Posted in Whathaveyou on May 2nd, 2024 by JJ Koczan
From the kingpins Monster Magnet placed at the top of the poster to lumberwizards Monolord, British sludge-chargers Raging Speedhorn, the darkly crushing Morne and the deathly extrapolations of Inter Arma and whatever on earth Spaceslug might get up to when they take the stage, the latest announcement from Desertfest Belgium 2024 expands the scope of the Antwerp-based three-dayer in multiple directions at the same time. I suppose that could be said even if the only band joining the lineup was Green Milk From Planet Orange, but perhaps it’s that much truer with Dutch heavy rockers Drive by Wire listed alongside Portland, Oregon, extreme proggers Lord Dying, and so on, and as this batch of 15 acts is added to the glut of those already confirmed, the shape of the festival seems set up to benefit from playing all these different takes off each other. They’re announcing the day splits tomorrow, and it should be interesting to see who ends up where and how it all fits together under the headliners.
They say there’s more to add, so I guess that timetable will have a few TBAs. Still, in geographic and aesthetic reach, Desertfest Belgium has become a standout among the busy October festival season in Europe, and a point of convergence for a slew of tours besides. Even if they weren’t bringing anybody else on board, it would already be one to remember.
Dig it:
As promised we quench your thirst for new DF24 names with this divine batch of bands! 👁️
Monster Magnet / Monolord / Black Tusk / INTER ARMA / Spaceslug / Raging Speedhorn / Lord Dying / MORNE / Your Highness / KARKARA Drive By Wire / Five The Hierophant / Norna Green Milk From The Planet Orange / Hell Valley High
This Friday (May 3rd) our day ticket sales starts at 11:00am CET.
Check out our website this Friday to find out which of your favourite bands is playing when.
Posted in Whathaveyou on February 21st, 2024 by JJ Koczan
Heading out from their home in Toulouse, France, on March 13 puts Karkara a little more than a week ahead of the arrival of their new album, All is Dust, which is out March 22. The record brings together heavy psych rock and classic impulses born of kraut and space rock(s) that feels current-gen in its expanded mindset, digging less into Easternism in terms of balance than did 2020’s Nowhere Land (review here), but still showing that dug-in side somewhat on the advance track “Anthropia” that you can stream below. Progressive in its texturing, it is nonetheless an easy, and pleasurable, ride to take into a communal unconscious.
Though some of the shows are split up — that is, the chunk of dates below isn’t all concurrent — gives a chance to see further ahead to the band’s summer plans, as they’ll make stops at Rabastock in July and Krach am Bach in August. They call this ‘the first round,’ so it wouldn’t be a surprise if a second one followed in summer, or certainly a stint through sundry Fall fests would be a possibility and will be all the more after the record, which is Karkara‘s third overall, lands next month. In the meantime, intermittent teaming with spacey spearheads Slift feels appropriate. You’ll find those dates noted below among the others in Europe and the UK.
Right under the poster, in blue. Can’t miss ’em:
Hello friends 🖤
We’re thrilled to announce the first round of the ALL IS DUST tour.
We’re sharing gigs with SLIFT on this so dig in 🖖✨
Can’t wait to see you all 👇
🇫🇷 13.03 – Toulouse, Le Bikini | w/ SLIFT 🇫🇷 29.03 – Ventabren, Secret Place 🇫🇷 30.30 – Marseille, L’Intermediaire Live 🇫🇷 31.03 – Chambery, Brin de Zinc 🇫🇷 02.04 – Dijon, Singe en Hiver Asso Mondofuzz 🇳🇱 03.04 – Luxembourg, Rockhal | w/ SLIFT 🇨🇭 04.04 – Zurich, Mascotte Club Zürich | w/ SLIFT 🇫🇷 05 .04 – Lyon, L’Épicerie Moderne / salle musiques actuelles | w/ SLIFT 🇫🇷 06.04 – Paris, La Mécanique Ondulatoire 🇫🇷 10.04 – Rouen, Le 3 Pièces Muzik’Club 🇫🇷 11.04 – Lille, La Bulle Café – Maison Folie Moulins 🇫🇷 12.04 – Ardres, Le saxhorn 🇧🇪 13.04 – Bruxelles, Cheval Marin Brussels 🇫🇷 15.04 – Vannes, Le barailleur 🇬🇧 16.05 – London, Strongroom 🏴 17.05 – Edinburgh, Bannermans Live 🇬🇧 19.05 – Newcastle, Star and Shadow. Wandering Oak 🇬🇧 21.05 – Leicester, The Musician 🇬🇧 23.05 – Lancaster, The kanteena 🇬🇧 24.05 – Bristol, The Lanes 🇬🇧 25.05 – Cambridge, TBA 🇧🇪 22.06 – Namur, Ramd’Âm 🇫🇷 20.07 – Rabastock Festival 🇩🇪 02.08 – Krach am Bach
