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Friday Full-Length: The Human Instinct, Stoned Guitar

Posted in Bootleg Theater on February 17th, 2017 by JJ Koczan

The Human Instinct, Stoned Guitar (1970)

I picked up one of the several reissues of The Human Instinct‘s Stoned Guitar years ago at a CD store in Manhattan that I’m sure by now is long gone. Can’t imagine I was the first person ever to make the purchase for this reason, but yes, it was absolutely the title that sold me on it. I mean, seriously. It’s Stoned Guitar and it’s from 1970. How on earth could you possibly go wrong?

When one encounters a record like this one, whether through a happenstance vinyl bin encounter, disc-searching, YouTube clickholing or rigorous online market search, the temptation is generally to ascribe to it some sense of prescience — as though The Human Instinct, who were founded in 1969 by drummer/vocalist Maurice Greer and made their debut that same year with Burning up Years, had some sense of the decades of THC-addled riffing that would follow, and because of that, to position their work as a lost classic and some kind of forgotten founding document of a musical movement still evolving today. That’s fun if you happen to be the person writing the marketing copy, but the truth, as usual, is more complex. Stoned Guitar, with its problematic-in-hindsight blues rocking opener single “Black Sally” (a cover of the Aussie band Mecca) the Mountain-esque cowbell and mega-riff that start “Midnight Sun,” the wonderfully psych-jammed “Jugg-a-Jug Song,” and the faked-live finale take on Rory Gallagher’s “Railway and Gun,” was released on the private press label Pye Records. It uncautiously straddled the line between blues and acid rock, and the looseness of its swing along with Greer‘s crisp vocals, Billy “TK” Te Kahika‘s scorch-prone guitar and the bass work of Larry Waide offered no shortage of charm. I don’t know if it’s the lost ark of stoner jamming, but it most definitely lived up to its name, and that in itself is a landmark achievement.

As with much of the heavy rock of the day, which now we’d probably fairly call “proto-something-or-other” though it was certainly breaking new ground at the time, one can hear the inflections of Jimi HendrixBlue Cheer and the like, but Billy TK‘s leads, layered and swirling on “Jugg-a-Jug Song” and occupying a noise-laden soundscape on the title-track, are a beast unto themselves. Whether he’s deep-diving into a funky rhythm on “Stoned Guitar” or strumming out acoustic on “Tomorrow” (another cover, of John Kongos), the guitar is a constant presence that proves worthy of the focus it gets. That’s not to take away from Waide, without whom the blues stomp of “Black Sally” would fall utterly flat, or from Greer himself, who played (and still plays, by all accounts) his drums in a standing position so as to better lead the band as its singer. They probably could’ve called the album Stoned Everything and gotten by, but they didn’t. It’s Stoned Guitar, and sure enough, the guitar is front and center for much of it. Even as Derek Neville adds baritone sax to “Midnight Sun,” Billy TK is just waiting in the wings to answer him back with yet another searing, soaring, “right on”-earning solo. And indeed, right on. I’m not sure there’s any other way to respond to the jam that ensues in that song, improvised-sounding as it is and peppered with falsetto late by Greer as he and Te Kahika and Waide and Neville seem to be having two ongoing musical conversations just as the track goes into its fade. It’s one of many moments of righteousness to be had throughout Stoned Guitar, which, again, isn’t necessarily a record that changed the world around it, but for sure still has something to offer its audience 47 years later. Maybe more now than it did when it was first released.

Billy TK stuck around for one more record, 1971’s Pins in It, and then left the band, which Greer refocused on a less heavy-minded aesthetic with a new lineup. A couple more albums followed, more lineup changes, and so on, and eventually they fizzled out as so many did and do. It wouldn’t be until 2001 that The Human Instinct would release Peg Leg, which was originally recorded in 1975, and which Greer supported through periodic live performances. A new The Human Instinct studio album, with Greer, bassist Tony Baird and guitarists Phil Pritchard and Joel Haines, followed in 2010 called Midnight Sun, and continues to be available on a somewhat limited basis. Among other guests? You guessed it: Billy TK. It was a collaboration well worthy of a revisit, which Stoned Guitar only continues to prove.

As always, I hope you enjoy.

