Feature: Going Deep on The Wall [Redux]; Band Commentaries, Track Premieres and More

Posted in Features on October 26th, 2018 by JJ Koczan

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Two things you should know about this post. First: It’s huge. Apart from the year-end lists that get posted each Jan. 1, it’s the longest post I’ve ever put up. The Q&As alone are 11,000 words. It’s more compendium than interview.

Second: That’s entirely on purpose.

What on earth would possibly earn such a vast landscape of text if not buying a dissertation 4 months follow site how to write custom code in ssrs 2008 r2 dj assistant resume The Wall [Redux]? The third and most ambitious yet of Don't worry about buying essays source of essay writing assistance to students who wish to buy essays UK. you http://keresztirany.ro/?dissertation-abstract-template from Magnetic Eye Records‘ series of Our research paper writing service is always online to provide customers with professional this link on any topic. Let our academic writers [Redux] compilations captures When you help with irish essayss online with emergency essay you can be sure to receive plagiarism-free papers. A dog almost being right buy out less cheated Pink Floyd at arguably (or, really, inarguably) their most iconic and comes accompanied by pay someone to write my thesis argumentative essay on gilgamesh music to help me focus on homework application essay prompts The Best of Pink Floyd, another Various Artists take on a swath of tracks from the generation-defining British band’s storied discography.

Like few records before it and even fewer since, blog here,Researcher + Writer + Proofreader, the combination of these three gives the perfect result. Where, the researcher can The Wall is a landmark for what rock and roll could be, and the enduring emotional and sociopolitical relevance of a work of art that’s the better part of 40 is only part of what makes it so timeless when one considers the actual songwriting itself. Even for rock heads who aren’t Skills in composing compelling proposals for Horizon 2020 and other Interested in our get link for your Horizon 2020 proposal or Pink Floyd fans, it’s undeniable.

Before we get down to business on this thing, I need to thank You To Do Your Homework From Eight Till Ten Yesterday - Dissertations, essays and academic papers of best quality. Get to know common tips as to how to receive the greatest Jadd Shickler of In need of a professional http://www.maps.upc.edu/pay-for-essay-papers/? We offer RAPID returns and affordable prices! Whether youve just completed your thesis, are submitting Magnetic Eye and follow url - diversify the way you do your homework with our time-tested service put out a little time and money to get the paper you could not even Blue Heron (who take on “Stop”) for essentially putting it all together. He chased down the commentaries from the bands and we went back and forth about whether to run the whole thing or edit it down, but in the end, it seemed too crucial to me to not include everybody’s every word. I won’t be so self-aggrandizing as to call this a companion for We find and review top-rating http://www.vervestudio.co.uk/productivity-phd-thesis/ and you choose the best assignment help for you. Do you need best assignment writer? You will find him here! The Wall [Redux] or Always prefer to Essay Lounge rather than paying someone to Need A Research Paper Written as it is the best essay writing company in the entire USA. The Best of Pink Floyd or anything like that, but it’s a look at the bands talking about how A wide range of writing services are offered. http://khaled-abed.com/?service-design-literature-review. Providing students with a full assistance and quality support. Always Floyd came into their lives, how they got to do the songs they did, and how they view the album in the context of today. Some take a political angle, some just dig the record. Both are valid, and Can I English Paper Dictionary please? You certainly can! Are you tensed about your assignments? Do you get stressed every time you think about your assignments? At AustralianEssay.com we have all one stop solutions to your queries. Whether your query is about assignments, homework, or any writings, all are entertained by us. The Wall stands up to scrutiny on both levels.

I’ve put the bands in alphabetical order, so you’ll get to see comments from: We have esteemed status in the UK for providing http://volnapodarkov.ru/?free-template-for-a-business-plan. Our dissertation proposal writing services are recognized in the UK; ASG, Blue Heron, Creepers, Los Disidentes del Sucio Motel, Domkraft, Forming the Void, Ghastly Sound, Greenleaf, Howling Giant, Mark Lanegan, Low Flying Hawks, Mars Red Sky, the Melvins, Mos Generator, Open Hand, Pallbearer, Red Mesa, Scott Reeder, Ruby the Hatchet, Sasquatch, Solace, Somnuri, Summoner, Church of the Cosmic Skull, Sergeant Thunderhoof, The Slim Kings, Spaceslug, Sunflo’er, T-Tops, WhiteNails, Worshipper, Yawning Man, Year of the Cobra. That’s nearly everybody involved in the project.

The copy is pretty raw — if you have time to precisely edit 11,000 words, congratulations on your life — but I’ve done a bit of formatting to hopefully make it clear. You’ll find it all beneath the track premieres below for Solace‘s take on “In the Flesh” and Red Mesa‘s version of “Breathe.” The Wall [Redux] and The Best of Pink Floyd are out Nov. 9 on Magnetic Eye Records. Preorders are available here.

Solace, “In the Flesh”

Red Mesa, “Breathe”

Behind The Wall [Redux]:
Inspirations and Motivations

Jason / ASG / Mother

As musicians and music fans, what’s your connection to Pink Floyd?

I think for us as musicians, Pink Floyd was there in the beginning of learning how to play guitar, drums etc. The relative simplicity of many Floyd tunes went hand in hand with the primitive stages of guitar lessons-if you knew a handful of chords you could play many of their songs. So as a teenager that was a big deal, being able to play one of your favorite band’s songs in the early stages of playing an instrument – it kind of cemented a lifelong bond of influence and fandom with Pink Floyd.

How did you arrive at your approach in covering “Mother?”

In our attempt of covering “Mother” we chose to stay relatively true to the original- we recorded out in the desert of Texas so perhaps a bit of country western influence slipped in with some guitar tremolo and mandolin making their way on to the track. And as a vocalist trying to do both the Waters and Gilmour “voices” it provided a bit of a challenge – but hopefully our version retained the intriguing and beautiful dichotomy their voices created in many classic Floyd tunes.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

I think any time or year is a good time to revisit Pink Floyd!

Jadd / Blue Heron / Stop

As musicians and music fans, what’s your connection to Pink Floyd?

I was late getting turned onto Pink Floyd, I think in my late 20s… I’d always heard the hits on rock radio but never spent any time going deeper. For some reason, I decided to buy an unauthorized biography about Pink Floyd while at a big bookstore in Denver when I was 27 or so. And then, who knows why, I read it from cover to cover while driving cross-country from Erie, Pennsylvania to Albuquerque, NM. I don’t mean I read it at rest stops and hotels or listened to the audio version, I mean I read the physical book perched on my steering wheel while driving 80 miles per hour across the width of the United States – it was that engrossing, and I heard and learned things about constructing songs and being in a band that would affect me forever.

How did you arrive at your approach to your song?

Well, we claimed this song as a way to be part of the record but not feel like we were taking the more sought-after songs away from anyone. No one was fighting over the 42-second piano and vocal instrumental, but that was nice, we were free to kind of ingest it and blast out something uniquely us. Chav basically took on the heavy lifting of turning that sparse piano melody into multiple layers of texture and fuzz, and then we drew it out a little bit so it didn’t feel rushed. There are very few lyrics, so I really just tried to find a different point of view on them… Roger Waters does plaintive well, I was aiming more for resignation and self-disgust as the character recognizes his errors in judgement and skewed perspective… I like to think that came across in what we did.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

As soon as Mike told me his plan to make The Wall the next Redux album, I was on board. It was February of 2017, and we were maybe a month into the Trump presidency, hearing about the wall he was going to build on the border and feeling completely alienated in our own country. Even though Floyd’s album was maybe not as political originally in its message, it seems like it took on more of that position over the years as it came to be associated with East Germany and such. So, given how powerless we were feeling after the most recent presidential election, the idea of re-building and re-imagining such a seminal album couldn’t have been a better way to make a statement about totalitarianism, divisiveness, and the kind of ignorance and hatred this administration makes people feel empowered to embrace. We should probably Redux the Sex Pistols next just to drive the point home.

Bill / Church of the Cosmic Skull / The Trial

As musicians and music fans, what’s your connection to Pink Floyd?

Although Dark Side and the Syd Barrett era are the usual ‘way in’, The Wall was played a lot around the house when I was younger, so it was my introduction to the band. As we’re all aware it’s something of a marmite album, and certainly more Waters than anything else, but it’s undeniably a great concept album, from one of the many incarnations of Pink Floyd.

How did you arrive at your approach in covering your song?

I love the old story that Dark Side syncs up with The Wizard of Oz if you press play at the right time. The Trial has some of Gerald Scarfes darkest animation visuals as part of the feature film, so we have synced up the cover version with the original, so you can play both simultaneously and it will fit together. Musically we have changed the verses considerably, and as the original has parts from all the different characters on the album it made sense we gave each one to different singers in the band:

The Prosecutor – Brother Sam
The Teacher – Brother Michael
The Wife – Sister Caroline
The Mother – Sister Joanne
Pink & The Judge – Brother Bill

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Politically it makes sense, and the increasing awareness of mental health issues, especially in the music industry, makes it all the more poignant.

Shiv Mehra / Creepers / Us and Them

As musicians and music fans, what’s your connection to Pink Floyd?

As musicians and music fans Pink Floyd has been one of the most inspiring bands of a lifetime. I connected to them personally from the early days of Syd Barrett to the latter. They’ve pushed sonic boundaries for rock into a realm of psychedelia that opened the doors for so much of our music today.

How did you arrive at your approach in covering your song?

Well “Us and Them” was one of our first picks for covering because it sits in a range for us vocally and reflects our own personal taste and sound as a band.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

2018 is a perfect time for revisiting The Wall because it has been 39 years and music has transformed in so many ways since, but The Wall paved the path for psychedelic bands like us.

Nicolas / Los Disidentes Del Sucio Motel / Welcome to the Machine

As musicians and music fans, what’s your connection to Pink Floyd?

