Posted in Whathaveyou on March 11th, 2021 by JJ Koczan
Originally released on Transubstans Records and re-pressed in 2013 ahead of the band’s 2014 debut on Small Stone, Spirit Knife, 2011’s sophomore outing from the band once known as Jeremy Irons and the Ratgang Malibus, Bloom, is seeing a 10th anniversary reissue through Majestic Mountain Records with preorders set to go up on Friday.
The four-piece rebranded themselves in 2018 to JIRM and issued Surge Ex Monumentis (discussed here) as a likewise departure in sound from the classic-style heavy rock and boogie they’d brought to bear on prior offerings. For what it’s worth, they pulled that shift off well, and sounded no less sure of what they wanted to be doing than they ever had. I still think of them as a young band. Funny they’re doing decade-anniversary reissues. For their second record. Ha.
The PR wire has it like this:
JIRM (AKA Jeremy Irons & The Ratgang Malibus) to Celebrate Anniversary of Bloom with Reissue on Majestic Mountain Records
Majestic Mountain Records is thrilled to announce the official reissue of Bloom, the sophomore album from Swedish psych rockers JIRM… AKA Jeremy Irons & The Ratgang Malibus.
Originally formed in 2004 by close friends Micke Pettersson and Karl Apelmo, the curiously monikered Swedes were keen to implement their surrealist reimagining of heavy psych, early doors. Cementing their line-up in Stockholm circa-2007 with the addition of drummer Henke Persson and bassist Viktor Källgren, the quartet signalled the grand old return of Krautrock and psychedelic grooves to the underground scene. The culmination of which can be best heard on their 2011 album, Bloom, which celebrates its tenth anniversary this year.
Recorded by Marcus Sjoberg at Studio Skyline in the Swedes’ home city of Eskilstuna; Bloom provided listeners with a bed of raw, blues-based hard rock from which myriad sophisticated sonic structures are built. Bathing in the sunlit influence of bands like Led Zeppelin and The Allman Brothers, the album was lauded upon release and has only grown in prestige over the past decade.
“We recorded the album on old Vox AC30s and a bunch of cheap guitars, while trying to figure out amongst ourselves how delay pedals worked,” remembers Karl Apelmo. “Ten years on and we believe Marcus did a fantastic job in recording and capturing the magic in those songs and thanks to Majestic Mountain Records you’ll be able to hear it again. We’re psyched!”
And for MMR’s Marco Berg, the feeling is mutual. “We’re huge fans of this band so it’s a real honour to be able to reissue this classic rock album for anyone who was unlucky to have missed it first time around.”
Majestic Mountain Records will be releasing two exclusive editions of Bloom by JIRM (as Jeremy Irons & The Ratgang Malibus) this year with pre-orders for both imprints going live on 12th March at 19:00 CET / 13:00 EST / 10:00 PST / 18:00 BST here –https://bit.ly/3t0gPwy.
BLOOM EDITION /// Limited to 200 – Black and green marbled 180g heavyweight vinyl, housed in full colour gatefold cover
SKIN DEEP EDITION /// Limited to 300 – Black and green swirl 180g heavyweight vinyl, housed in full colour gatefold cover
Posted in Bootleg Theater on January 25th, 2018 by JJ Koczan
It’s fitting that rebranded Swedish outfit JIRM — formerly known as Jeremy Irons and the Ratgang Malibus — would make a video for the opening track of their forthcoming long-player, Surge ex Monumentis, because it doesn’t take any longer than that for the Stockholm foursome to make it readily apparent to their listeners that they’re on a way different trip than they’ve ever been before. With an underpinning of space metal, heavy progressive swirl and flourish of psychedelic reaching, the six-minute “Candle Eyes” begins Surge ex Monumentis with a feel that’s both classic and vital, owing precious little to the boogie-minded vintage-ism of the band’s prior work under their original name in 2014’s Spirit Knife (review here), their third album, and the preceding outings, 2011’s Bloom and 2009’s Elefanta.
Clearly, then, they’re aware of the signals they’re looking to send their audience. JIRM, as they make what’s more or less a second debut with more than a decade’s experience behind them, foster a number of grand statements of aesthetic throughout Surge ex Monumentis in extended tracks like “Dig” (12:07), “Isle of Solitude” (11:26), “Nature of the Damned” (10:35) and 11-minute closer “Tombs Arise,” and while the record boasts a more progressive bent overall, one might point to the rise of a band like Elder as a potential line of inspiration. That’s not really the case here. JIRM have their own agenda and their blend when it comes to bringing together heavy rock and prog, and by injecting a current of ’80s-style metal grandiosity — notice I didn’t say “glam-diosity”; that’s not what we’re talking about here — they find a niche for themselves and begin to dig into what will likely be a continuing process of forward creative growth.
So again, a second debut. And think of “Candle Eyes” as the leadoff moment of that debut. The video itself is somewhat grim looking, but don’t be fooled — there’s plenty of color to be found in what these guys are doing, whatever they might choose to call themselves.
Surge ex Monumentis is out March 16 on Small Stone Records. More info on the album follows the video premiere below, courtesy of the PR wire.
Please enjoy:
JIRM, “Candle Eyes” official video premiere
Official Music Video for the song Candle Eyes. From the album Surge Ex Monumentis. Release date: March 16, 2018 Small Stone Records.
For their first record as JIRM, the Stockholm-based four-piece of vocalist/guitarist Karl Apelmo, guitarist Micke Pettersson, bassist Viktor Källgren, and drummer Henke Persson cast off the shackles of expectation entirely. Their style is no less expansive, but it’s become entirely their own, a driving mind meld between psychedelia, classic metal, heavy rock, and individualized realms beyond. Surge Ex Monumentis brims with newfound energy at the same time it benefits from the lessons JIRM have learned since first getting together in 2004 and releasing albums like Elefanta (2009), Bloom (2011), and Spirit Knife (2014).
With as much progressive force as raw sweat behind them, JIRM has never been more themselves than they are on Surge Ex Monumentis, and even as they redefine who they are and what they do as a band, they remain singularly powerful in their delivery and completely unmistakable. The seven-track offering was captured at Puch Studios in Stockholm, Sweden, mixed by Oskar Lindberg at Svenska Grammofonstudion in Gothenburg, Sweden and mastered by Chris Gooseman at Baseline Audio Labs in Ann Arbor, Michigan.
Surge Ex Monumentis will see release on CD, digital, and limited edition 2xLP formats via Small Stone on March 16th. Preorders are currently available at THIS LOCATION where you can also stream opening psalm, “Candle Eyes.”