Stolen Body Records | EXAG’ Records | Le Cèpe Records | Bullet Seed | NRV Promotion
LINE UP : Karim Rihani – Guitar , Vocals , Didgeridoo Hugo Olive – Bass Maxime Marouani – Drums , Vocals
Posted in Whathaveyou on January 31st, 2024 by JJ Koczan
I’ve been trying to post this for like a week. This happens to me now. I’ll be sitting on the couch at like 7PM or some such — well past what I consider ‘Obelisk time’ in my feeble brainclock — and see some relevant item on my phone. I haven’t covered Krach am Bach much in years past, so I probably said something like, “Oh shit right on, I can post about something new,” and started to put the thing together. I don’t remember if I squared the poster image or the fest did — probably them. But then I get in the actual back end of the site and there are like 50 other things and then I’m already late and blah blah fucking blah here I am with another festival lineup post. I’m sure by now the lineup has been completed and the festival — which is set for Aug. 2-3 — has already taken place. Because time would bend over backwards just to screw me up, and I say that as the voice of experience.
But the lineup. Seems likely The Devil and the Almighty Blues will be out on tour, ditto A Place to Bury Strangers, Wine Lips, Deathchant, El Perro. You’ll notice Elder-offshoot Delving among the confirmations, which might mean another studio offering from that project is on the way, and I’ll go to bat for each of Karkara, Humulus, Travo and Black Helium being worth your time based solely on my experience with their recorded output. There’s more to come here, but I’m not sure how much more you really need.
Check it:
+++ First announcements || Tickets available +++
In case you’re wondering about some news for the 29. Krach am Bach Festival, we’ve got the finest selection for a ride through heavy, fuzz-drowned and hypnotic space trips.
Orange Goblin |UK A Place To Bury Strangers |US The Devil And The Almighty Blues |Norway Wine Lips |Canada Tuber |Greece Deathchant |US El Perro |US Madmess |Portugal delving |US Verstärker |US KARKARA |France Humulus |Italy TRAVO |Portugal Black Helium |UK ᴉGeRaldᴉ |France
Posted in Whathaveyou on March 7th, 2023 by JJ Koczan
It was covered here last year as well, but just as a refresher: GockelScream is a private festival — if you want to go, you need to write for tickets — put together at the behest of ElbSludgeBooking and held in a secret location in Dürrröhrsdorf-Dittersbach, Germany. And why would such a thing be covered? Well first, because I think it’s awesome and if the notion of attending a private fest with however few other people fortunate enough to do so doesn’t pique your imagination, then the international reach of the lineup hopefully will. Take a look at the day splits below. You’ve got bands from Germany and Austria, of course, but also Israel, the US, Sweden, Poland, France and the Netherlands. For what’s basically a birthday party, that’s some significant reach.
Details, if you want ’em, are available by emailing ElbSludgeBooking, and while no, I don’t think this is going to be the hugest event of the year, I also don’t think it’s trying to be. This is something for friends or those willing to be friends, and if that’s you, then I hope you go and make friends and have a great time watching killer bands. You got Temple Fang and Bees Made Honey in the Vein Tree (among others) playing on the same day. Ecstatic Vision and Clouds Taste Satanic meeting up (maybe touring together?), and Deathchant, Karkara, Moonstone and DUNDDW on the last day with a slot still open. Got until May to fill it and there are a ton of acts on the road then around Desertfest and the rest of the Spring festival season. Seems to me there probably won’t be a problem finding someone, it’s just a question of waiting to see who it is.
This is the kind of thing that, if I had all the money in the universe, I’d both host and attend on the regular. Maybe with a different poster, but you get the idea.
From the PR wire:
Gockelscream #4.0
May 26-29 – Dürrröhrsdorf-Dittersbach
Gockelscream #4 will go down in Dürrröhrsdorf-Dittersbach from 26. to 29.05.2023.
