1.4. THE GOLDEN GRASS / WEDGE


The Golden Grass is free-wheelin, good-time rock and roll band. They play a soulful mix of heavy-country-funk-boogie and progressive-psychedelic-freakbeat. Their music is bursting with a feel-good energy, inspiring with an earnest vibe, and classic in a modern time.

…the Golden Grass weave a tapestry~
***rooted in sun-soaked and funky southern/country US classic rock back-beat
***emblazoned with swinging, hip and groovy UK mod/soul/freakbeat vibrations
***bursting with proto-metal and bluesey-prog overtones
~get in on it….

Their 3rd album „Absolutely“ was released in 2018 on Listenable Records.

thegoldengrass.bandcamp.com


Wedge was born into the spotlight in 2014. The trio was founded in Berlin by guitarist/singer Kiryk Drewinski (ex-Liquid Visions & ex-The Magnificent Brotherhood), drummer Holger “The Holg” Grosser & bassist/organist Dave Götz and named itself after the first stone tool of human history.

Their sound is accordingly archaic, extremely effective, “made from solid rock” and, when used correctly, causes fire … especially live! WEDGE blends mainly elements of classic rock, 60s garage and some Psychedelic with a proper dose of joy while playing.

Their latest studio album “Killing Tongue” saw it’s release in February 2018 on Heavy Psych Sounds Records and was accompanied by a 50 shows tour through Germany, France, Spain, The Netherlands, Belgium, Austria, Poland & Italy.

www.wedgeband.com

Arena Vienna / Dreiraum / adv 14 € / doors 17 € / 20.00h

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22.3. SPIDERGAWD / THULSA DOOM


Spidergawd is a rock band formed in Trondheim, Norway in 2013. The founding fathers of the beast was Per Borten (Cadillac & Moving Oos) on guitars and vocals, Bent Sæther (Motorpsycho, The International Tussler Society & Sugarfoot) on bass, Rolf Martin Snustad (Hopalong Knut & Samvirkelaget) on saxophones and Kenneth Kapstad (Motorpsycho, Monolithic & God Seed) on drums. On June 1 2016 it was announced that Bent Sæther was leaving the band to have more time for his other projects. The band brought on Hallvard Gaardløs as a fulltime bassist, and after falling in love with the young bassplayer from Toten, he stayed put from the first strum.

They released their debut album Spidergawd on 31 January 2014.

Their sophomore album Spidergawd II was released on 16 January 2015.

The third album, appropriately called Spidergawd III, was released 22 January 2016.

Spidergawd IV on the 24th february 2017.


And now Spidergawd V will mess with everybodys ears from the 11th january 2019.

All album cover art by Emile Morel.
www.emilemorel.com

spidergawd.no

Thulsa Doom is a Norwegian heavy metal band. The band was formed in 1999 by guitarist Ole Petter Andreassen (also a member of The Cumshots and Black Debbath), under the stage name El Doom. He was joined by his Black Debbath colleague, bass player Egil Hegerberg, using the name Angelov Doom, as well as singer Papa Doom, guitarist Doom Perignon and drummer Fast Winston Doom.

The band’s music is somewhat similar to stoner rock legends Kyuss and early Black Sabbath. The band’s debut release She Fucks Me was released in 2000.

The band’s latest album “A Keen Eye For The Obvious” is a bit less heavy and more melodic than the previous albums.

https://www.facebook.com/thulsadoomnorway/

Arena Vienna / small hall /  adv 16€ / 20.00h

7.3. WINDHAND / GRIME / LOATHER




Founded in 2009, the Virginia quintet have been making waves since the release of their 2010 practice space demo, a two-track CD that garnered the band comparisons to artists like Electric Wizard, The Devil’s Blood, and Black Sabbath. That auspicious start was further realized in March 2012 when the band released their self-titled debut, which quickly became an underground hit and sold out of multiple vinyl presses in a matter of months.

