This Friday, Jan. 26, marks the debut from the new heavy psych jam outfit Minerall. Issued through Sulatron Records and titled Bügeln, which is German for ‘ironing’ (see cover), the collection features expansive improvisation-rooted breadth presented across two side-consuming pieces as the trio of guitarist Marcel Cultrera (also Speck), drummer Tommy Handschick (also Kombynat Robotron and the decidedly more crushing Earthbong) and the indispensable Dave “Sula Bassana” Schmidt (Zone Six, Sula Bassana, on and on) on bass and synth feel their way through a course of rousing cosmic rock and hypnotic dronescaping. Between the two-part “Bügeln/Unerforscht” (‘iron’/’unexplored’ in translation) at 22:07 and the subsequent “Sachebene” at 21:26, the live-recorded album sounds duly organic in its rollout and offers some of its most lush and engrossing moments in its most subdued stretches.

The story as I understand it is that Schmidt, Handschick and Cultrera came together with producer Yannick Aderb at Studio Buffbergen for a two-day session on Jan. 27 -28, 2023 (a year ago), that doubled as a birthday party. A celebration, in other words. It’s easy enough to read that mindset into the audio if one is so inclined, though the context here is open enough that if they said they recorded it at the top of a mountain in a thunderstorm, I’m not sure it wouldn’t also work for a narrative.

But “Bügeln/Unerforscht,” which was recorded on the 28th, makes a suitable opener as its more active first half draws the listener in with a lightly-insistent space rock push that would probably still be mellow in many other situations but here is complemented/contrasted by the textures that follow as the drums step back, Schmidt moves from bass to synth and the guitar likewise drones out. Krautrock, expanded-definition heavy, and through “Sachabene,” a molten, heroic-dose lysergic middle ground that finds balance between the two ends of “Bügeln/Unerforscht” — these things all come into play to crate a complete picture of scope and dynamic.

I don’t know if all this stuff was made up on the spot or if anybody came in with a part they’d dreamed about the night before, but even the stillest moments on Bügeln carry the vitality of their moment of creation — that spark of life, if you want — and though they’re presented in reverse order of how they happened, the fluidity Minerall capture in and between the two pieces shouldn’t be discounted and is nothing if not emblematic of the component players’ pedigrees.

Is all of this a long way of saying, “Hey, check out the jammers jamming?” Could be, and there’s definitely a they’ve-done-this-kind-of-thing-before sense to Minerall‘s dynamic. If you think of jazz players sitting in on open jams, different groups combining and players coming and going, Minerall‘s first and reportedly not last LP has some of that sensibility — just a thing that happened over a couple days and/or nights — but is all the more special for what came out of that fleeting time. Immediately it holds a character of its own in its widescreen vista, with sounds that can bristle with tension or dwell at rest as they will, and as Bügeln arrives, one can only wonder what’s in store for that birthday party this year.

Not just a studio project or the one-off they might’ve otherwise been, Minerall have a couple live shows booked for February in Germany. You’ll find those dates and more info below, courtesy of the PR wire.

Please enjoy:

Minerall, Bügeln album premiere

PRE-SALE of the vinyl (incl dl code) on NOW at Sulatron Records: www.sulatron.com/xoshop/lng/en/vinyl/minerall-buegeln-lp-dl.html

In the spring of 2023, musicians from three of the most creative psych bands in the German-speaking world came together for a session at Buffbergen Studios in Hanover. Birthdays were celebrated and hours upon hours of music were recorded.

Through a broad spectrum of common ideas, the jams range from hard riffs to spherical ambient soundscapes and enchant not least through the interplay of synthesizer and space echo. “Bügeln” is now the first work of this creative process. An endless jam with hypnotic dynamics, carried by bass and drums, the three musicians lose themselves in the spheres of space echo only to land again after 45 minutes. Minimally edited at the beginning and end, this work is a non-reproducible snapshot that will be released on vinyl exactly one year after the recording session.

