Posted in Questionnaire on February 28th, 2022 by JJ Koczan
The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.
Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.
Thank you for reading and thanks to all who participate.
The Obelisk Questionnaire: Anton Samford of Telestrion, Hooray Saturday, Qualone & More
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How do you define what you do and how did you come to do it?
I record psychedelic stoner guitar fuzz pop music on my own at home and release it for free on Bandcamp, because I am addicted to writing songs and making albums and creating artwork and uploading it to the internet, born of a love of home recording and guitars and melodies and good songs and interesting and strange sounds.
Describe your first musical memory.
Listening to the Beatles “Revolution” 45 on 78 speed. I called it The Ducky Song. I was three.
Describe your best musical memory to date.
Seeing King Crimson perform “21st Century Schizoid Man” in Washington DC on September 11th, 2021. I felt the spirit of music enter the room and observe itself.
When was a time when a firmly held belief was tested?
I believe nothing.
Where do you feel artistic progression leads?
Discipline, freedom, enlightenment.
How do you define success?
By writing and recording a song that I enjoy listening to over and over.
What is something you have seen that you wish you hadn’t?
My friend read her suicide note live on Instagram before shutting off the camera and shooting herself in the heart. RIP Shannon “Daffney” Spruill 09/01/21.
Describe something you haven’t created yet that you’d like to create.
An album about my train ride to D.C. I took a lot of drugs on the train, went and saw King Crimson, got home, and got Covid. During this time I finally learned what it truly means to forgive others and forgive myself and I quit smoking weed, I quit microdosing mushrooms, I quit eating meat, and I found out what it means to truly be alive.
What do you believe is the most essential function of art?
To bring people together and connect them with something that they cannot see.
Something non-musical that you’re looking forward to?
New York City’s In This House of Mourning today self-release their debut album, Penance. The record’s arrival — digital first — comes just a short couple weeks after the record was announced and the first song premiered, so yes, it is very much a DIY, this-is-a-thing-and-here-it-is kind of affair. If there’s to be hype, it will come after the fact, and though Penance is short at just 21 minutes and will probably be regarded as an EP when In This House of Mourning‘s spearhead and former member of atmosludgers Mountain God, Ben Ianuzzi (guitar, bass, synth and so on) moves on toward an inevitable next release, its impact is still noteworthy for the grim ambience it creates as well as its willingness to wholly engage the stench of NY-style death metal.
To wit, the chug that emerges in the second half of opening track “The Path Worn Down,” also the aforementioned lead single. At 9:53, it’s the longest of the three inclusions (immediate points), and with grunts and growls over slow-motion, high-density distortion, the vibe is pure death-doom. But that chug, which returns again at the end met by squiggly guitar sounds overlaid, feels like a dogwhistle to those who know from whence that rawness springs. It’s a long regional history of death metal that has refused frills or, for the most part, the prog bent that has consumed much of extreme metal’s fare over the course of the current generation of acts. Ianuzzi, with that simple chug, calls out that influence even as In This House of Mourning‘s sound grows more expansive, pulling from doomed tempos and an insular darkness that goes beyond simply playing slow.
Keyboards and various synth bring depth to the procession and are by and large responsible for the melodies, as the three-minute “Judgement” confirms in its quiet stretch of grieving. This in turn gives way to the crashing introduction of “Cruel Death,” which moves further along all lines, more fluidly shifting between the various sides, from its initial heft and keyboard-inclusive crawl to the subdued guitar that patiently leads to reinvigorated lurch before, just after four minutes in, the vocals grow somehow harsher and the pace kicks up for a time, laying a claim early in the project’s tenure to bursts of pure death that may or may not be fleshed out on subsequent outings. Before the song is done, Ianuzzi brings it back around to the melodic keys and the grueling dirge nod, but having gone there invariably casts an effect on the mood with which “Cruel Death” closes Penance, and most importantly, that seems to be a purposeful choice.
