Swan Valley Heights Premiere “My First Knife Fight” Video; Touring in Oct. with Truckfighters

Posted in Bootleg Theater on August 19th, 2019 by JJ Koczan

SWAN VALLEY HEIGHTS (Photo by Agathe Riener)

We’re coming up quick on the Sept. 6 release date for Swan Valley Heights‘ new album, The Heavy Seed (review here), on Fuzzorama Records, which the Munich-based trio will celebrate in October with a tour alongside Truckfighters — also Fuzzorama honchos — that includes stops at Night of Fuzz, Festsaal KreuzbergKeep it Low and Desertfest Belgium, as well as a swath of club shows. The Heavy Seed is Swan Valley Heights‘ second LP behind a 2016 self-titled (review here), and their first for the new label, and with it, the band capture a warm-toned fuzz and jammy, heavy psychedelic drift that reminds of the potential that once seemed so prevalent in an act like Sungrazer from the Netherlands, perhaps taking a more active role in their own progressivism. Opening with the 13-minute title-track and closing with the 10-minute “Teeth & Waves,” the five-song/41-minute collection is bookended by sprawl that only adds flourish to the nuance of performance in “Vaporizer Woman,” the alternately spaced and heavy rolling centerpiece “Take a Swim in God’s Washing Machine” — bit of funk there in the second half — and the three-minute “My First Knife Fight,” the shortest track on the release by more than half and something of an aberration in terms of general approach.

Gone is the patient unfolding of “The Heavy Seed” or even the back and forth loud/quiet swaps of “Take a Swim in God’s Washing Machine.” Each song on the album seems to establish its own take around the central unifying tonal and melodic factors in the band’s sound, but no question “My First Knife Fight” is a standout. It doesn’t quite manifest the sense of aggression or violent threat in the title — though even that feels tongue-in-cheek — but it’s a rocker for sure, with searing lead guitar over top and a forward thrust of low end and drums that establishes its own edge distinct from its surroundings. Then there’s the ending: a sudden dropoff as though the riff blinks out of existence and — poof! — it’s done. That’s not the only cold finish on The Heavy Seed, but it is perhaps the starkest, especially as it seems to come what would otherwise be about halfway through any of the other tracks. Further, as Swan Valley Heights weave between instrumental and vocalized material, the overarching flow they conjure isn’t to be understated, and neither is the willful-seeming cut thereof in “My First Knife Fight.” At no point are they lacking groove, but what the penultimate track shows clearest is that with their sophomore full-length, Swan Valley Heights are ready to manipulate that to suit a variety of purposes in their creation.

So much the better when it comes to the album overall. If you’re sensitive to flashing lights, watch out when taking on the colors-do-interpretive-dance clip below for “My First Knife Fight,” but again, the song itself is pretty short, so whether you just put it on and check out the track or stare at the screen and get hypnotized by the washes of I’m-not-quite-sure-what that appear there, I think you’ll be fine. You know what you’re up for.

Either way, please enjoy:

Swan Valley Heights, “My First Knife Fight” official video premiere

Taken from the album ‘the Heavy Seed’ out Sept 6th 2019.
Order your physical copy from www.fuzzoramastore.com

The band is touring as support to Truckfighters in Europe October 2019. Get your ticket: www.truckfighters.com/dates-2

OCT 4 NIGHT OF FUZZ, Linz, Austria
OCT 5 NIGHT OF FUZZ, Wien, Austria
OCT 6 Beatpol, Dresden, Germany
OCT 8 Hydrozagadka, Warszawa, Poland
OCT 9 Festsaal Kreuzberg, Berlin, Germany
OCT 10 Knust, Hamburg, Germany
OCT 11 Universum, Stuttgart, Germany
OCT 12 Keep it Low festival, München, Germany
OCT 13 Helios 37, Köln, Germany
OCT 14 The Garage, London, United Kingdom
OCT 16 Petit Bain, Paris, France
OCT 17 Le Ferrailleur, Nantes, France
Oct 18 Desertfest Belgium, Antwerpen, Belgium

