Yeah, that’ll do nicely, thanks. Checking out the new track from Sweden’s Huanastone, it’s little mystery why a label like Argonauta Records would want to pick them up, with their modern, open feeling tones reminiscent of some of Lowrider‘s original purposes, but set to more psychedelic reaching, an edge of post-rock coming through in the patience and jammier aspects enough to make “Bad Blood” suitably fluid. It’s the only thing I’ve heard from the upcoming Third Stone From the Sun album that Huanastone will issue through Argonauta this Spring, but it bodes well. I know Swedish heavy bands aren’t exactly a rarity these days — Huanastone hometown of Malmö makes me think immediately of Deville, with whom they’re playing this weekend as it happens — but pound for pound I don’t know if there’s another single nation on earth that delivers so much quality heavy rock and roll per capita. Germany? Argentina? I’d have to look at respective proportions of population vs. kickassery. I’ll get back to you once I’ve properly analyzed census data.

Point is the track is cool, so before you play the cynical, “Oh hey another band from Sweden bet they sound like Graveyard,” thing — they don’t, at all — take a couple minutes and listen to the track. You might dig it.

I hope you do, anyhow. That’s kind of the point.

From the PR wire:

Swedish Stoner Rockers HUANASTONE Sign With Argonauta Records And Reveal First Album Details + Brand New Song!

Malmö, Sweden, based stoner and fuzz rock unit, HUANASTONE, has announced their worldwide signing with Argonauta Records – joining the label’s eclectic artist roster for an album release in the Spring of 2020!

Each of HUANASTONE’s records tells a new story and opens up new opportunities for exploration, while the band is creating an authentic, heartfelt and ominous sound backed up by steady riffs, big fuzz and heavy grooves. Following their critically acclaimed debut EP and first full-length album, HUANASTONE emphasize the importance of live studio recordings, and so it goes for their upcoming, sophomore album titled Third Stone from the Sun.

Says the band: “After years of hard work, Huanastone finally achieved something not many bands gets to experience. We’ve landed a record-deal! We are excited to inform you that we will be working with the one and only, Argonauta Records. Housing some mad bands like Suma, Wasted Theory and Kal-El, we know that we’re in good hands.

Before the full release of the album, we will release 2 singles that will be on all your usual streaming platforms.”

Recorded at Studio Möllan in their hometown of Malmö, today HUANASTONE are already sharing with us a first album appetizer to the heavy stoner juggernaut Bad Blood, listen to the track right HERE!

With many more details and tunes from their upcoming Spring release to follow in the weeks ahead, HUANASTONE will be playing a show in support of DEVILLE on January 18th at Kulturbolaget in their hometown Malmö, a heavy touring schedule with many more dates will be revealed soon.

HUANASTONE is:
Filip Larsson – Bass
Tobias Gonzalez – Vocals/Guitar
Carl Lambertus Olofsson – Guitar
Victor Hansson – Drums

www.facebook.com/Huanastone
https://www.instagram.com/huanastone/
www.huanastone.bandcamp.com
www.argonautarecords.com
www.facebook.com/argonautarecords

Huanastone, “Bad Blood”

A 15th anniversary only happens once, and Swedish heavy rockers Deville will celebrate theirs in style with their first-ever run of Australian tour dates. Presented by Beats Cartel, the run will find them supporting their 2018 outing, Pigs with Gods (review here) — though I wouldn’t be surprised either if they had something new in the works or at least a few new songs to play at the shows — and paired up with Sydney duo Astrodeath, who this winter will release their debut album through Black Farm Records. Deville‘s last offering came out through Fuzzorama, and they also toured Europe in 2019 to back it. Whether or not they have new material to offer up is somewhat beside the point, considering the anniversary noted above. Think about dedicating 15 years of your life to a creative project. It’s not easy. It’s worth a trip to Australia, as far as I’m concerned.

