Hardcore/Sludge/Thrash from Vienna, since 2010.
Heavy Mammoth Psych Jams, LP-Release-Show.
Psychedelic/70s/Blues/Rock from Vienna.
Arena Vienna / Dreiraum / adv 12 € / doors 15 €
Hardcore/Sludge/Thrash from Vienna, since 2010.
Heavy Mammoth Psych Jams, LP-Release-Show.
Psychedelic/70s/Blues/Rock from Vienna.
Arena Vienna / Dreiraum / adv 12 € / doors 15 €
Founded in the magical forests of Finland, via the green and pleasant lands of England and Ireland, HEXVESSEL are wyrd folk. Formed in 2009 by Mat “Kvohst” McNerney, who having already made a name for himself in extreme metal bands in the UK where he was born and raised, and again in the Norwegian Black Metal scene, finally found his home in the land of the midnight sun. Settling in a country where mythology, tradition and pre-Christian heritage is still alive McNerney, (who also fronts 1980s-excess-tinged gothic pop band Grave Pleasures), found solace in the constant reflection of Finland’s pagan past, awakening secret knowledge that led to the formation of HEXVESSEL.
Since acclaimed debut album “Dawnbearer” (2011), HEXVESSEL have released two further albums of forest folk and bewitching psychedelia. They have played sold out headline tours in their homeland, been nominated for 2 Finnish Grammy awards, toured Europe together with bands like Sabbath Assembly and Alcest, graced the main stage at Roadburn in Holland and performed at SXSW in Texas, seeing their music on the charts and on many critics lists. They embellished their sonic rituals with mushroom-induced psychedelia on third and most recent best-selling album “When We Are Death” to widespread critical acclaim and continue to develop their sound. Their new album “All Tree” sees the band expand upon McNerney’s personal spiritual journey. Reunited with his co-songwriter from “Dawnbearer”, Andrew McIvor, they unfurl their primordial storytelling with a contemporary command of song-craft.
During the writing of “All Tree”, as he sat by the fire in his summerhouse in the Finnish wilderness, McNerney recalled the summers of his youth, spent listening to Celtic ghost stories on his father’s family farm in Galway, Ireland. He began to write music that grew out of that connection between myth and nature and wanted the album to symbolise a pathway toward a spiritual revival of the old fables. From a youth spent in pastoral England to the boggy marsh woods of Ireland, to his homeland forests of Finland, McNerney’s HEXVESSEL reveals nature’s universal tales of hidden spirits. The pagan wilds are portals to reality. You go through them and you enter the universe.
HEXVESSEL write songs in the oral tradition of the old balladeers. They weave everyman stories that create a bond between the teller and the audience, bringing alive a sense of shared purpose and spiritual history. With wife and collaborator Marja Konttinen, like-minded troubadour and co-writer Kimmo Helén, guitarist Jesse Heikkinen, the primal rhythms of Jukka Rämänen (Dark Buddha Rising), and the occult found-sounds of Antti Haapapuro (Aural Hypnox/Arktau Eos), HEXVESSEL has truly become a melting cauldron or “vessel,” a potent “hex” of spellwork.
By drawing on older folk acts like Shirley Collins, Vashti Bunyan, later folk rock bands such as Steeleye Span, Fairport Convention and King Crimson, to more recent artists such as Nick Cave and Coil, imbued with Karelian and Nordic folklore rhythms, HEXVESSEL have created a sound that is both ancient and modern. “All Tree” is about connection and roots, bringing the spirits of the past that we all share to a more mystical and fulfilling vision of the future.
Arena Vienna / “Dreiraum” / adv 16 € / doors 19 € / 20.00h
Earth is an American musical group based in Seattle, Washington, formed in 1989 and led by guitarist Dylan Carlson. Earth’s music is mostly instrumental, and can be divided into two distinct stages. Their early work grew out of the Seattle-area grunge scene and is recognized as pioneering the genre of drone doom — an experimental offshoot of doom metal, characterized by droning, minimalist, lengthy, and repetitive structures.
Earth’s early albums were usually recorded as a duo (Carlson and a bass guitarist), and could be seen as a variation of the experimental doom-influenced metal of The Melvins. Earth currently features a markedly different sound, slow-paced and lengthy, but now with a drummer and featuring strong elements of country music and jazz.
With their latest album “Full Upon Her Burning Lips”, Earth purges the layers of auxiliary instrumentation that embellished some of their previous records and deconstructed their dynamic to the core duo of Dylan Carlson on guitar and bass and Adrienne Davies on drums and percussion. In the process, they tapped into the Platonic ideal of Earth—an incarnation of the long running band bolstered by the authority of purpose, where every note and every strike on the drum kit carries the weight of the world.
