Pendejo Announce Tour Dates with Banda de la Muerte; New Video Posted

Posted in Whathaveyou on September 9th, 2019 by JJ Koczan

Pendejo

If you were to ask me outright what the lead track of Pendejo‘s latest album, last year’s Sin Vergüenza (review here), was about, I probably wouldn’t have guessed a disagreement over liking an author. Wouldn’t have called it, I’m not ashamed to admit. However, thanks to magic of translated subtitles, I now know what I didn’t know before I watched the video for “Don Gernán,” though I’ll say that when the tale being told gets down to the “punchline,” as it were, it ends up a little bit more in line with where one might think. I won’t spoil it for you.

Pendejo head out next month on a round of Dutch and German tour dates with Argentina’s Banda de la Muerte, and if that sounds like a raucous time, I have no doubt it will be. Dates, links, and of course that video follow here, courtesy of the PR wire:

pendejo tour

¡Pendejo! announce Dutch and German tour dates with Banda de la Muerte (Arg) and release new video

Heavy rockers ¡Pendejo! announce their ‘Gracias y Perdón Tour’, with their long-time Argentinian touring buddies of Banda de la Muerte, who just released the first track of their upcoming album ‘Labirinto Eléctrico’.

The tour will bring both bands to three Dutch and eight German cities and is a follow up of ¡Pendejo!’s ‘Schamloser Frühling Tour’ in Germany last May and a 25+ show support-stint with Monster Magnet in 2018.

¡Pendejo! also just launched their video for ‘Don Gernán’, the opening track of their latest album ‘Sin Vergüenza’ (released in Europe on 30 November 2018). The album is scheduled for a physical release in Mexico and Colombia later this year.

TOUR DATES and Event-links:
11/10 – STROOMHUIS – EINDHOVEN
https://www.facebook.com/events/1594189474046011
12/10 – LITTLE DEVIL – TILBURG
https://www.facebook.com/events/352356375696644
13/10 – MUSICON – DEN HAAG
https://www.facebook.com/events/870018026706061
17/10 – MTC – COLOGNE
https://www.facebook.com/events/453241268568147
18/10 – VILLA – WEDEL
https://www.facebook.com/events/438785826674640
19/10 – HD – DRESDEN
https://www.facebook.com/events/384438322073780
20/10 – ALTE HACKEREI – KARLSRUHE
https://www.facebook.com/events/295347447949845
23/10 – DAS BETT – FRANKFURT
https://www.facebook.com/events/670248436738339
24/10 – FLOWER POWER – MAGDEBURG
https://www.facebook.com/events/342438096679769
25/10 – SUPAMOLLY – BERLIN
https://www.facebook.com/events/2273463022919855
26/10 – MS STUBNITZ – HAMBURG
https://www.facebook.com/events/416553132536005

https://www.facebook.com/pendejoband/
https://pendejoband.bandcamp.com/
http://www.pendejoband.com/

¡Pendej0!, “Don Gernán” official video

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Heavy Psych Sounds Fest Announces 2020 Dates in Paris, Antwerp, London & Deventer

Posted in Whathaveyou on September 9th, 2019 by JJ Koczan

mondo generator

At this point, there’s just about no way this is it for Heavy Psych Sounds Fest, the traveling live incarnation of Italian imprint Heavy Psych Sounds that seems to have bands in any town it stops and to pick up headliners wherever it goes as well. Paris, Antwerp, London and Deventer — France, Belgium, the UK and the Netherlands. Well, considering this year saw the first US-based Heavy Psych Sounds Fest run and that there are still dates to play out next month, yeah, it seems likely to me this is just the beginning for Heavy Psych Sounds Fest 2020.

It’s a striking beginning though, with Mondo Generator (seen above) headlining the shows with support from Black Rainbows and Duel each time out and various others coming and going including Dead Witches, Lords of AltamontGorilla, Alunah and Giöbia. No less of a scale than one would expect, and again, it won’t at all be the final announcement of Heavy Psych Sounds Fest 2020. More cities, more tours, more bands, more everything. This is not a label that in recent years has shown even the slightest interest in going anything less than all out, all the time.

The PR wire shows tickets on sale already, because of course. With respect:

heavy psych sounds fest 2020

HEAVY PSYCH SOUNDS FEST announce new London, Paris, Antwerp and Deventer editions in 2020 with Mondo Generator, Black Rainbows, Duel, Lords Of Altamont and more!

Heavy Psych Sounds Records, the unstoppable cult and fuzz rock machine rising from Rome, Italy, has announced to once again conquer London, the Netherlands, Belgium and this time also Paris, with their highly acclaimed mini festival series: HEAVY PSYCH SOUNDS FEST!

Heavy Psych Sounds specializes in presenting the best artists in the global heavy psych, doom, fuzz blues and space rock realms, and their festival-series is no exception, spotlighting the ever-growing label’s dedication to its craft. HPS is not only THE address for all heavy rock record collectors, but it has also become an important live and festival institution; with a brisk participation from heavy music fans all over the world. Each hotspot of the traveling festival tour features diverse line-ups including both genre leaders and fast-rising acts, all ready to prove their place among the world’s best!

In cooperation with Desertscene, Rock in Bourlon, Metadrone and SOZ Concerts, Heavy Psych Sounds has announced the dates and bands to kick off 2020 in style in London, Antwerp, Paris and Deventer. Featuring high class acts such as Nick Oliveri’s MONDO GENERATOR, BLACK RAINBOWS, DUEL, DEAD WITCHES and many more, the HPS FEST series 2020 will be taking place in March. The line-up, dates and locations will look as follows:

HPS Fest Paris (FR) – March 5th @ Glazart
Facebook event
The Lords Of Altamont
Mondo Generator
Black Rainbows
Duel
Giöbia

HPS Fest Antwerp (BE) – March 6th @ Trix
Facebook event
Mondo Generator
Black Rainbows
Duel
The Lords Of Altamont
Dead Witches
Giöbia

HPS Fest London (UK) – March 7th @ The Underworld
Facebook event
Mondo Generator
Black Rainbows
Duel
Dead Witches
Giöbia
Gorilla
Alunah

HPS Fest Deventer (NL) – March 8th @ Burgerwheesuis
Facebook event
Mondo Generator
Black Rainbows
Duel
The Lords Of Altamont
Dead Witches

Better be quick and get your tickets HERE: https://www.heavypsychsounds.com/fests.htm#hps-fests-2020

“Heavy Psych Sounds is happy to announce the second edition of the London, Belgian and Netherlands HPS fest!“, label owner Gabriele Fiori comments. “Last year was such a success, so we also added Paris. We want to thank all the audiences, who make the label and booking so great. Bands, fans and promoters, we want to thank you all for your support and making it happen!“

Earlier this year, Heavy Psych Sounds also announced a bunch of festival dates in Berlin, Dresden (De), Rome (It) and Innsbruck (AT) to take place in the fall of 2019 with headlining acts such as CONAN, MONOLORD, among further heavy as hell bands alike BLACK RAINBOWS, THE SONIC DAWN, ALUNAH, ECSTATIC VISION and many more. Find out all details, tickets and info at this location.

