Nov. 8 is the release date for the new Queen Elephantine album, Gorgon, and if you perchance think that isn’t information vital to your day, you should get yourself a handle on the streaming track from the thing, called “Mars,” that you can hear at the bottom of this post. Now based in Philly as much as they’ve ever been based anywhere, the experimentalist troupe led by guitarist/vocalist Indrayudh Shome dig well into their jazz-meets-drone-doom ritualizing in full force and by force I mean the slow momentum of lava over landscape.

I haven’t heard it, but given their history I’d not at all count on any one song to represent the entirety of a Queen Elephantine record, even if the central methodology stays the same across the span, which of course isn’t guaranteed either. Doesn’t feel like too much of a leap to say “Mars” bodes well for the general sound of what might surround it, however. I’ve made more daring speculations in my time, and the band have for sure earned some trust over the years.

They’re on the road in November around the release. Info and dates follow:

Experimental Psych Doom rockers QUEEN ELEPHANTINE Unleash Album Details + First Single!

Gorgon coming this November on Argonauta Records!

The avant-garde post-apocalyptic rock unit Queen Elephantine have revealed the first details about their forthcoming, sixth studio album, titled Gorgon. Set for a release on November 8th via Argonauta Records, Gorgon’s dissonant riffs will pull you down a river of unearthly atmospheres, guided by the incantations of sardonic fakirs, unravelling their final sermon before the cosmos combusts. High recommended for fans of acts alike Swans, OM, Circle or Earth, this is a trip through hypnotic molasses grooves – drawn from psychedelia, doom, drone, noise rock as well as free jazz and sacred music from around the world. Formed in 2006 in Hong Kong and currently based in Philadelphia, USA, Queen Elephantine is a nebulous worship of heavy mood and time, who already left their big stamp in the current heavy and psych rock scene. Queen Elephantine have released five albums to date as well as splits with Elder or Sons of Otis.

Today the experimental music collective has shared the cover artwork, tracklist and a first track taken from Gorgon with us. Listen to Mars right HERE!

[ Artwork by Tsem Rinpoche & Nathanael Totushek ]

Gorgon Tracklisting:
1. Mars
2. Unbirth
3. To See Eyes
4. Mercury

Gorgon was produced and mixed by guitarist and vocalist Indrayudh Shome, and mastered by Billy Anderson. In support of their new album, with an LP and CD pre-sale coming soon on Argonauta Records and digital album release with Atypeek Music, Queen Elephantine will embark on a US Northeast Tour this Fall, make sure to catch their mesmerizing live shows at the following dates:

11/7 – Philadelphia PA – Century
11/8 – Baltimore MD – The Crown
11/ 9 – Richmond VA – Wonderland
11/10 – Harrisburg PA – JB Lovedraft’s
11/14 – Brooklyn NY – Sunnyvale
11/15 – New Haven CT – The Cellar on Treadwell
11/16 – Providence RI – AS220
11/17 – Montclair NJ – The Meat Locker

Album Line-Up:
Indrayudh Shome: Guitar, Vocals
Nathanael Totushek: Drums
Camden Healy: Bass
Brett Zweiman: Divine Mosquito Guitar
Samer Ghadry and Ian Sims: Vocals
Matthew Becker: Vocals, Percussion
Matthew Couto: Synthesizers
Srinivas Reddy: Tanpura

www.queenelephantine.com
www.queenelephantine.bandcamp.com
www.facebook.com/queenelephantine
www.argonautarecords.com
www.atypeekmusic.com

Queen Elephantine, “Mars”

I think maybe it was last week that the news about there being a new record from Giöbia came through and I went off about how good it was? Wasn’t much longer than a week, if it was that long. In any case, I maintain the position. Good album, kind of blows the doors down from what they’ve done before in some cool ways. They’re streaming a track now to give some idea about that, and since later today I’m calling Shadow Witch‘s stream out for being early, I’ll do the same here. February is a ways away. Preorders are up though, so probably best to give people some idea what they’re in for. Though, really, it is just a glimpse of the whole.

The PR wire has it like this:

GIÖBIA new album PLASMATIC IDOL – presale starts TODAY

Today we start with the presale of the GIÖBIA first album after 4 years!!!

The brand new release is called PLASMATIC IDOL !!!