Recorded by Yannick Aderb in his Studio Buffbergen.
Mastered by Eroc. (www.eroc.de)
Coverdesign by Sula, bandpic by Marcel.

LP on black 180 grams recycling wax made in Germany, plus download code, limited to 500 copies! Distributed by Echodelick Records (USA), Clearspot (in NL, worldwide) and Broken Silence (in Germany, for Germany, Austria, Switzerland, Poland, UK, Scandinavia, Japan, USA)

Tracks:
1. Bügeln/Unerforscht 22:07
2. Sachebene 21:26

Minerall live:
08.02. Hamburg, Bar 227
09.02. Göttingen, Vinyl Reservat
10.02. Halle (Saale), G.i.G.

Minerall is the project of Marcel Cultrera (Guitar, Speck), Tommy Handschick (Drums, Kombynat Robotron, Earthbong) and Sula Bassana (Bass, Synth, Zone Six, Interkosmos…).

Minerall on Bandcamp

Sulatron Records on Facebook

Sulatron Records on Instagram

Sulatron Records website

Pretty rad bill out of the gate for Rock Im Wald, which tops its thus-far bill with Danko Jones, who should be made an ambassador for Canada by now, as well as Sweden’s Graveyard, might-have-a-new-record-out-by-July UK stompers Orange Goblin, and the Brant Bjork Trio with its namesake on guitar and Mario Lalli on bass. Then you get into Planet of Zeus coming from Greece — maybe touring with Godsleep? — an appearance from The Devil and the Almighty Blues, which doesn’t happen all the time and you want to be there when it does, and the implied confirmation of summer European activity for High Desert Queen out of Texas, and it’s a win even before you get down to The Great Machine‘s madcap performance penchant, the upstarts Margarita Witch Cult, El Caco who released their first album in seven years in 2023, a partially-revamped Asomvel and Psychonaut‘s post-metallic texturing. It’s 13 bands. They’ve all got something going on.

The fest is set for July 25-27. Both SonicBlast and Hoflärm (in Portugal and Germany, respectively) are two weeks later, Aug. 8-10. Among the shared confirmations there are Brant Bjork Trio (who also announced a Spring run around the Desertfests and Sonic Whip) and Graveyard (for SonicBlast), so fair enough to expect tour announcements to come from them, and I’ll add Planet of Zeus and Margarita Witch Cult to that with an asterisk for ‘likely’ since of course I never actually know anything about anything.

There will be more to come, of course — it’s a three-dayer — and I’ll do my best to keep an eye out, but already there’s a lot to dig here. From socials:

We are delighted to present the first 13 bands for our Rock im Wald Festival 2024, taking place from July 25th to 27th. As always, we have once again given our best to offer you Rock’n Roll in its most beautiful facets. And there is more to come soon, of course. Finally, we aim to provide you with three festival days filled with musical surprises and highlights this year.

For those of you who are already convinced, you can now secure your tickets in our ticket shop, which can be found at the following link.
https://rockimwald.de/ticket-shop/
Cheers & Peace
Eure #RIW Crew

Line-Up so far:
DANKO JONES | GRAVEYARD | ORANGE GOBLIN | BRANT BJORK TRIO | PLANET OF ZEUS | THE DEVIL & THE ALMIGHTY BLUES | THE GREAT MACHINE | PSYCHONAUT | EL CACO | ASOMVEL | GODSLEEP | HIGH DESERT QUEEN | MARGARITA WITCH CULT

https://www.facebook.com/rockimwald.festival
https://rockimwald.de/

The Devil & the Almighty Blues, “The Ghosts of Charlie Barracuda” live at Soulstone Gathering 2023

The cultish etherealities of Daevar‘s doom, transcendentally murky in the spirit of Windhand but with an energy to its roll that the band owned vibrantly on 2023’s debut, Delirious Rites (review here) — which paired the Cologne-based outfit with producer Jan Oberg, also of Grin et al — will be on display at the 2024 edition of the legendary German fest Stoned From the Underground. Daevar, as well as The Pighounds, Einseinseins, Tommy and the Teleboys, Heckspoiler and Rýr — sorry, I couldn’t find a band called ‘ut,’ though they may well exist — feature in the second round of lineup adds from the event, which got its start in 2001 and is among Europe’s most consistent and influential heavy underground festivals.