Saturday: The Great Machine (ISR), Temple Fang (NL), Stew (SWE), Bees made honey in the vein tree (GER), Love your witch (ISR)
Sunday: Deathchant (USA), Karkara (FR), Moonstone (PL), DUNDDW (NL)+ slot open still
Line up:
Our goal for GockelScream is always to make it just like a big party with great music. We try to come up with a one-of-a-kind line-up with bands that are not in the normal concert circuit.. Some of the bands play for the first time in our area or even in Germany. This year we wanted to get some more heaviness into the mix too because we are Elb”SLUDGE”booking, okay?
The location:
Last year we had to move the location for the fest and quickly found the perfect match for our purposes. The place in Dürrröhrsdorf-Dittersbach lies in a small valley, next to a small river. It’s a private property and the people there are just super supportive and share our DIY-attitude. We have plenty of space there for lotsa people, camping, 2 stages and the infamous Rattenbar. We couldn’t be more happy.
How to get in:
Write a mail to gockelscream (at) elbsludge.de and you will get all the information you need.
Posted in Whathaveyou on May 12th, 2022 by JJ Koczan
Why yes, I am ready for the coziest heavy psych outdoor festival in Belgium. Or anywhere, really. But sure, Belgium specifically works, although I have to admit I’m not the most comfortable in the world when it comes to interpersonal contact, so despite the nerve currently pinched in my shoulder and the rampaging plantar fasciitis in my right foot, I’ll probably take a pass on that whole “cosmic masseur” thing. Unless of course that means there’s someone at Down the Hill 2022 performing mystical rites to sooth the very universe itself. In which case, by all means, cosmic massage on. Or it’s a DJ. Which it is.
There’s plenty to dig aside from that, though, between an on-site record store, the requisite merch shopping — I don’t currently own an Elephant Tree shirt, which feels like an error on my part — food trucks if you like eating, a fire in the evening if you like keeping warm, and so on. And that’s before you get to the bands, the list of which is topped by the aforementioned Elephant Tree, though I’d also like to point out Tia Carrera, who are rarely seen outside their native Texas, will play. Bad. Ass. Note Karkara and Djiin making the trip from France, El Perro on tour from the States, Sleepwulf and Second Oracle coming down from Sweden, and a host of Belgian natives, including Wolvennest right out front headlining. A righteous assembly.
Two-dayer tickets are on sale, as the poster and PR wire info below informs:
DOWN THE HILL 2022 – AUGUST 26 & 27
Ready for the most cozy heavy psychedelic outdoor rock festival in Belgium?
With… ELEPHANT TREE (Uk) WOLVENNEST (Be) EL PERRO (Usa) TIA CARRERA (Usa) SLEEPWULF (Swe) KARKARA (Fr) DJIIN (Fr) SECOND ORACLE (Swe) BISMUT (Nl) WHEEL OF SMOKE (Be) ATOMIC VULTURE (Be) BELOMORKANAL (Be)
+ DJ’s between the bands. + Afterparty(‘s)
COZY (BIG) FIRE PLACE in the evening. RECORD STORE during the day FOOD TRUCKS all day long! BAND MERCH FESTIVAL MERCH also online! www.downthehill.be/shop
Posted in Whathaveyou on April 13th, 2021 by JJ Koczan
French heavy psychedelic rockers Karkara released their second album, Nowhere Land (review here), last Fall through Stolen Body Records, and this Fall, they’ll take to the road to support it. At least a little bit, with a few shows in France and the UK slated for September and October. Hey, if that’s what touring needs to look like right now, I think it’s pretty obvious touring needs to happen one way or the other, so take what you can get.
The trio recently participated in a live studio session — two songs, 14 minutes; nice — whereby they rightly break out the didgeridoo and do it up right. We live in uncertain times, as you well know since you’re alive, but here’s hoping these shows happen, and all shows happen and everything is beautiful and nothing hurts and I don’t know about Nowhere Land but Toulouse sounds pretty nice to me.
Okay, here’s PR wire stuff:
Karkara Live Session & Tour Dates (Stolen Body Records)
A deafening echo that suddenly speaks out of the dust, conveying all the desolation of an endless landscape up to the sky.
A journey for those who like exotic rock to sound viscerally loud, raw and high gained. To blow up the speakers for good. Fuzzed guitar and Buzzing didgeridoo locked with a sped up drums and cranked bass sound that makes you feel like you are riding a spacecraft at full speed between the dunes.
