Posted in Whathaveyou on January 26th, 2024 by JJ Koczan
Cheers to Swedish hard ‘n’ heavies Deville on the new video for ‘Serpent Days’ from their 2022 album, Heavy Lies the Crown (review here), but double-cheers to the band on marking the 20th anniversary of their inception in 2024. Two decades of riding around the Continent (and beyond) for gigs continues this very evening, as the band undertake a weekender to start off this special year. They’ve got other shows booked through the next few months that you can see listed below as well.
And of course there’s the video too. Since their start, Deville have never stopped progressing, and as their sound has grown sharper and more aggressive in the delivery, their songwriting has grown correspondingly tight, and their niche is more their own now than it’s ever been. After 20 years, that doesn’t strike me as a terrible place to end up.
From the PR wire:
DEVILLE 20 Years and New Video!
“Serpent Days” Official Video is out from today. Taken from the 2022 album “Heavy Lies the Crown”.
And also!!
Celebrating 20 years as a band in 2024, an anniversary album containing some of the most played songs, some new tracks and surprises will be released. After touring Europe and Australia in 2023 the band will start of the new year with some shows in Sweden and around.
In 2004 in Malmö, faith united four musicians to form Deville, a heavy rock band with infectious energy. Armed with their authentic fusion of rock, metal and stoner, they got their first release out in 2006 and started to tour. Since 2004, they released five albums, played more than 500 shows and festivals all over Europe, Australia and the United States and shared the stage with great acts as Red Fang, Fu Manchu, Sepultura, Torche, Mustasch and many more.
UPCOMING SHOWS
01/26/24 DRAMMEN(NO) AT KOMETEN
01/27/24 ÖREBRO AT BJÖRNES PUB
02/16/24 HÖGANÄS AT GARAGE BAR
02/17/24 MOTALA AT BOMBER BAR
03/15/24 STOCKHOLM AT GAMLA ENSKEDE BRYGGERI
03/16/24 HOUSE OF BLUES AT BORLÄNGE
04/19/24 TBA AT GOTHENBURG
04/20/24 TRANÅS AT PLAN B
Deville: Andreas Bengtsson – Vocals, Guitars Michael Ödegården– Drums Andreas Wulkan – Lead Guitar,Vocals Martin Nobel – Bass
Posted in Whathaveyou on August 24th, 2023 by JJ Koczan
My favorite part of the poster for Truckfighters Fuzz Festival — to be held in Stockholm, Sweden, on Nov. 10-11 at the tail end of the Fall fest season in Europe — is the disclaimer where it says, “Warning: There will be progressive and psychedelic fuzz!” Take precautions, rockers! Love that.
Also pretty into the fact that not only have Lowrider been added as headliners here with Black Rainbows listed directly below them on the bill — that’s badass, yes — but check out Peder Bergstrand of Lowrider‘s other band, I Are Droid, joining the lineup. By the time this fest happens, I Are Droid‘s most recent album, The Winter Ward (review here), will be a decade old, and I’ll tell you something personal in letting you know I still have it on my phone. And sometimes I even put it on. Makes me feel feelings in the way that only quality pop music can.
Although I went to this fest last year, I don’t really have a path to get back for 2023, but I do very much dig the way the lineup has come together, with Valley of the Sun, Skraeckoedlan, Kaiser and Australia’s Khan, Tidal Wave, Dark Ocean Circle and Stonewall Noise Orchestra, among others, doing the thing. When you’re there, the place is packed — both Debaser Strand and Bar Brooklyn, which are right next to each other, sharing a building — but it’s still possible to both see the show and enjoy yourself while you do, and it’s imagining that that’s got me stoked on this final lineup.
Truckfighters themselves sent word in their Fuzzorama Records newsletter:
LINE UP COMPELTE FOR TRUCKFIGHTERS’ FUZZ FESTIVAL!
The festival takes place on Nov 10 + 11 in Stockholm, Sweden at Debaser + Bar Brooklyn.