Surge Ex Monumentis Track Listing: 1. Candle Eyes 2. Dig 3. Isle Of Solitude 4. The Cultist 5. Nature Of The Damned 6. Giza 7. Tombs Arise
Posted in Whathaveyou on January 11th, 2018 by JJ Koczan
As much as I’d like to think it was some interference from the actor himself that caused Swedish heavy rockers Jeremy Irons and the Ratgang Malibus to change their moniker — both because of his abhorrent views on homosexuality and because he’s the most easily forgotten villain in the Die Hard franchise — that probably wasn’t the case. To be fair, it was a pretty cumbersome name, and JIRM gets the job done anyhow.
Four records deep might seem like an odd time for a group to rebrand, but the Stockholm four-piece actually have a significant sonic shift in store with the forthcoming Surge ex Monumentis as well, trading off boogie vibes for more progressive fare that’s decidedly metallic in its foundation. Enough so, in fact, to make me wonder if the similarity between the figure on the Mattias Halldin cover art and Dio‘s classic mascot, Murray, isn’t a coincidence.
If it isn’t, I just don’t want to be the last in line to know.
Sorry.
Just. Sorry.
I couldn’t help it.
Here’s news from the PR wire:
JIRM: Swedish Heavy Rockers Formerly Known As Jeremy Irons And The Ratgang Malibus To Release Surge Ex Monumentis Via Small Stone This March; New Track Streaming + Preorders Available
Sometimes in life you have to make a change. And sometimes you have to make a whole bunch of changes. So it is that JIRM is born and stands where once stood Jeremy Irons And The Ratgang Malibus. Having dropped the cumbersome moniker, the Swedish heavy rockers embark on a new era with Surge Ex Monumentis – marked as much by a tightening of sound as name.
For their first record as JIRM, the Stockholm-based four-piece of vocalist/guitarist Karl Apelmo, guitarist Micke Pettersson, bassist Viktor Källgren, and drummer Henke Persson cast off the shackles of expectation entirely. Their style is no less expansive, but it’s become entirely their own, a driving mind meld between psychedelia, classic metal, heavy rock, and individualized realms beyond. Surge Ex Monumentis brims with newfound energy at the same time it benefits from the lessons JIRM have learned since first getting together in 2004 and releasing albums like Elefanta (2009), Bloom (2011), and Spirit Knife (2014).
With as much progressive force as raw sweat behind them, JIRM has never been more themselves than they are on Surge Ex Monumentis, and even as they redefine who they are and what they do as a band, they remain singularly powerful in their delivery and completely unmistakable. The seven-track offering was captured at Puch Studios in Stockholm, Sweden, mixed by Oskar Lindberg at Svenska Grammofonstudion in Gothenburg, Sweden and mastered by Chris Gooseman at Baseline Audio Labs in Ann Arbor, Michigan.
Surge Ex Monumentis will see release on CD, digital, and limited edition 2xLP formats via Small Stone on March 16th. Preorders are currently available at THIS LOCATION where you can also stream opening psalm, “Candle Eyes.”
Surge Ex Monumentis Track Listing: 1. Candle Eyes 2. Dig 3. Isle Of Solitude 4. The Cultist 5. Nature Of The Damned 6. Giza 7. Tombs Arise
Posted in Features on January 23rd, 2017 by JJ Koczan
Looks like it’s going to be another busy 12 months ahead. It’s been a busy better-part-of-a-month already, so that stands to reason, but you should know that of the several years now that I’ve done these ‘Tomorrow’s Dream’ posts, this is the biggest one yet, with over 150 upcoming releases that — one hopes — will be out between today and the end of 2017.
Actually, at last count, the list tops 180. Do I really expect you to listen to all of them? Nope. Will I? Well, it would be nice. But what I’ve done is gone through and highlighted 35 picks and then built lists off that in order of likelihood of arrival. You’ll note the categories are ‘Gonna Happen and/or Likely Candidates,’ ‘Definitely Could Happen’ and ‘Would be Awfully Nice.’
Beyond that last one, anything else just seems like speculation — one might as well go “new Sabbath this year!” with zero info backing it up. The idea here is that no matter where a given band is placed, there has been some talk of a new release. In some cases, it’s been years, but I think they’re still worth keeping in mind.
Another caveat: You can expect additions to this list over the next week — probably album titles, band names people (fingers crossed) suggest in the comments, and so on — so it will grow. It always does. The idea is to build as complete a document as possible, not to get it all nailed down immediately, so please, if you have something to contribute and you’re able to do so in a non-prickish, “You didn’t include Band X and therefore don’t deserve to breathe the same air as me,” kind of way, please contribute.
Other than that, I think it’s pretty straightforward what’s going on here and I’ll explain the category parameters as we go, so by all means, let’s jump in.
— Tomorrow’s Dream 2017 —
Presented Alphabetically
1. Abrahma, TBA
Late last year, Paris heavy progressives Abrahma announced a new lineup and third full-length in progress. No reason to think it won’t come to fruition, and a follow-up to 2015’s Reflections in the Bowels of a Bird (review here) is an easy pick to look forward to. Even with the shift in personnel, it seems likely the band will continue their creative development, driven as they are by founding guitarist Seb Bismuth.
2. All Them Witches, Sleeping Through the War
If 2017 ended today, Sleeping Through the War would be my Album of the Year. Of course, there’s a lot of year to go, but for now, Nashville’s All Them Witches have set the standard with their second album for New West Records behind 2015’s Dying Surfer Meets His Maker (review here) and fourth overall outing. They’ve got videos up so far for “3-5-7” (posted here) and “Bruce Lee” (posted here). Both are most definitely worth your time. Out Feb. 24. Full review should be later this week.
3. Alunah, Solennial
Seems like UK forest riffers Alunah are on this list every year. Wishful thinking on my part. Nonetheless, their fourth LP and Svart Records debut, Solennial, is out March 17, and if the tease they gave already with the clip for “Fire of Thornborough Henge” (posted here) is anything to go from, its Chris Fielding-produced expanses might just be Alunah‘s most immersive yet.
4. Arbouretum, TBA
I asked the Baltimore folk fuzzers a while back on Thee Facebooks if they had a new record coming in 2017 and they said yes, so that’s what I’m going on here. The last Arbouretum album was 2013’s Coming out of the Fog (review here), and even with frontman Dave Heumann‘s 2015 solo outing, Here in the Deep (review here), factored in, you’d have to say they’re due. Keep an eye on Thrill Jockey for word and I’ll do the same.
5. Atavismo, Inerte
This is another one that already has a spot reserved for it on my Best-of-2017 year-end list. Spanish heavy psych rockers Atavismo up the progressive bliss level with their second full-length, Inerte, without losing the depth of style that made 2014’s Desintegración (review here) so utterly glorious. It probably won’t have the biggest marketing budget of 2017, but if you let Atavismo fly under your radar, you are 100 percent missing out on something special.
6. Bison Machine, TBA
In addition to the video for new track “Cloak and Bones” that premiered here, when Michigan raucousness-purveyors Bison Machine put out the dates for their fall 2016 tour, they included further hints of new material in progress. As much as I dug their earlier-2016 split with SLO and Wild Savages (review here) and 2015’s Hoarfrost (review here), that’s more than enough for me to include them on this list. Killer next-gen heavy rock.