They’ll play Mojo Burning and Germanium Daze festivals while they’re there, and do two nights in Melbourne to lead off, with a couple days off after the first fest that I’m just going to assume will be dedicated to the requisite sightseeing and having-your-picture-taken-with-a-koala-or-kangaroos, etc. How my heart longs have a picture taken with a koala or a kangaroo. I can’t begin to tell you. I’d spend 20-odd hours on a plane for that.

From the PR wire:

SWEDISH RIFF LORDS DEVILLE MAKE FIRST TRIP TO AUSTRALIA

Swedish riff lords Deville make their first trip to Australia next year having today announced plans for an extensive national tour on the back of multiple festival appearances.

Born in 2004, Deville have developed through a haze of Rock, Stoner and Metal sounds, creating something unique which has seen them support the likes of Red Fang, Torche, Fu Manchu, Truckfighters and tour the US, UK and Europe many times over, playing a host of the world’s best venues and festivals.

With albums signed to Heavy Psych Sounds, Buzzville Records, Small Stone Records and Sweden’s Fuzzorama Records, the band have given 15 years of service to Rock’n’Roll, a feat rarely realised in today’s music business. This tour will celebrate the milestone.

March/April 2020 sees the Swedes travel to Australia for their first ever tour of the country. Presented by Beats Cartel, the tour racks up eight dates in four states/territories and will see the band play with the likes of Germany’s Kadavar and appear at annual boutique guitar fest Mojo Burning in Brisbane along with new offering Germanium Daze in Perth.

Lead singer Andreas Bengtsson says of the upcoming tour “Touring Australia for the first time is of course a huge thing for us and doing it when the band is turning 15 years old makes it even better. We’re thrilled to share the stage during this run with bands such as Kadavar, Nebula and Temples and not to forget our touring partners Astrodeath. This will be a good one, hope to see you all at a show.”

In support of the tour nationally are high energy Sydney heavy duo Astrodeath, who have themselves had an amazing drop into the scene having supported the likes of 1000mods, Nick Oliveri and Batpiss along with also landing festival slots at Mojo Burning (QLD) and Germanium Daze (WA) in what is a very short time at the fray.

Catch Deville this Autumn, making their way across the country coast to coast for what will be a fun and energetic display of European hard Rock. Tickets are onsale now through www.beatscartel.com.

Beats Cartel Presents: DEVILLE 2020 AUSTRALIAN TOUR – “15 Years of Rock’n’Roll”
Touring with ASTRODEATH
Thursday March 26 MELBOURNE The Tote
Friday March 27 MELBOURNE Cherry Bar
Saturday March 28 BRISBANE MOJO BURNING FESTIVAL Feat. Temples (UK), Kadavar (GER), Steve Smyth and many more
Wednesday April 01 CANBERRA The Basement
Thursday April 02 SYDNEY Frankies Pizza
Friday April 03 NEWCASTLE Stag and Hunter
Saturday April 04 SCARBOROUGH GERMANIUM DAZE *Feat Kadavar (GER), Nebula (USA), The Floors and many more
Sunday April 05 PERTH Lucy’s Love Shack

https://www.facebook.com/tours/541947679989599/

Deville lineup:
Andreas Bengtsson: guitar/vocals
Andreas Wulkan: guitar
Martin Nobel: bass
Martin Fässberg: drums

http://deville.nu/
https://www.facebook.com/devilleband
http://www.fuzzoramarecords.com/
https://www.facebook.com/Fuzzorama

Deville, Sunnanå Studios live session

[Click play above to stream the premiere of ‘Warrior Queen’ from CB3’s Aeons. Album is out Feb. 28 on The Sign Records.]

