Posted in Whathaveyou on May 5th, 2025 by JJ Koczan
With no Desertfest New York this year (and, let’s face it, maybe not next year either), I don’t have the luxury I’ve enjoyed throughout the 2020s thus far of consoling myself at missing Ripplefest Texas by seeing some of the same acts coming through without having to fly out to do it. Not so much this year. In unveiling its full lineup for this September, Ripplefest Texas 2025 lays out an absolute dream of a bill — from Weedeater to Suplecs to Mothership to Author and Punisher (new record by then?) to Sundrifter and Mr. frickin’ Plow and Lake Lake — it’s the most imperative US festival lineup I’ve seen pretty much since Ripplefest Texas last year.
I’ve never been to Ripplefest Texas and it’s been over 15 years since the last time I set foot in Austin, but I’d be there in a hot minute for this one. Gonna start a GoFundMe for the flight and lodging (more likely, beg my wife). If you get there, congratulations on your life.
Check out the new adds and the full lineup below. It’s a beautiful thing:
The best family reunion of the year is back! The lineup for RippleFest Texas 2025 is now complete and you will not want to miss your chance to see the best music at the friendliest festival in the world. Lick of My Spoon Productions brings you the only open air festival in the US with ABSOLUTELY ZERO BAND OVERLAPPING! New bands added to an already stacked lineup are ASG, Author & Punisher, Mondo Generator, High Desert Queen, Bronco, Rainbows Are Free, The Absurd, Volume, Gran Moreno, Karma Vulture, and Desert Suns.
The festival will once again be held at The Far Out Lounge and Sagebrush in Austin, TX on September 18-21, 2025. Get your tickets now at www.lickofmyspoon.com.
Full List of Bands: Weedeater Whores. Mothership Author & Punisher Mondo Generator ASG Unida Wo Fat Valley of the Sun Left Lane Cruiser High Desert Queen Mos Generator Telekinetic Yeti Human Impact Mountain of Smoke Thunder Horse Suplecs Kind Bronco Sundrifter Rainbows Are Free Fostermother Mr. Plow Kupa Pities Luna Sol Shun Gran Moreno Stone Nomads Volume The Absurd Desert Suns Karma Vulture Lake Lake Sons of Gulliver
Posted in Whathaveyou on April 28th, 2025 by JJ Koczan
The upcoming Volume tour in support of the band’s 2024 return EP, Joy of Navigation, will take off in less than a month’s time. I don’t know when the last time the California-based band hit the Eastern Seaboard, but from Boston down through Baltimore — not total coverage, but not nothing — they’ll swing all the way out before looping back west to finish, suitably enough, in the desert.
It’s a substantial tour, and you’ll note there’s 17 shows listed and I don’t see a day off among them. One would not accuse Volume of going easy on themselves as they make ready to head out, but sometimes that’s part of the idea. You’ll find the dates and such for the tour below, courtesy of the PR wire:
VOLUME announce full US tour starting in May
29 Palms, CA Desert/Stoner Rock supergroup led by Patrick Brink (Fu Manchu), Ed Mundell (Monster Magnet), Mike Amster (Nebula, Spoon Benders), Dave Catching
Twentynine Palms, CA band VOLUME announce full US tour dates today supporting their new album Joy of Navigation (A Trip Through the Eternal Unknown). Please see all dates below.
Joy of Navigation (A Trip Through the Eternal Unknown) is available for download/streaming, released on November 1st, 2024 via Golden Robot Recordings, and on LP via Kozmik Artifactz. Order HERE:https://album.link/Volume-JoyofNavigation
VOLUME LIVE 2025: 05/16 Las Vegas, NV – Dive Bar 05/17 Salt Lake City, UT – DLC 05/18 Denver, CO – The Crypt 05/19 Kansas City, KS – Mini Bar 05/20 Des Moines, IA – Lefty’s 05/21 Chicago, IL – Reggies 05/22 Detroit, MI – the Sanctuary 05/23 Lakewood, OH – 5 O’Clock Lounge 05/24 New York, NY – Lucky 13 05/25 Boston, MA – Mid East Upstairs 05/26 Philadelphia, PA – Animated Brewing 05/27 Baltimore, MD – the Metro 05/28 Louisville, KY – Mag Bar 05/29 St Louis, MO – Red Flag 05/30 Tulsa, OK – Whittier Bar 05/31 Albuquerque, NM – Echoes 06/01 Phoenix, AZ – Yucca Tap Room
Posted in Whathaveyou on August 13th, 2024 by JJ Koczan
The impending Volume EP, Joy of Navigation, follows behind a 20th anniversary edition of the band’s Requesting Permission to Land, and sees a new lineup of the group led by guitarist/vocalist Patrick Brink that includes guitarist Ed Mundell (The Ultra-Electric Mega Galactic, ex-Monster Magnet, etc.), Dave Catching (Queens of the Stone Age, etc.) and Mike Amster (Nebula, Mondo Generator, etc.). That’s a pretty enticing prospect alone, and made no less so by the album’s title-track, which is streaming now. Golden Robot and Kozmik Artifactz have the release, and whether it’s the names and legacy that bring you in or the song itself, I don’t think you’ll be wrong in checking it out.
