Fascinating transition for The Skull, who since the release of their 2014 Tee Pee Records debut album, For Those Which are Asleep (review here), have gone from being more Trouble than Trouble to owing just as much of their collective pedigree to Pentagram with the addition of drummer Sean Saley alongside guitarist Matt Goldsborough — both of whom I’m pretty sure were in Pentagram when I saw them at Desertfest London in 2013. Go figure.

What that means to The Skull‘s overall aesthetic will of course remain to be seen, guitarist Lothar Keller (who was never in either Trouble or Pentagram — yet!) having such a huge role in what they do, as well as bassist Ron Holzner and vocalist Eric Wagner, but wherever they go from their first album, I’m glad to see them getting out for a decent bit of touring, even if it’s headed west instead of east. The rest will sort itself out, but more time on stage can only make them a tighter unit and expand on what they were already able to bring to the studio the first time around.

The PR wire has tour details:

The Skull Announces North American Tour Dates

Doom Titans featuring Ex-Members of Legendary Metal Bands TROUBLE and PENTAGRAM Set to Hit the Road

THE SKULL, featuring vocalist Eric Wagner and bassist Ron Holzner, formerly of metal legends TROUBLE, guitarist Matt Goldsborough and drummer Sean Saley (both ex-PENTAGRAM) and guitarist Lothar Keller, has announced a North American tour in support of its debut album, For Those Which Are Asleep.

THE SKULL will launch the 16-city trek on September 11 in Milwaukee, WI. The tour will run through September 29 in New Orleans, LA. At the shows, THE SKULL will perform both songs from For Those Which Are Asleep and time-tested favorites from its canon of TROUBLE classics. The just-announced live dates are as follows:

THE SKULL tour dates:
September 11 Milwaukee, WI Metal Grill
September 12 Kansas City, MO Riot Room
September 13 Denver, CO Larimer Lounge
September 15 Spokane, WA The Pin
September 16 Boise, ID Neurolux
September 17 Vancouver, BC Rickshaw
September 18 Seattle, WA El Corazon
September 19 Portland, OR Star Theatre
September 20 Oakland, CA Opera House
September 22 Los Angeles, CA Satellite
September 23 San Diego, CA Hideout
September 24 Phoenix, AZ Pub Rock
September 25 Albuquerque, NM Launchpad
September 26 Fort Worth, TX Lola’s
September 27 Tulsa, OK Downtown Lounge
September 29 New Orleans, LA Sibera

https://www.facebook.com/troubletheskull
http://theskullusa.com/
https://twitter.com/TheSkullUSA
http://teepeerecords.com/

The Skull, “Send Judas Down” live in Dayton, OH, Dec. 2014

Hawkwind, Warrior on the Edge of Time (1975)

Of course, the Hawkwind catalog is a complex and ever-expanding universe in itself, full of ups and downs, comings and goings, peaks and valleys. It seems safe to think, however, that 1975’s fifth album, Warrior on the Edge of Time, stands among their greater triumphs, building on the complexity of its predecessors — 1974’s Hall of the Mountain Grill, 1972’s Doremi Fasol Latido, 1971’s genre-defining In Search of Space and their 1970 self-titled debut (don’t even get me started on live records) — to form a progressive vision of space rock the influence of which can still be felt today. From the opening of “Assault and Battery/The Golden Void,” the album is resoundingly immersive and full of depth, the keyboards, Mellotron, violin, flute, saxophone, percussion, etc. adding to an already sprawling swirl of guitar effects and rhythmic push, though some of Warrior on the Edge of Time‘s standout moments come in the interplay of atmospherics and spoken word on songs like “The Wizard Blew His Horn,” “Standing at the Edge” and “Warriors,” these shorter pieces playing off the fiction writing of vocalist Michael Moorcock, who was by 1975 already three books deep into his Elric sequence, the pivotal third, Elric of Melniboné, having been released in 1972, and given a fitting ambient push by guitarist Dave Brock, bassist Ian “Lemmy” Kilmister, saxophonist Nik Turner, violinist/keyboardist Simon House and drummers Simon King and Alan Powell. There are some gorgeous stretches of jamming in “Magnu” and “Opa-Loka,” and in them one can also hear the far-ranging impact Hawkwind continues to have on the current boom of heavy psychedelia.