Posted in Whathaveyou on May 10th, 2023 by JJ Koczan
Not to take away from Bear Stone Festival completing its lineup by adding Church of the Cosmic Skull, Alunah, Deville and Malady Lane, but the transportation update from the fest is a big one as well, especially for somebody like me, who while not morally opposed to camping is in no way a camper. Running the proverbial shuttle-into-town lets the Croatian fest accommodate a greater range of attendees, and again, for someone like me, that makes a big difference.
And to return to the lede, the lineup is frickin’ awesome and the vibe looks right. You want to see Church of the Cosmic Skull and Conan and Orange Goblin and Monster Magnet in a Croatian riverside field? I do. Bringing Deville on board from Sweden adds impact alongside the awesome weirdoism of The Freak Folk of Mangrovia, and with Alunah, Seven That Spells, Mother Cake, Woodstock Barbie, Cojones and Malady Lane, there’s aural and geographic variety to be had. For their second installment, Bear Stone are showing that they learned important lessons the first time out and are looking to build their event over a longer term. I look forward to keeping up over the next few years.
The following came down the PR wire:
Bear Stone Festival 2023 Full Lineup Announcement + Transportation Update
After months of looking at locked brackets in the poster, we’re proud to finally present you with the full lineup for Bear Stone Festival 2023:
MONSTER MAGNET (USA) ORANGE GOBLIN (UK) CHURCH OF THE COSMIC SKULL (UK) CONAN (UK) MOTHER’S CAKE (AT) SEVEN THAT SPELLS (CRO) COJONES (CRO) ALUNAH (UK) WOODSTOCK BARBIE (HU) DEVILLE (SWE) MALADY LANE (CRO) THE FREAK FOLK OF MANGROVIA (CRO)
From Nottingham (UK) we have Church of the Cosmic Skull, part time seven piece Rock/Prog/Psych/Pop band and a part time spiritual organization that puts “Abba in Sabbath”.
Also coming from the UK, from the Sabbath City of Birmingham Alunah brings their very own Doom/Blues/Psych brand of Hard Rock amped up by ethereal vocal expression of their frontwoman Siân Greenaway.
For more than 15 years Swedish powerhouse Deville have been touring on their signature fusion of Rock, Metal and Stoner. This summer the road brings them to the lovely shores of the Mrežnica river.
Last but not least are Croatia’s very own Malady Lane, a Rock band whose creativity stretches through various realms of Post-Grunge, Alternative, Indie Rock and dreamy lyrics. Their music is compared by many with the spirit of the Seattle scene of the 90’s with its groove and ferocity.
TRANSPORTATION UPDATE
In order to make Bear Stone Festival more accessible to our visitors that plan to travel to the festival by using public transport, we have partnered up with our local transportation provider Autopromet Slunj to create our very own bus line.
Bear Stone Festival bus line will drive from Slunj to Bear Stone Festival and back several times a day starting on Thursday, July 06 and finishing up on Sunday, July 09.
We’ll give you more details regarding the bus line timetable as we get closer to the festival.
Posted in Whathaveyou on March 31st, 2023 by JJ Koczan
As regards travel fantasies, Australia is the ultimate dream, as far as I’m concerned. I’d love to see China, Japan, Nepal, India, everywhere, Egypt, Argentina, Brazil, on and on, but Australia is about as far away from where I’m starting out as you can get and still be on the same globe. Swedish heavybringers Deville will head that way in June to catch slots at the Riff Mountain and Spliffs ‘n’ Riffs festivals with headlining dates besides. The increasingly forceful four-piece released their Heavy Lies the Crown (review here) album last Fall through Sixteentimes Music, stomping hard on the line between heavy rock and metal as has been their wont across their last several outings.
They go as veterans, and though the tour was originally slated for 2020, which would’ve seen them support 2018’s Pigs With Gods (review here), they’re that much firmer in their purposes for the time differential, and it’s easy to imagine their Scandinavian grooves will be well met by the Australian winter.
And since I mentioned it at the start, I did look up flights to Australia for these two weeks — not inviting myself or anything, just curious — and, well, if I ever happen into a spare two grand and three days of travel time, I’m sure I’ll keep you posted. Good for Deville making the (somewhat shorter but still significant) trip in the meantime.