They never approach what-you-see-is-what-you-get level simplicity in terms of sound, but at least some of what you need to know about CB3 is there in the name. The acronym, which they seem to prefer to go by, stands for Charlotta’s Burnin’ Trio. Sure enough, there are three of them. They’re led by guitarist Charlotta Andersson. And the burn. Their style is rooted in heavy rock as some of Andersson‘s riffing and certainly her tone demonstrate, but there is a willful-sounding embrace of the progressive as well on their The Sign Records label debut and third album overall, Aeons. Andersson and fellow-founding member Natanael Salomonsson started out in jazzier territory on their 2015 self-titled debut, and across a 2016 live offering, the 2017 short release Adventures, early 2018’s sophomore LP, From Nothing to Eternity (discussed here), and the subsequent live EP, Cult of the Crystals, the Malmö, Sweden, outfit have continually ventured into broader and more psychedelic and weighted ground.

Aeons, which runs an utterly manageable 32 minutes across five tracks, continues this push into the uncharted cosmos perhaps most of all on its nine-minute centerpiece “Acid Haze” — an obvious focal point for the record — but also more generally throughout, as Andersson, Salomonsson and bassist Pelle Lindsjö enact organic-sounding instrumentalist fluidity and give their listeners a range of depths/reaches to explore in kind with the band. Songs are arranged for a journey, parabolically or like a mountain being climbed — though, again, at such a gracefully flowing 32 minutes, it’s not exactly a strenuous uphill — with opener “Zodiac” (3:51) and “Sonic Blaze” (6:50) which follows, building in runtime up to the already-noted longer stretch of “Acid Haze” (9:08), and “Warrior Queen” (7:26) and “Apocalypse” (5:00) paring back down from there in length if not in style or breadth.

Indeed, if anything, “Warrior Queen” answers the sprawl of “Acid Haze” with its own outbound push, particularly over the course of its first five minutes moving further and further from the ground as Andersson‘s guitar soars and shimmers above the solidified but still jammy groove beneath. From there, CB3 come together around a sequence of riffs, one into the next, and resolve the track’s final moments with a straightforward thrust that’s a standout moment even amid the sax and mellotron psychedelic wash of “Apocalypse” that follows — turns out the end of the world is kind of pretty; certainly much prettier than it feels living through it. The point, however, is that the second half of Aeons‘ unfurls itself no less gracefully than does the first. Listening to “Zodiac” at the record’s outset, the groove seems more grounded, toying around with a winding blues riff that wouldn’t seem out of place on a Clutch record even as CB3 manipulate it in various ways via shifts of tempo and effects wash, synth (or synth sounds), and so on, eventually finding their way into a slower nod that only pulls itself further down as it proceeds toward its own end and the more active start of “Sonic Blaze.”

One would hardly call these tracks grounded, even in relation to “Acid Haze” or the first half of “Warrior Queen,” and yet, the temptation to put a first/then narrative — as in, first they’re on the ground, then they’re not — to the progression of Aeons is hard to resist, especially with the sax and mellotron so clearly purposeful in their positioning in the final track. But the truth is more complicated, and, honestly, richer in terms of scope. “Sonic Blaze” flirts with some ambient drone before finding footing in a crash-laden YOB-style triplet gallop, which Andersson then moves up the fretboard before finally releasing into the ether, and eventually returns to the central riff of the track before capping with a winding conclusion on the way into the patient start of “Acid Haze” itself.

And yes, “Acid Haze” go-go-go-goes to new degrees of galaxial spaciousness in a way that CB3 didn’t do even a year ago, the guitar in eyes-closed-Hendrixian-style echo-shred leading the hypnotic wash that ensues on what is a genuinely gorgeous and singular moment on the album, running as far out as it can before Salomonsson‘s popping snare returns to bring momentum and set the stage for the more sweeping second half of the song, though that too has its due portion of noise before the last live-style crashout and the triumphant guitar intro of “Warrior Queen” commences.

Flow becomes central to the penultimate inclusion on Aeons, and in that regard CB3 are right at home, with some joyful headspinning solo fare after the three-minute mark and a generally languid vibe earlier on before, as noted, the more grounded, chugging end takes hold and builds up to the last charge, leaving just “Apocalypse” to round out, its strumming intro and quiet rim-tap snare serving as the initial foundation on which the fuller tonal impact is made. The aforementioned mellotron arrives earlier than the sax, which doesn’t come until just after the halfway mark and seems to show up in layers when it does, but both are central to the song’s statement and the album’s conclusion, bringing together CB3‘s jazz roots with their intent toward classic progressive rock in a way that, thanks to its atmospheric stylization, avoids the self-indulgence one might commonly associate with fusion or such jazzy impulses.