https://www.facebook.com/HEAVYPSYCHSOUNDS/
https://heavypsychsoundsrecords.bandcamp.com/
www.heavypsychsounds.com/
https://www.heavypsychsounds.com/fests.htm

Black Rainbows, Pandaemonium (2018)

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Roadburn 2020 Adds Lingua Ignota and Full of Hell as Artists-in-Residence; Dool, Acid Rooster, Boy Harsher & More Join Lineup

Posted in Whathaveyou on September 4th, 2019 by JJ Koczan

roadburn 2020 banner

As ever, there’s a lot going on in this announcement for Roadburn. It’s only the second one from Roadburn 2020 and already the festival seems to be setting its course to once again be bigger than ever as it continues to redefine itself and broaden its outlook on the underground. Two curators for the first time was announced last time around, now it’s two artists in residence, and oh, by the way, they’ll also collaborate for a set, because it’s fucking Roadburn and that’s just how it has to be. Lingua Ignota‘s set at the skate park at this year’s edition of the festival was the talk of the weekend — at least until Thou did those Misfits covers — and Full of Hell aren’t exactly strangers to Roadburn either. It’s going to be a busy and all over the place kind of Roadburn, I expect. Who would have it any other way?

If you haven’t, I can only urge you to check out Dool, who’ve also been added, and I’ve included the stream of Acid Rooster‘s 2019 self-titled debut below because its dreamy tones are sitting just right this afternoon.

Dig it:

roadburn 2020 full of hell x lingua ignota

ROADBURN 2020

– For the first time, Roadburn Festival will have two Artists In Residence

– First announcements for curated events including HIDE and BOY HARSHER

– Tickets on sale September 24

ARTISTS IN RESIDENCE

Every edition of Roadburn has an Artist in Residence who will perform multiple times across the four days of the festival – each time showcasing a different facet of their creativity. Much like with other aspects at Roadburn 2020, this year we’re mixing things up a bit; for the first time there will be two Artist In Residence positions…

ARTIST IN RESIDENCE: FULL OF HELL

With 30+ releases – EPs, splits, full lengths and more – there’s rich pickings to pull together material for four distinctive sets at Roadburn 2020. Full of Hell will perform Weeping Choir in full, as well as sister album Trumpeting Ecstasy. Also on the slate is a set comprising of their early material including songs from Roots of Earth Are Consuming My Home, as well as early 7” releases – and perhaps even a couple of covers thrown in for good measure.
The twist in the tale is that for one of their four sets they will collaborate with fellow Artist In Residence Kristin Hayter AKA Lingua Ignota.

ARTIST IN RESIDENCE: LINGUA IGNOTA

Performing four times over the course of the festival weekend, Kristin Hayter will peel back a layer of the Lingua Ignota form, shining a light in a dark corner. Performing alongside our other Artist In Residence, Full of Hell, some dark forces are sure to be summoned by the unholy noise they’ll make collaboratively. In addition to that, there will be an extremely special covers set (the details of which we will keep under wraps for now) and a performance comprising entirely of ALL BITCHES DIE material. The centrepiece of Kristin’s residency will be a grand re-imagining of CALIGULA – pulled apart and elegantly pieced back together in a new way.

EMMA RUTH RUNDLE’S- THE GILDED CAGE CURATED EVENT

HIDE

The first artist to be confirmed as part of Emma Ruth Rundle’s curated event is HIDE. An uncompromising duo who have a message that alone deserves to be heard, but the accompanying pulse of grit-flecked industro-slickness is what makes HIDE an essential booking for Roadburn. Demonstrating that heavy music doesn’t need a guitar to be crushing, HIDE are dragging ‘heaviness’, kicking and screaming, in their wake.
Emma commented: “I’m very happy to announce HIDE as the first band in my curation. No one else is touching on all the subjects that really twist the blade in my being the way they can. Their work is brutal, visceral, painful and poignant in all ways. From their videos, albums, lyrics, uniquely sourced samples and undeniably intense live performance- HIDE not only transcend – they absolutely destroy.”

JAMES KENT’S CURATED EVENT

BOY HARSHER

Boy Harsher’s minimal synths, beats and fuzzed up vocals have been in our eyeline for a while now – and we’re thrilled that our intentions line up with those of our curator.

He comments: “Boy Harsher brings a kind of visceral darkness through their minimal electronic beats that is extremely fascinating. The whispering-like vocals mixed with detuned-synths and old drum machines always felt to me like an invitation to a forbidden yet alluring world.”

HEALTH

HEALTH has plenty of sharp edges; jagged, pixelated, and raw. The complex layers of synths and samples coagulate into a hypnotic, pulsating mass – perfect for those who find comfort in the claustrophobic confines of noise and synthwave.

James comments: “Health are amongst my favorite acts out there at the moment. Their unique sound blending heavy electronics, pop vocals and aggressive noise will make for a perfect addition to the festival.”

SHE PAST AWAY

As part of James Kent’s curation for Roadburn 2020, we are thrilled to announce that modern Turkish darkwave legends She Past Away will be joining us to share this year’s Disko Anksiyete in its entirety. Over the course of their prior albums, the band built a strong identity rooted in genre classics yet carving its own path rather than merely following in the same well trodden gothic footsteps.

Also announced…

DOOL

As the band gear up for the release of their as-yet-unnamed second album, we’re thrilled to announce that Dool will be premiering their new material at Roadburn next year. We may have to wait a little longer for the juicy details of the release, but much like it was in 2016 when they first debuted at Roadburn, our faith in them delivering the goods is unwavering.

BADA

BADA is another vessel for the Gothenburg-based musicians Anna Von Hausswolff, David Sabel, Gianluca Grasselli, Filip Leyman and Hannes Nilsson (some of whom also perform as part of Anna Von Hausswolff’s solo project) to channel their creativity.
BADA’s output is a cinematic drone – sliced through with abrasive noise passages and ominous darkness. Fans of Dead Magic might have to adjust their receivers to be able to detect the Anna they’re most familiar with, but through the layers of static something special will still shine through.

ACID ROOSTER

Though Acid Rooster have flown their freak flag high for many moons, the band only released their impressive S/T debut very recently. And not to exaggerate — Acid Rooster is one of the best contemporary psych records around, hence inviting them for Roadburn 2020.

ROADBURN 2020 TICKETS

Tickets to Roadburn 2020 will go on sale on Tuesday, September 24. More details will be made available in the coming weeks.

