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Tickets are on sale now, or if you’ve already got them either for 2020 or 2021, they’ll carry over. 2020 was supposed to be my year to hit this fest, as well as a whole bunch of others. So it goes. If you make it to Âncora for the three-dayer next August, you go with my respect and admiration, and no shortage of jealousy.

Lineup info follows here, as per socials:

Come fanatics, come to the sabbath

We’re totally psyched to announce Electric Wizard, Weedeater, Pentagram (official), 1000mods, W.I.T.C.H We Intend To Cause Havoc, Night Beats, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Meatbodies, SLIFT, The Devil And The Almighty Blues, BALA, Mythic Sunship, GREEN LUNG, Frankie and the Witch Fingers, Psychlona, Toxic Shock, The Machine, Tia Carrera, The Goners, Samavayo, Rosy Finch, We Hunt Buffalo and 24/7 DIVA HEAVEN to SonicBlast Fest 2022.

*** more to be announced soon***

SonicBlast Fest 2022
11, 12 and 13th August
Praia da Duna dos Caldeirões
Âncora, Portugal

Tickets bought for the 2021 edition are automatically valid for 2022.

Tickets are now on sale at BOL (Fnac, Worten, Ctt’s…)
or at https://garboyl.bol.pt/Comprar/Bilhetes/92523-sonicblast_festival_2022_full_festival_ticket-garboyl_lives/Sessoes
and Masqueticket https://www.masqueticket.com/entrada/835-sonicblast-fest-2022

Artwork by Branca Studio
Supported by Antena 3

https://www.facebook.com/events/193315945704188/
https://www.facebook.com/sonicblastmoledo/
https://www.instagram.com/sonicblast_fest

Psychlona, “Resin” official video

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: David Pais of Sullen

—

Custom Essay is a premium http://para-sun.com/power-quality-phd-thesis/ service with over 20 years of experience providing quality essays by expert writers to satisfied clients. How do you define what you do and how did you come to do it?

I’m a musician, gamer, cinema and comics lover. All of these are intertwined and it’s interesting to see how all of my passions are so important as an inspiration which allows me to create music. I stumbled in music by pure accident, as I was passionate about sound design when I was a little kid. You see, my dad had this VCR plugged into two tape decks, and as a tiny kid I thought it was a good idea to record movies into K7 tapes and listen to them while I went riding my bike. That was the gate for soundscape exploration which sparked my interest in cinema and later on, music.

Describe your first musical memory.

Learning my hometown’s hymn by ear and performing it at a school event when I was 7.

Describe your best musical memory to date.

This is a real pickle. I have two moments that I can’t shake out of my head and I can’t reduce to one. The first was listening to Issues from Korn, from top to bottom and crying when the album ended. The second was Metropolis Pt. 2: Scenes from a Memory from Dream Theater. It got me hooked from the first second and when the album ended I had to listen to it again immediately. I was mesmerized and couldn’t believe what I just heard.

When was a time when a firmly held belief was tested?

I would have to say when I became a fully-fledged atheist. I went into a long introspective journey and felt all my faith completely shaken and ultimately destroyed. But in a good way. Still, that was an intense struggle, trying to justify my existence without an “omni-presence”, which in lieu of the circumstances and serious analysis is nothing but a zombie-analogy that enslaved my mind for a long period of time.

Where do you feel artistic progression leads?

Evolution of oneself, allowing the mind to grow, mature and expand on subjects that were unknown before. Evolution as a whole species as well, I believe.

How do you define success?

When your passion becomes your work. Then you know you’re successful, regardless of actually being successful in the eyes of other people.

What is something you have seen that you wish you hadn’t?.

My Covid-belly. I’m pregnant. Now seriously. Watching as one old computer of mine was “dying”, and all of my musical projects were there, and I had no way of transferring the files at the time. I lost a lot of work. I still have shivers when I think about it.

Describe something you haven’t created yet that you’d like to create.

A video-game. And also co-writing an album with Skynd. I’m particularly fascinated by her complexity and expression, and I would love to spend hours talking with her about her work and to debate what’s in the mind of serial killers and explore it musically. It’s a subject that intrigues me and I love their music, so that’s something I’d love to create.

What do you believe is the most essential function of art?