If you’ll indulge a bit of scene-setting: As I write this, it’s a little before six in the morning. I took the day off from work and have been up since about 4:30AM. The alarm was set, as it has been this week, for 4:45. I rolled out of bed after laying there for a couple minutes with The Patient Mrs., who’s still asleep. Came downstairs, turned on the coffee pot with the Burundi Bourbon that I ground before going to bed last night ready to roll, went back up to the second floor, brushed teeth, showered, etc. Now I’m at the kitchen table, which I just cleaned off. In the basement, the first of several loads of laundry for the day is in progress. The dishes, I did last night. It’s still dark out, but when the sun comes up, I’ll take out the recycling.

I’ve got my second cup of coffee, my bluetooth speaker playing the new Alunah, and an iced tea on the table. The Little Dog Dio is asleep in her kitchen bed — as opposed to her living room pillow or her actual preferred spot, which is stage right on the couch — and past her, I can see out the sliding door it’s still dark out, the moon just more than halfway full. In a while the sun will come up. I’ve got a couple more posts that came in late for this morning that I need to put together still and a list of chores I want to do today, principal among them are grocery shopping and the aforementioned laundry. I hope to accomplish everything as early as possible, maybe start reading that new George Saunders novel, and spend as much time relaxing this afternoon with The Patient Mrs. as I can. Her schedule means she’s off on most Fridays apart from the odd work meeting. I don’t think she has one today, so all the better.

This — all of it — is essentially what I want my life to be. I’ll wrap the day’s writing shortly, which is two news posts as if there weren’t already enough, and get everything up throughout the early part of the day, then roast macadamia nuts and make myself a protein shake for lunch. Dinner is a ham sandwich on low-carb bread (an incredible 1 net g per two thin slices, and it’s pretty good) with provolone and pesto, some fake potato chips on the side. I’m already looking forward to it. It’s going to be a great day, and I can see by just the first hints of light on the small deck out back that it’s already getting underway. Couldn’t be more stoked.

It was a hard week. The last couple have been difficult, and I’ve found myself increasingly anxious along the way. Yesterday at the office I tried to abate this by making lists. I made the grocery list I’ll take shopping today, the to-do list cataloging what I wanted to do this morning/afternoon, a CVS list (forgot Band-Aids, and they didn’t have my preferred kind of mints), and basically planned out my meals through the end of the month. I don’t know if it helped, but at least it took a little time out of my day. I’d been counting the minutes until yesterday was over and today could start.

There’s a lot to do, but I’m much happier in my current state. It’s warm, music’s on, I’m not pounding my coffee to get out the door, and in a little while, The Patient Mrs. will get up and sit across this table from me with her wonderful, radiant face and we’ll have breakfast together — her, yogurt or eggs or some such; me, coffee with protein powder in it. Then I’ll switch over the laundry, handle that recycling and get back to writing. Yes. That’s what feels best. I’m fortunate to be able to take the day when I need it. Today, I need it.

Here’s what’s doing for next week. People are starting to come out of the woodwork with new albums for March, April, May, and tours as well, so a lot of it is news again, as was the case this week and certainly today, which turned into an eight-post day kind of out of nowhere. All subject to change, of course:

Mon.: Radio adds, hopefully a quick Q&A with Dave Sherman about the new Earthride lineup.
Tue.: Review and track premiere for the new Atavismo, which rules. News on Brown Acid, the new Isis live record, etc.
Wed.: Review and track premiere for the new Kingnomad, which rules.
Thu.: Full album stream of the new Void Cruiser, which I’m still getting a handle on. Psych grunge makes for a fascinating blend.
Fri.: Overdue review of the Kandodo McBain record from last year. There’s a story behind the delay, but I’ll tell it maybe in the photo caption.

I hope you have a great and safe weekend. Mine’s just getting rolling right now and I hope to relish every second of it.

Please check out the forum and the radio stream.