The life, times and insurmountable discography of Hawkwind are all well documented — you might even say there’s a documentary — but with so much time and so much output, the details are easy to gloss over, and particularly for an album as rich as Warrior on the Edge of Time, it’s twice as worth paying attention to moments like the re-emergence of Moorcock‘s vocals in “The Golden Void” and the later, seemingly-out-of-nowhere hook of “Kings of Speed,” which departs the farther-and-farther-veering conceptual fare of the album’s second half in songs like “Standing at the Edge,” “Spiral Galaxy 28948” and “Warriors” for a simplistic structure almost in a ’50s rock and roll style that’s of course filtered through the band’s always-multicolor palette. Pervasively weird but singular unto themselves even in the vast sphere of ’70s prog and krautrock, Hawkwind remain an underground entity in part because to embrace them as a whole is such an undertaking, but in bits and pieces, over time, one might almost endeavor to keep up with their lightspeed thrust, which though barely recognizable in its current form(s), endures to this day.

As always, I hope you enjoy.

—

I’ve been sick the last three days or so. Really beat. Really beat. And a persistent stomach pain, acid reflux, and so on that has really just kicked my ass around the block and then some. I stayed home from work yesterday and spent most of the day in bed, and that seems to have helped put me on the road to recovery — I’m at the office now, so that’s an improvement — but I wouldn’t go so far as to call myself out of the woods. An accompanying, lingering headache has not helped. I have done my best to stay hydrated.

Even putting that aside, it’s been kind of an overwhelming week. Maybe part of that was getting caught up on being away from work in SF last week — was that last week or the week before? — but still, dragging ass. Sorry if that bums you out, I’m just trying to be honest with where I’m at. Five years from now I might look back on this post and be like, “Oh yeah, I remember that time I felt crappy.” These things are important to me.

Busy week, too. If you didn’t see, there’s a new Uncle Acid track that I, with six posts already planned for today, just didn’t have the chance to get to, and I’m already behind on stuff for Monday as well in stories for Mountain Tamer, The Skull and Behold! the Monolith. I started out this week pretty much caught up. I did not finish it that way, though it felt good today to review that T.G. Olson vinyl, even if it meant skipping the Radio Adds. I’ll get there one of these days.

Monday, aside from that news, look out for a track premiere from Shabda. I don’t know if you’ve heard them or not, but it’s definitely worth hearing. Tuesday, I’ve got a video premiere slated for Bedroom Rehab Corporation, and Wednesday, audio from Sweat Lodge that was supposed to be this week and got pushed back. Also looking to review the new Undersmile (long overdue) and some vinyl from Greenleaf that won’t even be a review, just me nerding out about how Agents of Ahriman was one of the best heavy rock albums of the aughts. So that should be fun. Hopefully there’s time.

We’re also due for a new podcast. Maybe Monday if I wind up with time on Sunday (unlikely) or some other day thereafter. I’ll get to it as soon as I can. There’s been a lot of good stuff coming in that’s worth highlighting, so keep an eye out either way.

I hope you have a great and safe weekend. If you need me, I’ll be taking my convalescence by the sea. Please check out the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

Legion of Andromeda are less of a band and more of a litmus test for your psyche. The Tokyo-based death-doom duo issued their full-length debut, Iron Scorn (review here), earlier this year, and if it tells you anything about the deranged noise quotient in what they do, the record has been picked up for a CD issue via Crucial Blast next month. While one can only marvel at the boldness of one who would undertake bringing Iron Scorn into the physical realm — it’s like that scene in the original Hellraiser; you know the one I mean — Crucial Blast has plenty of experience dealing with audio atrocities of various devastation, so I can only call it a good fit that they’re working together.

Shit is insane:

LEGION OF ANDROMEDA: Crucial Blast To Issue CD Version Of Iron Scorn Album From Tokyo-Based Death/Doom Duo In August

This August, Maryland-based destruction deploying label Crucial Blast will issue a CD version of the recently released Iron Scorn album by Japanese death/doom duo, LEGION OF ANDROMEDA.

Diabolical in its minimalist approach, unleashing a grinding nightmare of violent, industrial doom/death rooted in a barbaric simplicity, moving in endlessly cyclical percussive patterns, the new album from Tokyo-based LEGION OF ANDROMEDA wormed its way deep into the Crucial Blast depot upon first hearing it. The label now prepares to reissue Iron Scorn on a four-panel gatefold jacket digipak CD with a printed inner sleeve, to further the blast radius of this immense debut album, following its vinyl release on vinyl in North America by Unholy Anarchy and At War With False Noise in Europe.

