Category Archives: Uncategorized

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

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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

18.11. BRANT BJORK ft. SEAN WHEELER / THE SONIC DAWN



Brant Bjork has spent over a quarter-century at the epicenter of Californian desert rock. From cutting his teeth alongside Fatso Jetson’s Mario Lalli in hardcore punkers De-Con to drumming and composing on Kyuss’ landmark early albums, to propelling the seminal fuzz of Fu Manchu from 1994-2001 while producing other bands, putting together offshoot projects like Ché, embarking on his solo career as a singer, guitarist and bandleader, founding his own record label and more, his history is a winding narrative of relentless, unflinching creativity.

For someone so outwardly laid back, he’s never really taken a break. And while Bjork has shown different sides of himself on albums like his funk-laden 1999 solo debut, Jalamanta, the mellow Local Angel (2004), 2007’s mostly-acoustic Tres Dias, and heavier rockers Somera Sól (2007), Gods & Goddesses (2010) and the two most recent outings with The Low Desert Punk Band, he’s maintained a natural representation of himself in his material, whether that’s coming across in the Thin Lizzy-isms of the faux-full-band 2002 release Brant Bjork and the Operators (actually just Bjork playing mostly by himself) or the weedy, in-the-jam-room spirit of “Dave’s War” from Tao of the Devil. When you’re listening to Brant Bjork, you know it, because there’s no one else who sounds quite like him.


That fact and years of hard touring have positioned Brant Bjork as an ambassador for the Southern California desert and the musical movement birthed there in the late ‘80s and early ‘90s. As underground interest has surged in recent years, Bjork has been a pivotal figurehead, realigning with his former Kyuss bandmate John Garcia to drum and write in Kyuss Lives!/Vista Chino, celebrating and building on that legacy while giving a new generation of fans the chance to see it happen in real-time.


Having told his story in films like Kate McCabe’s Sabbia (2006) and the documentaries Such Hawks Such Hounds (2008) and Lo Sound Desert (2015), he’s represented desert rock at home and abroad with no less honesty than that which he poured into the music helping to create it. The same impulse led to the founding of his Desert Generator in 2016, an annual festival held in Pioneertown, CA, with an international reach capturing the intimacy and timeless aura of the desert culture, including music, a van show, the Stoned & Dusted pre-show in a secret desert location, and an evolution that looks to continue into the foreseeable future.

Bjork’s work, with any project, has always had a rebellious sensibility. He’s always walked his own path. But more, his career through Kyuss, Fu Manchu, Ché, Vista Chino, and his crucial solo work has been about freedom through rock and roll, attained by the truest representation of the person and the place as art. This, along with a whole lot of groove, is what has helped Brant Bjork define desert rock as a worldwide phenomenon, and whatever comes next, it is what will continue to make him its most indispensable practitioner.
– JJ.Koczan


His latest full length LP “Mankind Woman” was released in September 2018 on Heavy Psych Sounds Records.

www.brantbjork.net

The Sonic Dawn is a trip – a psychedelic mixture of styles, from jazzy sitar pop to heavy acid rock. Expect melodic songs with a 60s flavor, laced with dreamy vocals and delivered with an explosive stage presence.

Since their acclaimed album debut in 2015, The Sonic Dawn has been on several European tours. A highlight of 2016 was opening the notorious Freak Valley Festival, sharing the stage with Graveyard and White Hills. This year they can be experienced all over Europe again, confirmed for some of the best venues and festivals, such as Liverpool Psych Fest.

Into the Long Night is the trio’s most ambitious album yet. Written by day and recorded at night during a month of complete isolation by The North Sea, it is as light and gracious as it is dark and mysterious. The journey has just begun.

thesonicdawn.com

Arena Vienna / Big Hall / adv 22 € / doors 27 € / 19.00h

6.11. YOB / WIEGEDOOD

Epic, crushing, and heavy beyond words, YOB has achieved legendary status in recent years due to their unmatched aesthetic and incredible body of work. Formed in 1996 in Eugene, Oregon under the leadership of doom metal mastermind Mike Scheidt on guitars and vocals, the group initially released a three song demo tape in 2000 that garnered them international attention. Drawing comparisons to groups like Neurosis, Sleep and Electric Wizard, YOB succeeded in developing modern sounding doom metal that hearkened back to the classics.

In 2002, YOB released their debut album Elaborations of Carbon followed by Catharsis in 2003, a three song record that clocked in at a colossal 50 minutes. The buzz about YOB was beginning to grow and the trio began to tour more extensively. Remaining quite prolific during this period, YOB continued to release an album each year with The Illusion of Motion coming in 2004 followed by The Unreal Never Lived in 2005. Despite all the momentum, YOB disbanded in 2006.

In 2008 the band returned from hiatus and has remained strong ever since with Travis Foster on drums and Aaron Rieseberg on bass. Reinvigorated and reinspired, YOB released The Great Cessation in 2009. It was doom with a psychedelic twist, a sound that Pitchfork referred to as “cosmic doom.” At this point in their career, the band found increased exposure in the media, with The New York Times going so far as to call them “one of the best bands in North America” after a performance at Scion Rock Festival.

For 2011’s Atma, YOB took a more organic to recording. In Scheidt’s own words, he wanted the record to sound “grizzly, with hair on it.” Three years later, the group released Clearing the Path to Ascend, a record that upheld their legacy as a top notch doom metal act and was hailed by Rolling Stone as the #1 metal album of the year.