Already announced for Roadburn 2020 is: Emma Ruth Rundle and James Kent as curators, commissioned projects from James Kent & Johannes Persson, Jo Quail, and Vile Creature & Bismuth, and the return of Julie Christmas.

https://www.facebook.com/events/1081424195382564/
https://www.facebook.com/roadburnfestival/
http://www.instagram.com/roadburnfest
http://www.roadburn.com

Acid Rooster, Acid Rooster (2019)

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Roadburn 2020 Makes First Announcement with Curators, Commissioned Pieces and Lineup Confirmations

Posted in Whathaveyou on August 20th, 2019 by JJ Koczan

roadburn 2020 banner

History has shown that Roadburn has never been shy about taking chances and embarking on a creative progression, and Roadburn 2020 certainly seems to follow suit. Confirmed as curators are Emma Ruth Rundle and Perturbator‘s James Kent, who will no doubt each bring something very different to expand the festival’s already spectrum-encompassing sonic palette, and there will be three commissioned projects, one involving Kent, another Jo Quail and still another a collaboration between Bismuth and Vile Creature. Sounds pretty “out there?” Well, “out there” is what Roadburn does at this point, becoming the place whereby the new normal is established and promulgated while the rest of us try to keep up.

This is the first announcement and there will for sure be plenty more to come. Roadburn unveiled its gorgeous poster art last week — I friggin’ love it — and promise a year that will challenge convention and continue to push into new territory of and beyond what “heavy” means and can accomplish. I wouldn’t have it any other way.

Tickets on sale next month. Here’s word from the PR wire:

roadburn 2020 poster

Roadburn Festival 2020 – Curators, Commissioned Projects & More

– For the first time, Roadburn Festival will have two separate curators
– Three commissioned projects for 2020
– Julie Christmas
– Tickets on sale September 24

CURATORS

Each year we give over a slice of Roadburn’s line up to a carefully hand picked curator; they put their distinctive stamp on a corner of the festival and make it their own. For 2020, we have not one but two curators stepping up to the plate. Operating entirely separately, and connected by little more than their common association with Roadburn Festival – and of course their insatiable appetite for creativity – Roadburn’s 2020 curators are limbering up to deliver something special. Expect the unexpected.

CURATOR: EMMA RUTH RUNDLE

Emma has left such a mark on the festival, and the wider musical landscape over the past few years; we’re honoured to invite her back to Roadburn as a curator – a new role for her, but one that she is more than ready for. Her expansive creativity and curious explorations have already led her towards collaborations – both live and on record. Her musical taste is broad and in keeping with Roadburn’s desire to explore the many facets of heavy music.

CURATOR: JAMES KENT (PERTURBATOR)

Few artists have straddled metal and electronic audiences as effortlessly as Perturbator. With personal tastes deeply rooted in metal, and an output that pulsates with digital slickness, James Kent embodies everything that is exciting about dark synth music today. His refreshing approach to creativity and his ability to explore heaviness in innovative ways makes him an ideal candidate for Roadburn’s 2020 curatorship role. We’re thrilled to have him on board. Read more about James’s curation here.

COMMISSIONED PROJECTS

2020 marks the third edition of Roadburn during which we will host specially commissioned pieces of music making their worldwide debut. Already, Roadburn’s commissioned projects have spawned ambitious, life affirming, bone-trembling ensembles that exceeded our expectations and wildest dreams. 2020 is shaping up to continue where we left off, with yet more innovative and exhilarating collaborations. Roadburn’s commissioned projects are made possible thanks to the continued support of Brabant C and The City of Tilburg.

JAMES KENT & JOHANNES PERSSON

Our 2020 curator, James Kent AKA Perturbator is set to join forces with Cult of Luna’s Johannes Persson for a commissioned performance that will form something of a grand centre-piece for Roadburn, and of James’s curation.
Their open-mindedness in relation to creativity and composition is well documented in their individual back catalogues, and for the first time we’ll witness what their combined efforts will look, sound and feel like, come April 2020. A hypnotic build of atmosphere and layering is likely to feature heavily during the performance; cinematic ambiance and enveloping emotional soundscapes are coded into their DNA.

JO QUAIL PRESENTS THE CARTOGRAPHER

Jo Quail dipped her toes in the intoxicating waters of Roadburn back in April when she performed alongside Mono, At The Gates, and Myrkur. She may not have been centre-stage but her contributions were not unnoticed; Jo conveys enormous emotion via her passionate and extraordinary cello playing.

With an intention to explore heaviness, Jo’s focus is exploring the juxtaposition between classical and more contemporary music, in this case post-metal. “Arguably heaviness is an emotional concept, reaching far beyond the confines of volume, speed and instrumentation,” Jo says. Jo will join forces with Rotterdam’s highly regarded New Trombone Collective – a group of trombonists who pride themselves on innovation, creativity and collaboration – to work towards communicating specific feeling through their combined output.

VILE CREATURE & BISMUTH: A HYMN OF LOSS AND HOPE

An overwhelming response to both bands at Roadburn 2019, coupled with our own insatiable appetite for creativity and innovation has led to us inviting VILE CREATURE and BISMUTH to collaborate on a specially commissioned project for Roadburn 2020. Titled A Hymn of Loss and Hope, the collaborative piece will be performed for the first – and the last – time at Roadburn. A literal once in a lifetime chance to see these incredible forces combine to perform a piece that is already brewing and a-bubbling as you read.

JULIE CHRISTMAS

Julie Christmas has one of the most distinctive voices in alternative, discordant music – and it’s a thrill for us to announce that we’ve not heard the last of that glorious voice at Roadburn. From Made Out of Babies, through Battle of Mice, as a solo artist, and as a collaborator with Cult of Luna’s on their stunning 2016 album Mariner, Julie has left a distinctive, subtle but indelible bruise on our record collections.

Her back catalogue is varied but all branded with a distinctive Christmas flair, so whichever route she takes, it’s a rabbit hole that we’re ready and willing to follow her down. At Roadburn 2020, Julie will perform a special, exclusive set comprising of both old favourites and new material. Read that again: new material. Joining Julie as part of her backing band will be Johannes Persson and ex-Kylesa guitarist, Laura Pleasants.

OFFICIAL POSTER ART: DOUWE DIJKSTRA

Last week we unveiled the official poster artwork for Roadburn 2020. Created by Dutch artist, Douwe Dijkstra, the poster very much sets the scene for Roadburn – exploring new musical landscapes and embarking on a voyage of discovery.

ROADBURN 2020 TICKETS

Tickets to Roadburn 2020 will go on sale on Tuesday, September 24. More details will be made available in the coming weeks.

https://www.facebook.com/events/1081424195382564/
https://www.facebook.com/roadburnfestival/
http://www.instagram.com/roadburnfest
http://www.roadburn.com

Roadburn 2020 First Announcement Video

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Quarterly Review: Elizabeth Colour Wheel, Black Lung, Giant Dwarf, Land Mammal, Skunk, Silver Devil, Sky Burial, Wizzerd, Ian Blurton, Cosmic Fall

Posted in Reviews on July 5th, 2019 by JJ Koczan

quarterly-review

Got my laptop back. Turned out the guy had to give me a new hard drive entirely, clone all my data on it, and scrap the other drive. I’m sure if I took it to another technician they’d have said something completely different, either for better or worse, but it was $165 and I got my computer back, working, in a day, so I can’t really complain. Worth the money, obviously, even though it was $40 more than the estimate. I assume that was a mix of “new hard drive” and “this is the last thing I’m doing before a four-day weekend.” Either way, totally legit. Bit of stress on my part, but what’s a Quarterly Review without it?

