Posted in Whathaveyou on January 20th, 2026 by JJ Koczan
London’s Green Lung have finished recording what will be their fourth album. I don’t know if that means the mix is done or hasn’t started yet and the nine days they spent at Rockfield Studios in Wales was just for tracking, but it means at least that, and if you’ve ever made a record or maybe if you haven’t you know that recording the songs is, well, a big part of the process. Not necessarily all of it, but still.
If they have mixing, mastering, making the inevitable video or two and an at-least three-month promo period ahead of them — not to mention beginning to ramp up tour preparations, because Green Lung are about to enter a whole new cycle — they could probably have the record out by June, but Green Lung have a thing for October releases, so when they say they can’t wait for people to hear the album “later this year,” they might mean October.
Fun to speculate either way, and one looks forward to hearing how Green Lung follow the upped production scope of their Nuclear Blast debut, 2023’s This Heathen Land (review here) — which brought them to the US for their first tour, including the much-missed Desertfest NYC 2024 (review here). They’ve always been a songwriting-based band, but the grandiosity laid on top of that has grown ever broader-reaching. They’re not shy in pushing over-the-top, I guess is what I’m saying. It should be a fun one.
From social media over the weekend:
Another one in the bag! What a privilege to spend the last nine days recording Album IV at Rockfield Studios with producer Tom Dalgety and engineer Tim Lewis. So many of the bands that inspire us have haunted these hallowed halls, from Sabbath to Priest, Queen to Rush, Hawkwind, Budgie, Van Der Graaf Generator… the list goes on. Hopefully we haven’t tarnished the legacy. We can’t wait for you all to hear it later this year 💚 (📸: Andy Ford)
Posted in Whathaveyou on December 10th, 2025 by JJ Koczan
I can’t help but be glad to see London’s Elephant Tree getting out for a tour next Spring. They drop hints of ‘new music’ below, which is fine if not quite the same thing as ‘the album’s done.’ I’ll take that either way, too. Next year — 2026, stay with me — will be a decade since their 2016 self-titled debut (discussed here, review here), and six years since its prog-blossoming 2020 follow-up Habits (review here), and that seems as good a time as any for another LP, but they did have the anniversary compilation Handful of Ten (review here) in 2024, and last year’s split with Lowrider, The Long Forever (review here), though that probably did more to whet an appetite for more new sounds than sate it, given what its rawer and noisier take might portend for the band going forward as relates to the crisp clarity of Habits.
Well, you know, I’ve been hanging around outside Elephant Tree‘s practice space, like one does, waiting to hound them and ask about all this stuff, but they’re wily and they continue to elude my clumsy ass. Nonetheless, that they’re getting out for 10 shows in 10 days is a good sign for them to build on fest appearances throughout 2025 like Desertfest Belgium, Stoned From the Underground, Desertfest Oslo (review here) and Hoflärm. Here they’ll do StonerGrungeFest in the Netherlands and Sonic Ride in Cologne. Of course, one will be interested to find out their plans for the rest of 2026 — a self-titled reissue doesn’t seem out of line; that’s one of its decade’s best heavy rock records, let alone best debuts — and maybe that ‘new music’ threat below will turn some up. Fingers crossed.
Love the elephant. Does it have a name? From socials:
As the more eagle eyed among you may have seen, we’re off on our first headline jolly across the water next year! We cant wait to get back out there after this year’s fun and frolics and to see all those lovely faces again.
Elephant Tree – Pack Your Trunks: 02.04 La Bulle Cafe Lille FR 03.04 Merleyn Nijmegen NL 04.04 StonerGrungeFest 2026 at De Welling Utrecht NL 05.04 Knust Hamburg DE 06.04 Badehaus Berlin DE 07.04 B58 Braunschweig DE 08.04 Werkz Leipzig DE 09.04 Stereo Nurnberg DE 10/04 Franz. K, Reutlingen DE 11/04 Sonic Ride III Cologne DE
Posted in Reviews on November 19th, 2025 by JJ Koczan
I was gonna do this whole week, happy Monday, happy Tuesday, happy Wednesday, but I happen to feel like an asshole typing the words “happy Wednesday,” so I’m going to refrain. Hope your week isn’t awful, in any case.
Or if it is, I hope music can help make it better. This Quarterly Review has been a breeze thus far and looking at the lineup for today I expect the trend to continue. Thanks for hanging in with it. We pass the halfway mark today and will wrap up on Friday, with 50 releases covered throughout the week.