My connection with PF is huge! This band has been part of my main influences for years. I have all Floyd albums and a lot of solo albums of each member. Unfortunately, I never had the chance to see the whole band performing together, but I was lucky enough to see David Gilmour and Roger Waters in concert. I saw the last tour of The Wall at the Stade de France in Paris in 2013. This concert was a turning point in my life. Probably the biggest concert I’ve ever seen and will ever see. Recently I saw Waters with my dad, it was also a wonderful moment. Pink Floyd is one of those timeless groups that cross generations. My father loves PF, I love PF and I hope my son will love PF too!

How did you arrive at your approach in covering your song?

Pink Floyd is one of the few bands that connects us all in LDDSM. We all listen to this band on a daily basis, really. For each new album, we work on a cover that we play at the end of our concerts. For the album “Human Collapse”, it was “Welcome to the machine”. This appeared quite obvious by itself, because HC was written under the influence of PF from the start and is composed somewhat like “The Wall”. The way of composing and Gilmour’s guitar playing guided me a lot during the writing of this album. This man is a real god and I have immense respect for him. The sound he has created, his way of placing always the right notes at the right time, the sensitivity he puts in it, is pure genius. When we cover a song, we like to make it our own, as if the song could have been written by ourselves. But above all, we are always looking to keep its original identity. We don’t like to leave its uniqueness behind. People must be able to recognize it in the first seconds and have to say at the end “goddam, it really sounds like an LDDSM song!” That’s the point, make LDDSM stuff with the composition of another and respect the original song.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

It is obvious that we are in a sadly perfect context for that. The political scope of the album has never been so justified. What we do with our planet is a shame. Trump is a shame, a monstrosity. But he is unfortunately not the only one. We live in an extremely violent and difficult world and I worry a lot, every day for the future of my children. In the manner of Waters, we might be tempted to build a wall around us to protect ourselves from others, but isolation is never the answer. We must break this wall, open ourselves to the unknown, reach out to others, it’s the only way for humanity to survive. This is the message of this album and it must be heard today more than never before.

Martin W. / Domkraft / Empty Spaces / One of These Days

As musicians and music fans, what’s your connection to Pink Floyd?

As a band, we probably would not sound the way we do had it not been for Floyd. They have been THE band for our guitar player Martin, who basically has listened to them all his life and they were the sole reason for him picking up the guitar in the first place. The rest of the band are also fans, but we both discovered them at a later stage in life.

How did you arrive at your approach in covering your song?

We right away decided that we wanted to do something in the vein of “Domkraft interpreting Floyd” rather than note-perfect cover versions. Why try to match something that is already perfect? Let’s do our own take instead and create alternate versions of classic tracks. Like, we found ourselves stretching short segments of the songs into actual parts of our versions. Small sounds and vibrations from the originals getting more space and importance. When we got to do “Empty Spaces”, we immediately knew that we wanted to go even deeper into the brooding, desolate aspects of the song. We soaked it in reverb to achieve an almost drone-like vibe to emphasize the lonely, bare and exposed feeling of the track.

“One of these Days” is such a seminal track and probably one of our absolute favorites from the Floyd catalog, so that one felt like an obvious and insane choice at the same time. With both the studio and the Pompeii versions just oozing perfection, we just decided to just go for it, not look back, and do our own take – more fuzz-drenched and with the same kind of psych-inspired over-the-top guitar work that is to be found in most Domkraft songs. Plus, we took some liberties and incorporated a segment from another “Meddle” classic – the falling note arpeggio break from “Echoes” – which worked really nicely and gave it some breathing space in the freight train section of the track.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Oh, hell yes. Frighteningly good. These are Orwellian times, possible more in the Animal Farm sense than 1984, though. That particular album has gone from being political (at the time of its release) to being “just” a classic (post-Glasnost) to being super-political again. A super political classic.

Shadi / Forming the Void / Fearless

As musicians and music fans, what’s your connection to Pink Floyd?

The first time I heard Pink Floyd was when I was 12. I had been studying music for a while and my father decided I was “ready” to hear them. We sat down together, and he played me the entire Wish You Were Here album. That moment changed my life forever. Pink Floyd became the band that I studied obsessively for the next few years. They sparked my lasting passion and serious pursuit of music and influences me deeply to this day.

How did you arrive at your approach in covering your song?

We had a short list of favorite Pink Floyd songs we might hypothetically cover one day. When we got this opportunity, it was with two weeks’ notice. From our list, ‘Fearless’ adapted the most naturally to our sound and fit most readily the time constraints we were given so it was an easy choice.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Anytime is a good time to revisit Pink Floyd! They are timeless.

TJ / Ghastly Sound / Another Brick in the Wall, Pt. 1

As musicians and music fans, what’s your connection to Pink Floyd?

Pink Floyd was one of the first and most important bands we were introduced to as children. I remember seeing posters for “The Wall” hanging up in my uncle’s bedrooms and being completely captivated by the artwork. In the 90’s, my father was really into home theater systems. When the Pink Floyd Pulse Live DVD came out, I was 8 years old. Our entire house would shake as we watched this and the cinematic adaptation of The Wall. This stuck with me until my teenage years and I began to discover cannabis. Thankfully, my parents were really open-minded about this specific substance and one summer night in my 13th year, they gifted me and a friend a half a bowl to smoke in the garage. Following our consumption of this gift, my friend and I got into my dad’s car and listened to Comfortably Numb on full blast in the driver and passenger seat. This experience was honestly a crucial moment in my development as a person and a musician.

How did you arrive at your approach in covering your song?

Approaching this cover was one of the most challenging experiences I’ve ever had as a musician. I think I threw away 3 or 4 instrumental versions before we landed on what we have now. Approaching a cover from such an iconic album is intimidating enough on its own. We had an extra challenge given that our specific track is more of an interlude; and comprised almost exclusively of David Gilmour playing guitar. Me, not being a guitarist, faced with executing something so clean in tone and performance was nothing short of terrifying. Our two main focuses were keeping true to the pace of the album and trying to maintain the feeling of crescendo as the album moves from Another Brick in the Wall Part 1 to Happiest Days of Our Lives. Ultimately, we decided that starting off true to the original and utilizing the ambient section of the song to take some liberties and transition into the next track was the best possible scenario. Hopefully we’ve succeeded and added something special for the listener to experience.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

2018 is a great time to introduce this album to a new generation of listeners. Not only because of the juxtaposition of the current political climate, but because guitar-based music is coming back in a huge way. It’s my hope that people can take these adaptations and use them to expand upon more traditional approaches to songwriting in the stoner or doom genres.

Tommi Holappa / Greenleaf / Another Brick in the Wall, Pt. 3 / Goodbye Cruel World

As musicians and music fans, what’s your connection to Pink Floyd?

For me it all started with seeing the Live at Pompeii DVD. The musicianship, the sound landscapes, the songwriting, it’s just simply amazing! Since then I have bought all their albums and yes You can easily say the I have been influenced by them. On each Greenleaf album there is at least one or two songs that has a little bit of Pink Floyd influences in them, it could just be a little reverb/delay thing, a riff or just the mood of the song.

How did you arrive at your approach in covering your song?

Well we knew that we couldn’t just do ”covers” of the songs because nothing can beat the originals. So, we decided to not try to copy the songs too much and try to make them sound more like Greenleaf, a bit more bluesy and a bit more heavy.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Yes, it does! If you look all the stupidity that is going on in the world today it could drive any sane man crazy…

Tom and Zach / Howling Giant / Matilda Mother

As musicians and music fans, what’s your connection to Pink Floyd?

They pioneered the idea of the concept album. While each song can stand alone, everything they wrote had a specific purpose within the album. Pink Floyd also showed us that you don’t have to fit within a certain genre, they were all about writing what they wanted, when they wanted.

How did you arrive at your approach in covering “Matilda Mother?”

It’s a weird song, and its focus on fairytales and escapism is something that appeals to us. ‘Piper at the Gates of Dawn’ is often overlooked in the Pink Floyd catalogue and we wanted to represent that era.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

The songwriting on The Wall is definitely worth revisiting, especially with the resurgence of classic rock influence on the heavy scene.

Mark Lanegan / Nobody Home

As musicians and music fans, what’s your connection to Pink Floyd?

As a teenager, I stole a record one day. Walking out of the store carrying it behind an empty record cover I’d brought in with me. When I heard the store clerk shouting behind me to stop, I turned a corner and out of his vision for a second, I threw it like a knife into a bank of deep snow. Not finding it, the guy let me go. Hours later I returned to retrieve my copy of ‘The Wall’ and listened to it nonstop for a long time. One of the great records of all time, I’m pleased I was able to participate in this tribute. Legally, of course.

Low Flying Hawks / The Thin Ice

As musicians and music fans, what’s your connection to Pink Floyd?

There’s always been a connection, we’ve always been into Pink Floyd, mostly the early years, the Syd Barrett stuff, atom heart mother, more, meddle, etc. probably up until the wall. We feel the true magic obviously after Syd left (cause Syd was the magic) was the mix of Roger and David, but once Roger started to lead we thought it was too rigid to forced and the other way around when David was in the lead it got too honey-dripped, too forced to the exact opposite, so together it was a perfect balance.

How did you arrive at your approach in covering your song?

We wanted to do something very simple, stripped to the core, the opposite of the operatic circus approach roger gave the album and obviously the song.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

We’re not political at all so we really never mix politics and music etc., we get the connection and the timing, but we feel you can always revisit an album if the bands are good and the songs are interesting.

Mars Red Sky / Comfortably Numb

As musicians and music fans, what’s your connection to Pink Floyd?

Mat: To be honest, Pink Floyd belongs for me to the generation of my parents, they had some of their records, so it has always been familiar, and it took years to rediscover it by myself. Also, songs like “division bell” was constantly on the air in the early ’90s when I was digging Punk Rock and Grunge… One day I listened to ‘The Piper at the Gates of Dawn”, and I went crazy about what was coming out from the speakers!

