Somewhere out there, in the multiverse of infinite possibilities, exists a world where the Beatles recorded “Helter Skelter,” decided to stop cutting their hair, and never looked back. While that world might only be a dream, the next best thing comes by way of Cambridge, England’s Uncle Acid and the Deadbeats, a band whose psychedelic proto-metal excursions evoke the melody of a fab four fronted by Charles Manson, along with the creeping menace of early Black Sabbath.
Since unleashing the monumental, internationally feared and revered set of blood-curdling chainsaw anthems known as Blood Lust, they have been locked away in the barn ignoring all the ensuing hype and publicity, whilst preparing to deliver their own new nightmare message of madness.
Simple and ragged in all its low life glory, Mind Control is the ultimate expose of killer cult madness and mind manipulation.
The infectious energy surges and pulverizing grooves of “Mind Crawler”,tell the tale of a man on a mission who has fled from “Mount Abraxas” after mercilessly murdering all the members of his cult. He rides his motorcycle through the gates of hell and hijacks the weak minds of yet more foolish disciples to join him in his desert hideaway. This is when the real fun and terror truly begins….
Recorded at the legendary Chapel Studios over an autumnal full moon using the finest western electrical technology, engineer Jim Spencer (Bert Jansch, Robert Wyatt) has captured perfectly the bands live sound of saturated fuzz, mind-bending riffs and 60’s vocal harmonies.
A wider range of influences can be heard from both music and cinema, but their founding principle of presenting light and darkness still remains. Simple and ragged in all its low life glory, Mind Control is the ultimate expose of killer cult madness and mind manipulation.
Summer 2015 finally saw the release of Uncle Acid´s 3rd Album “The Night Creeper”.
It is a fact that Uncle Acid & the Deadbeats have, in recent times, become one of the most talked about rock bands currently in existence.
Spiders debut album “Flashpoint” (2012) was hailed by both the media and the audience and even provided the band with a nomination at Sweden’s biggest broadcasted music award. Since then the band, with the charismatic singer Ann-Sofie Hoyles in the lead, have done gigs and tours with the likes of Metallica, Kvelertak and Graveyard.
Now it is finally time for the follow-up…
BOOM!
“Shake Electric”, recorded in the group’s hometown of Gothenburg with producer Mattias Glavå (Dungen), is everything you hoped for – and more. Suddenly the debut album’s primitive metal-meets-punk appears as no more than a fragment of the electric rock’n’roll dream that is now presented. The basic foundation is intact, but this time it is coloured by echoes of T-Rex, David Bowie (“Ziggy Stardust” in particular) and Heart. Choirs, acoustic guitars, piano and various percussions create a very stylish but never polished sound that suits the songs perfectly.
Guitar, bass, drums and vocals were recorded live and usually it only took a few takes before everything sounded as it should. It only proves that the countless days on the road have given results, adding a special feeling of togetherness that Ann-Sofie talks about when she defines the group’s sound and strength.
“Even when we started we were like a bunch of teenagers in the rehearsal room and despite jobs and girlfriends we always accepted every show we got. We really love this life, says the singer, who has evolved into one of the country’s brightest shining stage personalities.”
New shirts available starting at the Mudhoney show and most Roadtrip-shows to follow!
Boy- and Girl sizes available
Climate neutral, organic, fair trade cotton
15 €
YAMA Skateboards & Roadtrip To Outta Space join forces to unleash party mayhem onto the unexpecting masses!
Frido Entertainment is premiering “Corner Stone”, the latest in YAMA´s series of outstanding skateboard videos.
Live on stage:
PASTOR
EGYPT TOMBSTONES
DJ Line all night!
Pastor started jamming in late 2012. The group consists of four young men with an intense love to the art of music. Their various influences can be drawn from your dad’s record collection (well, if he was actively listening from 1968 to 1978). The tunes are filled with fine riffs, spaced out solos and hard hitting rhythm sections. Yet Pastor tries to break through the niche and clichés by mixing the sound with a bands unique character.
