Posted in Whathaveyou on April 1st, 2025 by JJ Koczan
Nothing here but good news as instrumentalist Mexico City scene spearheads Vinnum Sabbathi will head back to Europe this August for slated appearances at SonicBlast Fest in Portugal and Hoflärm in Germany. As will happen, those two appearances on successive weekends will be drawn together by club shows throughout Spain, the Netherlands, Germany and in Belgium, where the tour is slated to end in Ghent for a show that’s waiting for confirmation. Not that Hoflärm would be a bad way to go as regards ending the tour, but if you can help out either there or Aug. 13, do.
Studio-wise, the band collaborated with Chicago headpsych forerunners Rezn in 2023 on the PostWax release Silent Future (discussed here). I haven’t heard word of a new full-length, but in announcing the tour below, the band cite an upcoming EP that they’ll have with them on the road. Something to look forward to whether you’ll see them on this tour or not.
And while we’re here, let’s not forget the Doom City Fest in Mexico City this May (info here) that the band will play a role in hosting as well as performing. Looks like they’re set up for a pretty good year.
From social media:
VINNUM SABBATHI – EUROPA 2025 🌍
We’re very excited to share the poster for our 3rd visit to the old continent, this time is going to be short but packed, as it includes our return to Portugal for SonicBlast Fest , our first time playing Heinzelmännchen Hofcafe & Hoflärm and it’ll be also our first time playing in Spain.
And for this we’ll bring a brand new EP with us (more info very soon!), we have new merch on pre-order so if you can/want to support us on this mission please grab anything on our BC: https://vinnumsabbathi.bandcamp.com/merch
We hope to see you in a show nearby, so save the dates!
(We’ll update the pending info as soon as we can).
09 AUG – Ancora SonicBlast Fest 11 AUG – Madrid @ Wurlitzer Ballroom 12 AUG – Amsterdam De Tanker In Noord 13 AUG – TBC 14 AUG – Berlin Neue Zukunft 15 AUG – Dresden Chemiefabrik Dresden (Chemo) 16 AUG – Marienthal Heinzelmännchen Hofcafe & Hoflärm 17 AUG – Ghent TBC
Posted in Whathaveyou on March 3rd, 2025 by JJ Koczan
Topped off with Bongzilla and Conan, you wouldn’t accuse the lineup of Doom City Fest 2025 of not getting its point across in saying, “hi this year’s gonna be really frickin’ heavy.” And so it will, with Dopethrone backing those two weighty names — the former legends in the field of crusty stoner ultrasludge, the latter a singularly flattening entity in decpitation-prone doom charge — with their signature gritty sludge extremity, as long-running death-doomers Majestic Downfall from Santiago de Querétaro, Monterrey’s Black Glow, Mexico City’s Oculto and the fest-associated Vinnum Sabbathi (the latter also touring Europe this summer) give representation to the domestic Mexican underground, Black Tusk like Bongzilla are imported from Mexico’s increasingly embarrassing northern neighbors, while Bitterdusk journey north from Chile to take part in the all-dayer set for May 24.
There’s a bit of variety in terms of sound between the bands, but what it all rounds out to is the initial proposition: heft. These acts are united by a love and worship of capital ‘r’ Riffing, and as Mexico City’s heavy scene continues to flourish, Doom City provides a showcase for some of that and what looks like a killer day besides. The poster and full lineup announcement came through social media as follows:
💀 DOOM CITY FEST 2025 💀 We present you the lineup of the third edition of the thickest, loudest and highest voltage festival in the CDMX:
Posted in Whathaveyou on June 11th, 2024 by JJ Koczan
Just in case you don’t have the energy to read insta-handles, the lineup for Doom City Fest 2024 this September in Mexico City is as follows: Weedeater, Eyehategod, Belzebong, Weedsnake, Mizmor, Reverence to Paroxysm, Deep Sea, Age of the Wolf and Desollado. And 1,200 pesos is about $68 USD, so don’t be put off by the price. This is the second edition of the festival behind one that took place in Feb. 2020 with Amenra, 16 and others, and well, if you had to live through the entire world shutting down a month later, that probably would’ve been a better precursor to that experience than most around the world had.
