Posted in Whathaveyou on March 29th, 2024 by JJ Koczan
Dortmund heavy rockers Daily Thompson have posted a new video for “I’m Free Tonight,” the first single from their upcoming long-player, Chuparosa, which they traveled to the US Pacific Northwest to record this past December with Tony Reed of Mos Generator/Big Scenic Nowhere. As ever, they’re making it easy to get on board. The black and white performance clip gives the song a suitable late-night-MTV feel, footage of speeding through this or that desert included, and while I get more Fu Manchu than grunge out of the track at least for the first four of the total six minutes — whereas their Spring 2023 standalone single “Raindancer (From Outta Space)” seemed to go the full-Soundgarden — that’s definitely not something you’ll hear me whine about. That I haven’t heard the entire record yet, on the other hand…
You’ll note an actual Fu Manchu connection with “I’m Free Tonight” as well in the late-in-track guest appearance from guitarist Bob Balch — also bandmate to Reed in Big Scenic Nowhere — who seems only to happy to show up and lend some oomph to the back half, which brings a harder-landing bridge before turning back to the chorus as if to remind Daily Thompson are songwriters ahead of that culmination. I’ll say it again, they make it easy. Hook, groove, vibe. Whatever you’re chasing down, they’re here to help.
Right on:
“Chuparosa”, the fourth DAILY THOMPSON album in four years on Noisolution, will be released on May 17th!!! The guys from Dortmund seem to have not only won our hearts and continue to go full throttle and grow with every release.
More information about the album, the tour, the next single and the strictly limited CLUB100 edition (which will once again be a very special goodie, Trust me!!!) coming soon.
“I’m Free Tonight” is the first herald of the upcoming album. But DAILY THOMPSON are not alone here, because Bob Balch from Fu Manchu and Big Scenic Nowhere was in the studio and recorded the solo!!! The album was recorded and mastered in Port Orchard near Seattle by Mos Generator frontman Tony Reed. So it’s hardly surprising that “Chuparosa” smells of Seattle, of 90s alternative, grunge and lumberjack shirts.
Posted in Whathaveyou on March 11th, 2024 by JJ Koczan
Not a ton of info here, but I don’t suppose there actually needs to be. You might recall this past December when German good-time-grunge heavy rockers Daily Thompson traveled to the far end of the US to record their sixth full-length, the title of which has been announced as Chuparosa, in Washington State with Tony Reed of Mos Generator producing. Noisolution will have the album out May 17, and that’s about the long and short of it.
Last heard from with later-2022’s Live at Freak Valley, the trio’s most recent studio offering was 2021’s God of Spinoza (review here), for which they’ve barely let up in terms of supporting it live. 2022 and 2023 were threads of successive tours, and even unto last Fall as they prepared to head abroad to record, they still found time to hit the UK for a string of shows and do club dates and festivals in Germany, Switzerland and the Netherlands. To say they’ve put in their work would be underselling it.
There’s no audio from Chuparosa yet — the album taking its title from the shrub native to the Sonoran Desert — but most likely there will be before May 17, along with preorders and sundry other details/whatnot about it. The band posted the following on social media the other day, including the cover art with its photo by Jonas Wenz, who seems to have traveled with them at least in part to document the experience of making the record.
Here’s what they had to say, plus links and audio for further digging:
New record alert! Happy to present planet earth the cover of our new album „CHUPAROSA“
Out May 17th! 🌺🌲engineered and mastered by Tony Reed / HeavyHead Recording Company , cover photo by Jonas Wenz and layout by Florian Grass
Posted in Whathaveyou on February 6th, 2024 by JJ Koczan
I distinctly remember being in the hotel room in Tilburg at whichever Roadburn it was circa 2010 and putting on the proper CD of Samavayo‘s Death.March.Melodies! for the first time. It was part of a stack of compact discs I’d picked up at various merch tables throughout the day; the album was released on Nasoni and I snagged it from the Exile on Mainstream distro while nerding out, trying not to be intimidated by Andreas Kohl and failing. Back in the room, I put the disc in the player and dug in. It wasn’t my first time hearing the band, whose sound has taken on nearly two decades of development since. You’ll note the mention below of Iraq War II and the post-9/11 sphere in which the album arrived. That awareness of social issues extends throughout Samavayo‘s entire career. It is part of what defines their aesthetic.