A year later, the band officially signed to Relapse Records. After a steady touring schedule, the band collaborated with Richmond brethren Cough on a split entitled Reflection of the Negative, which was released on Relapse in April 2013. Pitchfork deemed the split WINDHAND’s “best music to date,” and the record’s positive critical reception helped pave the way for the band to release the highly anticipated album Soma in September 2013. Stereogum, Spin, and the LA Weekly featured Soma prominently on their overall best-of lists. The album was heavily represented in countless metal publications including Revolver, Invisible Oranges, MetalSucks, and Metal Injection. Rolling Stone, NPR, and Pitchfork all took note of Soma as well; the former considered the album the third-best metal release of 2013.

Soma was no flash-in-the-pan internet phenomenon. In 2013 and 2014, the band embarked on a series of support and headlining tours across North America, Europe, and Australia, sharing the stage with the likes of Sleep, High on Fire, Dead Meadow and Kvelertak. In addition, WINDHAND appeared at major festivals including Roadburn, SXSW, Scion Rock Fest, Day of the Shred and Maryland Deathfest. SINDHAND also took the time in October 2014 to follow up Soma with a brief two-track Halloween split alongside Swedish doomsters Salem’s Pot (released on Riding Easy Records). Noisey liked the record so much that they declared the band “must have definitely sold their souls for their new split.”

WINDHAND returned in 2015 with their third full-length, Grief’s Infernal Flower, a multifaceted slab of thundering stoner doom that Noisey has called “doom metal’s most anticipated album of the year.” Produced by Jack Endino (Nirvana, High On Fire, Soundgarden, etc), Grief’s Infernal Flower is massive, heavy, and personal, a modern testament to the power of doom and stoner metal’s legacies. One sees the urgency the band have displayed over their career reflected in their music – long-canonized tropes are reimagined and reinvented. Windhand convey an irrepressible sense of motion even within the slowest of songs. Front woman Dorthia Cottrell firmly establishes herself as one of the best vocalists of the genre by perfectly balancing beauty with enormous power, and the guitar attack of Garrett Morris weaves together nine songs of perfect riffs and fuzzed-out bliss. That often-delicate splendor is all tempered by the colossal rhythmic mastery of bassist Parker Chandler and drummer Ryan Wolfe, whose lower-register expertise serves as the backbone of the new record. Though the first two WINDHAND albums were underground classics, Grief’s Infernal Flower stands to see WINDHAND cementing themselves as one of the premier metal bands of our time.

October 2018 saw the release of „Eternal Return“, the fourth full length, represents a new era for the group, a chrysalis moment that takes them to new and unforeseen heights. Across nine songs and 63 minutes, Eternal Return is an infectious display of songcraft cloaked in alluring atmosphere, molten fuzz, eerie psychedelia and ethereal vocals. The album was once again produced by Jack Endino with vivid artwork by Arik Roper (Sleep, High on Fire). Equally informed by heavy, fuzzed-out psych along with the iconic grunge / alternative groups of the 90s, WINDHAND have crafted a record brilliant in scope, powerful in execution, and perfect for an era of increasingly blurry yet still heavy borders.

windhand.bandcamp.com

Grime started its mission in Trieste, Italy in summer 2010.
Their only goal is bringing destruction to a town near you.
Their sound is rooted in rotten burial ground and their songs are the sound of a decaying swamp filled with trash.
Their slow and heavy groove is filthy and vicious, guitar riffs are sharp and covered with rust, drums and bass hit with the unstoppable power of a mud avalanche.
A new Ep will be released later this year on Argento Records.

grime666.bandcamp.com


Loather tries to musically express the dark, depressive though beautiful facets of life.
The main components of the sound are reduced, in order to focus on the whole opus.


loathermusic.bandcamp.com

Arena Vienna / Small Hall / adv 16 € / 20.00h

30.11. UNCLE ACID & THE DEADBEATS / L.A. WITCH @ FLEX VIENNA


The brainchild of mercurial Cambridgeshire mystic Kevin Starrs, Uncle Acid & The Deadbeats have been making extraordinary music since 2009. Always too bold and idiosyncratic to be easily pigeonholed, they emerged from an obscure corner of the labyrinthine English underground as shadowy purveyors of a new and overwhelmingly psychedelic take on the gruff and gritty rudiments of hard rock and turbo-blues, powered by the dark, lysergic heart of the late ‘60s and early ‘70s and drenched in woozily macabre imagery. Steeped in both the wayward melodies and mischievous arrangements of psychedelic pop and the dissonant thunder of proto-metal and doom, Starrs’ greatest feat has been to create an entirely fresh sonic world from these most familiar of ingredients.