Weedeater are of course regulars on the US circuit, and ditto that Eyehategod, but I don’t know how often they hit Mexico City, let alone Belzebong coming over from Poland or Mizmor from Portland, Oregon, or Age of the Wolf from Costa Rica. With four of the total nine acts being Mexican, there’s respectable representation of the country’s native underground, and you can hear Weedsnake‘s 2023 album, Grimorium Cannabinarum, below. I missed it when it came out in the Fall — but as I like to remind others, it’s never actually too late — but they fit right in with the crusty weedianism at the top of that bill. Gonna make friends with Belzebong for sure.
I know September is packed in various parts of the world between the US and Europe, and here’s one more to add to that list:
Doom City Fest 2024 – Sept. 21
4 years had to pass, but we came back stronger. We hope you can join us on this new adventure.
Demons My Friends filmed the video premiering below earlier this Spring as they played two support gigs for Iron Maiden frontman Bruce Dickinson in Guadalajara. There’s some joke there to be made about stoner rock and Dickinson famously yelling at people in the crowd for smoking weed, but that’s a good spot to play regardless of whether or not you’re a Maiden fan, and why poke fun anyhow. To mark the occasion, the song “Inner Slay” becomes the backdrop for a clip that captures the TX/MX-based three-piece onstage and off, and while it’s not the most party-ready cut from their 2023 debut long-player, Demons Seem to Gather (review here), with some edge of Pallbearer-style emotionalism resonating in its echoing melody, but that adds rather than takes away from the experience, and clearly it was a special moment for the band. At five minutes, “Inner Slay” is one of the longer songs on the record. Maybe they had more they wanted to remember than the 3:13 “Make Them Pay” could hold. I ain’t arguing.
The band were on tour in May and will be out again in September in Austin — where at least some percentage of the trio is based, I think, split between there and Mexico City — as part of the sprawling gathering that will be this year’s Ripplefest Texas, and in October they’re set to appear at Monterrey Metal Fest, where the likes of Satyricon and Enslaved will also play. Demons My Friends aren’t that aggro, but their tones are likewise fuzzed and expansive, and as alluded above, there are darker tinges of doom beneath the exterior of some of their material, whether it’s the Monolordy roll of album opener “The Tower Falls” or the thickened shuffle in the verses of “Fire Mountain” later on. Either way, the spirit in which the the “Inner Slay” clip arrives is pretty straightforward — commemoration — and indeed it looks like a couple nights worth remembering.
If you didn’t catch the album, no sweat, it’s not like they’ve put out three more since (yet). The full Bandcamp stream is at the bottom of this post, and you might find that after you see them celebrating what will surely be a highlight of the time around their first album, it’s cool to see clips spliced into the “Inner Slay” video of them laughing and having a good time backstage and soundchecking and whatnot. Cool band does cool thing — again, pretty straightforward. But if they’re new to you and you find yourself thinking of forward potential in their sound, the various avenues that Demons Seem to Gather sets up for them to explore while offering solid structures underneath their more soaring elements for a strong foundation in craft, that’s pretty much where I’m at too. Very interested to see where the next few years take them, and that they’re thus far playing into being the outsider act on more metal lineups — not that Bruce Dickinson and Satyricon play the same kind of stuff, but you know what I mean — is fascinating and bold. I expect to hear good things after Ripplefest.
For now, here’s the video. Please enjoy:
Demons My Friends, “Inner Slay” video premiere
Recorded on April 18 2024 at Teatro Diana in Guadalajara, Mexico during the first of the two shows that DMF opened for Bruce Dickinson on his Mandrake Project World Tour.
“Inner Slay” appears on Demons My Friends’ full-length album, “Demons Seem To Gather”, available everywhere via Gravitoyd Heavy Music (in partnership with Wiseband France).