Certainly that was the case on their 2022 full-length, Pāyān (review here), which they followed later that year with the compilation Songs for the Iranian People, which it’s worth noting came before the current US war of aggression in the Middle East got started. Democrats’ poll numbers tank, they just seem to decide it’s time to bomb Yemen. Worked for Obama. As long as you have no moral scruples about being a war criminal, it’s fine.
Anyhoozle, Death.March.Melodies! will be reissued through Noisolution on March 22, Samavayo doing a bit of looking back before they invariably move forward with what’s coming next for them — live shows mostly in Germany, and probably continued writing (that’s confirmed; they’re also working on new stuff). There’s a fair amount of info below, so take your time soaking it up, and both the most recent comp and Death.March.Melodies! (original master) stream below, hoisted from Bandcamp.
From the PR wire:
We are very proud to announce the re-issue of our debut LP “Death.March.Melodies!” from 2005 on March 22nd through our beloved label Noisolution!
“We were young and had been quite busy in the previous years. The first 4-track demo in 2002, the first EP “131” in 2003, the second EP “Songs from the Drop-outs” in 2004 and the absolute hit on Stoned From the Underground in 2004! It was time for the first album!
We had already played a few shows in and around Berlin and through Caligula666 in other federal states and picked up various influences! And we recorded this one song in the ORWOhaus with Daniel Hassbecker: The first version of “Keep on Rollin'”.
With a colorful mix of songs with influences from punk, stoner, heavy rock and a lot of metal, we have the Death.March.Melodies in 2005! recorded. The time was marked by the wars after September 11th, especially the Second Iraq War. The artwork was just as dark!
The album paved the way for us into the European stoner scene. In 2007 we played 70 self-booked shows, including in Greece. Long before the stoner scene was as big as it is today!
Looking back, this album was not only important for us, but 18 years later we hear from various fans of the scene that this album was one of the first stoner albums by a German band and that they grew up with it. We are incredibly proud of that!
Many of our new fans over the last few years haven’t seen this album on vinyl and certain songs like “Nutso” or “Heavy Song” have also been part of our live set over the last few years!
It has been sold out for over 10 years now and we did a remaster by Pascal Stoffels and new artwork by Kiryk Drewinski. We will play shows in Feb to May where we will be adding songs from DMM. And one of the highlights is our Berlin show, the first edition of Samavayo & Friends with Mother Engine and Sons of Morpheus on April 13th!
There will be a very limited “Club 100” sale on Feb 18th 18:00 cet!
The features of the “Club 100” version are – Protective cover with additional screen printed artwork – Demo CD with 6 unreleased pre-production and live songs from the years 2004-2007 – Limited and exclusive patch with artwork from 2005 – Hand signed double sided poster (band photo vs. lyrics) – Hand numbered & stamped
Our shows so far: 24.02.2024 DE Neckargemünd, Altes E-Werk – NeckargemündTicket 25.02.2024 DE Frankfurt, Zoom Frankfurt 12.03.2024 DE Hamburg, Bar 227 13.03.2024 NL Nijmegen, De Onderbroek 14.03.2024 DE Dusseldorf, Pitcher 15.03.2024 DE Siegen, VORTEX SURFER Music Club 16.03.2024 DE Erfurt, Bandhaus Erfurt 17.03.2024 DE Hannover, Kulturzentrum Faust 13.04.2024 DE Berlin, Samavayo & Friends 10.05.2024 CG Martigny, Les Caves du Manoir
more shows tba!
The Bandcamp sale will start on Feb 19th!