The new Giöbia album “Plasmatic Idol” is simply impressive: a collection of different sounds and atmospheres, brings the listener to another sidereal world full of dreams and mind travels. You can clearly feel the influence of certain Pink Floyd in some passages but also pinches of Italian Progressive Rock, Horror Soundtrack from 70’s movies, garage 60’s influences, US West Coast Psychedelia, and late 60’s Space Rock a la Hawkwind The production is delicate and smooth, the album flows without interruptions and the music immerses your mind in a cosmic dimension. The vintage organs and synthesizers are used in the best way possible, 8 tracks that capture your attention without distraction. Produced by Bazu the guitar player and singer of the band and Mixed and Mastered By Brett Orrison (Black Angels, Jack White) at Spaceflight Records in Austin, Texas. The Great cover album and artwork is by Metastazis.

ALBUM PRESALE:
https://www.heavypsychsounds.com/shop.htm#HPS113

USA PRESALE via All That Is Heavy
https://allthatisheavy.com/search?type=product&q=plasmatic+idol

RELEASE DATE: FEBRUARY 7th, 2020

RELEASED IN :
40 TEST PRESS
250 ULTRA LTD PINK FLUO SPLATTER BLACK-BLUE-GREEN VINYL
600 LTD GREEN FLUO VINYL
BLACK VINYL
DIGIPAK
DIGITAL

GIÖBIA is:
Bazu – Vocals and String Instruments
Saffo – Organs / Violins / Vocals
Detrji – Bass
Betta – Drums

https://www.facebook.com/giobiaband
http://www.giobia.com/
https://giobiagiobia.bandcamp.com/
www.heavypsychsounds.com
heavypsychsoundsrecords.bandcamp.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/

About a year and a half ago, Portland, Oregon’s Blackwater Holylight released their RidingEasy Records-delivered self-titled debut (review here), and thereby immediately brought new character to Pacific Coast psychedelia, something distinct from Caliboogie and Douglas-fir meditations, yet drawing from those and a host of other sonic micropockets for a drifting take on what might otherwise just simply be a classic garage style. On the band’s quick-turnaround follow-up, Veils of Winter (also RidingEasy), it isn’t “just” or “simply” anything in terms of aesthetic, as the five-piece of bassist/vocalist Allison “Sunny” Faris, guitarist/vocalist Laura Hopkins, synthesist Sarah McKenna, guitarist Mikayla Mayhew and drummer Eliese Dorsay ignite a swath of heavy pulsations and drifting progressions, showcasing a patience for craft on cuts like “Daylight” that leaves one scratching their head at how it’s only been a year(-plus) since the first record.

Their dynamic, range and confidence in vocal harmonies have all progressed to a marked degree, and even with the new personnel involved, Veils of Winter feels very much like a moment in which Blackwater Holylight are becoming the band Farris set out to be in when she started the project. That includes setting a broader scope between the lumbering buzz of opener “Seeping Secrets” and the almost-surf bounce of the subsequent “Motorcycle,” which in its back half manages to offer some of Veils of Winter‘s heaviest bass, feeling all the more weighted for the ethereal line of synth floating overtop.

That’s to say nothing of the later soundscaping triumph of the penultimate “Lullaby” — okay, so maybe there’s some Cascadian forest worship happening after all as the title-line of the album is delivered — but one way or the other, what’s happening across the eight-track/40-minute offering is that Blackwater Holylight are harnessing their influences and stepping out in front of them in righteous fashion, whether that’s the foreboding, nigh-on-doomly plod of “The Protector” or the brighter, folk-infused melodies of closer “Moonlit.” Through hypnotic rhythm and engaging harmonies, Veils of Winter establishes Blackwater Holylight among the more essential US-based heavy psych purveyors, both accomplished in the work they’ve done to-date across their two LPs and still rife with potential.

As a whole, Veils of Winter is nothing less than a clinic in molten heavy psychedelia. It has an overarching flow that, if you’re not careful, is consuming to the point of losing oneself in the drift. Whether it’s Farris‘ languid vocal delivery or the depth and warmth of the tones surrounding — or, most often, both — Blackwater Holylight unite their songs through this natural presentation such that even a relatively straightforward rocker like the three-and-a-half-minute “Spiders” on side A, with a quieter verse and a takeoff in the chorus and a Halloween-style spooky riff that I’ll call fun and mean it 100 percent as a compliment, has a sense of presence both within itself and in the context of the surrounding material. Seemingly set up with vinyl in mind, Veils of Winter ends its initial salvo with “Spiders” following the yes-yes-yes rumble at the outset of “Seeping Secrets” and the likewise fluid groove of “Motorcycle,” both of which prove deceptively heavy for having so much of a sleepy mood.

