Thursday, July 28, 2016

Slow Season stream entire Westing album ahead of release at Consequence of Sound

Central California quartet Slow Season are streaming their entire forthcoming album, Westing ahead of release starting today via Consequence of Sound. The album that many are considering the band's breakout work is available to hear and share HERE. (Direct Soundcloud HERE.)

Slow Season recently wrapped up an extensive North American tour in June and are back on the road this week on the west coast. Additional tour dates for late summer will be announced soon. Please see current dates below. 

Metal Injection recently launched the banging single "Damascus" HERE. The Obelisk revealed album track "Miranda" HERE. Prior to that, Consequence of Sound premiered the first single "Y'Wanna" HERE

Contrary to the band's name, downtime is a rarity for Slow Season. Sandwiched between summer 2015's extensive tour with their RidingEasy labelmates Mondo Drag and Electric Citizen, plus several short west coast jaunts, the hard-working quartet also found time to hammer out its most powerful and ambitious album yet. Written, engineered, produced and mixed themselves on their own equipment, entirely on analog tape, Westing is a hard-hitting and powerful reminder of how at one time a rock 'n' roll band could be a transcendent experience.

While Slow Season's sound continues to effortlessly nod to the great bands of the 60s-70s, Westing is truly the sound of a band coming into their own. The songwriting is tight, howling and hypnotic. The sound is classic, yet refreshingly new. 

"It's a different album," says drummer and primary recording engineer Cody Tarbell. "But we never have wanted to find a particular sound or any one thing and be attached to it permanently. A big part of our records is experimenting." The Visalia, CA band -- Daniel Rice (vocals, guitar), David Kent (guitar), Hayden Doyel (bass), and Cody Tarbell (drums) --  has recorded all of their albums on reel-to-reel at Tarbell's home studio in a cornfield. This affords them the time to experiment getting sounds, while maintaining focus on the most important notion that performance is key. As with previous albums, recording was pretty immediate, tracked between January 15th and the beginning of February 2016 to 16-track tape and mixed to 2-track tape. 

Equally as ambitious as the band's self-sufficient production is the sprawling lyrical theme to the album.  Thematically picking up where the Slow Season's previous full length Mountains left off, Westing tackles some heady issues.

"Westing follows a loose narrative about our nation's loss of innocence as it explores its frontiers," vocalist Daniel Rice explains. "Re-contextualized in a story about an unnamed protagonist faced with choosing between different ideological allegiances and his own social identity." From song to song, the album follows what Rice explains as, "the unholy trinity of greed+power+violence, the injustice wrought from this, persisting in willful ignorance, and reaping what is sown." A deep conceptual arc, for sure, and one that adds further weight to the Slow Season's intensity. 

Album opener "Y'Wanna" erupts from the speakers as if the band couldn't even wait for the tape to start recording. it's a full-throttle rocker reminiscent of Zep's "Immigrant Song" with sly reference to "Four Sticks", all groove and pummel. "Flag" keeps things rolling along with its bouncing, stop-n-go guitar riff. The 6/8-time blues sway of "The Jackal" echoes early Sabbath malefic boogie, while "Saurekonig" is a cavernous and volcanic mass driven by huge drums, ringing slide guitar and ominous drone. "Damascus" is a rollicking anthem driven by Tarbell's syncopated hi-hat/snare interplay and Rice's explosive wail proving just how much of a dynamic powerhouse Slow Season has become. Throughout, Westing is a smart and snarling rocker that sounds like rock 'n' roll records should: massive, infectious and inviting repeat listens.

Westing will be available on LP, CD and download via RidingEasy Records on July 15th, 2016. Pre-orders include a free immediate download of the first two singles and are available HERE
Artist: Slow Season
Album: Westing
Label: RidingEasy Records
Release Date: July 8th, 2016

01. Y'Wanna (STREAM)
02. Flag
03. Big City Livin' 
04. The Jackal
05. Saurekonig
06. Damascus (STREAM)
07. Miranda
08. Manifest
09. Rainmaker

On The Web:

Wednesday, July 27, 2016

TRUCKFIGHTERS sign deal with Century Media Records!