Video credits:
8mm and Acid Operator: Tiago Margaça
tiagomargaca.com
Editor: Alexander Häring
Dark Fox Production
dark-fox-production.com

Swan Valley Heights, The Heavy Seed (2019)

Swan Valley Heights on Thee Facebooks

Swan Valley Heights on Instagram

Swan Valley Heights on Bandcamp

Fuzzorama Records website

Fuzzorama Records on Thee Facebooks

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Quarterly Review: Pelican, Swan Valley Heights, Mark Deutrom, Greenbeard, Mount Soma, Nibiru, Cable, Reino Ermitaño, Cardinals Folly & Lucifer’s Fall, Temple of the Fuzz Witch

Posted in Reviews on July 8th, 2019 by JJ Koczan

quarterly-review

More computer bullshit this morning. I lost about 45 minutes because my graphics driver and Windows 10 apparently hate each other and before I could disable the former, the machine decided the best it could do for me was to load a blank screen. Hard to find the Pelican record on my desktop when I can’t see my desktop. The Patient Mrs. woke up while I was trying to fix it and suggested HDMIing it to the tv. When I did that, it didn’t project as was hoped, but the display came on — because go figure — and I was able to shut off the driver, the only real advantage of which is it lets me use the night light feature so it’s easier on my eyes. That’s nice, but I’d rather have the laptop function. Not really working on a level of “give me soft red light or give me death!” at this point. I may yet get there in my life.

Today’s the last day of this beast, wrapping up the last of the 60 reviews, and I’m already in the hole for the better part of an hour thanks to this technical issue, the second of the week. Been an adventure, this one. Let’s close it out.

Quarterly Review #51-60:

Pelican, Nighttime Stories

pelican nighttime stories

Split into two LPs each with its own three-minute mood-setter — those being “WST” and “It Stared at Me,” respectively — Pelican‘s Nighttime Stories (on Southern Lord) carries the foreboding sensibility of its title into an aggressive push throughout the album, which deals from the outset with the pain of loss. The lead single “Midnight and Mescaline” represents this well in directly following “WST,” with shades of more extreme sounds in the sharp-turning guitar interplay and tense drums, but it carries through the blastbeats of “Abyssal Plain” and the bombastic crashes of presumed side B closer “Cold Hope” as well, which flow via a last tonal wash toward the melancholy “It Stared at Me” and the even-more-aggro title-track, the consuming “Arteries of Blacktop” and the eight-minute “Full Moon, Black Water,” which offers a build of maddening chug — a Pelican hallmark — before resolving in melodic serenity, moving, perhaps, forward with and through its grief. It’s been six years since Pelican‘s last LP, Forever Becoming (review here), and they’ve responded to that time differential with the hardest-hitting record they’ve ever done.

Pelican on Thee Facebooks

Southern Lord Recordings website

 

Swan Valley Heights, The Heavy Seed

swan valley heights the heavy seed

Though the peaceful beginning of 13-minute opener and longest track (immediate points) “The Heavy Seed,” for which the five-song album is named, reminds of Swan Valley Heights‘ Munich compatriots in Colour Haze, the ultimate impression the band make on their Fuzzorama Records debut and second album overall behind a 2016 self-titled (review here) is more varied in its execution, with cuts like “Vaporizer Woman” and the centerpiece “Take a Swim in God’s Washing Machine” manifesting ebbs and flows and rolling out a fuzzy largesse to lead into dream-toned ethereality and layered vocals that immediately call to mind Elephant Tree. There’s a propensity for jamming, but they’re not a jam band, and seem always to have a direction in mind. That’s true even on the three-minute instrumental “My First Knife Fight,” which unfurls around a nod riff and simple drum progression to bridge into closer “Teeth and Waves,” a bookend to The Heavy Seed‘s title-track that revives that initial grace and uses it as a stepping stone for the crunch to come. It’s a balance that works and should be well received.