Julien: My dad had ‘Dark Side of The Moon’ in his record collection, I liked that a lot. Later I got more into them through a couple of friends when I was twenty and was a bit fascinated by the whole Syd Barrett mystery. I like most of their albums a lot, with a preference for some of the earlier ones (‘A Saucerful of Secrets’ especially)

Jimmy: ‘The Piper at the Gates of Dawn’ and ‘Atom Heart Mother’ are two of my favorite albums ever…

How did you arrive at your approach in covering your song?

Julien: We got the opportunity to pick Comfortably Numb, that was great because it’s one of our favorites. We had fantasized on covering this song for a long time, I had tried it awkwardly with a previous band. Here we put it all together fairly quickly, and we really like the way it came out. Our friend Benjamin Mandeau did a killer job at recording and mixing it.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Mat: Definitely there’s always a good reason to revisit such an album like that!

Dale Crover / The Melvins / In the Flesh?

As musicians and music fans, what’s your connection to Pink Floyd?

I’ve been into the Floyd since I was in grade school, thanks to older brothers. The first record I had of theirs was “Animals.”

How did you arrive at your approach in covering “In the Flesh?”

We always put our own spin on the song we’re covering. We came up with a genius idea for this one. If I tell you it will spoil the surprise. You’re just going to have to hear it.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Sure, why not now? Roger Waters keeps revisiting it for his mega buck tours. They didn’t really tour that record when it came out. In the US they only played New York and LA. Here’s a fun fact: when we recorded Stoner Witch we used the same Fender Precision bass that Roger used on The Wall. I believe it belonged to Bob Ezrin, producer of the Wall.

Tony Reed / Mos Generator / Goodbye Blue Sky

As musicians and music fans, what’s your connection to Pink Floyd?

There is no getting away from the influence of Pink Floyd. Their music has always seemed to be there and growing up in the 70s helped make them a part of the soundtrack of my youth. I have to be honest, when I first started playing music in around 1982, I was really burned out on the Pink Floyd “radio” songs and had never taken the time to explore the catalog. It wasn’t until about 15 years later that I heard the Meddle album and I was hooked on “Echoes”. Soon after, I took very little time hunting down the discography and studying it. Now they hold a very high place in my top bands.

How did you arrive at your approach in covering your song?

My usual approach at a cover is to try and replicate the song as close as I can, in performance and production. Using that technique, I come away from the project learning something about the recording and playing of the song. It makes me take an approach that I may not have chosen if I had written the song. In the end, I learn something that can possibly be applied to my own producing and writing. Not everybody agrees with this approach but it’s fun for me.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

The Wall is a timeless piece of music. It’s a human album, that to me, speaks about a struggle that we all go through as we move through life. It doesn’t manifest itself as intensely in most people as it does in the “Pink” character, but we’ve all been “through some sh**” at one time or another. Some more than others and years of it can change a person into a different soul. It’s seriously heavy thinking for a rock ‘n’ roll album.

Justin / Open Hand / The Show Must Go On

As musicians and music fans, what’s your connection to Pink Floyd?

What always has drawn us in to Floyd is Gilmour… his guitar playing and his voice … for those of us lucky enough to be exposed to Floyd at a young age (by our dads) you can’t help but be inspired by that band for the rest of our lives … and when you start playing guitar, Gilmour is a must study.

How did you arrive at your approach in covering your song?

We based our approach on the live version of “Show Must Go On” … it is a little longer live (extended) … they added another verse etc. … the live version of that song is better than the album version actually … so we went with that. As far as working with past Pink Floyd touring sax player Scott Page… I have known him for decades…met him when I was 13 or 14 … he was always involved in amazing bands (reo speedwagon… Supertramp…etc.) and Floyd … he gave me my first instrument … a saxophone… still have it … when it came time to record this cover … it was an obvious choice to go to the source … and even though there was never sax on the original he jumped at the chance to add some shit to it … recorded in the bathroom of my apartment…

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s a great time to revisit… having a whole new generation be turned on to Floyd via modern relevant bands that kick ass. … and Mike does an amazing job collecting those bands for these killer redux records… to be a part of two of these redux series for our favorite artists (Jimi Hendrix and pink Floyd) … so fucking cool man.

Pallbearer / Run Like Hell

As musicians and music fans, what’s your connection to Pink Floyd generally or The Wall specifically?

Pink Floyd has been a major source of inspiration for us, since long before we started Pallbearer. The experimentation, the innovative production, and most importantly the great songwriting has always been a benchmark for us to strive for since we started this band

How/why did you choose “Run Like Hell,” and how did the amped-up take on it come about?

When we were approached about doing this project, we initially inquired about 3 or so tracks to see if they had already been claimed by other artists, RLH being one of them. We were excited to take on RLH because it would give us the opportunity to totally subvert the notion that we would end up doing something obvious. The song is already kind of outside of the realm of our already-Floyd-indebted style. It was different for them, so it gave us a chance to really think outside the box.

Our initial inspiration on how to approach it actually came from watching as many early live performances of it as we could find. We found that all of them were really vicious sounding, and a bit unhinged. They just felt off the rails, so we decided to just go full steam in that direction.

Does today/2018 feel like a good time to revisit an iconic album like The Wall, and why or why not?

The Wall is very much an album that explores different aspects of isolation. In 2018, our world is essentially more “connected” than ever before via technology, yet it feels like we are also becoming more and more isolated from one another as individuals. Additionally, nationalist tendencies are increasing globally at a terrifying rate. It seems like a perfect time to revisit and re-examine this classic album.

Brad / Red Mesa / Breathe

As musicians and music fans, what’s your connection to Pink Floyd?

I started listening to Pink Floyd in high school in the mid-nineties. The first two albums I owned were on CD. ‘The Wall’ and ‘Dark Side of the Moon.’ I didn’t start paying music until after high school, so I was just a rabid fan of rock and roll, hungry to listen all the classic stuff. Both albums completely blew my mind. I spent hours in my room after school listening and reading the lyrics. I felt that Pink Floyd was the most intelligent band. Besides being phenomenal musicians, Roger Water’s lyrics spoke to me. He somehow managed to take philosophical concepts and weave them into a rock and roll band. It wasn’t just about women, drugs, and fast cars. Nothing wrong with that as subject matter, but Pink Floyd made you think about and question existence. As my younger brother and I digested The Wall and Dark Side, we discovered the rest of their albums. I fell in love with Meddle and Animals. The song “Echoes” on Meddle is my favorite psychedelic song of all time.

How did you arrive at your approach in covering your song?

We covered the song “Breathe” from Dark Side of the Moon. Picking the right song for the band was a challenge. We wanted to play to the strength of the band. Roman, our drummer texted me “How about Breathe?!” as I was looking at the guitar tab and plucking out the chords and rhythm. I thought that was a sign. I sent the band a voice memo of guitar stuff, they liked it, said we should make it heavier. We ran through it in practice and it felt great! We all love Pink Floyd so much. We felt honored to be asked to cover one of their songs. We wanted to do our very best and pay our respects.

In the studio, we played all the rhythm section ‘live’. It has a very organic feel to it. We really liked how it came out. I went back over and doubled the guitar track. For the iconic Dave Gilmour slide part, I played lap steel with a bunch of delay and reverb and heavy overdrive. We had a blast recording this one.

Matthew from Empty House Studio orchestrated us for “On the Run” the trippy instrumental song that comes in directly after “Breathe” ends. I stuck my head inside a grand piano banging away on the strings, while Roman was holding down that super cool drum part. At that point we had already polished off a bottle of Jameson, Matthew says “be careful, that piano is worth more than a house”. And I’m just banging away in there. Matthew was pushing us to get more creative and weirder. Super fun.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Yes, absolutely. Politically, spiritually, and environmentally things are fucked in the US. It seems that The Wall’s concept and message is timeless. It came out in 1979. It could have been released in 2018 without altering a single word. As much as that album is brilliant, it’s sad we haven’t seemed to have evolved much in the past 40 years. However, revisiting this album will hopefully bring Pink Floyd’s message and music to a younger generation of fans.

Scott Reeder / Is There Anybody Out There?

As musicians and music fans, what’s your connection to Pink Floyd?

When The Wall was released, it was my entry into Pink Floyd’s universe; and to this day is probably my biggest musical influence… right up there with The Beatles. My solo stuff always draws comparisons to Floyd. The damage is done deep – they were all I listened to for a long time! I feel lucky to have seen them a couple of times. Roger Waters quite a few times, too. Oddly enough, I had dinner with their final long-time bassist, Guy Pratt, and his wife few years ago at a Warwick Bass party. We were showing each other pictures of our properties and horses and had an awesome time. I didn’t realize at the time that his lady was Richard Wright’s daughter, Gala. She was very sweet.

How did you arrive at your approach in covering “Is There Anybody Out There?”

There’s not much to it… You’ve got the title question asked a few times, and then that iconic guitar run that I struggled to do some justice to. Structure-wise, that’s it. My fretting hand had developed trigger finger – my pinky and ring finger were locking closed, and after every take, it got worse, but I patched it up alright. The ambient stuff I constructed to reflect the desolate feeling out here on the ranch – I recorded guns in the distance, and our dog Rocky was scared and whimpering next to me, while his pal Harry was barking in the distance. My Chihuahua Scooter is in the mix towards the end, too – she passed shortly after this was finished – I’m so glad she’s on it! Got my 8-string bass in there for the scrapes run through a Whammy pedal to raise the tension. And it’s my first time using trombone on a track!

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

At almost 30 years out… why not? It’s my favorite album of all time – probably the only album that I could sing all the words to! It’s an honor to be a part of this tribute to the greatest album of all time, and it’s absolutely killing me waiting to hear how the whole thing plays out!

Jillian Taylor / Ruby the Hatchet / Vera / Pigs (Three Different Ones)

As musicians and music fans, what’s your connection to Pink Floyd?