To reflect the vicissitudes of existence and to make us reflect about ourselves with someone else’s work. I don’t mean by objectively analyzing it, but by absorbing its content and dwelling in the meaning of it.

Something non-musical that you’re looking forward to?

Perhaps becoming a father and finishing my video game. Not necessarily at the same time or in any particular order. Also, the end of this pandemic.

http://www.facebook.com/sullenpt
http://www.sullenpt.bandcamp.com
http://www.youtube.com/sullenpt
http://www.instagram.com/sullenpt

Sullen, Nodus Tollens – Act 1: Oblivion (2021)

[Click play above to stream the premier of the video for ‘Fibonacci Numbers.’ Saturnia release their new album, Stranded in the Green, March 26 on Sulatron Records.]

This year marks the 25th anniversary of Lisboa-based multi-instrumentalist and songwriter Luís Simões founding Saturnia, and the Portuguese institution of psychedelia marks the occasion with the release of its seventh full-length, Stranded in the Green, through Sulatron Records. A veteran of Elektrohasch Schallplatten and Cranium Music, Simões has always kept Saturnia pretty close to himself in terms of lineup, going back 20 years to the band’s debut, The Glitter Odd, and sure enough, in addition to producing/recording here over a period of two years between 2018-2020 and mixing last August, he handles vocals, electric, acoustic and 12-string guitar as well as a swath of other instruments — Hammond, Philicorda, Rhodes, piano, synthesizer, gong, chimes, drums, bass, various effects, keyboard samples, tampura and acoustic sitar among them. In terms of other personnel throughout the nine-song/56-minute offering, Simões welcomes only two others: Ana Vitorino speaking on the intro “Pan Arrives,” and Winga bringing djembe to the subsequent “Keep it Long.” Certainly any number of solo albums have involved more players. Simões even designed the cover art, with his own pictures as well as those by João Bordeira. So yes, a personal feel is somewhat inevitable.

Stranded in the Green, though, is as much about breadth and atmosphere as it is personal expression. It is not bedroom psychedelia, and those familiar with Saturnia — Simões‘ most recent prior outing was 2018’s The Seance Tapes (review here), which reworked older material — shouldn’t expect it to be. Rather, despite quiet moments like the beginning of the near-14-minute centerpiece “Super Natural,” Simões uses the album in semi-narrative fashion to portray a communion with nature. The pagan representation of Pan in “Pan Arrives” is fair enough ground for the beginning of the record, and while sitar rock and uptempo ’60s-fashioned heavy psych are the initial impressions in “Keep it Long,” the subsequent “Fibonacci Numbers,” with its vague keyboard impressionism, quieter melody and patient execution kept to an underlying movement with a simple tom progression during the verse, and the drift-dream-int0-mellotron that is “Smoking in the Sun” — which admittedly may well be the very core of the record’s functioning storyline, further tying in with “Super Natural” and second-half-of-album cuts like “When I’m High” and the closer “Just Let Yourself Go” — soon show that the beginning is only the beginning, as it were, and that Saturnia are undertaking the songwriting, the showcase of craft and melody and rhythm, even the arrangements, as a kind of ritual in nature. Stranded in the Green, with all its expanse and atmosphere, is effective in maintaining this overarching purpose.

And with the word “stranded” in the title, there is a modern, COVID-era sense of isolation as well. After “Super Natural” has swelled and receded and one-man-jammed its lush and gorgeous landscape directly into the clearer piano line laced with synth and sitar drone that comes with “When I’m High,” the pairing of “Perfectly Lonely” and “Butterfly Collector” recedes into minimalist backwards guitar and subdued cymbal wash in the former track. It’s more substantial than an interlude at nearly four and a half minutes, but if one was to place a bet as to which portion of Stranded in the Green was conceived and executed under quarantine — a kind of willfully meandering experimentalism that’s deeply personal despite the lack of vocals — “Perfectly Lonely” would be a solid pick. Whether or not that’s actually the case, I don’t know, but that’s how it reads, and with a return of birdsong accompanied by chimes leading to Rhodes (I think), rolling drums and a fluid synthy vibe, “Butterfly Collector” expands on that ambience with 7:45 of escapist immersion. As so many people did for so many months, it seems simply to explore the space around it, going for a walk, reengaging with the colors that go so often taken for granted.

