunch of bootlegs (which he has since passed along to me) and while he would play them around the house while I stared in amazement at the back cover of Ummagumma, he never forced them on me or anything. It wasn’t until I borrowed his van in college and found a tape of a bootleg from ‘72 under the seat that it really sealed the deal for me. We had Live at Pompeii on Laser Disc and everything, but it wasn’t until I discovered what I liked about them on my own terms that it all clicked for me in a personal way. I tend to gravitate toward the early stuff like Obscured by Clouds, MORE, Relics, and Meddle, but I love it all. But, to answer your question more concisely, they have basically been a part of my life for as long as I can remember and a huge part of my relationship with my dad.

I think all of us are into Floyd in different ways, which is cool, as well. Like, Jarvis is a maniac about the Wall, but not much appreciation for the Syd stuff, while I am sort of the opposite. I like all of that ridiculous British 60s acid-damaged tea and crumpets stuff.

How did you arrive at your approach in covering “One of My Turns?”

ALEJANDRO: It was a different type of song for us. We do covers all the time but this one was a challenge since it’s kind of two songs in one. The front half is a bit of a theatrical vignette, so we debated if we should stick to the actual narrative from the record, where we use the dialogue of Pink’s guest in his room while he’s watching “The Dam Busters” on TV. In the end we ditched the groupie and focused on the significance of what a protagonist in “The Wall” in 2018 might be watching which, in our version, is the scene from “All the President’s Men” where Robert Redford gets the “follow the money” speech from Deep Throat. Seems an appropriate commentary right now. On top of that, there was the opportunity to record and build a section based on John’s synth and keys treatment which we did separately from the second, more-straightforward half of the song.

JB: I had to really dissect this one, personally, to get to the bones of it and figure out what was going on. With such a grand production, it was a little tricky to pick apart. Al said that he was working on the strategy for the front half, and I kind of took the lead with the back half, doing a demo at home and trying to figure out how to put our stamp on it and how to approach the vocals without trying to imitate Roger’s utterly unhinged performance. I basically had to reharmonize the vocal melody a little (ok, a lot) to make it work with my range and demeanor. And then the front half was really our first attempt at creating something from scratch in the studio (not working from playing live.) I’m really into synths, so I had fun doing the pads in the intro and making more of a “headphone experience” … Al had a map of the chord structure of the intro, so he kind of yelled out chords and we built it up piece by piece until the vibe was right. I really wasn’t sure I would be able to pull off such an intimate vocal like Roger does, but, I’m happy with how that came out. It should be noted that Chris Johnson did an amazing job recording and producing it. Especially since we had to kind of graft the front half onto the back half, but he made it work!

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

ALEJANDRO: It does. There’s never a bad time to revisit “The Wall,” but today seems a particularly good time. The Wall as Roger Waters conceived it was metaphorical, right? A dude with dad-issues and a lifetime of intimacy problems? Now the idea of “a wall” is an analogue for the ideologies of greed, division, nationalism, fear that, in America, play out constantly on social media, tv, newspapers, it’s everywhere. Working with MER to add a voice to a commentary about it and celebrate the music and message of Pink Floyd? Sounds right. Sign us up. This is one of the reasons we play in a band. It’s a shitshow out there and it’s time to get dressed and show up to the party. America is pretty happening party, but insane assholes are soiling the punch and passing out bad drugs, and the DJ is a punishing monster right now. I’m glad I got a band that wants to kick down the door, squeeze off a few rounds on the fire extinguisher, and put some Floyd on the stereo ‘cause whatever’s on at the moment has got to stop.

JB: Did you see Roger Waters on that last tour? If anything, this is a PERFECT time to revisit this album. All of his lyrics can be interpreted as being completely current in today’s political climate. Maybe the Animals record more than this one, but wow, he really created some timeless lyrics that make sense in pretty much any era. Until everybody gets along, I think Roger’s lyrics will always resonate. This has also been great for me, personally, because The Wall was never really “my Floyd album” so it gave me a reason to really dig into it again and learn to really appreciate it. Not that I didn’t appreciate it, I just always found it to be a little on the “emotionally draining” side. Now, I don’t see it that way anymore, so thanks for helping me with that!

