Quarterly Review: Ufomammut, Insect Ark, Heath, The Cosmic Dead, The Watchers, Juke Cove, Laurel Canyon, Tet, Aidan Baker, Trap Ratt

Posted in Reviews on May 21st, 2024 by JJ Koczan

The-Obelisk-Quarterly-Review

Good morning and heavy riffs. Today is day 7 of the Quarterly Review. It’s already been a lot, but there are still 30 more releases to cover over the next three days, so I assure you at some point I’ll have that nervous breakdown that’s been ticking away in the back of my brain. A blast as always, which I mean both sincerely and sarcastically, somehow.

But when we’re done, 100 releases will have been covered, and I get a medal sent to me whenever that happens from the UN’s Stoner Rock Commission on Such Things, so I’ll look forward to that. In the meantime, we’re off.

Quarterly Review #61-70:

Ufomammut, Hidden

ufomammut hidden

Italian cosmic doomers Ufomammut celebrate their 25th anniversary in 2024, and as they always have, they do so by looking and moving forward. Hidden is the 10th LP in their catalog, the second to feature drummer Levre — who made his debut on 2022’s Fenice (review here) alongside bassist/vocalist Urlo and guitarist Poia (both also keyboards) — and it was preceded by last year’s Crookhead EP (review here), the 10-minute title-track of which is repurposed as the opener here. A singular, signature blend of heft and synth-based atmospherics, Ufomammut roll fluidly through the six-tracker check-in, and follow on from Fenice in sounding refreshed while digging into their core stylistic purposes. “Spidher” brings extra tonal crush around its open verse, and “Mausoleum” has plenty of that as well but is less condensed and hypnotic in its atmospheric midsection, Ufomammut paying attention to details while basking in an overarching largesse. The penultimate “Leeched” was the lead single for good reason, and the four-minute “Soulost” closes with a particularly psychedelic exploration of texture and drone with the drums keeping it moving. 25 years later and there’s still new things to discover. I hear the universe is like that.

Ufomammut website

Supernatural Cat website

Neurot Recordings website

Insect Ark, Raw Blood Singing

insect ark raw blood singing

Considering some of the places Dana Schechter has taken Insect Ark over the project’s to-date duration, most of Raw Blood Singing might at times feel daringly straightforward, but that’s hardly a detriment to the material itself. Songs like “The Hands” bring together rhythmic tension and melodic breadth, as soundscapes of drone, low end chug and the drumming of Tim Wyskida (also Khanate, Blind Idiot God) cast a morose, encompassing atmospheric vision. And rest assured, while “The Frozen Lake” lumbers through its seven minutes of depressive post-sludge — shades of The Book of Knots at their heaviest, but still darker — and “Psychological Jackal” grows likewise harsher and horrific, the experimentalist urge continues to resonate; the difference is it’s being set to serve the purposes of the songs themselves in “Youth Body Swayed” or “Cleaven Hearted,” which slogs like death-doom with a strum cutting through to replace vocals, whereas the outro “Ascension” highlights the noise on its own. It is a bleak, consuming course presented over Raw Blood Singing‘s 45 minutes, but there’s solace in the catharsis as well.

Insect Ark website

Debemur Murti Productions website

Heath, Isaak’s Marble

Heath Isaak's Marble

Laced through with harmonica and organic vibes, Netherlands-based five-piece Heath make their full-length debut with the four extended tracks of Isaak’s Marble, reveling in duly expansive jams keyed for vibrancy and a live sound. They are somewhat the band-between as regards microgenres, with a style that can be traced on the opening title-cut to heavy ’70s funk-boogie-via-prog-rock, and the harmonica plays a role there before spacing out with echo over top of the psychedelia beginning of “Wondrous Wetlands.” The wetlands in question, incidentally, might just be the guitar tone, but that haze clears a bit as the band saunters into a light shuffle jam before the harder-hitting build into a crescendo that sounds unhinged but is in fact quite under control as it turns back to a softshoe-ready groove with organ, keys, harmonica, guitar all twisting around with the bass and drums. Sitar and vocal harmonies give the shorter-at-six-minutes “Strawberry Girl” a ’60s psych-pop sunshine, but the undercurrent is consistent with the two songs before as Heath highlight the shroomier side of their pastoralism, ahead of side B capper “Valley of the Sun” transitioning out of that momentary soundscape with clear-eyed guitar and flute leading to an angular progression grounded by snare and a guitar solo after the verse that leads the shift into the final build. They’re not done, of course, as they bring it all to a rousing end and some leftover noise; subdued in the actual-departing, but still resonant in momentum and potential. These guys might just be onto something.

Heath website

Suburban Records store

The Cosmic Dead, Infinite Peaks

The Cosmic Dead Infinite Peaks

The Cosmic Dead, releasing through Heavy Psych Sounds, count Infinite Peaks as their ninth LP since 2011. I’ll take them at their word since between live offerings, splits, collections and whatnot, it’s hard sometimes to know what’s an album. Similarly, when immersed in the 23-minute cosmic sprawl of “Navigator #9,” it can become difficult to understand where you stop and the universe around you begins. Rising quickly to a steady, organ-inclusive roll, the Glaswegian instrumental psilocybinists conjure depth like few of their jam-prone ilk and remain entrancing as “Navigator #9” shifts into its more languid, less-consuming middle movement ahead of the resurgent finish. Over on side B, “Space Mountain” (20:02) is a bit more drastic in the ends it swaps between — a little noisier and faster up front, followed by a zazzy-jazzy push with fiddle and effects giving over to start-stop bass and due urgency in the drums complemented by fuzz like they just got in a room and this happened before the skronky apex and unearthly comedown resolve in a final stretch of drone. Ninth record or 15th, whatever. Their mastery of interstellar heavy exploration is palpable regardless of time, place or circumstance. Infinite Peaks glimpses at that dimensional makeup.

The Cosmic Dead website

Heavy Psych Sounds website

The Watchers, Nyctophilia

The Watchers Nyctophilia

Perhaps telegraphing some of their second long-player’s darker intentions in the cover art and the title Nyctophilia — a condition whereby you’re happier and more comfortable in darkness — if not the choice of Max Norman (Ozzy Osbourne, Death Angel, etc.) to produce, San Francisco’s The Watchers are nonetheless a heavy rock and roll band. What’s shifted in relation to their 2018 debut, Black Abyss (review here), is the angle of approach they take in getting there. What hasn’t changed is the strength of songwriting at their foundation or the hitting-all-their-marks professionalism of their execution, whether it’s Tim Narducci bringing a classic reach to the vocals of “Garden Tomb” or the precise muting in his and Jeremy Von Epp‘s guitars and Chris Lombardo‘s bass on “Haunt You When I’m Dead” and Nick Benigno‘s declarative kickdrum stomping through the shred of “They Have No God.” The material lands harder without giving up its capital-‘h’ Heavy, which is an accomplishment in itself, but The Watchers set a high standard last time out and Nyctophilia lives up to that while pursuing its own semi-divergent ends.