The Obelisk Forum

The Obelisk Radio

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Shadow Woods Metal Fest 3: Partial Lineup Announced; Earlybird Tickets on Sale

Posted in Whathaveyou on February 17th, 2017 by JJ Koczan

SHADOW WOODS METAL FEST 3 LOGO

True to what’s been their mission all along, the lineup thus far unveiled for Shadow Woods Metal Fest 3 offers diversity, extremity of various stripes, and an immediate sense of vibe that feels once again perfectly suited to its outdoor, campground setting in White Hall, Maryland. From Aerial Ruin‘s dark folk to the deathly push of Percussor, to the New England psychedelia of MoMe — previously unknown to me, which seems like dereliction of duty on my part — and beyond with familiar faces like Virginian doomcrushers Foehammer, an acoustic set from Dee Calhoun of Iron Man, North Carolinian sludgers Toke and Philadelphia’s Heavy Temple, it’s got enough intrigue even among the names already announced to have one checking the calendar, and as earlybird tickets go on sale today, they’re only likely to build from here. Kudos, as ever, to Mary Spiro on putting it together.

What info is out is below, as well as the link to where you can get your tickets. If you can do that, you probably should:

shadow-woods-metal-fest-3

Shadow Woods Metal Fest 3

September 14 – September 17
Camp Hidden Valley
White Hall, Maryland 21611

The best weekend of your life is back for a third year with an even more diverse lineup than ever. Nearly 40 bands over three days of camping in the woods. See below for important details!

Schedule: Several acoustic sets on Thursday evening in the Pavilion only. Full production with three alternating stages Friday and Saturday only from noon til approximately midnight each night. No performances on Sunday (as per usual).

BANDS ANNOUNCED SO FAR (MORE TBA)
Aerial Ruin – Portland, OR (ritual folk)
Amigo the Devil – Spicewood, TX (murderfolk; TWO EXCLUSIVE and DIFFERENT SETS).
Castle (San Francisco)
Dee Calhoun (Frederick, MD)
Bearstorm – Richmond, VA (blackened southern deathprog)
Black Table (NY/NJ)
Elagabalus – Baltimore, MD (experimental metal 2-piece)
Foehammer (Northern Virginia)
Green Elder /Paul Ravenwood (Johnson City, TN)
Heavy Temple (Philadelphia)
Hexis (Copenhagen, Denmark)
Human Bodies (Boston) blacked hardcore
Mome (Portland, ME) psych rock
Panopticon – exclusive performance (KY/MN)
Percussor – Philadelphia/Wilmington (old school death metal)
Seasick Gladiator – Washington, DC (experimental doom prog)
The Owls Are Not What They Seem (York, PA)
Toke (Cape Fear, NC)
Vastum – one of two East Coast performances (San Francisco)
ZUD – black and blues rock and roll (Portland, ME)

IMPORTANT THINGS TO REMEMBER:
** Earlybird tickets (which are full Thursday – Sunday passes at a discount over the regular price and include non reserved camping) go on sale at Noon Friday, Feb 17.
** There are NO RESERVED CAMPING AREAS; it is camp where you may in designated areas.
** Cabin bed tickets will be on sale FRIDAY. (The cabins are NOT private; they are bunkhouse summer camp style.)
** We remain at our previous location in White Hall, MD.
** An updated FAQ will appear soon on our website. www.shadowwoodsmetalfest.com
** Once you buy your ticket you will be able to join a private SWMF FB group. READ THE EMAIL THAT CONFIRMS YOUR TICKET PURCHASE FOR DETAILS.
** You may choose how your tickets are delivered to you: WILL CALL (name at the door only); print at home; or physical tickets that will be mailed to you.
** THE EVENT IS 21 and up!
** The event is NOT BYOB. Do not bring outside alcohol. Beer and wine will be for sale.
** Food vendors will be on site
** Marketplace vendors will be in the HALL as usual. If you are interested in vending email Shadow.Woods.LLC@gmail.com with information and links about what you want to sell.
** Thursday night (Sept 14) will feature an acoustic only stage where several groups will perform in an intimate setting.
** On Friday and Saturday (September 15 and 16), the fest will be in full production with three stages running from noon to midnight each day.
** There are NO BANDS on Sunday. That’s the day you pack up and go home.

http://shadowwoodsmetalfest2017.bpt.me/
https://www.facebook.com/events/1795871643988618/
https://www.facebook.com/shadowwoodsmetalfest/
www.shadowwoodsmetalfest.com

MoMe, The Slime Between all Things (2015)

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Gozu Announce West Coast Tour with Ape Machine

Posted in Whathaveyou on February 17th, 2017 by JJ Koczan

gozu photo tim bugbee

Turns out Gozu‘s upcoming Northeastern run is only half the story. There’s a whole other coast to cover! My understanding is the Boston four-piece are hard at work putting together riffs and structures for a quick-turnaround follow-up for 2016’s Revival (review here) and have plans to hit the studio this summer, but before they get there, they’ll head West in April to join Ape Machine for 11 dates heralding the worthy cause of the latest full-length.