Quarterly Review #21-30:
Amorphis, Borderland
Yeah, okay, you can go ahead and cancel the rest of the review. Yup, I know. I’d love to sit here and talk about how Finland’s Amorphis, some 35 years and upwards of 16 full-lengths later, are still refining their processes, conjuring melodic intricacy, and celebrating death metal in kind. I’d love to talk about the progressive strains in Borderland, or about how as recognizable as Amorphis are, they’re still able to find new ways to balance the keys and guitar, or to switch up the vocals, or even just to chug proggier on “Light and Shadow” and “Fog to Fod,” whatever it might be. I’d love to talk about all of that, but you see, the thing is… “Bones.” Specifically, the riff thereof, swept into with crushing majesty and rolled forth with knows-what-it-has certainty of the type one would expect from a long-established pro-shop genre-innovating band like Amorphis. I could go on about all the other stuff, but that riff is gonna be all you need to know ahead of time. I’ll hope to have it in my head for the next year or so.
One could spend the rest of this space recounting Joe Hasselvander‘s pedigree, from Death Row to Pentagram to Raven to The Hounds of Haseelvander, with stints in countless others including Blue Cheer besides, but that doesn’t tell you much about the doom of Fire on the Mountain. Hasselvander‘s third solo outing under his name and first in 25 years follows a traditional pattern of Doom Capitol blue-collar riffing that, it has to be acknowledged, Hasselvander had a part in establishing, while the man himself plays all instruments and handles vocals, at time with a bit of a lounge-singer edge with spoken lines, but when he reaches for the higher note in third cut “Holy Water,” a big moment in the song, it’s there for him. “Prodigal Sun” is one of several images taken from the bible and would seem to be autobiographical, and he ends with a fitting apex of nod and shred in “Darkest Before the Dawn.” He’s said he has plans for more, and indeed, Fire on the Mountain sounds more like a beginning than an end.
A current of crackling, tube-heating distortion begins in “Spine,” which introduces Kariti‘s third album, Still Life, and indeed even amid the The Keening-esque piano of “Nothing” and the title-track a short time later, that hard-toned drone becomes a backbone for the material. It’s not always there — arrangements are fluid around the central guitar/keys/voice — but for an artist working in a style so intentionally mindful of aesthetic, the My Bloody Valentine-esque noise swell of “Suicide by a Thousand Cuts,” the emergence of the static in “Naiznanku” and the rumble behind the closing prayer “Baptism” bring dark avant garde experimentalism to traditionalist melodies. This is what Kariti has been developing since 2020’s Covered Mirrors (review here), working with guitarist Marco Matta on a deepening collaboration. While retaining folkish intimacy thanks to the quiet stretches around this distorted crunch (looking at you, “Purge”), Kariti has never sounded farther-reaching.
They don’t make ’em like Burning Sister anymore, and listening to Ghosts, I’m less sure they ever did. Because as much as the Colorado now-twosome of bassist/vocalist/synthesist Steve Miller and drummer Alison Salutz continue to foster a druggy ’90s-type slackerism amid all the crash in opener “Brokedick Icarus” and the drawling march of “No Space or Time,” they’ve also never quite sounded as much themselves. There’s psychedelic shimmer in the noise swirling in the later reaches of “Stellar Ghost,” and “Lethe//Oblivion” (premiered here) is made all the more a ceremony with the thread of synth and/or amplifier hum. Meanwhile, “Swerve (Dead Stars)” would work as a new wave arrangement, I can feel it, and the longest-song-by-a-second “Dead Love” (7:20) closes with a thrilling roll and languid procession, reinforcing the downerism that’s been essential to Burning Sister since their outset. Whatever comes in the future, being a duo suits these songs.
A quick turnaround third full-length from London’s The Lunar Effect will be nothing to complain about for those who (like me) got on board with the London heavy rock outfit via last year’s Sounds of Green and Blue (review here). Also on Svart, the follow-up brims with cohesion in its songwriting and purpose in its twists, with the opener “Feed the Hand” establishing the command that proves unwavering through “Watchful Eye,” the brash speed-shuffler “Five and Two” and the lonely sway of “My Blue Veins” before “Stay With Me” modernizes Graveyardian soul en route to the grunge-riffed centerpiece “Settle Down.” The dynamic continues to expand with the piano-led “I Disappear” speaking to a burgeoning reach in songwriting, while “A New Moon Rises” regrounds and “Scotoma” smoothly finds a niche in desert rock that probably hundreds of bands wish they could make their own, and “Nailed to the Sky” rounds out by going big on tone and emotionality alike. So far, these guys are a better band than people know. They inject a little drama to these proceedings, and it sounds like there’s more to come.