The Watchers on Facebook

Ripple Music website

Juke Cove, Tempest

juke cove tempest

Leipzig’s Juke Cove follow a progressive course across eight songs and 44 minutes of Tempest, between nodding riffs of marked density and varying degrees of immediacy, whether it’s the might-just-turn-around-on-you “Hypnosis” early on or the shove with which the duly brief penultimate piece “Burst” takes off after the weighted crash of and ending stoner-rock janga-janga riff of “Glow” and precedes the also-massive “Xanadu” in the closing position, capping with a fuzzy solo because why not. From opener “The Path” into the bombast of “Hypnosis” and the look-what-we-can-make-riffs-do “Wait,” the three-piece of guitarist/vocalist Mateusz Pietrzela, bassist/vocalist Dima Ogorodnov and drummer Maxim Balobin mine aural individualism from familiar-enough genre elements, shaping material of character that benefits from the scope wrought in tone and production. Much to its credit, Tempest feels unforced in speaking to various sides of its persona, and no matter where a given song might go — the watery finish of “Wait” or the space-blues drift that emerges out of psych-leaning noise rock on “Confined,” for example — Juke Cove steer with care and heart alike and are all the more able to bring their audience with them as a result. Very cool, and no, I’m not calling them pricks when I say that.

Juke Cove on Facebook

Juke Cove on Bandcamp

Laurel Canyon, East Side EP

laurel canyon east side

A little more than a year out from their impressive self-titled debut LP (review here), Philly three-piece Laurel Canyon — guitarist/bassist/vocalist Nicholas Gillespie, guitarist/vocalist Serg Cereja, drummer Dylan DePice — offer the East Side three-songer to follow-up on the weighted proto-grunge vibes therein. “East Side” itself, at two and a half minutes, is a little more punk in that as it aligns for a forward push in the chorus between its swaggering verses, while “Garden of Eden” is more directly Nirvana-schooled in making its well-crafted melody sound like something that just tumbled out of somebody’s mouth, pure happenstance, and “Untitled” gets more aggressive in its second half, topping a momentary slowdown/nod with shouts before they let it fall apart at the end. This procession takes place in under 10 minutes and by the time you feel like you’ve got a handle on it, they’re done, which is probably how it should be. East Side isn’t Laurel Canyon‘s first short release, and they’re clearly comfortable in the format, bolstering the in-your-face-itude of their style with a get-in-and-get-out ethic correspondingly righteous in its rawness.

Laurel Canyon on Facebook

Agitated Records website

Tet, Tet

tet tet

If you hadn’t yet come around to thinking of Poland among Europe’s prime underground hotspots, Tet offer their four-song/45-minute self-titled debut for your (re-)consideration. With its lyrics and titles in Polish, Tet draws on the modern heavy prog influence of Elder in some of the 12-minute opener/longest track (immediate points), “Srebro i antracyt,” but neither that nor “Dom w cieniu gruszy,” which follows, stays entirely in one place for the duration, and the lush melody that coincides with the unfolding of “Wiosna” is Tet‘s own in more than just language; that is to say, there’s more to distinguish them from their influences than the syllabic. Each inclusion adds complexity to the story their songs are telling, and as closer “Włóczykije” gradually moves from its dronescape by bringing in the drums unveiling the instrumentalist build already underway, Tet carve a niche for themselves in one of the continent’s most crowded scenes. I wonder if they’ve opened for Weedpecker. They could. Or Belzebong, for that matter. Either way, it will be worth looking out for how they expand on these ideas next time around.

Tet linktr.ee

Tet on Bandcamp

Aidan Baker, Everything is Like Always Until it is Not

aidan baker Everything is Like Always Until it is Not

Aidan Baker, also of Nadja, aligns the eight pieces of what I think is still his newest outing — oh wait, nope; this came out in Feb. and in March he had an hour-long drone two-songer out; go figure/glad I checked — to represent the truism of the title Everything is Like Always Until it is Not, and arranges the tracks so that the earlier post-shoegaze in “Everything” or “Like” can be a preface for the more directly drone-based “It” “Is” later on. And yes, there are two songs called “Is.” Does it matter? Definitely not while Baker‘s evocations are actually being heard. Free-jazz drums — not generally known for a grounding effect — do some work in terms of giving all the float that surrounds them a terrestrial aspect, but if you know Baker‘s work either through his solo stuff, Nadja or sundry other collaborations, I probably don’t need to tell you that the 47 minutes of Everything is Like Always Until it is Not fall into the “not like always” category as a defining feature, whether it’s “Until” manifesting tonal heft in waves of static cut through by tom-to-snare-to-cymbal splashes or “Not” seeming unwilling to give itself over to its own flow. I imagine a certain restlessness is how Aidan Baker‘s music happens in the first place. You get smaller encapsulations of that here, if not more traditional accessibility.

Aidan Baker on Facebook

Cruel Nature Recordings on Bandcamp

Trap Ratt, Tribus Rattus Mortuus

Trap Ratt Tribus Rattus Mortuus

Based in the arguable capitol of the Doom Capitol region — Frederick, Maryland — the three-piece Trap Ratt arrive in superbly raw style with the four-song/33-minute Tribus Rattus Mortuus, the last of which, aptly-titled “IV,” features Tim Otis (High Noon Kahuna, Admiral Browning, etc.), who also mixed and mastered, guesting on noise while Charlie Chaplin’s soliloquy from 1940’s The Dictator takes the place of the tortured barebones shouts that accompany the plod of 13-minute opener/longest track (immediate points) “The Sacred Skunk,” seemingly whenever they feel like it. That includes the chugging part before the feedback gets caustic near the song’s end, by the way. “Thieving From the Grieving” — which may or may not have been made up on the spot — repurposes Stooges-style riffing as the foundation for its own decay into noise, and if from anything I’ve said so far about the album you might expect “Take the Gun” to not be accordingly harsh, Trap Ratt have a word and eight minutes of disaffected exploration they’d like to share with you. It’s not every record you could say benefits aesthetically from being recorded live in the band’s rehearsal space, but yes, Tribus Rattus Mortuus most definitely does.