Revival was, as you’ll recall, issued by Ripple Music, and after playing Psycho Las Vegas and touring Europe with Holy Grove in the months following its release Gozu signed a deal to release their next album through Metal Blade imprint Blacklight Media. Momentum is obviously on their side as they get ready to record again, and I’m intrigued to find out whether that push plays into the intensity of the new material itself — Revival wasn’t short on drive. I’ve already nagged them about letting me do an in-studio feature when they go in, so I’ll keep you posted on what I know when I know it.

Here’s the tour announcement for the West Coast run, courtesy of the PR wire:

Gozu announces northeast and west coast USA tour dates

Massachusetts-based rock/metal outfit Gozu has announced a short run of tour dates next week, which will see the band perform in Philadelphia (PA), Brooklyn (NY), Dover (NH), and Portland (ME). Following this northeast trek, Gozu will appear on the west coast in April alongside Ape Machine. See below for all dates!

Gozu tour dates
Feb. 22 – Philadelphia, PA – Kung Fu Necktie w/ The Age of Truth, Kingsnake
Feb. 23 – Brooklyn, NY – Lucky 13 Saloon w/ Pants Exploder, Eyes of the Sun, Eat
Feb. 24 – Dover, NH – The Dover Brickhouse w/ KYOTY, Tar
Feb. 25 – Portland, ME – Geno’s Rock Club w/ Sylvia, All Night, Lousy

Gozu tour dates
w/ Ape Machine
Apr. 12 – Los Angeles, CA – Viper Room
Apr. 13 – San Diego, CA – Soda Bar
Apr. 14 – Santa Cruz, CA – Blue Lagoon
Apr. 15 – Sacramento, CA – Starlite Lounge
Apr. 16 – San Francisco, CA – Elbo Room
Apr. 17 – Fresno, CA – TBA
Apr. 18 – Bend, OR – Volcanic Theater
Apr. 19 – Eugene, OR – Old Nicks
Apr. 20 – Portland, OR – Kenton Club
Apr. 21 – Seattle, WA – Funhouse
Apr. 22 – Bremerton, WA – Manette Saloon

Formed in 2010, Gozu have released one EP and three full-lengths to-date, and are currently writing their fourth studio album, set for a 2017 release via Blacklight Media / Metal Blade Records. Fronted by Marc Gaffney on vocals and guitar, Doug Sherman on guitar, Joe Grotto on bass, and Mike Hubbard on drums, the band’s sound is tailor-made for blasting out the car speakers via international radio airwaves. Having already been aired on national television (USA) via MTV (‘Road Rules’, ‘Dudesons’, ‘Real World’), NBC, and NASCAR, Gozu aims to take their critical and commercial success to new heights on their upcoming debut for Blacklight Media / Metal Blade Records, with worldwide touring to follow. Previously, the group shared the stage with the likes of St. Vitus, Pallbearer, Lo Pan, Storm of Light, Helmet, Elder, Mos Generator, and Fu Manchu in the States, as well as Yob, Church of Misery and Kvelertak in Europe at Roadburn (Netherlands) and DesertFest Berlin (Germany). 2017 will surely see Gozu back on the road again, and at the forefront of the heavy rock and metal world.

Gozu line-up:
Marc Gaffney – guitar and vocals
Joe Grotto – bass and low end
Mike Hubbard – drums and percussion
Doug Sherman – lead guitar and sounds

https://www.facebook.com/GOZU666/
https://twitter.com/gozu666
https://www.instagram.com/gozu666/
http://gozu.bandcamp.com/
https://www.facebook.com/BlacklightMediaOfficial/
metalblade.com

Gozu, Revival (2016)

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Brant Bjork Announces Full US Tour with Royal Thunder and Black Wizard

Posted in Whathaveyou on February 17th, 2017 by JJ Koczan

brant bjork

If you thought the recently-announced Desert Generator fest already looked like an unreasonably good time, sit tight. As it happens, Brant Bjork‘s appearance at the second installment of the festival he’s curating — as well as the pre-party out in the desert the night before, for which Yawning Man/Fatso Jetson‘s Mario Lalli is reportedly bringing the generator to provide power — will serve as the launch point for a coast-to-coast US tour alongside Royal Thunder and Black Wizard.