7. Brothers of the Sonic Cloth, TBA
News of a follow-up to Brothers of the Sonic Cloth‘s 2015 Neurot Recordings self-titled debut (review here) came through in October, and it remains some of the best news I’ve heard about 2017 doings. Took them a while to get the first record out, so we’ll see what happens, but it kind of feels like looking forward to a comet about to smash into the planet and cause a mass extinction, and by that I mean awesome. Can’t get here soon enough.
8. Cloud Catcher, Trails of Kosmic Dust
Okay, so maybe I jumped the gun and did a super-early review of Denver trio Cloud Catcher‘s second long-player and Totem Cat Records debut, Trails of Kosmic Dust, but hell, no regrets. Some albums require an early-warning system. Their 2015 debut, Enlightened Beyond Existence (discussed here), was a gem as well, but this is a band in the process of upping their game on every level, and the songwriting and momentum they hone isn’t to be missed.
9. Colour Haze, TBA
I’ve gotten some details on the upcoming full-length from Colour Haze. They do not include a title, artwork, audio, song titles or general direction. Less details, I guess, than word that the CD version of this answer to 2015’s To the Highest Gods We Know (review here) is set to come out next month, as ever, on Elektrohasch. That puts it out in time for Colour Haze‘s upcoming tour with My Sleeping Karma (announced here). Fingers crossed it happens. Colour Haze are perpetual top-albums candidates in my book.
10. Corrosion of Conformity, TBA
Signed to Nuclear Blast after being rejoined by guitarist/vocalist Pepper Keenan, North Carolina’s C.O.C. have been in the studio since last year. The lineup of Keenan, bassist/vocalist Mike Dean and guitarist Woody Weatherman and Reed Mullin on drums is the stuff of legend and last worked together on 2000’s America’s Volume Dealer, so no question this reunion makes for one of 2017’s most anticipated heavy rock records. They nailed the nostalgia factor on tour. Can they now add to their legacy?
11. Elder, TBA
I was incredibly fortunate about a month ago to visit progressive heavy rockers Elder at Sonelab in Easthampton, MA, during the recording process for their upcoming fourth album. I heard a couple of the tracks, and of course it was all raw form, but the movement forward from 2015’s Lore (review here) was palpable. That LP (on Stickman) brought them to a wider audience, and I expect no less from this one as well, since the farther out Elder go sound-wise, the deeper the level of connection with their listeners they seem to engage.
12. Electric Wizard, TBA
Could happen, could not happen. That’s how it goes. Announced for last Halloween. That date came and went. Word of trouble building their own studio surfaced somewhere along the line. That was the last I heard. Frankly, I wouldn’t be surprised if it showed up tomorrow, if it showed up in 2018, or if the band broke up and never put it out. They’re Electric Wizard. Anything’s possible.
13. John Garcia, The Coyote Who Spoke in Tongues
Out Jan. 28 on Napalm, The Coyote Who Spoke in Tongues (review here) is the first-ever acoustic album from former Kyuss frontman John Garcia, also of Unida, the reunited Slo Burn, Hermano, Vista Chino, Zun, etc. — basically the voice of desert rock. He does a couple Kyuss classics for good measure, but shines as well on the new/original tracks, and while it’s a piece for fans more than newcomers — that is, it helps if you know the original version of “Green Machine” — his presence remains as powerful as ever despite this new context.
14. Goya, Harvester of Bongloads
Riffs, dude. Goya seem to have them to spare. The Arizona-based wizard doomers have set a pretty prolific clip for themselves at this point, with at least two short releases out in 2016, one a 7″ of Nirvana covers (review here), and the The Enemy EP (review here). Set for a March 3 release through their own Opoponax Records imprint, Harvester of Bongloads continues the march into the abyss that 2015’s Obelisk (review here) and 2013’s 777 set in motion, finding the band coming more into their own as well. Creative growth — and bongloads! The best of both worlds.
15. Ides of Gemini, TBA
Ides of Gemini are set to record their yet-untitled third album with Sanford Parker early this year, and it will also mark their debut on Rise Above Records upon its release. They’ve also got a new lineup around vocalist Sera Timms and guitarist J. Bennett, so as they look to move forward from 2014’s Old World New Wave (review here), one can’t help but wonder what to expect, but to be honest, not knowing is part of the appeal, especially from a band who so readily specialize in the ethereal.
16. Kind, TBA
Three-fourths of Kind feature elsewhere on this list. Bassist Tom Corino plays in Rozamov. Drummer Matt Couto is in Elder. Vocalist Craig Riggs is in Roadsaw. And for what it’s worth, guitarist Darryl Shepherd has a new band coming together called Test Meat. How likely does that make Kind to release a second LP in 2017? I don’t know, but their 2015 Ripple Music debut, Rocket Science (review here), deserves a follow-up, and I know they’ve demoed some new songs. If it happens, great. If it’s 2018, at least these dudes will be plenty busy besides.
17. Lo-Pan, In Tensions
Yes, Lo-Pan‘s In Tensions (review here) has already been released — CD/LP with an artbook on Aqualamb. It’s out. Limited numbers. You can get it now. Why include it on a list of most anticipated releases? Because that’s how strongly I feel about your need to hear it. The fruit of a shortlived lineup with guitarist Adrian Zambrano, it distinguishes itself from everything they’ve done before in style while still keeping to the core righteousness that one hopes the Ohio outfit will continue to carry forward. It’s more than a stopgap between albums. Listen to it.
18. The Midnight Ghost Train, TBA
It seems to have been a rough ride for hard-boogie specialists The Midnight Ghost Train since their 2015 Napalm debut and third album overall, Cold was the Ground (review here). They’ve never taken it easy on the road or in terms of physicality on stage, and between injuries and who knows what else, their intensity at this point veers toward the directly confrontational. Nonetheless, they’ve been writing for album number four, may or may not have started the recording process, and I expect that confrontationalism to suit them well in their new material.
19. Monster Magnet, TBA
I have it on decent authority that NJ heavy psych innovators Monster Magnet were in the studio this past autumn. I’ve seen no concrete word of a new album in progress from Dave Wyndorf and company, and I wouldn’t necessarily expect to until it was time to start hyping the release, but after their two redux releases, 2015’s Cobras and Fire (review here) and 2014’s Milking the Stars (review here), their range feels broader than ever and I can’t wait to hear what they come up with next.
20. Mothership, High Strangeness
A pivotal moment for Mothership arrives with High Strangeness, and the heavy-touring, heavy-riffing Texas power trio seem to know it. Their third record on Ripple Music pushes into new avenues of expression and keeps the energy of 2014’s Mothership II (review here) and 2012’s Mothership (review here), but thus far into their career, it’s been about their potential and what they might accomplish going forward. 2017 might be the year for Mothership to declare a definitive place in the sphere of American heavy rock.
