Participating in The Blackout Cookout has become something of a tradition for Lo-Pan. I don’t know if they play every year at the Kent, Ohio-based fest put together by Kenny Royer, also of The Ravenna Arsenal, but they’ve done it multiple times over and have always spoken highly of the experience. This year was The Blackout Cookout 7, and Lo-Pan, from Columbus, OH, headlined — topping a bill that also included Sofa King Killer, The Ravenna Arsenal, Bridesmaid, Horseburner and others. It looked like a pretty good show. It always does.
There’s some added intrigue to seeing live footage of Lo-Pan from The Blackout Cookout 7 in that, held on Aug. 13, it was also their first show with guitarist Chris Thompson, who joined the band last month. They’ve since embarked on a tour alongside The Atomic Bitchwax and Dirty Streets, put together by Tone Deaf, that will lead them to Psycho Las Vegas this weekend, where they join the lineup of everyone and their mother at the Hard RockHotel and Casino. Not a minor introduction for a new member of the group. Probably closer to trial by fire, particularly when you factor in the desert heat.
But Thompson, who’s joined in Lo-Pan by bassist Scott Thompson (no relation), drummer Jesse Bartz and vocalist Jeff Martin, has clearly held his own so far, as you can see in the clip below for “Pathfinder.” The footage comes courtesy of Pittsburgh native and all-around top-notch individual Randy Blood, and if you’ve seen Lo-Pan in the last year, you probably recall the song. Last time I was fortunate enough to have the pleasure was in March and though it was my first time seeing or hearing “Pathfinder,” the immediate impression from it was that it’s one of the best things Lo-Pan has ever written, and I think that holds up here as well.
And it looks like Thompson is gonna be just fine on guitar, in case you were worried.
Enjoy the “Pathfinder” clip below, followed by Lo-Pan‘s remaining live dates:
Lo-Pan, “Pathfinder” live at The Blackout Cookout 7, Aug. 13, 2016
Lo-Pan with The Atomic Bitchwax & Dirty Streets: 8/24/2016 Grizzly Hall – Austin, TX 8/25/2016 Rail Club – Ft. Worth, TX 8/26/2016 Ned’s Bar – Albuquerque, NM 8/27/2016 Flycatcher – Tucson, AZ 8/28/2016 Hard Rock Hotel & Casino – Las Vegas, NV @ Psycho Las Vegas
Posted in Whathaveyou on August 24th, 2016 by H.P. Taskmaster
You think you’re weird and that’s adorable, but Seremonia are working on a completely different scale when it comes to the bizarre. The Finnish cult-psych troupe will issue their fourth long-player, Pahuuden Äänet, on Sept. 30 through respected purveyor Svart Records, and it just so happens that the label has preorders up now. Svart is also streaming the closing track of the album, “Uusi Aamu Sarastaa,” which you can hear below. It seems to shift the vibe somewhat from where the band was their last time out, on 2015’s Kristalliarkki (review here), but I would not at all expect any single song from a Seremonia record to speak for the entirety of the release at this point, and neither should you.
Still, as a sampling, it speaks to some of the darker spirit that the PR wire refers to in the info that follows, as well as the cover art, which you can see here:
SEREMONIA set release date for new SVART album, reveal first track
Seremonia, Finland’s finest heavy psych outfit, travels to the outer limits and beyond with their fourth full-length album, Pahuuden äänet. Set for international release on September 30th via Svart Records, Pahuuden äänet (“Voices of evil” in English) boldly goes and explores previously unknown dark corners of the heavy psych universe.
It takes the lyrical story of Seremonia’s previous album, Kristalliarkki (“The Crystal Ark” in English), and shoots it across space and time into a feverish dystopian nightmare. This time, the apocalyptic visions have cosmic proportions, and lyrically, it’s the band’s gloomiest & doomiest album to date.