While the closing title-track has a thread of prog metal that reminds of mid-period Devin Townsend, Auckland, New Zealand’s King Cruel back their 2023 Creeper three-song EP with a marked sense of atmosphere, the melodies of careening lead track “Haunting Time” calling to mind Boston’s Worshipper in their metallic underpinnings, shred and thoughtful melody. Sky Eater is my first exposure to the band, whose style balances mood and impact smoothly, and whose hooks are inviting without being cloying, as in “Diamond Darya,” which digs in and rides its central riff with a stoner rocker’s dedication and a poise that comes from knowing why they’re doing it. The aforementioned capper is the catchiest of the bunch, but King Cruel, goal-wise, have more in their sights than catchiness, and given the sprawl they lay out here, one can’t help but wonder if a debut album won’t be next.
I won’t claim to know how it was made, between what’s improvised, layered in, overdubbed, conjured from ethereal planes beyond the limits of understanding, and so on, but Angad Berar‘s eight-track/50-minute Sundae is indeed a sweet dish of psychedelic immersion. The Berlin-based solo artist made it in collaboration with guitarist/synthesist/bassist Kartik Pillai, while drummer Siddharth Kaushik sits in on the 10-minute penultimate cut and vocalist Chrisrah guests on the only song that isn’t a numbered jam, the moody mellow liquefier “Driving With You” before “Jam #3” and the horn sounds of “Jam #4” re-immerse the listener in slow-churning fluidity. “Jam #6,” with the live drums and extended runtime, is pointedly hypnotic in its first half, but has some Endless Boogie-type rock angularity later that makes it fun, while the closing “Jam #7” offers a seven-minute drone meditation before handing the listener back over to reality. Serenity abounds if you know where to find it.
Trevor’s Head, Fall Toward the Sun // Majesty and Harmony
Admirably celebrating their 15th anniversary in 2025 with touring and new music, UK melodic heavy rockers Trevor’s Head bring the Abbey Road-recorded “Fall Toward the Sun” and “Majesty and Harmony” together, not quite to encapsulate their sound or everything they’ve accomplished in their time, but to typify the ethic of marking the occasion by doing the thing itself; that is, they’re writing music because it’s what they love to do. “Fall Toward the Sun” and “Majesty and Harmony” both have an edge of aired-out ’90s-type noise rock — nothing new for Trevor’s Head in terms of style — but where they hit you with it up front in the first song, the latter holds its payoff in reserve for when they depart the titular harmonies and get to the surge of crunch in the midsection. Running seven minutes total, you wouldn’t accuse Trevor’s Head of overindulging, but instead, they give their fans and followers something new to dig into that in ethic and realization can only serve as a reminder of their appeal in the first place.
Burl, crunch, lumber, crush, groove and sprawl — the Rob Wrong (Witch Mountain)-recorded debut full-length from Portland, Oregon, riffchucking five-piece Ravine knows from whence it hails. There are some flashes of cosmic intention, but sludgier, earthbound nods pervade the five-track/47-minute outing, which holds its ambition not in a performative stylistic overreach — that is to say, Ravine are who they are musically; there’s no pretense here as they hit you with it straight forward — but in the course each of these tracks takes. Their heaviest onslaught might be in the willfully, almost gleefully grueling “Ennui,” of course the centerpiece, but even there Ravine aren’t content just to doom, or rock, or sludge out, etc., instead working to create a sense of momentum within the songs as each follows its own path, marking out its own place while adding to the whole. They’re not done growing, and I don’t think the balance of their approach is settled, but given what they already lay out, that’s a strength in their favor. This is the kind of debut that makes friends.
Sweden’s Malgomaj aren’t through the opening title-track (a bookending two-parter) of Valfiskens Buk before they’ve put forth primo hard boogie and inventive Sabbathry, classic in influence, modern in production/execution, and continuing to brim with movement as “Rembrants Skugga” and the softshow-ready “Hej Hej Malgomaj” back it. I suppose the elephant in the room here is Graveyard, but “Värddjur” has more Motörheaded foundations, and the instrumental “Itera Mot Solnedgången” hints toward Westernism before the seven-minute “Cyklopisk Betong” flattens with its early riff only to redirect to ’60s-ish garage jangle, so one wouldn’t accuse Malgomaj on this apparent debut of being singleminded, but neither are they lacking cohesion or flow between songs. “Stöttingfjället Rämnar” answers the heft of the track prior and “Det Är Nåt Fel På Solen” sets a languid march before “Valfiskens Buk Del 2” reprises the opener to make the album sound all the more complete, whether you speak the language or not.
