Posted in Whathaveyou on August 9th, 2022 by JJ Koczan
In a manner not dissimilar from how its California fests took largely the same expansive lineup from San Francisco to Los Angeles and Los Angeles to San Francisco, Heavy Psych Sounds is bringing a circus to Berlin and Dresden on Oct. 21 and 22. In association with Greyzone and ElbSludgeBooking, the label has assembled a lineup that includes HPS bands and others like 1000mods and Gozu, and that sense of community outreach isn’t to be understated. The synergy between booking and releasing is a big part of what has allowed Heavy Psych Sounds to become the underground nexus it is, able to do more for bands than many other outlets. The festivals in cities across Europe and now in the US as well are another extension of that.
That’s not really an insight as to the lineup here or the label’s ethic or taste — also choice — but the fact is this is Heavy Psych Sounds doing what it does. More power to them, and so on.
From the PR wire:
HEAVY PSYCH SOUNDS FEST BERLIN & DRESDEN full lineup announcement
Heavy Psych Sounds Records & Booking will smash Berlin and Dresden with their highly acclaimed mini festival-series, the HEAVY PSYCH SOUNDS FEST!
In cooperation with Greyzone Concerts and ElbSludgeBooking, Heavy Psych Sounds has revealed the full lineup for the upcoming HEAVY PSYCH SOUNDS FEST BERLIN & DRESDEN !!!
The HPS Fest Berlin & Dresden will be taking place 21st and 22nd of October, 2022 at the Festsaal Kreuzberg and Urban Spree in Berlin and Chemiefabrik in Dresden !!!
HEAVY PSYCH SOUNDS FEST – BERLIN & DRESDEN @ Festsaal Kreuzberg / Urban Spree, Berlin @ Chemiefabrik, Dresden October 21st and 22nd 2022
feat. 1000 MODS NICK OLIVERI BELZEBONG BLACK RAINBOWS ACID MAMMOTH THE LORDS OF ALTAMONT HIGH REEPER SLEEPWULF TONS HIPPIE DEATH CULT GOZU OREYEON WEDGE MOTHER ENGINE
BERLIN TICKETS PRESALE: https://www.greyzone-tickets.de/produkte/602
BERLIN FB OFFICIAL EVENT: https://www.facebook.com/events/1358860387859773/
Posted in Whathaveyou on June 14th, 2022 by JJ Koczan
You may or may not already know this, but I daydream about these kinds of things all the time. Traveling to a festival someplace I’ve never been, meeting people and seeing music I’d probably never be able to see otherwise, at least not in that kind of setting or situation. Seems strange to think this as I’m about to travel to Europe for another festival, but between Savanah and Wedge and Swan Valley Heights, bands like Cone and Les Lekin and The Strange Seeds, there’s stuff here that I’m not likely to run into anywhere else and even though I can’t go, that’s one of my favorite things to write and think about. Someone will have good hangs and check out cool tunes. Even when it’s not me, the world doesn’t get much better than that.
June 18 is the pre-show, and none other than The Atomic Bitchwax will headline that, which if you’re looking to have your ass handed to you with rock and roll, that’s who you call. I don’t know how open the pre-show is, but with just 400 tickets available for the fest proper, this strikes me as the kings of weekend that everybody is going to come out of with a few new friends.
From the PR wire:
Blackdoor Outdoor Festival 2022
With the Blackdoor music festival we would like to provide live-music-lovers a new opportunity to enjoy some handpicked stoner, blues and psychedelic rock bands in lower Bavaria and our surroundings. The focus of our new in- and outdoor event series lies on providing a comfortable atmosphere to enjoy hand-made music while having some great times together as organizers and audience.
Blackdoor = Vacation, tickets are available here:www.blackdoor-festival.de. We are looking forward to seeing you!
Lineup: Tides From Nebula Greenleaf Valley of the Sun Wedge Savanah Enigma Experience Swan Valley Heights Cone Les Lekin Scorched Oak Ozymandias The Strange Seeds Bazodee
Posted in Reviews on December 25th, 2020 by JJ Koczan
The end of the week for the Quarterly Review is a special time, even if this particular QR will continue into next Monday and Tuesday. Also apparently today is Xmas? Okay. Whatever, I’ve got writing to do. I hope you’re safe and not, say, traveling out of state to see family against the urging of the CDC. That would be incredibly irresponsible, etc. etc. that’s what I’m doing. Don’t get me started.