Musically, it’s even more diverse and adventurous than the band’s previous acid rock experiments. It’s Seremonia’s signature “’60s metal” sound, but the colossal doom-prog parts are more colossal and the passages of melancholic beauty more beautiful than ever before. There’s classic pop songwriting, spacey synthesizer freak-outs, dystopian dirges, victorious twin-lead guitars, out-of-control space-punk blasts, and plenty of glorious hard rock riffage to accompany the stories of cosmic horror.
And yes, Noora Federley’s vocal delivery is still blood-chillingly cool, Erno Taipale’s drumming still a pure force of nature, and the stringed instruments out-of-controlled by Teemu Markkula, Ville Pirinen, and Ilkka Vekka still make up an electric storm of fuzz. Here for yourself at Svart’s Soundcloud HERE with the new track “Uusi aamu sarastaa.”
Tracklisting for Seremonia’s Pahuuden äänet 1. Orjat 2. Sielun kuolema 3. Pahuuden äänet 4. Sä?hko?lintu 5. Ne ovat jo täällä 6. Me kutsumme sitaä 7. Riivatut 8. Kuoleman planeetta 9. Riudut ja kuolet 10. Uusi aamu sarastaa
Seremonia: Noora Federley – vocals Teemu Markkula – guitar Ville Pirinen – guitar Erno Taipale – drums, flute Ilkka Vekka – bass
Posted in Reviews on August 24th, 2016 by H.P. Taskmaster
The odd dichotomy that has taken hold in the output of T.G. Olson is that he’s just about completely reliable but you never quite know what you’re going to get. We’re now three years removed from Electric Relics (review here), the last full-length from Olson‘s main outfit, Across Tundras, but in that time the guitarist, vocalist, auteur and DIY packaging specialist has hardly kept still. To wit, he’s put forth no fewer than six solo offerings, including 2013’s The Bad Lands to Cross (discussed here) and Hell’s Half Acre (discussed here), 2014’s The Rough Embrace (review here; vinyl review here), 2015’s The Wandering Protagonist (review here) and The Boom and Bust (discussed here), and 2016’s Quicksilver Sound (discussed here), along with a 2016 Across Tundras EP, Home Free (discussed here).
These all arrived in much the same way as his latest outing, The Broken End of the Deal — via Bandcamp, name-your-price download with a possible follow-up physical pressing on tape, CD or vinyl, usually in a limited, dirt-cheap handcrafted package, tossed into the great digital ether almost completely sans fanfare. Perhaps the underlying truth of Olson‘s work is that he’s too busy writing new releases to promote the ones he’s already finished, but either way, the Sioux Falls, South Dakota, by way of Nashville, Tennessee, by way of Sioux Falls, South Dakota, native brings out some of his richest and most complex soundscaping on The Broken End of the Deal, effectively marrying two sides of his prior solo material that have grown together over time so that cinematic drone and barebones Americana almost impossibly coexist and flow in parallel across eight tracks/28 minutes that nonetheless keep a strong current of improvisation at their core.
In addition to helming the recording, Olson played all the instruments — some I wouldn’t even guess what they are — on The Broken End of the Deal, and he’s worked in this form enough times by now that it’s clear he knows what he’s going for sound-wise, though his process is still well open enough to let happy accidents happen when they will. Organ adds a gospel inflection to the end of the drone-folk opener “Tough Break” and the following “Hope Slivers,” as well as the closing duo of “Always Turning Away” and “Walk the Lonesome Valley,” and while one doubts that bookend is coincidental, it’s hardly the full tale when it comes to the scope of the album. And at 28 minutes, it is an album. In its construction, flow and ambient depth, The Broken End of the Deal builds a fluid full-length momentum, and though some tracks are barely more than on either side of a minute long, like “Green Sahara” (more organ there as well), the string-infused “Hum” or the aforementioned “Always Turning Away,” they add to what longer pieces like “Tough Break” and eight-minute album highlight “Blisslessness” accomplish in atmosphere and overall breadth.