Samavayo is: Stephan Voland (Drums, Vocals) Andreas Voland (Bass, Vocals) Behrang Alavi (Vocals, Guitar)
Posted in Whathaveyou on December 6th, 2023 by JJ Koczan
Social media came through to warm the heart toward the end of last week as German heavy rockers Daily Thompson, who look like they’re having actual human fun while they’re playing and might actually be, traveled to Washington State way the hell in the far corner of the US to record their next full-length with none other than Tony Reed.
Ah, what could be better news? Good band doing the destination-recording thing with the guy who’s been fronting Mos Generator since the turn of the century and whose pedigree includes not only his own outfits Stone Axe, Twelve Thirty Dreamtime, Big Scenic Nowhere, on and on, but whose recording credits also involve the likes of Saint Vitus and Seedy Jeezus. A feather in the cap of any producer to have artists want to travel to work with you.
Daily Thompson spent six days in the studio following up 2022’s God of Spinoza (review here). I have no idea of Reed is mixing and/or mastering — one-stop shopping — or when the just-recorded offering might see release. They did have the Live at Freak Valley 2022 live album out this year. So next year for the next thing, presumably, and fair enough.
Before they leave the States, Daily Thompson will join Mos Generator and Kitsa on stage this Friday for a show that will obviously have some special significance to all involved in addition to being a good time. If you’re lucky enough to be anywhere near Port Orchard this weekend, it’s one to keep in mind.
The band announced they were finished thusly:
6 days, 1 album, a super happy band and @tony_reed2112 ❤️🔥⚡️
We finished the recordings for our new album! So much happened and we can’t wait to tell you but for now we are very pleased and we are more than ready for this new chapter! Man what a journey and we still have this gig with Mos Generator and KITSA this Friday 🇺🇸🤯 Special thanks to @apl_recording
Posted in Reviews on November 28th, 2023 by JJ Koczan
Day two and no looking back. Yesterday was Monday and it was pretty tripped out. There’s some psych stuff here too, but we start out by digging deep into metal-rooted doom and it doesn’t get any less dudely through the first three records, let’s put it that way. But there’s more here than one style, microgengre, or gender expression can contain, and I invite you as you make your way through to approach not from a place of redundant chestbeating, but of celebrating a moment captured. In the cases of some of these releases, it’s a pretty special moment we’re talking about.
Places to go, things to hear. We march.
Quarterly Review #11-20:
—
Primordial, How it Ends
Excuse me, ma’am. Do you have 66 minutes to talk about the end of the world? No? Nobody does? Well that’s kind of sad.
At 28 years’ remove from their first record, 1995’s Imrama, and now on their 10th full-length, Dublin’s Primordial are duly mournful across the 10 songs of How it Ends, which boasts the staring-at-a-bloodied-hillside-full-of-bodies after-battle mourning and oppression-defying lyricism and a style rooted in black metal and grown beyond it informed by Irish folk progressions but open enough to make a highlight of the build in “Death Holy Death” here. A more aggressive lean shows itself in “All Against All” just prior while “Pilgrimage to the World’s End” is brought to a wash of an apex with a high reach from vocalist Alan “A.A. Nemtheanga” Averill, who should be counted among metal’s all-time frontmen, ahead of the tension chugging in the beginning of “Nothing New Under the Sun.” And you know, for the most part, there isn’t. Most of what Primordial do on How it Ends, they’ve done before, and their central innovation in bridging extreme metal with folk traditionalism, is long behind them. How it Ends seems to dwell in some parts and be roiling in its immediacy elsewhere, and its grandiosities inherently will put some off just as they will bring some on, but Primordial continue to find clever ways to develop around their core approach, and How it Ends — if it is the end or it isn’t, for them or the world — harnesses that while also serving as a reminder of how much they own their sound.