Gary Arce / Yawning Man / Outside the Wall / Mudmen

As musicians and music fans, what’s your connection to Pink Floyd?

To be honest we grew up with punk rock and we were very young when we started doing music, not caring much for references. As for Pink Floyd I can see how we share a similar approach to guitar sounds and spatiality, as well as riffs and tempo with some of their songs. It’s that they started with blues and you can hear rock is a part of us. I think some members of Pink Floyd also kind of grew up together as we did. Playing in the desert with our mates, most of them are luckily still around doing their thing, that’s what pushed us.

How did you arrive at your approach in covering your song?

Our approach is usually very instinctive. We love jamming and see what we come up with. That’s how we did the covers, too. We‘re not like wracking our brains too much before we start, that’s not how we play. We just start and the music keeps flowing. It was fun and lots of Mexican food kept us going.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

The Wall made the history of music. Many have been if you want it or not (consciously or unconsciously) influenced by it. On tour I talk to many fans after concerts or they come up and talk to me. They know a lot about music and love to establish connections between their idols and the younger bands. Psych sounds are having a huge revival in Europe, the US and Canada. We see that when we play live and most of the shows are sold out. So I guess it’s a good moment to revisit The Wall and see what it’s got to tell us now.

Amy Tung / Year of the Cobra / When the Tigers Broke Free / Have a Cigar

As musicians and music fans, what’s your connection to Pink Floyd?

The funny thing about Pink Floyd is that they’re not one of my favorite bands, but they’re certainly one of the most influential bands in my life. If I think about the time in my life where music influenced me the most, like as a preteen or a teenager, they’re certainly one of the top 5. They’re one of those bands that, at some point in your life, you have to dive into, head first, and in doing so, you become a more fulfilled human being. It obviously doesn’t apply to everyone, but to most of the people that I relate to, it does. It is impossible to not have the utmost respect for them and never in my life did I imagine I would be asked to cover any of their music. I never thought I would be able to, but to have the opportunity to do so was outrageously challenging and exciting. I don’t expect anyone to find our take on their music better than what already existed. I just hope people find it interesting and inventive and I hope it opens their minds to something different and new.

How did you arrive at your approach in covering your song?

My approach to covering any song is to find a way to change it. I feel like you can never make a song exactly like the original because it will never sound better than it already does. The only option you have is to change it. My goal is to find a way to keep the essence of the song intact but insert a little bit of me in it. Covering the songs “Have a Cigar” and “When the Tigers Broke Free” as Year of the Cobra was certainly limiting, seeing that we’re only a drum and bass duo, but it was also fun trying to find a way to do justice to the music, while also doing justice to us as a band. In the studio, we added some more instrumentation (I.e. keyboards), but I feel like it’s still something we could play (and maybe… hopefully… will play) live, one day.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

The Wall will always be an album to revisit; today, tomorrow, in the future. It’s timeless. There are no contemporary bands that even come close to writing an album of epic proportions like The Wall and there are too many kids that have grown up listening to the formulaic music that is spewed out on modern radio these days, it’s depressing to think what their lives would be like if they weren’t introduced to albums like The Wall. It is imperative that we keep these albums alive in any way we can, so they are never forgotten. Finding bands to cover them, breathe new life into them, is such an exciting way to keep them alive, to keep us talking about them. I hope in 10 years, more bands are covering this album and keeping it alive for more generations to come.

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GIVEAWAY: Win Tickets to Prophecy Fest USA in Brooklyn; Alcest, Year of the Cobra, 1476 & Many More Playing

Posted in Features on October 11th, 2018 by JJ Koczan

prophecy fest lineup

[TO ENTER GIVEAWAY: Leave a comment on this post and make sure your email address is filled in the form so I can contact you if you win. Yup, that’s it.]

You can buy tickets now for the first-ever Prophecy Fest USA, being held Nov. 2-3 in Brooklyn, NY, at the Knitting Factory, and I’m not going to dissuade you from doing that, but if you leave a comment on this post, you can also just win a pair and go that way. I know money’s tight, so if you’ve got room in your heart for the likes of Novembers Doom and Alcest, Kayo Dot and Year of the Cobra over the course of two nights — and well, I think you do — then yeah, you might just want to go for this one.

