Posted in Whathaveyou on December 29th, 2021 by JJ Koczan
Last week, which seems like a lifetime ago because holidays, news went up that Montana rockers Wizzerd had signed to Fuzzorama Records, and hey, that’s great. What I didn’t know until about five minutes after that post went live, however, is that Fuzzorama had two signings they were announcing on the same day. Sometimes people tell me things, other times not so much.
Perpignan, France, four-piece Deadly Vipers are the band in question who’ve also been picked up by Fuzzorama to release their new album in 2022. No title for it yet that I’ve seen, but the offering will be the follow-up to late-2017’s debut, Fueltronaut (review here), and one should always take it as a good sign when the same person mixing a record (who also happens to have a label) decides to put the record out. You know why? Because mixing is a pain in the ass. You can listen to the 15 seconds of a song like 75 times in a row and still not be done. If you can get through mixing something and still dig it enough to sign the band? Yeah, chances are you probably really dig that thing.
So, cool for Deadly Vipers and cool for Fuzzorama and cooler still as the band are trying some new things this time out. Here’s to progress:
Deadly Vipers – Fuzzorama Records
We are so proud to announce that our second record will be released in 2022 on Fuzzorama Records!
It’s a big step for us, and we want to thank our friends, Mr. Ozo & Mr. Dango for their support, and all of you guys!
We’re really pleased to be part of the fuzz family, we’ve been fan of Truckfighters and all the label’s bands since years. We have always found that our music and its energy matched the label perfectly, so we are very happy and grateful that Mister Dango and Mister Ozo welcomed us.
Our upcoming release will push more our “stoner rock” music into new territories, with some touch of prog, doomy stuff and the addition of synth.
Bon appétit
Stay in tune for more news to come.
Band members: Fred: Vocals David: Guitar Thomas: Bass Rudy: Drums (new drummer)
Posted in Whathaveyou on December 23rd, 2021 by JJ Koczan
This year, in addition to releasing a four-part digital chronicle of live and studio recordings from their five-plus years together, Kalispell, Montana’s Wizzerd issued their split with Merlin (review here) on Ripple Music and put up for preorder a seven-inch due out next June called Space: Issue No. 000 that can also be streamed now in its two-song entirety. Keeping busy, you say? Why yes, that seems to be the case.
They’ll continue to do so, as well, as 2022 will also mark their debut on Fuzzorama Records with their next full-length, the follow-up to their 2019 self-titled (review here) and their third album overall, set to be titled Space: Issue No. 001. Obviously we’re a long way out from Fall 2022, so it’s that much harder to say when the record will actually show up or how much touring the band will be able to do to support it, but in a universe of infinite possibility, maybe it’s worth looking forward to some cool tunes to come.
And if it needs to be said at this point, yes, FuzzoramaRecords is the label helmed by Sweden’s Truckfighters, which as endorsements go is a damn good one to have for an act like Wizzerd.
More to come:
Transmission:
Wizzerd is pleased to announce our signing with Fuzzorama Records! Being longtime fans of the label’s work, we feel that our sound will be a natural fit with their catalog and we cannot wait to wait to get our new music out there in such a big way. To finally follow up our first two albums in a big way, expect a new full length album in fall 2022, with singles on the way in the meantime. In addition, expect to see us on the road as much as possible as we unleash the next chapter of Wizzerd unto the universe!
End Transmission
Wizzerd is: Guitar/Vocals – Jhalen Salazar Guitar – Jamie Yeats Drums – Sam Moore Bass – Layne Matkovich
Posted in Whathaveyou on September 2nd, 2021 by JJ Koczan
This announcement of September tour dates for Skraeckoedlan was actually made earlier this month — and scrolling back through the band’s Facebook page, I remember why the dates haven’t been posted here already. It was a Friday, and I was doneski. By the time I got around to Monday when they might’ve been posted, it had slipped my mind. No, it’s not like I’m so awash in tour announcements that I can’t get a handle on them — though I expect if I was, you know, better at life, that would be the case — but it doesn’t take much for me to get distracted these days. Moderately loud noises. Blinking lights. Nothing. What were we talking about?