With a partner in drummer Johnny Kelly (Type O Negative, Danzig, etc.), guitarist/songwriter Dan Lorenzo (Hades, Vessel of Light, Cassius King, etc.) has found an outlet open to various ideas within the sphere of doom metal/rock in Patriarchs in Black, whose second LP, My Veneration, brings a cohort of guests on vocals and bass alongside the band’s core duo. Some, like Karl Agell (C.O.C. Blind) and bassist Dave Neabore (Dog Eat Dog), are returning parties from the project’s 2022 debut, Reach for the Scars, while Unida vocalist Mark Sunshine makes a highlight of “Show Them Your Power” early on. Sunshine appears on “Veneration” as well alongside DMC from Run DMC, which, if you’re going to do a rap-rock crossover, it probably makes sense to get a guy who was there the first time it happened. Elsewhere, “Non Defectum” toys with layering with Kelly Abe of Sicks Deep adding screams, and Paul Stanley impersonator Bob Jensen steps in for the KISS cover “I Stole Your Love” and the originals “Dead and Gone” and “Hallowed Be Her Name” so indeed, no shortage of variety. Tying it together? The riffs, of course. Lorenzo has shown an as-yet inexhaustible supply thereof. Here, they seem to power multiple bands all on one album.
Just because it wasn’t a surprise doesn’t mean it’s not one of the best debut albums of 2023. Bringing together known parties from Boston’s heavy underground Jim Healey (We’re All Gonna Die, etc.), Doug Sherman (Gozu), Bob Maloney (Worshipper) and J.R. Roach (Sam Black Church), Blood Lightning want nothing for pedigree, and their Ripple-issued self-titled debut meets high expectations with vigor and thrash-born purpose. Sherman‘s style of riffing and Healey‘s soulful, belted-out vocals are both identifiable factors in cuts like “The Dying Starts” and the charging “Face Eater,” which works to find a bridge between heavy rock and classic, soaring metal. Their cover of Black Sabbath‘s “Disturbing the Priest,” included here as the last of the six songs on the 27-minute album, I seem to recall being at least part of the impetus for the band, but frankly, however they got there, I’m glad the project has been preserved. I don’t know if they will or won’t do anything else, but there’s potential in their metal/rock blend, which positions itself as oldschool but is more forward thinking than either genre can be on its own.
Based in Oakland and making their debut with the significant endorsement of Small Stone Records and Kozmik Artifactz behind them, atmospheric post-heavy rock five-piece Haurun tap into ethereal ambience and weighted fuzz in such a way as to raise memories of the time Black Math Horseman got picked up by Tee Pee. I don’t think that’s a coincidence. With notions of Acid King in the nodding, undulating riffs of “Abyss” and the later reaches of “Lost and Found,” but two guitars are a distinguishing factor, and Haurun come across as primarily concerned with mood, although the post-grunge ’90s alt hooks of “Flying Low” and “Lunar” ahead of 11-minute closer “Soil,” which uses its longform breadth to cast as vivid a soundscape as possible. Fast, slow, minimalist or at a full wash of noise, Haurun‘s Wilting Within has its foundation in heavy rock groove and riffy repetition, but does something with that that goes beyond microniche confines. Very much looking forward to more from this band.
Its point of view long established by the time they get around to the filthy lurch of “Hesher” — track three of seven — Cabin Fever is the first full-length from cultish doomers Wicked Trip. The Tennessee outfit revel in Electric Wizard-style fuckall on “Cabin Fever” after the warning in the spoken “Intro,” and the 11-minute sample-topped “Night of Pan” is a psych-doom jam that’s hypnotic right unto its keyboard-drone finish giving over to the sampled smooth sounds of the ’70s at the start of “Black Valentine,” which feels all the more dirt-coated when it actually kicks in, though “Evils of the Night” is no less threatening of purpose in its garage-doom swing, crash-out and cacophonous payoff, and I’m pretty sure if you played “No Longer Human” at double the speed, well, it might be human again. All of these grim, bleak, scorching, nodding, gnashing pieces come together to craft Cabin Fever as one consuming, lo-fi entirety, raw both because the recording sounds harsh and because the band itself eschew any frills not in service to their disillusioned atmosphere.