Tied together by a spirit of persistent twang, Olson‘s vocals, and overriding melancholy, as well as background drones that fill spaces that otherwise might give way to minimalism, The Broken End of the Deal allows its arrangements to wander, “Hope Slivers” blending acoustic and electric guitar, organs, drones, harmonica and voice, as well presumably as two or three other things Olson had in the room at that time. It’s the fact that nothing feels out of place or like it pushes too far that makes the songwriting such a standout. “Green Sahara” gives way to open-country psychedelia, an ethereal pastoralism that one wishes were more than 1:21, but “Blisslessness” hums in on guitar noise and flute and keys, and unfolds a full experimentalist dronescape almost completely departed sonically from “Tough Break” or even “Hope Slivers,” but still of the same spirit and among the most evocative of Olson‘s individual solo pieces.
The transition into “Hum” comes with a fade out and back in, and the briefest cut on The Broken End of the Deal at just 55 seconds long digging quickly into a foreboding swirl before the more immediate guitar/drone/vocal start of “Distilled to Nothing” begins, Olson‘s verse delivered quietly and still with plenty of effects, but nonetheless forward in the mix in a way it isn’t on earlier tracks. Repetitions of the title line, “Distilled down to nothing,” seem to hint at the root message of the record, but that this dirge should come with such a complex wash of sound is a contrast that shouldn’t be overlooked. Olson‘s done barebones before — though written and recorded completely on his own, this isn’t necessarily it. At 1:12, “Always Turning Away” breaks in half and plays out first forward and then apparently again backward as though to underline the experimentalist heart in the work overall, and closer “Walk the Lonesome Valley” brings prominent guitar strums, organ, far-back voice, drone and percussion, which I think might be a first since “Tough Break.”
Like its predecessors, “Walk the Lonesome Valley” is both familiar and captivating in being so out of place in this universe, an oddity that you already seem to know, like when you’re dreaming you have a hole in your head and that’s just always the way life has been. It makes its own sense. I’m not sure I’d call it an apex in the traditional sense, but the soulful kind of falsetto comes to a head later in the track with guitar and organ backing, and the end of The Broken End of the Deal comes with a quick fade, which no doubt is the result of Olson needing to get to work on the next album. All kidding aside, these tracks mark a pivotal next step in continuing to bridge the various facets of Olson‘s songwriting modus, and in so doing prove themselves to be anything but broken. I would not venture to guess what might come next for him as a songwriter, and I don’t think he would either, but whatever it might be, he never fails to move forward with each outing. Reliable, even if you don’t know what you’re going to get.
Posted in Whathaveyou on August 24th, 2016 by H.P. Taskmaster
In October, just as an ultra-busy Fall festival season begins to wind down so everyone can go back and record new albums, Helsinki venue Korjaamo will play host to Blowup Vol. 2. With the likes of Conan, Monolord, Lucifer and native Finnish acts like Skepticism, Oranssi Pazuzu, Lord Vicar, Atomikylä, Albinö Rhino and Morbid Evils, the broad and often bizarre spectrum of the country’s heavy scene is well represented, and those selected from outside Finland’s borders show a keen curation process at work.
The fest is set for Oct. 14 and 15, and will also feature a live-scored cinematic showing of 1967’s banned documentary, Titicut Follies, about a patient in a mental hospital in Bridgewater, Massachusetts, which by amazing coincidence is the next town over from where I live. Go figure.
The final lineup and show info came down the PR wire:
Blowup Vol. 2
October 14-15 Korjaamo Töölönkatu 51 a-b, 00250 Helsinki
BlowUp Vol. 2 is taking place 14 -15 October 2016 in Helsinki, Finland. The venue is Korjaamo Culture Factory, one of the largest independent art centres in the Nordic countries. Korjaamo was founded in an old tram depot in Töölö in 2004, and now hosts a concert venue as well as six smaller creative spaces for meetings and seminars plus movie theatre. The Vaunuhalli building is also home to Helsinki City Museum’s Tram Museum.
Blowup Vol. 2 also offers the cinematic art. Titicut Follies is directed by Frederick Wiseman documentary in 1967, which follows the lives of Massachusetts Bridgewater inmate in a mental hospital. Although the movie was awarded with freshly festivals in Germany and Italy, the United States, it crashed into censorship. Titicut Follies was shown to the public for the first time only in 1992. At Blowup Vol 2 it is presented in the early evening on Friday, 14 October.