Uncle Acid & The Deadbeats’ reputation was swiftly built on towering, riff-driven milestones like 2011’s breakthrough opus Blood Lust and its warped and wicked follow-up, Mind Control (2013); both released through Rise Above Records and subsequently showered with critical acclaim. By the time Starrs’ band created The Night Creeper in 2015, their mutation into heavy music’s most unmistakable eccentrics was complete, as their leader cranked up the melodic weirdness, rendering his monstrous ideas in something approaching three-dimensional Technicolor.


Firmly established as cult heroes, Uncle Acid & The Deadbeats consolidated The Night Creeper’s triumph by touring the world extensively, including a string of sold out shows in the U.S., Europe and Australia. After sustaining that momentum with Starrs’ long-awaited remix of his band’s hard-to-find eponymous debut album from 2010, the singer/guitarist and his henchmen spent much of the last year immersed in the process of making a fifth full-length album. 47 minutes of vital, audacious and frequently bewildering heavy psychedelia, it bears the title Wasteland and is instantly recognisable as Starrs’ most immersive and evocative body of work yet.


“There’s not enough melody or harmony in new music for my liking,” says Starrs. “I wanted to go even further with all of that this time, and really force it down people’s throats! It’s important to me that someone keeps it going, especially in heavy music. I always write to my own tastes, so as long as it appeals to me, I don’t really think about it. But I would say that it’s all been an instinctive progression.”

A disorientating journey through Starrs’ wonkiest dreams, Wasteland glides majestically from punchy and direct psych-rock anthems like I See Through You and Shockwave City to the viscous, somnambulant ooze of the eight-minute No Return and the twinkly-eyed bad trip of the album’s mesmerising title track. Recorded at the legendary Sunset Sound studio in Los Angeles, Wasteland boasts the kind on irresistibly raw and exuberant sound that only the greatest bands can generate. Later completed at Starrs’ own studio, the new songs showcase a newly refreshed line-up, with Starrs once again joined by long-time bassist Vaughn Stokes (who will play rhythm guitar at future live shows, handing over bass duties to Jus Smith) and also latest recruit, drummer Jon Rice.

Yet more confirmation that Uncle Acid exist in their own musical universe, Wasteland is also a powerful cautionary tale: one rooted in the alien landscapes of Starrs’ imagination, but with a very clear connection to the deranged chaos of today’s political world. As humanity cheerfully circles the plughole, Dystopian visions and present-day horrors have become more-or-less interchangeable, making Wasteland’s ghoulish surrealism a lot more pertinent and disturbing in the process.


“The album is set in a land where people live in walled cities, under heavy surveillance, cut off and in fear of one another,” Starrs explains. “All their thoughts, knowledge and memories have been wiped clean, leaving them like the living dead, barely functioning and addicted to the glow of flickering propaganda screens.”

“In the underworld, there are program discs for the brain that can replace stolen thoughts and allow people to finally think for themselves,” he continues. “It gives them knowledge to escape the misery of the cities and to reach the freedom of the outer wastelands, but the wasteland, of course, is total hell on earth. The general idea seemed quite fitting with all the propaganda and misinformation that we’ve been bombarded with in recent years.”