This ends the week, but there’s still one more batch of 10 reviews to go on Monday, so I won’t delay further, except to say more to come.

Quarterly Review #41-50:

Elizabeth Colour Wheel, Nocebo

elizabeth colour wheel nocebo

A rare level of triumph for a first album, Elizabeth Colour Wheel‘s aesthetic scope and patience of craft on Nocebo result in a genre-spanning post-noise rock that maintains an atmospheric heft whether loud or quiet at any given moment, and a sense of unpredictability that feels born out of a genuinely forward-thinking songwriting process. It is dark, emotionally resonant, beautiful and crushing across its eight songs and 47 minutes, as the Philadelphia five-piece ebb and flow instrumentally behind a standout vocal performance that reminds of Julie Christmas circa Battle of Mice on “Life of a Flower” but is ultimately more controlled and all the more lethal for that. Bouts of extremity pop up at unexpected times and the songs flow into each other so as to make all of Nocebo feel like a single, multi-hued work, which it just might be as it moves into ambience between “Hide Behind (Emmett’s Song)” and “Bedrest” before exploding to life again in “34th” and transitioning directly into the cacophonous apex that comes with closer “Head Home.” One of the best debuts of 2019, if not the best.

Elizabeth Colour Wheel on Thee Facebooks

The Flenser on Bandcamp

 

Black Lung, Ancients

black lung ancients

Ancients is the third full-length from Baltimore’s Black Lung, whose heavy blues rock takes a moodier approach from the outset of “Mother of the Sun” onward, following an organ-led roll in that opener that calls to mind All Them Witches circa Lightning at the Door and following 2016’s See the Enemy (review here) with an even firmer grasp on their overarching intent. The title-track is shorter at 3:10 and offers some post-rock flourish in the guitar amid its otherwise straight-ahead push, but there’s a tonal depth to add atmosphere to whatever moves they’re making at the time, “The Seeker” and “Voices” rounding out side A with relatively grounded swing and traditionalist shuffle but still catching attention through pace and presentation alike. That holds true as “Gone” drifts into psychedelic jamming at the start of side B, and the chunkier “Badlands,” the dramatic “Vultures” and the controlled wash of “Dead Man Blues” take the listener into some unnamed desert without a map or exit strategy. It’s a pleasure to get lost as Ancients plays through, and Black Lung remain a well-kept secret of the East Coast underground.

Black Lung on Thee Facebooks

Ripple Music website

Noisolution website

 

Giant Dwarf, Giant Dwarf

Giant Dwarf Giant Dwarf

This just fucking rules, and I feel no need to couch my critique in any more flowery language than that. Driving, fuzzy heavy rock topped with post-Homme melodies that doesn’t sacrifice impact for attitude, the self-released, self-titled debut from Perth, Australia’s Giant Dwarf is a sans-pretense 35 minutes of groove done right. They may be playing to genre, fine, but from the cover art on down, they’re doing so with a sense of personality and a readiness to bring an individual sensibility to their sound. I dig it. Summery tones, rampant vocal melodies in layers, solid rhythmic foundation beneath. The fact that it’s the five-piece’s first album makes me look less for some kind of stylistic nuance, but it’s there to be heard anyway in “Disco Void” and the bouncing end of “High Tide Blues,” and in surrounding cuts like “Repeat After Defeat” and “Strange Wool,” Giant Dwarf set to the task before them with due vitality, imagining Songs for the Deaf with Fu Manchu tonality in “Kepler.” No big surprise, but yeah, it definitely works. Someone should be beating down the door to sign this band.

Giant Dwarf on Thee Facebooks

Giant Dwarf on Bandcamp

 

Land Mammal, Land Mammal

land mammal land mammal

Land Mammal‘s debut outing is a 14-minute, proof-of-concept four-songer EP with clarity of presentation and telegraphed intent. Marked out by the Robert Plant-style vocal heroics of Kinsley August, the band makes the most of a bluesy atmosphere behind him, with Will Weise on wah-ready guitar, Phillip PJ Soapsmith on bass, Stephen Smith on drums and True Turner on keys. On opener “Dark with Rain” and closer “Better Days,” they find a pastoral vibe that draws from ’90s alternative, thinking Blind Melon particularly in the finale, but “Earth Made Free” takes a bluesier angle and “Drippin’ Slow” is not shy about nor ashamed of its danceability, as its lyrics demonstrate. For all the crispness of the production, Land Mammal still manage to sound relatively natural, which is all the more encouraging in terms of moving forward, but it’ll be interesting to hear how they flesh out their sound over the course of a full-length, since even as an EP, this self-titled is short. They have songwriting, performance and production on their side, however, so something tells me they’ll be just fine.

Land Mammal on Thee Facebooks

Land Mammal on Bandcamp

 

Skunk, Strange Vibration

skunk strange vibration

Even before they get to the ultra-“N.I.B.” patterning of second track “Stand in the Sun,” Skunk‘s Sabbathian loyalties are well established, and they continue on that line, through the “War Pigs”-ness of “Goblin Orgy” (though I’ll give them bonus points for that title), and the slower “A National Acrobat” roll of “The Black Crown,” and while that’s not the only influence under which Skunk are working — clearly — it’s arguably the most forward. They’ve been on a traditional path since 2015’s mission-statement EP, Heavy Rock from Elder Times (review here), and as Strange Vibration is their second album behind 2017’s Doubleblind (review here), they’ve only come more into focus in terms of what they’re doing overall. They throw a bit of swagger into “Evil Eye Gone Blind” and “Star Power” toward the end of the record — more Blackmore or Leslie West than Iommi — but keep the hooks center through it all, and cap with a welcome bit of layered melody on “The Cobra’s Kiss.” Based in Oakland, they don’t quite fit in with the Californian boogie scene to the south, but standing out only seems to suit Strange Vibration all the more.

Skunk on Thee Facebooks

Skunk on Bandcamp

 

Silver Devil, Paralyzed

Silver Devil Paralyzed

Like countrymen outfits in Vokonis or to a somewhat lesser degree Cities of Mars, Gävle-based riffers Silver Devil tap into Sleep as a core influence and work outward from there. In the case of their second album, Paralyzed (on Ozium Records), they work far out indeed, bringing a sonic largesse to bear through plus-sized tonality and distorted vocals casting echoes across a wide chasm of the mix. “Rivers” or the later, slower-rolling “Octopus” rightfully present this as an individual take, and it ends up being that one way or the other, with the atmosphere becoming essential to the character of the material. There are some driving moments that call to mind later Dozer — or newer Greenleaf, if you prefer — such as the centerpiece “No Man Traveller,” but the periodic bouts of post-rock bring complexity to that assessment as well, though in the face of the galloping crescendo of “The Grand Trick,” complexity is a secondary concern to the outright righteousness with which Silver Devil take familiar elements and reshape them into something that sounds fresh and engaging. That’s basically the story of the whole record, come to think of it.