The same could be said of what follows, but the direction taken shifts some with “The Protector,” and that serves as a transition to side B’s generally longer-form, more open-feeling pieces. The ending of “The Protector” is especially crucial, as the song seems to come apart even as it’s in the midst of riding out its last nod, leaving a stretch of silence — the vinyl flip if you’re listening to the 12″ — before the standalone guitar of “Daylight” takes hold. That moment of silence helps to convey the sense of going from one place to another, which, within the sphere of the album’s entirety, is essentially what has happened between the two tracks. “Daylight” is slower to take hold, more patient in its build, but resoundingly tense in its prominent keys and darker tonal undercurrent; affecting the sound of a gathering storm while remaining minimally theatrical in terms of the outward delivery. This as well is no minor feat.

More over, it is the lead-in to side B’s purposefully broader range. Think of it this way: side A has one song over five minutes long (“The Protector”), side B has one song under. And that track is “Death Realms,” at 4:43, which follows “Daylight” and answers its consuming morass with a revived sense of movement that nonetheless remains ethereal in its later wash of keys and guitar and a melody and vocal patterning that seems to swap out grunge for dark new wave in effective fashion as Blackwater Holylight toy with the new conventions of genre. What follows in “Lullaby” and “Moonlit” is simply some of the most beautiful psychedelic rock I’ve heard in 2019, encompassing in sprawl but still intimate feeling thanks to moments like the standout guitar line right after the vocal line at 3:33 into “Lullaby” or the sweet and winding keyboard line harnessing classic acid-folk past the halfway point in “Moonlit,” just when that song seems to be moving into the build that finds payoff in a forward guitar solo to come at about the 5:30 mark and the return to the central riff with added crash that caps off.

Veils of Winter, even in its most relatively earthbound moments on side A — and that’s some serious relativity there — is full of these nuances and details, flourishes of arrangement that are more than simple indulgences for what they do in serving and enriching the lush front-to-back listening experience. Blackwater Holylight made it clear with their first record that they were bringing to life a specific aesthetic idea, and Veils of Winter answers that with a more complex manifestation that feels even closer to an initial vision hinted at by its predecessor. At the same time, it is unquestionably a forward step in terms of songwriting and performance, and shows the dynamic the five-piece have been able to harness on tour over the last year. Given the work they’ve done here, it feels greedy to hope they keep pushing themselves in this direction, but I do anyway. It’s hard not to with a band making records this exciting.

Tune in, switch on. Recommended.

Blackwater Holylight, Veils of Winter (2019)

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Blackwater Holylight on Instagram

Blackwater Holylight on Bandcamp

RidingEasy Records website

RidingEasy Records on Thee Facebooks

A change in approach to the lyrics to real-world concerns rather than real-world-concerns-presented-as-stories-about-monsters adds a level of intrigue to their new album, Violent Nature, and I’ll be interested to hear how that plays out across the full-length when/if I get the chance to hear it — I’d hope to, but one never knows. I dug their 2017 debut LP, Beyond the Sun (review here), as well, and going by the lead single “Weightless Light” it seems like whatever they’re making the songs about, Woodhawk still bring the same sense of songcraft to their material, which is always good to know. They’ve got preorders up for the sophomore outing, and you can stream the track below. You know the deal, so go to it.

Cool art too:

WOODHAWK: Calgarian Riffs of Prey Return with VIOLENT NATURE | Stream New Single and Album Pre-order

Violent Nature by Woodhawk is released 1st November 2019

Hailing from the foothills of the majestic Rocky Mountains, Woodhawk are undeniable masters of riff rock, harnessing the classic influences of Black Sabbath and Thin Lizzy with smooth grooves, cranked-up amps, and hard-hitting drums that coalesce into impressive soundscapes. With lyrical themes that span the imagination and incorporate elements of science fiction, mythicism and the more contemporary struggles of modern times, Woodhawk proudly wear their hearts on their sleeves.

Formed in 2014, following the release of their self-titled EP, the band returned with the critically acclaimed full length Beyond the Sun in 2017. A melodically rich and varied album, steeped in sci-fi vibes catchy riffs, Beyond the Sun cemented Woodhawk’s status as a desert rock band with the kind of potential to power from terrafirma into the great beyond.

Returning to Rain City Recorders in Vancouver earlier this year, Woodhawk worked with Jesse Gander? (ANCIIENTS?, BISON?, 3 Inches of Blood?, JAPANDROIDS?) to record their sophomore album Violent Nature, which is due for official release this November. Over the course of two weeks, Woodhawk tracked their strongest effort yet, producing songs that addressed the struggles of mental health on new material that abandoned the world of fantasy in pursuit of emotional authenticity and self-discovery. Grounded with one foot in the present and another in the future, Woodhawk’s outlook is as boundless as their command of the genre.