Bjork, in the company of The Low Desert Punk Band, was in Europe this past Fall, and he heads out in the US supporting 2016’s most-righteous Tao of the Devil (review here), on Napalm Records. If you’re reading this post and haven’t heard that album yet, sorry, but you’re fresh out of excuses. Get on that shit.

Dates follow here as well as the poster by Branca Studio, courtesy of the PR wire:

brant-bjork-us-tour-poster

BRANT BJORK to Launch US Tour at Desert Generator Fest

Support from Royal Thunder & Black Wizard; East Coast dates with Pentagram

Look what the cat dragged in: Low Desert Punk Brant Bjork, king of the sweetest flow and forever kissed by the burning sun of Southern Cali! As the founder of Kyuss, the singer / guitarist / drummer might be the ultimate icon the Desert Rock scene has to offer – but despite all this praise and worship, Brant’s only concern rests in supplying the planet with unpretentious laid-back rock, adorned with hefty jam-outs! Tao Of The Devil is more focused than its predecessor Black Power Flower and boasts a more song-oriented and groovy stoner sound, with a healthy dose of 70s style greatness.

BRANT BJORK: TAO OF THE DEVIL TOUR
with Royal Thunder & Black Wizard

04/07 Mojave Desert CA Stoned & Dusted
04/08 Pioneertown CA Pappy & Harriet’s Desert Generator
04/09 Sacramento CA Blue Lamp
04/10 San Francisco CA Slim’s
04/11 Portland OR Hawthorne Theatre
04/12 Vancouver BC SBC
04/13 Seattle WA El Corazon
04/14 Boise ID The Shredder
04/15 Salt Lake City UT In the Venue
04/16 Denver CO Marquis Theater
04/17 Kansas City MO Riot Room
04/18 Chicago IL Beat Kitchen
04/19 Cleveland OH Agora Ballroom
04/20 Baltimore MD Soundstage*
04/22 New York NY Le Poisson Rouge*
04/23 Boston MA Middle East*
04/25 Atlanta GA Masquerade
04/26 New Orleans LA Siberia
04/27 Austin TX Barracuda
04/28 Dallas TX Gas Monkey
04/29 Albuquerque NM Launchpad
04/30 Mesa AZ Club Red
05/01 Los Angeles CA Echoplex
* with Pentagram

Poster by Branca Studio.

www.facebook.com/BrantBjorkOfficial
www.brantbjork.com
http://www.desertgenerator.com/
http://label.napalmrecords.com/

Brant Bjork, “Luvin'” official video

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Review & Full Album Stream: Deep Space Destructors, Psychedelogy

Posted in audiObelisk, Reviews on February 17th, 2017 by JJ Koczan

deep-space-destructors-psychedelogy

[Click play above to stream Deep Space Destructors’ Psychedelogy in full. Album is out Feb. 27 on Space Rock Productions.]

Goes without saying that time is a construct and that humans’ ability to understand it only relates to our very small, very remote position in a much vaster universe and that even the figures the construct presents are utterly beyond our conception — i.e., we cannot fathom 200 of our own years, and our years are meaningless to the surrounding cosmos. That’s a given. However, three years between full-lengths still feels like a long time for Finnish (nations: also a construct) trio Deep Space Destructors. Their fourth full-length, Psychedelogy, arrives via Space Rock Productions, which is the imprint helmed by synth wizard Scott “Dr. Space” Heller of Øresund Space Collective and known for releasing that band’s work as well as other projects and offshoots.

To my knowledge, Deep Space Destructors — bassist/vocalist Jani Pitkänen, guitarist/backing vocalist Petri Lassila and drummer Markus Pitkänen — have no relation to that collective (yet), so all the more it’s an endorsement that should ring in the ears among the cosmically converted. The Oulu natives earn it well in the four tracks of Psychedelogy, which follows the 2015 two-songer Spring Break from Space (review here) as well as their first three long-players, 2014’s III (review here), 2013’s II (review here) and 2012’s I (review here), and stay true to the Hawkwindian roots of the genre while exploring progressive textures of their own. At an easily-digested 38 minutes, Psychedelogy presents its two sides — side Space and side Void (the last EP did likewise) — with poise and without pretense. They’re going on this trip one way or the other. Whether or not you come along is going to be your call.