Silver Devil on Thee Facebooks

Ozium Records website

 

Sky Burial, Sokushinbutsu

sky burial Sokushinbutsu

Comprised of guitarist/vocalist/engineer Vessel 2 and drummer/vocalist Vessel 1 (also ex-Mühr), Sky Burial release their debut EP, Sokushinbutsu, through Break Free Records, and with it issue two songs of densely-weighted riff and crash, captured raw and live-sounding with an edge of visceral sludge thanks to the harsh vocals laid overtop. The prevailing spirit is as much doom as it is crust throughout “Return to Sender” (8:53) and the 10:38 title-track — the word translating from Japanese to “instant Buddha” — and as “Sokushinbutsu” kicks the tempo of the leadoff into higher gear, the release becomes a wash of blown-out tone with shouts cutting through that’s very obviously meant to be as brutal as it absolutely is. They slow down eventually, then slow down more, then slow down more — you see where this is going — until eventually the feedback seems to consume them and everything else, and the low rumble of guitar gives way to noise and biting vocalizations. As beginnings go, Sokushinbutsu is willfully wretched and animalistic, a manifested sonic nihilism that immediately stinks of death.

Sky Burial on Thee Facebooks

Break Free Records on Bandcamp

 

Wizzerd, Wizzerd

wizzerd st

One finds Montana’s Wizzerd born of a similar Upper Midwestern next-gen take on classic heavy as that of acts like Bison Machine and Midas. Their Cursed Tongue Records-delivered self-titled debut album gives a strong showing of this foundation, less boogie-based than some, with just an edge of heavy metal to the riffing and vocals that seems to derive not directly from doom, but definitely from some ’80s metal stylizations. Coupled with ’70s and ’90s heavy rocks, it’s a readily accessible blend throughout the nine-song/51-minute LP, but a will toward the epic comes through in theme as well as the general mood of the riffs, and even in the drift of “Wizard” that’s apparent. Taken in kind with the fuzzblaster “Wraith,” the winding motion of the eponymous closer and with the lumbering crash of “Warrior” earlier, the five-piece’s sound shows potential to distinguish itself further in the future through taking on fantasy subject matter lyrically as well as playing to wall-sized grooves across the board, even in the speedy first half of “Phoenix,” with its surprising crash into the wall of its own momentum.

Wizzerd on Thee Facebooks

Cursed Tongue Records webstore

 

Ian Blurton, Signals Through the Flames

Ian Blurton Signals Through the Flames

The core of Ian Blurton‘s Signals Through the Flames is in tight, sharply-executed heavy rockers like “Seven Bells” and “Days Will Remain,” classic in their root but not overly derivative, smartly and efficiently composed and performed. The Toronto-based Blurton has been making and producing music for over three decades in various guises and incarnations, and with these nine songs, he brings into focus a songcraft that is more than enough to carry song like “Nothing Left to Lose” and opener “Eye of the Needle,” which bookends with the 6:55 “Into Dust,” the closer arriving after a final salvo with the Scorpionic strut of “Kick out the Lights” and the forward-thrust-into-ether of “Night of the Black Goat.” If this was what Ghost had ended up sounding like, I’d have been cool with that. Blurton‘s years of experience surely come into play in this work, a kind of debut under his own name and/or that of Ian Blurton’s Future Now, but the songs come through as fresh regardless and “The March of Mars” grabs attention not with pedigree, but simply by virtue of its own riff, which is exactly how it should be. It’s subtle in its variety, but those willing to give it a repeat listen or two will find even more reward for doing so.

Ian Blurton on Thee Facebooks

Ian Blurton on Bandcamp

 

Cosmic Fall, Lackland

Cosmic Fall Lackland

“Lackland” is the first new material Berlin three-piece Cosmic Fall have produced since last year’s In Search of Space (review here) album, which is only surprising given the frequency with which they once jammed out a record every couple of months. The lone 8:32 track is a fitting reminder of the potency in the lineup of guitarist Marcin Morawski, bassist Klaus Friedrich and drummer Daniel Sax, and listening to the Earthless-style shred in Morawski‘s guitar, one hopes it won’t be another year before they come around again. As it stands, they make the eight minutes speed by with volcanic fervor and an improvised sensibility that feels natural despite the song’s ultimately linear trajectory. Could be a one-off, could be a precursor to a new album. I’d prefer the latter, obviously, but I’ll take what I can get, and if that’s “Lackland,” then so be it.

Cosmic Fall on Thee Facebooks

Cosmic Fall on Bandcamp

 

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Quarterly Review: Torche, Spillage, Pharlee, Dali’s Llama, Speedealer, Mt. Echo, Monocluster, Picaporters, Beaten by Hippies, Luna Sol

Posted in Reviews on July 3rd, 2019 by JJ Koczan

quarterly-review

We meet again. The Summer 2019 Quarterly Review. It’s four in the morning and I’m getting ready to start the day. I haven’t even managed to pour myself coffee yet, which even as I type it out feels like a crime against humanity, such as it is. I’ll get there though.

Wednesday in the Quarterly Review marks the halfway point of the week, and as we’ll hit 30 reviews at the end, it’s half of the total 60 as well, so yeah. Feeling alright so far. As always, good music helps. I’ve added a couple things for consideration to my ongoing best-of-the-year list for December, so that’s something. And I think I’ll probably be doing so again today, so let’s get to it.

Quarterly Review #21-30:

Torche, Admission

torche admission

15 years later and Torche‘s sound is still expanding. To that point, it’s never sounded quite as expansive as it does on Admission, their fifth album and second for Relapse behind 2015’s Restarter (review here). There are still plenty of straight-ahead heavy riffs on cuts like “Reminder” or “Slide” or the bomb-tone-laden “Infierno,” but in the title-track, in “Times Missing,” the closer “Changes Come,” “Slide” and even the 1:30-long “What Was,” there’s a sense of spaciousness and float to the guitars to contrast all that crunch, and it effectively takes the place of some of the manic feel of their earlier work. It’s consistent with the brightness of their melodies in songs like “Extremes of Consciousness” and the early pusher “Submission,” and it adds to their style rather than takes away, building on the mid-paced feel of the last album in such a way as to demonstrate the band’s continued growth long after they’d be well within their rights to rest on their laurels. Sharp, consistent in its level of songwriting, mature and engaging across its 36-minute entirety, Admission is everything one might ask of Torche‘s fifth album.

Torche on Thee Facebooks

Relapse Records website

 

Spillage, Blood of Angels

spillage blood of angels

If you, like me, believe doom to be the guardian style of classic heavy metal — you could also argue power metal there, but that’s why it’s an argument — Chicago’s Spillage might be the band to help make your case. With their own Ronnie James Dio in Elvin Rodriguez (not a comparison I make lightly) and a connection to the Trouble family tree via founding guitarist Tony Spillman, who also played in Earthen Grave, the band unfurl trad-metal poise throughout their 53-minute second album, Blood of Angels, hitting touchstones like Sabbath, Priest, and indeed Trouble on a chugger like “Free Man,” a liberal dose of organ on “Rough Grooved Surface” adding to the classic feel — Rainbow, maybe? — and even the grandiose ballad “Voice of Reason” that appears before the closing Sabbath cover “Dirty Women” staying loyal to the cause. I can’t and won’t fault them for that, as in both their originals and in the cover, their hearts are obviously in it all the way and the sound is right on, the sleek swing in the second half of “Evil Doers” punctuated by squealing guitar just as it should be. Mark it a win for the forces of metal, maybe less so for the angels.