There’s an awful lot of sex going on in Splinter‘s Role Models, as the Amsterdam glam-minded heavy rockers follow their 2021 debut, Filthy Pleasures (review here), with cuts like “Soviet Schoolgirl,” “Bottom,” “Opposite Sex” and the poppy post-punk “Velvet Scam” early on. It’s not all sleaze — though even “The Carpet Makes Me Sad” is trying to get you in bed — and the piano and boozy harmonies of “Computer Screen” are a fun departure ahead of the also-acoustic finish in closer “It Should Have Been Over,” while “Every Circus Needs a Clown” feels hell-bent on remaking Queen‘s “Stone Cold Crazy” and “Medicine Man” and “Forbidden Kicks” find a place where garage rock meets heavier riffing, while “Children” gets its complaints registered efficiently in just over two boogie-push minutes. A touch of Sabbath here, some Queens of the Stone Age chic disco there, and Splinter are happy to find a place for themselves adjacent to both without aping either. One would not accuse them of subtlety as regards theme, but there’s something to be said for saying what you want up front.
Beginning with its longest component track (immediate points) in “Asteroid,” Terra Black‘s All Descend is a downward-directed slab of doomed nod, so doubled-down on its own slog that “Black Flames of Funeral Fire” doesn’t even start its first verse until the song is more than half over. Languid tempos play up the largesse of “Ashes and Dust,” and “Divinest Sin” borders on Eurometal, but if you need to know what’s in Terra Black‘s heart, look no further than the guitar, bass, drum and vocal lumber — all-lumber — of “Spawn of Lyssa” and find that it’s doom pumping blood around the band’s collective body. While avoiding sounding like Electric Wizard, the Gothenburg, Sweden, unit crawl through that penultimate duet track with all ready despondency, and resolve “Slumber Grove” with agonized final lub-dub heartbeats of kick drum and guitar drawl after a vivid and especially doomed wash drops out to vocals before rearing back and plodding forward once more, doomed, gorgeous, immersive, and so, so heavy. They’re not finished growing yet — nor should they be on this first album — but they’re on the path.
Sometimes the name of a thing can tell you about the thing. So enters Musing, a contemplative solo outfit from Devin “Darty” Purdy, also known for his work in Calgary-based bands Gone Cosmic and Chron Goblin, with the eight-song/42-minute Somewhen and a flowing instrumental narrative that borders on heavy post-rock and psychedelia, but is clearheaded ultimately in its course and not slapdash enough to be purely experimental. That is, though intended to be instrumental works outside the norm of his songcraft, tracks like “Flight to Forever” and the delightfully bassy “Frontal Robotomy” are songs, have been carved out of inspired and improvised parts to be what they are. “Hurry Wait” revamps post-metal standalone guitar to be the basis of a fuzzy exploration, while “Reality Merchants” hones a sense of space that will be welcome in ears that embrace the likes of Yawning Sons or Big Scenic Nowhere. Somewhen has a story behind it — there’s narrative; blessings and peace upon it — but the actual music is open enough to translate to any number of personal interpretations. A ‘see where it takes you’ attitude is called for, then. Maybe on Purdy‘s part as well.
A heavy and Sabbathian rock forms the underlying foundation of Spiral Shades‘ sound, and the returning two-piece of vocalist Khushal R. Bhadra and guitarist/bassist/drummer Filip Petersen have obviously spent the nine years since 2014’s debut, Hypnosis Sessions (review here), enrolled in post-doctoral Iommic studies. Revival, after so long, is not unwelcome in the least. Doom happens in its own time, and with seven songs and 38 minutes of new material, plus bonus tracks, they make up for lost time with classic groove and tone loyal to the blueprint once put forth while reserving a place for itself in itself. That is, there’s more to Spiral Shades and to Revival than Sabbath worship, even if that’s a lot of the point. I won’t take away from the metal-leaning chug of “Witchy Eyes” near the end of the album, but “Foggy Mist” reminds of The Obsessed‘s particular crunch and “Chapter Zero” rolls like Spirit Caravan, find a foothold between rock and doom, and it turns out riffs are welcome on both sides.