I want to keep this post short, so I’ll spare you the wax-critique of the varied and righteous bill and just let you see it for yourself. The schedule as per the fest:

prophecy fest usa 2018 new posterFriday, November 2nd
7-7:30 || Völur
8-8:30 || Xasthur
9-9:30 || Kayo Dot
10-10:45 || So Hideous
11:15-End || Novembers Doom

Saturday, November 3rd
7-7:30 || 1476
8-8:30 || Year of the Cobra
9-9:30 || Crowhurst
10-10:45 || Eye Of Nix
11:15-End || Alcest

Pretty badass, and again, this is the first time Prophecy Fest is being held on American soil, so all the more worth showing up.

And I don’t know if I have to say this at this point, but I will anyway: if you enter a contest here, I don’t keep your email. You’re not added to a list. Your information isn’t sold. I wouldn’t know how to do that if I wanted to, and I don’t want to, so yeah. The lizard people already have your information, but I didn’t give it to them.

Thanks to all who enter.

And if you don’t win, buy tickets here: http://us.prophecy.de/prophecy-fest/prophecy-fest-us-ticket.html

https://www.facebook.com/events/228554127792687/
http://us.prophecy.de

[TO ENTER GIVEAWAY: Leave a comment on this post and make sure your email address is filled in the form so I can contact you if you win. Yup, that’s it.]

Prophecy Fest USA trailer #2

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Year of the Cobra Tour Starts Tonight; Playing Prophecy Fest USA in Brooklyn

Posted in Whathaveyou on October 10th, 2018 by JJ Koczan

year of the cobra

Seattle’s Year of the Cobra have a slot booked at the first-ever Prophecy Fest USA in Brooklyn on Nov. 3, and because they’re Year of the Cobra, they’re turning it into a tour of the East Coast and Midwest. The band signed to Prophecy Productions earlier this year after issuing 2017’s Burn Your Dead EP (review here) through Magnetic Eye Records, and they’re set to have their sophomore full-length out in 2019, for which the EP teased multi-directional growth in style and songwriting. The duo have put in massive amounts of road work over the last couple years at home and abroad, and it seems like they’re in a place where they’re ready to step up to the task ahead of them in their next record and see where it takes them. My guess as regards to that? More touring.

They’ll be playing new songs on the tour, and that’s nifty to be sure, but I’m really looking forward to hearing what they might bring to a new record with Jack Endino producing. I’m keeping my fingers crossed the album gets here on the earlier end of next year.

From the PR wire:

year of the cobra tour

SEATTLE DOOM DUO, YEAR OF THE COBRA, ANNOUNCE NORTH AMERICAN TOUR DATES

*BAND TO PERFORM AT INAUGURAL “PROPHECY FEST USA” IN BROOKLYN ON NOV 3RD*

Seattle’s heavyweight stoner doom duo, Year of the Cobra, has announced they’ll be hitting the road for a North American tour this fall. The band will kick of the excursion with a hometown show in Seattle on October 10th and will wrap up the run in Lawrence, KS on November 6th. The tour will include a performance at the inaugural Prophecy Fest USA, alongside labelmates 1476, Crowhurst, Eye of Nix and Alcest, at Knitting Factory in Brooklyn, NY on November 3rd. Tickets for the fest are available now at http://bit.ly/2OCPQ9P.

Year of the Cobra’s upcoming tour will give fans a taste of music to come from the band’s forthcoming 2nd full-length record that’s due out next year.

“We’ve been hermits since our last U.S. tour this past August and have hunkered down and written a ton of new music… going to road test quite a few new songs on this run. Jack Endino will be producing and engineering the next record, which will come out in 2019 on Prophecy Productions. Tours and other exciting news are in the works. Stayed tuned!” – Year of the Cobra

Formed in 2015, Year of the Cobra became a rapidly ascending, radiant star in the horizon of the doom/stoner-scene for a reason: This powerhouse duo, consisting of Amy Tung Barrysmith (vocals/ bass) and Jon Barrysmith (drums), use their limitation in instrumentation to their advantage. Leaving space for every instrument to breathe and to shine, they create a vast, larger than life sound aesthetic. Their songs drift relentlessly from classic epic doom laments into oppressive heavy riff architecture; from catchy, almost upbeat rock moments into transfiguring psychedelia.