Swan Valley Heights on Thee Facebooks

Fuzzorama Records on Bandcamp

 

Mark Deutrom, The Blue Bird

Mark Deutrom The Blue Bird

Released in the wee hours of 2019, Mark Deutrom‘s The Blue Bird marks the first new solo release from the prolific Austin-based songwriter/producer/multi-instrumentalist through Season of Mist, and it’s a 50-minute run of genre-spanning outsider art, bringing ’70s folk vibes to the weepy guitar echoes of “Radiant Gravity” right before “O Ye of Little Faith” dooms out for six of its seven minutes and “Our Revels Now Are Ended” basks in 77 seconds of experimentalist winding guitar. It goes like that. Vocals are intermittent enough to not necessarily be expected, but not entirely absent through the midsection of “Hell is a City,” “Somnambulist” and “Maximum Hemingway,” and if there’s traditionalism at play anywhere, it might be in “They Have Won” and “The Happiness Machine,” which, toward the back end of the album, bring a sax-laden melancholy vibe and a straightforward heavy rock feel, respectively, ahead of the closer “Nothing out There,” which ties them together, somehow accounting for the 1:34 “On Fathers Day” as well in its sweetness. Don’t go into The Blue Bird asking it to make sense on any level other than its own and you should be fine. It’s not a minor undertaking at 50 minutes, and not without its indulgences, but even the briefest of pieces helps develop the character of the whole, which of course is essential to any good story.

Mark Deutrom website

Season of Mist website

 

Greenbeard, Onward, Pillager

greenbeard onward pillager

Austin bringers of hard-boogie Greenbeard reportedly issued the three-song Onward, Pillager as a precursor to their next full-length — even the name hints toward it being something of a stopgap — but its tracks stand well on their own, whether it’s the keyboard-laced “Contact High II,” which is presumably a sequel to another track on the forthcoming record, or the chunkier roll of “WCCQ” and the catchy finisher “Kill to Love Yourself,” with its overlaid guitar solo adding to a dramatic ending. It hasn’t been that long since 2017’s Lödarödböl (review here), but clearly these guys are committed to moving forward in neo-stoner rock fashion, and their emergence as songwriters is highlighted particularly throughout “WCCQ” and “Kill to Love Yourself,” while “Contact High II” is more of an intro or a would-be interlude on the full-length. It may only be pieces of a larger, to-be-revealed picture, but Onward, Pillager shows three different sides of what Greenbeard have on offer, and the promise of more to come is one that will hopefully be kept sooner rather than later.

Greenbeard on Thee Facebooks

Sailor Records on Bandcamp

 

Mount Soma, Nirodha

mount_soma_nirodha

Each of the three songs on Mount Soma‘s densely-weighted, live-recorded self-released Nirodha EP makes some mention of suffering in its lyrics, and indeed, that seems to be the theme drawing together “Dark Sun Destroyer” (7:40), “Emerge the Wolf” (5:50) and “Resurfacing” (9:14): a quest for transcendence perhaps in part due to the volume of the music and the act itself of creating it. Whatever gets them there, the trajectory of Nirodha is such that by the time they hit into the YOB-style galloping toward the end of “Resurfacing,” the gruff shouts of “rebirth!” feel more celebratory than ambitious. Based in Dublin, the four-piece bring a fair sense of space to their otherwise crush-minded approach, and though the EP is rough — it is their second short release following 2016’s Origins — they seem to have found a way to tie together outer and inner cosmos with an earthbound sense of gravity and heft, and with the more intense shove of “Emerge the Wolf” between the two longer tracks, they prove themselves capable of bringing a noisy charge amid all that roar and crash. They did the first EP live as well. I wonder if they’d do the same for a full-length.

Mount Soma on Thee Facebooks

Mount Soma on Bandcamp

 

Nibiru, Salbrox

nibiru salbrox

One might get lost in the unmanageable 64-minute wash of Nibiru‘s fifth full-length (first for Ritual Productions), Salbrox, but the opaque nature of the proceedings is part of the point. The Italian ritualists bring forth a chaotic depth of noise and harsh semi-spoken rasps of vocals reportedly in the Enochian language, and from 14-minute opener “EHNB” — also the longest track (immediate points) — through the morass that follows in “Exarp,” “Hcoma,” “Nanta” and so on, the album is a willful slog that challenges the listener on nearly every level. This is par for the course for Nibiru, whose last outing was 2017’s Qaal Babalon (review here), and they seem to revel in the slow-churning gruel of their distortion, turning from it only to break to minimalism in the second half of the album with “Abalpt” and “Bitom” before 13-minute closer “Rziorn” storms in like a tsunami of spiritually desolate plunge. It is vicious and difficult to hear, and again, that is exactly what it’s intended to be.