Where Penance might lead, or when, it beats me, but for In This House of Mourning, it’s clear this first offering is an exploration of sound and style on the part of Ianuzzi and a few select initials-only compatriots, and the results are morose in a way that brings to mind classic ’90s death-doom while still ready to gnash its teeth on something more distinctly brutal. For Ianuzzi, who was kind enough to give some words to the motivations behind the songs, the difference seems to be one of introspection.
Below, you can stream the premiere of Penance by In This House of Mourning in its entirety, and read more from Ianuzzi, find the order link, and all that good stuff. It’s down there in the blue. You know how this goes.
Enjoy:
Ben Ianuzzi on Penance:
I guess I’ll say this. Given the order of the songs- PWD, J, CD — it’ll be obvious in the lyrics that its kind of an attack on the kinds of people that say lovely things about someone once they die. How people sort of glorify people at the end, as if it’s somehow honorable. Death is cruel, and sometimes people live out their miserable lives and are just as miserable at the end.
They may pretend that they aren’t — and others say kind words about them to make it seem like the end was peaceful — but a lot of that is just to make the survivors feel better.
And while I wrote the music before (which I more or less played every instrument on, and wrote the lyrics) I wrote the lyrics, everything just fit. I guess what I’m trying to say is that I didn’t write about such a morose topic because I wrote funeral doom songs — it was very genuine.
Whereas Mountain God was very impersonal, and was very outward in its anger, this band is much more personal. It’s much more inward-facing.
So while everything I said in the press release was true, deeper below the surface, these songs are pretty much my innermost feelings. Less driven by exterior issues and more personal thoughts.
Posted in Whathaveyou on February 28th, 2022 by JJ Koczan
Pick your poison here, it’s all killer. Makes sense when you think about it, too. If you’ve been waiting to have a party for two years, don’t you want to do it up? Thus it is that Sound of Liberation‘s plague-delayed 15th anniversary celebrations have become 17th anniversary celebrations — and frankly, having survived those extra two years is no mean feat either for a booking concern, or, you know, anyone — and the parties will be held June 10-11 in Munich and June 24-25 in Wiesbaden, Germany.
Simply put, the lineups aren’t fucking around. Colour Haze, Fu Manchu, High on Fire, 1000mods, Elder, Ufomammut, My Sleeping Karma, Yawning Man, Monkey3, The Well, Toundra, Villagers of Ionnina City, DVNE, Slomosa, Stoned Jesus, Lucid Void, and more to be announced. That pushes beyond “killer party” and into “this is actually a festival” territory, and after so much delay, I seriously doubt any of the concerned parties have a problem with that.
These will be significant evenings. If you’re going, drink it in.
As posted on socials:
17 YEARS SOUND OF LIBERATION FESTIVALS 2022
*** New Bands *** Day Splits *** Warm-Up Show ***
Dear friends and fans, we are excited to share a bunch of amazing news for our SOL Birthday Bashes in Munich and Wiesbaden with you.
We added some more outstanding acts to our line-ups and there’s an additional warm-up evening happening in Wiesbaden!
17 years Sound of Liberation • Backstage Munich
We’re stoked to finally share the day-splits with you!
Friday, 10th June 2022 Backstage, Munich (GER) Line-Up: Colour Haze, High On Fire, Elder, UFOMAMMUT, Villagers of Ioannina City, Toundra, DVNE + more TBA Tickets: http://www.sol-tickets.com
Saturday, 11th June 2022 Backstage, Munich (GER) Line-Up: Fu Manchu, 1000mods, MY SLEEPING KARMA – OFFICIAL, Yawning Man (Official), monkey3, The Well + more TBA Tickets: http://www.sol-tickets.com
Single-Day Tickets & Weekend Tickets are available.
17 years Sound of Liberation • Wiesbaden
Our party does now start a day earlier!
We’re proud to welcome no other than mighty UFOMAMMUT (ITA) and rising stars Slomosa (NOR) (+ one more band TBA) to rip down the Kesselhaus at Schlachthof Wiesbaden on June 24th and warm-up our neck muscles for the following full festival day!