21. The Obsessed, Sacred
On Halloween 2016, founding The Obsessed guitarist/vocalist and doom icon Scott “Wino” Weinrich announced a new lineup for the band, with his former The Hidden Hand bandmate Bruce Falkinburg on bass/vocals, Sara Seraphim on guitar and Brian Costantino continuing on drums. A genuine surprise. Their first album since 1994, Sacred (due on Relapse) was tracked as the trio of Weinrich, Costantino and bassist/vocalist Dave Sherman, but clearly they’ve moved into a new era already. Wouldn’t even guess what the future holds, but hopefully Sacred still comes out.
22. Orange Goblin, TBA
When it was announced that London’s Orange Goblin were picked up by Spinefarm as part of that label’s acquisition of Candlelight Records last Spring, the subheadline from the PR wire was “Working on Ninth Studio Album.” I haven’t heard much since then, but even as 2014’s Back from the Abyss (review here) pushed them deeper into metallic territory than ever before, their songs retained the character that’s made the band the institution they are. Always look forward to new Orange Goblin.
23. Pallbearer, Heartless
Doomers, this is your whole year right here. I haven’t heard Pallbearer‘s third album, Heartless (out March 24 on Profound Lore), but I have to think even those who haven’t yet been won over by the Arkansas four-piece’s emotive, deep-running style have to be curious about what they’ve come up with this time around. I know I am. These guys have been making a mark on the genre since their 2012 debut, Sorrow and Extinction (review here), and there’s little doubt Heartless will continue that thread upon its arrival.
24. Radio Moscow, TBA
Fact: Radio Moscow stand among the best classic heavy rock live acts in the US. They’re the kind of band you can watch upwards of 15 gigs in a row — I’ve done it — and find them putting on a better show night after night, in defiance of science, logic and sobriety. Word of their signing to Century Media came just this past week and brought with it confirmation of a follow-up to 2014’s stellar Magical Dirt (review here), and for me to say hell yes, I’m absolutely on board, seems like the no-brainer to end all no-brainers. Can’t wait.
25. Roadsaw, TBA
Nearly six full years later, it’s only fair to call Boston scene godfathers Roadsaw due for a follow-up to their 2011 self-titled (review here). Granted, members have been busy in Kind, White Dynomite, and other projects, but still. Their upcoming outing finds them on Ripple Music after years under the banner of Small Stone Records, and though I haven’t seen a solid release date yet, my understanding is they hit Mad Oak Studio in Allston, MA, this past fall to track it, so seems likely for sooner or later. Sooner, preferably.
26. Rozamov, This Mortal Road
Speaking of albums by Boston bands a while in the making, This Mortal Road (out March 3 on Battleground Records and Dullest Records) is the debut full-length from Boston atmospheric extremists Rozamov. Haven’t heard it yet, but I got a taste of some of the material when I visited the band at New Alliance Audio in Aug. 2015, and the bleak expanses of what I heard seem primed to turn heads. I’m a fan of these guys, but in addition, they’ve found a niche for themselves sound-wise and I’m curious to hear how they bring it to fruition.
27. Samsara Blues Experiment, TBA
It’s been a pleasure over the last couple months to watch a resurgence of Berlin heavy psych trio Samsara Blues Experiment take shape, first with the announcement of a fourth album in October, then with subsequent confirmations for Desertfest, Riff Ritual in Barcelona, and a South American tour. Reportedly due in Spring, which fits with the timing on shows, etc., the record will follow 2013’s righteous Waiting for the Flood (review here) and as much as I’m looking forward to hearing it, I’m kind of just glad to have these guys back.
28. Seedy Jeezus, TBA
Work finished earlier this month on Melbourne trio Seedy Jeezus‘ second full-length. As with their 2015 self-titled debut, the band brought Tony Reed of Mos Generator to Australia to produce, and after their blissed-out 2016 collaboration with Earthless guitarist Isaiah Mitchell, Tranquonauts (review here), it’s hard not to wonder what experimentalist tendencies might show in the trio’s style this time out, and likewise difficult not to anticipate what guitarist Lex “Mr. Frumpy” Wattereus comes up with for the cover art.
29. Shroud Eater, Strike the Sun
Not to spoil the surprise, but Feb. 1 I’ll host a track premiere from Florida’s Shroud Eater that finds them working in a different context from everything we’ve heard from them to this point in their rightly-celebrated tenure. They also recently had a split out with Dead Hand, and their second long-player, Strike the Sun, will be their debut through STB Records. It’s been since 2011’s ThunderNoise (review here) that we last got a Shroud Eater album, so you bet your ass I’m dying to know what the last six years have wrought.
30. Sleep, TBA
If Sleep were any other band, they’d probably be in the “Would be Awfully Nice” category. But they’re Sleep, so even the thought of a new record is enough to put them here. The lords of all things coated in THC are reissuing their 2014 single, The Clarity (review here), on Southern Lord next month, but rumors have been swirling about a proper album, which of course would be their first since the now-legendary Dopesmoker. If it happens, it’ll automatically be a heavy underground landmark for 2017, but it’s one I’m going to have in my ears before I really believe it.
31. Stoned Jesus, TBA
Even as they tour playing their second album, 2012’s Seven Thunders Roar (review here), to mark its fifth anniversary and continued impact, Ukrainian trio Stoned Jesus are forging ahead with a fourth record behind 2015’s The Harvest (review here). The capital-‘q’ Question is whether or not looking back at Seven Thunders Roar and engaging that big-riffing side of their sound will have an impact on the new material, and if so, how it will meld with the push of The Harvest. Won’t speculate, but look forward to finding out.
32. Stubb, TBA
Since reveling in the soul of 2015’s Cry of the Ocean (review here) on Ripple, London trio Stubb have swapped out bassists, and they were in Skyhammer Studio this month recording a single that may be an extended psychedelic jam. I’ll take that happily, but I’m even more intrigued at the prospect of a third LP and what guitarist/vocalist Jack Dickinson, bassist/vocalist Tom Hobson and drummer Tom Fyfe might have in store as the band moves forward on multiple levels. Might be 2017, might not.
33. Sun Blood Stories, It Runs Around the Room with Us
It Runs around the Room with Us seems to find peace in its resonant experimentalist drones, loops, open, subdued spaces, but there’s always some underlying sense of foreboding to its drift, as if Boise’s Sun Blood Stories could anticipate the moment before it happened. Toward the end of the follow-up to 2015’s Twilight Midnight Morning (review here), they execute the 90-second assault “Burn” and turn serenity to ash. Look for it in April and look for it again on my best of 2017 list in December.