Video shot, edited and directed by Alexander Bizzarro. “Inner Slay” produced and mixed by Jeff Henson at Red Nova Ranch (Austin, TX) and mastered by Alberto De Icaza.
Festival Appearances Sept 21st – Ripplefest Texas – Austin TX Oct 12th – Mexico Metal Fest – Monterrey, Mexico
Demons My Friends is: Pablo Anton – guitar/vox Lu Salinas – Bass/vox Tarro Martinez – Drums
Posted in Bootleg Theater on December 22nd, 2023 by JJ Koczan
This was a PostWax release. The vinyl subscription service put forth by Blues Funeral Recordings has produced a string of stellar, genuinely special records in its second volume — Acid King were my pick for album of the year this year, and Dozer and Dopelord, which were in my top 10, both came out in PostWax editions; deluxe vinyl, exclusive tracks, artwork and layout that’s so gorgeous I don’t even want to touch it with my greasy fingers, etc. — and as with all of them, I was fortunate enough to do liner notes for this special collaboration between Chicago fog rockers REZN and Mexico City conceptual plodders Vinnum Sabbathi, titled Silent Future.
I always feel a little weird when it comes to covering PostWax stuff here on the site, and that’s precisely because I also work behind the scenes (in a limited but capacity, of course) on the releases as well, and I was compensated monetarily for doing that writing. I say so every time, but even with full disclosure I’m not trying to give an impression I’m doing promo. It’s not my job to sell you records. But the stuff is undeniable at this point, and what, I’m going to let 2023 end without talking about the exploratory textures of Silent Future, the album’s narrative foundation and the meld of climate anxiety, cosmic pulse and futurism that makes it such a hypnotically immersive listening experience? Come on.
REZN also had their fourth long-player, Solace (review here), out this year, but Silent Future is its own thing and has its own intention. For the four-piece of guitarist/vocalist Rob McWilliams (also lyrics), synthesist/saxophonist/flutist Spencer Ouellette, bassist Phil Cangelosi and drummer Patrick Dunn (who also had the monumental task of mixing), it was a self-recorded affair, done late in 2021 DIY in their own spot, and their basic tracks were sent to Vinnum Sabbathi — the lineup of guitarist/synthesist Juan Tamayo, effects specialist Roman Tamayo, bassist Samuel Lopez and Gerardo Arias on drums and lead guitar, with more guitar from Victor “KB” Velazquez — who also wrote the script for the storytelling monologue in intro “Born into Catatonia” and the likewise keyboardy side B complement, “Clusters,” delivered by the voice of Manuel Wohlrab, also of Yanos and Zone Six in Germany.
So, multinational, multicontinental collaboration across seven songs and a somehow-digestible 32 minutes of progressive, soulful, and at times very, very heavy music. While the record is patient in the subdued flow it sets up as “Born into Catatonia” shifts into “Unknown Ancestor” (the continuing monologue also helps), the sense of texture is immediate and is a luminescent drone that hints at a feeling of discovery. On some level, that’s what’s happening throughout Silent Future as Vinnum Sabbathi and REZN reveal to themselves and to their respective audiences alike — and let’s assume there’s crossover there, because genre — what happens when they fuse their methodologies. I talked to both bands about this release (granted it was a while ago) to do the liner notes, and I’m still not sure anyone knew going into it what would come out, or how they possibly could, but that adventurous spirit is to be commended and I honestly believe the world is a better place with the crushing roll that emerges in “Unknown Ancestor” than without it, never mind the rest of the slow-swirling and entrancing sway that surrounds, periodically channeling high impact in low gravity.