Full Upon Her Burning Lips opens with “Datura’s Crimson Veils”, a twelve-minute opus that adheres to Earth’s 21st century approach with Carlson’s sepia-toned Bakersfield Sound guitars lurching across a barren landscape while Davies punctuates the melodies with death knell drums. It’s a sound that harkens back to the riff-constructed vistas of their Angels of Darkness, Demons of Light albums, but stripped of their ornateness.
“It was definitely a very organically developed record,” Carlson says of the process. “I limited the number of effects I used. I always like the limiting of materials to force oneself to employ them more creatively. Previous Earth records were quite lush sounding, and I wanted a more upfront and drier sound, using very few studio effects.” In less capable hands, these kinds of limitations might diminish the aural scope of the compositions, but Carlson and Davies have always thrived on reductive methods.
The stripped down approach had another advantage. “I really wanted the drums to be present,” Carlson says. “I felt with previous Earth records that other instrumentation took up so much of the sonic space that the drums were kind of pushed to the side.” This tactic helps highlight Davies’ ability to elevate the drum kit beyond its mere metronomic functions and allows it to serve as an expressive, nuanced, and tonally rich component to Earth’s arsenal of sound.
In addition to scaling back on their ranks, Earth altered their previous trajectory by entering into Full Upon Her Burning Lips without a conceptual arc to guide the process, relying instead on their collective subconscious to hone in on the overarching muse as the songs developed. “In the past I’ve usually had a strong framework for an album,” Carlson says. “This one developed over the course of writing and recording. It just felt like ‘Earth’—like just the two players doing their best work at playing, serving the music.”
The absence of a pre-existing narrative guiding the compositions meant that the songs were more open and intuitive, often resulting in more terse musical vignettes like the richly harmonic “Exaltation of Larks” or the dreamily itinerant “Maidens Catafalque”. Yet subconscious impulses gradually created their own subtext for the album. “I wanted this to be a ‘sexy’ record, a record acknowledging the ‘witchy’ and ‘sensual’ aspects in the music… sort of a ‘witch’s garden’ kind of theme, with references to mind altering plants and animals that people have always held superstitious beliefs towards. A conjuror or root doctor’s herbarium of songs, as it were.”
Alison Chesley aka Helen Money is a cellist who has become known for her adventurous sound, bold compositions, and compelling stage performance. Called “A classical-cellist-turned-avant-metal virtuoso” by the Boston Phoenix, Chesley channels her sensibilities and experience as a rock musician through a classical instrument, altering both genres without apology. She has played on over 150 albums with artists such as Disturbed, Bob Mould, Mono, Anthrax, Broken Social Scene, Russian Circles, and Archer Prewitt among others.
She began composing music for films, theater and dance including two world premiers with the modernist icon Shirley Mordine. And, in 2007, Alison wrote the first Helen Money album and released it on her own label, Cellobird Records. Since then, she’s recorded three additional albums as Helen Money, the latest of which, Become Zero, is available on Thrill Jockey Records. Helen Money has toured the world several times over opening for bands such as Sleep, Shellac, Earth, Mono, Neurosis, Magma and Jarboe including a 2015 appearance on The David Letterman Show with Bob Mould and an appearance at the 2012 ATP Festival in London curated by Portishead.
Arena Vienna / “Small Hall” / adv 20 € / doors 19.00
For the few lucky bands who live to see a career blossom out of their passion, even fewer manage to avoid the hopeless creative stagnation that happens when hobby turns into ”work”. We all know that as soon as rock n roll starts to resemble going to the office, there are no winners – everybody’s screwed. As the German trio KADAVAR – arguably the hardest working band in European rock – stand on the brink of releasing their fourth full length album, they look back at a seven year long career of doing things the other way around. Rather than this being the time to start talking about how music is just another way of paying the bills, they could not be more in tune with the main reason anybody starts a band in the first place – liberation.
“We used to put ourselves under a lot of pressure,” says guitarist and vocalist Christoph ‘Lupus’ Lindemann. “We didn’t want to be just another rock band, we wanted to be the best. Now we are free from the idea that we need to hit the charts or fill big halls to become happy. To get to that point everyone involved needs mental maturity, and this satisfies me more than any full arena.”
Not that they are strangers to neither chart positions nor sold out venues. After being formed in the German capital city back in 2010, the word of KADAVAR playing in a different league from their retro rock-labelled peers quickly spread worldwide, resulting not only in audiences growing past the 1000 mark on their many tours, but also in chart positions for their third and latest album »Berlin« – entering on position 18 in Germany and 21 in the US Heatseekers charts. Highly regarded as one of the most explosive live experiences on contemporary rock scene, their secret seems to be boiled down and brewed from three ingredients: an accessible yet personalized brand of classic rock; a no-frills approach to everything they do (”minimal arrangement, maximum effect”); and that undeniable German tenacity, yet again.