Nibiru on Thee Facebooks

Ritual Productions website

 

Cable, Take the Stairs to Hell

Cable Take the Stairs to Hell

The gift of Cable was to take typically raw Northeastern disaffection and channel it into a noise rock that wasn’t quite as post-this-or-that as Isis, but still had a cerebral edge that more primitive fare lacked. They were methodical, and 10 years after their last record, the Hartford, Connecticut, outfit return with the nine-song/30-minute Take the Stairs to Hell (on Translation Loss), which brings them back into the modern sphere with a sound that is no less relevant than it was bouncing between This Dark Reign, Hydra Head and Translation Loss between 2001 and 2004. They were underrated then and may continue to be now, but the combination of melody and bite in “Black Medicine” and the gutty crunch of “Eyes Rolled Back,” the post-Southern heavy of the title-track and the lumbering pummel of “Rivers of Old” before it remind of how much of a standout Cable was in the past, reinforcing that not only were they ahead of their time then, but that they still have plenty to offer going forward. They may continue to be underrated as they always were, but their return is significant and welcome.

Cable on Instagram

Translation Loss Records webstore

 

Reino Ermitaño, Reino Ermitaño

Reino Ermitano Reino Ermitano

Originally released in 2003, the self-titled debut from Lima, Peru’s Reino Ermitaño was a beacon and landmark in Latin American doom, with a sound derived from the genre’s traditions — Sabbath, Trouble, etc. — and melded with not only Spanish-language lyrics, but elements of South American folk and stylizations. Reissued on vinyl some 16 years later, it maintains its power through the outside-time level of its craft, sliding into that unplaceable realm of doom that could be from any point from about 1985 onward, while the melodies in the guitar of Henry Guevara and the vocals of Tania Duarte hold sway over the central groove of bassist Marcos Coifman and drummer Julio “Ñaka” Almeida. Those who were turned onto the band at the time will likely know they’ve released five LPs to-date, with the latest one from 2014, but the Necio Records version marks the first time the debut has been pressed to vinyl, and so is of extra interest apart from the standard putting-it-out-there-again reissue. Collectors and a new generation of doomers alike would be well advised on an educational level, and of course the appeal of the album itself far exceeds that.

Reino Ermitaño on Thee Facebooks

Necio Records on Bandcamp

 

Cardinals Folly & Lucifer’s Fall, Split

cardinals folly lucifers fall split

Though one hails from Helsinki, Finland, and the other from Adelaide, Australia, Cardinals Folly and Lucifer’s Fall could hardly be better suited to share the six-song Cruz Del Sur split LP that they do, which checks in at 35 minutes of trad doom riffing and dirtier fare. The former is provided by Cardinals Folly, who bring a Reverend Bizarre-style stateliness to “Spiritual North” and “Walvater Proclaimed!” before betraying their extreme metal roots on “Sworn Through Odin’s and Satan’s Blood,” while the Oz contingent throw down Saint Vitus-esque punk-born fuckall through “Die Witch Die,” the crawling “Call of the Wild” and the particularly brash and speedier “The Gates of Hell.” The uniting thread of course is homage to doom itself, but each band brings enough of their own take to complement each other without either contradicting or making one or the other of them feel redundant, and rather, the split works out to be a rampaging, deeply-drunk, pagan-feeling celebration of what doom is and how it has been internalized by each of these groups. Doom over the world? Yeah, something like that.