Iron Scorn has a strange effect upon certain listeners; as opener “Transuranic Ejaculation” bellows across the first moments of the record, LEGION OF ANDROMEDA’s combination of primitive bone-crushing riffage and minimal, mechanical tempo seems overly simplistic, even tedious. Each song centers itself around little more than a pair of interchanging riffs that circle endlessly over a non-fluctuating mid-paced drumbeat that rarely deviates from a simple combination of metronomic crash cymbal and rumbling double bass. Keep listening, though, and the band’s seemingly atavistic heaviness begins to reveal a perversely hypnotic quality, the brutal repetition and savage cyclical flow of these seven tracks turning into surprisingly infectious blasts of ravenous, concussive doom/death. And it’s topped off with repulsively bestial vocals that frequently devolve into psychotic gibberish or rabid snarling vocalizations, all of which lend an added unhinged vibe to this rigid, skull-flattened drone-death assault.

LEGION OF ANDROMEDA has hacked out a uniquely vicious sound, and shares as much disgusting DNA with the grinding industrial metal of bands like Dead World, Skin Chamber and Streetcleaner-era Godflesh as it does with the putrescent doom/death of Autopsy, Cianide and Asphyx, brilliantly fusing the devastating down-tuned chug of the latter to the repetitive, belt-driven clangor of the former, each monstrous track churning through the black cosmos like a mechanical warbeast comprised of gnashing teeth and interlocking gears, terrifying and trance-inducing, with equal nods to the heaviest strains of industrial metal and the most primitive depths of black/death violence.

Crucial Blast will disburse Iron Scorn on CD on August 21st. The album is rupturing the planet, streaming in its entirety and available for purchase, at THIS LOCATION.

Iron Scorn Track Listing:
1. Transuranic Ejaculation
2. Cosmo Hammer
3. Overlord Of Thunder
4. Scourge Of Pestilence
5. Sociopathic Infestation
6. Aim At The Starless Sky
7. Fist Of Hammurabi

http://www.facebook.com/legionofandromedaofficial
http://www.legionofandromeda.bandcamp.com
http://www.twitter.com/ovandromeda
http://www.crucialblast.net
http://www.facebook.com/CrucialBlast
http://www.crucialblast.bandcamp.com

Legion of Andromeda, Iron Scorn (2015)

German heavy psych four-piece Sonora Ritual have announced that their sophomore outing, to be titled Dust Monument, is currently in progress. That could mean any number of things, really, from the earliest writing sessions to mixing and mastering, but the point is that they’re somewhere in the process and that’s better than nothing. Their warm-toned psychedelia was last heard from on their 2013 debut long-player, Worship the Sun, and they have done shows along the way with Wight and Bushfire and appeared at the Stoned from the Underground festival in their native Germany.

The debut earned a pretty fervent response, and reasonably so. It was enough either way to get Sonora Ritual picked up by Kozmik Artifactz, who first announced their signing last year and has had a vinyl release for Worship the Sun listed as coming soon more or less since. No word on whether Dust Monument will be issued through the label as well, but Sonora Ritual were featured on Kozmik Artifactz‘s Home of the Good Sounds Vol. 2 comp (streamed here) last month, so presumably they’re looking to continue the association past this upcoming issue of their first release.

Word was quick from the band, but the cover art has also been revealed, and it looks like this:

We’d like to announce our new album we are working on. It’s called ‘Dust Monument’ and is going to be some sort of concept sequel. Join the hermit once again continuing his journey. Stay tuned for tracklisting, artworks and other stuff.

Sonora Ritual is a band of different influences and styles of heavy music. No overblown adjectives that describe the sound of these guys. It’s up to you, to make your own opinion.

Grab a beer and enjoy the ride.

Fartface Johnson – Lead Vocals/Guitar Franklin D. Boozewell – Bass Wifebeater McKenzie – Guitar Snuffy O’Brian – Drums

https://www.facebook.com/sonoraritual
http://sonoraritual.bandcamp.com/

Sonora Ritual, Worship the Sun (2013)

Vocalist/guitarist Tanner “T.G.” Olson of Across Tundras initially self-released The Rough Embrace (review here) last year as a name-your-price download, and the newer vinyl edition of the album — pressed to 150 copies in a swampy kind of green and black swirl on a 150g platter with an obscure, almost runic, front cover and skull-and-hourglass memento mori on back — has a very complementary feel. For example, the record itself doesn’t come with a tracklist. And while one might make out the words “Rough” and “Embrace” on the top and bottom lines of the front cover, there’s little else by which it might be identified, unless you count the title etched into the part of each side after the music has ended.