However you celebrate or don’t, be safe. Music will help.
Quarterly Review #41-50:
Celestial Season, The Secret Teachings
Like many of the original death-doom set, Dutch masters Celestial Season gave up the style during their original run, departing toward heavy rock after 1995’s Solar Lovers. At an hour’s run spread across 13 tracks including ambient guitar and violin/cello interludes, The Secret Teachings has no time for such flighty fare. Reunited with original vocalist Stefan Ruiters and bassist Lucas van Slegtenhorst, the band return in grand fashion for their first full-length in 20 years, and songs like “Long Forlorn Tears” and “Salt of the Earth” conjure all the expert-grade morose plod one could possibly ask, as each side of the 2LP begins with its own intro and sets its own mood, from the almost-hopeful wistfulness of opener/longest track (immediate points) “The Secret Teachings of All Ages” at the start to the birdsong-laced “Beneath the Temple Mount” that leads the way into “A Veil of Silence” and “Red Water” at the finish, the latter a Type O Negative cover that fits well after the crescendo of the song before it.
The gift Wren make to post-metal is that even in their quietest stretches, they maintain tension. And sure, the Londoners’ second LP, Groundswells — also stylized all-caps: GROUNDSWELLS — has in “Murmur” its “Stones From the Sky” moment as all works of the genre seemingly must, but the six-cut/44-minute follow-up to 2017’s Auburn Rule (discussed here) casts a scope less about pretense or ambition than largesse and heft, and that serves it well, be it in the shorter “Crossed Out Species” or longer pieces like the opener “Chrome” and the penultimate “Subterranean Messiah,” which injects some melodic vocals into the proceedings and airy string-inclusive prog amid all the surrounding crush. All well and good, but it’s hard to deny the sheer assault of the doomed apex in closer “The Throes,” and you’ll pardon me if I don’t try. Ambience through volume, catharsis through volume, volume all things.
With strength of performance to fall back on and progressive realization in their songwriting, Little Rock, Arkansas’ Sumokem would seem to come of age on their third long-player, Prajnaparadha, answering the flourish of 2017’s The Guardian of Yosemite (discussed here) with an even more confident stylistic sprawl and an abiding patience that extends even to the album’s most intense moments. Not at all a minor undertaking in dynamic or its run of five long songs following the intro “Prologue,” Prajnaparadha manages not to be dizzying mostly because of the grace with which it’s crafted, tied together by ace guitar work and a propensity for soaring in order to complement and sometimes willfully contrast the tonal weight. When the growls show up in “Fakir” and carry into “Khizer,” Sumokem seem to push the record to its final level, and making that journey with them is richly satisfying.
Psychedelia comes poison-tipped with brooding post-grunge atmospheres as Oginalii‘s Pendulum swings this way and that between “Scapegoat” and “Black Hole” and “Pillars” and “Veils” across its too short 24 minutes. The Nashvillainous four-piece explore an inner darkness perfect for these long months of forced-introspection, and though calling something pandemic-appropriate has become a tired compliment to give, the underlying rhythmic restlessness of “Scapegoat” and the crying out overtop, the fuzzy burst of “Veils” and the interweaving drums and guitar noise behind the recited semi-sung poetry of “Pillars” serve the soundtrack cause nonetheless, to say nothing of the two-minute minimalist echoing stretch of “Black Hole” or the oh-okay-it’s-indie-post-rock-but-oh-wait-what-the-hell-now-it’s-furious closer “Stripped the Screw.” Anger suits Oginalii as it comes through here, not in tired chestbeating but in spacious craft that manages to sound intense even in its languid reach. Pretty fucking cool, if you ask me.
Toronto’s Völur offer their third album, Death Cult, in cooperation with Prophecy Productions, and it comes in four string-laced tracks that waste little time in pushing genre limits, bringing folk influences in among doom, blackened metallurgy and more ethereal touches. Arrangements of violin, viola, cello, double-bass, keys, and the shared vocals of Laura Bates and Lucas Gadke (the latter also of Blood Ceremony) give a suitably arthouse feel to the proceedings rounded out by the drums and percussion of Justin Ruppel, and it’s far from unearned as the four songs play out across 37 minutes, “Dead Moon” veering into lumbering death-doom in its apex ahead of the jazz-into-choral-into-drone-into-freer-jazz-into-progressive-black-metal of the 11-minute “Freyjan Death Cult,” subsequent closer “Reverend Queen” leaving behind the chaos in its last few minutes for an epilogue of mournful strings and drums; a dirge both unrepentantly beautiful and still in keeping with the atmospheric weight throughout. Bands like this — rare — make other bands better.