2015 will see the release of a kick ass sampler by their label home Who Can You Trust Records and Pastor´s debut album “Evoke”! Come to the Sabbath…
Back in 2005, an unknown heavy rock trio from Fargo, North Dakota, released a self-titled demo on a CD-R, and it turned out to be a record that just wouldn’t go away. Egypt’s Egypt smoldered for the next several years on the basis of underground word-of-mouth, to the point that Lyderhorn Records put it out on vinyl in 2007 and cult stoner imprint MeteorCity picked it up for a CD release in 2009. By then, it had outlasted the band who called it quits in 2006.
They reunited for a one-off hometown gig in May 2010, Become the Sun was released early in 2013 on Doomentia Records vinyl and Totem Cat Records CD and widely lauded by media and fans, selling out initial pressings of both formats.
There’s nothing happenstance about it, and in an age where word can travel faster than it ever has, Egypt have slow-burned their way to the fore of the American stoner rock underground. In 2015, they’ll look to expand beyond those borders with their first European tour in support of a new album, set to release this winter. Where they go beyond that is up in the air, but for a band who regrouped by popular demand and have only gathered momentum since, Egypt are just beginning to shape their empire.
Tombstones play Doom with confidence and style, the riffs and grooves penetrate your soul like a demon from ancient caves.
During live recording-sessions in May 2013, the Norwegian doomsters paired up with the best from their past, and both Petter Svee from “Year of the Burial” and the US-legend Billy Anderson from “Volume II” were turning the knobs.
To state the obvious, their sound of doom is earth-shattering. Expect nothing but an ultimate slab of total dynamic doom!
There are many paths to the jeweled gates of liberation: possession, ecstasy, sacrilege, heresy. Paradox subjugates ego in the transcendent thrust toward the eternally expansive. The star studded spacecraft known as Danava, dispatched as it was from America’s rainy northwest coast, emerged on the midnight horizon as a shining symbol of freedom in sound.
Critics have done their best to identify this flying object with all manner of convenient but ultimately meaningless qualifiers and all have missed the mark. This is not “stoner rock”, even if the pilots are probably stoned. This is not “progressive rock”, for the boundless soul thwarts gentrification. This is not “space rock”, although their heads are full of meteor dust their boots still waltz in the gutters of Whitechapel sin. This is not “retro rock”, because tomorrow calls even as the third eye glances in reverse to hail electric ancestry.
Armed to the teeth with Orgone amplification and mesmeric Luciferian aether, the technicolor demon people have risen from primordial depths to dispel all curses and sever all bonds.
NYC volume dealers Mirror Queen take guitar rock by force on the ominously titled Scaffolds Of The Sky. The band’s driving music accelerates at the distinct point where NWOBHM and heavy Prog Rock intersect; a direct and definite delineation of an era when urgent metallic sound was the order of the day.
Mirror Queen´s twin-guitar harmonies and rhythmic gallop recall early Iron Maiden and Judas Priest, while its hook-laden, timeless riffs and instrumental fireworks reference cherished champions UFO, Blue Oyster Cult and Captain Beyond. Scaffolds Of The Sky is a modern day collection of laser-focused, lights out songs that carry the listener across a myriad of musical thresholds, each at once, time-honored and top-notch.
High Brian from Graz, Austria are very much into jamming and analog recording. They are one of those new bands that play retro psychedelic rock, but are really good at it.
Elder is a three-piece heavy psych band hailing from Boston, USA. Their lengthy songs are told as stories, unfolding and undulating across genre boundaries and into new kosmische territory.
Elder is the definition of a work in progress, as the group continues to meld the familiar sounds of Sleep‘s colossal riffage with their ever-evolving vision of soaring melodies and sonic soundscapes. Listeners will find themselves locked into the trio’s lengthy epics, which toe the line between the chasms of classic stoner metal and mindblowing psychedelia.