Posted in Whathaveyou on November 6th, 2025 by JJ Koczan
Business as usual here, by which I mean Desertfest London is coming in hot with the latest round of names for the 2026 lineup, with Clutch headlining on a UK exclusive, plus Gnome, Mario Lalli, Blackwater Holylight, friggin’ 16, Howling Giant, Waxy, and a host of others — names I’ve heard, names I’ve not — joining the bill. Some homework to do — who are Ian? who are Meatdripper? — and still more reveals to come, you can see on the poster below it’s getting pretty crowded.
Clutch are the last of the headliners to be revealed, and sure to be a draw for oldschool heads alongside Green Lung, Hermano and The Sword, whoever else counts. They’re always, always, always fun live, so no doubt they’ll deliver. Tickets are on sale and linked below:
Are you ready? Our third and final 2026 headliners are here – some of you may have guessed it from our teasers — please welcome the mighty Clutch to Desertfest 2026!
It certainly has been a longtime coming but we are thrilled to announce these supernovas are *finally* bringing their legendary high-energy live show to the Desertfest London stage – their only UK show in 2026.
And that’s not all we have to share — we warmly welcome:
↠ Antwerp powertrio Gnome
↠ LA (via PDX) ethereal heavy psyche dreamers Blackwater Holylight
↠ The Godfather of Desert Rock, Mario Lalli, returning with The Rubber Snake Charmers, to take us on a shaman’s journey through the desert landscape of imagination.
↠ Swedish quintet Hällas, bringing their cinematic storytelling, and epic fantasy-themed Adventure Rock.
↠ California sludge pioneers 16 The Band – playing their first UK show in over a decade – their first time at DF London.
Feast your eyes on the 24 new artists who have joined are 2026 line up! 💥 CLUTCH GNOME BLACKWATER HOLYLIGHT MARIO LALLI & THE RUBBER SNAKE CHARMERS Hällas 16 Howling Giant khost Cwfen Harrowed Coffin Mulch The Grey Red Eyed Cult DROMOS LIQUID SHIT Waxy Midhaven Meatdripper IAN SMOULDERING TOMB Praetorian Den Der Hale SUPERSEED INSTAR SLING
Posted in Whathaveyou on October 7th, 2025 by JJ Koczan
Am I crazy (granted) or are we a little early arriving at the place where Desertfest throws down 20-someodd bands — in this case 28 — added all at once to the lineup? I mean, 28 bands, even for a four-day festival, would be a festival lineup. So Desertfest London 2026 is basically showcasing an entire fest’s worth of fest as just part of its broader lineup, the first announcement for which came out just a little over a month ago. I’m not worried about the promo plan or anything, you understand. They know what they’re doing. But I usually think of this kind of thing coming in winter as a hopeful portent of spring. Here in the backwater US, we haven’t even changed the clocks yet.
But can you blame them for being excited? If I had Hermano, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Solace, Causa Sui, High Desert Queen, Steak, Abrams, Alunah, Moundrag, Bismut and the rest of this cohort — Dandy Brown pulling double-duty between Hermano and Lorquin’s Admiral; nice — locked in, I might splurge too. And hopefully I’ll have more to say on this subject, but Solace‘s booked return to the UK has me convinced their new album will be out by the time they go. Do me a favor and don’t prove me wrong.
There’s a lot to like here, and also just a lot for what’s a relatively straightforward list of names. Read ’em and weep:
OUR SECOND ANNOUNCEMENT IS HERE! We’ve got 28 juicy additions to our 2026 edition and this announcement one is truly one for the DF OGs right here: desert legends HERMANO will headline the Electric Ballroom at Desertfest 2026.
Back to show us all how it’s done, John Garcia and the California cult icons will be playing their first UK show in almost two decades and we know that they’ll receive the homecoming they deserve at Desertfest London.
↠ Pigs Pigs Pigs Pigs Pigs Pigs Pigs – returning to Desertfest stage for the first time in 8 years.
↠ Danish heavy psych heroes turned instrumental wizards Causa Sui make their Desertfest London debut!
