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Quarterly Review: Bongzilla, Trevor’s Head, Vorder, Inherus, Sonic Moon, Slow Wake, The Fierce and the Dead, Mud Spencer, Kita, Embargo

Posted in Reviews on July 17th, 2023 by JJ Koczan

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Well here we are, at last. A couple weeks ago I looked at my calendar and ended up pushing this Quarterly Review to mid-July instead of the end of June, and it’s been hanging over my head in the interim to such a degree that I added two days to it to cover another 20 records. I’m sure it could be more. The amount of music is infinite. It just keeps going.

I’ll assume you know the deal, but here it is anyhow: 10 records per day, for seven days — Monday through Friday, plus Monday and Tuesday in this case — for a total of 70 reviews. Links and audio provided to the extent possible, and hopefully we all find some killer new music we didn’t know about before, or if we did know about it, just to enjoy. That doesn’t seem so crazy, right?

Quarterly Review #1-10:

Bongzilla, Dab City

Bongzilla Dab City

None higher. Following extensive touring before and (to the extent possible) after the release of their 2021 album, Weedsconsin (review here), Madison, WI, canna-worship crust sludge-launchers Bongzilla return with Dab City, proffering the harsh and the mellow as only they seem to be able to do, even among their ’90s-born original-era sludge brethren. As second track “King of Weed” demonstrates, Bongzilla are aurally dank unto themselves, both in the scathing vocals of bassist Mike “Muleboy” Makela and the layered guitar of Jeff “Spanky” Schultz and the slow-swinging groove shoving all that weighted tone forward in Mike “Magma” Henry‘s drums. Through the seven tracks and 56 minutes of dense jams like those in the opening title-cut or the 13-minute “Cannonbong (The Ballad of Burnt Reynolds as Lamented by Dixie Dave Collins” (yes, from Weedeater) or the gloriously languid finale “American Pot,” the shorter instrumental “C.A.R.T.S.,” or in the relatively uptempo nodders “Hippie Stick” and “Diamonds and Flower,” Bongzilla underscore the if-you-get-it-then-you-get-it nature of their work, at once extreme in its bite and soothing in atmosphere, uncompromising in purpose. I’m not going to tell you to get bombed out of your gourd and listen, but they almost certainly did while making it, and Dab City is nothing if not an invitation to that party.

Bongzilla on Facebook

Heavy Psych Sounds website

 

Trevor’s Head, A View From Below

Trevor's Head A View From Below

Adventures await as Redhill, UK, three-piece Trevor’s Head — guitarist/vocalist Roger Atkins, bassist/vocalist/synthesist Aaron Strachan (also kalimba), drummer/flutist/vocalist/synthesist Matt Ainsworth (also Mellotron) — signal a willfully open and progressive creativity through the heavy psych and grunge melodies of lead track “Call of the Deep” before the Primus-gone-fuzz-prog chug of “Under My Skin” and the somehow-English-pastoral “Grape Fang” balances on its multi-part harmonies and loose-feeling movement, side A trading between shorter and longer songs to end with the seven-minute, violin-inclusive folk-then-fuzz-folk highlight “Elio” before “Rumspringa” brings the proceedings to ground as only cowbell might. As relatively straight-ahead as the trio get there or in the more pointedly aggressive shover “A True Gentleman” on the other side of the Tool-ish noodling and eat-this-riff of “What Got Stuck” (answer: the thrashy gallop before the final widdly-widdly solo, in my head), they never want for complexity, and as much as it encapsulates in its depth of arrangement and linear course, closer “Don’t Make Me Ask” represents the band perhaps even more in looking forward rather than back on what was just accomplished, building on what 2018’s Soma Holiday (review here) hinted at stylistically and mindfully evolving their sound.

Trevor’s Head on Facebook

APF Records website

 