The mighty TRUCKFIGHTERS' own label, Fuzzorama Records, and Century Media Records team up to floor the gas and fuzz pedal. The Örebro, Sweden based band was formed in 2001 by Oskar "Ozo" Cedermalm (vocals & bass) and Niklas "Dango" Källgren (guitar). Since that time, they have released four studio albums and several more releases through their own label Fuzzorama Records - including the 2011 DVD documentary (Fuzzomentary) featuring guests such as Josh Homme (Queens Of The Stone Age) and more friends from bands Kyuss, Fu Manchu, Witchcraft, Graveyard and more.
"Signing to Century Media Records is like kicking in the fuzz pedal with all knobs turned to 11 - maximum energy, maximum output and totally out of control!", comments the band.
The new album "V" will be released worldwide through Fuzzorama in cooperation with Century Media Records on September 30th, 2016. To celebrate the band's 15th anniversary and nearly 700 shows around the world, we've created a new website which allows fans to mark a TRUCKFIGHTERS show they have attended in the past. All gig dates and the names of the fans who sign in and mark their show will be printed in the special edition of the album. To join in and find more info please head over to
Shortly after the album release, the TRUCKFIGHTERS will hit the road again to play an extensive European tour.  Exact tour dates and further plans to play the rest of the world will be announced soon. Expect something big. Super fuzz big!

Oskar "Ozo" Cedermalm (vocals & bass)
Niklas "Dango" Källgren (guitar)
Daniel "El Danno" Israelsson (drums)

Hypnos release new video

HYPNOS - »Descending Sun (Unrootables White)«

Hypnos release yet another music video, "Descending Sun (Unrootables White), from their newly released 2nd album "Cold Winds". The video is worldwide premiered over at Rock Hard (DE) today!
Go to video -->> CLICK HERE

Comments by the band: 
"We are all depending on the presence of our sun. All our lives are affected by it. We all need it to be able to live our lives the way we do today and if the sun was to move further from or closer to the earth we would all die instantly.

The video itself is a reflection of our own personal interests, a tribute to all our friends and the heaviest MC club in the world: Unrootables."

Please, use links below to get the album on CD, LP, download, streaming or visit us and Hypnos on social media, etc. Thank you for your support!
Have a pleasant week.

Yours sincerely!

Tuesday, July 26, 2016

Ripple Music to release LOS DISIDENTES DEL SUCIO MOTEL's new album "Human Collapse", stream a new song now!

After their 2013 horror-movie inspired "Arcane" gave the creeps to the masses, French heavy rock five-piece LOS DISIDENTES DEL SUCIO MOTEL are back with their third album "Human Collapse", a humanist post-apocalyptic manifesto coming out this September on Ripple Music. 

Listen to LDDSM's epic new song "Departure" via The Obelisk
LDDSM enlighten us on the story behind this new album: "Human Collapse" is a concept album based on the anticipation of a social phenomenon: the end of the world caused by the only human action. Throughout these ten tracks, we follow an ordinary man, an immigrant dreaming of a better life like millions of others. As one of the first victims of this economic downfall, he decides to return to his homeland. His sister is the only family he has left, living there with her husband and kids, so he decides to leave everything behind in order to find them and start a new life. During this journey, he will be confronted with the complex and sometimes mad aspects of human nature, but he may also glimpse a ray of hope... "Human Collapse" will make you travel in your mind and give a new perspective on how experiencing chaos can make you give up on your beliefs, principles and education. Become another to survive. "Departure" elates the first step of this man's journey, his state of mind and what made him take the plunge and decide to never come back.
"Human Collapse" is LOS DISIDENTES DEL SUCIO MOTEL's third full-length. It was recorded at Cube Studio in Besançon, mixed by Kurt Ballou at Godcity Studio and mastered by Alan Douches. The album artwork is a combination of portraits of the five band members taken and edited by Bartosch Salmanski.
Out September 9th on Ripple Music // Pre-sale available HERE
1. 7PM Choice
2. Decision 
3. Departure
4. Trip
5. Border
6. Community
7. Downfall
8. Rebirth
9. Determination
10. 5PM Arrival
A unique name for a unique band. Following up on their two previous albums and confirming their undeniable talent for writing thrilling cinema-inspired music - action movies with "Soundtrack From The Motion Picture" (Deadlight Ent. 2011) and Z movies with "Arcane" (Deadlight Entertainment/Hell Prod 2013) - French heavy five-piece LOS DISIDENTES DEL SUCIO MOTEL sign their third full-length "Human Collapse" on Ripple Music, depicting a dystopian future inspired by the social and environmental crises our society has been going through these past decades.
Recorded at Cube Studio in Besançon, mixed by Kurt Ballou (Converge) at Godcity Studio and mastered by Alan Douches (West West Side Music), this new chapter in the LOS DISIDENTES DEL SUCIO MOTEL story is once again deeply rooted in heavy rock, a 10-track manifesto driven by the band's powerful vocal duo and mature orchestration. LDDSM are now set to present "Human Collapse" on stage, an overall experience that will be enhanced by the visual work of 128db Collective, depicting the main character's wandering in a post-apocalyptic world after a full societal collapse.
Nico - Guitar & Vocals
Julien - Bass & Vocals
Romain - Guitar
Greg - Drums
Dany - Keyboard & Vocals