↠ New Jersey stoner-doom veterans Solace playing their first UK show in over a decade.
And that’s not all, folks! We’ve still to announce our final headliner for our second stint at the Roundhouse, but in the meantime we’ve prepared a mighty offering that we know you’ll love in our latest round of artists set for 2026:
HERMANO Pigs Pigs Pigs Pigs Pigs Pigs Pigs Causa Sui Zig Zags Steak Band Solace Deaf Club Witchsorrow High Desert Queen MOUNDRAG KOMODOR Alunah CULT OF OCCULT Forlorn LORQUIN’S ADMIRAL OMO ALPHAWHORES Abrams Bismut Okay You Win UK Ironrat Kannabinõid MOLTEN SLAG HASHTRONAUT ISAK SUPERNAUGHTT Teiger Nomadic Reign
Posted in Whathaveyou on September 11th, 2025 by JJ Koczan
Obviously a big portion of what Cathedral have been doing since breaking up the band following the release of 2013’s The Last Spire (review here) has been finding the font for this posthumous release. I mean that thing looks good. Like ’60s Satano-cult exploitation mag good. Fonts like that don’t just grow on trees, or those sites where you’re supposed to pay and then very much you don’t pay.
Fitting occasion though, with the not-a-band-anymore-don’t-call-this-a-comeback English doomers’ half-hour-long single-song EP Society’s Pact with Satan, due to issue through frontman Lee Dorrian‘s own Rise Above Records on LP and CD (if Lee Dorrian is betting on CDs as a viable physical format, so should you) at the start of next month. It’s not a new recording and by all accounts that I’ve seen, Cathedral aren’t actually back (though maybe they’d play your festival if you asked nicely?), but longtime fans and those who’ve discovered them since their disbanding will be glad to have something new to chase down.
There’s a teaser clip at the bottom of the post. The PR wire tells the tale:
Cathedral – Society’s Pact with Satan. Previously unreleased 30-minute track is released on October 3rd.
‘The term ‘back from the grave’ takes on a whole new meaning with the release of this (thought to be long lost) epic recording by the much-missed British Doom Metal lords: Cathedral. Society’s Pact With Satan was the last ever recording made by the band, back in 2012. It was recorded at the end of the sessions for their swan song album; 2013’s The Last Spire. But for some reason, the 30-minute track was not mixed at the time, thus pretty much forgotten about by everyone involved, until very recently.
Re-discovered by producer Jaime Gomez Arellano, whilst sorting through his old studio recordings, he excitedly alerted the band, saying that he had discovered a long-lost gem. Upon hearing it, the band members were convinced enough to agree that it should see a commercial release.
So, here we have it: the final sermon by Cathedral and what a way to go out. It’s an unapologetic, uncompromising exercise in macabre observations, musical eccentricity, brutal riffing and general arcane self-indulgence. There genuinely was/is no other band like Cathedral. Just ask Tony Iommi!
All LPs come with an insert. Initial CD edition comes in slipcase.
Vinyl pressing quantities
x100 Clear vinyl LP (Mail order only) x200 Purple vinyl LP (Mail order only) x400 Red vinyl LP x400 black vinyl LP
tracklist:
CD: 1. Society’s Pact with Satan (29:46)
Vinyl Side A: Society’s Pact with sat pt I Side B: Society’s Pact with sat pt II
Also released on October 3rd is a 20th anniversary edition of Cathedral’s 2005 album: The Garden Of Unearthly Delights, in huge poster sleeve.
Posted in Whathaveyou on September 8th, 2025 by JJ Koczan
For an event like marking a 15th anniversary, I’ll note immediately that the fall-touring announcement from UK psych-prog rockers Trevor’s Head is remarkably subdued. There’s no hyperbole thrown around about slogging it out in the underground or the time they’ve spent honing their craft on stage, in the rehearsal room and probably in a few sub-savory pubs in England’s green and pleasant land. Nonetheless, a decade and a half isn’t nothing, and whatever lack of ceremony surrounds — one wouldn’t want to overdo it, I suppose — neither is the stretch of shows.
Or stretches, I should say. The celebration is split up throughout October and into November across four successive weekends between Oct. 17 and Nov. 8, with the last show in Redhill, where the trio are from. The band’s last release was 2023’s A View From Below (review here) on APF Records, and you’ll find it streaming below in case you’d like a refresher. I was lucky enough to see these dudes once in London in the long-long ago, and I’ll happily tell you that if you’re thinking of hitting up a gig, especially with the anniversary and all, expect a good time. I’m not sure who’s on what dates, but somewhere in there will be shows with Lacertilia and Dead Lettuce, or at least Trevor’s Head tagged those bands in the social media post you’ll see below with the dates.