Since the release of 2010s Dead Roots Stirring, their second full-length record for Meteor City Records, Elder has continued to push their sound in more dynamic and inspiring directions, while still holding true to their original methodology: all heavy, no filler.
“If there’s such a thing as fusing some soul into a doom palette, Mos Generator has achieved that. Seldom will you hear an unambiguous merge between the two outside of BLACK SABBATH’s “Sabotage”. Tony Reed (guitar, vocals), Scooter Haslip (bass) and Shawn Johnson (drums) have tapped into a loud vibe featuring sinister and coarse nuances yet with something revealing far more heart”. Ray Van Horn Jr.- Blabbermouth
Mos Generator formed during the winter of 2000 in Port Orchard, Washington from the ashes of a ten year off & on collaboration between it’s three members, all of which are long time veterans of road & studio. The need to strip down to the basics of hard rock was apparent from the start and continues to be the foundation for all the bands recent material. Mos Generator have released 5 studio albums, a retrospective album, and a live album on such labels as Roadburn, Small Stone, Ripple, Nasoni, and Lay Bare.
Their latest release is a split with fellow rock´n rollers Isaak.
Look no further if you enjoy your Doom Rock prog heavy and spaced out beyond measure.
Since the Oakland power trio’s inception in 1998 they’ve released six earth-splitting albums, each seemingly more unstoppable than the last. Forever haunting the halls of the Iommic Temple—the band’s own philosophical monument to Black Sabbath riff master Tony Iommi—High On Fire have become legends in their own time. As bong-huffing genre music rises and falls around them like so much windborne detritus, guitarist/vocalist Matt Pike, drummer Des Kensel and bassist Jeff Matz comprise the all-seeing eye of a perpetual riff-storm, always looking toward a future in which The End is always near.
After unleashing one of the most momentous debuts in the history of heavy music with 2000’s The Art Of Self-Defense, High On Fire doubled down in 2002 with the absolutely punishing and instant classic Surrounded By Thieves.
“Surrounded By Thieves pushes drones to its limits, with a crushing wall of bass tones guaranteed to alter heart rhythms and weaken building infrastructures,” they gushed, before adding the obvious disclaimer: “If you’ve never experienced street drugs, it’s a safe bet you probably won’t enjoy this album.”
And the hits just kept on coming: High On Fire’s 2005 album, Blessed Black Wings, was named one of the top 50 albums of the 21st century by prominent UK music weekly Kerrang! In 2007, the band’s Death Is This Communion ranked # 3 on Revolver magazine’s year-end list, while landing the #4 spot in Total Guitar. That same year, Matt Pike was named one of rock’s “New Guitar Gods” by Rolling Stone.
2010 saw the release of Snakes For The Divine.
“The title ‘Snakes for the Divine’ is based on the premise that Adam and Eve weren’t the first people on Earth, and Adam actually having a wife that was a Reptilian named Lilith. They were the first two people to actually take the reptilian DNA, and make shape shifting human beings that go between the fourth-dimensional, the Anunnaki, and human beings. Eventually, from ancient Mesopotamia, this spawned a thing called the Illuminati – the enlightened ones – coming up through the centuries, and choosing the kings, controlling your media, controlling your banking, blah blah blah. It’s just theory at most points. I thought it’d make a great metal song, so I just went ahead and started writing about that. That’s how the record came about, as far as the theme..”
Fast forward to 2012 and High On Fire’s new album, De Vermis Mysteriis. Produced by Converge guitarist Kurt Ballou at God City Studios in Salem, MA, the record marks the next devastating chapter in High On Fire’s gloriously unhinged metal saga. “It’s a fuckin’ awesome album,” Pike enthuses. “I think it’s kind of a cross between the experimentation of Death Is This Communion and the driving darkness of Blessed Black Wings. There’s plenty of thrashy stuff, but there’s also a lot of Sabbathy doom-type stuff.”