While most musicians seem content to chase their own (or other people’s tails), Uncle Acid & The Deadbeats remain proud and resolute individualists and Wasteland is simply their most powerful and memorable spurge of creativity to date. Masterfully echoing the magical atmospheres of heavy music’s turbulent past while sounding entirely unlike anything else available to human ears, this is what happens when the shadows come to life and suffocating darkness, Uncle Acid & The Deadbeats style, is the only show in town.

www.uncleacidband.com


In the dimly lit interior of a small nightclub, where the stale smell of a thousand extinguished cigarettes drowns out the smell of spilt beer and broken dreams, a band plays against a backdrop of cheap golden tinsel. Outside, palm trees line the night’s horizon. In the years to come, the streets will swell into highways and interstates, but for now Los Angeles is still a young city growing daily with transplants from across the United States, all looking for a new life. It’s still a city largely cut off from the rest of the country, and in the years before the Manson family forever tarnishes the infinite hope of the Western enclave and before the Hell’s Angels of Altamont interrupt rock n’ roll’s peaceful trajectory with unprecedented violence, there is still a dreamy California sound for those dark rooms suffused with neon light. The three women of L.A. Witch wouldn’t be born for several decades, but their sound transports you back to those warm Californian nights in smoky rooms.


The name is a partial misnomer. Though the band hails from Los Angeles, they do not partake in any sort of witchcraft. Yet their ability to conjure a specific time and place through their sound does suggest a kind of magic. On their eponymous debut album, L.A. Witch’s reverb-drenched guitar jangle and sultry vocals conjure the analog sound of a collector’s prized 45 from some short-lived footnote cult band. The melodies forgo the bubblegum pop for a druggy haze that straddles the line between seedy glory and ominous balladry; the production can’t afford Phil Spector’s wall-of-sound, but the instruments’ simple beauty provides an economic grace that renders studio trickery unnecessary; the lyrics seem more descendent of Johnny Cash’s first-person morality tales than the vacuous empty gestures of pre-fab pop bands. This isn’t music for the masses; it’s music for miscreants, burnouts, down-and-out dreamers, and obsessive historians.

Album opener “Kill My Baby Tonight” is the perfect introduction to the band’s marriage of ‘60s girls-in-the-garage charm and David Lynch’s surreal exposés of Southern California’s underbelly. Sade Sanchez’s black velvet vocals disguise the malicious intent of this murder ballad, with the thumping pulse of bassist Irita Pai, the slow-burn build of drummer Ellie English, and Sanchez’s desert guitar twang helping beguile the listener into becoming a willing accomplice to the narrator’s crimes. “Brian” follows the opening track with a similarly graceful, if not somewhat ominous, slow-mo take on a well-worn jukebox 7”. It’s a vibe that permeates the entire album, from the early psychedelic hue of 13th Floor Elevators on tracks like “You Love Nothing,” through the motorik beat and fuzzed-out licks of “Drive Your Car,” to the grittier permutation of Mazzy Star’s sleepy beauty on “Baby In Blue Jeans.”



L.A. Witch was recorded at Hurley Studios in Costa Mesa and mixed in Highland Park, Los Angeles, though early incarnations of several songs from the album originally surfaced on limited edition singles released over the last several years. The band’s initial aspirations were humble. “We never really thought we would or could release an album,” the band says. “We were really just finding each other and finding our sound.” But after touring nearly non-stop for the last three years, L.A. Witch developed a singularly seductive, haunting, and wistful sound that enamored the garage rock, dream pop, psych, and broader indie communities.


lawitches.bandcamp.com


DUE TO CONSTRUCTION WORK AT ARENA, THE SHOW WILL TAKE PLACE AT FLEX CLUB.

Flex Vienna / adv 22 € / doors 26 € / 19.00h

25.11. MUDHONEY / ZEKE / PLEASE THE TREES


Every now and then, a combination will go beyond “appropriate” or “good” and result in something that forever alters the universe. Just imagine a world without chocolate and peanut butter, Doc Martens and a leather jacket, Beavis and Butthead, and of course, Mudhoney and Sub Pop. April 2013 marks the 25th anniversary of both Mudhoney and Sub Pop Records, and there could be no better band to represent the label, past, present and future. Nirvana, Saint Etienne and Fleet Foxes are swell, but no other group has consistently kicked as much ass as Mudhoney, nor has anyone come close. Through two and a half decades, sarcastic grins remain implanted on their grizzled faces, even as empty bottles and the sneakers of a stage diver fly inches from their heads.

Mudhoney have bestowed no less than 2 new albums in 2018 upon us. It’s not their first album. Their seventeenth and eighteenth. “Lie” is a live album from their 2016 European stint, and “Digital Garbage”, their most recent studio effort, according to Pitchfork Media “a grave diagnosis of a festering societal condition”.