Titicut Follies screen will be accompanied by Veli-Matti O. “Heap” Äijälän and Markku Leinonen, duo that made new music for the movie, which will necessarily be heard a second time.
Posted in Whathaveyou on August 24th, 2016 by H.P. Taskmaster
By the time they get over there, the bulk of the jam-packed European fall festival season will be over, and I can’t help but think that works to Mos Generator‘s advantage. True, they’ll play at Heavy Psych Sounds Fest 3 with a considerable lineup that also includes Fatso Jetson and others, but I’d imagine rockers in a lot of the cities listed below will be hurting for a band they haven’t already just seen three times in the span of weeks, and so Mos Generator seem poised to make a standout impression.
They go supporting their upcoming EP, The Firmament, on Stickman Records and their new album, Abyssinia (review here), on Listenable Records, on which the songs benefit from the overall energy that the band has been able to harness from emerging over the last couple years as such a hard-touring act. Part of that was guitarist/vocalist Tony Reed rebuilding the trio from the ground up, but that too was a measure of sheer drive on his part that has ultimately worked to spread their classic-style boogie and groove, as their delivery of same is nigh on irresistible for anyone who’s ever dug into some riffs.
Heavy Psych Sounds, which is presenting the tour, had previously announced the run, but posted the dates accordingly with a few still TBA:
This will be insane !!
HEAVY PSYCH SOUNDS Records&Booking is proud to announce the European dates for ***Mos Generator*** tour
This will be supported by Black Bone from Netherland
New album Abyssinia is just been released on Listenable records
here the dates: 20.10.2016 IT Ravenna-Bronson* 21.10.2016 IT Torino-Blah Blah* 22.10.2016 IT Milano-Cox 18* 23.10.2016 IT Mantova-Hostaria* 24.10.2016 IT Bologna-Freak Out* 25.10.2016 IT Zerobranco-Altroquando* 26.10.2016 AT Salzburg-Rockhouse* 27.10.2016 IT Trieste tba* 28.10.2016 IT Parma-Mu/Hps fest Vol 3* 29.10.2016 DE Berlin-Cassiopeia* 30.10.2016 DE Radebeul-Barnyard Club* 31.10.2016 DE Hamburg tba* 01.11.2016 DE Munster-Rare Guitar Shop* 02.11.2016 DE Koln-Sonic Ballroom* 03.11.2016 DE Stuttgart-Keller Klub* 04.11.2016 CH Luzern-Bruch Bros* 05.11.2016 CH Winterthur-Gaswerk* 06.11.2016 DE Wiesbaden-Schlachthof* 07.11.2016 DE Mannheim-Tba* 08.11.2016 BE Bruxelles-Magasin 4* 09.11.2016 FR Nantes-La Scene Michelet 10.11.2016 FR Paris-Dr Feelgood Les Halles 11.11.2016 FR Lorient-Le Galion 12.11.2016 SP San Sebastian-Tba 13.11.2016 SP Zaragoza-Tba 14.11.2016 SP Gijon-Casino Acapulco 15.11.2016 PT Lisbon-Sabotage 16.11.2016 PT Porto-Cave 45 17.11.2016 SP Vigo-La Iguana Club 18.11.2016 SP Madrid-Tba 19.11.2016 SP Barcellona-Boveda *date with Black Bone
Swedish fuzz forerunners Truckfighters will release their fifth album, V, on Sept. 30 through their own Fuzzorama Records in conjunction with Century Media. The trio of vocalist/bassist Oskar “Ozo” Cedermalm, guitarist Niklas “Dango” Källgren and drummer Daniel “El Danno” Israelsson begin the record with “Calm Before the Storm,” and it’s a track that emphasizes the kind of duality that has come to take root in the band’s approach.