Monday, July 25, 2016

Interview With Leo And Max From Plainride

When I was a kid, growing up in a house with Cat Stevens, Neil Diamond, and Simon and Garfunkel, the first time I ever heard Kiss's "Detroit Rock City," it was a moment of musical epiphany. It was just so vicious, aggressive and mean. It changed the way I listened to music. I've had a few minor epiphanies since then, when you come across a band that just brings something new and revolutionary to your ears.

What have been your musical epiphany moments?

Leo: I guess there were a few and they still come every once in a while. It was some kind of an epiphany to watch and listen to Led Zeppelin’s live DVD at Madison Square Garden, especially when you watch it with friends and you just know they’re feeling the same staggering experience as you do. Then again, most Pink Floyd albums are totally immersive. If I listen to them when still dozing, they stimulate the sleepy part of my brain subconsciously while at the same time address what’s already awake somehow. I always have a kind of double-feeling when experiencing good art, though it does not need to be of this sleepy/awake opposition type. Not the last epiphany I had but the one I remember best was while listening to CCR. It’s not that I listened to them for the first time, actually I already listened to them for quite a while, but I just realized in how much joy I am when listening to them. Just heart-warming to me.

Max: When I was fifteen, I saw the Eagles Of Death Metal play live in Hamburg. It was the first concert I consciously remember having made the decision to go to on my own. My dad came along but he purposely stayed behind and let me do the rocking right in the front row. The place was absolutely on fire. During the last song, the crowd stormed the stage. I remember playing air guitar back to back with Jesse Hughes. That night I lost my soul to Rock ‘n’ Roll.

Talk to us about the song-writing process for you. What comes first, the idea? A riff? The lyrics? How does it all fall into place?

Leo: We don’t have a formula. Sometimes it is a riff, otherwhiles it is an unexpected part in a jam. Sometimes we just want to do something like this or that, adapt it and make it even better. Everybody contributes to the composition and we’re done if it just feels right for everyone.

Max: Sometimes I’ll just wake up with a random line in my head, melody included. I’ll sing it in the shower and I pretty much have an idea on what the song is about and what it’s going to be like. That’s the easy scenario. Most of the time though, someone will just bring along a riff to band practice and if the jam kicks ass, we draft an instrumental blueprint. Lyrics on top and *poof* -  done. On second thought: both cases are the easy scenario. We’re smooth like that.

Who has influenced you the most?

Max: Personally? It’s almost become a band joke by now, but I’m gonna have to go with Neil Fallon from Clutch.

Leo: Everything of QotSA which I’d like to label ‘Strange Rock’

Where do you look for continuing inspiration? New ideas, new motivation?

Max: I once was told by someone from the creative industries that the greatest ideas come from mixing 90% trash and 10% of but the highest culture. That person was a dick to be honest, but the formula works like a charm and I hold that statement dear to this day. I also recently started making a habit of digging into literature that’s not classically popular in Western culture. I’ve always been a huge fan of Greek mythology for example – but then again that’s quite the go-to place for a lot of lyricists. I’m not trying to reinvent the wheel though. I just think it’s important to consider as many different perspectives as possible. Some of my latest reads include Journey To The West by Wu Cheng En (demons, Fuck Yeah!), The Gilgamesh Epic (Sumerians, Fuck Yeah!), and currently Down There by Huysmans (more demons, Fuck Yeah!). Honestly though: Try to check out something different every once in a while - and apart from that just do whatever gets your juices flowing.