The closing “Sex on a Grave” reminds of the slurring bluesy lasciviousness of Nick Cave‘s Grinderman, and that should in part be taken as a compliment to the setup through “Black Cat” — which toys with 12-bar structure and is somewhere between urbane cool and cabaret nerdery — and the centerpiece “Bad Day,” which follows a classic downer chord progression through its apex with the rawness of Backwoods Payback at their most emotive and a greater melodic reach only after swaying through its willful bummer of an intro. Last-minute psych flourish in the guitar threatens to make “Bad Day” a party, but the Louisville outfit find their way around to their own kind of fun, which since the release is only three songs long just happens to be “Sex on a Grave.” Fair enough. Rife with attitude and an emergent dynamic that’s complementary to the persona of the vocals rather than trying to keep up with them, the counterintuitively-titled second short release (yes, I know the cover is a Zeppelin reference; settle down) from Bandshee lays out an individual approach to heavy songwriting and a swing that goes back further in time than most.
Posted in Whathaveyou on October 30th, 2023 by JJ Koczan
Hey alright, new Coogans Bluff on the way. The Berlin-based prog heavies released their Metronopolis (review here) in the early days of 2020 and followed up quickly that non-summer with four more songs under the complementary banner of Side-C of Metronopolis, so I guess they at least had been in a productive mode before… well… before. But 2024 will make it four years since then — an eternity in dog and rock and roll years — and if they’re ready to answer the equal-parts soothe and scorch considered sometimes-mania of those works with new material, whether it’s an album, a short release of some sort between EP, split, whatever, so much the better.
I know neither what shape the next offering they allude to in announcing the tour below will take nor when it will arrive, but while I’m in the dark I have both the luminescent comfort of the tour poster below and the blazing vision of an alternate, more complex classic heavy rock that a revisit to Metronopolis unveils for lighting the way, so no sweat to the anticipation, but yeah, this will be one to look forward to. The dates below are mostly in Germany, as will happen, but they veer into Austria and the Netherlands on either side of their home country as well, and one expects this won’t be the last batch of shows to be announced since, whatever’s coming, the band will obviously look to support it as much as possible.
So, with more to come, here are the dates from their socials:
Dear lovely Bluffonians,
We’re pleased as punch to present you the upcoming dates of the
!!!! TOUR BALADA 2024 !!!!
It’s gonna be a “release”- tour with lots of new music and first-class performances.
That’s right. You heard right. The secret word for tonight is… Releeeeeeeeeease.
25.01.24 Nürnberg, Z-Bau 26.01.24 München, Feierwerk 27.01.24 AT – Wien, ARENA WIEN 08.02.24 Hannover, kulturzentrumfaust 09.02.24 Dresden, Chemiefabrik 22.02.24 Köln, Helios37 23.02.24 NL – Nijmegen, Doornroosje 24.02.24 Oldenburg, Cadillac 07.03.24 Bielefeld, Forum Bielefeld 08.03.24 Frankfurt/Main, DAS BETT 09.03.24 Jena, Cosmic Dawn 21.03.24 Hamburg, Knust Hamburg 22.03.24 Rostock, Peter-Weiss-Haus 23.03.24 Berlin, Neue Zukunft
Posted in Whathaveyou on September 22nd, 2023 by JJ Koczan
After seeing their name on European festival bills for over half a decade, I finally had the chance this summer to get clued into what Israeli trio The Great Machine are all about live. And they’re all about over-the-top. Their performance at this year’s Freak Valley (review here) was little short of jaw-dropping in terms of just how much show they put on, the three-piece of guitarist/vocalist Omer Haviv, bassist/vocalist Aviran Haviv and drummer/vocalist Michael Izaky playing with full physicality and audience arrangement. You know how you go see a band and it’s like six dudes and they all play the songs and maybe it sounds cool but nobody actually even looks at the crowd? Yeah, it was basically the opposite of that.