Beats Cartel sent the following down the PR wire:
SWEDISH RIFF LORDS DEVILLE MAKE FIRST TRIP TO AUSTRALIA
Swedish riff lords Deville make their first trip to Australia this June after Covid halted their plans in 2020, today having again announced plans for an extensive national tour on the back of multiple festival appearances and their latest album release “Heavy Lies the Crown”.
Born in 2004, Deville have developed through a haze of Rock, Stoner and Metal sounds, creating something unique which has seen them support the likes of Red Fang, Sepultura, Torche, Fu Manchu, Truckfighters and tour the US, UK and Europe many times over, playing the world’s best venues and festivals.
With albums signed to Heavy Psych Sounds, Buzzville Records, Small Stone Records and Sweden’s Fuzzorama Records, the band have given almost 20 years of service to Rock’n’Roll, a feat rarely realised in today’s music business. This tour will celebrate the upcoming milestone.
June 2023 sees the Swedes travel to Australia for their first ever tour of the country after Covid shut down their 2021 Australian tour post-announce. Presented by Beats Cartel, the tour racks up nine dates in six states/territories and will see the band appear alongside some of Australia’s best talent plus the new Riff Mountain Festival in Brisbane and a double header at WA’s Spliffs’n’Riffs.
Lead singer Andreas Bengtsson says of the upcoming tour “Touring Australia for the first time is of course a huge thing for us and doing it when the band is turning 20 years old makes it even better. We’re thrilled to share the stage during this run with some of our favourite Australian bands. This will be a good one, hope to see you all at a show.”
Catch Deville this Winter, making their way across the country coast to coast for what will be a fun and energetic display of European hard Rock. Tickets are onsale now throughwww.beatscartel.com/showtickets.
Beats Cartel Presents 2023 Deville (SWE) Australian Tour Thu Jun 15 ADELAIDE Crown and Anchor Fri Jun 16 MELBOURNE Stay Gold Sat Jun 17 BRISBANE The Back Room for RIFF MOUNTAIN FESTIVAL Sun Jun 18 GOLD COAST Mo’s Desert Clubhouse Wed Jun 21 CANBERRA The Basement Thu Jun 22 PORT MACQUARIE Finnians Irish Tavern Fri Jun 23 SYDNEY House of Music and Booze Sat Jun 24 SCARBOROUGH Indian Ocean Hotel for SPLIFFS’N’RIFFS Sun Jun 25 FREMANTLE Port Beach Brewery for SPLIFFS’N’RIFFS
Deville: Andreas Bengtsson – Vocals, Guitars Michael Ödegården– Drums Andreas Wulkan – Lead Guitar,Vocals Martin Nobel – Bass
Posted in Reviews on September 28th, 2022 by JJ Koczan
I’m in it. The only reason I even know what day it is is because I keep notes and I set up the back end of these posts ahead of time. They tell me what number I’m on. As for the rest, it’s blinders and music, all all all. Go. Go. Go. I honestly don’t even know why I still write these intro paragraphs. I just do. You know the deal, right? 10 records yesterday, 10 today, 10 more tomorrow. At some point it ends. At some point it begins again. Presumably before then I’ll figure out what day it is.
Quarterly Review #71-80:
James Romig & Mike Scheidt, The Complexity of Distance
James Romig is a Pulitzer-finalist composer, and Mike Scheidt is the founding guitarist/vocalist of YOB. I refuse to cut-and-paste-pretend at understanding all the theory put into the purported ’13:14:15′ ratio of beat cycles throughout The Complexity of Distance — or, say, just about any of it — but the resulting piece is about 57 minutes of Scheidt‘s guitar work, as recorded by Billy Barnett (YOB‘s regular producer). It is presented as a single track, and with the (obviously intentional) chord progressions in Romig‘s piece, “The Complexity of Distance” is a huge drone. If you ever wanted to hear Scheidt do earlier-style Earth guitar work — yes, duh — then this might satisfy that curiosity. There’s high-culture intersecting with low here in a way that takes Scheidt out of it creatively — that is to say, Romig did the composing — but I won’t take away from the work in concept or performance, or even the result. Hell, I’ll listen to Mike Scheidt riff around for 57 minutes. It’ll be the best 57 minutes of my god damned day. Perhaps that’s not universal, but I don’t think Romig‘s looking for radio hits. Whether you approach it on that theory level or as a sonic meditation, the depths welcome you. I’d take another Scheidt solo record someday too, though. Just saying.