Friday 24th June 2022 Official Festival Warm-Up Schlachthof, Wiesbaden (GER) Line-Up: UFOMAMMUT, Slomosa + 1 more band TBA Tickets: http://www.sol-tickets.com
Saturday 25th June 2022 Schlachthof, Wiesbaden (GER) Line-Up: 1000mods, Elder, MY SLEEPING KARMA – OFFICIAL, Stoned Jesus, The Well, Lucid Void + more TBA Tickets: http://www.sol-tickets.com
We can’t wait for June, this is happening for real! Grab your tickets and join us in Munich and / or Wiesbaden
Posted in Whathaveyou on February 28th, 2022 by JJ Koczan
Speaking on behalf of the entire United States with authority granted to me by precisely nobody, I bid a heartfelt “welcome back” to London’s Orange Goblin as they return once more to American shores this Spring to play Desertfest New York 2022 at the Knockdown Center in Brooklyn. This will mark the first time the four-piece have been to the States since bringing aboard bassist Harry Armstrong (also backing vocals) in place of founding member Martyn Millard, and they’ll arrive not a moment too soon, playing in Seattle on May 11 as part of a four-gig stint that quickly spans both coasts.
Tone Deaf Touring is presenting the shows, and Orange Goblin will be joined by High Tone Son of a Bitch, Telekinetic Yeti and The Atomic Bitchwax, respectively, in Seattle, Boston and Reading, Pennsylvania (outside Philly), in addition of course to Desertfest, where they’ll appear on May 13.
One doesn’t expect Orange Goblin to come back to the US this year, so if you’re on the fence, you might factor that into whether or not you choose to show up. The key words there are the last four: “choose to show up.” Tickets do be available.
From social media:
**ORANGE GOBLIN ANNOUNCE US SHOWS FOR MAY 2022**
Orange Goblin will be performing a small number of club shows in the US when we travel over in May to perform at Desertfest New York. This year marks 20 years since Orange Goblin first came to the USA when we toured with Alabama Thunderpussy back in 2002. Since then we have been back numerous times but not since the short tour in 2019, so we are very excited to play these dates and we are bringing some cool friends with us to support!
May 11 – El Corazon, Seattle, WA (with support from HTSOB) May 13 – Desertfest New York 2022, NY (@ Knockdown Center) May 14 – The Middle East, Boston, MA (with support from Telekinetic Yeti) May 15 – Reverb, Reading, PA (with support from The Atomic Bitchwax)
Tickets for all shows are on sale via this link:
https://tonedeaftouring.tourlink.to/OGUSA
Thanks to our US agent at Tone Deaf Touring for organising this and we can’t wait to get back Stateside!
Poster artwork by Dominic Sohor.
Orange Goblin is: Ben Ward – Vocals Joe Hoare – Guitar Harry Armstrong – Bass / Backing vocals Christopher Turner – Drums
As of right now, you can stream the title-track from Here Comes Hell, the four-song debut EP from London three-piece Warpstormer, and think of it as a barely-early heads up for Bandcamp Friday. At least, I think it’s Bandcamp Friday this week. If not, think of it as a barely-early heads up for Regular Friday, and maybe that’s payday anyhow, or maybe you just buy a thing without it being like a special occasion or whatever because Bandcamp’s gotta eat too, man. Any way you go, just keep an eye or ear out for Warpstormer, which came together following the dissolution of Oak at the behest of Richard J. Morgan, who aligned himself with Scott Black (also Green Lung) on guitar and Matthew Folley on drums for the initial go.
I say “initial” because you’ll note in the PR wire info below that Morgan will look for other players to join a live incarnation of Warpstormer as the band moves forward. I don’t know if that means Black is too busy in Green Lung or if they’ll be more than a trio, but in any case, it seems like the Here Comes Hell lineup for Warpstormer isn’t necessarily the settled version of the group that will persist from here.
The future’s uncertain and the end is something something.