34. Ufomammut, TBA
Any new offering from the Italian cosmic doom magnates is worth looking forward to, and while Ufomammut have left the 15-year mark behind, they’ve never stopped progressing in style and form. To wit, 2015’s Ecate (review here) was a stunner after 2012’s two-part LP, Oro (review here and review here), tightening the approach but assuring the vibe was no less expansive than ever. They started recording last summer, finished mixing in November, so I’m hoping for word of a release date soon.
35. Vokonis, The Sunken Djinn
Born out of Creedsmen Arise, whose 2015 demo, Temple (review here), offered formative thrills, Swedish trio Vokonis debuted with last year’s Olde One Ascending (review here) and proved there’s still life in post-Sleep riffing when it’s wielded properly. They signed to Ripple in November and confirmed the title of their sophomore effort as The Sunken Djinn, as well as a reissue for the first album, which will probably arrive first. I don’t know how that will affect the timing on this one, but keep an eye out anyway.
—
Gonna Happen and/or Likely Candidates
Obviously some of these are more likely than others. Some have solidified, announced release dates — Dopelord‘s out this month, Demon Head‘s out in April, etc. — and others come from social media posts of bands in studios and hints at upcoming releases and so on. A big tell is whether or not a band has an album title with their listing, but even some of those without have their new albums done, like Atala and Royal Thunder, so it’s not necessarily absolute.
Either way, while I’m spending your money, you might want to look into:
36. Against the Grain
37. Amenra
38. Atala
39. Attalla, Glacial Rule
40. Ayahuasca Dark Trip, II
41. Beastmaker
42. Beaten Back to Pure
43. Blackout
44. Bretus
45. Buried Feather, Mind of the Swarm
46. The Clamps
47. Cold Stares
48. Coltsblood, Ascending into the Shimmering Darkness
49. Come to Grief, The Worst of Times EP
50. Cortez
51. Cruthu, The Angle of Eternity
52. The Dead-End Alley Band, Storms
53. Dead Witches, Dead Witches
54. Dealer
55. Death Alley, Live at Roadburn
56. Demon Head, Thunder on the Fields
57. The Devil and the Almighty Blues, II
58. Devil Electric
59. Doctor Cyclops, Local Dogs
60. Dool, Here Now There Then
61. Dopelord, Children of the Haze
62. Doublestone, Devil’s Own/Djævlens Egn
63. Dread Sovereign, For Doom the Bell Tolls
64. Drive by Wire
65. Elbrus, Elbrus
66. Electric Age
67. Electric Moon, Stardust Rituals
68. Endless Floods, II
69. Five Horse Johnson
70. Forming the Void, Relic
71. Funeral Horse
72. Greenbeard
73. Green Desert Water
74. Greenleaf
75. Grifter / Suns of Thunder, Split
76. Hair of the Dog, This World Turns
77. Heavy Temple, Chassit
78. Here Lies Man, Here Lies Man
79. Hollow Leg, Murder EP
80. Holy Mount, The Drought
81. Hooded Menace
82. Horisont, About Time
83. Hymn, Perish
84. Lecherous Gaze
85. Magnet, Feel Your Fire
86. Mastodon
87. Merlin, The Wizard
88. Merchant
89. Mindkult, Lucifer’s Dream
90. Mirror Queen
91. Moonbow, War Bear
92. Mos Generator
93. The Moth
94. MotherSloth
95. Mouth, Vortex
96. My Sleeping Karma, Mela Ananda – Live
97. Orango
98. Papir
99. PH, Eternal Hayden
100. Psychedelic Witchcraft, Magick Rites and Spells
101. Royal Thunder
102. Saturn, Beyond Spectra
103. Season of Arrows, Give it to the Mountain
104. Siena Root
105. Six Organs of Admittance, Burning the Threshold
106. Six Sigma, Tuxedo Brown
107. Sólstafir
108. The Sonic Dawn, Into the Long Night
109. Spelljammer
110. Spidergawd, IV
111. Steak
112. Stinking Lizaveta, Journey to the Underworld
113. Sula Bassana, Organ Accumulator
114. Summoner
115. Sun Voyager, Sun Voyager
116. Sweat Lodge, Tokens for Hell EP
117. Thera Roya, Stone and Skin
118. Toke
119. Troubled Horse, Revelation on Repeat
120. VA, Brown Acid The Third Trip
121. Weedpecker
122. Youngblood Supercult, The Great American Death Rattle
—
Definitely Could Happen
Maybe a recording process is upcoming (Gozu, Cities of Mars, YOB), or a band is looking for a label (The Flying Eyes), or they’ve said new stuff is in the works but the circumstances of an actual release aren’t known (Arc of Ascent, Dead Meadow, High on Fire), or I’ve just seen rumors of their hitting the studio (Freedom Hawk, La Chinga, Ruby the Hatchet). We’ve entered the realm of the entirely possible but not 100 percent.
So, you know, life.
Dig it:
123. The Age of Truth
124. Ape Machine
125. Arc of Ascent
126. At Devil Dirt
127. Bantoriak
128. Bask
129. BCAD
130. BoneHawk
131. La Chinga
132. Chubby Thunderous Bad Kush Masters
133. Cities of Mars
134. Crypt Sermon
135. Dead Meadow
136. Death Alley (Studio LP)
137. Dee Calhoun
138. Destroyer of Light
139. Devil
140. Devil Worshipper
141. Duel
142. Dustrider
143. Egypt
144. Electric Moon
145. Elephant Tree
146. Farflung
147. The Flying Eyes
148. Freedom Hawk
149. Gozu
150. The Great Electric Quest
151. Green Meteor, Consumed by a Dying Sun
152. High on Fire
153. Horrendous
154. Insect Ark
155. In the Company of Serpents
156. Iron Monkey
157. Jeremy Irons and the Ratgang Malibus
158. The Judge
159. Killer Boogie
160. King Dead
161. The Kings of Frog Island
162. Lords of Beacon House, Recreational Sorcery
163. Mangoo
164. Mondo Drag
165. Monolord
166. Mountain God
167. The Munsens
168. Naxatras
169. Never Got Caught
170. Ommadon
171. Orchid
172. Ordos
173. Pilgrim
174. Poseidon
175. Purple Hill Witch
176. Ruby the Hatchet
177. Sasquatch
178. Satan’s Satyrs
179. Serpents of Secrecy
180. Shabda
181. Shooting Guns
182. Sleepy Sun
183. Slow Season
184. Snowy Dunes, Atlantis
185. Spectral Haze
186. The Sweet Heat
187. Switchblade Jesus
188. Superchief
189. Tÿburn
190. YOB
191. Zone Six
—
Would be Awfully Nice
This last category is basically as close as I’m willing to come to rampant speculation. Endless Boogie have hinted at new material, and Queens of the Stone Age have talked about hitting the studio for the last two years. There were rumors about Om, and though Kings Destroy just put out an EP, they have new songs as well, though I doubt we’ll hear them before the end of 2017. I’ll admit that Across Tundras, Fever Dog, Lord Fowl, Lowrider and Hour of 13 are just wishful thinking on my part. A boy can hope:
192. Across Tundras
193. Eggnogg
194. Elephant Tree
195. Endless Boogie
196. Fever Dog
197. Fu Manchu
198. Halfway to Gone
199. Hour of 13
200. Kadavar
201. Kings Destroy
202. Lord Fowl
203. Lowrider
204. Masters of Reality
205. Om
206. Orodruin
207. Queens of the Stone Age
—
If you’ve made it this far, thanks for reading. Whatever this year brings, I hope it’s been great so far for you and I hope it continues to be so as we proceed inexorably to 2018 and all the also-futuristic-sounding numbers thereafter. At least we know we’ll have plenty of good music to keep us company on that voyage.