On the one hand, you have their stage show. Truckfighters live are like the human embodiment of an exclamation point. They are rightly known for holding nothing back: zero irony, all-in, 100 percent go. I’ve seen them play and been exhausted afterwards just from watching.
On the other hand, you have their albums. Really since 2009’s staggering Mania (review here), but certainly even more on 2014’s Universe (review here), the songcraft of Cedermalm and Källgren has taken on an increasing scope in texture and emotion. It’s true on V as well that while they still have their raucous moments, they’re just as likely to bring out a melancholy progressive feel, and no less at home in doing so.
“Calm Before the Storm” — its video with an oddly and offputtingly violent narrative — starts V and is the longest track on it (immediate points), and I think it emphasizes what I’m talking about pretty well in terms of the band Truckfighters have become and the multifaceted aspects of their approach. They will, of course, tour heavily to support the new long-player, and you can find the dates for that run under the video below.
Truckfighters, “Calm Before the Storm” official video
YEAHHH the new video for “Calm before the Storm” is out!
The new album “V” will be released worldwide through Fuzzorama in cooperation with Century Media Records on September 30th, 2016.
Naturally we will hit the road again to play an extensive European tour following the new album release. Support bands for first half will be We Hunt Buffalo and Witchrider, and the second half it will be Deville and Dot Legacy. Here are the tour dates confirmed so far:
20.10.2016 Berlin (Germany) – SO36 21.10.2016 Chemnitz (Germany) – AJZ 22.10.2016 Vienna (Austria) – Fuzzfest 23.10.2016 Munich (Germany) – Backstage Halle 25.10.2016 Milan (Italy) – Lo-Fi 27.10.2016 Bologna (Italy) – Freakout 28.10.2016 Puget (France) – Le Rats 29.10.2016 Bron (France) – Le Jack Jack 02.11.2016 Bilbao (Spain) – Stage Live 03.11.2016 Barcelona (Spain) – Razz 3 04.11.2016 Madrid (Spain) – Chango 05.11.2016 Lisbon (Portugal) – Stairway Club 06.11.2016 Porto (Portugal) – Cave 45 09.11.2016 Amsterdam (The Netherlands) – Melkweg Oude Zaal 10.11.2016 Groningen (The Netherlands) – Vera 11.11.2016 Tilburg (The Netherlands) – O13 12.11.2016 Hengelo (The Netherlands) – Metropool 25.11.2016 Cologne (Germany) – Underground 04.12.2016 Birmingham (UK) – Rainbow 05.12.2016 Glasgow (UK) – King Tuts 06.12.2016 Nottingham (UK) – Rescue Rooms 07.12.2016 Bristol (UK) – Thekla 08.12.2016 Manchester (UK) – Ruby Lounge 09.12.2016 London (UK) – Islington Academy 10.12.2016 Brighton (UK) – Green Door Store 27.12.2016 Hamburg (Germany) – Sankt Hell Festival
[Stream Suma’s ‘Bait for Maggots’ by clicking play above. The Order of Things is out Oct. 11.]
A new Suma record doesn’t happen every day. Now in their 15th year, the Malmö, Sweden-based outfit have always stayed active through a variety of splits, compilations and EPs, and they even had a live tape out last year for a fortunate few who were able to grab one, but it’s been six years since their last proper studio full-length, Ashes, and that certainly feels like long enough. The four-piece of drummer Erik, bassist/vocalist Johan, guitarist Peter and noisemaker Rick traveled to Portland, Oregon, to track The Order of Things with Billy Anderson, who also helmed Ashes and the prior 2006 outing, Let the Churches Burn, and if that’s not enough to make the album an event — and it is, make no mistake — the fact that it arrives through no fewer than four different labels should say something about the level of support for Suma‘s churning, deeply atmospheric sludge.