Vorder, False Haven

Vorder False Haven

Born in the ’90s as Amend, turned more extreme as V and now perhaps beginning a new era as Vorder — pronounced “vee-order” — the Dalarna, Sweden, unit return with a new rhythm section behind founding guitarists Jonas Gryth (also Unhealer) and Andreas Baier (also Besvärjelsen, Afgrund, and so on) featuring bassist Marcus Mackä Lindqvist (Blodskam, Lýsis) and drummer Daniel Liljekvist (ex-Katatonia, In Mourning, Grand Cadaver, etc.) on drums, the invigorated four-piece greet a dark dawn with due presence on False Haven, bringing Baier‘s Besvärjelsen bandmate Lea Amling Alazam for guest vocals on “The Few Remaining Lights,” which seems to be consumed after its melodic opening into a lurching and organ-laced midsection like Entombed after the Isis-esque ambience of post-apocalyptic mourning in “Introspective” and “Beyond the Horizon of Life.” Beauty and darkness are not new themes for Vorder, even if False Haven is their first release under the name, and even in the bleak ‘n’ roll of the title-track there’s still room for hope if you define hope as tambourine. Which you probably should. The penultimate “Judgement Awaits” interrupts floating post-doom with vital shove and 10:32 finale “Come Undone” provides a resonant melodic answer to “The Few Remaining Lights” while paying off the album as a whole in patience, heft and fullness. Vorder use microgenres like a polyglot might switch languages, but what’s expressed from the entirety of the work is utterly their own, whatever name they use.

Vorder on Facebook

Suicide Records website

 

Inherus, Beholden

inherus beholden

Multi-instrumentalist Beth Gladding (also of Forlesen, Botanist, Lotus Thief, etc.) shares vocal duties in New York’s Inherus with bassist Anthony DiBlasi (ex-Witchkiss) and fellow guitarist/synthesist Brian Harrigan (Grid, Swallow the Ocean), and the harsh/clean dynamic puts emphasis on the various textures presented throughout the band’s debut album. Completed by drummer Andrew Vogt (Lotus Thief, Swallow the Ocean), Inherus reach toward SubRosan melancholy on “Forgotten Kingdom,” which begins the hour-flat/six-track 2LP, and they follow with harmonies and grandeur to spare on “One More Fire” (something in that melody reminds me of Indigo Girls and I’m noting it because I can’t get my head away from it; not complaining) and “The Dagger,” which resolves in Amenra-style squibble and lurch without giving up its emotional depth. “Oh Brother” crushes enough to make one wonder where the line truly is between metal and post-metal, and the setup for closer “Lie to the Angels” in the drone-plus piece “Obliterated in the Face of the Gods” telegraphs the intensity to follow if not the progginess of that particular chug or the scope of what follows. Vogt signals the arrival at the album’s crescendo with stately but fast double-kick, and if you’re wondering who gets the last word, it’s feedback. Beholden may prove formative as Inherus move forward, but what their first full-length lays out as their stylistic range is at least as impressive as it is ambitious. Hope for more to come.

Inherus on Facebook

Hypnotic Dirge Records store

 

Sonic Moon, Return Without Any Memory

sonic moon return without any memory

Even in the second half of “Tying Up the Noose” as it leads into “Give it Time” — which is about as speedy as Sonic Moon get on their Olde Magick Records-delivered first LP, Return Without Any Memory — they’re in no particular hurry. The overarching languid pace across the Aarhus five-piece’s 41-minute/seven-tracker — which reuses only the title-track from 2019’s Usually I Don’t Care for Flowers EP — makes it hypnotic even in its most active moments, but whether it’s the Denmarkana acoustic moodiness of centerpiece “Through the Snow,” the steady nod of “Head Under the River” later or the post-All Them Witches psych-blues conveyed in opener “The Waters,” Sonic Moon are able to conjure landscapes from fuzzed tonality that could just as easily have been put to use for traditional doom as psych-leaning heavy rock, uniting the songs through that same fuzz and the melody of the vocals as “Head Under the River” spaces out ahead of its slowdown or “Hear Me Now” eschews the huge finish in favor of a more unassuming, gentler letting go, indicative of the thoughtfulness behind their craft and their presentation of the material. Familiar enough on paper and admirably, unpretentiously itself, the self-recorded Return Without Any Memory discovers its niche and comes across as being right at home in it. A welcome debut.

Sonic Moon on Facebook

Olde Magick Records on Bandcamp

 

Slow Wake, Falling Fathoms

slow wake falling fathoms

With cosmic doom via YOB meeting with progressive heavy rock à la Elder or Louisiana rollers Forming the Void and an undercurrent of metal besides in the chug and double-kick of “Controlled Burn,” Cleveland’s Slow Wake make their full-length debut culling together songs their 2022 Falling Fathoms EP and adding the prior-standalone “Black Stars” for 12 minutes’ worth of good measure at the end. The dense and jangly tones at the start of the title-track (where it’s specifically “Marrow”-y) or “In Waves” earlier on seem to draw more directly from Mike Scheidt‘s style of play, but “Relief” builds from its post-rocking outset to grow furious over its first few minutes headed toward a payoff that’s melody as much as crunch. “Black Stars” indulges a bit more psychedelic repetition, which could be a sign of things to come or just how it worked out on that longer track, but Slow Wake lay claim to significant breadth regardless, and have the structural complexity to work in longer forms without losing themselves either in jams or filler. With a strong sense of its goals, Falling Fathoms puts Slow Wake on a self-aware trajectory of growth in modern prog-heavy style. That is, they know what they’re doing and they know why. To show that alone on a first record makes it a win. Their going further lets you know to keep an eye out for next time as well.