Year of the Cobra Tour Dates:
10.10.18 – Seattle, WA. – El Corazon w/ Monster Magnet
10.20.18 – Boise, ID. – The Shredder
10.22.18 – Denver, CO. – Streets of London
10.23.18 – Omaha, NB. – Lookout Lounge
10.24.18 – Oshkosh, WI. – Reptile Palace
10.25.18 – Chicago, IL. – Cobra Lounge
10.26.18 – Toronto, ON. – Coalition: T.O.
10.27.18 – Jewett City, CT. – Altones
10.28.18 – Ottawa, ON. – Cafe Decuf
10.29.18 – Buffalo, NY. – Mohawk Place
10.30.18 – Providence, RI. – Alchemy
11.1.18 – Philadelphia, PA. – Barbary
11.2.18 – Washington D.C. – Altas Brew Works
11.3.18 – Brooklyn, NY. Knitting Factory – Prophecy Fest
11.4.18 – Pittsburgh, PA. – Gooski’s
11.5.18 – Indianapolis, IN. – Black Circle Brewing
11.6.18 – Lawrence, KS. – Replay Lounge

https://www.facebook.com/yearofthecobraband/
https://twitter.com/yearofthecobra
https://yearofthecobra.bandcamp.com/
https://www.facebook.com/prophecyproductions/
https://prophecy-de.bandcamp.com/
https://en.prophecy.de/

Year of the Cobra, Burn Your Dead (2017)

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Prophecy Productions Announces Prophecy Fest USA 2018 for November in Brooklyn

Posted in Whathaveyou on August 2nd, 2018 by JJ Koczan

Man, I knew something was up with Prophecy Productions. The fact that Martin Koller, the founder of the long-running German imprint moved to California, is not to be understated in its importance. Prophecy is not a label of minor consideration when it comes to taste on the whole, and as they’ve picked up bands like Khôrada and Year of the Cobra, it not only speaks to those groups’ individual achievements, but the forward-moving nature of the current US heavy underground as a whole. The first-ever Prophecy Fest to be held in America will take place this November at the Knitting Factory in Brooklyn, with Eye of NixAlcestVolurXasthurKayo DotNovembers DoomYear of the Cobra, 1476 and So Hideous on the bill. Two nights and a pretty unbelievable international assemblage, featuring special sets. It’s the kind of event that you want to get dressed up for. I’m not saying you have to wear a suit, but we do want to make a good impression.

And would it kill you to put on a suit?

Very interested to see where Prophecy‘s US adventure takes the label over the next couple years, and Prophecy Fest, which is presented in conjunction with Stardust NYC, looks like a great place to start to find out.

From the PR wire:

prophecy fest usa 2018 new poster

PROPHECY PRODUCTIONS ANNOUNCES U.S. EXPANSION & PROPHECY FEST USA

Following two decades of acclaimed success, with revered releases from some of the most prolific and groundbreaking acts in eclectic heavy music, Germany based Prophecy Productions has officially announced their expansion to North America with a division of the label now established in Los Angeles.

Further affirming their presence, Prophecy has unveiled the first edition of Prophecy Fest USA, which will take place at The Knitting Factory in Brooklyn, NY on November 2nd and 3rd. The inaugural event will feature performances by Alcest, Xasthur, November’s Doom, So Hideous and more. Those who purchase tickets to the Fest will receive a special edition 2xCD Prophecy Compilation. Two day tickets are available now at http://us.prophecy.de/prophecy-fest/prophecy-fest-us-ticket.html.

Prophecy Productions emerged in 1996, quickly earning worldwide regard for high quality releases and a selective, eclectic roster. Beginning as a self-run mail order, Prophecy owner & founder Martin Koller released Empyrium’s 1996 debut, A Wintersunset… To this day, he has continued to nurture and develop artists he loves, resulting in a staggering roster which sports artist such as Alcest, Khôrada, Bethlehem, Lantlôs, Falkenbach, etc.

With growing awareness of the vast differences and growing possibilities in the US metal community, Koller chose to expand into the US by opening a North American division. In 2017, Koller moved to California to explore new possibilities in the American market, establishing a diverse, talented and dedicated American team, consisting of Rayshele Teige (ex-Century Media and Osmose), Kay Shelton (ex-20 Buck Spin & Wolves in the Throne Room, Northwest Terror Fest), and Matt Bacon (Metal Injection, Dropout Media).