Each half of Psychedelogy pairs a shorter piece with a longer one. Opener “Journey to the Space Mountain” (7:55) will be familiar to anyone who caught wind of Spring Break from Space, since it launched that brief offering as well. It is particularly suited to the task here too, with a fervent thrust that kicks up interstellar dust almost immediately following a quick sample and enacts immersive swirl as it makes its way toward its fist-in-the-air-moment-of-galaxial-righteousness title-line hook. Both it and the 10-minute “Spacemind,” which follows, have an underlying sense of triumph, but the momentum that carries through them isn’t to be understated, Markus and Jani making for a rhythmic powerhouse beneath Petri‘s echoing solo as “Journey to the Space Mountain” pours through its midsection, eventually making its way, gloriously, back to the chorus as part of a build the apex of which strikes just before feedback caps off.

A quieter, more Floydian beginning sets the course for “Spacemind,” but there’s a tension in the bass and drums as well as the first verse takes hold, Jani‘s vocals coated in effects, keys adding to the melody of Petri‘s guitar. Before the two-minute mark, “Spacemind” hits into its chorus with even more of a feeling of arrival than “Journey to the Space Mountain,” but it’s still just the beginning, as Deep Space Destructors use that as the launchpad for an instrumental bridge of classic prog fits and turns before moving back into the soothing verse section like nothing ever happened. They’re not yet at the halfway point of the track, but the fluidity of what they’ve executed already makes “Spacemind” a particular highlight of Psychedelogy. The ensuing jam, calm but purposeful with periodic vocal overlay, seals that, and when the three-piece ignite thrusters and push toward the song’s conclusion, the payoff seems to last until the very final second, clearly making the most of its time — which, just as a reminder, is a construct and doesn’t exist. Brain goes pop.

I don’t know if there’s an intentional difference between side Space and side Void in terms of what Deep Space Destructors are looking to accomplish, but it’s easy enough to read the second half of Psychedelogy as pushing further out along the progressive path the band has thus far marched. Both “Return to the Black Star” (7:05) and closer “From the Ashes” (12:34) keep the flow molten, the overarching vibe spontaneous but subject to some command, and come fleshed out by effects and synth, creating the parameters of the alternate universe in which they dwell. With Jani and Petri together on vocals, “Return to the Black Star” echoes some of the Hawkwindiness of “Journey to the Space Mountain,” but is more patient in that exercise and more willing to bring an improvised-seeming lead to the foreground in its back end. Again, this doesn’t necessarily mark a radical departure from the album’s beginnings, but the continuation presents some subtle turns for those ready to take Psychedelogy on for multiple listens — a process through which it only grows more fulfilling.

Something else “Return to the Black Star” and “From the Ashes” have in common is being less immediately about their hooks, but the core guitar/bass figure in the finale is especially memorable nonetheless for its proggy intricacy — one can’t help but be reminded of peak-era Steven Wilson in some of the ensuing shimmer — and the additional flourish of sitar is yet another distinguishing factor. Ultimately though it’s the core guitar/bass/drums dynamic between the Pitkänens and Lassila that carries “From the Ashes” over so effectively, and beneath the swirl, the kosmiche thematics and the range, that turns out to be what most draws these songs together with the rest of Deep Space Destructors‘ body of work. Their time on “spring break” was not misspent, and whether they’ll resume the album-per-year pace of their first three outings, I wouldn’t speculate, but they’ve come into Psychedelogy with a clear sense of who they are and what they want to be as a group. If they follow through going forward on their own terms, then all the better, whatever those terms might be.