Violent Nature by Woodhawk is released 1st November 2019 and can be pre-ordered here – https://woodhawk.bandcamp.com

TRACK LISTING:
1. Snake in The Grass
2. Weightless Light
3. Dry Blood
4. Heartstopper
5. Old Silence
6. Clear the Air
7. Violent Nature
8. As A Friend
9. Our Greatest Weakness

WOODHAWK:
Turner Midzain – Vocals, Guitar
Mike Badmington – Bass, Vocals
Kevin Nelson – Drums

http://woodhawkriffs.com/
https://www.facebook.com/WoodhawkRiffs/
https://www.instagram.com/woodhawkriffs/
https://woodhawk.bandcamp.com

Woodhawk, “Weightless Light”

So what is it? Are we so awash these days in quality heavy psychedelic blues rock that people are to blissed out for me to be hearing about Dead Feathers‘ All is Lost? The Chicago five-piece released their second album just last month through Ripple Music, and I know sometimes these things take a while to properly catch hold of people and I certainly know their label has a busy schedule of releases, but I feel like for what’s on offer throughout the eight-track LP — 10 if you get the CD/DL — it’s one of those records where I should be rolling my eyes at the Bandcamp-review hyperbole as I scroll through thee social medias, and yet I’m not at all overwhelmed by it. I’ve seen some positive words, to be sure, but where’s the hype machine when you need it? Come on, people. Why on earth would you sleep on this?

Dead Feathers was one of those bands caught up in the whole HeviSike Records debacle, as that UK imprint went AWOL amid sundry allegations of improprieties of various stripes, mostly fiscal, and Ripple can only be considered correct for having snagged them ahead of All is Lost. It’s a record that makes every riff count. Every groove has its place and its purpose. To listen to tracks like “With Me” and “Cordova” early on, the tinges of psychedelia that come through after opener “At the Edge” sets the tone for them speak to influences from Jefferson Airplane to Wovenhand, and the side B wallop of “Smoking Gun” and “Not Ours to Own,” each with a sprawl over seven minutes long, make for a conclusion of noteworthy resonance without ever being divorced from its central intention. An energetic burst in “Horse and Sands” is met by the full-on fuzz of the title-track, and in the slow rolling “Darling Sights” and the digi-format exclusive “Night Child,” Dead Feathers dig into moodier progressions, the latter flanked by organ work in its second half, which a string drone and acoustic plucking in the 1:18 finale “Found Caravan” (another bonus-ish cut) answers back in classic spirit.

They flirt with twang but remain organically classic heavy rock in their guitar and bass tones, and with the absolute powerhouse vocal performance of Marissa Allen front and center in the mix and more than able to carry that same kind of natural vibe, All is Lost is a win front to back. I don’t know what Dead Feathers are planning as regards touring, but they just got back from a two-week stint, and if they were kicking around the idea of doing any kind of run again soon hither or yon, they’ve certainly got a worthy cause to support. Get out there. Tell the people.

You can see the premiere of the video for “All is Lost” below, followed by more from the PR wire.

Please enjoy:

Dead Feathers, “All is Lost” official video premiere

Dead Feathers “All is Lost” OUT NOW on Ripple Music

Fronted by the extremely talented Marissa Allen, who’s vocals summon the spirit of Inga Rumpf and Linda Hoyle, Dead Feathers are influenced by rock bands of the 60s and 70s and the modern underground psych of today. Fusing a heavy, early 70s Fairports-via-Affinity vibe with a Dead Meadow and Black Mountain-esque appreciation for big riffs, their live shows are filled with a thunderous energy on stage that puts concert goers under their spell. Combining soulful and emotional songwriting with obscene levels of fuzz and reverb, overflowing bass lines and booming drums, Dead Feathers craft a mood with deft levels of artistry and showmanship.

“All is Lost” is accompanied with the surreal visual stylings of Andrew Arcos and Haley Green’s collaborative documentary project, Love Box. With themes of self-obsession and ego death, Arcos and Green devised a video which explores the darkness of narcissism using elaborate miniature dioramas alongside Third Beacon’s electrifying visual effects.