By the time “Butterfly Collector” comes around, Stranded in the Green has already pushed the boundaries of a single LP — it’s worth noting that the Sulatron LP version omits “Perfectly Lonely” and “Just Let Yourself Go,” which appear on the CD — but the journey is the point, and certainly the shifts in arrangement and general mood are enough to hold more fickle attention spans. “Butterfly Collector” is the closer of the vinyl, and its concluding wash and minor-key mystique in the parting lines serves that function well, but “Just Let Yourself Go” manages to do well in summarizing the outing just the same, with a nodding rhythm beneath returned sitar drone and a bluesy lead line at the outset, synth/effects swirl peppering in, and more of the unmitigated instrumental flow that has served Simões so well throughout. It wouldn’t be fair to call the album incomplete without it, but it is one more example of Simões‘ ability to pull together a full-band atmosphere and still maintain the intimacy of a solo affair; the central dynamic around which the album is based. That is to say, it can sound “Perfectly Lonely” while still creating its own special kind of wash.

A quarter-century after its founding, maybe it shouldn’t be such a surprise that Simões is capable of engineering that balance, but that doesn’t make the listening experience any less satisfying, and for sure there is an aspect of refinement and continued growth in the processes on display throughout. It’s possible that engaging with older songs helped inspire Saturnia to move forward with these tracks, or that lockdown played a role there as well, but Stranded in the Green is that much stronger for it in manifesting its expressive purpose. There is an element of escapism — or at very least there can be — in terms of hearing it. One might be tempted to turn off one’s mind, relax, and float downstream. But Simões isn’t so much dropping out here as tuning in to the world around him, and that sense of interaction is as infectious as any chorus contained within the songs themselves. Thus, when met with its due consideration, Stranded in the Green is the kind of album that might make colors seem brighter afterward.

Saturnia on Thee Facebooks

Saturnia website

Sulatron Records on Thee Facebooks

Sulatron Records website

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Scott “Dr. Space” Heller of Øresund Space Collective & Aural Hallucinations

—

How do you define what you do and how did you come to do it?

I make space sounds using mostly analog synthesizers. Magnus Hannibal from Mantric Muse was the first one to encourage me to experiment with synthesizers. If it was not for him, I probably never would have played synthesizers. My friend Doug Walter (RIP) from Alien Planetscapes was a huge musical inspiration towards exploring and making unusual music.

Describe your first musical memory.

Listening to Chuck Berry with my dad. Later taking the records into my room and trying to transcribe the lyrics. I recently found the book that I wrote them down in (see picture).

Describe your best musical memory to date.

This is a very hard question and a bit vague. When I played with Gas Giant in a small concrete bunker club in Leipzig Germany in 2003. The band was on fire, the audience was so intense and into it. I had never experienced anything like that. The power of live music and looking out and seeing these people moving to the sound and we would space out and jam and they were there for every last second and the way the place would erupt when we ended a song or a jam. I was totally blown away. It is hard to describe. I felt like I was levitating! Another was when Øresund Space Collective played the Freak Stage at Burg Herzberg Festival at 23 and just looking out and seeing a solid sea of people as far as I could see. Wow. We played til 3 am with a short break!!

When was a time when a firmly held belief was tested?

Well, quite recently, when I signed a contract to build my music studio and after 8 months, the builder had not worked one day but only provided excuse after excuse for months on end. I always want to give people the benefit of the doubt and believe that they will do what they said they would, especially when you sign a contract. Anyway, I was hugely let down and delayed but this. So not, all people are good to their word, this is for sure, sometimes you can be too trusting of people.

Where do you feel artistic progression leads?

It hopefully leads to one feeling good about oneself and to unique musical creation. I have always been involved with bands that it is important to make music for the moment. I would not last long in a band that played the songs the exact same every night, as most bands do. I need that feeling of danger, excitement, that you get when you improvise and try new things and experiment with sound. This is progression for me. The same song can progress to something new each night, like with Black Moon Circle!!

How do you define success?

Can I still listen to it and say, “hell yeah, that is cool?” Then I succeeded. If you are speaking in a bit more generic terms, then I would say, “Am I happy, do I make other people happy, am I contributing to try to make the world a better place?” If so, then I have succeeded in life.