Fortunately for me, Fuzzorama Records included the tour in their latest email newsletter, which if you’ll recall also brought word the other day (yesterday?) that Skraeckoedlan were among the bands announced as taking part in the Truckfighters Fuzz Festival 2 in Stockholm this November. You wanna go? I do. And if you’re saying, hey, didn’t Skraeckoedlan just put out the anniversary edition of their debut album, Äppelträdet (review here), on The Sign Records back in June? Yes, they did. Remember too that Fuzzorama issued the third Skraeckoedlan album, Eorþe (review here), in 2019. Also that Skraeckoedlan and Truckfighters have worked together all along on production, shows, etc. Specific to the festival, Skraeckoedlan played it in 2019. So yeah. Buds.
Here’s dates from that newsletter:
Skraeckoedlan to tour Germany, Austria, Switzerland and Belgium in Sept!
Posted in Whathaveyou on May 12th, 2021 by JJ Koczan
Don’t ask who’s playing drums.
In addition to the recently-confirmed appearance among the multitudes at Desertfest London 2022, Swedish fuzzbringers Truckfighters have announced two subsequent shows in Ireland and Northern Ireland to take place immediately after. Is this a prelude to bigger touring? I don’t know. Who knows anything at this point? The good news is that unless something happens, these dates seem more likely than not to actually come to fruition, and isn’t that a wonderful feeling?
The sub-headline here is that Truckfighters‘ second Fuzz Festival in Stockholm, which was of course postponed from last year, looks like it might also be happening this November. Wouldn’t that be something? Lowrider, Asteroid, Firestone, Swan Valley Heights, Kings Destroy on the bill? Seems pretty ambitious in terms of, well, anything happening ever, but if it does, what a party.
Truckfighters announced in 2019 their return from a brief hiatus and set about touring as they had done for long stretches prior. They’re some five years removed now from their most recent studio offering, 2016’s V (review here), and are due for a great record. While we’re exploring the universe of infinite possibilities, to have such a thing manifest by the time they took to the road even with these first steps next Spring would only be a boon.
Info came in the Fuzzorama Records newsletter thusly:
Truckfighters announce shows for 2022!
Finally some good news. Bands and organizers look forward to going back to normality and 2022 seems a safe bet so here we go:
29/4 2022 Desertfest London, England 30/4 2022 Grand Social, Dublin, Ireland 1/5 2022 Voodoo, Belfast, North Ireland
PS: We have good hopes of being able to do the ‘Truckfighters Fuzz Festival’ in Stockholm, Sweden on Nov 19-20 in the year of 2021. This very much nice event will have bands like Lowrider, Asteroid, Swan Valley Heights and many more, and of course also Truckfighters!
Posted in Reviews on December 28th, 2020 by JJ Koczan
New week, same Quarterly Review. Today is the next-to-last round for this time, though once again, I look at the folders of albums on my desktop and the CDs and LPs that have come in and I realize it could easily go longer. I never really caught up from the last QR. I guess it’s been that kind of year. In any case, more good stuff today, so sit tight and enjoy. If you didn’t find anything last week that stuck out to you, maybe today’s your day.
Quarterly Review #51-60:
Emma Ruth Rundle & Thou, May Our Chambers Be Full
Sure, there’s poise and plunder amid torrents of emotion and weighted tonality, but what’s really astonishing about May Our Chambers Be Full, the first collaboration between Louisville’s Emma Ruth Rundle (Red Sparowes‘ third LP, the Nocturnes, Marriages, etc.) and New Orleans’ sludgers Thou is that it feels so much more substantial than its 36 minutes. That’s not to say it drags, though it does when it wants to in terms of tempo, but just that its impact both in songs where Rundle and Thou‘s Bryan Funck trade off like “Ancestral Recall” or when they come together as on opener “Killing Floor” is such that it feels longer. Atmosphere is certainly a factor, but May Our Chambers Be Full is so striking because of its blend of extremity and melody, emotion and sheer catharsis, and the breadth that seems to accompany its consuming crush. In a couple years, there are going to be an awful lot of bands putting out debut albums that sound very much like this. Follow-up EP out soon.