That is a line that CB3 walk well throughout Aeons, grounding themselves at the beginning and periodically afterward even as they venture into new, more cosmic and psychedelic places. Particularly as an instrumental unit, they’re able to bring an imaginative sense to what they do, but they don’t ever seem to lose focus on their central purpose either, and Aeons is a stronger record on the whole for it. I’m left wondering if there isn’t a storyline taking place between the songs as “Sonic Blaze” and “Acid Haze” and “Warrior Queen” flow in succession toward, well, the end of all things, but perhaps that’s a concern best left for the inevitable sequel. For now, Aeons clearly demonstrates CB3‘s ongoing commitment to evolving their sound, and their ability to meld progressive and psychedelic impulses with a rare and well-harnessed vitality. Would seem that’s plenty to ask of a record that’s just over a half-hour long, no?

CB3, Aeons (2020)

CB3 website

CB3 on Thee Facebooks

CB3 on Instagram

CB3 on Bandcamp

The Sign Records on Thee Facebooks

The Sign Records website

Cool band. Swedish trio CB3 have been picked up by The Sign Records — wasn’t it just yesterday I was talking about the label’s reliable taste? well here’s another example of it — to release their second long-player, Aeons, on Feb. 28 as the follow-up to 2018’s From Nothing to Eternity (discussed here) and the subsequent live EP, Cult of the Crystals. The progressive psychedelic instrumental outfit are led by and named for guitarist Charlotta Andersson — they’re Charlotta’s Burning Trio when go long-form — and though February 2020 feels like a great and unknown future somewhere off in the distance, actually it’s only a couple months and the band will unveil the new single “Sonic Blaze” from the five-track offering next week, so you don’t actually have to wait all that long to get at least a quick fix.

Until then, here’s info courtesy of The Sign via the PR wire:

CB3 – Aeons – The Sign Records

We welcome CB3 (Charlottas Burning Trio) to The Sign Records! CB3 will release their new album “Aeons” the 28th of February 2020, and next Friday – the 25th of October, you’ll be able to enjoy the first cosmic frequencies of the album as the single “Sonic Blaze” reaches earth after a long journey through outer space.

CB3 is here to bring you on a journey with their explosive rock jams and mind-bending cosmic soundscapes. CB3 brings the spirit of psychedelic music to the 21th century; with a style that ranges from heavy psych rock jams like Jimi Hendrix to delicate atmospheric passages like Pink Floyd and progressive rhythms like King Crimson and Mahavishnu Orchestra. Close your eyes, set your mind free and drift away into the musical universe of CB3.

The autumn of 2018, CB3 celebrated a five year anniversary as a band in their hometown of Malmö, Sweden. Half a decade of constant exploration of the unconventional way of playing, fusing rock with jazz tonality and experimenting with rhythms, sounds and structures. After two self-released and self-produced albums, multiple collaborative projects and touring, CB3 signed with Lazy Octopus Records and Drone Rock Records for a cassette and vinyl release of their debut album “From Nothing to Eternity” in 2018. It was sold out immediately and received flourishing reviews.

In spring of 2020 they will release their new album “Aeons” on The Sign Records. Charlotta said of the process “It’s been an exciting journey. Me, Pelle and Nate has almost been living, eating and sleeping music, but above all experimenting with the idea of making the most exciting and kickass instrumental album ever.”. Since the beginning the trio has valued and nourished their thriving lust of exploring new ways in composing music and playing live shows.