What is something you have seen that you wish you hadn’t?

Tommy TuTone playing between Rose Tattoo and ZZ Top in 1981. Terrible ’80s pop music after rocking out with Rose Tattoo and waiting for ZZ Top. Totally ruined our mood. That should never have happened.

Describe something you haven’t created yet that you’d like to create.

My music studio. I hope it will be created this year and I can go on to record so many of the cool bands that I know like Papir, Syreregn, Øresund Space Collective, Elder, Black Moon Circle, White Hills, and more.

What do you believe is the most essential function of art?

Art should take you away from the current reality you are in. Be it a painting that you can look into and disappear or a song that just transports you away. A ballet, theatre, anything where you can forget the fucked up world we have and disappear into it. Then it has served its function.

Something non-musical that you’re looking forward to?

Starting my new garden this year and seeing if have good success with some new varieties of chilis I have never grown before!!!

http://oresundspacecollective.com
http://oresundspacecollective.bandcamp.com
http://doctorsofspace.bandcamp.com
http://writingaboutmusic.blogspot.com
http://www.spacerockproductions.com
http://blackmooncircle.bandcamp.com
http://auralhallucinations.bandcamp.com

Øresund Space Collective, Four Riders Take Space Mountain (2020)

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Johnny Lee of Miss Lava

—

How do you define what you do and how did you come to do it?

My first art expression and my first roots were drawing. Since forever, I remember drawing and trying to replicate everything all the time. The more realistic or the closest to the original the best.

But as I grew up, I became a huge music fan and music turns out to be my favorite type of art, especially metal and rock music. I’ve learned most of my English by reading metal bands’ lyrics. I developed my drawing skills by drawing, countless times, all of Iron Maiden’s album covers, and by drawing every band logo I could.

Since a very early age, I sang along with all of my favorite metal bands of the ’80s and I started to sing and write lyrics on top of instrumental songs as well.

That was the starting point of everything, but in one-way or another, I’ve always wanted to become a singer and wanted to do something art related. And that’s what I’ve been doing ever since.

Nowadays, I work as a Creative Director in an advertising agency and I’m the singer of a Stoner Rock Band. I guess I could say “Mission accomplished”.

Describe your first musical memory.

When I was four or five years old, around 1980/81, I remember grabbing one of my mother’s tapes and playing it over and over. Side A – Pink Floyd “Dark Side of the Moon” and side B – Supertramp “Crime of The Century”. I guess that first impact of reproducing some music made me feel very powerful, like I had a superpower or something. In a way I think that feeling still lasts as I have become a music collector. I own more than 1,000 records and almost 1,500 CDs.

Describe your best musical memory to date.

In 1995 Megadeth and Corrosion of Conformity played in my hometown, Cascais in Lisbon, Portugal.

I was a big C.O.C. fan, I am still, and me and K. Rafaah (Miss Lava’s Guitarist) found Pepper Keenan and Woody Weatherman drinking some wine in a terrace in Cascais the night before the show. We invited them to a pool house bar where we used to hang.

Turns out we spent that night partying with Corrosion’s Pepper, Woody and Reed Mullin and Megadeth’s late Nick Menza. We drank, played some pool, talked about music all night and by the time we were so drunk, me and Pepper sang together, in the middle of the street, the song “Shelter” from the album Deliverance that they were promoting at the time.

On the next day, during the show, Reed pulled me from the crowd onto the stage to sing with them “Rather See You Dead” (Legionaire’s Disease Band cover) and before playing “Vote with a Bullet,” Pepper dedicated the song to us, me and Raffah.

I was 19 years old at the time, and I think nothing will ever top that for as long as I live. Epic!

When was a time when a firmly held belief was tested?

That is a tough one. I guess all the time. I try to be as straightforward, true and honest as I can, but honesty and truth most of the times are too hard to handle by others. Certainly, I compromise more than I should or want. I guess it’s a learning process.

Where do you feel artistic progression leads?

Hopefully will lead to better places, better times, freedom and deeper emotions.

For me, Art is a constant, shifting universe that stimulates my very own space and time.

It’s the way that I chose to live my life, to challenge my boundaries and I hope that I’ll continue to make something meaningful and different each time.

How do you define success?