Deep Space Destructors, “Return to the Black Star” official video

Deep Space Destructors on Thee Facebooks

Deep Space Destructors on Bandcamp

Deep Space Destructors website

Space Rock Productions website

Psychedelogy order page at Sapphire Records

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Glitter Wizard Announce European Tour Starting April 8

Posted in Whathaveyou on February 17th, 2017 by JJ Koczan

Hints were dropped last fall of a return trio to Europe from San Francisco’s Glitter Wizard to herald the arrival of their Hollow Earth Tour full-length and alliance with Italian label Heavy Psych Sounds, and beginning April 8 on the first of several Italian dates, that stint will begin. Its trajectory leads the Californians toward a closeout set at Desertfest Berlin 2017, at which point they’ll have been on the road for three weeks solid, playing in the aforementioned Italy as well as France, Germany, Austria, Switzerland and Belgium. I say or at least think this about nearly every European tour I see — BECAUSE I’D VERY MUCH LIKE TO TOUR EUROPE, THANK YOU — but it looks like a damn good time.

You’ll find the dates below, snagged from Heavy Psych Sounds on the social medias with all good intentions.

Dig:

glitter wizard european tour

Glitter Wizard – European Tour April 2017

HEAVY PSYCH SOUNDS Records & Booking is very proud to announce the European dates for GLITTER WIZARD

The band will be on tour promoting their latest album “Hollow Earth Tour.”

The tour will feature as last date the mighty Desertfest 2017!!

08.04.2017 IT Pescara-Scumm
09.04.2017 IT Castel D Ario-Hostaria
10.04.2017 IT Zerobranco-Altroquando
11.04.2017 IT Trieste-Tetris
12.04.2017 IT Erba-Centrale Rock
13.04.2017 IT Parma Tba
14.04.2017 FR Eisenheim-Woodstock Guitar Shop
15.04.2017 CH Ins-Schuxenhouse
16.04.2017 CH Olten-Coq D’Or
17.04.2017 DE Karlsrhue-Akk
18.04.2017 BE Liege-La Zone
19.04.2017 DE Stuttgart-Goldmarks
20.04.2017 AT Innsbruck-Pmk
21.04.2017 AT Bludenz-Villa K
22.04.2017 IT Caldaro-Kuba
23.04.2017 DE Freiburg-White Rabbit
24.04.2017 CH Basel-Swartze Erle
25.04.2017 AT Salzburg-Rockhouse
26.04.2017 CH St Gallen-Rumpeltum
27.04.2017 DE Cottbus-Zum Faulen August
28.04.2017 DE Erfurt-Tiko
29.04.2017 DE Berlin-Desert Fest

Glitter Wizard:
WENDY STONEHENGE: “Master of Ceremonies,” vocals / flute / lyrics / piano
LORFIN TERRAFOR: “Minister of defense,” guitar / vocals / piano / percussion / bong
KANDI MOON: “Ambassador to Hollow Earth,” bass / vocals / acoustic & electric guitar / piano
FANCY CYMBALLS: “Minister of Transportation,” drums / tecate
DOUG GRAVES: “Minister of Records,” keys / synth / organ / violin / vocals

https://glitterwizard.bandcamp.com/
http://www.facebook.com/#!/pages/Glitter-Wizard/77619029508
https://www.facebook.com/HEAVYPSYCHSOUNDS
http://www.heavypsychsounds.com/

Glitter Wizard, Hollow Earth Tour (2016)

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Year of the Cobra Shows in France and Germany Start March 1

Posted in Whathaveyou on February 17th, 2017 by JJ Koczan

year of the cobra single

No strangers to spending time on the road at this point, Year of the Cobra are set to make their first trip abroad. The occasion is an appearance set for March 4 at Hell Over Hammaburg, but they’ll be doing headlining gigs starting March 1 in Lille, France, with other shows in Germany as they continue to support their 2016 STB Records debut album,  …In the Shadows Below (review here), as well as the limited single you can see above, originally put out by H42 Records and sold through last year, but the final copies of which the Seattle duo will have with them for the shows.

Upon their return, Year of the Cobra will take part March 11 in this year’s Ceremony of Sludge in Portland (info here), and they were also recently confirmed for adding a Pink Floyd cover to the impending Magnetic Eye Records tribute, The Wall [Redux], for which a crowdfunding campaign is on now (info here).

To top it all off, the band gives the hint below that they’ll be back in Europe this fall for a more complete tour. I would be downright amazed if that didn’t include one or more of the autumn festivals — Desertfest Belgium or Athens, Keep it Low, etc. — but that’s speculation on my part for now and we’ll have to see what comes together over the next few months. Seems fair to expect Year of the Cobra to have more US activity in the works as well, so keep an eye out.