If you’re experiencing a disconnect between the lineup mentioned above and the photo of the band, it’s because the pic is likely the live lineup rather than that which recorded. I was squinting to see if that’s Amster in the back, but yeah, no. Different group altogether. The good news though is that a live-lineup means live shows. I wouldn’t expect Volume to go coast-to-coast at this point, but there’s a date listed below and more will likely follow to some degree or other.
The PR wire has details:
VOLUME share first single from forthcoming album ‘Joy of Navigation’
29 Palms, CA Desert/Stoner Rock supergroup led by Patrick Brink (Fu Manchu), Ed Mundell (Monster Magnet), Mike Amster (Nebula, Spoon Benders), Dave Catching
Twentynine Palms, CA band VOLUME shares the first single (and title track) to their forthcoming album Joy of Navigation today on all streaming services. “Joy of Navigation” is live on all DSPs HERE & Bandcamp.
The band is VOLUME and it deals primarily in density: Thick and weighty as the abundant sand surrounding their Twentynine Palms, CA hometown, but also comprised of a mass of fine grit that can sear the skin with a gust of wind, and quickly dissipate into the ether.
Yes, that is to say, VOLUME are purveyors of Heavy Acid Rock. Doomy psychedelia, but with more raw 70s punk brash than masquerading metal. VOLUME draw musical influences from bands such as The Stooges, MC5 and Black Flag to name a few, while also crafting their own distinctive heavy psychedelic identity. And, with Joy of Navigation, the band ventures into heavier, more psychedelic tones, while also keeping powerful hooks as the focus.
Originally formed in 1993 by ex-Fu Manchu singer Patrick Brink, the band has featured a revolving set of collaborators, with ex-Monster Magnet guitarist Ed Mundell playing leads on the forthcoming Joy of Navigation mini-album. David Catching (QOTSA, Arctic Monkeys, Iggy Pop) co-produced the tracks with Brink, as well as playing synth on the recording. Mike Amster (Nebula, Mondo Generator, Spoon Benders) plays drums on the mini-album. The current live lineup includes Mingus on drums, bassist Jason Hernandez and lead guitarist Derek Christiansen.
Brink founded the band in order to take the lead and steer the musical reins down psychedelic rocking routes. Having performed with a number of acts including the aforementioned vocals for Fu Manchu in their early days, VOLUME offered Patrick a new creative outlet. Over their career the band has shared stages with Queens of the Stone Age, Mastodon and Goatsnake, and performed at festivals including Emissions of the Monolith and Stoner Hands of Doom (SHoD).
Brink’s upbringing in the secluded desert town east of Joshua Tree and 60 miles north of Palm Springs had a huge impact on his songwriting. It is a place of beauty and harsh realities, and those contrasts are present throughout Patrick’s lyrics and songs. After getting into punk rock by accident in high school Patrick started his first band a couple of years later with the only other punks in town. This early love of punk rock inadvertently led him to the heavier bands on SST Records such as Wurm, SWA, DC3 and St. Vitus.
Heavy As Fuck (1996) and Love Is A Mountain And Heavy As Fuck (1998) were the band’s first recordings. In the Fall of 1998, the seven inch Check This Planet I’m Gone… was released on Superkool Records. Requesting Permission To Land (High Beam Records) was recorded with the help of Mike McHugh (Train, Jon Spencer Blues Explosion). Each song was recorded in one or two takes to retain the original heart and soul of the piece.
“It’s rock and roll. Not brain surgery,” says Patrick of the recording process. The end result is a potent blend of thirty-plus minutes of psychedelic fuzzfest freakout and perhaps some of the rawest riffs you’re likely to hear.