Slow Wake on Facebook

Argonauta Records store

 

The Fierce and the Dead, News From the Invisible World

The Fierce and the Dead News From the Invisible World

Unearthing a bit of earlier-Queens of the Stone Age compression fuzz in the start-stop riff of “Shake the Jar” is not even scratching the surface as regards textures put to use by British progressive heavies The Fierce and the Dead on their fourth album, News From the Invisible World. Comprised of eight songs varied in mood and textures around a central ethic clearly intent on not sounding any more like anyone else than it has to, the collection is the first release from the band to feature vocals. Those are handled ably by bassist Kev Feazey, but it’s telling as to the all-in nature of the band that, in using singing for the first time, they employ no fewer than six guest vocalists, mostly but not exclusively on opener/intro “The Start.” From there, it’s a wild course through keyboard/synth-fed atmospheres on pieces like the Phil Collins-gone-heavy “Photogenic Love” and its side-B-capping counterpart “Nostalgia Now,” which ends like friendlier Godflesh, astrojazz experimentalism on “Non-Player,” and plenty of fuzz in “Golden Thread,” “Wonderful,” “What a Time to Be Alive,” and so on, though where a song starts is not necessarily where it’s going to end up. Given Feazey‘s apparent comfort with the task before him, it’s a wonder they didn’t make this shift earlier, but they do well in making up for lost time.

The Fierce and the Dead on Facebook

Spencer Park Music on Facebook

 

Mud Spencer, Kliwon

mud spencer Kliwon

Kliwon is the second offering from Indonesia-based meditative psych exploration unit Mud Spencer to be released through Argonauta Records after 2022’s Fuzz Soup (review here), and its four component songs find France-born multi-instrumentalist Rodolphe Bellugue (also Proots, Bedhunter, etc.) constructing material of marked presence and fluidity. Opener “Suzzanna” is halfway through its nine minutes before the drums start. “Ratu Kidul” is 16 minutes of mindful breathing (musically speaking) as shimmering guitar melody pokes out from underneath the surrounding ethereal wash, darker in tone but more than just bleak. Of course “Dead on the Heavy Funk” reminds of Mr. Bungle as it metal-chugs and energetically weirds out. And the just under 16-minute “Jasmin Eater” closes out with organ and righteous fuzz bass peppered with flourish details on guitar and languid drumming, becoming heavier and consuming as it moves toward the tempo kick that’s the apex of the album. Through these diverse tracks, an intimate psychedelic persona emerges, even without vocals, and Mud Spencer continues to look inward for expanses to be conveyed before doing precisely that.

Mud Spencer on Facebook

Argonauta Records store

 

Kita, Tyhjiö

kita Tyhjio

It would seem that in the interim between 2021’s Ocean of Acid EP and this five-song/41-minute debut full-length, Tyhjiö, Finnish psychedelic death-doomers Kita traded English lyrics for those in their native Finnish. No, I don’t speak it, but that hardly matters in the chant-like chorus of the title-track or the swirling pummel that surrounds as the band invent their own microgenre, metal-rooted and metal in affect, but laced with synth and able to veer into lysergic guitar atmospherics in the 10-minute opener “Kivi Puhuu” or the acoustic-led (actually it’s bass-led, but still) midsection leading to the triumphant chorus of bookending closer “Ataraksia,” uniting disparate ideas through strength of craft, tonal and structural coherence, and, apparently, sheer will. The title-track, “Torajyvä” and “Kärpässilmät,” with the centerpiece cut as the shortest, make for a pyramid-style presentation (broader around its base), but Kita are defined by what they do, drawing extremity from countrymen like Swallow the Sun or Amorphis, among others, and turning it into something of their own. Striking in the true sense of: it feels like being punched. But punched while you hang out on the astral plane.