You can see below the lineup these acts are joining. Did you hear that new Skraeckoedlan single yet? Their new album will be out by the time July gets here, and the same could be true for High Desert Queen, or even Greenleaf, who were in the studio last month. There are a lot of possibilities here and more bands still to be added. Some of these are appearing elsewhere — Daevar will also be at Desertfest Berlin and Freak Valley — as the ecosystem of Sound of Liberation and other bookers does its best to assure that everyone is/can be everywhere all the time, but Stoned From the Underground remains a pilgrimage I feel like I need to make at some point. It’s like metallers going to Wacken, only as I understand it with about 100,000 fewer people and thus infinitely more pleasant.

Here’s word from the fest:

As promised, here are more bands for 2024 Stoned from the Underground – Festival

Look forward to The Pighounds , Daevar, Einseinseins , HECKSPOILER , ut , Tommy and the Teleboys and rýr

Tickets are available at: www.events.design-erfurt.de/produkt/sftu2024

Previously announced: Greenleaf, Hippie Death Cult, Earth Tongue, Psychlona, ​​Earthbong, SKRAECKOEDLAN, High Desert Queen, Glasgow Coma Scale, ZERRE, Lucifer Star Machine

Stoned From The Underground 2024 will take place from July 11th. take place until July 13th, 2024 ! Cheers!

Event page: https://www.facebook.com/events/312293734774337

http://www.facebook.com/stonedfromtheundergroundfestival
https://www.instagram.com/stonedfromtheunderground
https://www.sftu.de/

Daevar, Delirious Rites (2023)

German heavy psychedelic instrumentalists Pyramid will release their second full-length, Beyond Borders of Time, on March 23 through Subsound Records. With it, the Nuremberg-based three-piece answer the heady undertakings of 2019’s Mind Maze and the 2022 two-songer Ancient Vibes of a Sun God Cult through expansive, atmospheric and ultimately clearheaded psychedelic rock, the tension in Lukas Schomann‘s kick drum early on in opener “The Medicine Man” hinting at the proggy rhythms that underpin much of the record that follows, fuzzed to the gills though “The Medicine Man” and others here get by the time they’re done, the lead cut’s apex coming in a head-twist of guitar carried through a series of three stops and tempo shifts. As five of the seven inclusions of Beyond Borders of Time are over six minutes long, it fits in and is representative in that regard while serving as a point of immersion for what’s to come.

“Sunbeam” follows and begins quiet and exploratory, gradually resolving in a warm heavy psych progression, fluid n the execution but not a jam as it builds up near the halfway point and opens to a vital roll. They’ll make it noisier as they go, but “Sunbeam” locks into a groove and does not relinquish. More power to it. At 8:26, “Fainting” is the longest single track, making no secret of its cosmic intention with ringing, resonant standalone guitar from Shane Saban, hypnotic for two minutes in the spirit of mellower Earthless before taking off with more of a shove, hitting the slowdown, and riding that to the comedown that’s also the start of the next build. They’re back in the nod soon enough and no complaints for the tonal reach in the guitar and the solid underwriting of Michael Kümpflein‘s basslines.

It’s a raucous finish, and by no means the only one, from a band who cast their atmosphere as being pretty subdued at least in overall impression if not an actual languidness in their playing. The low end feels especially crucial in the reaches of “Solar Flare,” which follows the centerpiece interlude “Petrichor,” a quick meditative-psych viber that goes to silence before “Solar Flare” pushes back somewhat on the structured feel of the material, working in repetitions around a flourish of guitar melody, but complementing and contrasting that central movement in interesting ways. It doesn’t strike like improv, but it’s probably jam-based, and the sweet figure of guitar proves one of Beyond Borders of Time‘s stronger sans-vocal hooks, and the drone of synth from Kümpflein lends the entire affair an air of the ethereal.