VOLUME draw inspiration from a time when music was truly experimental and free. They see themselves as rock’n’roll torch bearers whose duty it is to bring the flame, intact, into the future. They invite you to join in that endeavor, for the Joy of Navigation.
Joy of Navigation will be available for download/streaming on November 1st, 2024 via Golden Robot Recordings, and on LP via Kozmik Artifactz. Pre-save HERE: https://orcd.co/joy-of-navigation, Pre-order HERE: https://kozmik-shop.com/
VOLUME LIVE 2024: 08/17 San Diego, CA – Til Two Club
Artist: VOLUME Album: Joy of Navigation Label: Golden Robot (digital) / Kozmik Artifactz (vinyl) Release Date: November 1st, 2024
01. Joy of Navigation 02. Mercury 03. Heavy Sunshine 04. Golden Age 05. Space Baby
Posted in Whathaveyou on May 26th, 2023 by JJ Koczan
What does it tell you about an album when five record labels get behind the release? Well, first it tells you that globalization was a farce that requires multiple DIY distributors to cover different territories around the planet because instead of actually helping smooth processes like releasing albums in multiple territories, it made the same five old white men who were already rich that much richer over the course of the last 30 years, but more immediately, it perhaps tells us that it’s time to start thinking of Volume‘s 2002 debut/only-LP Requesting Permission to Land (not the original cover below) as a lost classic, and maybe that it’s time to revisit that pre-social media era of heavy rock and roll in a similar fashion to how about 10 years back it seemed like every other week there was another lost classic from the heavy ’70s coming out on labels like Akarma and Rockadrome. Feels early, but I bet if you were there in the 1970s it felt early a decade ago too.
There are, of course, a near-infinite amount of treasures to be unearthed, because while I’d call the heavy underground well populated today and bolstered by the (semi-)democratization of recording gear/software and streaming, but whatever comes of it in the next few years, Volume‘s Requesting Permission to Land is easily worth the revisit, calling to mind nostalgia for the MySpace era when, say, one might’ve sent Patrick Brink a message requesting a copy of the record to play on one’s college radio stoner rock show. I’d say those were the days, but they weren’t really. I could go on off-topic, but you don’t care. If you want to talk and be friends in real life, hit me up. Also, don’t tell anybody that 2023 is actually the 21st anniversary of the album. Doesn’t matter. Pressing delays, timing, whatever. It exists and it’s coming out. That’s good enough for me.
The relevant info from the PR wire:
VOLUME To Release 20th Anniversary Edition of Requesting Permission To Land
Heavy fuzzed out psychedelic rock from the desert of Twentynine Palms, CA, is the offering from VOLUME. Formed in 1993, VOLUME are back following a hiatus to finish what they started and celebrate a career milestone. The 20th Anniversary edition vinyl pressing of Requesting Permission To Land will be released on October 27th.
“I’m super stoked that ‘Requesting Permission To Land’ will finally be out on vinyl like it was always supposed to be. Get ready to get cosmically freaked out!” – Patrick Brink
From the riff-fueled percussive-frenzy sound of the EP’s opener “Habit” to the rhythmic and progressive conclusion “Headswim”, Requesting Permission To Land is a thrilling collection of heavy acid rock tracks. The EP features a number of talented musicians with drums recorded by Scott Reeder (FU MANCHU), and bass played by James Scoggins (FINAL CONFLICT). If you like straight up fuzzed out psychedelic rock, sit back and let VOLUME spin your head!
About VOLUME:
Patrick Brink began VOLUME back in 1993 with the desire to have a project with which he could take the lead and steer the musical reins down psychedelic rocking routes. Having performed with a number of acts including doing vocals for FU MANCHU in their early days, VOLUME offered Patrick a new creative outlet. Over their career the band has shared stages with QUEENS OF THE STONE AGE, FU MANCHU, MASTADON and GOATSNAKE, and performed at festivals including Emmisions of the Monolith and Stoner Hands of Doom (SHoD). VOLUME draw musical influences from bands such as THE STOOGES, MC5 and BLACK FLAG to name a few, while also crafting their own distinctive heavy psychedelic identity.
Requesting Permission To Land will be released via Weird Beard (UK) We Here & Now (CA) Echodelick (US) Worst Bassist (EU) Ramble Records (AU)
Tracklisting: 1. Habit 2. Colossalfreak 3. Dont Look Around 4. Make Believe 5. Headswim
Posted in Questionnaire on March 2nd, 2023 by JJ Koczan
The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.
Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.
Thank you for reading and thanks to all who participate.
The Obelisk Questionnaire: Patrick Brink of Volume
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How do you define what you do and how did you come to do it?
For the most part it’s in your face psychedelic fuzz rock. We land on the fringes of stoner rock that melds punk’s rawness and edge with the psychedelic fuzz and sounds of late 60’s early 70’s. It’s for fans of the Stooges, Blue Cheer, and early Monster Magnet.
It was a natural progression of growing up on Black Flag, and other SST bands like Vitus & SWA, and loving the ability to be taken away by the sounds of music like Pink Floyd, Loop and Love and Rockets
Describe your first musical memory.
This is absolutely true! Singing “Rubber Duckie” (by Ernie) all the time in the bathtub. I loved singing and just making some noise.
Describe your best musical memory to date.
Singing the second verse and nearly whole chorus of “Wild in the Streets” at a Circle Jerks show. It was in 1989 at the Underground in Phoenix, Az. Keith put the mic near my face, and I grabbed it and just started wailing- having a blast. Halfway through the verse Keith was wanting me to give the mic back but I was caught up in the rush, having too much fun and kept singing. I eventually gave it back, but man that was awesome.
When was a time when a firmly held belief was tested?
I don’t know if there has been a point of crisis in things I believe strongly about. But I’m often evaluating my beliefs. I have had many conversations within my own head and with others who disagree with me. So I’m constantly testing my beliefs to see if they hold up or are things I hold onto for sentimental purposes and no real reason other than not liking change or its easier that way.
Where do you feel artistic progression leads?
Artistic progression leads to an excitement in what you are doing. It’s not always the case -look at the Ramones, they tried very little and seemed to keep the fire burning. But that’s probably the exception. If you are not pushing yourself and exploring new things, even just getting better on your instrument, you are going to find yourself burnt-out, and the next song, album, what have you, is just that, with no real connection to it. Art is about connections, connecting the senses to your heart. It takes work. If it’s not something you’ve worked hard at with all you have got, there is very little reward and feeling of accomplishment to this thing you have created.
How do you define success?
Success for me is being able to do what I love while making sure the family is not neglected. I took a long time off playing in bands because for me I couldn’t maintain both. Now that the kids are older, I have more time to devote to music. Having said that I feel successful each time I’ve written a song, and someone feels a connection to it- that’s what it’s about- It’s about all these connections that we as people make. We need to enjoy them, be thankful for them.
What is something you have seen that you wish you hadn’t?
Kid Rock open for Monster Magnet at the Troubadour.
Describe something you haven’t created yet that you’d like to create.
A book. I would like to write a book one day. I read a lot of Ancient Church history and would like to write maybe on that.
What do you believe is the most essential function of art?
To express feelings and emotions and make connections to people through those things.
Something non-musical that you’re looking forward to?
Getting out of the construction trade. My wife and I have a little business selling used clothes and I’m hoping to make it full-time in the next year, year and a half. It will free us up to travel, tour anytime, and just have more time to do the things we dig doing.
Posted in Reviews on August 23rd, 2019 by JJ Koczan
Zed‘s vision of rock and roll is not polite. It is not about accommodation. It’s the kind of rock and roll that drinks both your beer and its own, is loud, goes late, and damns tomorrow because it had already damned today first. It’s the kind of rock and roll that might put a large black rooster on its album cover and let the dick joke make itself. It is, as they might put it on their latest offering, “The Other Kind.” Volume is the fourth full-length from the San Jose, California, four-piece, and sees their edge undiminished in their decade-plus tenure. As their alliance with Ripple Music enters its third release, with the label having stood behind 2016’s Trouble in Eden (review here) and a reissue earlier this year of 2013’s Desperation Blues (discussed here), it results in a collection running 10 tracks and 48 minutes of aggressively executed straightforward heavy rock with a broad foundation in punk, metal and classic rock; the amalgam well familiar to those who’ve followed Zed over their years.