Copenhagen’s Mythic Sunship turned Light/Flux around so quick after 2021’s Wildfire (review here) they didn’t even have time to take a new promo photo. There is no question the Danish five-piece have been on a tear for a few years now, and their ascent into the psych-jazz fusion ether continues with Light/Flux, marrying its gotta-happen-right-this-second urgency to a patience in the actual unfolding of songs like the sax’ed out “Aurora” and the more guitar-led “Blood Moon” at the outset — light — with the cosmic triumphalist horn and crashes of “Decomposition” leading off side B and moving into the hey-where’d-you-come-from boogie of “Tempest,” presumably flux. Each half of the record ends with a standout, as “Equinox” follows “Blood Moon” with a more space rock-feeling takeoff pulse, right up to the synth sweep that starts at about 2:50, and “First Frost” gives high and low float gracefully over steady toms like different dreams happening at the same time and then merging in purpose as the not-overblown crescendo locks in. May their momentum carry them ever forward if they’re going to produce at this level.
What a fascinating direction the progression of Sweden’s Deville has taken these 15 years after Come Heavy Sleep. Heavy Lies the Crown finds the Swedish journeymen aligned to Sixteentimes Music for the follow-up to 2018’s Pigs With Gods (review here), and is through its eight tracks in a dense-toned, impact-minded 33 minutes with nary a second to spare in cuts like “Killing Time” and “Unlike You” and “A Devil Around Your Neck.” Their push and aggressive edge reminds of turn-of-the-century Swedish heavy rockers like Mustasch or Mother Misery, and even in “Hands Tied” and “Serpent Days” — the two longest cuts on Heavy Lies the Crown, appearing in succession on side A — they maintain an energy level fostered by propulsive drums and a rampant drive toward immediacy rather than flourish, but neither does the material feel rushed or unconsidered right up to the final surprising bit of spaciousness in “Pray for More,” which loosens up the throttle a bit while still holding onto an underlying chug, some last progressive angularity perhaps to hint at another stage to come. One way or the other, in craft and delivery, Deville remain reliable without necessarily being predictable, which is a rare balance to strike, particularly for a band who’ve never made the same record twice.
Guitarist/vocalist Bill Jenkins and bassist Matthew Kahn hail from Kingsnake (begat by Sugar Daddie in days of yore), drummer Michael Scarpone played in Wizard Eye, and guitarist Christopher Wojcik made a splash a few years back in King Bison, so yes, dudes have been around. Accordingly, Superdeluxe know off the bat where their grooves are headed on this five-song self-titled EP, with centerpiece “Earth” nodding toward a somewhat inevitable Clutch influence — thinking “Red Horse Rainbow” specifically — and seeming to acknowledge lyrically this as the project’s beginning point in “Popular Mechanix,” driving somewhat in the vein of Freedom Hawk but comfortably paced as “Destructo Facto” and “Severed Hand” are at the outset of the 19-minute run. “Ride” finishes out with a lead line coursing over its central figure before a stop brings the chorus, swing and swagger and a classic take on that riff — Sabbath‘s “Hole in the Sky,” Goatsnake‘s “Trower”; everybody deserves a crack at it at least once — familiar and weighted, but raw enough in the production to still essentially be a demo. Nonetheless, veteran players, new venture, fun to be had and hopefully more to come.
Based in Berlin and featuring bassist Cozza, formerly of Melbourne, Australia’s Riff Fist, alongside guitarist Moseph and drummer 666tin, Esel are an instrumentalist three-piece making their full-length debut with the live-recorded and self-produced Asinus. An eight-tracker spanning 38 minutes, it’s rough around the edges in terms of sound, but that only seems to suit the fuzz in both the guitar and bass, adding a current of noise alongside the low end being pushed through both as well as the thud of 666tin‘s toms and kick. They play fast, they play slow, they roll the wheel rather than reinvent it, but there’s charm here amid the doomier “Donkey Business” — they’ve got a lot of ‘ass’ stuff going on, including the opener “Ass” and the fact that their moniker translates from German as “donkey” — and the sprawling into maddening crashes “A Biss” later on, which precedes the minute-long finale “The Esel Way Out.” Want to guess what it is? Did you guess noise and feedback? If you did, your prize is to go back to the start and hear the crow-call letters of the band’s name and the initial slow nod of “Ass” all over again. I’m going to do my best not to make a pun about getting into it, but, well, I’ve already failed.