As always, comments section is open if there’s anything I’ve left out. I’m happy to add, adjust, etc., as need be, so really, have at it, and thanks in advance.
Posted in Features, Reviews on September 18th, 2016 by JJ Koczan
I slept. I slept and slept and slept. Then I wrote. Then I slept more. Then I wrote more, and by the time I was done with all that writing and sleeping, it was almost the start of Høstsabbat‘s second night. An earlier launch and more bands, but still a lineup of unmistakable quality, I didn’t want to miss any of it.
I’d hardly call myself an expert on the place, but Oslo seems like a really cool town if you like bands. On the 10-minute walk from the hotel to the Arena Vulkan I passed no fewer than three places that looked like they might host a rock show on any given night. Maybe that doesn’t sound like that many, depending on where you live, but it’s an embrace of culture that doesn’t exist in the place I’m from. Again, no expert, but that’s the initial impression.
Before I jump into the wrap of the day, I want to extend a personal thanks to Ole Helstad, Jens Storaker and all involved with the festival for having me over. The chance to see Oslo at all and to see these bands in this place is something very special and they clearly believe in what they’re doing. Rightly so. The vibe throughout the weekend was fantastic and I went almost the whole show without having beer thrown on me, so mark it a win for sure. Skål.
Here’s how night two went down at Høstsabbat 2016:
Reptile Master
Post-sludge played through three guitars (plus bass) geared toward general tonal push, Reptile Master were an aggressive start to the day. I remembered the band from the release of their 2015 debut, In the Light of a Sinking Sun (track stream here), on Blues for the Red Sun Records, but live, the Tromsø five-piece made much more of an impression, bassist Rolf Ole Rydeng Jenssen and guitarist Nicolay Tufte Østvold set up facing each other with their mic stands crossed so as to accentuate the dual screams that permeated their set. They also had a split with Black Moon Circle out earlier this year, but their sound is much more crushing in its atmosphere, holding a tension even in its quiet moments without coming across as a post-metallic Neurosis clone. In that, the general pissed off nature of the material served them well as a distinguishing factor that changed the context even of those quiet moments, and the nod factor only became more prevalent as they went on. They’ve clearly started to make a mark in Norway, if the early crowd was anything to judge by.
Wild Rocket
It was my first exposure to Dublin’s Wild Rocket, whose debut album, Geomagnetic Hallucinations, came out in 2014. Much as the night before at Høstsabbat had shifted vibe almost on a per-band basis, they were a significant jump in style from what Reptile Master had on offer, trading off between driving heavy rock and more spaced impulses, like that moment when the song “Motorhead” became the band Motörhead. About 25 minutes into their set opening the Vulkan stage upstairs, they announced it was time for their last song, warning, “It’s kind of a long one.” Fair enough. More people came up as their time went on — it was early yet — and they very clearly turned a few heads, including mine, with that final space jam, seeming to push further out in a way that recalled to my mind some of Death Alley‘s post-Hawkwind cosmic triumphs, though in the case of Wild Rocket, the interstellar was even more of a factor with the inclusion of keys. Their set still wound up short at roughly 35 minutes, but it was a welcome sampling of what they’re about, and their energy was infectious.
Mammoth Storm
Arguably the most impressive headbanging I saw all weekend came from Mammoth Storm bassist/vocalist Daniel Arvidsson, and there was some stiff competition. The Swedish four-piece rolled out huge, clunky riffs on the Pokalen stage in a spirit that found them aptly named. They weren’t far off from what Reptile Master were doing tonally, but ultimately less angry, less atmospheric, and more about the heft itself than the cathartic expression derived therefrom. Still, they were way into it. Formerly a trio, they were on tour earlier this summer with High Fighter and Earthship, and the Høstsabbat crowd seemed to be the beneficiary of that experience. Their first album, Fornjot, was issued late last year by Napalm Records, and while they seemed to be figuring out some elements of presentation, no question they had their direction sorted, all skull-pummel and unrelenting push. Heavy band playing heavy music, is the bottom line. It was an easy set to enjoy and another jump to a different style from the band before them; that once again would become something of a running theme throughout the night.
Kollwitz
To wit, Kollwitz. Quite simply a band I’d probably never get the chance to see anywhere else, the Bodø six-piece proffered vicious post-metal with a hardcore edge, the intensity of Converge met with the strict chug and strobe lighting of Amenra. They had the most crowded stage of the festival, but still plenty of room upstairs at the Arena Vulkan to thrash around, and they took advantage of it, their motion tied to the undulating lumber of their songs. They were another band I’d never heard before, which was by design — that is, I knew they were playing and could’ve checked them out, but sometimes it’s fun to go into these things blind — but they hit the decade mark in 2016 and came across with the command of an experienced act. Rarer for acts of their ilk, their material had a kind of direct thrust, and even when they did drone out an ambient section, quieting down all that push, percussion, screams, keys, and so on, it was plain enough that it was a temporary situation before the assault began anew. In accordance with the tenets of the style, they were cerebral and bludgeoning in kind. There’s nothing else I would’ve asked of them.
Jeremy Irons and the Ratgang Malibus
Shit they were good. Come over from Stockholm, Jeremy Irons and the Ratgang Malibus were among the bands I was most looking forward to seeing this weekend, and they were quick to justify that anticipation. Most of what they played came from 2014’s Spirit Knife (review here), and that was zero reason to complain as they nestled into the classic groove and modern energy of “Wind Seized” after the opening cut “Andra,” which may or may not have been new. They’d get more tripped out as they went on, vocalist/guitarist Karl Apelmo — whose voice sounds even better live — leading the charge with guitarist Micke Pettersson, bassist Viktor Källgren and drummer Henke Persson all on the same page, fluid and vibrant. They tapped into four decades’ worth of Swedish heavy rock without losing sight of their own personality, and their play between the boogie of ages and a modern soulfulness was exceedingly well met, especially with the psychedelic range that emerged later on with “Fog by the Steep” and “Point Growth” closing out. How they’re not playing every single festival this fall, or, you know, all the time, I have no idea. Excellent band, and clearly still growing as well. Put them on the road with Radio Moscow immediately.