Check it out:
**TOUR ANNOUNCEMENT**
October 2025 marks the 15th anniversary of Trevor’s Head, so what better way to celebrate than going on tour? We’ll be blasting across the land, sandwiches in hand, perforating eardrums with mates old and new. Calling at:
17/10 – Tap ‘n’ Tumbler, Nottingham 18/10 – Redrum, Stafford 24/10 – Clwb Ifor Bach, Cardiff 25/10 -The Gryphon, Bristol 26/10 – The Queens Head, Farnham 31/10 -Chaplin’s & The Cellar Bar, Bournemouth 1/11 – Hope and Anchor, London 7/11 – Poco Loco, Chatham 8/11 – The Junction, Redhill
Catch you somewhere along the trail!
Trevor’s Head are: Roger Atkins – guitar & vocals Aaron Strachan – bass, synth and vocals Matt Ainsworth – drums, synth and vocals
Posted in Whathaveyou on September 4th, 2025 by JJ Koczan
The end of this month will bring the first-ever Lay Bare Fest, put together at the behest of Lay Bare Recordings, whose varied and international lineup will be showcased at The Black Heart in London. The initial announcement for the all-dayer came through in May, and the lineup has now been finalized, not only with Coltaine and The Answer Lies in the Black Void and Mrs Frighthouse celebrating new album releases, but with new UK-based additions Kulk, Forlorn and Taz Corona.
If the latter name rings familiar, you might recall Corona from her time in Undersmile and the related project Coma Wall. I’m not sure what form her solo work takes, if she has a band with her or is acoustic, plugged-in, etc., but she’ll open the day ahead of Rats and Daggers and Mrs Frighthouse, both divergent and pummeling as they are.
Looks like good fun for the sonically adventurous. The PR wire brought the poster and details, so by all means, have at it:
LAY BARE RECORDINGS to Host First-Ever London Festival; “Lay Bare Fest: Frequencies Across Borders”!
Lay Bare Recordings, an independent label known for its deep love of heavy, heartfelt, and boundary-pushing music, is set to cross the pond for the first time with its own festival. In a powerful cross-border collaboration, Lay Bare Fest: Frequencies Across Borders will take over The Black Heart in London on Saturday, September 27, 2025.
Location: The Black Heart, London Date: Saturday, September 27, 2025
Line-up: Forlorn (UK) Kulk (UK) The Answer Lies in the Black Void (HU/ NL) Coltaine (GER) Rosy Finch (SP) Mrs Frighthouse (UK) Rats and Daggers (NL) Taz Corona (UK)
Founded in 2013 by Désirée Hanssen in the Netherlands, Lay Bare Recordings has become a trusted home for artists who defy easy categorization. With a catalog of over 67 albums spanning doom, sludge, post-metal, and experimental sounds, the label prides itself on authenticity and community, supporting a DIY culture where passion and dedication come first. Every release is more than just music; it’s a story pressed into wax, meant to be shared and treasured.
This one-day label showcase is a collaborative effort between Lay Bare Recordings, Chaos Theory, and Pride Management. In a fractured post-Brexit landscape, the festival stands as a statement, a call to unite the UK and European underground scenes at a time when collaboration is more crucial and complicated than ever. Lay Bare Fest is about building bridges between people who believe the underground still matters – not just between countries, but between all who support it, from musicians to music lovers, labels, bookers, and photographers. It’s a gathering for the open-minded to connect through music.
Known for amplifying genre-defying creativity, Lay Bare Fest is hosting a lineup that reflects unity over division. Expect genre-defying, boundary-pushing Lay Bare acts like Rosy Finch (SP), Coltaine (GER), Mrs Frighthouse (UK), The Answer Lies in the Black Void (HU/ NL) and Rats and Daggers (NL). And recently added upcoming bands Taz Corona (UK), Forlorn (UK) and Kulk (UK).
Adding to the excitement, the event will feature three exclusive album release shows in the UK for Mrs Frighthouse, The Answer Lies in the Black Void, and Coltaine, who will all be playing their recently released albums for the first time in the country.
Experience the energy. Feel the frequencies. Be part of the Lay Bare Family.