Produced by the band and Piotr Grzegorowski — who also guests on synth and guitar — during the plague-addled Spring of 2020, Spaceslug‘s Leftovers EP represents a branching out in terms of style to incorporate a sense of melancholy alongside their established sprawling psychedelics. The 21-minute five-tracker is less a follow-up to 2019’s Reign of the Orion (review here) than a standalone sidestep, but in the acoustic/synth rollout of “From Behind the Glass” and in the especially-stripped-down-feeling centerpiece “The Birds are Loudest in May” it lives up to the challenge of blending an organic atmosphere with the otherworldly sensibilities Spaceslug have honed so well throughout their tenure. Having started with its longest and synthiest track in “Wasted Illusion,” Leftovers caps with the shorter and more active “Place to Turn” and its title-track, which adds a spindly layer of electric guitar (or something that sounds like it) for an experimentalist vibe. Very 2020, but no less welcome for that. The question is whether these impulses show up in Spaceslug‘s work from here on out, and if so, how.
Malmö-based four-piece Malsten make their full-length debut on Interstellar Smoke Records with the four-song/44-minute The Haunting of Silvåkra Mill, and in so doing show an immediate command of post-Pallbearer spaciousness and melodic-doom traditionalism. Their lumber is prevalent and engrossing tonally on opener “Torsion” (10:36), uses silence effectively on “Immolation” (10:24), and seems to find a place between Warning and Lord Vicar on “Grinder” (9:02) ahead of the epic-on-top-of-epics summary in closer “Compunction” (13:54), which finds Malsten having reserved another level of heavy to keep as their final statement. So be it. Very heavy and worthy of as much volume as you can give it, The Haunting of Silvåkra Mill is an accomplished beginning and heralds significant potential on the part of what’s to come from Malsten. I’d watch this band do a live stream playing this record front-to-back. Just saying.
A significant undertaking of progressive heavy and noise rock, Sun Crow‘s Quest for Oblivion is among the most ambitious debut albums I’ve heard in 2020, but there’s nothing it sets for itself in terms of goals that it doesn’t accomplish, as vocalist Charles Wilson flips between clean melodies and effective screams atop the riffs of guitarist Ben Nechanicky, the bass of Brian Steel and Keith Hastreiter‘s drums. Somebody’s gonna sign these guys. Even at 70 minutes, Quest for Oblivion, from its post-apocalyptic standpoint, aesthetic cohesion, fluid songcraft and accomplished performance, is simply too good to leave without a proper 2LP release. Individualized in atmosphere though working with familiar-enough elements, it is an album that makes it joyously difficult to pick apart influences, unleashing an initial burst of four longer tracks before giving way (albeit momentarily) to “Fear” and the outlying, brazenly Motörheady “Nothing Behind” before returning to cosmic heavy in “Hypersonic” and the 11-minute “Titans,” which uses its time just as well as everything else that surrounds. Ironic that a record that seems to be about a wasteland should bring so much hope for the future.
It doesn’t take Honeybadger long to land their first effective punch on their debut LP, Pleasure Delayer, as the hook of opener/longest track (immediate points) “The Wolf” hits square on the jaw and precedes an atmospheric guitar outro that leads into the rest of the album as a closer might otherwise lead the way out. A product of Athens’ heavy rock boom, the four-piece distinguish themselves in fuzzy tones and an approach that comes right to the edge of burl and doesn’t quite tip over, thankfully and gracefully staving off chestbeating in favor of quality songcraft on “The Well” and the engagingly bass-led “Crazy Ride,” from which the initially slower, bluesier “Good for Nothing” picks up with some Truckfighters, some 1000mods and a whole lot of fun. Side B’s hooks are no less satisfyingly straightforward. “That Feel” feels born for the stage, while “Laura Palmer” makes a memorable chorus out of that Twin Peaks character’s slaying, the penultimate “Holler” feels indeed like the work of a band trying to stand themselves out from a crowded pack and “Truth in the Lie” caps mirroring the energy of “Good for Nothing” but resounding in a cold finish. Efficient, hooky, smoothly executed. There’s nothing one might reasonably ask of Pleasure Delayer that it doesn’t deliver.