“We didn’t try to plan it all out this time,” he adds. “We kind of waited ’til we were on the spot and had to do something. We had the basic skeletons of the songs—we were prepared—but there was a lot of improvisation. There’s a lot of soul on this one, and it’s got a rollercoaster kind of feel.”
The album’s title (translation: “The Mysteries of the Worm,”) is a nod to a fictional grimoire conceived by the late, great Psycho author Robert Bloch in 1935 and later incorporated into horror master H.P. Lovecraft’s renowned Cthulu Mythos.
„Des, Jeff and I are really getting creative and writing a hell of a new record. It’s a crazy project and I can’t really explain what it’s all about just yet, but we’ve been writing a lot of crazy intense material that will up the ante, and bring things to another level.“
„Everyone is asking what the new High on Fire music sounds like“, adds Kensel. „Chew on some mescaline and listen to side B of Sabbath’s ,Master of Reality‘ backwards at 78 RPM and it might give you an idea.“
Gnod are an ever changing collective from Manchester that centres around four key members, who have been exploring and pushing repetitive experimentation through the filters of kraut, drone, space rock and industrial rave for several years now.
Gnod formed in 2006 in Manchester, UK, with a shrinking and expanding lineup.
The vital and Spinal Tap-approved ‘fine line between clever and stupid’ has been a location that this London-based tinnitus machine has made fine work of dwelling on for the duration of their life thus far. The result are both vicious and visionary. These unpretentious underworld overlords have emerged from the shadows to create an avant-garage pièce de résistance.
Black Mountain doesn’t have a creation myth, or not exactly: “Most of us were found standing ’round parties wearing similar T-shirts or shoes and nodding our heads to something cool on the stereo,” Stephen McBean explains. “Others were heard from behind walls but never seen ’til years later. You share a smoke, do a shot then end up in a van together for what seems like the rest of your life.”
After founding Jerk with a Bomb in the late ’90s, Stephen McBean had by the mid-2000s transformed the Vancouver-area band into a group called Black Mountain. Drawing on blues, psychedelia, acid rock, and the Velvet Underground, Black Mountain’s sound was a cross between the darkness and grit of the Warlocks and Brian Jonestown Massacre’s trippiness. After debuting in October 2004 on Jagjaguwar with the 12” Druganaut, Black Mountain stayed with the label for an eponymous full-length, issued the following January.
Joining McBean for the album were local players Matthew Camirand, Jeremy Schmidt, Joshua Wells, and Amber Webber, listed collectively to preserve the band’s communal ethic. (Black Mountain ran concurrent to and intermingled with McBean’s other band, lo-fi classic rockers Pink Mountaintops.)
In January 2008, the group released their sophomore album, In the Future, and showed off their willingness to explore proggy (druggy) territory with the 17-minute opus “Bright Lights.”
The group’s third, full length album, Wilderness Heart, arrived in 2010.
Celebrating the tenth anniversary of the release of “Black Mountain”, expect a Best-Of-Set covering all of the band´s releases.
Vidunder from Malmö, a city in the south part of Sweden, features Martin Prim (vocals and guitar), Linus Larsson (bass) and Jens Rasmussen (drums). The band was formed in mid-2011 and it didn’t take long before they released their debut single Asmodeus on Crusher Records (the very same year). The release was followed by gigs around Sweden.
In late 2012, it was once again time to step into the studio, this time to begin the recording of the Vidunder debut album. The result was a ten tracks album. On the album can be found, for instance, Summoning The Not Living, reminding of a young Roky Erickson and his 13th Floor Elevators; the bluesy ballad Threefold giving the album a balance to the more heavier and up-tempo songs; Threat From The Underground which is one of the three tracks on this album with guest appearance by guitarist John Hoyles (guitarist of Spiders, ex-member of Witchcraft and Troubled Horse).
vidunderband.com
Arena Vienna / big hall / adv 20 € / doors 24 € / 19.00h
Pentagram was initially formed in 1971 by Bobby Liebling (vocals) and Geof O’Keefe (drums) with Vincent McAllister on guitar and Greg Mayne on bass. After recording several demos throughout the mid-70’s, this line-up lasted unti 1976. Much of the material that would be released decades later as “First Daze Here” was recorded by this original incarnation of the band.