The album is recorded by Björn Lindberg at Rabbit Holes Studios in Malmö and mixed and mastered by Joona Hassinen at Studio Underjord in Norrköping, Sweden. Björn is a sound engineer that worked with Hey Elbow. Joona is the sought after engineer in the underground scene in Sweden and has worked with bands like MaidaVale and Vokonis. The last track “Apocalypse” features Martin Wirén on saxophones and Charlotta on mellotrones. Artwork by Robin Gnista (Brant Björk, Radio Moscow, Imperial State Electric). Press Photos by Gianluca La Bruna. Video animations by Matteo Nobis Sandén (3D-artist, illustrator).

CB3 are:
Charlotta Andersson – Electric Guitar
Pelle Lindsjö – Electric Bass
Natanael Salomonsson – Drums

www.charlottasburningtrio.com
https://www.facebook.com/charlottasburningtrio/
https://www.instagram.com/charlottasburningtrio/
https://cb3band.bandcamp.com/
https://www.facebook.com/thesignrecords/
http://www.thesignrecords.com

CB3, “From Nothing to Eternity” (Live 2018)

One usually thinks of Sweden’s Deville as having a pretty pro-shop kind of sound. That is, when there’s a new Deville record coming out, I expect that it’s going to sound clear and full in a kind of accessible way that, in an alternate universe, would be radio-friendly. Listening to the recordings they made April 19, 2019, at Sunnanå Studios in Arlöv, I think they might need to track their next album live. Like, entirely live. The four-piece of guitarists Andreas Bengtsson (also vocals) and Andreas Wulkan, bassist Martin Nobel and drummer Martin Fässberg released their Pigs with Gods (review here) full-length last year through Fuzzorama, and it wasn’t lacking for either vitality or presence, but listening to Bengtsson and Wulkan come together on vocals in the hook of “Hell in the Water,” which opens this four-song set in the sub-15-minute video, they nail it in such a way as to make me wonder why they’d ever do anything else. Likewise the gruffer approach and rumble of “Lost Grounds,” the aggro crash of “Wrecked” (which has a confetti drop at the end of it; keep an eye out) and the ultra-righteous apex of “Chief” that rounds out. If you can do that live, do it. Not everyone can.

For those of us who’ve never seen this incarnation of Deville live — when they toured the US a few years back, it was with a different rhythm section — it’s also an opportunity to catch a glimpse of the dynamic they bring to the stage. It’s not going to be the same, of course, as they’re arranged facing each other in a circle and in a studio setting, but you can still see Nobel‘s metallic roots in how he headbangs to the songs, and the care Fässberg puts into propelling the grooves that are laced throughout. Deville are a band about songwriting more than technical flash, but they bring a spirit of performance here that gives another dimension to their work. In tone and in the basic energy, the Sunnanå session speaks to the essential drive behind what they do. It’s not necessarily that it’s rougher than their regular studio output — if it is at all, it’s not much; they still come across clear and professional — but the directness of their craft, its unabashed hooks, benefits from the immediacy of the circumstance. They sound killer, is the bottom line. I think these guys are kind of underrated as songwriters in part because their style is so straightforward, but they’re exceptional in their delivery, and that’s what’s emphasized so fervently in this footage.

So yeah, I’m not trying to tell anyone their business, or how to live their life, or how to make their next album, but the side they show of themselves here is definitely one worth revisiting, be it through a live record at some point or however they might go about it.

I’m happy to host the premiere, and Bengtsson has some comment on offer afterward.

Please enjoy:

Deville, Sunnanå Studios live session video premiere

Andreas Bengtsson on Sunnanå Studios session:

Chose songs that haven’t been played that much and some that have. Three from our latest album “Pigs with Gods” and one older. This is our first real live recording in a studio that has been filmed. Imagine it took so long to make one. We have been told many times that we are better live than on the record so let’s see what people think.

Tracklisting:
1. Hell in the Water
2. Lost Grounds
3. Wrecked
4. Chief

Recorded 2019-04-19 at Sunnanå Studios, Arlöv, Sweden.