A truly remarkable feat for any band, but almost statistically impossible in their case, as we are talking about a band whose 1988 debut Touch Me I’m Sick b/w Sweet Young Thing Ain’t Sweet No More was such a volatile and desperate single that it’s miraculous the band made it through a weekend, let alone another year. In an age where only the newest of the new can survive (and even then, only for a few weeks at best), what could the decades-old Mudhoney have to offer? What could they possibly have left to say?

The answer is plenty. Whereas most groups originally (wrongly or otherwise) associated with the grunge movement have broken up, fallen apart, reunited as shells of their former selves or disappeared entirely (I’m looking at you, Sugartooth), Mudhoney kept on kicking out the garage-rocking, punk-infused, psycho-blues jams, ignoring the trends of the day in favor of scorching feedback, rumbling bass and the inimitable voice of Mark Arm. Vanishing Point is full of that fervor, but the band isn’t masquerading as teenaged, beer-soaked goofballs wandering high school hallways—these are songs written from the rare vantage point of a band who went through the rock ‘n’ roll meat grinder and not only lived to tell such a tale, they came out full of the wisdom and dark humor such a journey provides.


www.mudhoneysite.com


“ZEKE sound like the DWARVES if they snorted a tub of meth every day.”
– LA WEEKLY

“I can say without hyperbole that this big-guitar engine-block rock is a million times better than whatever it is you’re currently listening to.” – GUITAR WORLD

Ride With Zeke has quickly become the mantra for music fans who have accepted the invitation brought by on Heckler Magazine when they said, Welcome the new monsters of rock. And believe me, West Coast punk / thrashers ZEKE are monsters. Ever since their very first gig at the Rock City in Seattle in 1993, people have had no choice but to pay attention. Their records will assault you, and their live show will batter you.


“Hellbender” (Relapse Records) is ZEKE´s  first LP in 14 years.

zekeyou.com


Please The Trees is a psychedelic rock band from the Czech republic. They have been following intuitively the trail of inspiration for ten years now.


Past tours of hundreds of shows included Europe, UK, USA and Israel. The band received Czech Grammy award for the best alternative record of 2012 with their third album A Forest Affair (Starcastic Records), produced by Jonathan Burnside. Fourth studio record called Carp came out at Starcastic Records in September 2015. The album was recorded with Chris Koltay at High Bias Recordings, Detroit during the band’s fourth self organized US tour. After the release the album gets ravishing reviews and receives APOLLO – Czech Critics Choice Music Awards for best record of 2015.


2018 saw the release of their latest LP “Infinite Dance” (Starcastic Records).

bandcamp.pleasethetrees.com/



Arena Vienna / Big Hall / adv 26 € / 19.00h

20.11. ROTOR / TRIPTONUS

Rotor are a stoner rock band from Berlin, Germany. Active since 1998, the band has had six albums of mostly instrumental music released and have toured all over Europe and parts of the U.S. Initially a trio, the band currently functions as a quartet.

Rotor began sometime in the middle of 1998 initially as a trio, with their first live performance on 19 December at Das Weite Theater in Berlin. From there the band would perform more frequent shows in the Berlin area. The band’s first ever show outside of Germany would be at the fifth edition of Roadburn Festival on 22 March at 013 in Tillburg in 2001.

The band’s first album, titled Rotor, was released in 2001 via Monster Zero and setting course for their instrumental rock sound heavily based in groove and psych. A vinyl edition of the self-titled would come in the next year along with an appearance at Stoned From The Underground.

Rotor would begin 2003 by releasing their second album (and first via Elektrohasch Schallplatter) on 24 March 2003 at Rosis in Berlin, the album simply known as 2. From there the band would establish a reoccurring touring habit, wchich subsequently would send them across Europe multiple times.

2006 would see the touring cycles slow as the band would release their third album 3 on 21 May 2006 at Bastard Im Prater in Berlin along with a string of festival shows.
2007 Rotor returned to Roadburn Festival and got on their first tour of Europe alongside Coogan’s Bluff .