Created in 2017 in Toulouse, France, the threesome takes its inspiration among different rock genres, from the sweet middle eastern psychedelic rock to the raw shattering sounds of garage fuzz and german krautrock.
Even going so far as to use their favorite atypical instrument – the didgeridoo – the three members of KARKARA, like desert wizards, take pleasure in pushing further the boundaries of the genre and take their audience into a mystical and indomitable world.
TRACKS PLAYED : 1 – Deliverance 2 – Space Caravan
Tour – September 9th – October 2nd Cities : GAP FR ROUEN FR BRIGHTON GB CHELMSFORD GB LONDON GB BRISTOL GB NEW CASTLE GB GLASGOW GB MANCHESTER GB LEICESTER GB
LINE UP : Karim Rihani – Guitar , Vocals , Didgeridoo Hugo Olive – Bass Maxime Marouani – Drums , Vocals
Posted in Reviews on December 24th, 2020 by JJ Koczan
There isn’t enough caffeine in the universe to properly sustain a Quarterly Review, and yet here we are. I’ve been doing this for six years now, and once started I’ve always managed to get through it. This seven-day spectacular hits its halfway point today, which is okay by me. I decided to do this because there was a bunch of stuff I still wanted to consider for my year-end list, which I’d normally post this week. And sure enough, a few more have managed to make the cut from each day. I’ll hope to put the list together in the coming days and get it all posted next week, before the poll results at least. I’m not sure why that matters, but yeah.
Thanks for following along if you have been. Hope you’ve found something worth digging into.
Quarterly Review #31-40:
Pallbearer, Forgotten Days
Their best record. I don’t want to hear anymore about their demo, or about 2012’s Sorrow and Extinction (review here) or anything else. This is the album Pallbearer have been driving toward since their outset. It is an amalgam of emotive melody and tonal weight that makes epics of both the 12-minute “Silver Wings” and the four-minute “The Quicksand of Existing” that immediately follows, that hits a morose exploration of self in opener “Forgotten Days” and “Stasis” while engaging in metallic storytelling on “Vengeance and Ruination” and “Rite of Passage,” the latter incorporating classic metal melody in perhaps the broadest reach the band has ever had in that regard. So yeah. Pallbearer don’t have a ‘bad’ record. 2017’s Heartless (review here) was a step forward, to be sure. But Forgotten Days, ironically enough, is the kind of offering on which legacies are built and a touchstone for whatever Pallbearer do from here on out.
The fog rolls in thick on Argentinian doomers Fulanno‘s second full-length, Nadie Está a Salvo del Mal. The seven-track/42-minute outing launches in post-Electric Wizard fashion, and indeed, the drawling lumber of the Dorset legends is an influence throughout, but by no means the only one the trio of guitarist/vocalist Fila Frutos, bassist Mauro Carosela and drummer Jose A. are under. They cast a doom-for-doomers vibe almost immediately, but as “Fuego en la Cruz” gives way to “Los Elegidos” and “Hombre Muerto,” the sense of going deeper is palpable. Crunching, raw tonality comes across as the clean vocals cut through, and the abiding rawness becomes a part of the aesthetic on “Los Colmillos de Satan,” a turning point ahead of the interlude “Señores de la Necrópolis,” the eight-minute “El Desierto de los Caídos” and the surprisingly resonant closing instrumental “El Libro de los Muertos.” Fulanno are plenty atmospheric when they want to be, and one wonders if that won’t come further forward as their progression continues. Either way, they’ve staked their claim in doom and sound ready to die for the cause.
Preceded by a series of singles over the last couple years, Cadets is the full-length debut from Los Angeles four-piece Spirit Mother, and it packs expanse into deceptively efficient songs, seeming to loll this way and that even as it keeps an underlying forward push. The near-shoegaze vocals do a lot of the work in affecting a mellow-psych vibe, but there’s weight to Spirit Mother‘s “Ether” as well, violin, woven vocal layers, and periodic tempo kicks making songs standout from each other even as “Go Getter” keeps an experimentalist feel and “Premonitions” aces its cosmic-garage driver’s test with absolutely perfect pacing. The ultra-spacey “Shape Shifter I” and more boogie-fied “Shape Shifter II” are clear focal points, but Cadets as a whole is a marked accomplishment, particularly for a first LP, and in style, substance and atmosphere, it brings together rich textures with a laissez-faire spontaneity. The closing instrumental “Bajorek” is only one example among the 10 included tracks of Spirit Mother‘s potential, which is writ large throughout.