Bursting with enough energy to make one miss live music, Wedge‘s third album, Like No Tomorrow, transcends vintage-ism in its production if not its overall mindset, bringing clarity to Deep Purple organ-tics on opener “Computer” while keeping the lyrics purposefully modern. Bass leads the way in “Playing a Role” and the spirit is boogie fuzz until the jam hits and, yeah, they make it easy to go along for the ride. “Blood Red Wine” has arena-rock melody down pat while centerpiece and likely side A closer “Across the Water” at last lets itself go to that place, following the guitar until the surge that brings in “Queen of the Night” indulges purer proto-metal impulses, still accomplished in its harmonized chorus amid the charge. Is that the guitar solo in “U’n’I” panning left to right I hear? I certainly hope so. The shortest cut on Like No Tomorrow feels like it’s in a hurry to leave behind a verse, and sets up the surprisingly modestly paced “At the Speed of Life,” which is lent a cinematic feel by the organ and layered choral vocals that bolsters yet another strong hook, while the nine-minute “Soldier” is bluesier but still sounds like it could be the live incarnation of any of these tracks depending on where a given jam takes Wedge on any given night. Here’s hoping, anyhow.
About a year and a half after issuing Otherworldly (review here), their third album under the moniker Witch Hazel, the dukes of York, PA, are back with a new name and a refreshed sound. As SpellBook, vocalist Nate Tyson, guitarist Andy Craven, bassist Seibert Lowe and drummer Nicholas Zinn push through two vinyl sides of classic heavy f’n metal, less concerned with doom than they were but still saving a bit of roll for the longer centerpiece “Not Long for This World” and the airy, dramatic closer “Dead Detectives.” Elsewhere, “Black Shadow” brings a horns-at-the-ready chorus, “Motorcade” reminds that the power of Judas Priest was always in the basslines (that’s right, I said it), and “Ominous Skies” brims with the vitality of the new band that SpellBook are, even as it benefits from the confidence born of these players’ prior experience together.
Kudos to L.A.’s Old Blood for at least making the classification part easy when it comes to their debut album, conveniently titled Acid Doom, though that category hardly accounts for, say, the piano stretch of second cut “Bridge to Nowhere,” or the heavy rock theatricality in “Heavy Water” or the horn sounds of “Slothgod” a few songs later, but I suppose one has to start somewhere, and ‘acid doom’ is fair enough when it comes to accounting for the sleekery in the vocals of Lynx, the weight of the riffs of C. Gunner, the roll of bassist Octopus and drummer Diesel and the classic-style organ work of J.F. Stone. But if Old Blood want to unfurl something deceptively complex and stylistically intricate on their debut, that’s certainly cool as far as I’m concerned. Production is a strong presence throughout in a way that pulls a bit from what the impact of the songs might be on stage (remember stages?), but the songwriting is there, and Lynx‘s voice is a noteworthy presence of its own. I’m not sure where they’ll end up sound-wise, but at the same time, Acid Doom comes across like nothing else in the batch of 70 records I’m doing for this Quarterly Review, and that in itself I find admirable.
Just because you know the big riff is going to kick in about a minute into opening track “Under the Influence of the Fool” on Jahbulong‘s tarot-inflected stoner doom four-songer Eclectic Poison Tones doesn’t make it any less satisfying when it happens. The deep-rolling three-piece from Verona make their full-length debut with the 45-minute offering through Go Down Records, and the lurching continues in “The Tower of the Broken Bones” and “The Eclipse of the Empress,” which is the only cut under 10 minutes long but still keeps the slow-motion Sabbath rolling into the 15-minute closer “The Eremite Tired Out (Sweed Dreams)” (sic), which plays off some loud/quiet changes fluidly without interrupting the nod that’s so central to the entirety of the album. Look. These guys know the gods they’re worshiping — Sleep, Black Sabbath, Electric Wizard maybe, etc. — and they’re not trying to get away with saying they invented any of this. If you can’t get down with 45 minutes of slower-than-slow grooves, maybe you’re in the wrong microgenre. For me, it’s the lack of pretense that makes it.