That’s also how one tells the difference initially between the five-song side A, which begins with “Fool’s Gold Miner,” and the four-song side B, which begins with the moody “Uncharted Depths.” Clearly the intent is that if they want it bad enough, the listener — who no doubt bought the thing off Bandcamp to start with — should go there to get the appropriate information on the recording, mixing, mastering, tracklisting, lyrics, etc., and in reality that’s not a problem. It does give The Rough Embrace something of an artifact feel, though, which is fitting with the name of Olson‘s label, Electric Relics — also the title of the last Across Tundras album (review here), the gatefold 12″ version of which was the first release for the imprint — and also suits the music itself, which is nothing if not classically minded.

Like most folk singers of the last half-century, Olson has had moments in his work where he is almost singularly indebted to Bob Dylan, but neither he nor Woody Guthrie nor Neil Young are necessarily defining influences, and even as “Wars of Bygone Days” marches in tune to the established notions of a protest song — right down to lyrical plays on “manifest destiny” and the notion of using Christian ideals to justify sin (i.e. murder in war) — it retains an experimentalist feel. That, taken in balance with the intimacy of the performance throughout — Olson plays guitar, organ, piano, percussion, does all the vocals, and also recorded, mixed and handled the artwork himself, while Mikey Allred (also of Across Tundras) mastered — is what comes to make The Rough Embrace such an engaging listen despite a superficial simplicity.

Heard on one level, its guy-and-guitar singer-songwriterism seems easy enough to grasp, but that just can’t account for the intertwined echoing lead lines of the sweetly wistful “Sleeper Lines” or the psych-folk vibe of “To Hell You Ride,” which follows and shifts into bouts of more fervent strumming in its chorus. Olson, who has done plenty of balladeering the last several years while also retaining a penchant for droning out on offerings like 2015’s The Wandering Protagonist (review here) and 2013’s sprawling The Complete Blood Meridian for Electric Drone Guitar (review here), keeps more to the former on The Rough Embrace, but even in the subdued nostalgia of “Providence Gone Again,” the underlying organ provides a constancy of tone to complement the guitar that speaks to the other impulse.

It’s range, either way, and that range continues to expand on side B as “Uncharted Depths” gives the album’s shorter second half a quiet launch, lyrics held back until about the halfway mark and then more spoken than sung, the electric guitar ramble very much at the fore. A darker atmosphere is set, but “Out on the Fringes” has a more hopeful spirit, and no doubt it’s on purpose that the one arrives paired with the other. What they have in common is being resoundingly immersive, such that while just seven minutes between them, the more lyrical focus of the penultimate “Birdsong Chorus at Dawn” arrives almost as a surprise.

Would be wrong to call it jarring, but Olson brings the vocals forward again and recalls side A memorable cuts like “Fool’s Gold Miner” and “Wars of Bygone Days” to give side B a landing point; it’s something that, listening to the digital version one might not fully appreciate, but that the vinyl really brings out. That song is a highlight, and “Something Left to Save,” which follows, is very much a closer, a goodbye song that finds Olson singing along to himself, adding a last bit of drums and finishing with a rising drone and sample of what sounds like waves that provides a concluding wash that’s all the more gorgeous for being unanticipated. It’s one more moment that, though Olson‘s work is fluid to the point of having its own current system, is worth taking specific note of, since ultimately its from these things that the depths of his atmospherics are cast. The Rough Embrace offers plenty of those moments, but it’s the whole experience of how they’re strung together that makes it really shine.

T.G. Olson, The Rough Embrace (2014/2015)

Across Tundras on Thee Facebooks

The Rough Embrace on Bandcamp

Kind of sad to have an end-date put on the Swans reunion, which has to-date produced three expansive studio outings since 2010 — those being that year’s My Father Will Guide Me up a Rope to the Sky (review here), 2012’s The Seer and 2014’S To be Kind (review here) — as well as countless tours domestic and abroad, taking the reactivated New York avant gardians around the world and back again. But I get it. Michael Gira, founder, bandleader and wrangler of storms, probably has other things in mind. Maybe a return from Angels of Light‘s dark Americana is in order, or something new altogether. Either way, Swans‘ return has produced some of the richest and most visceral audio of the last half-decade, and we’re fortunate to have had them back while we did.