The trio form a uniqe symbiose, challenging each other to fill the sonic space between them when the curtain goes up – and to grow even closer after it’s gone down. “Being only three on stage does not give you much margin of error, so each and every one of us need to kick ass every night. But at least it gives everyone enough space to express himself, sonically and physically on stage,” Simon says.
In the beginning of 2017 the band prepared to start a new album cycle by literally rolling up their sleeves and building a brand new recording studio from scratch. Over 100 square metres inside an industrial complex in the area of Neukölln in Berlin is now their creative haven and workplace alike, and this is where the follow-up to »Berlin« has started to take form.
“We have been giving it quite a lot of thought, how we want to continue after the last album,” says Tiger. “Maybe I try not to only be a musician, but to think, write and play like an artist. It sounds corny, but I mean it in the way a brick layer differs from an architecht. Not to only lay brick by brick, but create a nice vision of a house with different rooms.”
“We would not respect ourselves and our followers by putting out just another KADAVAR album. It needs to be different and hopefully better!” They might have eased up on the competitive attitude, but don’t believe for a second the hunger is gone. : “When you realise you have taken it to the next level, where you can live from music and see the world – you work your ass off to keep that. What else should we do? We are useless in the normal world. And maybe it looks harder than it is…”
In a parallel time a knight and a seer walks a dark earth trying to solve the mysteries of the world, guided only by the stars. If you want to escape reality for while and flee into this madness, you’re welcome to open this heavy door and enter the enchanted universe of Hällas.
By the ancient landscapes, woods and medieval relics, the Swedish quintet takes their inspiration to express their way of making music into tales, blending progressive rock with early heavy metal. Hällas invites you to an adventure you’ll never forget. You can’t escape your fate.
PABST are a Berlin-based power trio who are ready to transcend the definitions of modern rock music. In an era where grunge has been marginalized into a fashion statement, PABST revitalize the genre with elements of noise-rock, stoner-rock and R&B.
With their debut EP, they tramp the territory that lies between NIRVANA, DINOSAUR JR. and TAME IMPALA, while unabashedly flirting with female pop groups from the early 00s. Both sexy and profound, Skinwalker is a “petite mort” for grunge fans that definitely lasts beyond a one-night stand. (Robert Westerveld)
Arena Vienna / “Big Hall” / adv 25 € / 19.00h
Conan, a monumentally brutal three piece (in the grand tradition of all the hallowed three pieces through time) hold a sinew-tight line and an iron-grip command over the uber-synchronised powerchord changes and tempo-shifts of the anti-holy trio of bass, drums and guitar. Two weary yet defiant men have the task of vocalising wretched thoughts over the turgid weight of Conan’s metalized bombast. They bear it well, for the task is immense.
Hear the roar of battle. Smell the stench of split blood. A thousand heads piled high like a grim mound of suffering – a blasphemy to nature. Hail Conan!
If troglodytes could have gotten their paws on a Fuzzthrone or other fuzz pedals…they would have probably bashed each other`s skulls in. Conan on the other hand use these beautiful tools to wrench the maximum out of their legendary Caveman Battle Doom.
The British trio presents a tar monster named Existential Void Guardian that seems even more menacing as soon as it gets high on its own downtuned groove frenzy.
Two years after the remarkable Revengeance, Conan once more leave us baffled with a previously unknown side to dual vocal sludge – behold the painful melody splinters ‘Eye To Eye To Eye‘ leaves behind or the insane grind intermezzo that is ‘Paincantation‘. True beauty lies in dissonance, and it always will.
UN is a doom metal band from Seattle, WA. UN received critical praise from across the heavy metal underground for their groundbreaking sophomore opus, “Sentiment” (released September 28, 2018 via Translation Loss Records).
Praised by Decibel Magazine, Metal Injection, Revolver Magazine, Stereogum, and more, Sentiment earned widespread recognition and became 2018’s most sought after doom record.
Unafraid to reveal somber themes of tragedy, sorrow, and isolation, UN fueled each note of Sentiment with purpose, resulting in overwhelming waves of thunderously crushing doom and emotive sonic soundscapes. Blending soaring post-rock, shoe-gaze, and funeral doom, UN have carefully crafted monoliths that deeply explore the romance and poetry of fragile human existence making Sentiment one of the year’s most gripping and emotive doom records.
“If I could describe SIXES in one word, it’d be “Grindhouse.” Not because their craft is shabby, but because the approach to their core focus, even in this day and age, is taboo, violent, and abrasive.”
-Elizabeth Gore, Doomed & Stoned.
“This has all that a growing sludge fan needs: slow riffs – check, sandy growling bass – check, claustrophobic drums – check, feedback – check”
-Regnars Breikss, Shit Regnar Says.
“A powerful knockout session to your senses.”
-Marty Jones, Vitriol Inc.