Released name-your-price as a benefit for the venue The Lost Well in Monte Luna‘s hometown of Austin and derived from a CvltNation-sponsored livestream, the three-song Mind Control Broadcast follows 2019’s Drowners’ Wives (review here) and is intended as a glimpse at their impending third LP, likely due in 2021. That record will be one to look forward to, but it’ll be hard to trade out the raw bludgeon of “Blackstar” — the leadoff here — for another, maybe-not-live-recorded version. True, the setting doesn’t necessarily allow for the band to bring in guests like they did last time around or to flesh out melodies in the same way, but the sound is brash and thrilling and lets “Rust Goliath” live up to its name in largesse, while saving its nastiest for last in “Fear the Sun,” the glorious bassline of which it feels like a spoiler even mentioning for someone who hasn’t heard it yet. 22 of the sludgiest minutes you’re likely to spend today.
As satisfying as the laid-back-heavy desert rock flow of “Rolito” is, and as well done as what surrounds on Hombrehumano‘s 2019 debut album, Crepuscular, turns out to be in its 53-minute run, it’s in the longer pieces like the Western “Puerto Gris” or the post-Brant Bjork “Metamorfosis” that they really shine. That’s not to take away from the opening instrumental “Nomada” that establishes the tones and sets the atmosphere in which the rest of the record takes place, or the nod of “Primaveras de Olvido,” and certainly the fuzz-boogie and percussion of “Ouroboro” shine in a manner worthy of being depicted on the cover, but the Argentinian four-piece do well with the extra time to flesh out their material. But, either way you go, you go. Hombrehumano craft sweet fuzz and spaciousness on “Puerto Gris” and answer it back later in “Zombakice” and add twists of percussion and acoustics and vocal effects — never mind the birdsong — on closer “Del Ensueño.” Es un ejemplo más de lo que le falta a la cultura gringo al no adorar fuertemente a los sudamericanos.
Even my non-Spanish-speaking ass can translate Viva el Diablo, the title of Mexican instrumentalist three-piece Veljet‘s debut album. Initially released by the band in March 2020, it was subsequently reissued for physical pressing with a seventh track, “Leviatan,” added, bringing the runtime to a vinyl-ready 37 minutes. The apparently-devil-worshiping title-cut is still the longest at a doomly eight minutes, but though the production is fairly raw, Veljet‘s material taps into a few different impulses within the heavy rock sphere, offsetting willfully repetitive riffing in “El Día de las Manos” with scorching solo work while “Jay Adams” — presumably named in homage to the Dogtown skater — pulls some trad-metal riffing into its second half. “Cutlass” is short at 2:36, but makes the record as a whole feel less predictable for that, and the add-on “Leviatan” embodies its great sea beast with a nod up front that opens to later cacophony. The vibe throughout is you’re-in-the-room live jams, and Veljet have well enough chemistry to carry the songs across in that setting.
Smoothly produced and executed, not lacking energy but produced for a very studio-style fullness, Witchrider‘s second LP arrives via Fuzzorama Records in answer to 2014’s Unmountable Stairs with a pro-shop feel for its 50-minute duration. Songs are sharply hooked and energetic, beefing up Queens of the Stone Age-style desert rock early on “Shadows” and “You Lied” before the guitars introduce a broader palette with the title-track. The chorus of “Mess Creator” and the big finish in closer “The Weatherman” are highlights, but songs like “Keep Me out of It” and “Come Back” feel built for a commercial infrastructure that — at least in radio-free America — doesn’t exist anymore. I’m not sure what it takes to attract the attention of picky algorithms, but if it’s grounded songwriting, varied material and crisp performance like it was when there was a cable channel playing music videos, then Witchrider are ready to roll. As it stands, the Austrian outfit seem underserved by the inability to even get on a festival stage and play this material live to win converts in that manner. They’re hardly alone in that, but with material that seems so poised specifically toward audience engagement, it comes through all the more, which of course is a testament to the quality of the work itself.