They call into the void with bluesy soloing in the premiering-below “Solar Flare” — it would have to be a little flashy, right? — but are thoughtful in the finish and go to ground in the song’s second half, again relying on the bass to hold proceedings together while they rally for the last shove, which finds an immediate uptick in the smack-o’-fuzz wrought with “Krypta,” which isn’t so much an interlude as a quick parade of righteous desert-style cruncher riffs, less directly space-minded or psychedelic than some of what surrounds, but a vibrant palette cleanser before “Prototype” wraps and substantial enough in its big-groove-time-now swagger to call back to “Sunbeam” earlier on. Good to know there’s still a place for stoner rock in the age of hyper-specialization.

Some of the My Sleeping Karma-ishness of “Petrichor” shows up in “Prototype” as well in the line of synth that runs throughout, but Pyramid are deceptively quick finding their place in the groove, and they unfold the finale of their sophomore outing with patience and a mounting wall of distortion that still feels controlled thanks to the accompanying ambience. At 3:18, they bring it down to near silence and the guitar starts the quiet movement that will end the record, more threatening to get loud — at least in the sense of how they do in “Solar Flare” or “Sunbeam” — than doing so, but getting the point across that they could if they wanted anyhow. As it stands, the quiet capper comes through as classier than a blowout might be, so is only fitting for the rest of what surrounds.

If you go back to the first sentence of this post, you’ll see the album’s not out for over two months. And I just reviewed it. Poor form, too early. But you know, sometimes you listen to a record and you get excited and dig in and want to make the most of the opportunity you have to talk about it. If you’ve ever been there, maybe you can relate. And either way, two months from now when the hype is up and the Bandcamp’s being shared around and all this and that, at least you’ll be ready.

“Solar Flare” premieres here, followed by more from the PR wire. Please enjoy:

Pyramid is an instrumental progressive stoner/psychedelic rock band founded in Nuremberg Germany. The band consists of Lukas Schomann (drums) Michael Kümpflein (bass/synth) and Shane Saban (guitar). “Beyond Borders Of Time” will is the follow-up to their debut album “Mind Maze”. A mesmerizing journey through stoner psychedelia and progressive instrumental rock, it weaves a kaleidoscopic landscape that unfolds like a sonic travel through time and space. Pyramid’s musicianship and unique sound make them a must-hear for fans of instrumental psychedelic and progressive rock.

Pyramid on Facebook

Pyramid on Instagram

Pyramid on Bandcamp

Subsound Records store

Subsound Records on Facebook

Subsound Records on Instagram

Subsound Records at Linktr.ee

Elder have played in front of big crowds. They’re inarguably one of their generation’s most influential bands and they arrive at their first arena tour in a manner almost absurdly organic, having spent years on the road in the US, Europe and elsewhere supporting legitimately groundbreaking records. The last decade-plus has seen Elder become what they are today — the celebrated vanguard of a kind of heavy progressivism that is their own even as more and more artists work under their influence in structure, atmosphere melody and groove, all of which Elder offer in signature fashion.

They’re going to make some new friends on this tour. The popular wisdom has it that Tool drummer Danny Carey is the one responsible for picking their openers. Elder follow in the footsteps of Meshuggah, YOB, Author and Punisherand a slew of other good bands who were ready as they are now, and while it’s the nature of fandom that not everyone here to see the headliner would even be in the building when Elder played, I was there and you’ll pardon if that’s my main priority at just this moment.

But it felt like a big deal that it was happening, and I don’t know, maybe it was. Maybe it was a big moment for heavy rock and roll to even be in front of that many people not already converted. Maybe when your band is about to do two nights at MSG you just look at it like another tour date. Or maybe you try to. I promise I wouldn’t know.

Did Elder nail it? Well of course they did.