Enter 1981. Joe Hasselvander, who joined the lineup in ’78, was dating a girl who had told him about her 18 yr old brother Victor back in TN. Victor Griffin was a young, heavy guitarist already recording his own music under the name of Death Row. On a family visit, Hasselvander traveled to Knoxville to see if this fresh-out-of-high-school musician lived up to his reputation. “Back then Victor Griffin and Lee Abney, his bass player at the time, were already playing the Death Row material,” remembers Hasselvander. “Griffin had the songs and I was blown away by his playing. He had a sound that was a lot deeper than what Venom was doing and it was heavier and more Sabbath-y than what Witchfinder General was doing. In fact, I thought that it was better than Sabbath. He was Blue Cheer mixed with Black Sabbath!”
Shortly before this period, while in high school, is where Griffin perfected the sound invention of “Drop B tuning.”Of the technique, Griffin says, “I had been messing around with a drop D tuning which was also uncommon at the time. I had been playing around with it and dropping it lower and discovered something when I got to B. If you play a fifth chord on the top two strings, it makes this octave. Now you have those seven-string guitars with the low B right on there. For the time though, I don’t know of anyone who had done that.” Little did he know at the time that he’d influence thousands of players in the future.
The band would coincidentally get signed to an unrelated label entitled PENTAGRAM Records in 1985. Death Row recorded a demo in 1981, which was paid for by Hasselvander. The following year, Liebling would pay for another. Three years later, these two demos would be put together to form the self-titled PENTAGRAM album. Merely days before the deal with the label was inked, Liebling had convinced Griffin that PENTAGRAM was a better moniker since it was already well known in the area. Fifteen years into his career Bobby Liebling and PENTAGRAM would finally release their debut album; a record which nineteen years later would be inducted into Decibel Magazine’s “Hall of Fame!” Sadly, Hasselvander was once again unhappy and restless. Before the debut’s release and just after the second record was finished being recorded, he again parted ways and joined N.W.O.B.H.M. / pre-thrash luminaries, Raven. Stuart Rose soon joined Liebling, Griffin and Swaney as the band continued down its path to the top.
The guys played as many headlining gigs in the area as they could and opened for nearly every major label metal band who toured through the DC area. Crowning this era was an infamous gig at the defunct yet historic CBGBs in NYC. As a result of these performances and unique, stellar songs, a new deal with international indie label Napalm was on the table. The second album, Day of Reckoning finally hit the streets in 1987.
The same demons still haunted Liebling and his band however. This coupled with virtually no label support the group was soon driven back into the grave. It wasn’t until 1994 when the band would come back together and record for Peaceville records. Hasselvander jumped back on board. He, Liebling, Griffin and Swaney dug down deep into the vaults and pulled out a few old Liebling classics as well as the usual heavies Griffin had become known for. Be Forewarned came out to more fanfare than ever, even though that still kept them well beneath the mainstream.
What PENTAGRAM started to realize, however, is that they had influenced a handful of heavy bands who, like them, sacrificed speed for weight of the riff. Doom metal was in full swing with every one of its bands, Trouble, Candlemass, Cathedral, and so on, sighting PENTAGRAM, along with Black Sabbath, as their main influences. At this time, Peaceville also obtained the rights to the band’s first two albums and rereleased them to young doomsters hungry for the original recipe. It seemed that finally, PENTAGRAM would get its due. Regrouped and re-charged these D.C. doom godfathers gave it another go. Unfortunately, once again, Hasselvander was once again fed-up with the madness and returned solely to Raven. Swaney soon too would become disheartened with the lack of tours, label support and usual rigors of a band living the “rock n roll lifestyle.” He also soon departed the band for a second time. Despite all this, Liebling and Griffin forged ahead and recruited local drummer Gary Isom and Griffin’s nephew, Greg Turley on bass. Stardom was still far, far away however and within a few short years, PENTAGRAM and mainman Liebling once again tittered over an open grave.