Heavy Trip. Four songs. Two sides. Three dudes. Instrumental. Accurately named. Yeah, you’ve heard this story before, but screw it. They start out nice and spacious on “Hand of Shroom” and they finish with high-speed boogie in the 13-minute “Treespinner,” and all in between Heavy Trip make it nothing less than a joy to go along wherever it is they’re headed. The Vancouver three-piece make earlier Earthless something of an elephant in the room as regards influences, but the unhurried groove in second cut “Lunar Throne” is a distinguishing factor, and even as “Mind Leaf” incorporates a bit more shove, it does so with enough righteousness to carry through. As a debut, Heavy Trip‘s Heavy Trip might come across more San Diego than Vancouver, but screw it. Dudes got jams like Xmas hams, and the chemistry they bring in holding listener attention with tempo changes throughout here speaks to a progressive edge burgeoning in their sound.
Wedge‘s third album, Like No Tomorrow, will see release on Jan. 15, 2021, through Heavy Psych Sounds. Preorders are up as of today. Any other year, that title would be endearing and maybe somewhat quizzical, or otherwise embodying a rock and roll, live-in-the-moment kind of mentality. In 2020, it’s pretty foreboding because, like, there might not be a tomorrow. Or perhaps even worse — there might be!
But for just about four minutes and 44 seconds, let’s put the overarching special brand of anxiety that this year has produced aside. Difficult, I know. Nigh on impossible. Stay off Twitter. Don’t even glance at the YouTube ads telling you about how Donald Trump is a COVID-beating superhero and Joe Biden is somehow holding a secret socialist agenda (if only!) and simultaneously the most boring person who ever lived. Log out of Facebook. Just log out. It sounds dangerous somehow, doesn’t it? Disconnect for a couple minutes. See what happens.
For all the good knowing-a-thing-with-proven-science sometimes does these days, it is a documented fact that the human relationship to technology has changed the manner in which our brains work, and perhaps that’s where Wedge are coming from in the go-unplugged message of their new single “Computer.” Perhaps suitably, the organ-laced cut hits with a nostalgic feel somewhere between Deep Purple‘s “Strange Kind of Woman” and “Pictures of Home,” but after six years and three records, one shouldn’t be surprised to find guitarist/vocalist Kiryk Drewinski (ex-Liquid Visions), drummer Holger “The Holg” Grosser and bassist/organist Dave Götz working in their own personality as well, as one can hear in the ’60s-inflected winding solo section backed by righteous classic-style shuffle.
Message and groove both come through clearly, and while I can’t speak for the entirety of Like No Tomorrow as I haven’t heard it yet, but at least this lead track sounds like a fitting follow-up to 2018’s Killing Tongue (discussed here) as the band dig into some proggy nuance without losing the well-honed dynamic between the players.
And I guess if you actually disconnected when I urged you to above you wouldn’t still be reading this — oops — but if you are, you can stream “Computer” below.
Please enjoy:
Wedge on “Computer”:
The tune is a straightforward organ-driven boogie rocker with a slightly progressive edge due to ever changing grooves and time signatures. (Hear if you can spot the 11/8 beat ; ). Lyrically it’s a cynical ode to our ubiquitous master, the computer. While on one hand our digital buddies are a portal to the world of knowledge and sweet distraction, they’re also the source of misinformation and… well, sweet distraction. “Computer” is our personal invitation for everybody to log out for once, even if it’s only for just one day or the length of a full album.
New album ‘Like No Tomorrow’ out January 15th, 2021 on Heavy Psych Sounds as: 15 Ultra Ltd Test Press 200 Half Half Black-Red Vinyl 450 Yellow Solid Vinyl Black Vinyl Digipak Digital
Posted in Whathaveyou on May 27th, 2019 by JJ Koczan
Remember like a very, very short time ago — maybe last week? — when I was talking about how Heavy Psych Sounds was taking over the world, one band, tour and festival at a time? Well here we are with the announcements for four nights in Germany this December that one assumes — but never knows for sure — will round out a busy 2019 for the Italian label/booking agency/one-stop-shop. Monolord, The Sonic Dawn, Wedge, Gorilla and 1782 are thus far announced with apparently more to come. No big surprise they’re not done, as it seems increasingly like they’re never done. Did you see the pictures from the West Coast Heavy Psych Sounds package tour? It looked pretty amazing.