Pink Floyd was one of the bands I was brought up on and a favorite of my father’s. I remember thinking they were really weird and scared me when I was young; especially The Wall movie which seemed to always play in the wee hours when I was sneaking TV. My mother’s side is from England and there are so many crossovers with Floyd lingo and English pride and reprimand (cue “hanging on in quiet desperation is the English way…”). When I was a teenager, and after an ugly divorce between my parents, my father gave me The Wall for my birthday. It was then that I felt like I understood their strangeness and the rebellious and political undertones. I even went through a rough year where I had to listen to The Dark Side of the Moon every single day to relate to all the beauty and pain in it.

How did you arrive at your approach in covering your songs?

Everyone dove in to their respective parts. Pigs was a huge labor of love by all parties; especially Sean (keys) who recorded and engineered both tracks for us. It’s a lengthy track that we made even longer (additional apologies to Sean for having to mix down a 12-minute song dozens of times). We didn’t veer off course with Pigs much, it was fun to play it straight and make small twists with the organ, harmonies and vocals in female register. Vera was completely different as it’s a very short interlude (we managed to at least triple the length of it, of course). It came naturally to play around with Vera. I’ve always thought that song was so hauntingly pretty and used to hum an additional part I’d imagine there which we made happen in a bridge.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

I’d say yes, and until we reach some kind of Utopian society which doesn’t seem like it will realistically arrive; then maybe always. There’s a George Orwell quote from 1984 that always reminds me of The Wall: “If you want a picture of the future, imagine a boot stamping on a human face — forever.”

Cas, Keith and Riggs / Sasquatch / Another Brick in the Wall, Pt. 2

As musicians and music fans, what’s your connection to Pink Floyd?

Riggs: PF is one band that has consistently punctuated moments in my life from the age of 8 to whatever I am now. My brothers got tickets to The Wall at Madison Square Garden when I was a wee lad. I was completely bummed that I didn’t get to go, and I have spent the rest of my song-writing life trying to rip them off.

Keith: Floyd has had a big influence in many ways on me personally and our music. I guess it might not come through so much in our songs themselves, but I think about PF when I’m incorporating dynamics and textures into the songwriting. It’s definitely played into having Unger come in and drop more Hammond and B3 on our new record, Maneuvers.

Cas: To be honest, I’m the young buck in the band. Growing up as a metal kid in the late 80s, my first exposure to PF wasn’t a direct connection, but through Voivod’s cover of Astronomy Domine. Obviously, I had heard PF hits on classic rock radio, but hadn’t paid attention until I heard this tune in 8th grade. That take on that song drove me to dive into the PF catalog and I haven’t looked back since. Waters may not be flashy, but he writes some of the most memorable bass lines out there in rock. Huge influence on how I approach the instrument.

How did you arrive at your approach in covering your song?

Riggs: Another Brick in The Wall has always been an odd song for PF. I remember kids in school singing the song to be rebellious, but the disco beat always freaked me out. We wanted to change it up in a more soulful way and lose the kid chorus and disco beat. It’s the same approach we would take if we were to cover Money.

Cas: Keith and Riggs played around with several different versions. We thought about both extremes: a) keeping it true to form or b) deconstructing it to the point where it would be completely unrecognizable. We eventually ended up slowing it down and beefing it up but kept the melodies intact. The guys were definitely adamant about pulling out the Bee Gees beat from the original. In the end, we decided pulling the drums completely out of the verses gave the choruses a much larger impact. Then Riggs tried out his best (worst?) Academy Award-winning English accent on the wrap-up. Made me crave some pudding.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Riggs: It’s always a good time to revisit any PF album. Just as Roger Waters is accentuating the current political aspects on his tours, it’s great to see a bunch of talented bands give it their own take.

Keith: I think anytime you can cobble together such a great list of bands like the roster here, why not do it?

Cas: Given the current climate, there’s no better time than the present.

Dan / Sergeant Thunderhoof / The Happiest Days of Our Lives / Time

As musicians and music fans, what’s your connection to Pink Floyd?

They were a mainstay in my household as a child. Those songs are so solidly imprinted within me that they’ve almost taken on another dimension. Floyd have a sound of their own that is pretty hard to pigeonhole and I guess we try to emulate that philosophy.

How did you arrive at your approach in covering your song?

“Happiest Days of our Lives” was a fun song for us to do, I even got to mimic the teacher’s voice at the beginning which was cool. We wanted to add a little bit of our theatricality to it which was quite hard given how short the song is, but we’re happy with what we did. Essentially the song acts as prelude to probably the most notable song on the album so our job was to set that up in the best way possible.

As for “Time,” this was really just a song that we all love. When it came to messing around with it, we found that by trying to make it more ‘hoof’ it simply sounded trite and a bit ‘try-hard.’ In the end after trying out different ideas, we pretty much just played it straight. In a way, this was us not trying to emulate Floyd but instead showing some respect to the song and humbly admitting that we can’t do any better that the original!

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

I guess it depends on what it is you think The Wall is. For me the album represented a rejection of indoctrination, whether that be the education system, political structures or financial institutions. What we’ve seen over the last few years is a complete breakdown of social interaction. There is such a divide between what we perceive to be the two sides of the argument. For me, The Wall represents a mental prison, not a physical one. Some people are so quick to assume the worst in everyone and everything, it would be nice to get back to a place where we can all respectfully disagree with each other but still enjoy a beer and a good riff without fighting!

The Slim Kings / Young Lust

As musicians and music fans, what’s your connection to Pink Floyd?

They are musically up there with the best. One of the bands to be studied in their song writing, production. They set up a mood that is undeniably Pink Floyd. Great teenager headphone music.

How did you arrive at your approach to your song?

So, there is no pressure to compete and make it sound like an original hit that people are used to – but we tried to cop most of the tricky licks so nobody would call us out. We recorded it live to tape quickly. Kacie Marie is a burlesque influenced singer and Instagram star who was hanging in the studio that day. She was the perfect woman to sing those background vocals.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

There is never a bad time to listen to the wall. Particularly when you are on this side of it! Joking aside, the country is in a cold civil war right now, so anything ever written about people being divided and conquered is relevant.

Tommy Southard / Solace / In the Flesh

As musicians and music fans, what’s your connection to Pink Floyd?

They’re an iconic band that influenced me as a young kid long before I even picked up a guitar. It helps when your cool uncle lives with you and has a copy of Ummagumma and it blows your mind in 2nd grade.

How did you arrive at your approach in covering In the Flesh?

Plug in and play like ourselves, hope for the best! I think we put our take on a classic tune from a masterpiece of an album. Tried to do it justice while still sounding like Solace.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Any day of any year is a good time to revisit any of the classic Floyd albums!

Somnuri / Sheep

As musicians and music fans, what’s your connection to Pink Floyd?

We all have an appreciation for Pink Floyd but if you asked us individually, our favorite albums would probably vary. As a whole, there’s no denying Pink Floyd’s sound and aesthetic as being an influence on us as musicians and artists.

How did you arrive at your approach in covering “Sheep?”

This project was interesting because there weren’t many songs left to choose from and given the timeframe to complete it, ‘Sheep’ was a very ambitious choice. As much as we tried to make it our own, we felt we had to honor the original song as much as possible. Ultimately, recreating the vibe and atmosphere was the most intensive part of the process. We feel proud of the way we conveyed the song and took it above and beyond what we expected.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Absolutely. With our current political and societal climate, the stories and concepts from the album seem as relevant as ever. One of the things that makes an album iconic is the sense of timelessness, and The Wall certainly has that feel, at least topically.

Bartosz Janik / Spaceslug

As musicians and music fans, what’s your connection to Pink Floyd?

It’s very personal music for me. A lot of good and bad memories. Floyds were with me in hard times and help me stand on the ground. Love this band and David Gilmour is in fact a big inspiration for my guitar playing.

How did you arrive at your approach to your song?

We managed to make our version of it and reverse the structure. The original has more doodling and ambient sound and this massive guitars on the end. We managed to make it little different and change that to have less ambient and more guitars and factures.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s always good! My dream is to be on Dark Side of The Moon Redux in some future! Hope this will happen! Also, that kind of initiative will keep good vibe that Floyds deliver years ago. Great band and this was really an honor to be part of this re-edition!

AJ / Summoner / Hey You

As musicians and music fans, what’s your connection to Pink Floyd?

I think our connection to Floyd is similar or the same to everyone else who plays this style of music. We’ve all been exposed to Pink Floyd our whole lives. I personally can say that it started with my parents listening to them when I was a kid. Followed by me taking that torch and running with it. Learning their discography as a teenager and striving to emulate them in the music I still write today. Summoner takes a lot from PF musically. When we get into our more ambient/atmospheric writing Floyd is always in the front of our minds. Not only do we draw from them musically, we are also influenced by their production style and studio magic.

How did you arrive at your approach in covering “Hey You?”

If I remember correctly, when we were asked to be a part of this we all agreed unanimously that “Hey You” should be our tune. You always have to be careful when covering a band like Pink Floyd. Everything they did was done right. You can’t expect to make one of their songs “better” you can only take what they have done and expand upon it and make it your own. We kept it tight to the template on our version because it was already so damn good. What we thought we could add was our style and texture to the tune and I think we did that well.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s as good a time as any. As I said previously, it’s always a risky venture to cover such an iconic band/album. Those songs are engrained in everyone’s mind and to switch that up almost seems like a losing battle. But done right it can be pulled off and I think MER has done just that with the bands they have chosen to do this project. We were just so happy to be a part of it. I guess the timing is kind of right since (I think) we are coming up on the 40th anniversary of the release.

Carter / Sunflo’er / Bring the Boys Back Home

As musicians and music fans, what’s your connection to Pink Floyd?