Cardinals Folly on Thee Facebooks

Lucifer’s Fall on Thee Facebooks

Cruz Del Sur Music website

 

Temple of the Fuzz Witch, Temple of the Fuzz Witch

Temple of the Fuzz Witch Temple of the Fuzz Witch

A strong current of Electric Wizard runs through the self-titled debut full-length from Detroit’s Temple of the Fuzz Witch (on Seeing Red Records), but even to that, the outfit led by guitarist/vocalist Noah Bruner bring a nascent measure of individuality, droning into and through “Death Hails” after opening with “Bathsheba” and ahead of unveiling a harmonized vocal on “The Glowing of Satan” that suits the low end distortion surprisingly well. They continue to offer surprises throughout, whether it’s the spaciousness of centerpiece “329” and “Infidel,” which follows, or the offsetting of minimalism and crush on “The Fuzz Witch” and the creeper noise in the ending of “Servants of the Sun,” and though there are certainly familiar elements at play, Temple of the Fuzz Witch come across with an intent to take what’s been done before and make it theirs. In that regard, they would seem to be on the right track, and in their 41 minutes, they find footing in a murky aesthetic and are able to convey a sense of songwriting without sounding heavy-handed. There’s nothing else I’d ask of their first album.

Temple of the Fuzz Witch on Thee Facebooks

Seeing Red Records on Bandcamp

 

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Swan Valley Heights Sign to Fuzzorama Records; The Heavy Seed Due Sept. 6

Posted in Whathaveyou on May 23rd, 2019 by JJ Koczan

swan valley heights (Photo by Agathe Riener)

Band puts out cool record, gets signed for the next one. Such is the order of things, and I can’t argue when it comes to Germany’s Swan Valley Heights inking a deal with Fuzzorama Records to release their second long-player, The Heavy Seed, this September through the venerable imprint helmed by Sweden’s Truckfighters. Their first outing, a 2016 self-titled (review here), had more than enough charm to grab attention, and the 10-minute showcase of tonal warmth and progressive bent they’re giving for the new LP in the streaming track “Teeth and Waves” — the closer of the album, to be heard at the bottom of this post — bodes well for what might accompany on the rest of the record without necessarily giving away every trick up the band’s collective sleeve.

I’ll take it, in other words. There are a couple different versions that will be available, as detailed in the PR wire info below:

swan valley heights the heavy seed

Fuzzorama records signs Swan Valley Heights (GER)

The fuzz is flowing and Fuzzorama records’ family is growing!

Fuzzorama records are happy to announce the signing of German psychedelic stoner rockers Swan Valley Heights and the upcoming release of their new album called ‘the Heavy Seed’. The album’s first single Teeth & Waves is out now on all streaming platforms, give it a ‘spin’ to hear what the fuzz is all about.

A fat baby is born in Germany: The Heavy Seed, the second album of Munich and Berlin-based three-piece Swan Valley Heights. Ranging from three-minute-long instrumental bangers with no other intention than smashing heads to massive psych journeys that almost reach the quarter-hour mark; from big, ugly dissonances to acoustic guitar-driven beach vibes – this eclectic piece of fuzz-rock found its right home on Fuzzorama Records, even being mixed and mastered by no other than Truckfighters’ Mr. Dango.

Releasing their debut album back in 2016, Swan Valley Heights quickly found their booth within the scene. Heavy, unique riffing and a semi-serious take on stoner rock’s clichés are fusing with a fascination for the psychedelic aesthetics and big spaces of the many branches the genre has to offer.

Swan Valley Heights has been labeled progressive stoner, psychedelic fuzz-rock and space grunge, birthing music that is far away from simply riding standard patterns into oblivion.

Five-track beast The Heavy Seed will see the light of day September 6th, 2019.