I guess that’s what happens when you put everything you have into what you do and what you do kicks ass.
From the PR wire:
HEAVY PSYCH SOUNDS announces BERLIN + DRESDEN FEST; featuring MONOLORD, THE SONIC DAWN & more!
Headquartered in Rome, Italy, 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 will be no exception, spotlighting the ever-growing label’s dedication to its craft. While the first HPS Fests were held in Italy, the label has since extended its live reach into the UK, Belgium, Netherlands, Austria and even the USA: The underground cult label is not only THE address for all heavy rock record collectors, but has also become an important live and festival institution; with a brisk participation from heavy music fans all over the world.
Now, Heavy Psych Sounds is set to bring the ROCK to Germany: Dresden and Berlin with the just-announced special shows taking place this December! Each stop of the traveling festival tour will feature 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 Greyzone Concerts and ElbSludgeBooking, Heavy Psych Sounds has just revealed the first bands featuring heavy doom weights MONOLORD, psychedelic rockers THE SONIC DAWN and more:
[ artwork by Branca Studio ]
Taking place December 6th and 7th 2019 in Berlin and Dresden, the tickets are now on sale at:
Posted in Whathaveyou on January 24th, 2019 by JJ Koczan
Brooklyn trio The Golden Grass are headed back to Europe this Spring and will tour in late March and throughout April in the company of German trad-rockers Wedge. Pretty good show, and they’re covering a decent swath of ground in Poland, Austria, Germany, Switzerland and Italy. Of course, The Golden Grass go supporting their 2018 third album, Absolutely (review here), and they also went to Europe last year, touring in the company of Heat. If nothing else, they know how to find a fit for bands to hit the road with.
The narrative of Absolutely was that it pulled back on some of the more meandering impulses of its predecessor, 2016’s Coming Back Again (review here), but The Golden Grass have a new EP in the works that they’ve posted a couple social media teasers for, and it seems that the boogie remains strong with their upbeat sound. Throw in some of the choicest harmonies in heavy — as they reliably do — and you’re good to go.
To Europe, in this case. I haven’t seen a release date kicked around for the EP, but wouldn’t it make an awful lot of sense if it came out before the tour? Or at least was available for them to sell on the road? Yeah, that seems reasonable to me too. More when I hear it.
Posted in Whathaveyou on February 7th, 2018 by JJ Koczan
You gotta watch out for these. They’re sneaky. Label samplers can be tricky in general — sometimes it’s nothing but rehashed tracks from years ago with one or two new songs from a band somebody’s trying to push, but with Heavy Psych Sounds, their annual sampler series has been a way of sneaking new tracks out for first public showcases. Last year, new Black Rainbows showed up, and sure enough they appear here as well, and there also seems to be some new stuff from The Freeks included, which as far as I’m concerned is reason enough on its own to chase the thing down. Also Tons will have a track on there ahead of their album release in April, and new Killer Boogie, so yeah, plenty to grab onto, and even the stuff that’s already out — Mother Engine, Fvzz Popvli, The Lords of Altamont, Nick Oliveri — is all still current, and righteous. That “Kyuss Dies” song is hilarious.
Full tracklisting follows here, courtesy of the PR wire:
As every Year, my little dear, what we have here is: HPS074 ***HEAVY PSYCH SOUNDS SAMPLER VOL.3***
We’re so proud to announce the new Sampler, is the third year we are going to release this, and tracklist look awesome!
You will find it in your HPS boxes when you will purchase from the site, or at some good festival in Europe for free at the merch table, or on tour with HPS bands…
RELEASE DATE: 16th MARCH 2018
PRESALE: 8th FEBRUARY 2018
Enjoy the tracklist!