If you’re a synthesist or keyboardist in a heavy band, there’s plenty to learn here in the work of Ouellette and the Tamayo brothers (who I met this year in Germany and are sweethearts), from the New Age-y throb in behind the deceptively catchy hook of “The Cultigen” meditating lyrically as it does on a black chrysanthemum before the lumber-chuck of centerpiece “Hypersurreal” brings back Wohlrab with talk about multisensory alien contact and a verse that’s quiet but tense in its rhythm in no small part because of the riff that just receded. It comes back, that riff, of course, as McWilliams swaps to a more projected voice for another memorable, this-time-belted-out chorus, “Parallel universe/Parallel universe/The eye reflects itself/Into another realm/Am I the writer or the character?” before the verse repeats in a building cycle.
And when that cycle hits its payoff, the synth/effects are right there as well, and so even at its apex-heaviest, Silent Future remains true to its mood. “Clusters” fades in from silence as a reset, but both “Morphing” and the finale “Obliterating Mists” dig into the procession, and whether or not it was intentional, the two become a representative mini-monolith for the LP as a whole, with earworms revealed through multiple visits to their temporal dimension and a culmination in the latter that rises and ebbs with a fluidity and poise that emphasizes the consciousness at the center of the haze. There’s an episode of Star Trek: The Animated Series where the cartoon-Enterprise gets trapped in a giant thinking cloud. Listening to Silent Future kind of feels like that, or at least one imagines.
But either angle you want to take it from — whether it’s the creative bravery and ego-eschew of the collaboration in the first place or the righteousness of the end result in the material itself — Silent Futureis a standout release for 2023 (and beyond) and I didn’t want to let the year end without some proper recognition of that. It’s not the kind of offering every band or pairing of bands could make, and it’s not a pairing that is immediately intuitive because Vinnum Sabbathi and REZN have so much in common in sound, but what they do share is an openness to new ideas and ways of working, and the success of that in these songs I think is inarguable once you hear it.
Which I hope you do. Thanks for reading, and thanks to Jadd Shickler of Blues Funeral, Magnetic Eye Records, for making me a footnote part of the PostWax thing in the first place. Dude had the year of a lifetime between those two labels, and it was only because he made it happen.
Please enjoy, and once again, thank you for reading. I appreciate your time and attention. If you can go with this one, do. I admit it’s not the most intuitive of releases, but that’s also part of what makes it special. Might take a couple listens to sink in, but trust, and let it do its thing, and you’ll be set. Safe travels, wherever it takes you.
—
Monday is Xmas. Happy Xmas if you celebrate. We do, in our pointedly secular fashion, and accordingly I’m taking Monday (which is the weekend’s writing) and Tuesday (which is Monday’s writing) off. I’m going to do my damnedest not to post at all in that time, but if there’s something I feel warrants immediacy — and anything can happen, of course — I’ll roll with it. Let us not forget that Lemmy was born on Dec. 24, died Dec. 27 and that he, more than the favorite fanfic of hateful/genocidal psychopaths and state-sponsored rape cabals, is the true reason for the season.
When I pick up Wednesday, it’ll probably also be pretty mellow. The Pecan is off from school next week and I’m sure that’ll be busy because, well, yes. We’re about to undertake the process of remaking bedtime — current system’s effectiveness has expired; a necessary pivot — and I expect that will result in a few bumpy nights. Almost always the case when transitioning from one thing to the other. Certainly was the story of my summer and fall.
To that. While I am not thrilled to know that my six-year-old goes to school every day on medication, I cannot deny the clear shift said meds have wrought in her day-to-day. I would not call her ‘easy’ or ‘easygoing’ as a personality-type — there is much she has learned from me, including how to be a prick, and there are times where she’s a few grades ahead of kindergarten in that regard — but from what I think everybody who observes her has seen, and that’s the rest of our family, her teacher, aide, other aide at school and therapist, we’ve had movement in a better direction. Between the wreck that was this summer’s kicked-out-of-camp marathon, the stress of her transition (which also has allowed a flourishing not to be denied; I’ve heard reports of another trans kindergartener on the planet, but The Patient Mrs. and I are already joking about the book we’ll write some day), and getting her to a point of being able to get through a school day without hurting someone else or herself is progress visible even in the trenches. By which I mean her mother and I can see it. She remains willful, just flat out ignores me when I ask her to do something most of the time and is ready with an argument for why one should fuck off on a daily if not hourly basis — less when she’s hungry — but she’s growing and she’s strong, which is a thing she is going to very much need to be.