Co-Directors: Andrew Arcos & Haley Green
Producers: Andrew Arcos & Haley Green
Talent: Marissa Allen, Joey Castanon, Rob Rodak, Tim Snyder, Tony Wold
VFX: Third Beacon

DEAD FEATHERS:
Tony Wold – Guitar
Marissa Allen – Vocals
Tim Snyder – Guitar
Rob Rodak – Bass
Joel Castanon – Drums

Dead Feathers on Thee Facebooks

Dead Feathers on Bandcamp

Ripple Music on Thee Facebooks

Ripple Music on Bandcamp

Ripple Music website

The fact that Conan‘s Jon Davis has a couple shows coming up, including Desertfest Belgium, with Ungraven and has added a drummer to what was formerly just a solo affair is some deceptively telling news. Anyone who has ever seen a list of Conan tour dates or heard any of the string of records Davis has released through his Black Bow imprint or been even moderately aware of his Blackskull Services management company — also I think he was driving bands around on tour for a while there — knows he’s not the type to do something half-assed. If he’s getting a drummer for Ungraven, it’s because he’s got longer-term plans than just the next couple weeks. Maybe I’m wrong, but that kind of says to me he’s thinking of taking it on tour.

Hardest working person in doom? Yeah, he just might be. I’m not sure who else has so much on their plate.

From the PR wire:

UNGRAVEN ANNOUNCE LIVE LINE-UP

Jon Davis, (Conan) is pleased to announce that he will be playing live shows with his solo project UNGRAVEN. He will be joined by Tyler Hodges of Tuskar on drums for all future live dates.

So far the duo is confirmed to play both Desertfest Belgium and Aalborg in Denmark.

Both dates will be in support of the recently released of the debut release “The Language of Longing” which was released a few months ago.

Jon commented “Delighted to welcome Tyler Hodges to the lineup. He really gets what I’m trying to do with this material-Together we are UNGRAVEN!”

He further commented on The Language of Longing “I am a huge fan of Fudge Tunnel, Ministry, Godflesh, Sepultura and Nailbomb. I fell in love with ‘For All Those Who Died’ by Bathory on Headbangers Ball and also the ‘Speed Kills’ comp. Since then I have referenced these bands in some of Conan’s material. With Ungraven I pay homage to the industrial sounds emanating from Birmingham in the 90s with a few other influences that I’ve been obsessing over for a while. It’s super heavy but sightly different from what I have done so far.”

Listen to The EP here: https://ungraven.bandcamp.com/album/language-of-longing

https://www.facebook.com/ungraven/
https://www.instagram.com/thisisungraven/
https://ungraven.bigcartel.com/
https://ungraven.bandcamp.com/
https://blackbowrecords.bigcartel.com/
https://blackbowrecords.bandcamp.com/
https://www.facebook.com/Black-Bow-Records-565275456841866/

Ungraven, Language of Longing (2019)

The new No Requests EP — out tomorrow — is called Nobody Knows What We’re Doing… Neither Do We, and fair enough. But I’m not sure I believe it. That is to say, yeah, the South African three-piece probably have a decent amount of improvisation and experimentation at the heart of their approach, but this kind of progressive weirdo psych jazz funk astro rock doesn’t just happen. Even if they’re freely exploring, you can hear it in the way the bass and drums give the guitar room in the expansive solo of opener “Choir on Fire,” or the way the punch of the bass in that song and the vocals in the later title-track seem to echo Parliament-via-Primus, that at very least there’s some kind of masterplan at work. I get a cheeky title, and I’m on board with the fact that a lot of people who listen to this 26-minute four-tracker are going to have no idea what the hell is going on with it — that was part of the appeal for me in hosting the stream, to be perfectly honest — but take at least the second clause of the EP’s title with a grain of salt, because they make it pretty clear they know what they’re doing. You don’t call a song “Tonal Shampoo” that actually sounds like tonal shampoo by mistake.

But while you infuse your conceptual engagement with Nobody Knows What We’re Doing… Neither Do We with the due amount of sodium — however many grains it takes — give the audio a genuine chance. Go into it knowing that, yeah, the bass on “Tonal Shampoo” and some of the guitar might be turned backwards. That, yeah, the title-track is way over the top. It’s supposed to be. Guitarist/vocalist Chris van der Walt, bassist Clint Falconer and drummer Gareth Bunge are perhaps playing the kind of freakout prog that’s best appreciated by other musicians but I’m willing to wager that any fan of sonic absurdity in general can get down with the repeated title-line of “Nobody Knows What We’re Doing… Neither Do We” as van der Walt swaps between different voices, and maybe even the free jazz of closer “Row-Bot,” which is just the kind of bizarre out-there six-minute conclusion the rest of the EP earns. It’s a stretch, but this is real life, what isn’t. And if you can’t get down with something that’s genuinely trying to challenge both itself and its listenership, I’ve got nothing for you. Certainly not an EP to listen to.