Trap Ratt on Facebook

Trap Ratt on Bandcamp

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Quarterly Review: Pallbearer, BleakHeart, Pryne, Avi C. Engel, Aktopasa, Guenna, Slow Green Thing, Ten Ton Slug, Magic Fig, Scorched Oak

Posted in Reviews on May 17th, 2024 by JJ Koczan

The-Obelisk-Quarterly-Review

By the time today is through — come hell or high water! — we will be at the halfway point of this two-week Quarterly Review. It hasn’t been difficult so far, though there are ups and downs always and I don’t think I’m giving away secrets when I tell you that in listening to 50 records some are going to be better than others.

Truth is that even outside the 100 LPs, EPs, etc., I have slated, there’s still a ton more. Even in something so massive, there’s an element of picking and choosing what goes in. Curation is the nice word for it, though it’s not quite that creatif in my head. Either way, I hope you’ve found something that connects this week. If not yet, then today. If not today, then maybe next week. As I’m prone to say on Fridays, we’re back at it on Monday.

Quarterly Review #41-50:

Pallbearer, Mind Burns Alive

pallbearer mind burns alive

While I won’t take away from the rawer energy and longing put into their earlier work, maturity suits Pallbearer. The Little Rock, Arkansas, four-piece of vocalist/guitarist Brett Campbell, guitarist/backing vocalist Devin Holt, bassist/synthesist/backing vocalist Joseph D. Rowland and drummer Mark Lierly have passed their 15th anniversary between 2020’s Forgotten Days (review here) and the self-recorded six tracks of Mind Burns Alive, and they sound poised harnessing new breadth and melodic clarity. They’ve talked about the album being stripped down, and maybe that’s true to some degree in the engrossing-anyhow opener “When the Light Fades,” but there’s still room for sax on the 10-minute “Endless Place,” and the quieter stretches of the penultimate “Daybreak” highlight harmonized vocals before the bass-weighted riff sweeps in after the three-minute mark. Campbell has never sounded stronger or more confident as a singer, and he’s able to carry the likewise subdued intro to “Signals” with apparent sincerity and style alike. The title-track flashes brighter hopes in its later guitar solo leads, but they hold both their most wistful drift and their most crushing plod for closer “With Disease,” because five records and countless tours (with more to come) later, Pallbearer very clearly know what the fuck they’re doing. I hope having their own studio leads to further exploration from here.

Pallbearer on Facebook

Nuclear Blast website

BleakHeart, Silver Pulse

Bleakheart silver pulse

With its six pieces arranged so that side A works from its longest track to its shortest and side B mirrors by going shortest to longest, Denver‘s BleakHeart seem to prioritize immersion on their second full-length, Silver Pulse, as “All Hearts Desire” unfolds fluidly across nearly eight minutes, swelling to an initial lumbering roll that evaporates as they move into the more spacious verse and build back up around the vocals of Kiki GaNun (also synth) and Kelly Schilling (also bass, keys and more synth). Emotional resonance plays at least as much of a role throughout as the tonal weight intermittently wrought by JP Damron and Mark Chronister‘s guitars, and with Joshua Quinones on drums giving structure and movement to the meditations of “Where I’m Disease” before leaving the subsequent “Let Go” to its progression through piano, drone and a sit-in from a string quartet that leads directly into “Weeping Willow,” the spaces feel big and open but never let the listener get any more lost in them than is intended. This is the first LP from the five-piece incarnation of BleakHeart, which came together in 2022, and the balance of lushness and intensity as “Weeping Willow” hits its culmination and recedes into the subdued outset of “Falling Softly” and the doomed payoff that follows bodes well, but don’t take that as undercutting what’s already being accomplished here.

BleakHeart on Facebook

Seeing Red Records website

Pryne, Gargantuan

PRYNE Gargantuan

Austria’s Pryne — also stylized all-caps: PRYNE — threaten to derail their first album before it’s even really started with the angular midsection breakdown of “Can-‘Ka No Rey,” but that the opener holds its course and even brings that mosher riff back at the end is indicative of the boldness with which they bring together the progressive ends of metal and heavy rock throughout the 10-song/46-minute offering, soaring in the solo ahead of the slowdown in “Ramification,” giving the audience 49 seconds to catch its breath after that initial salvo with “Hollow Sea” before “Abordan” resumes the varied onslaught with due punch, shove and twist, building tension in the verse and releasing in the melodic chorus in a way that feels informed by turn-of-the-century metal but seeming to nod at Type O Negative in the first half bridge of “Cymboshia” and refusing flat-out to do any one thing for too long. Plotted and complex even as “The Terrible End of the Yogi” slams out its crescendo before the Baronessy verse of “Plaguebearer” moves toward a stately gang shout and squibbly guitar tremolo, they roll out “Enola” as a more straight-ahead realignment before the drone interlude “Shapeless Forms” bursts into the double-kick-underscored thrash of closer “Elder Things,” riding its massive groove to an expectedly driving end. You never quite know what’s coming next within the songs, but the overarching sense of movement becomes a uniting factor that serves the material well regardless of the aggression level in any given stretch.

Pryne on Facebook

Pryne on Bandcamp

Avi C. Engel, Too Many Souls

avi c engel too many souls

Backed by looped percussive ticks and pops and the cello-esque melody of the gudok, Toronto experimental singer-songwriter Avi C. Engel is poised as they ask in the lyrics of “Breadcrumb Dance,” “How many gods used to run this place/Threw up their hands, went into real estate” near the center of the seven-song Too Many Souls LP. Never let it be said there wasn’t room for humor in melancholy. Engel isn’t new to exploring folkish intimacy in various contexts, and Too Many Souls feels all the more personal even in “Wooly Mammoth” or second cut “Ladybird, What’s Wrong?” which gets underway on its casual semi-ramble with the line, “One by one I watch them piss into the sun,” for the grounded perspective at root. An ongoing thread of introspection and Engel‘s voice at the center draw the songs together as these stories are told in metaphor — birds return in the album’s second half with “The Oven Bird’s Song” but there’s enough heart poured in that it doesn’t need to be leaned into as a theme — and before it moves into its dreamstate drone still with the acoustic guitar beneath, “Without Any Eyes” brings through its own kind of apex in Engel‘s layered delivery. Topped with a part-backmasked take on the traditional “Wayfaring Stranger” that’s unfortunately left as an instrumental, Too Many Souls finds Engel continuing their journey of craft with its own songs as companions for each other and the artist behind them.