Of course, there will be more to come before they actually split, I’m sure. Having just finished the touring cycle for To be Kind, Swans will issue a live album — to be titled The Gate and no doubt immediately sell out upon being made available; once again denying me my limited Swansy goodness — and set to recording their “final” studio outing, which I put in emphatic quotes because one never really knows what’s going to happen.

As a general note to anyone who hasn’t seen Swans in this iteration yet. Do it. Even if you don’t like the band, not seeing them live is something you’ll regret.

Okay, here’s word from Gira:

Just got home comatose after finishing up the final leg of our 14 month tour for Swans To Be Kind album. We have come to your town, though it’s doubtful we have partied down. It has been a privilege to be inside the sound that on some nights seems to create itself of its own accord, and it’s gratifying that many of you have conveyed to us that it’s been a positive experience for you too… Next step: Sept 1 we commence a new Swans album. This will be the final Swans album (and subsequent tour) for this version / iteration of Swans. Not really sure what the next step will be after that, but that’s perhaps a good thing… We’ll be making a live album/fundraiser (called The Gate) soon, in order to raise the necessary – somewhat daunting – capital for the studio album, which is bound to be an insatiable beast… more soon, Thanks and Love! – Michael Gira

https://www.facebook.com/SwansOfficial
http://younggodrecords.com/

Swans, “Just a Little Boy” Live at Primavera Sound 2013

Germany’s Iguana are kind of a well-kept secret at this point. Heading into their second full-length, Cult of Helios, which is the follow-up to their 2012 debut, Get the City Love You (review here), they’ve done a decent amount of touring around Europe, and played several fests along the way as one might, but I feel like they’re still waiting to have people really catch on to what they do. Cult of Helios is out as of today, and they’re hitting the road with Brant Bjork next week, so it seems likely they’ll come back having turned a few more heads than when they left.

The news is abundant, and under it you’ll find their brand new video for the song “A Deadlock Situation,” which is well worth your time:

IGUANA are going to release their brand new record “Cult Of Helios” at the end of July, right on time for their tour with Brant Bjork. It contains 4 songs in 32min of finest Psych-Desert-Post-Whatever-Rock. The record is a portrait of IGUANA’s contemporary songwriting and sweetens up the time, waiting for the next full length album.

IGUANA are holding on to their distinct Desert-Session-Psychedelic-Rock. But they managed to sound even more heavy, raw, fuzzy and genuine this time, which mostly is a result of the full-band-live-recordings of „Cult Of Helios” at the band’s own studio. „Cult Of Helios” provides old-school Desert Rock – rough, psychedelic, melodious, but, above all, multi-faceted. The 4 songs represent different tunes in finest Desert-Session-Rock without even relating to any desert-clichés: sometimes instrumental, sometimes just straight, and then laidback again. Somewhere between Doom, Psychedelic, Noise and the Desert Sessions. “Cult Of Helios” is the soundtrack for your summer and will be released as a special-tour-edition during their upcoming shows. It also will be available via Itunes, Spotify and so on.

Tourdates 2015 – IGUANA
26.07. Dresden – Groove Station*
27.07. Hannover – Musikzentrum*
29.07. Saarbrücken – Garage*
15.08. Hohenstein-Ernsttal – Voice of Art-Festival
21.11. Chemnitz – Zukunft
* Supportshow für Brant Bjork

IGUANA performs a sincere, versatile, heavy and progressive kind of Fuzz Rock at its best. Although still being deep-seated with this genre they have moved on to develop their own vision of a deep, melodic and wistful Hard Rock music. It’s some kind of Desert-Psychedelic-Doom-Post-whatever in the broadest sense. However, the band is full of stylistic variability, packed with hooks as well as accompanied by crazily arranged instrumental gimmickries. IGUANA is sick of trends, the mainstream and, above all, the dos and don’ts of Rock’n’Roll. It’s addicted to music – nothing more and nothing less! An outcome made for the stage to unfold its unbridled power. That’s what it has been and always will be!