I guess success is: to look back and being able to understand and appreciate how far we’ve come. Have no regrets. Feel good with the choices we’ve made and to be proud of our achievements. Success should put us in a good place and make us feel happy about the journey. But the most important thing about success is being able to share it with your friends, family and keep them all around you.

We can’t be successful all alone.

What is something you have seen that you wish you hadn’t?

Back in 1996 I went to a soccer match in Lisbon, Portugal. It was the Cup Final between my team, Sporting Portugal and our main rivals Benfica. During Benfica’s first goal celebration, one of Benfica’s supporters fired a rocket flare towards Sporting fans. I saw the rocket speeding my way, crossing from one point of the stadium to another, only a few meters above the players’ heads, when suddenly it changed direction and hits a peaceful man, next to me, in the throat and kills him on the spot (he was the father of two small children). I was just a few meters away. I remember seeing all the blood splashing from the man’s throat as the rocket was still burning inside him and I remember thinking that could have happened to me. Very sad memory.

Describe something you haven’t created yet that you’d like to create.

I would like to direct a music video for our band.

And I’ve never tried doing a sculpture. I think I would like to make a realistic one someday. Maybe an Ozzy or a Lemmy bust or even a Cristiano Ronaldo’s, to see if I can top the ridiculous one hahaha.

What do you believe is the most essential function of art?

Establishing communication with our emotions.

Something non-musical that you’re looking forward to?

Like I said before, I like do draw as realistic as I can. In the near future, I want to make a full detailed gigantic realistic painting of a foot plant, hahaha. Don’t know why? Probably it’s going to be the unfinished work at the end of my life.

https://www.facebook.com/MissLavaOfficial/
http://www.instagram.com/miss.lava/
http://www.smallstone.com
http://www.facebook.com/smallstonerecords
http://www.smallstone.bandcamp.com
http://kozmik-artifactz.com/
https://www.facebook.com/kozmikartifactz

Miss Lava, Doom Machine (2021)

Miss Lava, “The Great Divide” official video

Portuguese heavy rockers Miss Lava release their new album, Doom Machine, Jan. 15 on Small Stone and Kozmik Artifactz. The band’s fourth long-player and second through Small Stone behind 2016’s Sonic Debris (review here), it is an explosion of well-crafted, professional-sounding material that feels built for European heavy-fest stages. Your Desertfests, certainly SonicBlast, they’re already booked for a festival in Spain this March (which seems ambitious), and so on. It was, appropriately enough, recorded live, with Miguel “Veg” Marques at the helm of Generator Music Studios in Sintra. The energy with which the songs are delivered is only part of the album’s personality though, because the CD version comes with a whopping 15 tracks running a total of 56 minutes, as the returning four-piece of vocalist Johnny Lee, guitarist K. Raffah, bassist Ricardo Ferreira and drummer J. Garcia tear into one hook after the other, careening with desert-inspired purpose through “Fourth Dimension” and “In the Mire” at the outset like an all-grown-up Kyuss with the rest of the album that follows working in different stages set off by interludes, groups of one or two songs complemented by short pieces of varied atmosphere that lend breadth to the proceedings as a whole.

Most of those spacers are quick instrumentals. Guitar, bass, drums. “Magma,” the first of them, and “Karma” follow that pattern, while “Alpha” adopts a more mellow spirit and the last, “Terra” captures wave sounds and guitar noise ahead of the closing title-track, which is also the longest song on the outing at 6:58. The interludes bolster Doom Machine‘s flow and make it all the more immersive despite being largely based around straightforward craft of high grade verses and choruses, though certainly longer stretches like “Brotherhood of Eternal Love” (5;46), the Alice in Chains-style harmonized “The Fall” (6:31) and “Doom Machine” itself want nothing for atmosphere. “The Fall” is a highlight in that regard, but it contends with single-worthy cuts like the maddeningly catchy “Sleepy Warm” and the slower, more spacious “The Great Divide” nearby for that title, with the latter as the assumed end of the vinyl’s side A and, indeed, the split between the first half of the album and the second — not counting the bonus tracks. That’s not to mention a cut like “The Oracle,” later on, which singlehandedly shows how Miss Lava take cues from classic desert rock and turn them into something of their own all across Doom Machine as a whole. Maybe it’s safer not to talk about highlights.