The tour had started a couple evenings prior and would stay at MSG — dude, Elder just played where they had the first Wrestlemania — for two nights, of which this was the first, and to be honest, it wasn’t a question in my mind. Founding guitarist/vocalist Nick DiSalvo, guitarist Mike Risberg, founding bassist Jack Donovan and drummer Georg Edert have not only toured like the dickens, but as noted, they’ve spent a fair amount of time at this point on bigger stages. I saw them in August at SonicBlast Fest 2023 (review here), and they played to a crowd of thousands. I don’t know the respective headcounts, but my point is that even if you don’t count the 15-plus years that Elder have been building to where they are creatively and in terms of stage presence, they’re not a deer-in-headlights band when it comes to entertaining a mass audience. They’ve been there before.

Even if it was Madison Square Garden. Elder, playing Madison Square Garden.

They got to do three songs, which felt short and was short, but fair enough. And the three Elder songs — “Sanctuary” from 2017’s Reflections of a Floating World (review here), which has been a staple, as well as “Merged in Dreams/Ne Plus Ultra” from 2022’s Innate Passage (review here) and “Halcyon” from 2020’s Omens (review here), all over 10 minutes each — wanted nothing for substance in their intertwining twists of riff from Risberg and DiSalvo, set up on either side of the stage in that cavernous space with the luxury boxes up yonder and middle-class splurge for floor seats as they were with Donovan in between giving force to all that linear motion as Edert’s drums push and pull the material forward.

They are not a commercial band, and some headbanging and DiSalvo’s gotta-get-my-hair-out-of-my-face-anyway flip-back — also a staple — aside, they’ve never been about thrashing around on stage, so they weren’t here either. But it’s a different kind of engagement, a different connection being made between a band in a room that size and a band at even a club show like Elder sold out in Boston at Sonia the other night. Intimacy is part of it, but if you think of it as the difference between you and I having a conversation and you having to communicate an idea to a room of 20 people, you’re going to change the way you speak to a larger crowd. That extends to live performance as well. If Elder were nervous — I was nervous for them, so it was covered either way — it didn’t show, and the simple truth is they’re too good a band for it to have fallen flat. Right band, right time, right place. Just so happened those all aligned around Elder at Madison Square Garden. Life is weird sometimes.

No doubt the tour will raise Elder’s profile, though if that was ever really a priority for the band they’d probably have been chasing down major labels by now, but it seems like it might be more valuable as a life experience — on this run they’re playing at a level that most heavy rock bands will never achieve, but also just being in these places and seeing how arena tours work, etc. — than something that’s going to immediately make the band some antiquated version of rock stars. So much cocaine! Not likely. As an Elder fan, I appreciated the chance to share in some piece of that experience, to be in the room when Elder at MSG happened for the first and not the last time. A win for the heavy rock and roll home team, it seemed to be.

And when they were done, cheers. They hadn’t really stopped, except for pauses in the songs, since the set started, so the end was the first real opportunity to get a sense of the response, and it was positive. I had seen a few folks rocking out on the floor as others were still coming in, the vibe very clearly monumental to some while passing as these things pass to others. I was glad to be in the former camp, and felt fortunate to have seen Elder play on that stage as I imagine many of the crowd both felt after the show and will feel years later in hindsight, because whatever happens next for, to, or with the band, they’ll keep moving forward as they always have. This just happened to be a particularly big step.

More pics after the jump. Thank you to The Patient Mrs. for the lift into Manhattan, and to the band for the access.

Read more »

German mostly-instrumentalists Schubmodul will release their second record, Lost in Kelp Forest, next month through Tonzonen. As discussed by the PR wire below, the album blends spoken word narrative on a couple tracks with the band’s prior-established sans-vocal ethic. There’s no music yet, but 2022’s Modul I, operated similarly, with opening track “Andromeda” bringing call-radio speech with a steady chug amid Colour Hazey warmth meeting with Elderian melodic shimmer in the later laying of lead guitar. Spoken word over instrumentals is the kind of thing that can very quickly make or break a record, and while I’d prefer to hear the new LP in its entirety before I go anywhere near “make or break” — or at all — it’s not hard to dig where the band are coming from.