The album comes in CD Digipak, and three different vinyl versions:
LTD edition Aside/Bside twin colored vinyl RED / AQUA BLUE + poster + patch + pick
SEA BLUE LP
BLACK LP.

https://www.facebook.com/swanvalleyheights/
https://www.instagram.com/swanvalleyheights/
https://swanvalleyheights.bandcamp.com/
http://www.fuzzoramarecords.com/
http://www.facebook.com/Fuzzorama

Swan Valley Heights, The Heavy Seed (2019)

Swan Valley Heights, Swan Valley Heights (2016)

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Keep it Low 2019 Announces Day Split; Adds The Obsessed, Bongripper & Mantar

Posted in Whathaveyou on April 23rd, 2019 by JJ Koczan

keep it low 2019

Well, if we’ve learned anything so far in 2019, it’s that The Obsessed will be spending significant amounts of it in Europe. The Maryland doom forebears have already been confirmed for Freak Valley and SonicBlast Moledo this summer, and they’ll be back this Fall — assuming they ever leave — with slots at Up in Smoke and now Keep it Low 2019. This is in addition to July UK dates with Alunah and an appearance next month in New Mexico for Monolith on the Mesa. Oh yeah, and there was that tour they did in March with C.O.C. and Crowbar too, so, you know, not a little bit of touring in general.

Their joining the ranks for Keep it Low 2019 comes with the festival’s announcement of the day splits — that’s who plays when — and the further confirmations of Bongripper and Mantar, thereby assuring the ground will shake and fury (and spit) will be spit with aggressive purpose as the fest plays out. There are a host of other righteous acts confirmed — Lo-PanNebulaThe Machine! etc. — so check out the lineup below, and here’s the latest from Sound of Liberation, which is presenting the whole affair:

keep it low 2019 poster

As promised, here come the day-split, the single-day tickets and 3 new awesome bands!

We thought it was about time to bring more darkness and ferocity into our 2019 line-up, and therefore we are proud to tell you that German heaviest duo MANTAR, Illinois’ monster of riff BONGRIPPER & Maryland’s doom pioneer The Obsessed join the bill today! We still have a few bands to announce, but this 7th edition of Keep It Low Festival 2019 is shaping up nicely, isn’t it? :)

Check out the poster below to know the day-split, and get your tickets here https://www.keepitlow.de/tickets-keep-it-low while you still can! 2-day passes are gone, it was faster than ever, and we’re sure those day tickets won’t last until the Summer!

https://www.facebook.com/events/250328939168797/
https://www.facebook.com/keepitlowfestival
https://www.facebook.com/Soundofliberation/
https://www.soundofliberation.com/

The Obsessed, Sacred (2017)

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Keep it Low 2019: Truckfighters, Ecstatic Vision, Ruff Majik and Instrument Added

Posted in Whathaveyou on March 27th, 2019 by JJ Koczan

keep it low 2019 banner

One of the hazards in being so behind on shit all the time — all. the. time. — is temporal displacement. Thus, yesterday when I posted about Truckfighters making their reunion official and playing Keep it Low 2019 this Fall as a part of that process, that went up first, but actually came after the announcement that the Munich-based festival would host them this October. Does it matter? No. Is anyone other than me paying the slightest bit of attention? I can’t imagine they are. But, you know, temporal displacement. Someone call the DTI.

Good luck with that reference.

While I’m talking to myself, let me encourage you (me) wholeheartedly to dig into the new Ruff Majik single beneath the announcement from Keep it Low that follows. They have a new album coming that I’m hoping to premiere a song from when the time comes, and I think “Schizophrenic” is a pretty good indicator of why I’d want to do such a thing. They of course will also play Keep it Low, along with Philly’s Ecstatic Vision (new album? they’re due) and Munich’s own Instrument. It’s a solid bill, and no doubt there are even more announcements to follow. I’ll do my best to keep up, if only for my own edification.

Kaboom:

keep it low 2019 poster

Truckfighters confirmed for Keep It Low Festival 2019!

Yes Keepers, you read it right!

Truckfighters’ hiatus is over and they will soon hit the stage again!! They played our very first edition of Keep It Low Festival in 2013, and we are thrilled to have them back in Munich this year to play their album “Gravity X” from finish to start!

Along with them, we are proud to announce today that Pennsylvania Heavy Psych quartet Ecstatic Vision, South African Garage trio Ruff Majik & Munich-based Postrock outfit Instrument are added to our 2019 line-up as well!