Fast forward to 2017 where YOB signed with Relapse Records for their incredible 8th full-length recording Our Raw Heart. The album was conceived amidst dire circumstances that nearly left frontman Mike Scheidt dead after suffering from an extremely painful and potentially fatal intestinal disease. Scheidt miraculously recovered and rallied the band together with a new sense of purpose for Our Raw Heart, an album informed by the will to survive. More exposed than ever both physically and emotionally, YOB bleed out seven riveting tracks of enormous volume and pensive, transcendental beauty across 75 minutes of ultimate doom.

A brilliant musical progression in the YOB continuum, Our Raw Heart is the band at their most aggressive, impassioned and eclectic. The riffs are massive, the vocals captivating and the songwriting sublime. Existing in its own organic universe, Our Raw Heart is truly the band’s finest work to date and the apex achievement of what heavy music can accomplish. Our Raw Heart was co-produced by the band and longtime collaborator Billy Barnett at Gung Ho Studio in Eugene, Ore., with mastering handled by Heba Kadry (The Mars Volta, Diamanda Galas, Slowdive).

www.yobislove.com



“I, II and III all focus on the subject of loss,” say WIEGEDOOD in a collective statement. “It’s inherently in our nature to desperately hold on to the people and the things we love. All three records are dedicated to Florent Pevée [from Kabul Golf Club], a close friend of Wim [Coppers] and a great musician who lost his life at 21. This is our way of honoring his life.”


As the final part of the De Doden Hebben Het Goed trilogy—which translates to English as The Dead Have It Good—WIEGEDOOD’s newest album, De Doden Hebben Het Goed III, is a natural extension of its predecessors. What the three albums share sonically—a violent yet epic brand of black metal—they also share thematically and physically. III blends the atmospherics of I and the aggression of II. The band says they’ve “found the perfect crossover.” WIEGEDOOD have also found a four-song formula that affords the trio latitude to explore without the wearisome effects of interminable concept album lengths. And finally, the albums also benefit from similar covers—photographed by Stefaan Temmerman—where nature and the WIEGEDOOD sigil play important parts of the whole.


wiegedood.bandcamp.com


Arena Vienna / Small Hall / adv 20 € / 19.00h

21.10. ELDER / SASQUATCH / ANCESTORS


Beginning in a small town in coastal Massachusetts by three long time friends, Elder started making rumblings in the stoner rock and doom scene with their first releases Elder and Dead Roots Stirring in 2008 and 2010.

Relentless touring and increasing disillusion with the gimmicks and lack of creativity plaguing the heavy rock underground spurned the trio on to expand their sound, bringing in more psychedelic and progressive elements to their music. 2015’s Lore was a pivotal moment in the band’s orbit, receiving praise from the stoner/doom audience as well as reaching listeners outside an often insular scene, thanks to an unwillingness to adhere to genre limitations or cliches.

During a period of incessant touring following Lore and full of inspiration from their travels, the band holed up for periods of intense songwriting over breaks to produce their most inspired and adventurous music of their now ten year career.

Reflections of a Floating World is Elder’s fourth full length album and second LP released via Stickman Records (EU) and Armageddon Label (US). Long, undulating and dense tracks float between psychedelic passages and progressive rock without missing a beat; adventurous and unpredictable songs are punctuated by hypnotic jams, all colored by the tendency toward melody and dynamism that has become the band’s hallmark. In keeping with their motto of expanding and expanding upon their repertoire, guest musicians Mike Risberg and Michael Samos joined the core three in the studio to add extra guitar, keys and pedal steel, adding vibrancy and lushness to the album. In all regards, Reflections shows a band with a clear vision honing their skills with every year.

beholdtheelder.com



Sasquatch is a rock band from Los Angeles, CA. They tend to sip on influences from 70’s metal, rock, and psychedelia. Their songwriting approach is clear-cut; keep the focus on the hook.

The band’s music has been featured on a variety of movies, television shows, and video games including the reissue of Clerks, FX’s original hit series Sons of Anarchy, A&E’s Dog The Bounty Hunter, Jersey Girl, CW’s The Supernatural, and MTV’s Viva La Bam, Bam’s Unholy Union, and Rob and Big, NHL 2005, American Chopper, and Monster Garage.



The band’s latest album, Maneuvers, was released on June 20th, 2017 and features the work of new basher, Craig Riggs, behind the kit. This is the band’s most concise work to-date. Extended jams were stripped down to the meat and potatoes. Short and sweet is the path looking forward. Andrew Schneider (NYC) returns behind the boards this round. You may recognize the name as he also provided the mixes on “II”. What fans hear is arguably the gents most mature and inspired song-set released, chunked with both heartwarmingly familiar moments – but all of it heavy on the heavy, as they say…always. Unprecedented attention was also devoted to spinning new yarns out of those evergreen rock and roll stories about love lost, hate found, relationships built and lives trashed, homes wrecked, etc.

www.sasquatchrock.us

Ancestors formed in 2006 and instead of “choosing between prog rock or heavy rock,” merged the styles to create music rife with atmosphere, tension and raw human emotion.


Ancestors create mighty, modern music that dovetails innovative arrangement, crushing primordial riff interplay and melodic instrumental passages with textural atmospherics. With both thunderous roar and expansive communiqué, Ancestors are proving to be a quickly-emerging force of musical power and creativity.



ancestorsla.bandcamp.com

Arena Vienna / Big Hall / adv 20 € / 19.00h