With Prophecy in the USA, this powerhouse team aims to enrich and expand the Prophecy roster, uncovering and cultivating fresh artists and supporting icons alike. So far, the US roster reads eccentric, eclectic and nicely unpragmatic; US black metal pioneers Nachtmystium and Xasthur, highly speculated and anticipated supergroup Khôrada (ex-Agalloch, Giant Squid), blackened-sludge abyss Eye of Nix, Oakland surrealists Silence in the Snow, black metal/noise crossover superstar Crowhurst, and brute-doom experimentalists Year of the Cobra.

To read more about the history and philosophy behind Prophecy Productions, here is an in-depth article by writer Jon Wiederhorn: http://us.prophecy.de/prophecy-productions-philosophy/

http://en.prophecy.de/
https://www.facebook.com/prophecyproductions/
https://www.instagram.com/prophecypro/
https://twitter.com/ProphecyProd
https://www.youtube.com/user/prophecyBC

Prophecy Fest USA 2018 lineup announcements

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Year of the Cobra Sign to Prophecy Productions for New Album in 2019; Tour Dates Announced

Posted in Whathaveyou on July 16th, 2018 by JJ Koczan

year of the cobra

On the heels of their 2017 EP, Burn Your Dead (review here), Seattle duo Year of the Cobra toured Europe this past Spring, and they must’ve made a hell of an impression, as they’ve newly been picked up by respected German purveyor Prophecy Productions — which this year hosts its first-ever Prophecy Fest US in Brooklyn, which the band will also play — for the 2019 release of a new album to be produced by… wait for it… Jack frickin’ Endino. This after working with Billy frickin’ Anderson. Year of the Cobra certainly know how to pick ’em.

While I take a second to slap Year of the Cobra right into the notes for 2019’s most anticipated releases, I’ll also send heartfelt kudos and congratulations to the two-piece on the signing. Can’t wait to hear their new record as their ongoing ascent is sure to continue.

The PR wire makes it official, and as they will, Year of the Cobra also have tour dates coming up including the Stoned Meadow of Doom Festival in Omaha, Nebraska, on Aug. 12. Dig:

year of the cobra tour

PROPHECY PRODUCTIONS ANNOUNCES SIGNING OF SEATTLE STONER DOOM DUO YEAR OF THE COBRA

It is with great honor that Prophecy Productions announces the signing of Seattle’s heavyweight stoner doom duo, Year of the Cobra.

Formed in 2015, Year of the Cobra became a rapidly ascending, radiant star in the horizon of the doom/stoner-scene for a reason: This powerhouse duo, consisting of Amy Tung Barrysmith (vocals/ bass) and Jon Barrysmith (drums), use their limitation in instrumentation to their advantage. Leaving space for every instrument to breathe and to shine, they create a vast, larger than life sound aesthetic. Their songs drift relentlessly from classic epic doom laments into oppressive heavy riff architecture; from catchy, almost upbeat rock moments into transfiguring psychedelia.

In 2016, just a year and one EP into their career, Year of the Cobra released their full-length debut, …in the Shadows Below. Using the natural, three-dimensional and massively heavy production of Billy Anderson (Neurosis, Sleep) they present themselves as an unbelievably mature and confident band who knows exactly what they want. Following their sophomore EP Burn Your Dead, they had successful tours of Europe and the US, playing a number of well-known festivals along the way, including Psycho Las Vegas, Freak Valley Festival, and Stoned Meadow of Doom. They are currently working on new material for their 2019 follow-up full length with legendary engineer/producer Jack Endino (Nirvana, Tad, Soundgarden), and are confirmed to play the inaugural Prophecy Fest USA, taking place this November at Brooklyn’s Knitting Factory.