The riff in seven at the beginning of “Money” is a legendary use of odd meter. There’s so few solid examples of it in mainstream radio and making the realization as a youth leads to asking other questions about rhythm and where it comes from.

How did you arrive at your approach in covering “Bring the Boys Back Home?”

The original recording features a full marching band and choir, which we weren’t going to compete with, so the obvious choice for the cover was playing as minimally as possible. We wrote a chord melody for the guitar, reduced drum hits to only the most necessary, Ethan played saxophone and nailed it. Bohren & Der Club of Gore vibes were sought and achieved.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

For all the obvious geopolitical reasons: yes.

Patrick / T-Tops / Nile Song

As musicians and music fans, what’s your connection to Pink Floyd?

The Wall was my first introduction to Pink Floyd. When I first dug into the album 20+ years ago, the thing that struck me most was the overt loneliness & desolation at the heart of the record. This theme runs throughout much of their music, but obviously this is especially true with The Wall. What separates it from other Floyd records for me, is how it’s just a really solid, well-focused rock album (rock opera?) about brutal isolation & loss. These two themes are universally identifiable.

Though this album was inspired by WWII & the horrendous grief and loss it caused, I identify most with the songs about fractured relationships & the war & desolation that exists inside the narrator’s mind. Lyrically, my favorite songs on The Wall are “One of My Turns” which explores the madness & absurdity someone can exhibit to a loved one. First “love turns gray” then the narrator admits to being bored out of his skull and just going through the motions until he snaps into a manic scatterbrained episode of violence and destruction, scaring the hell out of the other person & then asks, “why are you running away?” Brilliantly followed by the backhanded apologetic begging of “Don’t Leave Me Now” where he reminds his partner about the “flowers I sent” & goes on to plead with them that he needs them (if only to “beat to a pulp” or “put through a shredder”) while simultaneously begging them not to leave.

How did you arrive at your approach to your song?

The Nile Song is possibly the most “straightforward” rock song in Pink Floyd’s catalog which is what drew me to it. The simplistic musical pattern and yelled/half screamed lyrics make it stand out from other Floyd songs and made it an easy choice for a cover. I was surprised no one else snagged this one before we were given the chance to. Of course, I’m aware of The Melvins covering this song in the early ’90s. Not that we (or anyone) could ever sound like the Melvins, but we kind of took a similar approach to covering it in just playing it basically the same as Pink Floyd just with louder more distorted guitars.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s never a bad time to revisit a classic.

Taylor / WhiteNails / Waiting for the Worms

As musicians and music fans, what’s your connection to Pink Floyd?

Pink Floyd is one of the quintessential musician’s bands. Their level of creativity and pushing boundaries has always been an inspiration to us. David Gilmour is one of our all-time favorite guitarists and there aren’t many musicians who have the taste and flair that he does. As well as one of the greatest guitar tones of all time!!!

How did you arrive at your approach in covering your song?

Covering “Waiting for the Worms” was sort of a trial and error process. We wanted to add our own touch but really didn’t want to stray too far from the original work. We ended up changing the verses musically and tried to stray somewhat true to the vocal melody. We generally beefed up most of the guitar work and allowed Darcy to really sing on the track.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Releasing an album like the Wall again seems entirely appropriate in the political and social climate we find ourselves in today. Pushing against the powers that be has never run out of fashion and it stands equally as true today.

Worshipper / One of My Turns

As musicians and music fans, what’s your connection to Pink Floyd?

ALEJANDRO: I don’t recall a time when Pink Floyd wasn’t a part of my awareness. My father was an avid music fan and record collector, so Floyd was often on the record player when I was young. “The Wall” was one of the first gatefold records I held as a kid. The towering butt overlord was mesmerizing. As a musician, my appreciation for the band goes in cycles. There was a time in my 20s when I couldn’t get away from The Wall or Dark Side because they were everywhere. Friends couldn’t wait to gift me a copy of “The Wall” the movie on VHS or DVD which is difficult because, let’s face it, it’s a dark movie. Who has the emotional fortitude to watch this Pink guy slice his eyebrows off? It’s tough. But, at some point a revisit of The Final Cut or Relics b-sides or Echoes or Shine on or Animals sends me back into another Floyd-obsession phase. For some reason I never got around to seeing the Pompeii stuff until recently, when we started writing our current record, so I climbed into that rabbit hole for a bit. The connection, for me, is the fearlessness in songwriting and the immense power four guys can make together and all the inventiveness that goes along with that. I think if you’re going to be in a band you need to see what Floyd was all about. They invented a lot of what you need to make it work. If you don’t you’re just being an asshole to yourself and your bandmates.

JB: It’s funny, my dad is a GIGANTIC Floyd fan and that is probably the #1 reason. He had all the records and a bunch of bootlegs (which he has since passed along to me) and while he would play them around the house while I stared in amazement at the back cover of Ummagumma, he never forced them on me or anything. It wasn’t until I borrowed his van in college and found a tape of a bootleg from ‘72 under the seat that it really sealed the deal for me. We had Live at Pompeii on Laser Disc and everything, but it wasn’t until I discovered what I liked about them on my own terms that it all clicked for me in a personal way. I tend to gravitate toward the early stuff like Obscured by Clouds, MORE, Relics, and Meddle, but I love it all. But, to answer your question more concisely, they have basically been a part of my life for as long as I can remember and a huge part of my relationship with my dad.

I think all of us are into Floyd in different ways, which is cool, as well. Like, Jarvis is a maniac about the Wall, but not much appreciation for the Syd stuff, while I am sort of the opposite. I like all of that ridiculous British 60s acid-damaged tea and crumpets stuff.

How did you arrive at your approach in covering “One of My Turns?”

ALEJANDRO: It was a different type of song for us. We do covers all the time but this one was a challenge since it’s kind of two songs in one. The front half is a bit of a theatrical vignette, so we debated if we should stick to the actual narrative from the record, where we use the dialogue of Pink’s guest in his room while he’s watching “The Dam Busters” on TV. In the end we ditched the groupie and focused on the significance of what a protagonist in “The Wall” in 2018 might be watching which, in our version, is the scene from “All the President’s Men” where Robert Redford gets the “follow the money” speech from Deep Throat. Seems an appropriate commentary right now. On top of that, there was the opportunity to record and build a section based on John’s synth and keys treatment which we did separately from the second, more-straightforward half of the song.

JB: I had to really dissect this one, personally, to get to the bones of it and figure out what was going on. With such a grand production, it was a little tricky to pick apart. Al said that he was working on the strategy for the front half, and I kind of took the lead with the back half, doing a demo at home and trying to figure out how to put our stamp on it and how to approach the vocals without trying to imitate Roger’s utterly unhinged performance. I basically had to reharmonize the vocal melody a little (ok, a lot) to make it work with my range and demeanor. And then the front half was really our first attempt at creating something from scratch in the studio (not working from playing live.) I’m really into synths, so I had fun doing the pads in the intro and making more of a “headphone experience” … Al had a map of the chord structure of the intro, so he kind of yelled out chords and we built it up piece by piece until the vibe was right. I really wasn’t sure I would be able to pull off such an intimate vocal like Roger does, but, I’m happy with how that came out. It should be noted that Chris Johnson did an amazing job recording and producing it. Especially since we had to kind of graft the front half onto the back half, but he made it work!

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

ALEJANDRO: It does. There’s never a bad time to revisit “The Wall,” but today seems a particularly good time. The Wall as Roger Waters conceived it was metaphorical, right? A dude with dad-issues and a lifetime of intimacy problems? Now the idea of “a wall” is an analogue for the ideologies of greed, division, nationalism, fear that, in America, play out constantly on social media, tv, newspapers, it’s everywhere. Working with MER to add a voice to a commentary about it and celebrate the music and message of Pink Floyd? Sounds right. Sign us up. This is one of the reasons we play in a band. It’s a shitshow out there and it’s time to get dressed and show up to the party. America is pretty happening party, but insane assholes are soiling the punch and passing out bad drugs, and the DJ is a punishing monster right now. I’m glad I got a band that wants to kick down the door, squeeze off a few rounds on the fire extinguisher, and put some Floyd on the stereo ‘cause whatever’s on at the moment has got to stop.

JB: Did you see Roger Waters on that last tour? If anything, this is a PERFECT time to revisit this album. All of his lyrics can be interpreted as being completely current in today’s political climate. Maybe the Animals record more than this one, but wow, he really created some timeless lyrics that make sense in pretty much any era. Until everybody gets along, I think Roger’s lyrics will always resonate. This has also been great for me, personally, because The Wall was never really “my Floyd album” so it gave me a reason to really dig into it again and learn to really appreciate it. Not that I didn’t appreciate it, I just always found it to be a little on the “emotionally draining” side. Now, I don’t see it that way anymore, so thanks for helping me with that!

Gary Arce / Yawning Man / Outside the Wall / Mudmen

As musicians and music fans, what’s your connection to Pink Floyd?

To be honest we grew up with punk rock and we were very young when we started doing music, not caring much for references. As for Pink Floyd I can see how we share a similar approach to guitar sounds and spatiality, as well as riffs and tempo with some of their songs. It’s that they started with blues and you can hear rock is a part of us. I think some members of Pink Floyd also kind of grew up together as we did. Playing in the desert with our mates, most of them are luckily still around doing their thing, that’s what pushed us.

How did you arrive at your approach in covering your song?

Our approach is usually very instinctive. We love jamming and see what we come up with. That’s how we did the covers, too. We‘re not like wracking our brains too much before we start, that’s not how we play. We just start and the music keeps flowing. It was fun and lots of Mexican food kept us going.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

The Wall made the history of music. Many have been if you want it or not (consciously or unconsciously) influenced by it. On tour I talk to many fans after concerts or they come up and talk to me. They know a lot about music and love to establish connections between their idols and the younger bands. Psych sounds are having a huge revival in Europe, the US and Canada. We see that when we play live and most of the shows are sold out. So I guess it’s a good moment to revisit The Wall and see what it’s got to tell us now.