That progress doesn’t mean I didn’t basically chase her back to bed at 10PM last night, but as I said, different methods are being put in place. She might get to sleep with the puppy. We’ll see. The Patient Mrs. is the spearhead of that project; I’ll confess reticence and a general lack of desire to clean up dog piss in my kid’s bed, on her floor, or really anywhere else. We’ve got a good thing going with the crate at night, and the dog is only six months old. I could go on and logic logic logic myself through this. Build reasoned arguments to never say out loud. Lay out a grand case. Clutch once told us “you can’t stop progress,” and so here I am, rolling with it to the limited extent I am able, even as my brain has that catch-fire feeling thinking about getting up at 5AM or earlier, going upstairs to get the dog out of her room, waking her up and then having to both deal with the dog needing to go out and the kid who just might want to tag along with as little light on as possible, as quiet as possible, and then try to sit down and write. A million ways to go wrong, fewer to go right.
Whatever you’re feeling anxious about, I wish you relief. I hope you have a great and safe weekend, and I’ll be back on Wednesday (I can hold off! I can do it!) with maybe a Dr. Space review or something else fun and more of the ol’ blah blah blah. Thanks for reading it.
Based in Austin, Texas, and Mexico City, heavy rocking three-piece Demons My Friends make their full-length debut on Sept. 8 through Gravitoyd Heavy Music with Demons Seem to Gather. The band have been trickling out singles leading up to the release for nearly a year, and as a singe “Inner Slay” (premiering below) follows behind “Ghosts of You,” “Bring the Night,” the closer “We Are the Resistance” and the hooky side B leadoff “Make Them Pay,” so it’s probably safe to say they’re looking to grab attention of an underground listenership, otherwise maybe five singles (so far) from your first record probably isn’t the way you’re going to go.
Taking some cues in atmosphere on “We Are the Resistance,” the crunch of “Fire Mountain” and in the ’90s creep of guitar in verse of “Your Bones” prior from Alice in Chains, the trio bring ideas together from modern emotive doom à la Pallbearer on “Inner Slay,” a broad vocal hook assuring that the vocal stands up to the riffing on display throughout, opener “The Tower Falls” having started out on solid ground rhythm-wise but found room in the mix for an Elephant Tree-style harmony in opener “The Tower Falls” before the start-stop angularity of “Bring the Night” — the chorus delivering the album’s title line — hinting at the metallic underpinning of the project while also sounding more derived from ’00s era punk and post-hardcore. Thus it is that Demons My Friends — guitarist/vocalist Pablo Anton, bassist/vocalist Lu Salinas, drummer Tarro Martinez — stave off the threat of doing just one thing, and instead lay out a creative reach that one expects they’ll continue to refine as they move forward.
While the eight-song/36-minute offering is varied in its approach, the band are consistent in tone and their willingness to veer toward more doomed ends, “Inner Slay” serving as a ready example leading into “Ghosts of You,” which caps side A and pushes further along similar lines, with a central progression to its back half that touches almost on commercial hard rock without losing its foundation in heavy riffing. The production of Duel‘s Jeff Henson assures that fullness of sound and gives the melodic complexity of some of the arrangements — looking at you, chorus-over-solo in “Fire Mountain” — a dimensionality it would otherwise run the risk of lacking, but while Demons My Friends is a new exploration and Demons Seem to Gather is a debut album from a band who as the narrative tells us (blessings and peace upon it) jammed before they were really together, the experience of the players involved assures they’re not flailing in the end product.