Preorders aren’t up yet, but they will be on the 14th, so it’s not such a wait. And the album’s out in like six weeks, so if late Feb. feels far off, welcome to the future.

The PR wire has it like this:

Psychedelic/ Stoner Rockers SCHUBMODUL Announce New Album Lost In Kelp Forest on Tonzonen Records

After the self-released debut album Modul I (2022) album nr. 2 will be released almost exactly after two years on February 23rd, 2024 on Tonzonen Records.

Lost In Kelp Forest is a concept album that doesn’t take place in the vastness of space like its predecessor, but rather in an underwater world. The six mainly instrumental pieces are accompanied by narrator voices, which reveal a coherent fictional story on a dense atmospheric carpet of sound. The voices were professionally recorded by Alma Chomel from France and Shane Wilson from the USA.

As a foundation, the triumvirate, formed by a classic line-up of guitar, bass and drums, thunders a mix of space, stoner and progressive rock onto the stage, which is occasionally supplemented by synthesizers, sound and voice samples. Dreamy, atmospheric passages combined with colossal riffs will often lead to an epic melodic zenith of voluminous, warm sounds, over which gentle to fast guitar solos are released.

The compositions use a large modal palette and versatile harmonies that are intended to continually surprise the listener and at the same time follow a driving, natural and catchy rhythm. Lost In Kelp Forest has a very high level of attention to detail and should remain exciting even after repeated listening.

The band’s inspiration for this album was genre-typical greats like Elder, King Buffalo, more progressive bands like Dream Theaterand elements from Hans Zimmer’s film music. The idea using a spoken word on top of the music was inspired by the albums Eyes Like The Sky and Murderer Of The Universe by King Gizzard & Lizard Wizard. Lost In Kelp Forest was recorded in August 2023 in the legendary Tonmeisterei in Oldenburg, Germany. The entire album was recorded in just six long days. The band was housed in the studio for the entire recording process, which created a unique atmosphere during the recording process. The first tracks (Emerald Maze and Silent Echoes) were written shortly after the release of the first album in spring 2022 and set the basic mood of the album. The remaining pieces were completed by summer 2023.

Pre-Sale starts on January 14th. Stay tuned.

Tracklist
1. Voyage
2. Emerald Maze
3. Renegade One
4. Silent Echoes
5. Ascension
6. Revelations

https://instagram.com/schubmodul
https://facebook.com/Schubmodul
https://schubmodul.bandcamp.com
https://open.spotify.com/intl-de/artist/1u62KEB6O6vjuxKaNgYHoX?si=WGDmYz8hRO-uYSF5eBvfYw&nd=1&dlsi=f6fcc2854fd64e2b

Schubmodul, Modul I (2022)

After celebrating the fifth anniversary edition in 2023, German festival Hoflärm has made known the first round of acts confirmed for its three-day stretch from Aug. 8-10. If you’re paying attention — and I know you are — that’s the same weekend that SonicBlast Fest is happening in Portugal, and Brant Bjork Trio, Wine Lips, Sacri Monti, Home Front and Poison Ruin are confirmed for that as well, so there’s going to be some driving happening that weekend across Western Europe, to be sure. Nonetheless, the initial lineup reveal for Hoflärm finds the German fest welcoming Slomatics and Siena Root in addition to the above, and from this we can glean that Brooklyn’s Castle Rat will be taking their theatrical show abroad supporting their to-be-released debut LP, and Bikini Beach, Thronehammer and Tornet round out. If this was it — and as the poster tells you, it isn’t — you’d call it three days well spent. Or I would, anyhow.

From social media:

HOFLÄRM – First Band Announcement – THE RIDE IS ALWAYS LOW

Join us 2024 for the 6th stony ride to Hoflärm! We are very happy to announce the first bands of the line-up today! We also announce the start of the presale by 01.01.2024 at 6 pm (link in bio)!