They were out in the crowd, on top of speaker cabinets. They were jumping off the drum riser, playing at being possessed by their own riffs. It was a show, and fun in a way that few bands ever seem to let themselves be. And they came across as no less passionate or ‘dug in’ than anyone on that bill — more so than many, at least, for the obvious effort they put into the presentation.
Shows with Ruff Majik will be awesome. Those two bands will get along, I think:
THE GREAT MACHINE OCTOBER TOUR 2023
Hey friends,
we’re super happy to announce that our beloved friends from @the_greatmachine will hit the European roads again this Fall!(#128165#)
After their successful tour in May we can’t wait to finally see them live again!(#128293#) Especially as they teaming up with @ruffmajik for many shows.(#129705#) This is something you should definitely not miss!(#128064#)
Check out the tour dates below, grab your tickets and join the madness!(#128640#)
18.10. (DE) Berlin, Supamolly 19.10. (DE) Würzburg, Immerhin * 20.10. (DE) Buchum, Trompete * 21.10. (BE) Antwerp, Desertfest 22.10. (DE) Wiesbaden, Schlachthof * 23.10. (DE) Regensburg, Alte Mälzerei * 24.10. (DE) München, Orangehouse * 25.10. ***FREE FOR BOOKING*** 26.10. (CH) Pratteln, A Day In Smoke 27.10. (DE) Freiburg, Crash * 28.10. ***FREE FOR BOOKING*** * w/ Ruff Majik
Cheers, Your SOL-Crew
The Great Machine are: Aviran Haviv Omer Haviv Michael Izaky
Posted in Whathaveyou on September 22nd, 2023 by JJ Koczan
Oh that? That’s just German good-vibes heavy rockers Daily Thompson heading out again for another two and a half weeks of touring. You know how they do.
The trio will hit up the UK this time supporting The Atomic Bitchwax — am I crazy thinking these two bands have toured together before? — and making stops through Sound of Liberation-related fests Up in Smoke in Switzerland, Keep it Low in Munich and Lazy Bones at Hamburg, where they’ll wrap the run. It’s the umpteenth tour or at least the fourth that the group have undertaken since the release last year of their God of Spinoza (review here) long-player, which they followed quickly with a live album recorded at last summer’s Freak Valley Festival (review here), titled suitably Live at Freak Valley 2022.
I may forever associate their friendly grooves with summer sunshine after seeing that set, but I have no doubt they do just fine in an autumnal context as well. And guess what? It’s more October tour dates! Who’d’ve thought?
From socials:
We`re ready when you are!
Next week the first leg of our Europe and UK tour starts and we are super happy to support The Atomic Bitchwax and play some rad festivals (every single line up rocks and we are thrilled to be part of it)
28.09. NL Nijmegen, Doornrosje* 29.09. NL Rotterdam, Baroeg* 30.09. CH Pratteln, Up In Smoke 06.10. DE München, Keep It Low 14.10. UK Cardiff, Clwb Ifor Bach* 15.10. UK Manchester, Rebellion* 16.10. UK Edinburgh, Bannermans* 17.10. UK Newcastle, Anarchy Brew Co* 18.10. UK Huddersfield, The Parish* 19.10. UK Milton Keynes, The Craufurd Arms* 20.10. UK Bristol, Lost Horizon* 21.10. UK London, Dingwalls* 24.10. DE Berlin, Cassiopeia* 25.10. DE Düsseldorf, Pitcher* 26.10. NL Amersfoort, Podium Fluor* 27.10. DE Fulda, Kreuz* 28.10. DE Hamburg, Lazy Bones Festival *with TAB