Track’s at the bottom of the post. Art’s right here, with info underneath:
WARPSTORMER announces debut EP Here Comes Hell
What do you do when your band falls victim to the ravages of COVID-19 in the middle of recording a debut album? In the case of Richard J Morgan of WARPSTORMER, you take matters into your own hands and forge on regardless, rising from the ashes to let loose one of the most essential opening salvos to hit the London metal scene in years.
Morgan has been a stalwart of the London scene for over a decade, first as frontman and guitarist in cult thrashers The Quarry and then as bassist in stoner barbarians Oak. When Oak fell apart recording between lockdowns, Morgan was left with a clutch of demos that seemed destined to be mothballed forever. But in spring 2021, with every possible sign and auspice pointing to ‘don’t start a new band’, he started fashioning them into new shapes, stepping up to the mic and dusting off his guitar to form a new project, WARPSTORMER.
By summer 2021, the songs were fleshed out enough to record with Wayne Adams at Bear Bites Horse Studio in London (Green Lung, Beggar, The Brothers Keg). Morgan recruited former Quarry bandmates Scott Black (now guitarist in Green Lung) and Matt Folley to lay down guitar and drum parts respectively, both playing with a zeal that belies their session-man status.
While the genesis of these songs may have been Morgan’s time in Oak, they have grown into something gnarlier and more sonically ambitious, combining the ferocious thrash-meets-stoner offensive of High On Fire with the guitar heroics of The Sword, and conjuring an overall aesthetic that brings to mind grimdark British tabletop fantasy more than American Robert E Howard pulp.
Lyrically, there are plenty of clues that this is a project begun in lockdown – opener ‘Here Comes Hell’ brims with apocalyptic visions and references to Revelations, while ‘Ride the Bomb’ is the metal equivalent of Major Kong whipping his Stetson around as he rides to his thermonuclear fate in Dr Strangelove. But it’s not all pedal to the metal – closer ‘Devourer’ features dynamics and textures that suggest there’s more to this band than battle-tank bombardment.
With Here Comes Hell Morgan aims to single-handedly plant WARPSTORMER on the UK metal map. Next challenge? Recruiting some road warriors to help take the project out of the studio and onto the stage. Morgan has already proved his mettle in the very fact of this EP’s existence – you’d bet on his survival in the smouldering wasteland of the UK’s live scene…
Here Comes Hell releases 4th March, 2022 with cover art by Nerdgore.
In the grim darkness of the 3rd millennium, there is only WARPSTORMER. Hailing from South London, this stoner-thrash juggernaut, forged in the time of plague, releases its debut EP Here Comes Hell on 4th March, 2022.
Warpstormer: Richard J Morgan: bass, vocals Scott Black: guitar Matthew Folley: drums
Posted in Bootleg Theater on February 25th, 2022 by JJ Koczan
I wasn’t at this show, but I was reading guitarist/vocalist Karl Simon‘s Bandcamp info about The Gates of Slumber‘s Live in Tempe, Arizona, and it occurred to me I did see them on this tour. The Indianapolis trio, then Simon, bassist Jason McCash and drummer J. Clyde Paradis, were on the road in Spring 2011 supporting their new-at-the-time album The Wretch (review here), which would turn out to be their final record with just the Scion A/V-sponsored Stormcrow EP (review here) following in 2013 until this Live in Tempe, Arizona, came along in 2020. They’d been to Europe and were back in the States touring with Orange Goblin for the UK outfit’s 15th anniversary. Here’s what Simon remembers about it:
2011 was a very good year for The Gates of Slumber, we had come off a run of great shows with Cathedral and the amazing experience of recording The Wretch in London with Jaime Gomez in December of 2010, and we were fresh off touring with Place of Skulls and our headliner set at Roadburn when we got the call that Orange Goblin was wanting us to support them as they tried to get a full US tour in 13 days… 13 grizzly days where we had no air conditioning in the van as we trekked across the deep south… the realities of touring in the US vs Europe were laid bare on this one, there was the infamous decided lack of everything that we were dealing with as we confronted blown out tires, a lack of sleep, a lack of food and mostly a lack of time.