Here’s the latest info:

year of the cobra european tour

This is YOTC’s first European tour and we’re heading over to play Hell Over Hammaburg Festival in Hamburg, Germany. We’re playing a handful of headlining dates around the festival in Germany and France.

H42 Records released a limited edition 7″, specifically for Hell Over Hammaburg and our tour – which sold out online within hours. We’ll have a small number of these for sale at our shows, they are the only copies available.

We’re planning on heading back to Europe in the fall for a full European tour.

Year of the Cobra on tour:
March 1 Lille FR
March 2 Essen DE
March 3 Berlin DE
March 4 Hamburg DE – Hell Over Hammaburg
March 5 Freiburg DE

http://yearofthecobra.com
https://www.facebook.com/yearofthecobraband/
https://yearofthecobra.bandcamp.com/
https://www.youtube.com/user/H42Records
https://www.facebook.com/H42Records/
https://twitter.com/H42Records

Year of the Cobra, “Persephone” official video

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Nightstalker European Tour Dates Announced

Posted in Whathaveyou on February 17th, 2017 by JJ Koczan

nightstalker

It was half a decade between releases before Greek heavy rockers Nightstalker unveiled their seventh album, As Above, So Below (review here), late last year. They’re wasting precious little time in getting out to support it. This Spring, the Athens-based outfit will head out for slots at Riffolution, Hell Over Esslingen and Soundart festivals over the course of March, April and May, and around those appearances, they’ll spend a good amount of their days touring. I don’t know when the last time the veteran four-piece hit the road was, but they’re covering a good amount of ground across Europe this time, and it seems likely more dates will follow for later in 2017.

Shows are presented by Total Volume Agency, who sent the following along the PR wire:

nightstalker euro tour

Nightstalker – European Tour 2017

It’s the original superfreaks Nightstalker – louder than ever!

There’s not much to say about Nightstalker. The three decades on heavy rock duty, the countless hours on stage, as well as the worldwide praise and respect speak for themselves. With last-year’s nifty “As Above, So Below” in their luggage, the legendary Greek four-piece will bring its smoked up ter-RIFF-ic grooves to no less that 12 countries across Europe, in a massive tour organised by Total Volume.

Check the dates, find a town near you, grab a beer and come say high!

Dates:
25/3 – Manchester (UK) @ Riffolution Festival
01/4 – Sofia (BG) @ Live N Loud
02/4 – Bucharest (RO) @ Quantic
05/4 – Cluj (RO) @ The Shelter
06/4 – Timisoara (RO) @ Daos Club
07/4 – Novi Sad (RS) @ The Quarter
08/4 – Graz (AT) @ Club Wakuum
10/4 – Vienna (AT) @ Das Bach
12/4 – Regensburg (DE) @ Alte Mazerei
13/4 – Berlin (DE) @ Wild At Heart
15/4 – Copenhagen (DK) @ Beta2300
19/4 – Cologne (DE) @ Limes
20/4 – Arnhem (NL) @ Willemeen
21/4 – Oldenburg (DE) @ Cadillac
22/4 – Munster (DE) @ Rare Guitar
25/4 – Paris (FR) @ Le Batofar
26/4 – Lucerne (CH) @ Bruch Brothers
28/4 – Linz (AT) @ Ann And Pat
29/4 – Frankfurt (DE) @ Yachtklub
30/4 – Esslingen (DE) @ Hell Over Esslingen Festival
01/5 – Erba (IT) @ Centrale Rock
03/5 – Zagreb (HR) @ Vintage Industrial Bar
06/5 – Bucharest (RO) @ Soundart Festival

Nightstalker is:
Argy (Vocals)
Andreas Lagios (Bass)
Tolis Motsios (Guitars)
Dinos Roulos (Drums)

https://www.facebook.com/nightstalkerband/
https://nightstalker.bandcamp.com/
http://www.nightstalkerband.com/
http://shop.bilocationrecords.com/index.php?k=1072&lang=eng
https://www.facebook.com/oakislandrecords/
https://www.facebook.com/totalvolumebackline/

Nightstalker, As Above, so Below (2016)

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