UK four-piece Gévaudan made their debut in 2019 with Iter, and though I’m late to the party as ever, the five-song/53-minute offering is of marked scope and dynamic. Its soft stretches are barely there, melancholic and searching, and its surges of volume in opener “Dawntreader” are expressive without being overwrought. Not without modern influence from Pallbearer or YOB, etc., Gévaudan‘s honing in on atmospherics helps stand out Iter as the band plod-marches with “The Great Heathen Army” — the most active of inclusions and the centerpiece — en route to “Saints of Blood” (11:54) and closer “Duskwalker” (15:16), the patient dip into extremity of the latter sealing the record’s triumph; those screams feel not like a trick the band kept up their collective sleeve, but a transition earned through the grueling plunge of all the material prior. It’s one for which I’d much rather be late than never.
The burly heavy rock of “South” at the outset of Italian heavy rockers El Rojo‘s El Diablo Rojo doesn’t quite tell the whole tale of the band’s style, but it gives essential clues to their songwriting and abiding burl. Later pieces like the slower-rolling “Ascension” (initially, anyhow) and acoustic-inclusive “Cactus Bloom” effectively build on the foundation of bruiser riffs and vocals, branching out desert-influenced melody and spaciousness instrumentalism even as the not-at-all-slowed-down “When I Slow Down” keeps affairs grounded in their purpose and structure. Riffs are thick and lead the charge on the more straightforward pieces and the seven-minute “Colors” alike as El Rojo attempt not to reinvent heavy or stoner rocks but to find room for themselves within the established tenets of genre. They’ve been around a few years at this point, and there’s still growing to be done, but El Diablo Rojo sounds like the starting point of an engaging progression.
Deep Purple, Uriah Heep, Jethro Tull, some Led Zeppelin in “Crazy Little Lover” and a touch of opera on “Nasrid” for good measure, Witchwood‘s 62-minute Before the Winter 2LP may be well on the other side of unmanageable in terms of length, but at least it’s not wasting anyone’s time. Instead, early rockers like “Anthem for a Child” and “A Taste of Winter” and the wah-funked “Feelin'” introduce the elements that will serve as the band’s colorful palette across the whole of the album. And a piece like “No Reason to Cry” becomes a straight-ahead complement to airier material like the not-coincidentally-named “A Crimson Moon” and the winding and woodsy “Hesperus,” which caps the first LP as the 10-minute epic “Slow Colours of Shade” does likewise for the record as a whole, followed by a bonus Marc Bolan cover on the vinyl edition, to really hammer home the band’s love of the heavy ’70s, which is already readily on display in their originals.
If nothing else, Gary Lee Conner sounds like he probably has an enviable collection of 45s. The delightfully weird former Screaming Trees guitarist offers up 10 fresh delights of ’60s-style garage-psych solo works on the follow-up to 2018’s Unicorn Curry, as Revelations in Fuzz lives up to its title in tone even as cascades of organ and electric piano, sitar and acoustic guitar weave in and out of the proceedings. How no one has paired Conner with Baby Woodrose frontman Uffe Lorenzen for a collaboration is a mystery I can’t hope to solve, but in the swirling and stops of “Cheshire Cat Claws” and the descent of six-minute closer “Colonel Tangerine’s Sapphire Sunshine Dreams,” Conner reaffirms his love of that which is hypnotic and lysergic while hewing to a traditionalism of songwriting that makes cuts like “Vicious and Pretty” as catchy as they are far out. And trust me, they’re plenty far out. Conner is a master of acid rock, pure and simple. And he’s already got a follow-up to this one released, so there.
Formed in Italy with Albanian roots, Tomorr position themselves as rural doom, which to an American reader will sound like ‘country,’ but that’s not what’s happening here. Instead, three-piece are attempting to capture a raw, village-minded sound, with purposeful homage to the places outside the cities of Europe made into sludge riffing and the significant, angular lumber of “Grazing Land.” I’m not sure it works all the time — the riff in the second half of “Varr” calls to mind “Dopesmoker” more than anti-urbane sensibilities, and wants nothing for crush — but as it’s their debut, Tomorr deserve credit for approaching doom from an individualized mindset, and the bulk of the six-song/48-minute offering does boast a sound that is on the way to being the band’s own, if not already there. There’s room for incorporating folk progressions and instrumentation if Tomorr want to go that route, but something about the raw approach they have on their self-titled is satisfying on its own level — a meeting of impulses creative and destructive at some lost dirt crossroads.