Argonauta and Init Records have CDs, Throne Records the LP and Tartarus Records the cassette, so The Order of Things is nothing if not well represented, and Suma pay back the faith shown in them with 57 minutes of destructive post-metal spread across seven tracks. I’ve talked before about how something oppressively heavy can feel like it’s filling your lungs, and Suma do a better job of that than most. Their fourth album doesn’t necessarily reinvent their methods from what they conjured on Ashes, which Argonauta also reissued last year, but in the interim, they also parted ways with vocalist Jovan, moved Johan into that role and brought in Rick for samples, drones and other assorted ambient contributions, so some measure of sonic shift is inevitable.
Mostly it sounds like progression. To wit, the 13-minute “Education for Death” late in the record. I’m not sure “highlight” is the word for something that seems to plunge so deep, but either way the thudding tension Suma create is gloriously excruciating, cave-echo vocals swirling in the background behind apocalyptic tone and stomp. Much of the album plays back and forth between longer-form material and three shorter atmospheric pieces, the first of which, “The Sick Present,” opens. I’d call it an intro but for the fact that it’s still over the four-minute mark, but it does the work of immersing the listener in the darkened space Suma will continue to build and tear down across the subsequent pair “Bait for Maggots” and “RPA.” The sense of discomfort is almost immediate, and as “Bait for Maggots” begins its chugging pulsation, Suma seem right at home in the midst of that tempest. Johan‘s shouts are commanding throughout but far back enough in the mix to be obscured by the paramount groove that emerges, led by Peter‘s guitar.
Mercifully, “Bait for Maggots” gives due payoff to its onslaught, and in so doing sets up the key dynamic for the rest of The Order of Things, which is the play between foreboding, tension, and release. “RPA,” which follows directly, isn’t quite as linear as “Bait for Maggots” or the later, aforementioned “Education for Death,” but it too offers a thrust built on making the listener’s blood boil before finally letting go. Because it’s so inhuman(e)-sounding and because of the samples and effects wash, etc., there’s an almost industrial element to “RPA,” but the crux of Suma‘s effect on their audience still comes from the madness that seems to be at the root of their delivery and the weight and density with which their material lands.
While, again, that’s probably not new for anyone who’s dug into Ashes, Let the Churches Burn, their 2003 self-titled debut or any of their sundry shorter outings, it does still feel like the band has pushed forward, and the direct contrast of heft with atmospherics moving from “RPA” into the dream-haunting samples of “Being and/or Nothingness” shows that well leading into “Education for Death” itself, which is the longest inclusion at 13:36 and doesn’t even begin to think about releasing its grip around the listener’s throat until nine minutes in, and even then, it’s another minute-plus before they get there. Beautifully crafted, challenging in the hearing, but when they do finally roll out the apex, building to an all-grey swirl of noise, the result is fitting. The penultimate “Disorder of Things” continues to push forward at a faster clip from where “Education for Death” tore itself to shreds, the wash and crash becoming overwhelming. There might be vocals, and that’s the most honest assessment I can give you. Its ferocity is just about unmatched by anything else on The Order of Things, but “Disorder of Things” is also a lead-in for the quiet post-rocking guitar squibblies that give a spacious start to 12:37 closer “The Greater Dying.” Not a minor title and not a minor way to finish their record either.
That righteous space will continue to open up as Erik enters on drums, and Suma roll out a patient, masterful and consuming groove as they thrust ahead toward the crash-heavy peak of the song, bringing about something of a change in structure as they hit that crescendo closer to the middle third and dedicate about the last three minutes to a long fade of guitar, cymbals and other ambient noise. I wouldn’t speculate on how long they could actually keep that line going past the fade, but the impression is perpetual all the same, and the sheer fact that after all that bludgeoning, Suma would let their listeners go so gently, drifting, into the album’s finish can really only lead one to conclude that the overriding message of The Order of Things is death. I don’t know if that’s what they were going for, but it’s certainly the takeaway from the work itself, and Suma‘s contemplation thereof resonates in its intensity and breadth alike. They are a rare band, and woefully underappreciated.