Avon – Red Barn Black Rainbows – High To Hell Deadsmoke – Emperor Of Shame Fvzz Popvli – Lost In Time High Reeper – Die Slow House Of Broken Promises – Toranado Killer Boogie – Atomic Race Monsternaut – Landslide Mother Engine – Tokamak Nebula – Between Time Nick Oliveri (Kyuss Lives) – Kyuss Dies The Freeks – American Lighning The Lords Of Altamont – Going Downtown Tons – 99 Weed Balloons Turn Me On Dead Man – Vimana Wedge – Lucid
Posted in Whathaveyou on January 5th, 2018 by JJ Koczan
It was a pretty substantial tour when it was just taking place in Germany, but as it turns out, Berlin heavy rockers Wedge will venture well outside the confines of their home country in support of their new album, Killing Tongue, which is out next month on Heavy Psych Sounds. Thus far, shows in Belgium, France, Spain and Italy have been added to the run starting in March after the initial burst beginning next week, and there’s the promise of more to come, so yeah, keep an eye out. The newly-announced portion of the tour takes them into April, so I wouldn’t be surprised if they hit up some festivals here or there along their way.
The PR wire has it like this:
The German vintage retro ’70 rock’n’roll band Wedge will tour Europe in 2018. Supporting their german acts the rockers Big Foot.
Wedge will play also new stuff of their sophomore album Kiling Tongue which will be released in february 2018 via Heavy Psych Sounds.
Wedge European Tour Dates: 09.01. (DE) HANNOVER · Cafe Glocksee 10.01. (DE) KIEL · Schaubude 11.01. (DE) HAMBURG · Hafenklang* 12.01. (DE) JENA · Kulturbahnhof* 13.01. (DE) EISENACH · Schlachthof* 01.02. (DE) NÜRNBERG · Z-Bau* 02.02. (DE) FRANKFURT A.M. · Feinstaub* 03.02. (DE) HEILBRONN · Emma 23* 04.02. (DE) FREIBURG · Slow Club* 05.02. (DE) TÜBINGEN · Münzgasse* 07.02. (DE) KÖLN · Sonic Ballroom* 08.02. (DE) OLDENBURG · Polyester Club* 09.02. (DE) HUSUM · Speicher* 10.02. (DE) BERLIN · Zukunft am Ostkreuz* 14.02. (DE) LEIPZIG · Black Label* 15.02. (DE) MÜNCHEN · Import/Export* 16.02. (DE) KELLBERG · tba* 17.02. (DE) RAVENSBURG · Haus am See* 21.02. (DE) GÖTTINGEN · Dots* 22.02. (DE) BIELEFELD · Forum* 23.02. (DE) DÜSSELDORF · R25/Kulturschlachthof* 24.02. (DE) MÜNSTER · Rare Guitar* 18.03. (NL) TILBURG · tba 19.03. (BE) ANTWERP · tba 21.03. (FR) PARIS · International 22.03. (FR) NANTES · La Scene Michelet 23.03. (FR) BORDEAUX · Le Petit Maurian 24.03. (ES) GIJÓN · Sala Memphis 25.03. (ES) BILBAO · La Nube Cafe Teatro 26.03. (ES) BARCELONA · Rocksound 27.03. (ES) SAN SEBASTIÁN · Dadabada 28.03. (FR) MONTPELLIER · Up&Down 30.03. (IT) TORINO · Blah Blah 31.03. (IT) PISA · Albatross 01.04. (IT) MANTOVA · Spazio FCErec 02.04. (IT) ZEROBRANCO · Altroquando 03.04. (IT) PARMA · Tonic 04.04. (IT) BOLOGNA · Mikasa 05.04. (IT) BERGAMO · Druso 06.04. (IT) ROMA · Let It Beer 07.04. (IT) CASTEL FIDARDO · On Stage 09.04. (IT) PESCARA · Scumm *w/ Bigfoot
WEDGE is a 60s-sounding, psychedelic and heavy rockin’ Berlin trio founded by guitarist/singer Kiryk Drewinski (ex-Liquid Visions/The Magnificent Brotherhood), drummer Holger “The Holg” Grosser and bassist/organist Dave Götz, and named themselves after the first stone tool of human history. Their sound is accordingly archaic, extremely effective, made from “solid rock” and, when used correctly, it causes fire… especially on stage!
WEDGE IS Kiryk Drewinski- Vocals / Guitars / Harmonica Holger ‘The Holg’ Grosser – Drums / Percussion David Götz – Bass / Organ / Electric Piano / Mellotron