Otherwise, you can dig into the entirety of Nobody Knows What We’re Doing… Neither Do We via the YouTube embed below. Take a second, take a deep breath, let your expectations get loose a little bit, and be ready to have fun with it, because at its heart, it is a good time. I hope you think so as well.

Please enjoy:

No Requests, Nobody Knows What We’re Doing… Neither Do We (2019)

Nobody Knows What We’re Doing Neither Do We, the new album from South African experimental psychedelic funk rock band No Requests releases today.

Formed by Chris van der Walt (Vulvodynia), Clint Falconer (Dan Patlansky) and Gareth Bunge (The Black Cat Bones) who have been all been a constant force in the SA music scene for the last 15 years. Focusing on different styles of composition and improvisation, the band creates an unheard sound and mood that grooves deep into your soul.

The 4 track EP is a collection of free form jam sessions as bassist Chris explains, “It was a different experience. We walked in, wrote an idea, jammed it, and recorded it. Most of it is improvised.” He goes on to add, “When you jam in that unknown space the magic starts to happen. You rely on other instincts and use your musical bag of tricks to survive.”

Track Listing
1. Choir on Fire
2. Tonal Shampoo
3. Nobody Knows What We’re Doing
4. Row-Bot

Nobody Knows What We’re Doing Neither Do We is out now on all digital platforms including Spotify and Apple Music

Order Link: https://music.apple.com/za/album/nobody-knows-what-were-doing-neither-do-we-ep/1477361094

No Requests on Thee Facebooks

No Requests on Instagram

No Requests on Bandcamp

I don’t want to make it out like I was stalking the Elephant Tree studio process a couple months back when the London band was recording with Riley MacIntyre at the helm, at least occasionally dressed like a wizard, but they certainly made it worth keeping up. The announcement that the four-piece will issue the recording on question with Holy Roar Records is also most certainly progress toward the inevitable release, which one expects will be revealed as being sometime early next year, perhaps ahead of or to coincide with the Spring festival season in Europe. Though if they wanted to make it February, I wouldn’t argue with that either. Frankly, the sooner the better.

This weekend, the Londoners play a co-headlining hometown date with Steak and a fest in Sheffield, and both of those shows come ahead of their impending tour with Steak and Lo-Pan, which in turn is before they return to the States to play Brooklyn for what’s been appointed the Day of Doom and is presented by Magnetic Eye Records, who also put out their 2016 self-titled debut (review here).

Congrats to the band on the signing, and if I haven’t made it plain, I’m very much looking forward to the album when it surfaces.

Here’s their announcement:

We are happy to announce that we have signed to Holy Roar Records Expect some news on new music soon!

We’re thrilled to be bringing Elephant Tree back to home soil. Holy Roar have shown themselves to be passionate about the music they release and it’s an honor to count ourselves as part of their roster. They’re also close enough to make meetings a valid excuse for pints!

Elephant Tree w/ Steak & Lo-Pan:
26.09.19 The Underworld | London (UK)
27.09.19 Psyched Stoned and Doomed 2 | Sheffield (UK)
04.10.19 Paris | Gibus (FR)
05.10.19 Pratteln | Up In Smoke Festival (CH)
06.10.19 Salzburg | Rockhouse (AT)
08.10.19 Linz | Stadtwerkstatt (AT)
09.10.19 Freiburg | Slow Club (DE)
10.10.19 Leipzig | Werk2 (DE)
11.10.19 Berlin | Setalight Festival (DE)
12.10.19 Munich | Keep it Low Festival (DE)
14.10.19 Wiesbaden | Schlachthof (DE)
15.10.19 Cologne | Helios 37 (DE)
16.10.19 Hamburg | Hafenklang (DE)
17.10.19 Bremen | Zollkantine (DE)
18.10.19 TBA | Desertfest Belgium

Elephant Tree live:
Nov. 2 Saint Vitus Bar Brooklyn NY Magnetic Eye Records Day of Doom
Nov. 8 Soulstone Gathering Krakow PL

https://www.facebook.com/elephanttreeband
http://instagram.com/elephant_tree_band
https://elephanttree.band
http://www.holyroarrecords.com/
https://www.facebook.com/holyroarrecords/

Elephant Tree, Elephant Tree (2016)