Siena Root
Sweden’s Siena Root have been making the festival rounds across Europe over the last several months while working on a follow-up to their 2014 album, Pioneers. Next month, they’ll play Smoke the Fuzz in Athens, and they’re veterans of the likes of Freak Valley, Dome of Rock and so on. I said on the social medias that seeing Siena Root took some of the sting out of knowing I’d never get to watch peak-era Deep Purple play live, and while that’s perhaps simplifying their appeal, I think the comparison holds up, with the classic ’70s vibe Siena Root bring to life in their songs, costumes and delivery, the focus on interplay between the organ of Erik “Errka” Petersson (the only full organ setup on either stage at Høstsabbat) and the guitar of Matte Gustavsson, and the powerhouse vocals of Samuel Björö, the robe-clad guru bass from Sam Riffer and the swing-ready drumming of Love Forsberg. They were unabashed fun, all-in, and a pro execution that wasn’t at all staid. So genuine were they in their performance that it made me think it might be time to start considering Siena Root in the same league as Spiritual Beggars when it comes to crafting their songs and representing a natural lineage to the birth of heavy.
Slomatics
They were the one. Slomatics. The headliners for the Pokalen stage were the band I was most dying to see all weekend, and the disappointment factor was zero. The Belfast trio of guitarists David Majury and Chris Couzens and drummer/vocalist/noisemaker Marty Harvey rolled out some of Høstsabbat‘s most satisfying riffs, and with a set spanning back to 2012’s A Hocht for “Tramontane,” “Return to Kraken” and closer “Beyond Acid Canyon,” and included “Electric Breath” and “Supernothing” from this year’s stellar Future Echo Returns (review here) as well as a host of cuts from 2014’s Estron (review here), they crashed, bashed and rumbled so loudly and so righteously that when it came to it, I just couldn’t remove myself from the front of the stage. Not only that, I did something I hadn’t done the entire time at the Arena Vulkan, which was to remove my earplugs part-way and let the full brunt of the volume hit my eardrums directly. That, I soon enough realized, was a mistake, but even so, the fact that the impulse was there should say something. Slomatics don’t get out of Ireland much, so to have them in Oslo was something special, and their performance showed it. A joy of ultra-heavy revelry. It was reportedly their first time playing “Supernothing” live, and I felt ridiculously lucky to be there to witness it. They’re the reason my neck is sore today. Don’t even care.
Truckfighters
Very much the headliners for the fest as a whole. Immediately. No warmup. All go. The Swedish fuzzdudes left nothing to mystery as to why they were atop the bill. No place else to put them, frankly. They played in front of a banner so huge that it didn’t fit the Vulkan stage and all you could see from the crowd was the word “TRUCK,” but that was enough to get the point across. I’d had the good fortune earlier in the evening to sit and interview bassist/vocalist Oskar “Ozo” Cedermalm about the band’s new album, V (review pending), and some of the growth the group has undertaken over their last couple records, the push past straightforward desert-style groove into more progressive territory, and something I wondered about was how they would continue to strike that balance onstage when it comes to songs like “Calm Before the Storm” from the latest record. The answer is basically they just do. Cedermalm still headbangs, guitarist Niklas “Dango” Källgren is as kinetic as ever, jumping in circles, running from one side to the other of the stage, generally playing the madman role and doing it well. They had a new drummer — Marcus was the name I got, if he has a last name or a Truckfighters-style nickname, I don’t know it — who will reportedly be one of two joining them on their Euro tour this fall, and from what I hear they’ll be back in the US in spring, but the gist of watching a Truckfighters set is the excitement of how much they put into playing their songs, and whether they’re fast or slow, upbeat or melancholy, that continues to be the case. I stuck around to the finish because not only were they killing it, but the setlist didn’t have “Desert Cruiser” written on it — though they did include “Mexico,” which was a nice touch — and I was curious to see if they could actually get away with not playing that song, ending instead with “The Chairman” from 2014’s Universe (review here). They wound up using it for an encore, closing out the evening and the Høstsabbat as a whole with a sing-along of the chorus that continued even after they left the stage. I’m not sure a more suitable ending would’ve been possible.
—
It was right after they finished that some dick behind me decided to launch the rest of his beer into the crowd. Jerk move, but a great set, and I wasn’t exactly fresh and clean as it was by that point. I’d been watching the end of the show with the Slomatics guys, and said a few goodnights before making my way out. Always sad to walk out of an even like this for the last time, knowing that it’s over, but this was a special time and a special event, and those things have a tendency to be fleeting. All the more reason to treasure the memories of them.
Thanks again to everyone involved for having me over. I am humbled by the experience and deeply, deeply grateful for the opportunity. I wouldn’t presume to think I would be, but if I was invited again, I’d be here in a flash.
Flight takes off bound for JFK Airport via Copenhagen in about two hours. I very much appreciate you reading and know full well that if you didn’t, I wouldn’t get to do awesome stuff like fly to a festival in Oslo for a weekend, so thank you, thank you, thank you.
Posted in Whathaveyou on July 11th, 2016 by JJ Koczan
Høstsabbat 2016 is set for Sept. 16 and 17 at Vulkan Arena in Oslo, Norway. Already confirmed at the top of the current bill are Conan and Truckfighters, and newly announced as joining are UK drone improvisationalists Bong, Swedish heavy psych rockers Jeremy Irons and the Ratgang Malibus, French blackened metallers Cult of Occult and native Norwegian heavy rockers Day of the Jackalope. That’s a pretty wide spectrum for a single round of fest additions to cover, but as Høstsabbat has grown over the past couple years, it’s only broadened its stylistic reach, though it seems fair to use “heavy” as a kind of universally applicable umbrella for what’s on offer.
To wit, the full lineup and new band announcements below:
Høstsabbat 2016
September 16 – September 17 Vulkan Arena Vulkan 26, 0175 Oslo, Norway
Conan Truckfighters BONG Siena Root Cult of Occult Jeremy Irons & the Ratgang Malibus Kollwitz Mammoth Storm Slomatics Reptile Master WILD ROCKET MaidaVale Day of the Jackalope
It’s been a long time coming, but we’re finally set to announce four new acts for this years edition of Høstsabbat.
BONG
First out, and for the first time in Norway, the British masters of droning doom; BONG. They’re back after a brief hiatus and returning in their original state as a power trio.
Solemn in its delivery and frightening in its implications, as masters of mesmeric drone, freeing listeners from the increasingly unfamiliar material world and mercifully trapping them in the weightlessness of Bong’s sonic void.
Expect the same Amon Duul, Ash Ra Temple Improvisational basslines, glacial tempo and crushing guitar fuzz drone tones.
Cult of Occult
Concealed from the view of the moribund mass of humanity, hidden in the darkness of the gates of Hell, waiting to spread the evil sound of the extermination of life is the most powerful and misanthropic force; Cult of Occult.