Amid the many hooks, interludes and spot-on moves made throughout Doom Machine is the narrative of K. Raffah having lost a child after only a month and a half from birth. That brutal context underpins even the most uptempo of Miss Lava‘s songs here, and adds weight to already impactful pieces like “The Fall” and “In the Mire” earlier on, the melodies and momentum betraying little of what’s actually going on but remaining expressive nonetheless. One doesn’t want to call it a disconnect, but Doom Machine hardly sounds dragged down by grief or anything else as Miss Lava courses through. Even the bonus tracks, “God Feeds the Swine,” ‘Feel Surrea” and “Red Atlantis,” boast quality hooks — the last one of them especially so — so there is a balance of elements and themes at play throughout, and the band aren’t necessarily beholden to one or the other of them, as impossible as that might seem.

To wit, the video premiering below for “The Great Divide” takes a post-apocalyptic environmentalist stance, looking out at the world and seeing it being used and torn down by humanity as a whole. The clip was directly by José Dinis, who offers some comment on it below, along with that of Johnny Lee.

As always, I hope you enjoy:

Miss Lava, “The Great Divide” official video premiere

According to singer Johnny Lee, “‘The Great Divide’ is a euphemism for death, an apocalyptic vision for mankind. We keep destroying our planet and forgetting that when this ends, it ends for everyone.”

Director José Dinis reflects that this is “A concept story about an apocalyptic world, where an unhopeful man just tries to survive. As in real life, there is always a way out, a solution, a chance to live a more colourful life, no matter what.”

“The Great Divide” was filmed at Mina de São Domingos, a deserted open-pit mine in Alentejo, Portugal. The site is one of the volcanogenic massive sulfide ore deposits in the Iberian Pyrite Belt, which extends from the southern Portugal into Spain. It was the first place in Portugal to have electric lighting.

Miss Lava on Thee Facebooks

Miss Lava on Bandcamp

Sonic Debris at Small Stone’s Bandcamp

Small Stone Records

Kozmik Artifactz on Thee Facebooks

Kozmik Artifactz website

Hey, it could happen. The vaccines could work and be properly distributed, and with social-distancing guidelines still in place and accounted for in the festival’s venue choice, SonicBlast Fest 2021 could very well take place next August. I think we all know the first lineup announcement comes with a big ol’ asterisk in terms of “well this is how it’s gonna go if the plague hasn’t swallowed us whole by then,” but with that caveat, it’s awfully nice to see a lineup announcement from a festival at all, let alone one that already has a bunch of cool bands set to play. Maybe Europe’s borders will be open to Americans next August. That’d be a dream come true.

SonicBlast of course did the virtual thing this year, as many other fests have done, and the fest’s YouTube still has a few killer performances up, including the one from South Africa’s Ruff Majik that you can see at the bottom of this post.

Tickets are available and I have to believe it’ll sell out:

SonicBlast Fest 2021: Aug 12-14

SonicBlast Fest is back!

We are so happy to welcome John Garcia & The Band of Gold and Psychlona among many others to announce soon

In 2021 we celebrated the 10th edition in a new enclosure, with a strong poster and we couldn’t be more satisfied!

Months and months of work arduous and several contradictions along the way, our priority was always to try to secure a good poster for this special edition and find an enclosure with the characteristics needed for this great celebration. And we did it!

The 10th edition of 10 takes place at Praia da Dune do Cauldron in Anchor (Walk), in a dream framing and in a compound that will have the same capacity but features a much greater area, ensuring your comfort and safety when travelling in August 2021 to the Anchor region for this celebration. Thank you in advance to Caminha Município for your help in finding the new location keeping it in our county, and Junta de Freguesia de Âncora and Âncora Praia Futebol Clube for the enthusiasm and availability to welcome SonicBlast Fest.