Year of the Cobra Tour Dates:
7/27 – Seattle, WA. – The Funhouse
7/31 – Sacramento, CA. – Blue Lamp
8/1 – San Francisco, CA. – Elbo Room
8/2 – San Jose, CA. – The Caravan
8/3 – Santa Cruz, CA. – Blue Lagoon
8/4 – Los Angeles, CA. Five Star Bar
8/5 – Las Vegas, NV. – Beauty Bar
8/6 – Albuquerque, NM – Launchpad
8/7 – Denver, CO. – Bar Bar
8/8 – Kansas City, MO. – Riot Room
8/9 – St. Louis, MO. – Fubar
8/10 – Chicago, IL. – Reggies
8/11 – Springfield, MO. Outland Ballroom
8/12 – Omaha, NB. – STONED MEADOW OF DOOM FEST
8/14 – Bozeman, MT. – Zebra Lounge
8/15 – Spokane, WA. – The Observatory

https://www.facebook.com/yearofthecobraband/
https://twitter.com/yearofthecobra
https://yearofthecobra.bandcamp.com/
https://www.facebook.com/prophecyproductions/
https://prophecy-de.bandcamp.com/
https://en.prophecy.de/

Year of the Cobra, “Persephone” official video

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Year of the Cobra Touring Europe with Toke; Playing Freak Valley and More

Posted in Whathaveyou on April 2nd, 2018 by JJ Koczan

year of the cobra

So hey, Seattle duo Year of the Cobra had a limited single go up for presale this past week over at H42 Records. Think maybe you’d like to purchase such a thing? Gone. Gone, gone, goneski. They made 220 of them and there they go.

Maybe the band will have some held back for the merch table on their European tour with Toke, which includes a previously-announced stop at Freak Valley as well as other stops in Germany, Norway, the UK, Denmark, and so on. It’s not Year of the Cobra‘s first European tour, and it’s not their first limited 7″ through H42 Records, but hell, if you’ve got a thing that works, run with it.

And if you’ve got a jones for some Year of the Cobra vinyl, their Burn Your Dead EP (review here) is available on repress from Magnetic Eye. You can also stream it at the bottom of this post.

Info from the PR wire:

year of the cobra toke tour poster

You’ve probably heard that Year of the Cobra will be back in Europe in May 2018 (with co headliner Toke) and will also be part of the honorable FREAK VALLEY FESTIVAL.

Of course, Jon and Amy have something special for you in their luggage: a cool little vinyl 7″ with 45rpm ‘The Descent’ on side A and an exclusive screen print on side B!

The single will be available on tour and from H42 Records. There will be only 220 copies in total so do not oversleep! We have decided to offer you a small part of the singles in advance, so that even those have a chance to get one who have no opportunity to attend a concert on tour.

You have the agony of choice between 4 different editions:
100x clear vinyl with orange screen-print
50x white vinyl with black screen-print
50x black vinyl with orange screen-print
20x special edt. with whitelabel and ‘suprise colored screen-print and alternative cover-art

YEAR OF THE COBRA European tour dates w/ Toke:
5/10/18: Copenhagen, DK @ Stengade
5/11/18: Oslo, NO @ Krosset
5/12/18: Malmo, SE @ Plan B
5/13/18: Kiel, DE @ Kieler Schaubude
5/15/18: Berlin, DE @ Zukunft
5/16/18: Slavonice, CH @ barak
5/17/18: Warsaw PL @ Hydrozagadka
5/18/18: Gdansk PL @ Protokultura
5/19/18: Wroclaw PL @ Ciemna Strona Miasta
5/20/18: Wien, AT @ Venster99
5/21/18: Salzburg, AT @ Rockhouse
5/22/18: Dresden DE @ Ostpol
5/23/18: Bregenz AT @ Between
5/24/18: Freiburg DE @ White Rabbit
5/25/18: Olten CH @ Le coq D’Or
5/26/18: Paris, FR @ L’international
5/27/18: Bristol, UK @ The Old England
5/28/18: London UK @ The Black Heart
5/29/18: Lille France @ TBA
5/30/18: Strasbourg, FR @ Molodoï
5/31/18: Wurzburg, DK @ Immerhin
6/1/18: Utrecht NL @ Db’s
6/2/18: Netphen, DE @ Freak Valley Festival

http://yearofthecobra.com
https://www.facebook.com/yearofthecobraband/
https://yearofthecobra.bandcamp.com/
https://www.merhq.net/
https://www.facebook.com/MagneticEyeRecords/
http://merhqradio.net/
stbrecords.bigcartel.com/
https://stbrecords.bandcamp.com/
http://www.facebook.com/pages/STB-Records/471228012921184

Year of the Cobra, Burn Your Dead (2017)

Year of the Cobra, …In the Shadows Below (2016)

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Freak Valley 2018: Russian Circles, Year of the Cobra, Black Bombaim, Ruff Majik & My Baby Added to Lineup

Posted in Whathaveyou on January 15th, 2018 by JJ Koczan

freak-valley-2018-banner

Not taking anything away from anyone in this latest announcement from Freak Valley 2018, but for me, the find of the bunch is South African heavy-grooving three-piece Ruff Majik, who, what they lack in spelling they more than compensate for with riff-led immersive roll as well as a prolific rate of releases.