Avi C. Engel on Facebook

Somnimage website

Aktopasa, Ultrawest

aktopasa ultrawest

The 13-minute single “Ultrawest” follows behind Aktopasa‘s late-2022 Argonauta Records debut, Journey to the Pink Planet (review here), and was reportedly composed to feature in a documentary of the same name about the reshaping of post-industrial towns in Colorado. It is duly spacious in its slow, linear, instrumentalist progression. The Venice, Italy, three-piece of guitarist Lorenzo Barutta, bassist Silvio Tozzato and drummer Marco Sebastiano Alessi are fluid as they maintain the spirit of the jam that likely birthed the song’s floating atmospherics, but there’s a plan at work as well as they bring the piece to fruition, with Alessi subtly growing more urgent around 10 minutes in to mark the shift into an ending that never quite bursts out and isn’t trying to, but feels like resolution just the same. A quick, hypnotic showcase of the heavy psychedelic promise the debut held, “Ultrawest” makes it easy to look forward to whatever might come next for them.

Aktopasa on Facebook

Aktopasa on Bandcamp

Guenna, Peak of Jin’Arrah

Guenna Peak of Jin Arrah

Right onto the list of 2024’s best debuts goes Guenna‘s Peak of Jin’Arrah, specifically for the nuance and range the young Swedish foursome bring to their center in heavy progressive fuzz riffing. One might look at a title like “Bongsai” or “Weedwacker” (video premiered here) and imagine played-to-genre stoner fare, but Guenna‘s take is more ambitious, as emphasized in the flute brought to “Bongsai” at the outset and the proclivity toward three-part harmonies that’s unveiled more in the nine-minute “Dimension X,” which follows. The folk influence toward which that flute hints comes forward on the mostly-acoustic closer “Guenna’s Lullaby,” which takes hold after the skronk-accompanied, full-bore push that caps “Wizery,” but by that point the context for such shifts has been smoothly laid out as being part of an encompassing and thoughtful songwriting process that in less capable hands would leave “Ordric Major” disjointed and likely overly aggressive. Even as they make room for the guest lead vocals of Elin Pålsson on “Dark Descent,” Guenna walk these balances smoothly and confidently, and if you don’t believe there’s a generational shift happening right now — at this very moment — in Scandinavia, Peak of Jin’Arrah stands ready to convince you otherwise. There’s a lot of work between here and there, but Guenna hold the potential to be a significant voice in that next-gen emergence.

Guenna on Facebook

The Sign Records website

Slow Green Thing, Wetterwarte / Waltherstrasse

Slow Green Thing Wetterwarte Waltherstrasse

The interplay of stoner-metal tonal density and languid vocal melody in “I Thought I Would Not” sets an atmospheric mood for Slow Green Thing on their fourth LP, Wetterwarte / Waltherstrasse, which the Dresden-based four-piece seem to have recorded in two sessions between 2020 and 2022. That span of time might account for some of the scope between the songs as “Thousand Deaths” holds out a hand into the void staring back at it and the subsequent “Whispering Voices” answers the proggy wash and fuzzed soloing of “Tombstones in My Eyes” with roll and meditative float alike, but I honestly don’t know what was recorded when and there’s no real lack of cohesion within the aural mists being conjured or the heft residing within it, so take that as you will. It’s perhaps less of a challenge to put temporal considerations aside since Slow Green Thing seem so at home in the flow that plays out across Wetterwarte / Waltherstrasse‘s six songs and 44 minutes, remaining in control despite veering into more aggressive passages and basing so much of what they do on entrancing and otherworldly vibe. And while the general superficialities of thickened tones and soundscaping, ‘gaze-type singing and nod will be familiar, the use made of them by Slow Green Thing offers a richer and deeper experience revealed and affirmed on repeat listens.

Slow Green Thing on Facebook

Slow Green Thing on Bandcamp

Ten Ton Slug, Colossal Oppressor

TEN TON SLUG COLOSSAL OPPRESSOR

Don’t expect a lot of trickery in Ten Ton Slug‘s awaited first full-length record, Colossal Oppressor, which delivers its metallic sludge pummel with due transparency of purpose. That is to say, the Galway, Ireland, trio aren’t fucking around. Enough so that Bolt Thrower‘s Karl Willetts shows up on a couple of songs. Varied but largely growled or screamed vocals answer the furious chug and thud of “Balor,” and while “Ghosts of the Ooze” later on answers back to the brief acoustic parts bookending opener “The Ooze” ahead of “Mallacht an tSloda” arriving like a sledgehammer only to unfold its darkened thrash and nine-plus-minute closer “Mogore the Unkind” making good on its initial threat with the mosh-ready riffing in its second half, there’s no pretense in those or any of the other turns Colossal Oppressor makes, and there doesn’t need to be when the songs are so refreshingly crushing. These guys have been around for over a decade already, so it’s not a surprise necessarily to find them so committed to this punishing mission, but the cathartic bloodletting resonates regardless. Not for everyone, very much for some on the more extreme end of heavy.

Ten Ton Slug on Facebook

Ten Ton Slug on Bandcamp

Magic Fig, Magic Fig

magic fig magic fig

Don’t let the outward Beatles-bouncing pop-psych friendly-acid traditionalism of “Goodbye Suzy” lull you into thinking San Francisco psych rockers Magic Fig‘s self-titled debut is solely concerned with vintage aesthetics. While accessible even in the organ-and-synth prog flourish of “PS1” — the keyboards alone seeming to span generations — and the more foreboding current of low end under the shuffle and soft vocals of “Obliteration,” the six-song/28-minute LP is no less effective in the rising cosmic expanse that builds into “Labyrinth” than the circa-’67 orange-sun lysergic folk-rock that rolls out from there — that darker edge comes back around, briefly, in a stop around the two-minute mark; it’s hard to know which side is imagining the other, but “Labyrinth” is no less fun for that — and “Distant Dream,” which follows, is duly transcendent and fluid. Given additional character via the Mellotron and birdsong-inclusive meditation that ends it and the album as a whole, “Departure” nonetheless feels intentional in its subtly synthy acoustic-and-voice folkish strum, and its intricacy highlights a reach one hopes Magic Fig will continue to nurture.