In that regard, what ultimately distinguishes Volumeis the clarity with which it is delivered. The band’s lineup — guitarist/vocalist Peter Sattari, bassist Mark Aceves, guitarist Greg Lopez and drummer Sean Boyles — has never sounded so firm in their purpose, and while their songwriting acumen has always been central to their style, the material here feels tighter and even more purposeful than that of Trouble in Eden, and the energy in the band’s performance has never been so effectively captured. Credit at least in part for that needs to go to engineer Tim Narducci (also of The Watchers), with whom the band worked on part of the recording last time around as well as on Desperation Blues — their 2010 debut, The Invitation, was self-recorded — and who obviously gets what they’re going for. It’s right there in the name of the album: Volume. Zed are not trying to convey some grand concept in their sound unless that grand concept might be the largesse of their sound itself, and thus Volume becomes its own celebration of that intangible thing that rock and roll has celebrated since its first hijacked blues riff — a vitality that simply can’t be heard at anything less than a shout.
Broken neatly in half with a longer cut closing each side, Volume might also be stating itself as a recommendation to the audience, though I’m not certain that with Zed that really needs to be stated at this point. How else would one take on tracks like “The Other Kind,” “The End” or the shreddy side B highlight “The Great Destroyer” but as loud as possible? The choruses of the slowed-down “Wings of the Angel,” the side B leadoff “Chingus” (video posted here), and “Hollow Men,” on which Boyles seems to give his cymbals an extra-cruel beating, are certainly standouts, and even as “Wings of the Angel” or “Poison Tree” pull back on pace as compared to the thrust of “The Other Kind” or “The Great Destroyer,” there’s no letup in terms of efficiency in their craft.
“Poison Tree” is perhaps the catchiest of the bunch, which is no easy feat considering its surroundings, and as Zed expand the palette with some B3 on the penultimate “Time and Space” courtesy of Brad Barth, their central mission of song-driven, riff-led heavy remains steady through the extra flourish en route to the closer “The Troubadour,” which is the longest inclusion on Volume at 6:31 and finds the band taking more chances in terms of melody, layering vocals for a chorus effect to go with Sattari in a fashion that is every bit worthy of finishing out the record even though it runs counter to the harder-edged approach heard earlier. Airy leads and a legitimately soaring chorus add atmosphere to the finale that one wouldn’t necessarily guess Zed would be interested in harnessing, but is only more welcome for that. Even “The Mountain,” from Trouble in Eden, which tapped into some similar ideas in the guitar, didn’t dare go so far as the vocals, and a greater focus on melody only suits the song itself, which, given how much of Zed‘s approach — again — is about the songs, makes Volume stronger on the whole.
Signal of a new direction for Zed? Probably not, and I say that not because I think Zed are creatively stagnant — far from it, given the efforts they take to refine their songwriting here, though they might bristle at calling anything they do “refined” — but because they don’t sound like a band who are interested in fixing what clearly isn’t broken in their sound. “The End” has a less throaty vocal in its initial verse as well, and it may be that their dynamic is expanding, but if it’s going to happen, Zed seem to be conscious enough to let it happen in an unforced way. Because while their overall affect is loud, clear and full, both recorded and on stage, they don’t do anything that feels unnatural in either side. They’re not going to seek out vintage equipment to record on or spend tens of thousands of dollars on this or that mixing board, and they’re not going to find some overly slick digital cut and paste method for putting riffs together.
They’re a songwriting and performance band, and that’s what you get on Volume. You get songwriting, you get performance. Sure, they’ve grown in the three years since Trouble in Eden — though they’re not so mature as to, say, not make a dick joke on their album cover — but the core of Zed remains unchanged, and it seems more likely than not that that’s how it will be for the duration. Zed were not inexperienced in bands when they formed, and as a group who knew what they wanted going in, they’ve been walking their path steadily ever since. What’s truly impressive about that is not just that they’ve brought this mission to bear in the memorable tracks of Volume, but that there’s that accompanying performance aspect. In payoffs for “Wings of an Angel,” or “Chingus” or “The Great Destroyer” — take your pick, really — they harness not just a live energy, but the energy of a band confident in the righteousness of their voluminous cause. And so they are.
You can’t manufacture charm, but you can do a Lego stop motion video for one of your songs, and that’s pretty much the same thing. Say hello to Zed‘s “Chingus,” the second track to be released from their upcoming long-player, Volume, which is out one month from today, on July 26 through Ripple Music. I had occasion this weekend to see Zed at Maryland Doom Fest and I talked to bassist Mark Acaves about the video. My immediate question was how long it took to put together. The answer? Three months. Three months of work. A quarter of a year. That’s pretty nuts.