Spillage on Thee Facebooks

Qumran Records on Thee Facebooks

 

Pharlee, Pharlee

pharlee pharlee

San Diego strikes again with Pharlee‘s self-titled debut on Tee Pee Records, a 29-minute boogie rock shove that’s marked out by the significant pipes of Macarena Rivera up front, the shuffling snare work of Zach Oakley (also guitar in JOY and Volcano) and the organ work of Garret Lekas throughout, winding around and accentuating the riffs of Justin “Figgy” Figueroa and the air-push bass of Dylan Donovan. It’s a proven formula by now, but Pharlee‘s Pharlee is like the band who comes on stage in the middle of the festival and surprises everyone and reminds them why they’re there in the first place. The energy of “Darkest Hour” is infectious, and the bluesier take on Freddie King‘s “Going Down” highlights a stoner shred in Figueroa‘s guitar that fits superbly ahead of the fuzz freakout, all-go closer “Sunward,” and whatever stylistic elements (and personnel, for that matter) might be consistent with their hometown’s well-populated underground, Pharlee take that radness and make it their own.

Pharlee on Thee Facebooks

Tee Pee Records website

 

Dali’s Llama, Mercury Sea

dalis llama mercury sea

Long-running desert rockers Dali’s Llama return with Mercury Sea, their first release since 2017’s The Blossom EP (review here) and their first full-length since 2016’s Dying in the Sun (review here), sounding reinvigorated in rockers like opener “Weary” and the subsequent grunge-vibing “Choking on the Same,” “When Ember Laughs” and the garage-style “She’s Not Here.” Persistently underappreciated, their albums always have a distinct feel, and Mercury Sea is no different, finding a place for itself between the laid-back desert blues and punkier fare on a cut like “Someday, Someday,” even delving into psychedelic folk for a while in the 6:54 longest track “Goblin Fruit,” and a bit of lead guitar scorch bringing it all together on closer “All My Fault,” highlighting the theme of love that’s been playing out all the while. The sincerity behind that and everything Dali’s Llama does is palpable as ever in these 11 tracks, an more than 25 years on from their inception, they continue to deliver memorable songs in wholly unpretentious fashion. That’s just what they do.

Dali’s Llama on Thee Facebooks

Dali’s Llama on Bandcamp

 

Speedealer, Blue Days Black Nights

speedealer blue days black nights

Speedealer ride again! And just about at top speed, too. The Dallas, Texas, outfit were last heard from circa 2003, and their turnabout is marked with the self-release of Blue Days Black Nights, a fury-driven 10-tracker that takes the best of their heavy-rock-via-punk delivery and beefs up tones to suit another decade and a half’s worth of hard living and accumulated disaffection. The Dallas four-piece blaze through songs like “Never Knew,” the hardcore-punk “Losing My Shit,” the more metallic “Nothing Left to Say,” and the careening aggro-swagger of “Rheumatism,” but there’s still some variety to be had throughout, as highlight “Sold Out,” “War Nicht Genung” and “Shut Up” find the band no less effective working at a somewhat scaled-back pace. However fast they’re going, though the attitude remains much the same, and it’s “fuck you fuck this” fuckall all the way. Those familiar with their past work would expect no less, and time has clearly not repaired the chip on Speedealer‘s shoulder. Their anger is our gain.

Speedealer on Thee Facebooks

Speedealer webstore

 

Mt. Echo, Cirrus

mt echo cirrus

Based in Nijmegen, the Netherlands, the instrumentalist four-piece Mt. Echo present a somewhat noisier take on Russian Circles-style heavy post-rock with their nine-song/46-minute debut, Cirrus. Not at all shy about incorporating a noise rock riff or a more weighted groove, the dual-guitar outfit nonetheless spend significant time patiently engaged in the work of atmosphere-building, so that their material develops a genuine ebb and flow as songs tie one into the next to give the entire affair a whole-album feel. It is their first outing, but all the more striking for that in terms of how much of a grip they seem to have on their approach and what they want to be doing in a song like “Lighthouse at the End of Time” with airy lead and chugging rhythm guitars intertwining and meeting head-on for post-YOB crashes and an eventual turn into a harder-pushing progression. Ambience comes (mostly) to the fore in the seven-minute “Monsters and the Men Who Made Them,” but wherever they go on Cirrus, Mt. Echo bring that atmospheric density along with them. The proverbial ‘band to watch.’

Mt. Echo on Thee Facebooks

Mt. Echo on Bandcamp

 

Monocluster, Ocean

Monocluster Ocean

Over the course of five longform tracks on Ocean, Germany’s Monocluster build fluidly on the accomplishments of their 2015 self-titled debut (review here), greatly expanding on the heft and general reach of their sound while, as opener “Ocean in Our Bones” demonstrates, still holding onto the ability to affect a killer hook when they need one. Ocean is not a minor undertaking at 56 minutes, but it dedicates its time to constructing a world in cuts like “Leviathan” and “A Place Beyond,” the giant wall of fuzzed low end becoming the backdrop for the three-part story being told that ends with the 11:43 “Home” standing alone, as graceful and progressive as it is brash and noisy — a mirror in that regard to the nine-minute centerpiece “Guns and Greed” and a fitting summation of Ocean‘s course. They keep this up for very long and people are going to start to notice. The album is a marked step forward from where Monocluster were a few years ago, and sets up the expectation of continued growth their next time out while keeping a focus on the essential elements of songwriting as well. If we’re looking for highlights, I’d pick “Leviathan,” but honestly, it’s anyone’s game.

Monocluster on Thee Facebooks

Monocluster on Bandcamp

 

Picaporters, XXIII

picaporters xxiii

The third full-length from Argentine trio Picaporters marks another level of achievement for them as a band. XXIII arrives three years after El Horror Oculto (review here) and is unquestionably their broadest-cast spectrum to-date. The album comes bookended by eight-minute opener “La Soga de los Muertos” and “M.I.,” an 18-minute finale jam that would give a Deep Purple live record reason to blush. Soulful guitar stretches out over a vast rhythmic landscape, and all this after “Jinetes del Universo” motorpunks out and “Vencida” pulls together Floydian melo-prog, “Numero 5” precedes the closer with acoustic interplay and the early “Despertar” offers a little bit of everything and a lot of what-the-hell-just-happened. These guys started out on solid footing with their 2013 debut, Elefantes (review here), but neither that nor El Horror Oculto really hinted at the scope they’d make sound so natural throughout XXIII, which is the kind of record that leaves you no choice but to call it progressive.