Kita on Facebook

Kita on Bandcamp

 

Embargo, High Seas

embargo high seas

Greek fuzz alert! Heavy rocking three-piece Embargo hail from Thessaloniki with their first long-player, High Seas, using winding aspects of progressive metal to create tension in the starts and stops of “Billow,” “EAT” and “Candy” as spoken verses in the latter and “Alanna Finch” draw a line between the moody noise rock of Helmet, the grunge it informed, and the heavy rock that emerged (in part) from that. Running 10 tracks and 44 minutes, High Seas is quick in marking out the smoothness of its low tonality, and it veers into and out of what one might consider aggression in terms of style, “with 22 22” thoughtfully composed and sharply pointed in kind, one of several instrumentals to offset some of the gruffer stretches or a more patient melodic highlight like “Draupner,” which does little to hide its affinity for Soundgarden and is only correct to showcase it. They also finish sans-vocals in the title-track, and there’s almost a letting-loose sense to “High Seas” itself, shaking out some shuffle in the first half before peaking in the second. Greece is among Europe’s most packed and vibrant undergrounds, and with High Seas, Embargo begin to carve their place within it.

Embargo on Facebook

Embargo on Bandcamp

 

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The Obelisk Questionnaire: Kev Feazey from The Fierce and the Dead

Posted in Questionnaire on October 11th, 2022 by JJ Koczan

Kevin Feazey from The Fierce and the Dead

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: Kev Feazey from The Fierce and the Dead

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

As a band, we think of ourselves as just that – a band. A group of like-minded musicians. It’s tempting to over analyse but I think we are the product of having all grown up together and having the same musical influences, but that each of us has a distinctly different perspective. As an individual I just think of myself as someone who is happiest when making something. I think I wanted to be in a band before I wanted to play an instrument – it’s that thing of being in a gang of people you love and trust. Creating music means you have to lay your psyche out there, so being with people you can be comfortable around helps a lot.

Describe your first musical memory.

I think I had a ‘Top Of The Pops’ tape that had Joan Jett’s ‘I Love Rock N Roll’ on it. I remember I played that a lot. My dad had a pretty big record collection, mostly modern soul stuff, so I would get to hear that a lot. I honestly can’t say which of these memories was first, but I do remember that as a kid there was a lot of music around, all varieties.

Describe your best musical memory to date.

Driving back to the hotel from our first gig in the US. It was just us in the car, listening to Boards Of Canada, and the sense of achievement was overwhelming. Something we had created had led to us being so far from home, and that people there knew who we were and were so receptive. It was a great moment for four friends from a small town in England.

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

Most days! As I’ve gotten older my grip on beliefs has loosened significantly. It’s best to gather as much info as you can and try to use critical thinking to get to as solid a truth as you can. Being able to hold two opposing arguments in your head is a useful skill. Especially useful for working with music. I hate the idea that you can’t blend styles and genres. That’s what music is surely? Ideas colliding.
Having said all this – the Earth is most definitely round!!!

Where do you feel artistic progression leads?

Down an endless rabbit hole. So many variables – context as I age, tech advances bringing new sounds, personal tastes changing, audiences changing – it’s always changing. I’m not sure progression is the right word. It’s a very winding, loop the loop type road. Sometimes you find yourself plundering the past for ideas, sometimes it’s the latest vogue in production. You have to do things that make sense to you, I guess that’s what you are always chasing. We are lucky – in the same way bands like Faith No More, Black Midi or even Opeth can go where they want musically – so can we. I love Slayer but they were never going to veer off to experiment with Calypso influences or whatever. I once worked with the great Boris Grebenshcikov as a recording assistant many years ago. He asked if I was in a band and I said yes, I was in several.

“Why?”

“Well because they all do different things.”

“Doesn’t it make more sense to be in one band where you can do anything you like?”

Hell yes, Boris – it does make sense. And TFATD is that band for me.

How do you define success?

It’s never what you think it is. Setting huge goals means that satisfaction is always going to be on the other shore – and even if you do make it there it the expectation rarely matches the reality. Make something that you like, then you’ll probably want others to hear/see it. Don’t sweat about being original or the next big thing. That’s the easiest way to have a breakdown. Most originality comes from people feeding influences through their own perceptions and ability. Brian Eno said “All great pop music is created by small groups of people misunderstanding other small groups far away.” So – relax, make things you like and maybe you’ll be lucky, and others will like it. If you’ve created something you love then you’ve already succeeded.