Make no mistake, I have a few good memories (and a few hazy ones; it was a different, much drunker time) of seeing The Gates of Slumber live, but hot damn, I loved The Wretch. Produced by Jaime Gomez Arellano as noted above, the record used negative space — empty space in the mix — to create a downtrodden, lonely, depressive feel that was as pure and classic American doom as Saint Vitus‘ best work. It was clear in its message and perspective, its songs were intentionally grueling, and in departing from the more epic-minded fare of LP’s like 2008’s Conqueror and 2009’s Hymns of Blood and Thunder (review here), the band took up the mantle of forerunners of a kind of doom that very, very few acts have been able to capture in the decade-plus since. No one I’ve heard has been able to do this thing, this way, so well.
The New York show was Orange Goblin, The Gates of Slumber, Naam and Kings Destroy (review here), on May 27, 2011, which according to the original list of dates puts it 10 days before they hit Tempe — after Albuquerque, New Mexico, it should be noted given the album cover for the live record (click the image above to enlarge) — and what a night. Even first night of the tour, they delivered, and listening back to Live in Tempe, Arizona, it brings to mind just how on-fire they were at this point. If you’re wondering just what the hell I’m talking about with “negative space” above, take a listen to “Coven of Cain” on the live record. That (not really) empty pause as Simon drudges through the early verses, the slow march so pointedly undramatic in its execution. The song itself doesn’t need to be massive because the impact comes from the atmosphere and the emotion behind it.
It’s raw in a way that distortion-obsessed riff-doom — and hey, I like plenty of that too — can’t possibly be, and feels braver for that, for being more up front. The Gates of Slumber in this era had plenty of forward push, as “Day of Farewell” here demonstrates, and the dynamic was fluid, which is to say that they were able to shift between the quieter and louder, more weighted stretches with apparent ease owing to the strength of the songwriting and the performances, not just of Simon in fronting the band and embodying the miseries the songs were about, but McCash and Paradis bringing density and a just-about-to-fall-off-the-track rolling nod to the material. Even as they chug through “Ice Worm” from Conqueror here and finish out with “The Jury” from their 2004 debut, …The Awakening (discussed here), the quiet intensity keeps up with the surge of volume. And I know the early days of the band have engendered a loyalism among the band’s fans, but for my money, this was as doomed as The Gates of Slumber got.
Listening to it, there’s no question as to why The Gates of Slumber would want to eventually release Live in Tempe, Arizona. Even 11 years after the fact, the downer aspects of these six songs — the set opener “The Scovrge ov Drvnkeness” wasn’t recorded according to Simon — comes through with marked resonance, and the barebones-but-clean sound with which the songs are captured ties everything together with remarkable effectiveness. That is to say, it’s doom as fuck. The tragedy of McCash‘s death in 2014 ensured that The Wretch — or Stormcrow, for that matter — never got a proper follow-up from The Gates of Slumber, but Simon continued forward in the band Wretch, whose 2016 self-titled debut (review here) answered the call that the album after which they were named seemed to put forth. It wasn’t the same — nothing is — but it was a worthy continuation of Simon‘s former outfit and a beginning of something new.
In 2019, The Gates of Slumber announced a reunion of sorts. With the occasion of the 2020 Hell Over Hammaburg Festival — which actually happened! — as the driving factor, Simon brought on Chuck Brown on drums and Steve Janiak on bass (both also guitarist/vocalists in Apostle of Solitude), the band went to Europe for a few shows and captured some prime live and rehearsal footage in the process. The new incarnation of the band has released some of that stuff through their Patreon, as well as some footage of the group’s first run, studio behind-the-scenes stuff, and so on, but I don’t know if they’re writing or working toward a new The Gates of Slumber album or not. I wouldn’t mind being surprised by one one of these days, in the way of sudden Bandcamp drops, but in the meantime, revisiting what was so clearly a special time for them makes me wonder all the more what the Simon, Janiak and Brown lineup might have to offer.