Well what the hell do you think Temple of the Fuzz Witch sounds like? They’re heavy as shit. Of course they are. The Detroiters heralded doomly procession on their 2019 self-titled demo/EP (review here), and the subsequent debut full-length Red Tide, is righteously plodding riffery, Sabbathian without just being the riff to “Electric Funeral” and oblivion-bound nod that’s so filled with smoke it’s practically coughing. What goes on behind the doors of the Temple? Volume, kid. Give me the chug of “The Others” any and every day of the week, I don’t give a fuck if Temple of the Fuzz Witch are reinventing the wheel or not. All I wanna do is put on “Ungoliant” and nod out to the riff that sounds like “The Chosen Few” and be left in peace. Fuck you man. I ain’t bothering anyone. You’re the one with the problem, not me. This guy knows what I’m talking about. Side B of this record will eat your fucking soul, but only after side A has tenderized the meat. Hyperbole? Fuck you.
Rife with adventurous and Middle Eastern-inflected heavy psychedelia, Nowhere Land is the follow-up to Toulouse, France-based Karkara‘s 2019 debut, Crystal Gazer (review here), and it finds the three-piece pushing accordingly into broader spaces of guitar-led freakery. Would you imagine a song called “Space Caravan” has an open vibe? You’d be correct. Same goes for “People of Nowhere Land,” which even unto its drum beat feels like some kind of folk dance turned fuzz-drenched lysergic excursion. The closing pair of “Cards” and “Witch” feel purposefully teamed up to round out the 36-minute outing, but maybe that’s just the overarching ethereal nature of the release as a whole coming through as Karkara manage to transport their listener from this place to somewhere far more liquid, languid, and encompassing, full of winding motion in “Falling Gods” and graceful post-grunge drift in “Setting Sun.”
Posted in Whathaveyou on September 9th, 2020 by JJ Koczan
Preorders are up now through Stolen Body Records, the band directly and Ghost Lizard Diffusion for the second album from Toulouse, France-based heavy psych rockers Karkara. Titled Nowhere Land and reportedly composed while touring to support their 2019 debut, Crystal Gazer (review here), the record has already sold through a significant portion of its initial pressing. Karkara‘s Bandcamp page as of this writing has just 32 copies of its 300 total still available, so it seems fair to expect those might go before, say, the next two and a half months are done.
All the better for the band, then. They’re streaming a new video for “Falling Gods” that finds them out among sand dunes pulling together a Middle Eastern-inflected blend of progressive and heavy riffing, guitarist Karim Rihani and drummer Maxime Marouani splitting vocal duties between the verses and chorus. Everything would seem to be in good order following up on the debut, in other words.
Clip is at the bottom here. You’ll also see preorder links on your way down. Stolen Body posted the following:
Karkara – Nowhere Land
A deafening echo that suddenly speaks out of the dust, conveying all the desolation of an endless landscape up to the sky. A journey for those who like exotic rock to sound viscerally loud, raw and high gained. To blow up the speakers for good. Fuzzed guitar and Buzzing didgeridoo locked with a sped up drums and cranked bass sound that makes you feel like you are riding a spacecraft at full speed between the dunes.
KARKARA’s second album, “Nowhere land” explores the mysteries of the unknown lands. An album that drags the comfort out of your zone and creates an eerie space of atmospheric low-end and sneering highs.
7 tracks that take a further step into a dark and mystical world. This album is a straight continuity of ‘Crystal Gazer’. The second chapter of a journey made by a traveler who discovers new lands and mysterious people. Written during Crystal Gazer’s tours, among long rides between gigs and rehearsals in south France. Recorded in Toulouse at SwampLand studio and using only analog equipements to add that raw Lo-fi flavor they love.
Created in 2017 in Toulouse, France, the threesome takes inspiration among different rock genre, from the sweet middle eastern psychedelic rock to the raw shattering sounds of garage fuzz and german krautrock.
Even going so far as to use their favourite atypical instrument – the didgeridoo – the three members of KARKARA, like desert wizards, take pleasure in pushing further the boundaries of the genre and take their audience into a mystical and indomitable world.
TRACK LIST : 01. Deliverance (5:46) 02. Space Caravan (6:24) 03. Falling Gods (3:55) 04. People Of Nowhere land (6:04)
05. Setting Sun (4:14) 06. Cards (4:30) 07. Witch (5:33)