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

My last bank statement.

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

Always looking forward to creating our next body of work. We are constantly experimenting with new sounds, and they often spur new directions. Recently we’ve been more involved in making our own videos and that’s been great so we will be creating more visual stuff. Our most recent video – to accompany the new single ‘Wonderful’ – has allowed us to express how we see our music visually and that is going to continue for sure.

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

I can’t put it any better than Jean-Michel Basquiat – “Art is how we decorate space, music is how we decorate time”. Life has a soundtrack and you get to choose it (mostly).

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

Lunch.

https://www.instagram.com/tfatd/
https://www.facebook.com/fierceandthedead
https://thefierceandthedead.bandcamp.com/
https://open.spotify.com/artist/3bkekNyPjQsZwwydoMsFyQ?si=thg35jjcSz6p37TfTzh_0Q&nd=1
http://www.fierceandthedead.com/

The Fierce and the Dead, “Wonderful” official video

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The Fierce and the Dead to Release Live USA 17 Oct. 4

Posted in Whathaveyou on September 3rd, 2019 by JJ Koczan

the fierce and the dead

Back I guess when one could still travel from the UK to play a show or two in the US, London’s The Fierce and the Dead made the trip to historic Gettysburg to take part in the Rites of Spring Festival, or RoSFest, for the more acronym-inclined. I’m not sure who else was at the proggy shindig that year, but if you look at the 2020 lineup, they’ve got Martin Barre playing a special set celebrating the 50th anniversary or Jethro Tull, and that’s pretty rad. The Fierce and the Dead — who were also at Freak Valley earlier this year and who released their latest studio LP, The Europhoric, in 2018 — recorded the set they played in Pennsylvania, and they’ll issue it through Bad Elephant Music as Live USA 17 on Oct. 4. Because if you’re going to make the voyage, make it count.

Preorders are open now, and the instrumental psychedelic rockers are streaming the finale of their festival performance ahead of the arrival of the actual record, so all the better to dig in. The following came down the PR wire:

the fierce and the dead live usa 17

Bad Elephant Music is thrilled to announce that The Fierce And The Dead’s new album, Live USA 17, will be released 4th October 2019.

A truly epic live album, Live USA 17 exemplifies The Fierce And The Dead’s performance at the legendary RoSFest, a progressive rock festival, in Gettysburg, PA in 2017 which won over many fans from the USA. This album includes some of the best-loved tracks from If It Carries On Like This We Are Moving to Morecambe and Spooky Action, and previewed 2018’s breakthrough album, The Euphoric.

This album showcases the amazing instrumentals that Matt, Kev, Steve, and Stuart weave. Their opulent psychedelic sound is hypnotic and addictive. Each track melds impressively into the next for a picturesque escape into the band’s musical world.

Matt remembers the concert: “For four lads from Rushden playing a live show in America was about as likely as walking on the moon. I hope you enjoy this document of that unlikely adventure.” He adds, “It represents the end of an era for us, just before we started adding the keyboards live. I’m really pleased with it.”

BEM’s David Elliott is equally excited for the release. “It was a magical weekend and The Fierce And The Dead’s performance was one I was privileged to witness myself. The album captures a mature, working band at the full height of their powers.” Live USA 17 will be available on CD and digital download. You can catch The Fierce And The Dead live on 10th November with Dub Trio at The Underworld Camden.

The Fierce and the Dead are:
Matt Stevens – guitar and noises
Steve Cleaton – guitar and other noises
Kev Feazey – bass
Stuart Marshall – drums

www.fierceandthedead.com
https://www.facebook.com/fierceandthedead
https://tfatd.bandcamp.com/
http://music.badelephant.co.uk/
http://www.facebook.com/BadElephantMusic/

The Fierce and the Dead, Live USA 17 (2019)

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Freak Valley 2019: C.O.C. to Celebrate 25 Years of Deliverance; Harsh Toke, Pristine, It’s Not Night: It’s Space and The Fierce & the Dead Added

Posted in Whathaveyou on January 21st, 2019 by JJ Koczan

freak valley 2019 header image

As a fan generally of cool bands doing cool things, I’m thrilled to see New York’s It’s Not Night: It’s Space heading to Germany to play Freak Valley 2019. The heavy psychedelic instrumentalists are a group who’ve never really fit with one scene or another, and in the context of a fest like this, that’s only going to help them catch on with the well-opened minds of those standing in front of the stage to see them. They’ll kill it, and they’re very clearly in good company in this latest lineup announcement from the Siegen-based festival, which also welcomes Corrosion of Conformity to mark 25 years since the release of their landmark Deliverance LP, San Diego jammers Harsh Toke, Pristine and The Fierce and the Dead to the bill. It’s a good swath of stuff and pretty right on front to back. You’ll get no argument out of me.