When you see the video, though, you’ll hardly be able to say it wasn’t worth the effort. With cameos from KISS — Ace Frehley seems to step in on lead guitar — as well as the Lego ghost of Lego David Bowie, the Predator chasing an Alien, and finally, the Misfits, it’s all a lot to take in. You better watch it twice. I feel like the sheer amount of labor involved — let alone the cost of the sets; as my mother always said, “Legos aren’t cheap” — warrants that at least. Plus the song rocks, so that’s nice too. Call it a win all around.
I said as much in the Maryland Doom Fest review, but these guys absolutely tore it up at the festival, 100 percent rising to the occasion of playing right before Conan on the last night of the thing and giving the crowd one last bit of supercharged rock and roll before everybody got their head smashed in. They were great and as “Chingus” follows “The Other Kind” in terms of audio from the record — let alone the cover art of the thing, which is not subtle almost enough to be subtle, full circle-style — “rising to the occasion” would seem to be the theme all the way around.
Volume is out in a month. Links and more info follow the clip below, courtesy of the PR wire.
Enjoy:
Zed, “Chingus” official video
LEGO Stop Motion Music Video for the song “Chingus” off of the forthcoming album “VOLUME” from Ripple Music. http://www.ripple-music.com
This video was made with a bunch of Lego’s doing stop motion photography on an iPhone 8S using StopMotion Studio.
Zed is: Pete Sattari- Guitar/Vox Sean Boyles – Drums Greg Lopez – Guitar Mark Aceves – Bass
Posted in Whathaveyou on May 27th, 2019 by JJ Koczan
New Zed is a ripper, which definitely makes it kin to old Zed. The album, out in July, is called Volume, and fairly enough so, and the track they’re streaming from it — available for listening at the bottom of this post, among other places — is called “The Other Kind.” If you want to think of it as a kind of check-in to let all interested parties know that Zed haven’t lost the chip on their collective shoulder since 2017’s Trouble in Eden (review here), I think that’s probably reasonable. Dudes know how to both turn and knock heads.
They’re fresh off their first excursion to European soil for a quick run that wrapped at Desertfest London 2019, so it’s hard to imagine the record announcement coming at a better time in terms of momentum. Their second album, Desperation Blues (discussed here), was also reissued by Ripple earlier this year, so you know, full calendar and all that. Busy busy.
Details come via the PR wire:
ZED return with VOLUME on RIPPLE MUSIC | Stream and share new song ‘THE OTHER KIND’
Volume by ZED is officially released on 26th July 2019
Making their roaring presence felt in the Bay Area rock scene since 2007, with heavy footprints and sonically indelible marks are San Jose earth shakers ZED. With a sound based on the core principles of blues, heaviness and groove, this quartet is the genuine article. No bell bottoms, wizard sleeves or hip huggers for this crew. Instead, it’s a barrage of head-bobbing, air-guitaring, hip-shaking, blues-driven riffage as delivered by the true bastards of rock and roll.
From their inception ZED made a name for themselves with their crushing live shows and incessant grooves. Having played together in various projects since 1998, including releasing several albums with the band Stitch for Prosthetic and Metal Blade Records, guitarist/vocalist Peter Sattari and bassist Mark Aceves joined up with guitar wizard Greg Lopez and drummer extraordinaire Sean Boyles to create a sound that was uniquely their own. Drawing from their varied influences, ranging from classic ’70s rock to punk and hardcore, by way of metal and old school funk, ZED write music fuelled by nasty grooves. The band has even been called, “a pissed off Led Zeppelin with Chris Cornell meets Ian Astbury on vocals.”
In recent years the band’s momentum has exploded, signing to Ripple Music and growing into a household name in the stoner rock community. Their hard-grooving live show has seen the band perform as headline support at Maryland Doom Fest and numerous SXSW events. They recently capped off their first European tour with a benchmark performance at Desertfest Lodon, where Kerrang! Magazine caught their set and said, “Their booze-drenched blues’n’roll almost breaks into a riot as both band and audience raise the roof and plenty of Hell in the process, leaving the most triumphant first impression.”
Volume by ZED is officially released on 26th July 2019 on Ripple Music.
TRACK LISTING: 1. The Other Kind 2. The End 3. Wings of The Angel 4. Hollow Men 5. Take Me Home Again 6. Chingus 7. Poison Tree 8. The Great Destroyer 9. Time and Space 10. The Troubador
Zed is: Pete Sattari- Guitar/Vox Sean Boyles – Drums Greg Lopez – Guitar Mark Aceves – Bass