Line up, so far:
John Garcia and the Band of Gold (usa)
All Them Witches (usa)
Brant Bjork (usa)
Witch (usa)
Causa Sui (dnk)
Bala (sp)
Psychlona (uk)
… and many more to be announced

Info Tickets:
(Portugal) Os bilhetes já estão à venda em toda a rede BOL (Lojas Fnac, Worten, Ctt’s…)
To buy your ticket online:
https://garboyl.bol.pt/Comprar/Bilhetes/92523-sonicblast_festival_2021_full_festival_ticket-garboyl_lives/Sessoes
e www.masqueticket.com

Full festival ticket:
– 50€ from 23 to 30 November
– 65€ from 1st of December to 31st of May
– 75€ from 1st of June

https://www.facebook.com/events/193315945704188/
https://www.facebook.com/sonicblastmoledo/
https://www.instagram.com/sonicblast_fest

Ruff Majik, Live at SonicBlast Online 2020

https://sonicblastmoledo.com/

Issuing through Kozmik Artifactz and Small Stone, the impending Doom Machine full-length from Miss Lava will be the band’s first since 2016’s Sonic Debris (review here). The title, Doom Machine, doesn’t inspire much in considerations of individuality — it’s kind of a generic name for a record, band, song, riff, amp, heavy thing, etc. — but the album actually deals with some hard-hitting emotional content on the part of the group, and as one expects from Miss Lava well more than a decade into their tenure, they know exactly what they’re doing when it comes to songwriting and capturing a stage-ready energy in the studio.

Will there be stages for Miss Lava to support the record once it’s out? Hell if I know. Seems unlikely in January, but you know, maybe at some point, ever, they’ll get to tour again.

To preface Doom Machine‘s arrival, Miss Lava have a video up now for the opening track “Fourth Dimension,” and you can see that at the bottom of this post, following the PR wire info and this kickass cover art right here:

MISS LAVA: Lisbon Heavy Rock Unit To Release Doom Machine This January Via Small Stone / Kozmik Artifactz; “Fourth Dimension” Video Now Playing + Preorders Available

Lisbon’s premier heavy rockers MISS LAVA will release their long-awaited new full-length, Doom Machine, this January via Small stone.

The perfect soundtrack for the post-lockdown world, the band’s fourth album and follow-up to 2017’s Dominant Rush EP stands as their densest output to date doused in kaleidoscopic riff explorations and hypnotic interludes; a multi-textured sonic journey that’s at once deep, heavy, mesmerizing, and cathartic. Captured live at Generator Music Studios in Sintra, Portugal by Miguel “Veg” Marques, the record carries with it the warmth and soul of a band full of fresh vigor and perhaps the demons of these tumultuous times.

The record is loosely focused on the tragic death of guitarist K. Raffah’s baby son and the other members’ children born during the creative process. “Doom Machine is a very emotional experience for us…,” Raffah shares. “[My son] was only here for a month and a half, but his light was very bright. We feel his presence every time.” Thematically vocalist Johnny Lee adds, “This album reflects on how each one of us can breed and unleash our own self-destructive force, assembled to be part of a giant ‘Doom Machine.'”

In advance of the record’s release, today the band is pleased to unveil a video for first single, “Fourth Dimension,” noting, “this is a riff raff explosion that urges people to get out of the cave allegory they live in.”

Directed by José Dinis, view MISS LAVA’s “Fourth Dimension.”

Doom Machine will be released on CD and digitally via Small Stone with Kozmik Artifactz handling a limited vinyl edition. Find preorders at THIS LOCATION.

Doom Machine Track Listing:
1. Fourth Dimension
2. In The Mire
3. Magma
4. Brotherhood Of Eternal Love
5. Sleepy Warm
6. The Great Divide
7. Karma
8. The Fall
9. Alpha
10. The Oracle
11. Terra
12. Doom Machine
13. God Feeds The Swine *
14. Feel Surreal *
15. Red Atlantis *
** Bonus tracks on CD and digital only

Doom Machine is the successor to MISS LAVA’s Dominant Rush EP (2017), Sonic Debris (2016), Red Supergiant (2013), and Blues For The Dangerous Miles (2009), as well as a limited edition self-titled blood red vinyl EP (2008).

https://www.facebook.com/MissLavaOfficial/
http://www.instagram.com/miss.lava/
http://www.smallstone.com
http://www.facebook.com/smallstonerecords
http://www.smallstone.bandcamp.com
http://kozmik-artifactz.com/
https://www.facebook.com/kozmikartifactz

Miss Lava, “Fourth Dimension” official video

Miss Lava, Doom Machine (2021)