2008 saw the band’s first appearance in Italy at Duna Jam and the band celebrating their tenth anniversary show at the Columbia Club on 15 November while going into 2009 the band began work on their fourth studio album along with embarking on their first United States tour with Stinking Lizaveta.

Rotor had released their fourth album 4 at Linse in Berlin on 29 May 2010, the album itself gaining widespread acclaim among stoner rockers everywhere.

2011 would lead the band on a tour of Europe alongside Colour Haze and Sungrazer in what was titled Up In Smoke Vol. 1 and a second tour of Europe later that year entitled Brainbanger’s Ball Vol. 1. A live album for their appearance at Festsaal Kreuzberg saw release in 2011 as well.

The band would start 2012 with their first ever appearance in the UK as one of the performers at DesertFest London. From there Rotor’s live activity would slow for the next few years to concentrate on a new record, mainly only making appearances at festivals (and performing live only once in 2013 and 2014). On 20 May 2014 it would be announced that the band would now be a quartet.

2015 would begin a new era for the band, now performing as a quartet and announcing a fifth album was nearing completion. Now signed to Nois-O-Lution the band would release Fünf on 25 September 2015.


October 2018 saw the release of their sixth Album, Sechs and 20th band anniversary.

This trio from Berlin makes an infernal intensive noise between old Kyuss, older eccentric US-indie-rock and very, very old psychedelic rumble.

rockhard

Attention! Neo-Hippies are at work.

metal hammer

Starless era King Crimson meets Monster Magnet, this is a ferocious slice of distorted riffing and turbo charged wah-pedal action, which stampedes through you like a herd of buffalo chasing the sun. A space-rock masterpiece for the grunge generation.

Terrascope

rotorotor.de


The Vienna based six-piece instrumental collective is known for intense live performances and its very unique combination of psychedelic rock, percussion-grooves and experimental electronica. Their selftitled album reached 150.000+ views on Youtube. Triptonus shared the stage with international acts like Elder, Monkey3, Karma To Burn, Stoned Jesus, Seven That Spells, performed at many international festivals and toured all across Europe.

triptonusband.bandcamp.com

Arena Vienna / Dreiraum / adv 14 € / doors 18 € / 20.00h

19.11. KIKAGAKU MOYO / DOWN WITH GYPSIES

Kikagaku Moyo (Japanese for “geometric patterns”) are a Tokyo-based psychedelic rock band whose sound incorporates elements of Krautrock, Indian ragas, and acid folk. They balance heavy, crushing jams with softer, more contemplative moments, recalling Japanese psych groups like Acid Mothers Temple and Ghost, as well as their predecessors such as Far East Family Band and the Flower Travellin’ Band.

Initially self-released digitally, the album was given a vinyl release by Greek label Cosmic Eye later in the year, followed by an American release by Captcha Records in 2014. The group released two more albums in 2014 (Mammatus Clouds and Forest of Lost Children), and generated growing interest in the international psychedelic scene, with appearances at Austin Psych Fest and L.A. Psych Fest, in addition to successful tours of America, the U.K., and Europe.


In 2015, the group shared split 7″ singles with Moon Duo as well as Kinski and Acid Mothers Temple leader Makoto Kawabata. In 2016, the group’s fourth album, House in the Tall Grass, was released by Japanese label Guruguru Brain.

Kikagaku Moyo released their 5th full length album “Masana Temples” on Guruguru Records in September 2018.

geometricpatterns.bandcamp.com

Down With The Gypsies is a young five piece, based in Karlsruhe, Germany and Linz, Austria. The band was formed in late 2015 by singer & guitarist Gaba Wierzbicka and drummer Tom Schneckenhaus.

In March 2017 they recorded their debut LP “Kassiopeia” at Kapu Studio in Linz, Austria. It was self-released in July 2017. In August and September this year the band toured Europe for the first time. They signed with Stonefree Records, released their debut “Kassiopeia” in a new outfit in early 2018.

downwiththegypsies.bandcamp.com

Arena Vienna / Big Hall / adv 16 € / doors 19 € / 19.00h