Fed by hatred, loudness and alcohol, the four headed monster of Apocalypse will destroy everything on its way with its unwavering wall of sound. Like the scream of Satan himself, the rising trio Cult of Occult, will make another first time appearance in the North.
Jeremy Irons & the Ratgang Malibus
From our beloved neighbor in the East, another Ratgang has emerged from its extremely vibrant scene. Jeremy Irons & the Ratgang Malibus rides the astral wave of psychedelic-progressive-desert rock, firmly rooted in the 70’s.
This band is the musical, northwest passage between classic rock and the unholy spirit of Pink Floyd.
They have been around, brimming in the underground for quite some time. Releasing albums on Transubstans and Small Stone Records, playing festivals such as Freak Valley and Desertfest, we’re surely in for a treat at Høstsabbat.
Day of the Jackalope
The last year, Day of the Jackalope has become a name on everyone’s lips, who’s following the underground scene in Norway. Filled with energy and groove, fusing old school 70’s bluesy rock ‘n’ roll with modern stoner rock, Day of the Jackalope are ready to get it on. Having existed for years with changing lineups in various rehearsal spaces, the band is now finally complete, the debut EP is out to rave reviews, and Day of the Jackalope is hitting the stage. Taking inspiration from bands like Led Zeppelin, Black Sabbath, Clutch, Church of Misery and the ever imminent collapse of human civilization, Day of the Jackalope invites you into their universe. It is a fuzzy and warm place of dark and confusing lyrical landscapes, screaming guitars and thumping rhythms.
Posted in Whathaveyou on March 2nd, 2016 by JJ Koczan
Another day, another killer band joining the lineup for Freak Valley 2016. We’re still a long ways off from May, and while I can’t help but wonder how much more the German festival has to add at this point, the truth is there are a million and a half bands and just about any of them are well within the scope of the three-dayer, set for May 26-28 at AWO in Netphen. I’ve done my best to keep up with the lineup updates — I’ve had to combine a few, but to my knowledge I haven’t missed one — and just days after putting Orange Goblin near the top of the bill, Jens Heide and company have added trippy Swedish purveyors Jeremy Irons and the Ratgang Malibus.
The band was last heard from touring South America late in 2015, still supporting their 2014 sophomore album, Spirit Knife (review here), which was released by Small Stone. That run followed more than one through Europe, and while they’ve stated that most of this year will be spent writing and recording their next LP, they also recently confirmed they’ll play Poland’s Red Smoke festival in July, so they’re still getting out a bit as well.
Freak Valley had this to say on the subject:
Stockholm heavy psych rockers JEREMY IRONS & THE RATGANG MALIBUS confirmed to play FREAK VALLEY FESTIVAL 2016!!
Jeremy Irons & the Ratgang Malibus, is astral-progressive prairie rock with authentic, audio-visual roots in a 1970s music landscape.
This band is the musical, northwest passage between classic rock and the unholy spirit of Pink Floyd.
It’s like finding an interstellar sound portal to a hidden space desert, that only can be seen and heard through a kaleidoscope, which is blessed by a spiritual shaman from Saturn.
Mindblowing poster art by Jo Riou Graphic Designer
FVF 2016 is SOLD OUT!! Freak Valley Festival: No Fillers – Just Killers Line-up 2016: GRAVEYARD [SW] – Vintage Rock ORANGE GOBLIN [UK] – Heavy Metal DEAD MEADOW [US] – Psychedelic Stonerrock SPIDERGAWD [NO] – Post-Boogie WHITE HILLS [US] – Fuzzed Out Motorik Psychedelic THE SHRINE [US] – Psychedelic Violence Rock and Roll BABY WOODROSE [DK]- Psychedelic Garagerock LONELY KAMEL [NO]- Heavy Blues, Hardrock & Stoner ROTOR [D] – Instrumental StonerRock/Psychedelic MONOLORD [SW] – Doom/Sludge MANTAR [D] – Death Metal Doom Punk TOUNDRA [SP] – Postrock FARFLUNG [US] – Spacerock for 21st Century Heads BLACK RAINBOWS [IT] – Heavy Psych THE GOLDEN GRASS [US]- Heavy/Funk//Psych/Freakbeat SPIDERS [SW] – Hard/Glam Rock LÉ BETRE [SW] – Bluesy Hardrock GIÖBIA [IT] – Acid Rock THE DEVIL AND THE ALMIGHTY BLUES [NO] – HeavyBluesRock THE SONIC DAWN [DK] – Psychedelic Rock JEREMY IRONS & THE RATGANG MALIBUS [SW] – Space Rock/Stoner/Psychedelic
Posted in Whathaveyou on September 30th, 2015 by JJ Koczan
Swedish upstart heavy rockers Jeremy Irons and the Ratgang Malibus — whose name I’d been pronouncing like “mali-bus,” as though it had a bus at the end one might ride, but have come to discover it’s actually more like the plural of Malibu; learn something new all the time — have announced the dates and cities on and in which they’ll make their first South American tour this November and into December. The run includes shows in Argentina, Uruguay, as well as a warm-up gig in the band’s native Stockholm, and is presented by Abraxas Events, which is previously responsible for bringing the likes of Kadavar and Mars Red Sky to the South American continent.
Not by any means an inconsiderable track record. Looking at the schedule, I can’t help but notice that JIRM, as they’re abbreviated, have a span of four off-nights in a row as November moves into December. They play São Leopoldo on Nov. 29 and Florianópolis on Dec. 4. Now, that’s about a five-hour drive between cities, so maybe they’re taking off a couple days to see the sights, or maybe shows are going to be added as venues are confirmed for the already-announced dates. It seems like a long drive to think that they’ll truck all the way up to Rio de Janeiro and hit Estudio Superfuzz to do some recording, maybe a follow-up to last year’s right-on Spirit Knife (review here) on Small Stone, but also interesting to note that the whole tour winds up in that same city after Dec. 6.
I haven’t even heard hints of that, so don’t go telling people or something, I’m just thinking out loud that it would be another way for Jeremy Irons and the Ratgang Malibus to get the most out of their trip. Even if it doesn’t happen that they get new recordings out of it, I’m sure the tour will be badass.
Announcement follows, courtesy of Abraxas:
Abraxas apresenta: Jeremy Irons & the Ratgang Malibus South America Tour 2015
Venues, ticket information and further info will be updated.
20.11 Stockholm (S) warm-up gig 24.11 Buenos Aires (ARG) 25.11 Córdoba (ARG) 26.11 Montevideo (URY) 27.11 Porto Alegre (BRA) 28.11 Santa Maria (BRA) 29.11 São Leopoldo (BRA) 4.12 Florianópolis (BRA) 5.12 São Paolo (BRA) 6.12 Rio de Janeiro (BRA)
Provided by Statens Kulturråd. Official Tour Poster by Mil