Magic Fig on Facebook

Silver Current Records on Bandcamp

Scorched Oak, Perception

Perception by Scorched Oak

If you followed along with Dortmund, Germany’s Scorched Oak on their 2020 debut, Withering Earth (review here), as that album dug into classic heavy rock as a means of longer-form explorations, some of what they present in the 39 minutes of Perception might make more sense. There was plenty of dynamic then too in terms of shifts in rhythm and atmosphere, and certainly second-LP pieces like “Mirrors” and “Relief” come at least in part from a similar foundation — I’d say the same of the crescendo verse of “Oracle” near the finish — but the reportedly-recorded-live newer offering finds the band making a striking delve into harder and more metallic impacts on the whole. An interplay of gruff — gurgling, almost — and soulful melodic vocals is laid out as opener/longest track (immediate points) “Delusion” resolves the brooding toms of its verse with post-metal surges. Perhaps it’s obvious enough that it doesn’t need to be said, but Scorched Oak aren’t residing in a single feel or progression throughout, and the intensity and urgency of “Reflection” land with a directness that the closing “Oracle” complements in its outward spread. The element of surprise makes Perception feel somewhat like a second debut, but that they pull off such an impression is in itself a noteworthy achievement, never mind how much less predictable it makes them or the significant magnitude of these songs.

Scorched Oak on Facebook

Scorched Oak on Bandcamp

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Album Review: Brume, Marten

Posted in Reviews on April 29th, 2024 by JJ Koczan

brume marten

Albums like Marten happen neither every year nor for every band. For Brume, it is their third full-length behind 2019’s Billy Anderson-produced Rabbits (review here) and 2017’s Rooster (review here), their second release through Magnetic Eye Records, and their first outing since the three-piece of vocalist/bassist/keyboardist Susie McMullan, guitarist/vocalist Jamie McCathie (ex-Gurt) and drummer Jordan Perkins Lewis welcomed cellist/vocalist Jackie Perez Gratz (GrayceonGiant SquidAmber Asylum, etc.) to an expanded lineup. Gratz had appeared on Rabbits as well, doing a cello guest spot (as will happen) for that record’s centerpiece, “Blue Jay,” which was both shorter than everything that surrounded it, but able to breathe in its own way with the melodic textures of its arrangement, also including keys and harmonized vocals.

It’s not impossible to read “Blue Jay” as the model Brume are following on Marten, which takes its name from the small, weasel-ish animal taxidermied on the fancy chair of its cover, and which finds the band working with producer Sonny DiPerri (MizmorEmma Ruth RundleLord Huron, etc.) and directed in sound more toward atmosphere and breadth than directness of impact, though there’s plenty of that too. Fluid in its storytelling lyric, opening track “Jimmy” unfolds mournfully with soft guitar and cello at its start before the bass and drums join, McMullan immediately putting the listener in the narrative’s place, time and mental state with the lines, “Jimmy rise from the basement/Jimmy rise from the grave,” at the start of the first verse while Lewis slowly cycles through tom thuds and punctuating snare, giving some hint of the sweeping chorus to come, McCathie and Gratz joining on vocals as the corresponding wall of tone and crash-laden roll takes hold, “You raise your glass to freedom/You raise your glass to family/Now you’re fast, too fast, to leave us/My wrath will not be well contained.”

This all takes place before the first three minutes of the first song on a 48-minute eight-tracker LP are done, and not one second of what follows is less graceful or purposeful in its delivery, arrangement and performance, less cognizant of mood, or dynamic. Marten in some ways redefines the course of Brume‘s growth as it builds on what the band has accomplished up to now, but there’s also an engagement with pop in the lyrical voices throughout “New Sadder You,” “Faux Savior” and “How Rude,” taking on subjects like grief, joining a cult and the climate crisis, respectively, in language that feels pointedly not-inflated, conversational and modern. Where another given outfit might get lost in grandiosity, particularly to accompany the melancholic drift of later pieces like “Run Your Mouth” or “The Yearn,” which comprise the closing salvo, Brume resonate all the more for the humanity and specifically at times for the femininity of this perspective. And so the forlorn love poetry of “The Yearn” is presented not as quotes from Greek philosophy or whatever, but in clear, efficient and down-to-earth lines like, “Drowning here/Heart is for real.”

brume (Photo by Jamie McCathie)

One might say the same of how “New Sadder You” is framed. The chorus, “I invite you to greet new sadder you/Because you take pain with you/With you till the end/When your memories are through/Mix joy and despair, anger fast on the move,” is a standout among songs that, while varied enough in structure and atmosphere to not all be about their choruses, have nonetheless been thoughtfully crafted, and as one of Marten‘s most soaring moments, the conversation is grounded and the same point of view that borders on sarcasm in “Faux Savior” as it namedrops a celebrity spiritual advisor and pines for “A proper fraud with fortitude and frost” — the alliteration’s burn in the direction of toxic YouTube-guru influencer masculinity — uses the melody to sweeten the threat on male ego fragility in “Run Your Mouth”: “Words won’t save you/I’ve got all night,” and gives Mother Earth the name Drucilla on “How Rude” as Laurie Sue Shanaman (Ludicra, Ails) adds raw-throated backing screams to the apex-bound build, feeling worlds away from three gentler-but-not-entirely-undoomed nod and bright three-part vocal harmonies of “Otto’s Song,” ending side A with a lullaby just a track prior.

Shanaman returns on the subsequent “Heed Me” as well, lending aural claw to the lines “Can you hear my memories?” and “What can you do for me?” at the ends of the last verses in harsh complement to the melody, but well positioned at the start of side B, which is on average less voluminous than “Jimmy,” “New Sadder You” or the gospel-spiritual plod of “Faux Savior” earlier, and enough of a surprise when they kick in with the first-stage surge of “How Rude” at 4:16 — the second stage hits at 4:44 with “We scream, the earth cracks” — that the listener has less of an idea of what’s coming as they move into “Heed Me,” “Run Your Mouth” and “The Yearn,” the last of which completes Marten on a flowing roll of crash and airy post-metallic lead guitar taking off from the last chorus, in which the cello plays rhythm the bass, gradually moving into its echoing fade. Not that one imagines throatrippers arising from that last gorgeous wash of tone and swaying motion, but you never know and shifting expectation is part of the point, along with emotive expression no less weighted than whichever of the most lumbering riffs you might want to set it beside.

And that heft of emotion extends to the ambience of pieces like “Run Your Mouth” or “New Sadder You” as well, whether it’s McMullan or McCathie doing lead vocals or trading as they do between the final verse and chorus of “New Sadder You,” Gratz lending her significant reach to the ending of “How Rude,” or the lush safe-space created in “Otto’s Song” even after the bass and drums join in to nudge it into a forward march. Across the span of MartenBrume declare themselves as many things in terms of sound, most but not all of them leaning toward a darkness or somberness of mood, but they’re more assured than ever of who they are as a band working in new sonic dimensions of length, width, height and depth, and ‘The Yearn” indeed makes you believe the heart behind it all is for real. That’s an achievement in itself, but still only a fraction of what puts Marten so much on its own level, both for Brume and in whichever microgenre tag might ultimately fail to encapsulate their work here.