Get ready for our first Headliner @winelipsband !

Coming all the way from Canada, Wine Lips will tear down the stage with a big Mushroom Death Sex Bummer Party of their current album! If you know, you know!

Needles to say, @brant_bjork is a legend. Therefore we felt very honoured to welcome Brant, @mariolalli and Ryan Gut for the second time to the unholy woods of mary valley! Back at Hoflärm 2022 these guys visited with Stöner, in 2024 they will hit Hoflärm with a special Brant Björk set!

You wanted something new, you get something new! @poisonruin and @arewenothomefront will test you apart with their fresh sound! Poison ruin will deliver you some Infest the Rats‘Nest Vibes, while Home Front brings you the energy with their influences by Joy Division, High Vis and late 80s Post Punk.

We welcome @siena root, @slomatics and @sacri_monti_band ! These three bands are the holy trio of stoner, psych and doom!

What would be a Hoflärm Fest without our dearest Friends Sabine, Jan and Andre ? This year they will come to perform with @earthship_official

Castle Rat will be for the first time in Europe! They just played Desertfest New York with their Electric Wizard inspired Doom!

To complete this announcement we welcome @thronehammer.official , @bikini_beach_fuzz & @tornet_xvi !

Tickets go on sale by 01.01.2024 18:00 cet.

https://www.facebook.com/Hofcafe.Hoflaerm
https://instagram.com/hoflaerm/
https://www.hoflaerm.de/

Sacri Monti, Live at Sonic Whip 2022 (2023)

If you’re the type who likes to take care of things early, well, you’re apparently in good company with the Munich-based Keep it Low Festival. The two-dayer fest, which is one of many under the umbrella of Sound of Liberation booking, is held annually in October, and that’s when it’s set to take place in 2024 as well, at Backstage in Munich on Oct. 11-12. Tickets, however, are on sale almost 10 full months early.

Why? I’m not sure, but I have a definite answer in “why the hell not?,” and I find that when I try to answer that question, I come up blank. So yeah, it seems like that’s really early, but on the other hand, why not put tickets for next year on sale while people are at the fest this year? It’s different, I don’t know if it’s been done before, but doesn’t that just make it a new idea, and is that something so terrible to be chasing down in a climate where live music is trying to draw people out of the entertainment hotbeds we’ve built in our homes?

I’ve gotten sidetracked from this lineup announcement, which came out the other day from Sound of Liberation and hints toward Fall 2024 European tours for at least Fu Manchu, Monolord, Truckfighters, Greenleaf, Messa and Psychlona, but I like to keep an eye for how things evolve from year to year and for all I know, Keep it Low has been doing this every year for the last decade (happy 10th anniversary, by the way) and I’m just picking up on it now because, well, I’m kinda slow sometimes, but it stood out to me as something you might not see all the time. And maybe you like to make early travel arrangements. I know I do.

From social media:

KEEP IT LOW 2024 – ⚡️FIRST BAND ANNOUNCEMENT & TICKETS ON SALE!⚡️

Hey Keepers,

we are super excited to present you the first bands for next year’s edition of the Keep It Low festival!🔥

Please welcome:

FU MANCHU
TRUCKFIGHTERS
MONOLORD
GREENLEAF
MESSA
WOLVENNEST
PSYCHLONA
APTERA
DJIIN
ZERRE
HECKSPOILER
MINDCRAWLER
& MANY MORE!

🎫Weekend tickets are available in our shop.
www.sol-tickets.com

Keep It Low Festival
10th anniversary
🗓️11 & 12 October 2024
📍Backstage Munich

Artwork by Sebastian Jerke

Cheers,
Your Keep It Low Crew

https://www.facebook.com/keepitlowfestival/
https://www.keepitlow.de/
https://www.soundofliberation.com/
http://www.sol-tickets.com

Greenleaf, Live at Desertfest Berlin 2023