Opening with its longest track (immediate points) in the 10-minute “Silver Dagger” and presented with the burning red eyes of Christopher Lee’s Dracula on the front, the 33-minute 3 tape from Seattle’s Devil Worshipper maintains the weirdo-experimental spirit of the outfit’s 2015 self-titled debut (review here), finding a kind of Butthole Surfers-into-a-cassette-recorder, anything-goes-until-it-sucks, dark ’90s psychedelia they call “garage metal.” Fair enough. Apparently more efficient than anything I can come up with for it, though what doesn’t necessarily account for is the way the 3 challenges the listener, the remastered versions of “Into Radiation Wave” and “Chem Rails” from the first album, or the horror atmospherics of “Drinking Blood.” It’s like it’s too weird for this planet so it finally made one for itself. Well earned.
Posted in Bootleg Theater on November 9th, 2020 by JJ Koczan
Sweden’s Enigma Experience make their full-length debut this Friday with Question Mark. Being released through Fuzzorama Records, one doesn’t have to go far into the record to recognize the tone of guitarist Niklas Källgren, best known for his work as a founding member of Truckfighters. Källgren serves as songwriter, engineer, bassist, guitarist and backing vocalist on Question Mark, and though he’s no stranger to any of those roles from his work in his main outfit, Enigma Experience is a distinct engity, even as it reunites Källgren with drummer Oskar “Pezo” Johansson, who after his time in Truckfighters ended, went on to join fellow Örebro natives Witchcraft. Together with vocalist Maurice Adams (who also edited the video premiering below), the trio emerge as a studio project at the least — granted that’s true of nearly everything right now — but based around a coherent vision of expressive, progressive, and yes, fuzzed songcraft and performance.
It probably shouldn’t come as a major surprise that guitar is a focal point. Leading with riffs is fair enough, but opener/longest track (immediate points) “Realityline” begins Question Mark with a patient flourish and a gradual buildup over its first three-plus minutes, kicking in its full tone at 4:10 and unfolding from there with a more weighted but no less fluid trajectory, Adams proving early his ability to soar above the groove. If Källgren‘s branching out from Truckfighters is the impetus for the band, then Adams might be the semi-secret weapon. His vocals are emotive to match the lyrics and melodic without being overly showy, overly prog, or inaccessible. As Question Mark moves into shorter cuts “Lone Wolf” and “Mighty Mind” ahead of the assumed side A closer, the more atmospheric, darker and meatier “Corruption,” Adams brings range and dynamic to the material, and with Johansson‘s steady, creative drums as the foundation, the songs are able to shift in various directions of mood and shove to suit both the forwardness of the riffs and the depth of the mix.
“Equilibrium,” which opens the second half of Question Mark, is about as close as Enigma Experience come stylistically to where Truckfighters have been before, a kind of Gravity X-style chug and desert groove marked by quick fuzzy leads as both Adams and Källgren add vocal lines, the rhythm offsetting chugging swing with a not-entirely-unexpected-but-still-welcome push, giving way to the acoustic turn at the start of “In My Mind My Secret Place,” which is more than halfway through its 6:49 before it explodes and hits with its full brunt, the volume carrying through to the finish. That brings up “The Z,” a guitar, bass and drum shuffle jam that’s the lead-in for closer “The Zone,” which is broader in structure than much of what precedes it throughout Question Mark, but consistent in terms of tone and overall thrust. With lyrics based on the experience of raising a son with autism spectrum disorder — something my family has experience with as well — there is an added emotional context as one imagines Källgren looking at his child and trying to understand how his mind works and where he goes when he goes to that zone in question.
Ahead of Question Mark‘s release later this week, a lyric video for “The Zone” is premiering below. Beneath that, you’ll find the preorder link for the record and more from Källgren about the track.
Please enjoy:
Enigma Experience, “The Zone” official lyric video premiere
Video edited by M.Adams Words and music written by Niklas ‘Mr.Dango’ Källgren.