Instead, songwriting is at the core of Demons My Friends‘ approach, and whatever original riff-blocks these pieces were carved from, they have been shaped with care and thought, which is something that even the lines topping the apex of “We Are the Resistance” bear out, the band purposefully meeting the largesse of that moment head-on, even as they’re still unfolding it. The proverbial encouraging beginning? Yeah, pretty much. The kind of record you might see five singles released from. It’ll be interesting to hear as Demons My Friends plunge further into the places between rock and doom, the classic and modern and in-between. But one of Demons Seem to Gather‘s strengths is that it knows the field is wide open and it stakes a number of stylistic claims. Maybe they’re settling in for a longer-term evolution, thinking ahead an album, two albums, three. Some bands do that, and if Demons My Friends go that route and build on this backdrop, they’re starting out working from a high standard of craft.
PR wire info follows the player below, on which “Inner Slay” premieres. Please enjoy:
Demons My Friends is an unlikely collaboration between members of Mexican alt-metal band QBO and Washington, DC desert rockers Fellowcraft. The stoner/doom metal trio — Lu Salinas (bass/vocals), Tarro Martinez (drums), Pablo Anton (guitar/vocals)—embarked on their creative endeavor via an impromptu recording session at the SXSW music festival in Austin, TX in 2022 and have consummated the relationship with an upcoming full-length titled Demons Seem to Gather.
Demons Seem to Gather was recorded, mixed and produced by Jeff Henson at Red Nova Ranch, Austin, TX. It was mastered by Alberto de Icaza. It’s set for release on September 8 on vinyl, CD and digitally via Gravitoyd Heavy Music. In the meantime you can stream the band’s singles on all digital platforms
Tracklisting: 01. The Tower Falls 02. Bring The Night 03. Inner Slay 04. Ghosts of You 05. Make Them Pay 06. Fire Mountain 07. Your Bones 08. We Are The Resistance
Shows coming up for Demons My Friends: October 20th at Valhalla (Austin TX) October 21st at Black Magic Social Club (Houston TX)
Demons My Friends is: Pablo Anton – guitar/vox Lu Salinas – Bass/vox Tarro – Drums
Posted in Whathaveyou on June 2nd, 2023 by JJ Koczan
Okay, this is super-complicated, so stay with me. It’s REZN and Vinnum Sabbathi together.
Okay, so maybe not actually that complicated. One might throw darts at band names on a wall for eternity and never come up with pairing the Chicago and Mexico City-based outfits for a split, let alone a collaborative LP, both bands working together on a single batch of songs in a one-time megaband, but every now and then actual-reality has a way of offering surprises and this was one of those. I was fortunate enough to do the liner notes for the release, to talk to the bands and get the story behind what they’re going for, how it came together, and so on, and if you’re a PostWax subscriber and up for some reading, that’s a thing that exists. The downloads of the album, which is called Silent Future, have gone out to PostWax folks — I know because I got mine — and the keys to getting into it are atmosphere and expanse. Do not approach with set expectations, do open your mind to immersive heavy psychedelic possibilities.
The non-PostWax general release for Silent Future is Aug. 11 and they’re streaming the centerpiece “Hypersurreal” now. The PR wire has preorder links and more background:
REZN and VINNUM SABBATHI to release collaborative album “Silent Future” on August 11th via Blues Funeral Recordings; stream first single!
Blues Funeral Recordings present the next chapter of their acclaimed PostWax series, with a fully collaborative album between Chicago avant-garde doom outfit REZN and Mexico City instrumental cosmic metallers Vinnum Sabbathi. “Silent Future” will be released worldwide on August 11th, with preorders and the first single available right now!
On Silent Future, Chicago atmospheric psych-doom outfit REZN teams up with Mexico City cosmic conceptualists Vinnum Sabbathi for a true union of heavy exploration. Allowing themselves a fluid, open canvas to experiment, members of both bands contribute equally to create an album of lush, hypnotic and frequently megalithic ambiance, yielding an utterly cohesive trip into the riff-drenched astral reaches.