As always, I hope you enjoy.
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So, I guess war, huh? The tribes of Europe, who’ve been fighting and redrawing maps for over a thousand years, are at it again. And young and old, military and civilian, men, women and children will die, land will be scorched. Everybody’s got their WWIII boner up. I’m not trying to be glib about it — it’s a genuine tragedy, most of all for the people of Ukraine, including friends of mine — but if humanity was ever going to learn not to wage war against itself, I think it probably would have by now, and failing that, what’s really left to say about us as a species? We’re awful and someday there won’t be any of us left. Maybe who/whatever comes along next and claims earth as its dominion (which, come to think of it, is part of the problem in the first place, so hopefully who/whatever’s next doesn’t make that claim to start with) will do better.
On more domestic questions of diplomacy and battle, The Pecan — aged four and four months as of today — and The Patient Mrs. worked out some weeks ago that today, Feb. 25, would be the day he peed on the potty. He’s done it once before, after sitting on the toilet for a literal eight hours, and I kind of think that might be where today is headed as well. School was canceled owing to freezing rain and other wintry whathaveyou, and when I woke up, it was his yelling and crying about being on the toilet that did it.
I’m in the bathroom now, having spelled The Patient Mrs. so she can go upstairs and get work done, and I’ve hidden the diapers so he can’t go find one and put it on (I told him diapers would come back after he peed on the potty, so he’s not freaking out that they’re gone forever), and after trying every bribe in the known universe and giving him buy-in by picking the day, I guess it’s just a matter of making it happen. He’s physically uncomfortable from having to pee so badly. He holds in his poop for days on end. This is something that needs to happen. He knows when he has to go. They’ve tried at school and he just refuses all bribes and continues to hold it in until he gets home. It’s a thing. A whole thing. It’s been a thing for over a year and it’s only gotten worse. Do I think there’s a freezing rain’s chance in hell that the issue will be solved today? No, I do not. It’ll happen when it happens. But if we come out of the day celebrating even a drop or a trickle going in the toilet, that will ultimately give us a win from which to move forward. That win will have been worked for.
He’s currently watching Doc McStuffins on my phone. We did Bluey for a bit too and we may or may not get to Muppets as the day plays out. He’ll be hungry in a bit, so I anticipate a lunch break and then, yeah, probably back for more of this. That’s real life. Happening right now.
Thanks if you checked out the YOB review yesterday. That show was incredible.
No Gimme show this week, but next week it’ll happen if you’re looking for it, which I doubt you are. I’m slowly making my way toward 100 episodes of that, which I’ll hit later this year provided they don’t cancel it in the meantime. Fingers crossed. I enjoy that.
Fuck. All Them Witches just posted a new song. Why does this crap have to happen on Fridays?
Alright, gonna go post that, then do lunch for the kid. Have a great and safe weekend. Watch your head, hydrate, don’t forget to use the potty before you leave the house. All that stuff.
Posted in Bootleg Theater on February 25th, 2022 by JJ Koczan
Nashville-based four-piece All Them Witches have posted a video for the second installment in what the band has dubbed their Baker’s Dozen singles series. “Fall Into Place” arrives behind last month’s “Blacksnake Blues” (posted here), which you can also hear below, and as the band gets ready to hit the road for what looks like an increasing amount of the year, they seem as well to be exploring new ground sonically as well.’
This is kind of a relief, to be honest. I dig “Blacksnake Blues” a lot, and a big part of that is the manner in which the track speaks to the band’s earlier work. “Fall Into Place” — true to form for the band — doesn’t. Instead, it’s among the most atmospheric material they’ve done, minimally percussed but backed by a current of drone that plays out behind the melancholic vocal melody. This, in turn, feels more in conversation with some of the experimentation with loops and different kinds of noise manifestations that showed up on 2020’s Nothing as the Ideal (review here), and in light of the shift in lineup that brought Allan Van Cleave back into the band on Rhodes/violin, etc., I’m glad those experiments haven’t been left by the wayside.