‘The Zone’ is a full frontal assault of huge fuzzy guitars and stirring, sincere energy. A powerful groove-heavy anthem inspired by guitarist Niklas Källgren’s son who lives with autism. Gigantic riffs, zealous vocal delivery and countless twists and turns keep you firmly on the edge of your seat, all the while encouraging you to be unafraid of seeking solace when life deals you a tough hand.
Delving deeper into message behind the track, Källgren explains, “The song deals with the difficulties for a person having a different mind coping with living in this world. Walking in your own zone not paying much attention to the outside world, but also the realisation that when reaching out you are not alone.”
“The meaning of the song can easily be applied to any kind and any grade of tendencies towards psychological or mental problems like angst or depression,” he adds. “If you look yourself in the mirror there are probably times when you felt like shutting down the outside world to live in your own zone, even if just for a while.”
Enigma Experience is: Niklas “Mr. Dango” Källgren – Guitar, bass, backing vocals Oskar “Pezo” Johansson (ex-Truckfighters/Witchcraft) – Drums Maurice Adams (Breed/Motorfinger) – Vocals
Posted in Whathaveyou on August 31st, 2020 by JJ Koczan
You’re going to hear some shades of Truckfighters in Enigma Experience, which feels somewhat inevitable given that it’s Niklas “Dango” Källgren on guitar (and bass), but despite that recognizable tone, it’s also fair enough for Question Mark to be the work of another, new band. For one thing, it’s a different band, and as much as Källgren contributes to the songwriting of his main outfit, he seems very much to be in the lead here creatively, playing guitar, bass, doing backing vocals and handling everything on the production side. While offering plenty of fuzz — enough that Fuzzorama‘s putting it out, which I guess is to be expected — the record unfolds in a few unexpected ways, from the grand flow of the 10:56 opener/longest track “Realityline” through the jammy closing pair “The Z” and “The Zone” finish with both an open sensibility and a worthy payoff.
One might recognize Oskar “Pezo” Johansson from his own tenure in Truckfighters — he was in the documentary, making him all the more recognizable, and since leaving the band did a stint with Witchcraft as well — and the trio is completed by Norwegian vocalist Maurice Adams.
Release date is Nov. 13, preorders are up, and you’ll find the stream of second track “Lonewolf” on the player at the bottom of this post, via the PR wire:
ENIGMA EXPERIENCE ANNOUNCES DEBUT ALBUM QUESTION MARK
Truckfighters guitarist Niklas Mr. Dango Källgren has teamed up with ex-Truckfighters/Witchcraft drummer Oskar Pezo Johansson and Maurice Adams from Breed/Motorfinger on vocals!
The Enigma Experience have announced the release of their debut album, Question Mark, which is coming out November 13th via Fuzzorama Records.
The band have also unveiled the brand-new single ‘Lonewolf’, which opens with a funky and psychedelically charged Primus-esque melody before dropping into a driving groove amid crunching riffs with soaring vocal melodies.
The track is one of few on the album that has a ‘normal’ structure when it comes to ‘verse – chorus – verse’ thinking. It’s a song that has a raw energy and groove that immediately takes control and want you to move your head in rhythm with the music. Heavy rock at its best!
On the track, guitarist Niklas ‘Mr. Dango’ Källgren comments, ”The lyrics are about suffering from and handling the pressure of the world, and the expectations from society that push you into a corner when feel different. It’s about daring you to be yourself, to let your creativity loose and to live like you want to live – it’s your life”
The band sees Sweden and Norway joins forces, as Truckfighters guitarist Niklas ‘Mr.Dango’ Källgren has teamed up with ex-Truckfighters/Witchcraft drummer Oskar ‘Pezo’ Johansson and Maurice Adams from Breed/Motorfinger on vocals. The brainchild of Källgren, he also produced, engineered, mixed and mastered the album as well as playing bass and singing backing vocals.
The album comes on LP, CD and will also be available on a limited-edition vinyl in a very exclusive boxset with double vinyls with silkscreen printing, double gatefold, double posters and of course a nice box.