Beyond a highly recognizable sound, MARS RED SKY have been opening gateways to new dimensions with their otherworldly songs since their self-titled debut back in 2011. Whether you experience their records or live performances, their hulking yet trippy brand of stoner rock takes you onto an infinite journey. From the early days, the Bordeaux trio has established as an essential live act, treading upon the biggest rock and metal stages (SXSW, Hellfest, Roadburn, Desertfest, Eurockéennes festival) and opening for the likes of Sleep, Dinosaur Jr., Kyuss Lives!, Killing Joke or Gojira.
With their sophomore full-length “Stranded In Arcadia” (2014), a sci-fi odyssey filled with dystopian reveries, MARS RED SKY quickly became a cornerstone band among the heavy rock scene, garnering praise from international critics.
“Hypnotic”, “massive”, “charismatic”, “psychedelic” are some of the tags used to define the prolific trio’s sound, floating atop the stoner rock constellation and 70s psych pop nebula. Two years and hundreds of shows across Europe and Americas later, the band releases their third album “Apex III (Praise For The Burning Soul)” (2016). Once again produced by Brazilian engineer Gabriel Zander, their behemoth sound blends perfectly with Julien Pras ethereal vocals and guitars, opening a door to even more bewitching paths.
In 2017, MARS RED SKY treated the fans to a highly collectable item with the “Myramyd” EP – an instrumental odyssey in the form of a 17-minute live recording. After another two years spent on the road, 2019 felt like the right time to return with their brand new album “The Task Eternal” on Listenable Records, which is set to be followed by a couple of extensive European tours.
Dätcha Mandala is a power trio. Founded in 2009, the band’s members include Nicolas Sauvey (lead vocals, bass and mouth organ), Jérémy Saigne (guitar and back-up vocals) and Jean-Baptiste Mallet (drums and back-up vocals). With influences ranging from Led Zeppelin to The Beatles, Black Sabbath and The Black Angels, they tend to describe themselves as a psychedelic rock band engulfed in heavy blues.
Since its beginnings, the band has performed more than 500 gigs, travelled in different coutries (Italy, Germany, Spain, Holland, Slovenia, Switzerland) and shared the stage with The Bellrays, Radio Moscow, The Datsuns, Mars Red Sky, DeWolff, Angelo Moore, Samsara Blues Experiment, Endless Boogie, 7 Weeks, Shaka Ponk, The Cosmic Dead, Bob Wayne, The Dictators…
Arena Vienna / “Dreiraum” / adv 16 € / 20.00h
Ready for take-off? Buckle up and hold on tight when the “fuzztronauts” of PARASOL CARAVAN start their spaceship and speed across the stage with the riff force of a supernova. The Linz-based band counts on calm psychedelic moments merged with heavy fuzz and driving guitar riffs, a fusion epitomizing the right amount of progressiveness and beaming the listener directly into orbit.
Since their formation in 2009, Parasol Caravan’s fuzztronauts have worked tirelessly on their reputation as an outstanding live act in the stoner rock cosmos.
Parasol Caravan have been working hard on their new record and are proud to finally unleash „Nemesis“ (töchtersöhne Records) on to the public on October 25th.
Savanah is an Austrian Stoner Rock Trio from Graz, formed in 2014.
The band takes influences from Doom, Desert and Psychedelic Rock to create their unique sound, once described as aggressive Stoner with a deafening bass and powerful riffs. Energetic Live-Performances are part of the bands character and attitude.
The moment rock appears to be manifested in the brain, Savanah lifts the listener with hypnotic heavy riffs and alternating loud and apathetic tones into a world that covers all facets of the emotional palette. The different moods offer the audience the freedom to dive into different states of mind. Wether they lose themselves in the darkness of their own, or withdraw with a smooth spirit into the sphere of the magellanic clouds is up to them.
Their latest Album „The Healer“ was released on Stone Free Records.
The instrumental stoner band MinusGreen was founded in early 2013 in Vienna.
The idea behind their music is the creation of atmospheric and down tuned sounds, mixed with melodic components and driving riffs.
After more than a year of work in the rehearsal room, the four musicians made their concert debut in Vienna in May 2014. In the same year followed a few more concerts in Austria and at the end of the year, the first demo recordings were produced.
After a first small tour through Austria and Germany, their first record was recorded in the summer of 2015 in Linz. The self-titled album „MinusGreen“ officially appeared on vinyl in November 2015.
In March 2016, together with the band Savanah, the first European tour was on. The tour led through Germany, Poland, Hungary, Slovakia and Austria.
The 2nd tour with Savanah in November 2017 took the bands through Germany, the Netherlands, Belgium, Switzerland and Austria.
At the end of 2017, the band worked hard on their new album.
Minus Green released their second record „Equals Zero“ on 31st of July 2019
Arena Vienna / “Small Hall” / adv 18 € / doors 22 € / 19.00h