Have to wonder if All Them Witches aren’t thinking a 2LP compilation of all these songs when the year’s over, but I suppose we have many more months to speculate throughout 2022 as they build toward the entirety of Baker’s Dozen in a track-per-month rate and one to grow on.
Are we thinking last Friday of every month here? If so, I’ll go ahead and hold a spot for March 25 now.
Enjoy:
All Them Witches, “Fall Into Place” official video
‘Fall Into Place,’ the second song from our Baker’s Dozen project, is yours to enjoy.
‘Fall Into Place’ is the second song from ATW’s project, “Baker’s Dozen.” Baker’s Dozen will feature 13 songs, one each month in 2022 plus an extra track.
Listen to the first Baker’s Dozen song, ‘Blacksnake Blues,’ now: https://allthemwitches.lnk.to/blacksnake
All Them Witches is: Charles Michael Parks, Jr – bass, vocals Ben McLeod – guitar, vocals Robby Staebler – drums, vocals Allan Van Cleave – Rhodes piano, keys, violin
Posted in Whathaveyou on February 25th, 2022 by JJ Koczan
Athens-based four-piece Acid Mammoth and Sardinian trio 1782 have announced a tour to take place in April throughout Europe. The two acts are no strangers to each other, being labelmates on Heavy Psych Sounds. Both are also confirmed for the label’s impending festival in Salzburg, Austria, this June.
1782 issued their From the Graveyard (review here) LP last year and Acid Mammoth offered Caravan (review here) earlier in 2021 as well. The latter release was Acid Mammoth‘s third full-length and the former 1782‘s second, but both bands have followed a course of big-riff doom, 1782 playing more toward cultish tropes and Acid Mammoth complementing their tones with a due sense of haze.
It makes sense, accordingly, that they’d tour together as 1782 head toward Desertfest London 2022 (couldn’t find a slot for Acid Mammoth? maybe another announcement coming?) and further a connection that was forged before either of the latest releases from the bands, when they joined forces in 2019 for the second installment of Heavy Psych Sounds‘ Doom Sessions split series (discussed here).
They’ll play the Go Down Festival, Dudefest, and Doom in Bloom together, and there are still a couple dates TBA, so if you can help out in an appropriate part of the world, do it. Hell, make an offer and put on a show in your back yard. Here’s what’s up:
Heavy Psych Sounds announce ACID MAMMOTH & 1782 DOOM TOUR EUROPE 2022 !!!
*** ACID MAMMOTH & 1782 *** DOOM TOUR EUROPE 2022 15/04/2022 IT **OPEN SLOT** 16/04/2022 IT FIRENZE CPA 17/04/2022 IT BOLOGNA FREAKOUT 18/04/2022 IT ZEROBRANCO GO DOWN FESTIVAL 19/04/2022 SLO LJUBLJANA CHANNEL ZERO 20/04/2022 AT GRAZ EXPLOSIV 21/04/2022 DE ULM HEXENHAUS 22/04/2022 AT INNSBRUCK PMK 23/04/2022 DE KARLSRUHE DUDEFEST 24/04/2022 NL SNEEK BOLWERK 25/04/2022 DE HAMBURG KNUST 26/04/2022 DE BERLIN DOOM IN BLOOM 27/04/2022 FR **OPEN SLOT** 28/04/2022 FR DIJON LES TANNERIES 29/04/2022 CH FR **OPEN SLOT** 30/04/2022 CH BRUNNEN KULT-TURM 01/05/2022 UK LONDON DESERTFEST (only 1782)
ACID MAMMOTH is: Chris Babalis Jr. – Vocals, Guitars Chris Babalis Sr. – Guitars Dimosthenis Varikos – Bass Marios Louvaris – Drums
1782 is: Marco Nieddu – vocals/guitar Gabriele Fancellu – drums/back. vocals Francesco Pintore – bass