Question Mark is a very diverse rock record that opens with the ten-minute odyssey ‘Realityline,’ with vocal harmonies reminiscent of early 90s grunge heroes such as Soundgarden and Alice In Chains whilst elevating guitar lines weave over a pulsating backdrop of rhythm.
Elsewhere ‘In My Mind My Secret Place’ sees them slow things up with an ethereal acoustic atmosphere building into a hypnotically heavy and devastating end, whilst album closer ‘The Zone’ is a furiously catchy anthem with Kallgren’s trademark fuzz-fuelled sound piercing through.
Tracklisting 1. Realityline 2. Lonewolf 3. Mighty Mind 4. Corruption 5. Equilibrium 6. In my mind my secret place 7. The Z 8. The Zone
Posted in Whathaveyou on December 30th, 2019 by JJ Koczan
A 15th anniversary only happens once, and Swedish heavy rockers Deville will celebrate theirs in style with their first-ever run of Australian tour dates. Presented by Beats Cartel, the run will find them supporting their 2018 outing, Pigs with Gods (review here) — though I wouldn’t be surprised either if they had something new in the works or at least a few new songs to play at the shows — and paired up with Sydney duo Astrodeath, who this winter will release their debut album through Black Farm Records. Deville‘s last offering came out through Fuzzorama, and they also toured Europe in 2019 to back it. Whether or not they have new material to offer up is somewhat beside the point, considering the anniversary noted above. Think about dedicating 15 years of your life to a creative project. It’s not easy. It’s worth a trip to Australia, as far as I’m concerned.
They’ll play Mojo Burning and Germanium Daze festivals while they’re there, and do two nights in Melbourne to lead off, with a couple days off after the first fest that I’m just going to assume will be dedicated to the requisite sightseeing and having-your-picture-taken-with-a-koala-or-kangaroos, etc. How my heart longs have a picture taken with a koala or a kangaroo. I can’t begin to tell you. I’d spend 20-odd hours on a plane for that.
From the PR wire:
SWEDISH RIFF LORDS DEVILLE MAKE FIRST TRIP TO AUSTRALIA
Swedish riff lords Deville make their first trip to Australia next year having today announced plans for an extensive national tour on the back of multiple festival appearances.
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, Torche, Fu Manchu, Truckfighters and tour the US, UK and Europe many times over, playing a host of 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 15 years of service to Rock’n’Roll, a feat rarely realised in today’s music business. This tour will celebrate the milestone.
March/April 2020 sees the Swedes travel to Australia for their first ever tour of the country. Presented by Beats Cartel, the tour racks up eight dates in four states/territories and will see the band play with the likes of Germany’s Kadavar and appear at annual boutique guitar fest Mojo Burning in Brisbane along with new offering Germanium Daze in Perth.
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 15 years old makes it even better. We’re thrilled to share the stage during this run with bands such as Kadavar, Nebula and Temples and not to forget our touring partners Astrodeath. This will be a good one, hope to see you all at a show.”
In support of the tour nationally are high energy Sydney heavy duo Astrodeath, who have themselves had an amazing drop into the scene having supported the likes of 1000mods, Nick Oliveri and Batpiss along with also landing festival slots at Mojo Burning (QLD) and Germanium Daze (WA) in what is a very short time at the fray.
Catch Deville this Autumn, 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 through www.beatscartel.com.
Beats Cartel Presents: DEVILLE 2020 AUSTRALIAN TOUR – “15 Years of Rock’n’Roll” Touring with ASTRODEATH Thursday March 26 MELBOURNE The Tote Friday March 27 MELBOURNE Cherry Bar Saturday March 28 BRISBANE MOJO BURNING FESTIVAL Feat. Temples (UK), Kadavar (GER), Steve Smyth and many more Wednesday April 01 CANBERRA The Basement Thursday April 02 SYDNEY Frankies Pizza Friday April 03 NEWCASTLE Stag and Hunter Saturday April 04 SCARBOROUGH GERMANIUM DAZE *Feat Kadavar (GER), Nebula (USA), The Floors and many more Sunday April 05 PERTH Lucy’s Love Shack