With riffs to spare and spacious vibes besides, London instrumentalists Blue Tree Monitor offer Cryptids, working in a vein that feels specifically born out of their hometown’s current sphere of heavy. Across the sprawl of “Siberian Sand” at the beginning of the five-song/38-minute debut album, one can hear shades of some of the Desertscene-style riffing for which Steak has been an ambassador, and certainly there’s no shortage of psych and noise around to draw from either, as the cacophonous finish manifests. But big is the idea as much as broad, and sample-topped centerpiece “Sasquatch” (also the longest cut at 8:41) is a fine example of how to do both, complete with fuzzy largesse and a succession of duly plodding-through-the-woods riffs. “Antlion” feels laid back in the guitar but contrasts with the drums, and the closer “Seven” is more straight-ahead heavy rock riffing until its second half gets a little more into noise rock before its final hits, so maybe the book isn’t entirely closed on where they’ll go sound-wise, but so much the better for listening to something with multifaceted potential in the present. To put it another way, they sound like a new band feeling their way forward through their songs, and that’s precisely what one would hope for as they move forward from here.
Vigilant in conveying the Brooklynite unit’s progressive intentions, from the synthy-sounding freakout at the end of “Wavelength Synchronizer” to the angular beginning of “Conglobulations,” Incubation is the first two-songer offering from Astrometer, who boast in their ranks members of Hull, Meek is Murder and Bangladeafy. The marriage of sometimes manically tense riffing and a more open keyboard line overhead works well on the latter track, but one would at no point accuse Astrometer of not getting their point across, and with ready-for-a-7″ efficiency, since the whole thing takes just about seven and a half minutes out of your busy day. I’m fairly sure they’ve had some lineup jumbling since this was recorded — there may be up to three former members of Hull there now, and that’s a hoot also audible in the guitars — but notice is served in any case, and the way the ascending frenetic chug of the guitar gives way to the keyboard solo in “Wavelength Synchronizer” is almost enough on its own to let you know that there’s a plan at work. See also the melodic, almost post-rock-ish floating notes above the fray at the start of “Conglobulations.” I bought the download. I’d buy a tape. You guys got tapes? Shirts?
Somewhere between a solo-project and an actual band is Oldest Sea. Led by songwriter, vocalist, multi-instrumentalist and recording engineer Sam Marandola — joined throughout the four tracks of debut EP Strange and Eternal by lead guitarist/drummer Andrew Marandola and on 10-minute closer “The Whales” by bassist Jay Mazzillo — the endeavor is atmospherically weighted and given a death-doom-ish severity through the echoing snare on “Consecration,” only after opener “Final Girl” swells in distortion and melody alike until receding for string-style ambience, which might be keyboard, might be guitar, might be cello, I don’t know. Marandola also performs as a solo folk artist and one can hear that in her approach to the penultimate “I’ll Take What’s Mine,” but in the focus on atmosphere here, as well as the patience of craft across differing methodologies in what’s still essentially an initial release — if nothing before it proves the argument, certainly “The Whales” does — one hears shades of the power SubRosa once wielded in bringing together mournful melody and doomed tradition to suit purposes drawing from American folk and post-metallic weight. At 25 minutes, I’m tempted to call it an album for its sheer substance. Instead I’ll hang back and just wait and get my hopes up for when that moment actually comes.