Besides releasing music, IGUANA is dead keen on playing live! IGUANA are touring Europe for some years now in the good old manner of DIY. IGUANA have already had 140 gigs and they have hit the stage of dozens of festivals and clubshows together with bands such as Saint Vitus, Brant Bjork, Los Natas, Kadavar, Blues Pills, The Atomic Bitchwax, Dozer, Spidergwad, Dyse, Colour Haze and many many ingenious acts more. Not just old hand doom legend Wino Weinrich knows that these boys are killer. Numerous club-shows in Europe and of course in the German scene’s most appreciated live hot-spots (Stoned From The Underground, Void Fest, Keep It Low Fest) proved that IGUANA embodies the never-ending story of live celebrated love to chunky riffing, psychedelic jamming and rhythms that are out-of-the-ordinary! Look forward to the sound of former desert sessions along with instrumental gimmickries and stoner-doom attacks yet charmingly and a little crazily wrapped up.

IGUANA are going to release their brand new record “Cult Of Helios” at the end of July 2015, right on time for their tour with Brant Bjork. It contains 4 songs in 32min of finest Psych-Desert-Post-Whatever-Rock. The record is a portrait of IGUANA’s contemporary songwriting and sweetens up the time, waiting for the next full length album. “Cult Of Helios” is the soundtrack for your summer and will be released as a special-touredition during their upcoming shows. It also will be available via Itunes, Spotify and so on.

Discographie:
•“Iguana – Cult Of Helios” special tour release “Sweet Home Records” 2015
•“Iguana – Get The City Love You” full lenght debut album on “Sweet Home Records” 2012
•“Iguana – B|L|U|E|S”extended reissue on “Sweet Home Records” 2011
•“Iguana – B|L|U|E|S” on “Sweet Home Records” 2008
•“Iguana – Wheeler Dealer” on “Sweet Home Records” 2006

www.iguana-music.de
www.facebook.com/iguana666
https://twitter.com/iguanagermany
www.soundcloud.com/iguanagermany
www.youtube.com/user/IguanaVideochannel

Iguana, “A Deadlock Situation” official video

Long-running Chicago psych rockers The Luck of Eden Hall are getting ready to head to the UK for a round of tour dates between now and Aug. 11, playing in England, Scotland and Wales on a round of gigs ahead of finishing up their new album, The Acceleration of Time. Their most recent release is the single “The Happiness Vending Machine,” for which they made a video you can see below and which was issued back in Sept. of last year. They’ve got a new single in the works with a theme taken from and artwork by Neil Gaiman that has a Kickstarter in progress. This tour was also crowdfunded, so apparently they get some pretty good support.

The stint in the UK will be bookended by two Midwestern gigs, one in Michigan and one later in Aug. with The Psychedelic Furs in Skokie, Illinois. The PR wire keeps us all informed:

After completing a successful Kickstarter campaign to raise funds for airfare, lodging and rentals, Chicago psych-pop group The Luck of Eden Hall has confirmed the dates for their second UK tour.

The tour, which will begin with a show at London’s 12 Bar Club on July 30 and wrap up with a headlining performance at the book release party for Dave Thompson’s A Séance at Syd’s at The Half Moon, Putney on August 11, will also touch down in Sheffield, Cardigan, Edinburgh, Glasgow and Liverpool. In addition, the band will be recording a live album for Fruits de Mer Records at MWNCI Studios, August 3-5.

Upon returning to the states, The Luck of Eden Hall will be supporting The Psychedelic Furs at Skokie’s Backlot Bash on Saturday, August 29 and will be putting the finishing touches on their upcoming album, The Acceleration of Time.

July 25 @ Shakespeare¹s Pub, Kalamazoo, Michigan
July 30 @ 12 Bar Club, London, England
Aug 1 @ The Rocking Chair, Sheffield, England
Aug 6 @ Bannerman’s, Edinburgh, Scotland
Aug 7 @ Nice n¹ Sleazys, Glasgow, Scotland
Aug 8 @ The Magnet, Liverpool, England
Aug 9 @ 13th Dream of Dr. Sardonicus Festival, Cardigan, Wales
Aug 11 @ The Half Moon, A Seance At Syd’s book release show, London, England
Aug 29 @ Backlot Bash w/ The Psychedelic Furs, Skokie, Illinois

http://theluckofedenhall.com/
https://www.facebook.com/theluckofedenhall
https://theluckofedenhall.bandcamp.com

The Luck of Eden Hall, “The Happiness Vending Machine”