Posted in Whathaveyou on August 23rd, 2016 by H.P. Taskmaster
Goodness gracious. Desertfest Belgium 2016 continues to up its stakes. I don’t know if this is the final lineup announcement, but Graveyard would definitely seem to be the final of the three headliners — they join Red Fang and Goat in doing the honors — and the Swedish retro rock trailblazers top a whole list of new lineup additions, from native Belgian groups like Moaning Cities and Dorre to UK psychedelic classicists Purson. If this is the end of Desertfest Belgium’s lineup — if it’s actually complete at this point — it’s already an impressively packed bill, but I’m not at all convinced the fest doesn’t have more tricks up its sleeve. Guess we’ll see as we get closer to October.
From the PR wire:
GRAVEYARD is the last headliner at DESERTFEST ANTWERP 2016
So here it is – the last headliner announcement! We’re relieved to finally reveal that the mighty GRAVEYARD will be headlining the 2016 edition of Desertfest Antwerp. Joining them we have the last few names to complete the line-up: the proggy witchcraft of Purson, the equally mysterious Josefin Öhrn and the sludgers from Berlin, Earth Ship. We’re also proud to welcome Belgian sleaze legends La Muerte to our stage, as well as some Belgian heavy mainstays Toxic Shock and Moaning Cities. Finally, local young talent Black Mirrors and Dorre will get a chance to prove themselves on the Desertfest Stage.
Unfortunately, there’s also some bad news with the good: John Garcia has cancelled his European fall tour for personal reasons and will not be performing at the festival.
So now that’s it, get running for the earlybird priced tickets because in about a week, we will announce day tickets and prices will raise to regular!
The unique psychedelic metal of Graveyard is rooted in the 70s heydays of Led Zep and Sabbath, but the success of Gothenburg’s hard rocking quartet lies in the timeless quality they bring to their riffage. We feel honoured and blessed that their steady climb through the Ranks of Rock’n’Roll now brings them to the Desertfest stage as a headliner.
Rosalie Cunningham describes her band as “vaudeville carny psych”. Weaving together influences ranging from Cream to Deep Purple to Jethro Tull, Purson serves up a quasi-mystical pastiche of psychedelic wonder made up of fuzzed-out guitars and Wurlitzer organs. In 2016, the band released their sophomore outing, Desire’s Magic Theatre to much acclaim.
Josefin Öhrn and The Liberation combine a retro-chic pop sensibility with 60s psychedelia and krautrock, creating a heady mix that is all their own. The focal point is the enchanting Josefin, who radiates the aura of a lurking spirit, playfully coaxing the listener to embrace a deeper plane of consciousness.
Behold the power of the riff in all shapes and sizes! It would be a serious understatement to simply lump Earth Ship in with the rest of the sludge rock genre. On their recent release ‘Hollowed’, these Berlins once more gracefully tackle the soft yet stronger dynamic of bands like Kylesa and Crowbar with morbid melodies that would make Alice In Chains proud.
Fuelled by vitriol, compared to such legendary gutter-dwelling sleaze-merchants as The Birthday Party, Foetus, and The Stooges, La Muerte has become a standard reference when it comes to Belgium‘s underground rock scene. Throughout the 80s and early 90s they released a string of cult-albums and EP’s which heavily resonated with those abandoned by love or devoid of hope.
A psychedelic rock’n’roll band from Brussels blending blues roots, fuzz guitars and oriental psychedelia. Featuring a female powerduo on drums and bass, their sitar-driven groove comes into its own on the new upcoming album ‘D. Klein’.
Belgian crossover thrash metal hardcore, influenced by the eighties Venice bands, Slayer, old Metallica and NYHC. Played their first show in 2011 with Black Breath, and since then played shows with Exodus, Cro-Mags, Power Trip, AF, Suicidal Tendencies, and many other trash legends.
From Blues Garage Rock to Janis Joplin, with a melodic grace sustained through Qeens Of The Stone Age rythms, Black Mirrors seems to appear between shamanic evocations and spooky representations, in search of a tradition buried in the volcanic foldings of the earth.
Dorre was born at the Rock Café in Leuven Belgium, serving up a cohesion of doom, noise, psychedelic rock, blues and stoner in long organic pieces.