Again, that’s not to detract at all from the radness of the fact that Year of the Cobra are making the trip, or that Russian Circles will no doubt feature somewhere near the top of the bill, but I wasn’t familiar with Ruff Majik prior to this announcement and was happy to have the chance to check them out.

If you’d like to do the same, their latest EP is streaming at the bottom of this post. Go ahead and give it a shot. Maybe name your price on one of those downloads they have set up on such terms.

Here’s the full announcement from the fest, which, as it happens, I wrote:

freak-valley-2018-russian-circles

Happy New Year, Freaks!

We’re creeping ever closer to the start of FREAK VALLEY FESTIVAL 2018, and you know what that means: More announcements, more reasons to come, and less time to plan your trip. If you missed out on tickets before they sold out, sorry, but you can’t say you weren’t warned. For everyone else, we’ve got FIVE awesome new confirmations to reveal for the lineup!

Please welcome Russian Circles, Black Bombaim, Year of the Cobra, Ruff Majik and MY BABY to the bill for Freak Valley 2018!

RUSSIAN CIRCLES

No way these guys need any introduction. For over a decade, Chicago instrumental trio Russian Circles have made themselves forerunners of heavy and psychedelic post-rock, and with their records Enter, Station, Geneva, Empros, Memorial and Guidance, they’ve become one of the most essential acts of their generation. Expect immersion like nothing else when they take the stage for all the Freaks! They might even leave the lights on! On second thought, nah, probably not.

BLACK BOMBAIM

If you’ve never experienced Portuguese jammers Black Bombaim live, you don’t even know what you’ve been missing. The raw chemistry, the dynamic turns – everything they do recalls the best of improvisational psychedelic rock. Their flow is molten and unlike anyone else’s in the style, and they come to Freak Valley as ready to explore new ground as ever in the far-out cosmic reaches.

YEAR OF THE COBRA

While the bass/drum two-piece recalled riffy greats like Sleep and Acid King on their debut album, In the Shadows Below, it was the 2017 EP, Burn Your Dead, that really showed off the diversity of sound Year of the Cobra could bring to bear. The Seattle duo hit Europe for the first time supporting the album and as they come back ahead of a new full-length in 2018, we’re thrilled to welcome them for their first visit to Freak Valley!

RUFF MAJIK

Traveling all the way from Pretoria, South Africa, the heavy-grooving trio Ruff Majik have been belting out releases at a prolific clip since their 2015 debut, The Bear. By the time they make it to Siegen this May, they’ll be riding high on the blues-psych vibes of their latest work, A Stag in the Leaves, and we can’t wait to introduce them to the Freaks and give everyone a taste of their laid back riffs and classic style.

MY BABY

Based in Amsterdam (because where else?), My Baby come to Freak Valley 2018 offering a spirit and a musical energy like nothing else on the bill. Their 2017 album, Prehistoric Rhythm, ran contrary to its name with a blend of soul, blues, funk, dance and classic rock that could only be from the future. Still, it spoke to something primitive in all of us – a basic need to move, to get up, to shake ass, and we know they’ll have the Freaks doing exactly that.

Freak Valley Festival 2018 // No Fillers – Just Killers

Line-up 2018:
OM, Russian Circles, My Sleeping Karma, My Baby, Yuri Gagarin, Dÿse, Black Bombaim, Year of the Cobra, Ruff Majik, Rage of Samedi, Nap
More tba soon

Have a freaky time – your Rock Freaks

www.freakvalley.de
https://www.facebook.com/freakvalley
https://www.facebook.com/events/738782742996668/
https://twitter.com/FreakValley

Ruff Majik, A Dragon and His Hoard (2017)

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