Fast forward to 1998…Hasselvander had rejoined the band and in 2001 PENTAGRAM released Sub-Basement and First Daze Here, a collection of Liebling’s best recorded 70′s songs. As quoted by Liebling, “This album finally gave me the growth steps I needed to take in order to find a wider audience.” More rock and hard rock than doom, the soulful songs reached across multiple sub-genres of metal and rock and roll. Accolades of these uncovered songs started pouring in from famous and infamous musicians alike as it went on to sell well over 10,000 copies. Covers would appear from respected contemporaries such as Hank III, Witchcraft and The Dead Weather. People such as Liam Gallagher from Oasis sited Liebling’s 1972 song, “Be Forewarned” in his top five songs of all time. Finally, was the genius of Bobby Liebling and PENTAGRAM becoming known by the mainstream?
Empowered by the recent accolades, Liebling put together a few different line-ups in hopes of playing out live again. Unfortunately, this was not to be the case. Several, now infamous, false starts went down.
Another four years would go by as Liebling struggled against his demons. In his heart, he still wanted to create music. Encouraged by his friends and management, he got a band together again in early 2009. Focused and determined, once again the man was ready to show ‘em how! Gary Isom (Spirit Caravan) joined back up on drums; Mark Ammen (Unorthodox) handled the bass while Liebling’s self-described “secret weapon,” Russ Strahan, burned bright on guitar. A triumphant come back show was booked at the historic Webster Hall in NYC. It sold out as people traveled from around the world to show support. Highlighting songs from PENTAGRAM‘s career, the gig went down in a blaze of glory. 914 Pictures was there capturing all the glory of the madman back at the mic in this historic setting. The performance proved why this band was worthy of mentioning in between Black Sabbath and Judas Priest as innovators of heavy metal.
Things never came easy for Liebling though. They say that it is at these times of deep darkness that the light ends up shining through the clouds brighter than ever. Liebling reached out to Griffin who at the time was fronting Death Row alongside Hasselvander and Swaney. Missing his old band mate and mentor, and seeing how hard he was trying to fly straight, Griffin agreed to a small run of US dates in the spring of 2010. The gigs were a welcomed success and peaked on the main stage of the Maryland Death Fest in front of hundreds of eager fans. The gig was stellar and captured on film by a five camera crew. This show and tour was such a hit that the band again started plodding another attempt at finally making it.
In the fall of 2010, a 3 album deal with the historic metal label, Metal Blade Records was announced! Last Rites, the album Liebling had been dreaming of for ages was announced…
The Order Of Israfel are rooted in Doom, but they shouldn’t be reduced to the pure slow-motion sound, because “Wisdom” is clearly too complex. “Wisdom” is a record of big gestures and stories and is full of epic beauty and magic. This is not music to be consumed just casually, but a widescreen sound with invitation to dive into tempting and dangerous world.
Doom, Hard Rock, Metal, Folk – The Order Of Israfel play with many elements and form a compact unit out of it, with songs to never get boring. A mystical and mysterious album with highly addictive potential.
Meth Drinker from New Zealand play crushing sludge in the vein of Noothgrush, Grief, Iron Monkey.
Easily the most gritty and pissed off sounding sludge bands of recent times!
Weak is the most recent breed on the raw birth records label.
Downtempo hardcore with an intent of delivering maximum energetic anger and despair. Think Dystopia meets Crowbar!
roadtriptoouttaspace.com 