There aren’t many 2-day tickets left so better be fast and get them here: www.keepitlow.de/tickets-keep-it-low

https://www.facebook.com/events/250328939168797/
https://www.facebook.com/keepitlowfestival
https://www.facebook.com/Soundofliberation/
https://www.soundofliberation.com/

Ruff Majik, “Schizophrenic”

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Colour Haze to Record New Album in April; Live Vol. 2 Coming Soon; Touring in Spring

Posted in Whathaveyou on February 20th, 2019 by JJ Koczan

Let’s get right to it: Colour Haze are going to begin recording their next album in April. I was thinking the other day they might have something in the works to follow-up 2017’s In Her Garden (review here), and it’s all the more fitting that they do, as they’re also celebrating their 25th anniversary on a previously announced tour this Spring that includes stops at Desertfest in London and Berlin both. New Colour Haze, all the more as the trio has expanded to a four-piece, is among the most welcome things a given year can bring. To say it’s one to look forward to is like saying you look forward to vacation. Of course you’re looking forward to it. It’s vacation. That’s how it is with new Colour Haze.

They’ll also have a new live album out that was recorded at Duna Jam in 2007 — which puts it square in the Tempel era; win — as well as a reissue of Los Sounds de Krauts that will also be remixed. I’ll be interested to hear how that album changes in the new version. Other digital reissues are currently in progress as well.

And I haven’t heard yet, but one assumes they’ll be at Keep it Low in Munich this October for their annual appearance there — one more reason to want to go to that fest — and they may have more anniversary touring in the works as well. We’ll see. Either way, the more active they are, the better a place the planet is to be.

From the PR wire:

colour haze 2 (Photo by JJ Koczan)

25 years Colour Haze

In August 1994 Tim Höfer, Christian Wiesner and me founded Colour Haze. After uneasy first years Mani and Philipp completed the band in 1998. Last year Jan Faszbender joined us. After more than 450 shows all over the world, 2 live- and 12 studio-albums foremost we wish to say:

THANK YOU! Thanks to all who went to our concerts and bought the records. Thanks to our crew, the promoters, local staffs and all who helped. Thanks to all the bands who shared the stage with us and all the musicians who contributed to our recordings. Thanks to all who wrote and spread the word. Thanks to our families who tolerate and support all this!

Thanks for all the friendship we found and could share!

And we have a lot of plans for 2019:
– we keep on working through our back-catalogue and will add more remastered Hi-resolution downloads to our webshop.
– After all the old digital data could be restored Los Sounds De Krauts finally will be remixed and reissued on DLP, 2CD and download.
– Live Vol. 2 will be released soon – recordings from Duna Jam 2007 – parts of the legendary Tempel-concert and a wonderful session on the beach….
– For April we already booked the studio for the basic-track recordings of our upcoming album….

And we want to play live a lot – a first tour is already booked – after the shows with Jan were received so very well last year you can look forward to see us as a fourpiece again in May ; )

02.05. Nürnberg, Hirsch ( + Monkey 3)
03.05. Berlin, Desertfest
04.05. NL-Nijmegen, Sonic Whip
05.05. UK – London, Desertfest
06.05. F – Paris, Petit Bain ( + The Devil and the almighty Blues)
07.05. Aachen, Musikbunker ( + Monkey 3)
08.05. Hannover, Musikzentrum ( + Monkey 3)
09.05. Leipzig, Werk 2
10.05. Stuttgart, Universum ( +The Devil and the almighty Blues)
11.05. Passau, Zauberberg

www.soundofliberation.com/colour-haze
http://colourhaze.de/
www.elektrohasch.de

Colour Haze, In Her Garden (2017)

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Keep it Low 2019 Adds Nebula, Steak and Braindead Wavelength to Lineup

Posted in Whathaveyou on February 13th, 2019 by JJ Koczan

keep it low 2019 banner

True, those of us who obsess over things like who’s gonna tour and when are consistently intrigued by things like fest-lineup-announcements way in advance. Nebula are said to be working on a new album. Will it be out by the time the band hits the road in Europe this Fall to play Keep it Low 2019 in Munich? They’ll be at a decade’s remove from their last LP, so they’re nothing if not due. Will Steak have a new record out? And what of mysterious hometown outfit Braindead Wavelength? Questions abound as we’re so many months away from October. Keep it Low announced another band as well in this batch, so they continue to build a strong lineup as part of what will no doubt be a strong Fall fest and touring season.