Picaporters on Thee Facebooks

Picaporters on Bandcamp

 

Beaten by Hippies, Beaten by Hippies

beaten by hippies beaten by hippies

As their moniker hints, there’s some edge of danger to Belgium’s Beaten by Hippies‘ self-titled debut (on Polderrecords), but the album ultimately resolves itself more toward songwriting and hooks in the spirit of a meaner-sounding Queens of the Stone Age in songs like “Space Tail” and “More is More,” finding common ground with the energy of Truckfighters though never quite delving so far into fuzzy tones. That’s not at all to the band’s detriment — rather, it helps the four-piece begin to cast their identity as they do in this material, whether that’s happening in the volatile sudden volume trades in “Dust” or the mission statement “Rock ‘n’ Roll,” which feels geared a bit to the anthemic but would probably work just as well in whatever pub they happen to be terrorizing on a given evening. Their delivery skirts the line between heavy and hard rock as only that vaguely commercially viable European-style can, but the songs are right there waiting to take the stage at whatever festival is this weekend and blow the roof — or the sky, I guess, if it’s outdoors — off the place.

Beaten by Hippies on Thee Facebooks

Polderrecords website

 

Luna Sol, Below the Deep

luna sol below the deep

Guitarist/vocalist Dave Angstrom may be best known in heavy rock circles for his work alongside John Garcia in Hermano, but in leading the four-piece Luna Sol through their 12-song/50-minute sophomore outing, Below the Deep (on Slush Fund Recordings), he proves a capable frontman as well as songwriter. Sharing vocal duties with bassist Shannon Fahnestock while David Burke handles guitar and Justin Baier drums, Angstrom is a steady presence at the fore through the well-constructed ’90s-flavored heavy rock of “Below the Deep” and “Along the Road” early, the later “Garden of the Gods” playing toward a more complex arrangement after the strutting “The Dying Conglomerate” paints a suitably grim State of the Union and ahead of the fuzz-rich ending in “Home,” which keeps its melodic purpose even as it crashes out to its languid finish. Whether it’s the charged “Man’s Worth Killin'” or the winding fuzz of “Mammoth Cave,” one can definitely hear some Hermano at work, but Luna Sol distinguish themselves just the same.

Luna Sol on Thee Facebooks

Slush Fund Recordings webstore

 

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Monomyth to Release Orbis Quadrantis Sept. 13; Playing Desertfest Belgium and More

Posted in Whathaveyou on June 19th, 2019 by JJ Koczan

monomyth (photo by Michael Mees)

By the time Monomyth‘s new album, Orbis Quadrantis, is released on Sept. 13, it’ll be nearly a year after the track at the bottom of this post was first made public. 11 months, anyhow. That’s a pretty long wait, but fortunately, the depths offered up in “Aquilo” are plentiful enough to sustain, and double-fortunately, the album, which was originally slated to be out in February, will now be timed to the swath of autumnal live dates the Netherlands-based outfit have booked. So maybe the release is old news and maybe the track is old news, but the confirmed release date is new and while I wonder what pushed the thing back seven months — which, whatever it was, must have been frustrating for band and label alike, as well as anyone who heard “Aquilo” and wanted to dig into more — I’m at least glad there’s more to come now.

If you haven’t heard the track yet, and hey, maybe you have, maybe you haven’t, it might be the quickest 12 minutes you spend today.

Have fun:

monomyth orbis quadrantis

Monomyth – Orbis Quadrantis

RELEASE DATE: September 13, 2019

Monomyth: Five Flying Dutchmen who make the most thrilling instrumental soundscapes. Formed in The Hague in 2011, Monomyth are not afraid to push the boundaries of space / stoner rock. After playing festivals like Roadburn and Desertfest, 2019 sees the band starting a new chapter with their fourth album.

On Orbis Quadrantis the band delves into unexplored waters, yet their meticulous open-ended psychedelics remain in-between Ariel Pink and Pink Floyd.

The first vinyl editions in both 180g ‘black‘ and limited 180g ‘clear transparent blue and black mixed‘ vinyl comes in a 6-panel fold-out cover with double-sided artwork, black polybag inner cover and transparent plastic outer cover with Monomyth logo! The first 100 orders will also receive a hand-signed A5 photo card!

Tracklist:
01. Aquilo
02. Eurus
03. Auster
04. Favonius

TOUR
10-08-2019 – Yellowstock, Geel (B)
04-10-2019 – EKKO, Utrecht
18-10-2019 – Desertfest, Antwerpen (B)
19-10-2019 – Burgerweeshuis, Deventer
01-11-2019 – Merleyn, Nijmegen
02-11-2019 – Gebr. de Nobel, Leiden
15-11-2019 – Melkweg, Amsterdam
29-11-2019 – t Beest, Goes
30-11-2019 – De Gelderlandfabriek, Culemborg
06-12-2019 – VERA, Groningen
12-12-2019 – PAARD, Den Haag
13-12-2019 – Hall of Fame, Tilburg

https://www.facebook.com/monomyththeband
https://monomyththeband.bandcamp.com/
http://www.monomyththeband.com/
https://www.facebook.com/suburbanrecords
https://www.instagram.com/suburbanrecords/
https://suburban.nl/

Monomyth, “Aquilo”

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Le Guess Who? Festival Announces Initial Lineup with 87 Artists

Posted in Whathaveyou on May 22nd, 2019 by JJ Koczan

LE GUESS WHO 2019 BANNER

Granted, not everything here really applies, but between the extensive curated programs and the general lineup of 87 frickin’ artists, if you can’t find something to dig, I dare say that’s on you and not Le Guess Who? Festival, the 2019 edition of which will take place Nov. 7-10 in Utrecht, the Netherlands. The lines of genre very clearly mean nothing here, and I respect the hell out of that, but I can’t help it if my eyes are immediately drawn to the lines of Träden, Godflesh, Prana Crafter, Mythic Sunship, Earth and other familiar entities. Still, this is the kind of thing where, if you go, you obviously go ready to be surprised and willing to be wowed by the experience.

And if you’re fortunate enough to go, you should know that this is the initial lineup of 87 artists, which means that, yes, there’s more to come. Sounds overwhelming in the best sense of the word.

Dig in:

le guess who question mark

Le Guess Who? reveals initial line-up for 2019 edition

First 87 acts announced, including very rare performances by Asha Puthli, Ustad Saami, and Ayalew Mesfin & Debo Band, as well as first names for curated programs

Le Guess Who? is a festival that is dedicated to boundary-crossing music from all over the world. In 2019, the festival takes place from 7-10 November in Utrecht, The Netherlands, and celebrates curated programs by Jenny Hval; The Bug; Patrick Higgins; Moon Duo; Fatoumata Diawara; and Iris van Herpen & Salvador Breed. Now, Le Guess Who? presents the first of these curated programs as well as several special performances, and the initial artists for the general line-up of the festival.

Special performances

Pakistan’s Ustad Saami is the last living khayál master, a precursor of the ancient, Islamic devotional music of qawwali. Even under threat of Islamic fundamentalists, the 75-year old master has spent his life as a dedicated practitioner of a vanishing art–one that has been passed on from generation to generation since the 13th century. Saami will give a very rare live performance at Le Guess Who? 2019.