Brume, Marten (2024)

Brume, “How Rude” official video

Brume, “Jimmy” official video

Brume on Facebook

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Brume website

Magnetic Eye Records store

Magnetic Eye Records website

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Video Interview: Brume on Marten, Dolly Parton, All the Lost Rap Parts of Their Songs & More

Posted in Bootleg Theater, Features on April 8th, 2024 by JJ Koczan

brume (Photo by Jamie MacCathie)

San Francisco’s Brume will release their new album, Marten, through Magnetic Eye Records on May 3. That’s less than a month away. The interview in the video below was conducted back in February, and the reason for that was basically that I heard the thing, got excited about it, and wanted to chat. I had asked bassist/vocalist Susie McMullan (also keys) for a lyric sheet, which she was gracious enough to supply, and reading through, I could see the genuine poetic voice behind a lot of the words; somewhat playful, sometimes sad and/or angry, but pervasively grounded in the actual language being used. Mother Earth, in condemning humanity’s destruction of the planet, calls it rude (that’s “How Rude,” for which they have a new video, also below). McMullan‘s threat “Do you mind if I step in?” is pointedly low-key in redirecting the conversation of “Run Your Mouth.” Just two among many other examples throughout the record.

Part of what makes it striking is that with so much nuance in the careful balance of the vocal arrangements between McMullan, guitarist Jamie McCathie, and cellist Jackie Perez Gratz (also Grayceon, ex-Giant Squid, etc.), the chamber-style presence of the strings amid instrumental dynamics crossing the span from minimalism to outright crush — Jordan Perkins-Lewis‘ drums steady at the foundation for either — you’d almost expect more pretense, more grandiosity. Instead, Marten — named brume martenfor the kind of varmint on its cover, and maybe also a little bit some dude they met on tour in Europe — is casual from the outset. What could be less formal than the name “Jimmy?” However sweeping or consuming “New Sadder You” or “Faux Savior” get, and no matter who is actually delivering the lines in a given verse, that underlying point of view holds firm.

It is a record loaded with stories. There was a lot to talk about, and there probably still is. As regards the interview itself, I’ll tell you that I had had a day by the time McGathieMcMullan and I hopped on Zoom. I should’ve canceled. It’s not a question of performance or anything like that, but about 20 minutes before we started talking I was getting punched by my kid for I don’t even remember what, and I just kind of suck here. I had a hard time going back and watching it, to tell you the truth. I’d transcribe it (ha) if I ever had time, maybe edit the video, but that also feels a little less honest to the experience, and, well, everybody on the internet pretends they’re fucking perfect all the time and in the interest of down-to-earth, here’s me taking myself down a peg. I haven’t done a lot of video interviews in the last year-plus. I really wanted to talk to Brume. If I had it to do over, I would, but sometimes one part of life bleeds into another, and while I’m sure it’s worse to me than to someone else watching, I just kind of get sad looking at and hearing myself here.

So enjoy! Yeah, I know. I haven’t sold it well. Fair enough.

What I’ll tell you is that whether you actually dig into the interview clip or not — and Susie and Jamie had cool stuff to say, so don’t not watch it — listen to the music. “Jimmy,” “New Sadder You” and, as of yesterday, “How Rude” are available as singles. They don’t represent the gospel blues of “Faux Savior” or the emotive fluidity that closes Marten in “The Yearn,” but god damn, do they land heavy on any level you want to consider.

So one way or the other, yeah, do enjoy. Thanks for reading and watching if you do:

Brume, Marten Interview, Feb. 22, 2024

Marten is out May 3 on Magnetic Eye Records. Preorders available here: http://lnk.spkr.media/brume-marten.

Brume, Marten (2024)

Brume, “How Rude” official video

Brume, “Jimmy” official video

Brume on Facebook

Brume on Instagram

Brume website

Magnetic Eye Records store

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Castle Sign to Hammerheart Records; Evil Remains Due in September

Posted in Whathaveyou on March 21st, 2024 by JJ Koczan

Last month, when Castle announced the not-here-yet April 1 release of their live album, One Knight Stands: Live in NY (info here), through their own Black Wren Records imprint, it didn’t seem out of line to think they’d handle the follow-up studio release noted at the time as well. Today, the plot thickens as Hammerheart Records (Trouble, among many others across a range of heavy and/or metal subgenres) steps in to issue Evil Remains this Fall, which will arrive concurrent to three weeks of touring in Europe over the course of Sept. 9-30. That puts them earlier than many of the Fall heavy festivals, but that’s only fitting for a band who’ve always followed their own path.

There are a couple TBAs, and as always, if you can help out, you should. I haven’t heard Evil Remains yet, so can’t tell you much more about it other than it’s six months out from being released, minimum, so I probably shouldn’t have heard it yet either. Let’s assume there will be more details — including the release date — between now and then, and if you’re desperate for something new to dig into, well it just so happens there are two songs from the live record streaming now. See? Everything works out sometimes.

The PR wire sends its regards, hopes you’re well, and had this to say:

castle evil remains

Heavy Metal/Doom trio Castle signs to Hammerheart Records for their new album “Evil Remains”!

Hammerheart Records are proud to announce they have signed Castle for a worldwide release of the new album in September 2024 to coincide with a 22 date European tour, their first since 2018.

Castle guitarist Mat Davis states “We’re thrilled to sign with Hammerheart Records and partner together for the release of Evil Remains. It’s our best album to date, the production is huge and really captures the power and nuance of Liz’s vocal performance. We can’t wait to get it out there and start playing these songs live.”

Heavy metal/doom trio Castle have completed recording their new album “Evil Remains” at Rain City Recorders in Vancouver, BC with producer Jesse Gander (Anciients, Brutus, 3 Inches Of Blood).

“Evil Remains”, the band’s sixth full length follows 2018’s “Deal thy Fate” and 2016’s critically-lauded “Welcome to the Graveyard”.