About this collaborative album, REZN comments: “Ever since we played a show in Mexico City with Vinnum Sabbathi, we knew we wanted to find an opportunity to incorporate their cinematic style within the REZN soundscape. The Postwax creative concept helped guide us into making an album that stands out from the rest of our catalog, which was a really refreshing challenge for us. After the songwriting flowed freely, we intentionally left space so we could collaborate together on each song and explore the many shades of psychological cosmic horror.”
Vinnum Sabbathi adds: “We feel honored to be part of the Postwax series with this special collaboration with our Friends Rezn, the creation of “Silent Future” gave us the opportunity of experimenting with new ways of composing and recording, but also adding our own touch to the concept with the use of samples and this is very well represented in the first single “Hypersurreal”.
The fluidity with which REZN and Vinnum Sabbathi collaborate is unlikely, yet inarguable. Strong nuclear forces conjoin sections as alternatingly ethereal as celestial light and dense as a black hole collapse. Ultimately, the endeavor is never limited to being one thing for long, any more than it is limited to being the work of a single band. More than a listening experience, Silent Future’s vitality extends beyond the aural. This is the work of two groups pushing themselves further than they’ve gone before, each answering the other’s question of how far they can ultimately go. As heavy as Silent Future gets, as distant as it may range, one cannot regard this righteously thick, molten-tempo journey into the unknown as anything but breathtaking.
“Silent Future” will be released worldwide on August 11th in various vinyl formats, limited digipak CD and digital. The ultra-limited deluxe vinyl edition will be shipped in June to PostWax Vol. II subscribers. Preorders are available now on Blues Funeral Recordings.
TRACKLIST: 1. Born Into Catatonia 2. Unknown Ancestor 3. The Cultigen 4. Hypersurreal 5. Clusters 7. Morphing 8. Obliterating Mists
Album lineup: Gerardo Arias: Drums, Percussion, Lead Guitars Phil Cangelosi: Bass Patrick Dunn: Drums Samuel Lopez: Bass Rob McWilliams: Guitars, Vocals Spencer Ouellette: Synths, Sax, Flute Juan Tamayo: Heavy guitars, Synths Roman Tamayo: Additional FX Victor “KB” Velazquez: Additional Guitars Manuel Wohlrab: Spoken Word
Posted in Whathaveyou on March 2nd, 2023 by JJ Koczan
Little bit of housekeeping here. One has been waiting not all that patiently for Mexico City heavy psych crunchers Vinnum Sabbathi — who’ll go in the esteemed company of Terror Cósmico — to announce the tour that will draw a line between their appearances at Astral Festival in Bristol, UK, Desertfest London 2023 and Sonic Whip 2023 in Nijmegen, the Netherlands. This is it as it stands now.
There are some TBA dates as you can see, and if you can help out, maybe in Germany or Austria, Belgium, etc., please take this as your personal invitation to do so, but in addition to the festival lineups — all three of which are beautiful, each in their own special way — the band(s) will meet up with Son of Boar and others in the UK and Little Lucid Moments in Belgium, with others to be announced. It’s a solid run, and should provide Vinnum Sabbathi ample ground to make rumble as they go. As I expect they did last time they were on European shores, they’re gonna make a lot of friends on this tour.
Dates follow as posted on social media:
Vinnum Sabbathi – EUROPEAN TOUR 2023
After 6 years from that memorable first landing, we’re finally coming back to the old continent, this time sharing the road with our brothers Terror Cósmico and playing 3 superb festivals: Astral Festival in our beloved Bristol, the legendary Desertfest London & Sonic Whip!
We can’t wait to see old friends and meet a lot of new ones on this tour, we really hope to see you in a nearby show, please help us spread the word!
Endless thanks to everyone involved on the tour so far and of course to everyone who has supported the band all these years, this is only possible because of you.
Poster artwork by @yasinviolet
Presented by Stolen Body Records LSDR Records Doomed and Stoned Latinoamérical Tamayo Amp
(We’ll share any show updates as soon as possible)