I had the pleasure of writing the announcement below, so if the phrasing looks familiar, that’s why, but Freak Valley posted it on the social medias as follows:

freak valley 2019 poster

FREAK VALLEY 2019 – CORROSION OF CONFORMITY // PRISTINE // HARSH TOKE // IT’S NOT NIGHT: IT’S SPACE // THE FIERCE & THE DEAD

Happy New Year, Freaks!

New year means new additions to the lineup for FREAK VALLEY FESTIVAL 2019. We’re counting down the months, weeks, days, hours, until we can all party in Netphen and we all know it’s going to be a blast. You obviously know or the fest wouldn’t be TOTALLY SOLD OUT as it is.

Well, as much as we’d like to rest on our laurels and coast into June without putting anymore work in, clearly that’s not going to happen. This announcement is about as special as special gets, as we welcome the classic likes of Corrosion Of Conformity to Freak Valley! Read more below!

CORROSION OF CONFORMITY celebrate 25 years of ‘Deliverance’

In 1994, C.O.C. released an album that would become a landmark for them and for heavy rock as a whole. ‘Deliverance’ wasn’t just a collection of great songs — it was a way to impart a love of classic rock to a new generation of fans, a transitional moment from grunge to the spirit of Sabbath and heavy Southern vibes. Oh yea, and it was a collection of great songs.

For those of you not doing the math, 2019 marks 25 years since ‘Deliverance’ was released, and we’ll be bringing Corrosion of Conformity to Freak Valley for a special set as they celebrate the record that would help define their course for the next quarter-century and hopefully well beyond.

Pristine

A couple months back, Norway’s Pristine posted a video with some in-studio cilps and the usual bit of this and that. They ended with a new song snippet and there was enough rock and roll packed into that 20 seconds of hook to power the entire city of Tromsø. Maybe you heard their 2017 album ‘Ninja’ when it was released on Nuclear Blast, but either way, we guarantee you’ll hear it when they bring their blues rock volume to the Freak Valley stage this June!

HARSH TOKE

From the jammer’s paradise of San Diego, Harsh Toke play some of the coolest smokeout jams ever to come from Southern California. If you don’t know, get yourself up to speed with their split with Earthless or just show up with your eyes and ears and mind wide open and get ready to have all three blown out of your skull. These dudes do “far out” just that extra bit further than you’d expect, but always manage to keep it together. Pure psych-jam bliss headed your way.

It’s Not Night: It’s Space

The best-kept secret of US East Coast psychedelia will be kept no more! New York-based It’s Not Night: It’s Space have mastered a patient instrumental blend of tantric sounds and cosmic vibes that is an incantation unto itself. The kind of sound you get lost in. The kind of vibe that stays with you when they’re done. Live, they’re as much ritual as performance, as can’t wait to have that ritual as a part of Freak Valley 2019! Bring vinyl money.

The Fierce & The Dead

We all know London is a hotbed for heavy, but The Fierce & the Dead stand out from the pack with a synth-laden progressive side to their instrumental approach that lets them move back and forth from psychedelia to crunching riffs and grooves with ease and fluidity. Their 2018 album, ‘The Eurphoric,’ hasn’t left our playlist since it landed, so absolutely, hell yes they’ll be playing Freak Valley 2019, and absolutely, hell yes you should be there to see them.

Line-up 2019:
Wolfmother, CORROSION OF CONFORMITY, Brant Bjork, Yob, The Obsessed Official, The Vintage Caravan, Electric Moon, Minami Deutsch / ????, Harsh Toke, Pristine, It’s Not Night: It’s Space, Spaceslug, Arc of Ascent, The Fierce & The Dead, Dead Lord, Slomatics

FREAK VALLEY FESTIVAL 2019 // No Fillers – Just Killers

www.freakvalley.de
https://www.facebook.com/freakvalley
https://www.facebook.com/events/299339670806919/
https://twitter.com/FreakValley

It’s Not Night: It’s Space, Our Birth is but a Sleep and a Forgetting (2016)

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