Castle tourdates:
9/9 Bamberg, DE – Live Club
9/10 Karlsruhe, DE – Kohi
9/11 Freiburg, DE – Slow Club
9/12 Marburg, DE – Knubbel
9/13 Weikersheim, DE – Club W71
9/14 Leipzig, DE – Black Label
9/15 Munich, DE – Backstage
9/16 TBA
9/17 Dusseldorf, DE – Pitcher
9/18 Hamburg, DE – Logo
9/19 Malmo, SE – Plan B
9/20 Oslo, NO – Vaterland
9/21 Gothenburg, SE – The Abyss
9/22 Copenhagen, DK – Rahus
9/23 Berlin, DE – Reset
9/24 Prague, CZ – Modra Vopice
9/25 Vienna, AU – Viper Room
9/26 Ljubljana, SI – Channel Zero
9/27 Bologna, IT – Freakout Club
9/28 TBA
9/30 TBA

heavycastle.com
facebook.com/CastleSF
https://www.instagram.com/heavycastle
https://heavycastle.bandcamp.com/

https://blackwrenrecords.bandcamp.com/

https://www.facebook.com/hammerheartrecords/
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https://www.hammerheart.com/

Castle, One Knight Stands: Live in NY (2024)

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Castle to Release One Knight Stands: Live in NY April 1; Studio Album to Follow

Posted in Whathaveyou on February 8th, 2024 by JJ Koczan

castle

What more do you need to know? It’s a Castle live record. It was recorded in 2017, which makes it before 2018’s Deal Thy Fate (review here) and after 2016’s Welcome to the Graveyard (review here), and a point at which the band were positively nomadic. Tours on top of tours on top of outs.

With a succession of drummers to and through the lineup around bassist/vocalist Liz Blackwell and guitarist Mat Davis — on Deal Thy Fate, it was Chase Manhattan, which sounded like a fake name then and still kind of does — the hard-charging, originally-Canadian two-piece nonetheless presaged the “true metal” movement by at least half a decade and did it heavier, cooler, and more interesting than most out there trying to pretend it’s 1983 or whenever it was that anything might’ve conceptually mattered. They received a fraction of the hype they deserved in so doing.

The thing about Castle, though: they’ve always been a live band. Accordingly, if you’ve ever seen them you likely don’t need me to tell you One Knight Stands: Live in NY will be one to catch, and word a new studio album in the can is a bonus considering 2018 was six years ago now. Not the longest stretch being discussed today between records, but not nothing. Blah blah blah, something about ‘due’ and then some half-clever segue to the PR wire:

castle one knight stands live in ny

CASTLE: Announce Live Album Preorder; New Studio Album Revealed

Heavy metal doomsters CASTLE are pleased to announce the release of their first official live album “One Knight Stands: Live In NY”.

Recorded during CASTLE’s Welcome To The Graveyard Tour in Brooklyn, NY on September 18, 2017, the 10 track album draws on songs from each of the band’s first four albums and captures the three-piece at the height of their road hardened power.

“We’re happy to finally put this out as a document to all the miles travelled and time spent playing night after night”, the band states. “We think this album is a pretty accurate snapshot of the band onstage; no overdubs, no edits, just live and loud and we thought it would be cool to share that”.

One Knight Stands: Live In NY is available for preorder from the band’s own newly formed imprint, Black Wren Records on limited edition vinyl as well as digital. Additionally, the band has released an advance streaming single “Hammer And The Cross (Live)”.

The stream and pre-order can be found here:
http://blackwrenrecords.bandcamp.com/music

European pre-orders through Ván Records can be found here:
http://van-records.com/Castle-One-Knight-Stands-Live-In-NY-lim-12-LP_1

CASTLE “One Knight Stands: Live In NY” Tracklist
1. Black Widow
2. Down In The Cauldron Bog
3. Hammer And The Cross
4. Flash Of The Pentagram
5. A Killing Pace
6. Corpse Candles
7. Temple Of The Lost
8. Dying Breed
9. Evil Ways
10. Total Betrayal

CASTLE have also recently completed recording their newest studio album. Recorded and mixed during October and November of 2023 at Rain City Recorders in Vancouver, BC with producer Jesse Gander (Anciients, Brutus, 3 Inches Of Blood), the as-yet-untitled album will mark the band’s sixth, and follows 2018’s Deal Thy Fate and 2016’s Welcome To The Graveyard.

More details about the new studio album will be announced in the coming months including album title, tracklist, artwork and release date.

CASTLE was forged in San Francisco in 2009 and released its debut full-length, In Witch Order, via Germany’s Ván Records in 2011. The album brought light to the newly-formed band and earned them “Album Of The Year” honors from Metal Hammer Norway. Shortly thereafter, CASTLE joined the Prosthetic Records roster in North America and released both their critically-acclaimed sophomore album Blacklands, which led to a Canadian JUNO nomination for “Metal/Hard Music Album Of The Year”, and 2014’s follow-up, Under Siege.

Since the release of its first album, CASTLE has maintained a relentless tour schedule, performing over six hundred shows worldwide alongside the likes of The Sword, Conan, Intronaut, The Skull and Pentagram, among many others. The group has appeared at numerous underground music festivals including Roadburn, the London and Berlin Desertfests and recently completed its first-ever tour of Japan.

heavycastle.com
facebook.com/CastleSF
https://www.instagram.com/heavycastle
https://heavycastle.bandcamp.com/

https://blackwrenrecords.bandcamp.com/

Castle, One Knight Stands: Live in NY (2024)

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Brume Announce New LP Marten; Post “Jimmy” Video

Posted in Whathaveyou on February 6th, 2024 by JJ Koczan

brume (Photo by Jamie MacCathie)

Holy shit. I’ve been expecting word of Brume‘s next record for a minute now, both because they’re playing Desertfest London and because I’m generally a dork and keep up with their socials, but hearing the surge of emotion in the chorus of lead single “Jimmy” from their new album, the soaring and stately, commanding vocal reach of Susie McMullan and the patient unfurling of the song behind, well, golly, that’s striking. If Brume‘s third album, which arrives as they mark a decade’s tenure, is to be a moment of arrival for them, that would only be consistent with 2019’s Rabbits (review here) and their 2017 full-length debut, Rooster (review here).

I was fortunate enough to see Brume at Desertfest New York 2022 (review here) and so got to experience the now-four-piece’s dynamic with McMullan, guitarist/vocalist Jamie McCathie and drummer Jordan Perkins-Lewis bringing Jackie Perez-Gratz (Grayceon, sit-ins with Neurosis and so on) in to add textures of cello and vocals. After that, and listening to “Jimmy,” I have perhaps unreasonably high expectations for Jimmy — which isn’t coming out until frickin’ May!; boo — that come coupled with a firm sense of surety they’ll be met.