Amy Tung / Year of the Cobra / When the Tigers Broke Free / Have a Cigar

As musicians and music fans, what’s your connection to Pink Floyd?

The funny thing about Pink Floyd is that they’re not one of my favorite bands, but they’re certainly one of the most influential bands in my life. If I think about the time in my life where music influenced me the most, like as a preteen or a teenager, they’re certainly one of the top 5. They’re one of those bands that, at some point in your life, you have to dive into, head first, and in doing so, you become a more fulfilled human being. It obviously doesn’t apply to everyone, but to most of the people that I relate to, it does. It is impossible to not have the utmost respect for them and never in my life did I imagine I would be asked to cover any of their music. I never thought I would be able to, but to have the opportunity to do so was outrageously challenging and exciting. I don’t expect anyone to find our take on their music better than what already existed. I just hope people find it interesting and inventive and I hope it opens their minds to something different and new.

How did you arrive at your approach in covering your song?

My approach to covering any song is to find a way to change it. I feel like you can never make a song exactly like the original because it will never sound better than it already does. The only option you have is to change it. My goal is to find a way to keep the essence of the song intact but insert a little bit of me in it. Covering the songs “Have a Cigar” and “When the Tigers Broke Free” as Year of the Cobra was certainly limiting, seeing that we’re only a drum and bass duo, but it was also fun trying to find a way to do justice to the music, while also doing justice to us as a band. In the studio, we added some more instrumentation (I.e. keyboards), but I feel like it’s still something we could play (and maybe… hopefully… will play) live, one day.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

The Wall will always be an album to revisit; today, tomorrow, in the future. It’s timeless. There are no contemporary bands that even come close to writing an album of epic proportions like The Wall and there are too many kids that have grown up listening to the formulaic music that is spewed out on modern radio these days, it’s depressing to think what their lives would be like if they weren’t introduced to albums like The Wall. It is imperative that we keep these albums alive in any way we can, so they are never forgotten. Finding bands to cover them, breathe new life into them, is such an exciting way to keep them alive, to keep us talking about them. I hope in 10 years, more bands are covering this album and keeping it alive for more generations to come.

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Desertfest Belgium 2017: The Melvins, Gozu, Beastmaker and Big Fat Lukum Join Lineup

Posted in Whathaveyou on June 8th, 2017 by JJ Koczan

Okay, yeah, so the Melvins will be one of the headliners for Desertfest Belgium 2017 this October. Fair enough. That seems appropriate. They’ll have a new record out and will be touring like they do and, yeah, the stop makes sense. You’ll pardon me though if I think the real news here is a return trip to Europe for Gozu this fall. One has to wonder which of the other autumnal fests the Boston four-piece will be added as they go, but they’re certainly keeping good company with this first announcement. When and if I see the rest of the dates, I’ll let you know.

Beastmaker, who’ll be on the road with Stoned Jesus, and Belgium’s own Big Fat Lukum have also joined the Desertfest bill, as the PR wire confirms:

desertfest-belgium-2017-poster-melvins

THE MELVINS WILL PLAY DF ANTWERP 2017, HELL YES – Gozu, Beastmaker & others

Remember last week, when we were promising “very exciting headliners”?

We tend to keep our promise, and so it has begun.

We’re delirious with excitement to announce that THE MELVINS – yes, that’s THE. FUCKing. MELvins – will headline Desertfest Antwerp this year. We had ’em once, then we lost ’em, and now we’ve got them good. It’s on!

But let’s not forget you want to have a bloody hell of a good time the rest of the time as well, and for this we have added some more class acts to the line-up: we bring you GOZU for some good time stoner rock’n’roll. BEASTMAKER is touring with Stoned Jesus, so they’ll bring them along to the Fest. And finally, BIG FAT LUKUM will provide the obligatory touch of local Belgian stoner.

How do you like that! And remember: we are still not done. Join us soon for another round of awesome news!

THE MELVINS

It seems like nothing we can say about The Melvins will properly convey the profundity of their legend. For over 30 years now, King Buzzo and his cohorts have ruled the planet with a sound that has been all over the place and back, all the while remaining unmistakably and utterly Melvins. They’re releasing a new double album in July, so who knows what unholy sound will pummel your brain come October!

GOZU

Gozu’s sound is tailor-made for blasting out the car speakers via international radio airwaves. Over 3 albums, they’ve condensed their Bostonian no-bullshit stoner rock into something that feels like bigger than the sum of its parts. Live they’re no slouch either – in 2016 they managed to hit seven countries for 20 shows in 20 days. Now that’s the kind of attitude we love to welcome to the DF stage!

BEASTMAKER

Bands Beastmaker likes: Black Sabbath, Danzig. You like them too? Then you’ll love Beastmaker! But make no mistake: their brand new album ‘Inside The Skull’ expands beyond the riff worship to offer a venomous slab of wildly creative but spiritually pure doom devastation. Beastmaker is a band that proudly wears its bloody heart for the tradition on its sleeve, and it shows.

BIG FAT LUKUM

Big Fat Lukum hails from Namur, Belgium. The band has a history of playing extreme and loud from punk to metal in the past, but nowadays they’re on a steady diet of desert and stoner rock.

http://www.desertfest.be/tickets
https://www.facebook.com/desertfestbelgium/
https://www.facebook.com/events/264364590656095/
https://twitter.com/DesertfestBE

Gozu, “Lorenzo Llamas” Live in Seattle, April 2017

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The Melvins Announce Three Months of North American Tour Dates

Posted in Whathaveyou on April 27th, 2017 by JJ Koczan

My feelings on heavy rock legends the Melvins remain unchanged. I probably don’t ever need to see the band live again. Barring some seismic shift in their approach or my own personal taste, I probably don’t need to hear another Melvins record for as long as I live — even less a double-album, sorry. I know for a fact I don’t need to read another bloated-journo thinkpiece about how experimental or important they are or how everyone from Seattle got famous and they didn’t and therefore, integrity. These feelings are what they have been.

I also continue to respect the crap out of the fact that as they get ready to release their who-even-knows-anymore-th album, they’re doing so with 12 weeks of touring. In North America. You know they’ll be in Europe again before the end of the year as well. Sorry, but however Meh-lvins you (or I) might feel, they’re aren’t a lot of bands who either can or would be willing to break their collective ass like that on the road at this stage in their career.

So there you go. New double-album, A Walk with Love and Death, is out in July on Ipecac. Tour starts July 5 with support from Brooklyn’s Spotlights.

PR wire has it like this:

the melvins

THE MELVINS PLOT 12-WEEK NORTH AMERICAN TOUR IN SUPPORT OF FORTHCOMING DOUBLE ALBUM, A WALK WITH LOVE & DEATH (JULY 7, IPECAC RECORDINGS)

IPECAC LABELMATES, SPOTLIGHTS, OPEN ON ALL DATES

The Melvins, who release the double album A Walk With Love & Death on July 7 via Ipecac Recordings, announce their most extensive North American tour to date, with dates stretching from July 5 to Oct. 3.

Tickets for the tour, which stretches from Florida to British Columbia, from Southern California to New England, are on-sale this Friday at 10 a.m. local time.

With A Walk With Love & Death, the trio of Buzz Osborne, Dale Crover and Steve McDonald showcase two distinct sides of the band’s music: Death, a proper Melvins’ release and Love, the score to the Jesse Nieminen directed, self-produced short also titled A Walk With Love & Death. A release date for the short has not been announced yet but a trailer has been made available. The albums, which include guests Joey Santiago (The Pixies), Teri Gender Bender (Le Butcherettes/Crystal Fairy) and Anna Waronker (That Dog), were co-produced with Toshi Kosai.

A Walk With Love & Death tour dates:
July 5 San Diego, CA Casbah
July 6 Santa Ana, CA The Observatory
July 7 Los Angeles, CA The Troubadour
July 8 Fresno, CA Strummer’s
July 9 Sacramento, CA Goldfield Trading Post
July 10 San Francisco, CA Great American Music Hall
July 12 Portland, OR Hawthorne Theatre
July 14 Vancouver, BC Venue Nightclub
July 17 Edmonton, AB Union Hall
July 18 Calgary, AB The Marquee
July 20 Winnipeg, MB Pyramid Cabaret
July 21 Fargo, ND The Aquarium
July 22 Minneapolis, MN Grumpy’s Bash
July 24 Milwaukee, WI Turner Hall Ballroom
July 25 Chicago, IL The Metro
July 26 Grand Rapids, MI The Pyramid Scheme
July 27 Detroit, MI El Club
July 28 Cleveland, OH Grog Shop
July 29 Columbus, OH A&R Music Bar
July 31 Pittsburgh, PA Rex Theater
August 1 Syracuse, NY The Westcott Theater
August 2 Boston, MA Paradise Rock Club
August 3 New York, NY Irving Plaza
August 4 Philadelphia, PA Union Transfer
August 5 Asbury Park, NJ The Stone Pony
August 6 Baltimore, MD Ottobar
August 8 Richmond, VA The Broadberry
August 9 Carrboro, NC Cat’s Cradle
August 10 Knoxville, TN The Concourse
August 11 Louisville, KY Headliner’s Music Hall
August 12 St. Louis, MO The Ready Room
August 13 Lawrence, KS The Bottleneck
August 15 Englewood, CO Gothic Theatre
August 17 Salt Lake City, UT Urban Lounge
August 18 Las Vegas, NV Psycho Fest
August 20 San Jose, CA The Ritz
August 21 Santa Cruz, CA The Catalyst
August 22 Los Angeles, CA The Echo
September 5 Phoenix, AZ Crescent Ballroom
September 6 Tucson, AX 191 Toole
September 8 Austin, TX The Mohawk
September 9 Dallas, TX Tree’s
September 10 San Antonio, TX Paper Tiger
September 11 Houston, TX Warehouse Live (Studio)
September 13 New Orleans, LA One Eyed Jack’s
September 14 Pensacola, FL Vinyl Music Hall
September 15 Jacksonville, FL Jack Rabbit’s
September 16 Tampa, FL The Orpheum
September 17 Ft. Lauderdale, FL The Culture Room
September 18 Orlando, FL The Social
September 20 Athens, GA 40 Watt Club
September 21 Atlanta, GA The Masquerade (Hell Stage)
September 22 Nashville, TN 3rd & Lindsley
September 23 Memphis, TN Hi-Tone
September 25 Madison, WI High Noon Saloon
September 26 Rock Island, IL Rock Island Brewing Co.
September 27 Des Moines, IA Wooly’s
September 28 Omaha, NE The Waiting Room
September 30 Ft. Collins, CO Aggie Theatre
October 2 Albuquerque, NM The Launchpad
October 3 Flagstaff, AZ The Green Room

Spotlights, who will release their Ipecac debut this fall, open on all dates.