From award-winning avant-garde jazz vocalist to international pop star to space disco icon, Asha Puthli is one of the first recording artists to successfully merge traditional Indian influences with Western pop. Puthli’s sultry voice adorned Ornette Coleman’s avant-jazz masterpiece Science Fiction, her songs have been sampled by a.o. Notorious B.I.G. and Jay-Z, and her early admirers include Andy Warhol, Diana Vreeland and Salvador Dali.

Ayalew Mesfin is a quintessential Ethio-groove performer, but like many of his contemporaries, he struggled against obscurity amidst political turmoil in his home country. Distributing 4000 cassettes for free in the 1970s–later becoming collector’s items– led to several months in jail for Mesfin. Last year, the compilation album Hasabe (My Worries) was released, leading to renewed recognition of the artist. Le Guess Who? celebrates this legendary artist with an exclusive European performance featuring the Debo Band, who formed in 2006 to keep the spirit and craft of Ethiopia’s golden age of pop alive.

Curated programs
Each of the curators of Le Guess Who? 2019 will present their own program, featuring a range of inspirations and like-minded artists, including both established performers and new, up and coming acts.

Psychedelic/kraut mystics Moon Duo invite a.o. Nivhek, the new project of Grouper’s Liz Harris; Swedish prog/psych/counterculture trailblazers Träd, Gräs och Stenar (Träden); the dreamlike, cinematic nocturnes of sound artist Michele Mercure; and cosmic jazz travelers Idris Ackamoor & The Pyramids.

Shape-shifting electronic producer The Bug brings us King Midas Sound’s gloom-ridden dub, spoken word and ambient; juggernaut industrial/metal outfit Godflesh; the world premiere of a collaboration between Kevin Richard Martin and Japanese artist Hatis Noit; Jah Shaka, an essential figure within the British dancehall and dub scenes of the 70s; and the transformative experience of ZONAL featuring Moor Mother.

Norwegian multi-disciplinary artist Jenny Hval hosts Lolina, the project of Alina Astrova (Inga Copeland, Hype Williams); Sarah Davachi performing live with church organ and electronics; French sound sculptor Félicia Atkinson; and Oslo-based collective DNA? AND?, where children with special needs play improvised music with professional musicians, creating some of the most original, carefree and unfiltered music ever produced. Jenny Hval herself will present the new performance ‘The Practice of Love’ together with a multi-national ensemble including experimental musicians, vocalists, dancers and video artists.

New York avant-garde composer Patrick Higgins curates composer and electronic innovator Tyondai Braxton (formerly of Battles); pianist Conrad Tao, hailed by New York Magazine as “the kind of musician who is shaping the future of classical music”; Miranda Cuckson, with her dexterous mastery of the violin and the viola; and piano virtuoso Vicky Chow, who has reinvigorated pieces by Steve Reich, John Cage, and Bryce Dessner.

The curated programs of Fatoumata Diawara and Iris van Herpen & Salvador Breed will be announced at a later date.

General line-up

Le Guess Who? also announces the first performing artists within the general line-up of the festival: Atlanta art-punks Deerhunter; Makaya McCraven, regarded as one of Chicago’s most versatile and in-demand drummers, moving between genres like jazz, hip-hop and funk at lightning speed; The Raincoats, one of the most inventive bands spawned by the late 70’s punk explosion; nurse-turned-musician Doug Hream Blunt whose lo-fi brand of soul, funk and R&B was rediscovered by David Byrne’s Luaka Bop label; Dur-Dur Band with vibrant Somali funk music; fabled Japanese collective Acid Mothers Temple and their deep devotion to improvised music; from the outskirts of the small Mexican town of Texcoco, the fantastical and healing music of La Bruja de Texcoco; the playful lyricism and inventive pop melodies of Welsh avant-pop songwriter Cate Le Bon; the 10-piece big band Minyo Crusaders, who infectiously rework traditional Japanese folk with Latin, African and Caribbean rhythms; and the oracle that is Angel Bat Dawid, with her futuristic and spiritual jazz vision.

The full outline of confirmed artists can be found below.

Tickets

Day tickets for Le Guess Who? are on sale now. Tickets for the Thursday program are €43; tickets for Friday, Saturday and Sunday are €48. 4-Day Festival Passes are available for €148. All prices include service costs.

Le Guess Who? cooperates with The Dutch Council for Refugees for the ‘Grant an Entry’ initiative, which gives visitors the option to buy an additional day ticket for a refugee residing in The Netherlands who would like to visit Le Guess Who? but does not have the financial means to do so.

More info via www.leguesswho.com.

________________________________________________________________________________________

Initial line-up for Le Guess Who? 2019:

curated by Moon Duo
Bbymutha
Bridget Hayden
Idris Ackamoor & The Pyramids
Mary Lattimore
Michele Mercure
Moon Duo
Nivhek
Prana Crafter
Sonic Boom
TENGGER
Träd, Gräs och Stenar (Träden)

curated by The Bug
Caspar Brötzmann Massaker
Drew McDowall’s Time Machines
Earth
Godflesh
Jah Shaka Sound System
JK Flesh & Goth-Trad
Kevin Richard Martin & Hatis Noit
King Midas Sound
LOTTO
Mala
Mark Ernestus’ Ndagga Rhythm Force
Rabih Beaini
Robert Aiki Aubrey Lowe
Slikback
ZONAL feat. Moor Mother

curated by Jenny Hval
DNA? AND?
Felicia Atkinson
Haco
Jenny Hval’s The Practice Of Love
Lasse Marhaug
Lolina
Lone Taxidermist presents BodyVice
Moon Relay
Oorutaichi
Richard Youngs
Sarah Davachi
Sofia Jernberg
Vilde Tuv
Vivian Wang
Zia Anger’s My First Film

curated by Patrick Higgins
Conrad Tao
Leila Bordreuil
LEYA
Mariel Roberts
Miranda Cuckson
Stine Janvin
Tyondai Braxton
Vicky Chow

General line-up
Acid Mothers Temple
Angel Bat Dawid
Arp Frique presents IMPROVISED SUITES FOR ANALOG MACHINES
Asha Puthli
Ayalew Mesfin & Debo Band
Cate Le Bon
Deerhunter
DJINN
Doug Hream Blunt
Dur-Dur Band
Eiko Ishibashi
Faten Kanaan
Föllakzoid
Gruff Rhys
Gyedu-Blay Ambolley & His Sekondi Band
Joseph Shabason
Khana Bierbood
La Bruja de Texcoco
Lakha Khan
Lalalar
Los Pirañas
Makaya McCraven
Melissa Laveaux
Minyo Crusaders
Mohamed Lamouri
Mythic Sunship
Negativland
Nídia
Oiseaux-Tempête & Friends
Petbrick
Prison Religion
Surfbort
The Raincoats
Ustad Saami
Visible Cloaks, Yoshio Ojima & Satsuki Shibano
Y?N Y?N
Yves Jarvis

More artists to be announced.

https://www.facebook.com/events/2338322109573864/
https://www.leguesswho.nl/
https://www.facebook.com/leguesswho/
https://www.instagram.com/le_guess_who/

A Taste of Le Guess Who? 2018

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