Based in Austria with roots in Canada, Spain and Sweden, Weddings are vocalist/guitarist Jay Brown, vocalist/drummer Elena Rodriguez and bassist Phil Nordling, and whether it’s the grunge turnaround on second cut “Hunter” or the later threatening-to-be-goth-rock of “Running Away” — paired well with “Talk is Cheap” — the trio are defined in no small part by the duet-style singing of Brown and Rodriguez. The truly fortunate part of listening to their sophomore LP, Book of Spells, is that they can also write a song. Opener “Hexenhaus” signals a willful depth of atmosphere that comes through on “Sleep” and the acoustic-led gorgeousness of “Tundra,” and so on, but they’re not shy about a hook either, as in “Greek Fire,” “Hunter,” “Running Away” and closer “Into the Night” demonstrate. Mood and texture are huge throughout Book of Spells, but the effect of the whole is duly entrancing, and the prevailing sense from their individual parts is that either Brown or Rodriguez could probably front the band on their own, but Weddings are a more powerful and entrancing listen for the work they do together throughout. Take a deep breath before you jump in here.
A classic rock spirit persists across the nine songs of The Heavy Crawls‘ sophomore full-length, Searching for the Sun, as the Kyiv-based trio of guitarist/vocalist/keyboardist Max Tovstyi, bassist/backing vocalist Serj Manernyi and drummer/backing vocalist Tobi Samuel offer nods to the likes of the Rolling Stones and Jimi Hendrix, among others, with a healthy dose of their own fuzz to coincide. The organ-laced title-track sounds like it was recorded on a stage, if it wasn’t, and no matter where the trio end up — looking at you, Sabbath-riffed “Stoner Song” — the material is tied together through the unflinchingly organic nature of their presentation. They’re not hiding anything here. No tricks. No BS. They’re writing their own songs, to be sure, but whether it’s the funky “I Don’t Know” or the languid psych rollout of “Take Me Higher” (it picks up in the second half) that immediately follows, they put everything they’ve got right up front for the listener to take in, make of it what they will, and rock out accordingly, be it to the mellow “Out of My Head” or the stomping “Evil Side (Of Rock ‘n’ Roll) or the sweet, sweet guitar-solo-plus-organ culmination of “1,000 Problems.” Take your pick, really. You’re in good hands no matter what.
Posted in Whathaveyou on August 4th, 2022 by JJ Koczan
The next full-length from Swedish hard-edged heavy rockers Deville is yet untitled, but will see release this Fall through Sixteentimes Music. I have precious little information on the record other than that, but the veteran outfit led by guitarist/vocalist Andreas Bengtsson have trickled out singles like “Speaking in Tongues” (posted here) and “Hanged, Drawn and Quartered” (posted here) to follow-up on their 2018 album, Pigs With Gods (review here), and their emergent aggression was certainly on display there. The new two-songer, Killing Time + Caution, shifts the narrative a bit.
Set to release Aug. 19, “Killing Time” is a three-minute burst of energy, but there are hints of the band’s rock side poking back through, and “Caution” confirms that with an even more prevalent melody, with Bengtsson joined on vocals by fellow guitarist Andreas Wulkan, the rhythm section of bassist Martin Nobel and drummer Michael Ödegården propelling the Queens of the Stone Age-esque hook straight into your brain, where it’s likely to stay, stuck in your head for at least the rest of your afternoon. There are far worse fates, you understand. Songwriting has always been a strength for Deville, and both of these tracks show that hasn’t changed even as the four-piece from Malmö draw nearer to the 20-year mark since getting their start in 2004.
More to come? You know it. This for now? You know that too. Only bummer here is neither of these songs are streaming yet, but there’s time:
First single taken from epic new album “Heavy Lies The Crown” by Deville, Malmoe, Sweden´s biggest rock/metal band. With over 500 shows done around the world, it is a perfect introduction to the bands come back with a great hit chorus, downtuned guitars and lyrics of a waiting, frustrated conqueror. And don´t forget the tribal drums. With three songs from the last album making it to the great lists it is time again for a return to the big stages.
Posted in Whathaveyou on May 30th, 2022 by JJ Koczan
Swedish heavy rockers turned metallers Deville have finished recording their next album for release on Sixteentimes Music. Back in December, they released the single “Speaking in Tongues” (posted here) and “Hanged, Drawn & Quartered” — am I crazy in thinking that’s a kind of cheeky poke at High on Fire‘s “Hung, Drawn & Quartered?” or am I the only one in the universe who thinks that kind of grammatical callout exists? — and said they were headed to the studio, so because it’s now still March in my brain, their being finished sounds about right. Wait, what?