The Melvins will also perform with Tool on June 24 at the Glen Helem Amphitheater in San Bernardino, Calif.

facebook.com/melvinsarmy
twitter.com/melvinsdotcom
instagram.com/melvinsdotcom

facebook.com/spotlightsband
twitter.com/spotlightsband
instagram.com/spotlightsband

ipecac.com
facebook.com/ipecac
instagram.com/ipecacrecordings

Melvins, A Walk with Love and Death album trailer

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Melvins, Napalm Death and Melt Banana Announce Tour Dates

Posted in Whathaveyou on December 2nd, 2015 by JJ Koczan

melvins

You know who really likes the Melvins? Everybody. Also everybody’s mom. So it’s little surprise that the news that the now-even-longer-running heavy rock weirdos should team up with Napalm Death and Melt Banana for a cross-country jaunt next spring should be well received. At least I’m not surprised. Are you? They’re so wacky!

The Melvins‘ latest offering is a film chronicling their 51-day tour of all the US states and Washington D.C., and it’s out now on Ipecac. Off to the PR wire for more:

melvins napalm death melt banana

THE MELVINS AND NAPALM DEATH TEAM UP FOR SAVAGE IMPERIAL DEATH MARCH TOUR IN 2016; MELT BANANA OPENS

THE MELVINS’ ACROSS THE USA 51 DAYS: THE MOVIE! AVAILABLE NOW

Napalm Death and the Melvins join forces for the Savage Imperial Death March Tour, a six-week Spring trek that that kicks off on March 26 at The Marquee in Phoenix, Ariz.

“We have been talking about doing a tour like this for a long time so we are thrilled it’s finally happening,” says Napalm Death bass player Shane Embury. “Having been long time fans and friends of the Melvins we are very happy to be embarking on this six-week tour of musical madness with them and Melt Banana. Expect the unexpected!”

Melvins’ singer/guitar player Buzz Osborne added: “Napalm Death sounds like a gorilla on LSD firing a machine gun… and I mean that in a good way. We’re happy to be heading out with the ultimate grindcore pioneers.”

This isn’t the first time the two bands have collaborated. In 2004, Buzz Osborne, Shane Embury and Danny Herrera played together in Venomous Concept, with their debut release (Retroactive Abortion) coming out via Ipecac Recordings.

The Melvins released Across The USA in 51 Days: The Movie! on Friday. The DVD release, filmed by the band and crew during their 2012 attempt to break the record for the fastest tour of the United States (plus DC), dedicates one minute to each state (and district) along the ambitious outing. 

Savage Imperial Death March Tour dates (tickets for all shows are on-sale this Friday, Dec. 4):

March 26 Phoenix, AZ The Marquee
March 28 Albuquerque, NM Sunshine Theater
March 30 Dallas, TX Trees
March 31 Austin, TX The Mohawk
April 1 Houston, TX Fitzgerald’s
April 2 New Orleans, LA One Eyed Jacks
April 3 Birmingham, AL Iron City
April 4 Pensacola, FL Vinyl Music Hall
April 5 Tallahassee, FL Sidebar Theater
April 7 Ft. Lauderdale, FL The Culture Room
April 8 Orlando, FL The Plaza Live
April 9 Tampa, FL The Orpheum
April 10 Atlanta, GA The Masquerade
April 12 Washington, DC 930 Club
April 13 Philadelphia, PA Underground Arts
April 14 Brooklyn, NY Music Hall of Williamsburg
April 15 New York, NY Webster Hall
April 16 Boston, MA Paradise Rock Club
April 17 Montreal, QC Club Soda
April 19 Toronto, ON The Opera House
April 20 Detroit, MI Majestic Theatre
April 21 Cleveland, OH Agora Ballroom
April 22 Chicago, IL The Metro
April 23 Milwaukee, WI The Rave II (Downstairs)
April 24 Minneapolis, MN First Avenue
April 25 Omaha, NE The Waiting Room
April 27 Denver, CO Ogden Theatre
April 29 Salt Lake City, UT Urban Lounge
May 1 Seattle, WA The Showbox
May 2 Vancouver, BC The Venue
May 3 Portland, OR Roseland Theater
May 5 San Francisco, CA Slim’s
May 6 San Francisco, CA Slim’s
May 7 Los Angeles, CA The Troubadour
May 8 Los Angeles, CA The Troubadour

www.facebook.com/melvinsarmy
www.twitter.com/melvinsdotcom
www.instagram.com/melvinsdotcom
www.facebook.com/officialnapalmdeath
www.twitter.com/officialnd
www.napalmdeath.org
www.facebook.com/ipecac
www.twitter.com/ipecacrec
www.ipecac.com

Melvins, Across the USA in 51 Days clip

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Melvins Announce Across the USA in 51 Days: The Movie! DVD for Nov. 13 Release

Posted in Whathaveyou on September 17th, 2015 by JJ Koczan

the melvins

Those rascally Melvins kicked off their latest run through the UK and Europe a couple nights ago, having once again joined forces with Jared Warren and Coady Willis from Big Business, and the long-running specialists-in-the-zany have newly announced the release of Across the USA in 51 Days: The Movie!, which chronicles their 2012 tour playing all 50 states plus Washington D.C. between Sept. and Oct. 2012. It’ll be out on DVD, presumably through Ipecac, on Nov. 13. Please note, this is not the same as the Melvins documentary The Colossus of Destiny – A Melvins Tale, which successfully beat its crowdfunding target earlier this year.

Take it, PR wire:

the melvins across the usa in 51 days

THE MELVINS RELEASE ACROSS THE USA IN 51 DAYS: THE MOVIE!, RELEASED NOV 13; ON TOUR NOW

The Melvins, who are currently in the midst of a European tour, flash back to their 2012 attempt at a world record setting tour of the United States (plus DC) with the Nov. 13 DVD release of Across The USA in 51 Days: The Movie!

The tour launched on Sept. 5, 2012 from Anchorage, Alaska and wrapped up fifty-one days later, Oct. 25, on the sunny shores of Honolulu, Hawaii. “We figured it was time for us to do something REALLY crazy,” Buzz Osborne said at the time of the band’s transcontinental trek. The band documented the outing via Spin and also through a collection of never-before-seen video footage.

Check out the full tour itinerary below from one of the world’s most active touring bands:

September 16 Tilburg, Netherlands Incubate Festival
September 18 Angers, France La Chabada
September 19 Paris, France La Bataclan
September 20 Belfort, France Poudriere
September 21 Koln, Germany Underground
September 22 Hamburg, Germany LOGO
September 23 Bremen, Germany Lagerhaus
September 24 Berlin, Germany Berghain
September 25 Leipzig, Germany UT Connewitz
September 26 Prague, Czech Republic Futurm
September 27 Budapest, Hungary A38
September 28 Austria, Bezirk Landstrasse Arena Wien
September 29 Zagreb, Croatia Mochvara
September 30 Bologna, Italy Locomotiv Club
October 1 Milan, Italy Leoncavallo
October 2 Lyon, France L’Epicerie Modern
October 3 Pratteln, Switzerland Up In Smoke Fest
October 5 Munich, Germany Feierwerk
October 6 Frankfurt, Germany Zoom
October 8 Reading, UK Sub89
October 9 Manchester, UK Gorilla
October 10 London, UK Electric Ballroom
October 24 Los Angeles, CA The Echo
October 31 Los Angeles, CA The Echo

www.facebook.com/melvinsarmy
www.twitter.com/melvinsdotcom
www.instagram.com/melvinsdotcom
www.facebook.com/ipecac
www.twitter.com/ipecacrec
www.ipecac.com

Melvins Lite, Live at the Ottobar, 10.07.12

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The Melvins Re-join Forces with Jared and Coady from Big Business; Headed to Europe Next Month

Posted in Whathaveyou on August 31st, 2015 by JJ Koczan

Well, there go those Melvins boys, reunitin’ with Jared Warren and Coady Willis from Big Business to go tour Europe and the UK. Doin’ stuff that’s unexpected and probably puttin’ out records that despite being experimental as hell still sound just like the Melvins. You know how they do. Probably better than me.

I didn’t realize the Midi Theater in Tilburg was reopened. Shows what I know.

And oh hey, the Melvins. They also have an unreleased album from 1998 or sometime thereabouts coming out I saw something about the other day. I don’t know. The rest of the world keeps up on the Melvins so hard, sometimes I feel redundant for even a minimal effort to try.

But anyway, here. Have fun, kids:

melvins (Photo by Kevin Willis)

MELVINS EUROPEAN TOUR COMMENCING SEPTEMBER 2015

The Melvins shall be welcomed back to Europe with open arms this September and October, with a series of live dates commencing Sept 13th in the UK in Bristol. The band shall be performing as a four-piece, joining forces again with Jared Warren and Coady Willis of Big Business. Having released three full-length LP’s together, Warren and Willis also performed on the band’s The Bulls & The Bees EP, which was recently re-leased as a split alongside Electroretard. This 13 song album features both releases on one CD, available for the first time as a package. The quartet also collaborated with a series of guest stars on their 2013 covers album Everybody Loves Sausages.