Director of photography : Henrik Christoffersson

Sound engineering : Markus Nilsson

Deville lineup:
Andreas Bengtsson: guitar/vocals
Andreas Wulkan: guitar
Martin Nobel: bass
Martin Fässberg: drums

Deville on Thee Facebooks

Deville website

Fuzzorama Records

Fuzzorama on Bandcamp

Spotify doesn’t seem to remember I have an account, but even in the 28-second sample of the new single from Malmö, Sweden’s Pyramido there’s a satisfying bit of screamy post-sludge to entice one further as regard their upcoming fifth long-player, Fem (Swedish for ‘five’), which will see release on Sept. 27 in a new alliance with The Sign Records. Given the band’s history, I wouldn’t necessarily expect the entirety of “Utvägen” to speak for the whole of Fem, let alone less than a minute thereof. So as to the rest, we’ll just have to wait until Fall to find out. I have the feeling it’s going to be a crowded release season — already Pyramido share a date with the new Mars Red Sky, and I don’t at all think they’ll be the only two — so they’re smart to get the word out early in order to carve out their place ahead of the pack.

If you want to hear “Utvägen,” it’s below — I’m sure you’re account works just fine; I’m just old; you should’ve seen me trying to download an ebook the other night; so sad — so dig in, and here are the album details from the PR wire:

PYRAMIDO to release new album ’Fem‘ in Autumn 2019

Release first single “Utvägen”.

Pyramido is set to release their new album ”Fem” on The Sign Records. Today marks the release of the first single “Utvägen”. The new material breathes and evolves naturally, not being afraid of trying out new tempos, melodies or ideas sometimes foreign to the genre. Drawing inspiration from the delicate melodic figures of dreamy 90‘s indie rock, the folky fuzz of vintage Swedish psychedelia and the bittersweet harmonies of Henrik Berggren and Broder Daniel.

Then imagine these influences being suffocated by the impact of the heaviness and aggression that is Pyramido, leaving only about a few percent of them passably breathing. The result being a somewhat heavy-hearted and melodic sludge metal/hardcore attack, once perfectly described as ”…a warm hug rather than a punch in the face”. The new album ”Fem” is set for release by The Sign Records the 27th of September.

The new album, entitled simply ”Fem”, which is Swedish for the number five, was recorded and mixed during the fall of 2018, with engineer John Rönnerblad. The band have previously released four full-length records, a number of EP‘s and played every dark and damp squat of Europe you might imagine existing.

The album will be released on Vinyl, CD and Digital.

Tracklist:
Born to run
Living Dead
Resort
Ensign Källbacks’s legends
Realization
Five

Pyramido is:
Ronnie Källback
Henrik Wendel
Dan Hedlund
Dan Widing
Sticky Manchester

https://www.facebook.com/Pyramidodoom/
https://pyramido.bandcamp.com/
https://www.facebook.com/thesignrecords/
http://www.thesignrecords.com

As it happens, I’m in a coffee shop putting this post together. It’s Sunday afternoon — earlier than it feels — and at the next table is a just-post-middle-aged guy telling his lady all about someone who after years of irresponsibility has finally started listening to their doctor. The woman, so it goes, is barely feigning interest. It could hardly be a better time to jack up my headphones with some Suma and absolutely exit Planet Earth in favor of whatever destructive alternate realm the Swedish four-piece occupy. Has it really been three years already since their last record? The hell kind of sense does that make?

Of course, the simple fact that they’re touring now and that they’ve been announced for Høstsabbat in Oslo this October makes me wonder if perhaps they’ve got another LP coming, but that’s rampant speculation and as fun as it is to indulge such things, I think I’ll hold off. Not like the last record’s impact has worn off. Shit is crushing like climate studies.

And see? That loud-talking goober and his companion have left. Suma fixes everything.

They’re gonna be in Berlin and then seemingly headed east and north from there if my minimal understanding of geography is anything to go by (it isn’t), but wherever they’re headed, they’re a band you should see if they’re in your path or likewise. I consider it a blight on my record that I’ve never caught them live, and that’s something I’m looking forward to correcting this Fall.