If you missed the first Keep it Low 2019 announcement, it was Lo-PanThe MachineDesert Storm and Dopelord, and I know Lo-Pan have a new record coming out this year — though much to my chagrin, I haven’t heard it yet. Could Europe get a Lo-Pan and Nebula tour? Jeepers that’d be awesome.

See? This is how I spend my time. Thinking about this stuff. That’s my day. I don’t know if I should be bragging about that or embarrassed. Maybe both?

Anyway, here’s the partial Keep it Low announce:

Keepers,

It’s time for a second announcement, as we secured 4 more bands for Keep It Low Festival 2019!

Today we are excited to tell you that stoner rock legends Nebula (currently working on their long-awaited new album) will join our 7th edition in October, along with… London based fuzz rockers Steak, and Munich’s Post Grunge infused Metal band Braindead Wavelength!

Regular 2-day tickets can be purchased right here:
www.keepitlow.de/tickets-keep-it-low
(Limited Hard Tickets & Print-at-home Tickets)

https://www.facebook.com/events/250328939168797/
https://www.facebook.com/keepitlowfestival
https://www.facebook.com/Soundofliberation/
https://www.soundofliberation.com/

Nebula, “To the Center” live at Camden Underworld, London, UK, July 6, 2018

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Colour Haze Announce 25th Anniversary Tour; Playing Desertfest in London and Berlin

Posted in Whathaveyou on February 6th, 2019 by JJ Koczan

colour haze

Congratulations to Colour Haze on 25 years of making the world a better place, and yes I mean that. I get asked every now and again who’s my favorite band, and no matter mood or any other factor that might come into play, Colour Haze always seem to be in the conversation. The forebears of European tonal warmth and heavy psychedelia didn’t start out as the progressive monolith they’ve become over time, but through their formative years and their heavy rocking era and into the brilliance that’s followed, the band has never stopped moving forward and have remained unflinchingly committed to challenging themselves as players and songwriters.

That’d be worthy of celebration in and of itself, but the fact of the matter is their work is still unparalleled. Up to and including the 2017 outing, In Her Garden (review here), and the expansion to a four-piece four the subsequent touring that included keyboardist Jan Faszbender alongside the core trio of guitarist/vocalist Stefan Koglek, bassist Philipp Rasthofer and drummer Manfred Merwald, they’ve succeeded not only in growing their sound and becoming an influential act in and out of Germany, but in maintaining a level of excellence that stands among the most reliable to be found anywhere. Few phrases can elicit the joy to match that of “new Colour Haze.”

I hope to hear that one soon, speaking of.

They’ll be at Desertfest Berlin and London as part of the 25th anniversary tour, and they’ve got dates with The Devil and the Almighty Blues and Monkey3 as well, so all the better.

From Sound of Liberation via the social medias:

colour haze tour poster

***Colour Haze – 25th ANNIVERSARY TOUR***

Friends! No big explanations needed:

The legends gonna celebrate 25th years of Colour Haze in 2019 and invite YOU to celebrate with them! Tour dates below.

DATES:
02.05.19 Nürnberg | Hirsch *
03.05.19 Berlin | Desertfest
04.05.19 Nijmegen | Sonic Whip
05.05.19 London | Desertfest
06.05.19 Paris | Petit Bain **
07.05.19 Aachen | Musikbunker *
08.05.19 Hannover | Musikzentrum *
09.05.19 Leipzig | Werk2
10.05.19 Stuttgart | Universum **
11.05.19 Passau | Zauberberg

* with monkey3
** with The Devil And The Almighty Blues

www.soundofliberation.com/colour-haze
http://colourhaze.de/
www.elektrohasch.de

Colour Haze, In Her Garden (2017)

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