Guitarist/vocalist Andy Bengstsson and company grew even more aggressive on 2018’s Pigs With Gods (review here), and they’re certainly not letting up here, so one expects the album will be a likewise push. Although, neither “Hanged, Drawn & Quartered” nor “Speaking in Tongues” are going to be on said record, which means that once it’s announced Deville will still have the chance to, if it’s in their plan anyhow, offer up singles from the album too. The lesson: Bands: record everything. Deville end up with like nine months’ worth of material to keep their name out there ahead of an album release and it’s two extra tracks. Brilliant.
From the PR wire:
DEVILLE – Hanged, Drawn & Quartered
During the writing sessions for our new album out later this year (yes it is recorded and ready!) we decided to release some singles that will not be on the album. This is the second single and it is a heavy one called “Hanged, Drawn and Quartered”. Click on the pre-save button in the link and you will have it the second it is out on the 20th of May!
Posted in Whathaveyou on December 31st, 2021 by JJ Koczan
Sweden’s Deville will enter the studio to record their sixth album in January. Their fifth LP, Pigs With Gods (review here), was released through Fuzzorama in 2018, and going by the new single it would seem that the band’s course toward more aggressive fare is proceeding apace, driven by chunkier riffing and harder-edged rhythms. It’s a departure from where they started out, certainly, but you if you were to listen to their records in order, you can make sense from where they were to where they are, and a consistency of songwriting is at their core, now as ever.
I assume “Speaking in Tongues” will be on the next record, and I was also thinking this version of it, but I guess with the main recording to take place in the coming weeks, anything is possible. Sixteentimes Music will have the new release.
From the PR wire:
DEVILLE New single out!
We will enter the studio in January next year and record our sixth studio album. It will once again be recorded in Sunnanå Studios and will be engineered by Tobias Ekqvist. Mixing will be taken care of by Richard Larsson (Soilwork etc). It will be released fall 2022 through Sixteentimes Music and a European tour will follow. #sixteentimesmusic #sixtm
When it all came together in 2004 Deville was born after some years of searching. Through a haze of rock, metal and stoner the members have found a way to do something that feels… The line-up was complete when Åkesson came back from Australia and Hambitzer gave up soulless pop and joined the duo, Andy and Markus. Since the 2004 line-up there have been over 400 gigs and festivals in all over Europe and in the U.S and joined bands on tours like Red Fang, Torche, Mustasch and Truckfighters among other great acts.
It all started when Daredevil Records released a double feature cd lp with Deville at the end of 2005.Deville later signed to Buzzville Records in 2007 and the first full length album with material recorded during the period -06 and -07 “Come Heavy Sleep” was released in Europe and the US in the beginning of 2008. “Hail the Black Sky” followed in june 2009 again through Buzzville in Europe and in the US and the touring in Europe continued.
During 2011 and 2012 the album “Hydra” was created and Jan Persson joined the forces on guitar when Martin left after recording the album.This new album was the most intense and elborate so far and received great reviews. In march 2013 “Hydra” was released on Small Stone Records. During the summer Andreas Wulkan (Death Ray Boot etc.) replaced Janne on lead guitar.
Touring continued through 2013 and 2014 in the US and Europe. The work on a new record began and the album “Make It Belong To Us” was recorded summer 2015 again at Sunnanå Studios and produced and mixed by drummer Markus Nilsson. It became a more progressive and metal influenced record but still with the significant hooks and melodies that the band is known for.Released in November 2015 on swedish label Fuzzorama Records.
In 2016 Markus Nilsson and Markus Åkesson decided to leave the band and the new lineup, announced in august, was complete with Martin Nobel on bass, known from bands as Bad Barber, and Martin Fässberg on drums, known from Quit your dayjob, Suma a.o.
Deville are: Andreas Bengtsson – Vocals, Guitars Michael Ödegården– Drums Andreas Wulkan – Lead Guitar,Vocals Martin Nobel – Bass