Confirmed tour dates include performances across Europe, with more shows, and support, still to be announced. See below for the dates that have been confirmed so far:

Melvins European Tour
Sept 13, 2015 – Bristol, England – Exchange
Sept 14, 2015 – Brighton, England – Concorde 2
Sept 15, 2015 – Tilburg, The Netherlands – Midi Theater – Incubate Festival
Sept 16, 2015 – Tilburg, The Netherlands – Midi Theater – Incubate Festival
Sept 18, 2015 – Angers, France – Le Chabada (Levitation France Festival)
Sept 19, 2015 – Paris, France – Le Bataclan
Sept 20, 2015 – Belfort, France – La Poudriere
Sept 21, 2015 – Cologne, Germany – Underground
Sept 22, 2015 – Hamburg, Germany – Logo
Sept 23, 2015 – Bremen, Germany – Lagerhaus
Sept 24, 2015 – Berlin, Germany – Berghain
Sept 25, 2015 – Leipzig, Germany – UT Connewitz
Sept 26, 2015 – Prague, Czech Republic – Futurum
Sept 27, 2015 – Budapest, Hungary – A38
Sept 28, 2015 – Vienna, Austria – Arena
Sept 29, 2015 – Zagreb, Croatia – Mochvara
Sept 30, 2015 – Bologna, Italy – Locomotiv
Oct 01, 2015 – Milan, Italy – Leoncavallo
Oct 02, 2015 – Feyzin, France – L’Epicerie Moderne
Oct 03, 2015 – Pratteln, Switzerland – Z7 Konzertfabrik (Up In Smoke Festival)
Oct 05, 2015 – Munich, Germany – Feierwerk/Hansa 39
Oct 06, 2015 – Frankfurt, Germany – Zoom
Oct 08, 2015 – Reading, England – Sub 89
Oct 09, 2015 – Manchester, England – Gorilla
Oct 10, 2015 – London, England – Electric Ballroom

The Melvins also released Hold It In last October, the 12-song album pairs Osborne and Crover with Butthole Surfers’ JD Pinkus and Paul Leary.

www.facebook.com/melvinsarmy
www.twitter.com/melvinsdotcom
http://ipecac.com/

Melvins, Live in Louisville, Kentucky, 2015

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Desertfest Belgium 2015: Melvins Out; Ufomammut, Causa Sui, Valient Thorr, Carlton Melton, Child and Wheel of Smoke In

Posted in Whathaveyou on July 13th, 2015 by JJ Koczan

desertfest belgium 2015 banner

Am I crazy, or does demanding a refund after the Melvins drop off a festival bill seem completely over the top? I mean, I agree Desertfest Belgium 2015 should give their customers the chance to back out if they so desire, but who goes to a fest to see one band in the first place? And it’s not like the Melvins aren’t on tour nine months out of every single year. I guess it just wouldn’t occur to me to be like, “No Melvins? Fuck this!” but then, I’m not the hugest Melvins fan anyway. Maybe those people exist. Takes all kinds.

Desertfest Belgium 2015 looks pretty sweet with Orange Goblin and Fatso Jetson on top of the bill, and adding UfomammutCausa SuiValient ThorrCarlton MeltonChild and Wheel of Smoke, as they have today certainly doesn’t hurt their case any. I don’t have tickets, but if I did, I’d keep them.

Kind of a bummer situation that seems to have led to the Melvins backing out, though. You can read about it below, as sent down the PR wire:

desertfest belgium 2015 poster

MELVINS FORCED TO CANCEL DESERTFEST 2015

We have to start off this announcement with some very unfortunate news: Melvins will not be playing the 2015 edition of Desertfest Belgium.

The band was forced to cancel their appearance at the festival due to an exclusivity contract for their shows at the 2015 Incubate festival in Tilburg. This fact unfortunately only surfaced after our public announcement had been made. We have tried to negotiate a deal that would be satisfactory for both events, but to no avail. Desertfest Belgium has no choice but to accept there will be no Melvins at our 2015 edition.

We want to stress that we at Desertfest were not made aware of this exclusivity deal at the time the booking was confirmed. Please understand that the band also has no choice in the matter.

We can only offer you our sincere apologies, and we hope we have your understanding and support in this most unfortunate turn of events. But in the case this makes you reconsider your purchase of an early bird ticket, we want to offer our supporters the chance to demand a refund.

Tickets will be refunded for two weeks on from today (until 27/7), contact us through contact@desertfest.be.

However, before you make such a drastic decision, you may first want to read this first:

NEW NAMES confirmed for DesertFest 2015!

UFOMAMMUT
Ufomammut needs no introduction, as they have long established their status as one of the most potent, powerful and artistic contemporary doom artists in existence. They offer a unique brand of psychedelic sludge, blending primordial acid with sinister atmospheres and gloomy sounds of vintage electronics.

In fifteen years the band has performed at international music festivals like Roadburn, Hellfest, Dour Fest, Stoned from the Underground, Up in Smoke and many more… Their live show is supported by the internationally acclaimed video and graphic art of Malleus, whose visuals match the devastating impact of Ufomammut’s massive sound.
http://www.ufomammut.com/

VALIENT THORR
“My God they’re striking. All Hail Thorriors!” – Wayne Kramer, MC5. A wild-ass rock’n’roll band said to hail from the inner core of the planet Venus. Since crash landing on Earth in the year 2000 they’ve played well over 1500 shows all over the world, including stints at festivals like Download, Sonisphere, Hellfest, Graspop and Roskilde.
http://www.valientthorr.com/

CARLTON MELTON
They play live, loud, improvised, experimental, instrumental, psychedelic music that they record in a geodesic dome near the coast of Northern California. This should tell you everything you need to know about this bunch of rock royalty (including ex-members from cult band Zen Guerilla). Long Live Dome Rock!
http://www.carltonmeltonmusic.com/

CAUSA SUI
Causa Sui’s sound has been described as the sound of a giant wave rolling up through the last four decades of rock. Over the course of eight albums since 2005, they have developed an eclectic instrumental sound that owes as much to electric Miles Davis or Can as it does to more familiar stoner rock. They are now recording the follow-up to the highly acclaimed ‘Euporie Tide’ album from 2013.
http://elparaisorecords.com/artists/causa_sui

CHILD
Formed in the rock n roll underground of Melbourne, Australia in 2012, Child take pride in upholding the strong tradition of Australian rock that preceded them with the likes of AC/DC, The Easybeats, Rose Tattoo or Billy Thorpe and the Aztecs. Drawing influence from an ever growing sonic palette, you will find Child’s roots tightly entwined in and around the Blues whilst taking a heavier and more visceral approach.
https://childtheband.bandcamp.com/

WHEEL OF SMOKE
Wheel of Smoke (Leuven, BE) has been dwelling the Belgian underground rock scene with smoking mix of heavy, 70’s tinted rock, blended with a dash of grunge and postrock. They’ve shared the stage with many bands including Baby Woodrose, Hypnos 69, Sungrazer, The Machine, My Sleeping Karma…
https://wheelofsmoke.bandcamp.com/

https://www.facebook.com/desertfestbelgium
https://twitter.com/desertfestBE
http://www.desertfest.be/

Ufomammut, Live at Saint Vitus Bar, May 19, 2015

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Desertfest Belgium 2015 Announces First Bands; The Melvins, Fatso Jetson, Fever Dog and More to Play

Posted in Whathaveyou on June 12th, 2015 by JJ Koczan

Maybe I’ll take off a couple days and go. That wouldn’t be that crazy, right? By October, I’ll have been back to work long enough to justify asking for a day or two off. Fly out Thursday night, get into Antwerp on Friday, set up shop at the Trix venue all weekend and rock out, then fly back to the US on Monday? Doesn’t seem that unreasonable. A weekend in Belgium. Why the hell not?

There are, of course, a bevvy of practical concerns to align, but the first lineup announcement from Desertfest Belgium 2015 is enticing enough to make me daydream, and that’s never a bad start. Familiar faces the Melvins and Fatso Jetson are listed among the headliners, while Cali desert rockers Fever Dog, as well as Psychonaut and 3rd Ear Experience have also joined the bill. More to come, of course.

Here’s the official word:

desertfest belgium 2015

THE MELVINS and more bands confirmed for the second edition of DESERTFEST BELGIUM!

DESERTFEST BELGIUM – the ultimate heavy/stoner/psych/doom meeting – is set to happen again in Antwerp this fall! The ceremony will be held at the notorious Trix on the 9-11th of October 2015, and the first batch bands is now announced. Rejoice!

With the mighty Melvins and Fatso Jetson announced as first headliners of this second DESERTFEST BELGIUM edition, no doubt this is yet to be another memorable weekend in Antwerp. Psychonaut, Fever Dog and 3rd Ear Experience are also to join the party, and we will have many more acts announced in the coming months.

DESERTFEST BELGIUM 2015
October 9-11th at Trix Muziekcentrum – Antwerp
Tickets on sale next week

More infos at www.desertfest.be

After a great first edition that saw the likes of Electric Wizard, Brant Bjork, Yob, Kadavar tear down Antwerp, the DESERTFEST promoters decided to run their second Belgium edition this fall. Located in Antwerp outskirts, the Trix venue will once again host the world’s best heavy bands, spread over three stages drenched in that underground atmosphere we all love. Beware of the sandstorm!

Get all the festival’s updates on Facebook and Twitter
Join the DESERTFEST BELGIUM 2015 official event

https://www.facebook.com/events/906737689368055/
http://www.desertfest.be/
https://twitter.com/desertfestBE
https://www.facebook.com/desertfestbelgium

Fatso Jetson, “Tutta Dorma” Live at Desertfest London 2013

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