They posted the tour dates thusly:

SUMA – May tour dates

GERMANY / POLAND / LITHUANIA / LATVIA / ESTONIA / FINLAND

09/05 HAMBURG – hafenklang
10/05 BERLIN – kantine am berghain
11/05 WROCLAW – into the abyss fest IV
12/05 TORUN – nrd
13/05 WARZAW – poglos
14/05 VILNIUS – xi20
15/05 JELGAVA – melno cepurisu balerija
16/05 TALLINN – sveta baar
17/05 HELSINKI – kuudes linja
18/05 TAMPERE – varjobaari

poster by NOISE ARMADA

SUMA:
>P. guitar
>J. bass/vocals
>E. drums
>R. samples/noise

https://www.facebook.com/sumanoise/
https://sumanoise.bandcamp.com/
http://www.argonautarecords.com/
http://www.initrecords.net/
http://tartarusrecords.com/
http://www.thronerecs.com/
https://www.facebook.com/doomstarbookings/

Suma, The Order of Things (2016)

Later this week, Swedish heavy rockers Deville will head out on tour supporting their 2018 album, Pigs with Gods (review here). Released this past Fall through Fuzzorama Records, it continues the four-piece’s thread of straightforward, songwriting-based material, using classic forms and modern tones to bring an immediate familiarity to material that, while aggressive, never loses sight of its purpose. Deville, perennially, are songwriters first and foremost. That’s not to say they can’t add a bit of flash here between their two guitars or lock in a killer groove when they’re so inclined, but that even in doing so, they’re serving the greater good of the output itself. And though there are never a shortage of them, it’s not just about hooks either.

The band’s last video was for “Cut it Loose,” which was premiered here, and though they were in it, it followed a whole narrative arc. This time around, in giving visual representation to the Pigs with Gods title-track, it’s dudes in a room rockin’. And fair enough, honestly, since that’s what Deville are all about. It’s not some overblown thing, it’s unpretentious, well-crafted, dead-ahead rock and roll. Watch out for some shaky-cam stuff from director Henrik Christoffersson, but beyond that, it’s a fittingly sans frills showcase for the track, which not only showcases Deville in their element — i.e., playing — but brings the atmosphere of the album to the fore in a way that portrays it as the strength it is. You can see the character of the band as they are live, which, hey wouldn’t you know it, is just how they’ll be on tour later this week. Isn’t it amazing how that timing works out?

Live dates follow the video on the player below.

Enjoy:

Deville, “Pigs with Gods” official video

“Pigs with Gods” taken from the album “Pigs with Gods” out 2018 on Fuzzorrama Records.
Buy your physical CD or LP from http://www.fuzzoramastore.com

Filmed and directed by: Henrik Christoffersson

European tour coming up!

Deville live:
March 8th @ Peter Weiss Haus, Rostock (DE)
March 9th @ Bastard Club, Osnabruck (DE)
March 10th @ Zauberberg, Passau (DE)
March 11th @ FUGA, Bratislava (SV)
March 12th @ Rockhaus, Salzburg (AU)
March 14th @ Rock n´Eat, Lyon (FR)
March 15th @ KUFA, Lyss (CH)
March 16th @ Café Albatross, Pisa (IT)
March 17th @ Scumm, Pescara (IT)
March 19th @ Stadtwerkstatt, Linz (AU)
March 20th @ The Tube, Dusseldorf (DE)
March 21st @ Sonic Ball Room, Cologne (DE)
March 22nd @ Innocent, Hengelo (NL)
March 23rd @ De Engel, Den Helder (NL)
April 13th @ Plan B, Tranås (SWE)

Deville lineup:
Andreas Bengtsson: guitar/vocals
Andreas Wulkan: guitar
Martin Nobel: bass
Martin Fässberg: drums

Deville on Thee Facebooks

Deville website

Fuzzorama Records

Fuzzorama on Bandcamp