From the PR wire:

brume marten

BRUME drop first video single ‘Jimmy’ and details of new album “Marten”

Bay Area goth-doom quartet BRUME have chosen the opening track ‘Jimmy’ from their forthcoming new full-length “Marten” as the first video single. The band’s third album is scheduled for release on May 3, 2024 via Magnetic Eye Records. The album pre-sale is now available at http://lnk.spkr.media/brume-marten

BRUME comment: “I wrote ‘Jimmy’ in the voice of an angry wife married to a middle aged rockstar who has emotionally retreated from fame, family and his former self”, singer and bass player Susie McMullan lets on. “We all fall in love with the same characteristics that eventually drive us nuts. I bet falling in love with a famous artist exacerbates that.”

BRUME (pronounced ‘Broom’) are living proof that California is not all sunshine and easy living. The San Francisco-based quartet organically blends doom metal, goth, and indie rock into a sometimes monolithic, sometimes delicate blend of heaviness that resides firmly on the darker side.

After a decade of sultry sounds and hair-raising crescendos, BRUME push sonic experimentation and delightful genre-bending even further on their third full-length “Marten”. The expansion into a four-piece with the addition of Jackie Perez Gratz on cello and vocals has opened a cosmos of new possibilities that the Californians determinedly explore. Weaving soaring melodies over melancholic doom pop generates songs that are equally intimate and haunting yet also massive and crushing.

BRUME originally formed as a trio in 2014 when guitarist Jamie McCathie from Bristol, England began making music with bass player and vocalist Susie McMullan from Baton Rouge, Louisiana after discovering a shared passion for both trip-hop and sludge. The addition of Jordan Perkins-Lewis on drums completed the line-up with his rich and experimental style of drumming, and set the stage for the band’s recordings.

The trio quickly gained momentum with their doom metal albums “Rooster” (2017) and “Rabbits” (2019), the former being named ‘Album of the Year’ by The Ripple Effect and the latter earning the top spot on Wonderbox Metal’s ‘Best of 2019’ list. BRUME also left their mark onstage, appearing at Desertfest London in 2017 and Desertfest New York and SXSW in 2019, along with many more shows on both sides of the Atlantic.

On third album “Marten”, BRUME perfectly balance the melancholic power of the cello with forceful vocals and dueling guitar conversations. The complex mood swings that seamlessly move from sensuous and restrained to soaring and explosive found a perfect producer in Sonny DiPerri (EMMA RUTH RUNDLE, LORD HURON, PORTUGAL THE MAN). With the right engineer behind the board, the San Franciscans adopted a songwriting approach that emphasised poetry and lyrics rather than starting with a riff. This way of working uncovered a more vulnerable side of the band.

With “Marten”, BRUME take a bold step toward their musical future by challenging first themselves and now listeners to move from comfortable spaces toward more challenging, less familiar destinations.

Tracklist
1. Jimmy
2. New Sadder You
3. Faux Savior
4. Otto’s Song
5. How Rude
6. Heed Me
7. Run Your Mouth
8. The Yearn

Guest musician
Laurie Shanaman – additional vocals on ‘How Rude’ and ‘Heed Me’

Line-up
Susie McMullan – vocals, bass, keys
Jordan Perkins Lewis – drums
Jamie McCathie guitar, vocals
Jackie Perez Gratz – cello, vocals

https://www.facebook.com/brumeband
https://www.instagram.com/brumeband
http://brumeband.com
http://lnk.spkr.media/brume-marten

http://store.merhq.com
http://magneticeyerecords.com/
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https://www.instagram.com/magneticeyerecords/

Brume, “Jimmy” official video

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Acid King Announce European Tour

Posted in Whathaveyou on January 19th, 2024 by JJ Koczan

A fine trilogy of Desertfest appearances anchors the upcoming Acid King return to Europe this Spring, as the San Francisco mellow-heavy progenitors continue their existential victory lap following the release of the Beyond Vision LP (review here) that ended up being both my album of the year for 2023 as well as the winner of the year-end poll, garnering praise far and wide for the boldness of its synth-inclusive approach to heavy psychedelic rock, the e’er fluid riffing of Lori S., and an atmosphere that was both signature Acid King and like nothing they’d ever done before. As it been eight years since their last album, anything they did wields would’ve gotten noticed. A couple years from now, when there are not only even more bands under their influence, but specifically under the semi-electronic soundscaping warm fuzz psych drift blend of Beyond Vision, we’ll start to see the real impact of that record.

So much the radder that Acid King will be back out to hand-deliver vinyl at the merch table and give their latest outing its due from the stage. The lineup is the same as when the trio played SonicBlast (review here) last summer, so I’ll just tell you outright that whether you’ve ever seen Acid King before or not, this is an incarnation you don’t want to miss. It’s not my job to sell tickets, I don’t work for the band, or Sound of Liberation, or any of the fests or venues. I’m just some dude on the internet who thinks this might make your day better. That’s all I’ve got going on here.

Dates come from socials and were posted by the aforementioned Sound of Liberation, audio comes from the ether:

Acid King tour

ACID KING EUROPE TOUR 2024

Get ready for a sonic escapade like no other as we proudly bring you Acid King with special guest Earth Tongue!💥

Mark your calendars and prepare to be immersed in the thunderous waves of doom and stoner rock across Europe.🇪🇺

🗓️TOUR DATES:

7.5.24 (DE) Bremen, Zollkantine
8.5.24 (DK) Copenhagen, Loppen
9.5.24 (SE) Gothenburg, Musikens Hus
10.5.24 (NO) Oslo, Desertfest
11.5.24 (SE) Stockholm, Debaser
13.5.24 (DE) Leipzig, Werk2
14.5.24 (DE) Bochum, Trompete
15.5.24 (FR) Paris, Backstage By The Mill
16.5.24 (FR) Nantes, Le Ferrailleur
17.5.24 (BE) Diksmuide, 4AD
18.5.24 (UK) London, Desertfest
20.5.24 (DE) Wiesbaden, Schlachthof
21.5.24 (DE) Munich, Feierwerk
22.5.24 (AT) Innsbruck, p.m.k.
23.5.24 (DE) Erfurt, VEB Kultur
24.5.24 (DE) Berlin, Desertfest
25.5.24 (NL) Groningen, Vera
26.5.24 (NL) Deventer, Burgerweeshuis

Gear up to be surrounded by the heavy vibes and electrifying performances of Acid King and Earth Tongue!🔥

Don’t miss out on this epic tour – secure your tickets now and let the riffage commence! ✨

Buy Tickets Here: http://www.acidking.com/tour-dates/

ACID KING lineup:
Lori S. – guitar & vocals
Bryce Shelton – bassist & keyboardist
Jason Willer – drummer

https://www.facebook.com/AcidkingSF
https://www.instagram.com/acidkingrocks/
https://acidking.bandcamp.com/
www.acidking.com

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Acid King, Beyond Vision (2023)

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