Leo: I’m always on the hunt for new music and even concerning the 60s and 70s there’s still so much good stuff yet undiscovered to me. That’s also the cool thing about the current stoner rock scene. There is just so much good music. Everywhere. I guess it is a motivation to contribute to this fact while maintaining your own distinctive style.

We're all a product of our environment. Tell us about the band's hometown and how that reflects in the music?

Leo: I think we as humans are in some way a product of our environment, but I would deny that this holds for me as a music lover and let alone as a musician. Music transcends places and your local environment. I’d say there is not much about our hometown in our music. It might be the other way round, just as a friend of us once said, we bring the desert to the city, wherever we are, create our own musical home, so we kind of have the vibes in us.

Max: I pretty much agree. Cologne’s a lovely city, but none of us are hugely patriotic about our hometown as a band. While I always loved living in a big city, I think the whole Stoner / Desert thing draws its archaic energy from vast open plains and skies rather than the urban landscape and that’s what we’re trying to capture. (Good job, Captain Obvious).

Where'd the band name come from?

Leo: Just as some fight trucks, we ride plains. It also makes for good chants.

Max: What he said.

You have one chance; what movie are you going to write the soundtrack for?

Leo: The R-rated version of Firefly.

Max: Probably whatever abomination a Coen brothers / Tarantino / Jack Black foursome would give birth to.

You now write for a music publication (The Ripple Effect?).  You're going to write a 1,000-word essay on one song. Which would it be and why?

Max: Clutch – Burning Beard. Still trying to figure that fucker out.

Leo: Generation X – Dancing with myself. Cause it’s all you do anyhow.

Come on, share with us a couple of your great, Spinal Tap, rock and roll moments?

Leo: Fabe once fell asleep on a smoke machine. No one noticed.

Max: That one time we had to make our way to the Black Sunset Festival after playing a show earlier that night. It must’ve been around 11pm or something. First, we took off in the wrong direction because there were like three different towns with the same name in that area. When we noticed about 50km in and tried to turn around, the thickest fog I’ve ever seen just rolled down the hills and reduced our sight radius to what, 20 feet or something? Meanwhile, our driver (I’m not gonna name names here, Fabe, no worries) slowly started to notice the 4-5 beers from earlier as I was mountaineering on the gear stacks in the back of our (borrowed!) van, desperately trying to keep the windows clear. That was pretty Spinal-Tappy I guess. Also there was this Fabe thing on the ride to Munich… Not sure whether I can tell that one just yet though. Anyhow. Come to think of it: All things bullshit necessarily involve at least one Fabe.

Tell us about playing live and the live experience for you and for your fans? 

Max: Well, we’re certainly having a blast hanging out together pretty much all the time – especially when we get to play live shows. I hope we can convey that to our fans as well. Sweat and beer are necessities. If we’re not soaked in both after the show, we didn’t do the job right.

What makes a great song?

Max: The Groove.

Tell us about the first song you ever wrote?

Leo: We are still working on our first song. But it’s classified.

What piece of your music are particularly proud of?

Max: Probably whatever I wrote last. Except if it’s shit. Then it’s probably the one before that. Repeat until particularly proud.

Who today, writes great songs? Who just kicks your ass? Why?

Max: I’m not saying it’s Clutch... But it’s Clutch.
Live performance, studio albums, songwriting, grooves, riffs, attitude, LYRICS, these assholes have it all! Needless to say there’s tons of other awesome artists out there: The Company Band, The Bakerton Group… Just kidding (see what I did there?). Reignwolf, Crobot, Planet Of Zeus, 1000mods, Stone Rider, Nightstalker, Rival Sons, Truckfighters, Deep Aeon, Phiasco... Damn, Monster Magnet still put out great shit too. Way too many to list them all.

Vinyl, CD, or digital? What's your format of choice?

Max: Digital on the go, CDs for touring, and Vinyl at home. Full disclosure though:
I don’t have a record player in my apartment at the moment. Mea culpa. Workin’ on it!

Whiskey or beer?  And defend your choice

Leo: First night beer, second whiskey so you can still get drunk.

Max: One bourbon, One scotch, One beer.

We, at the Ripple Effect, are constantly looking for new music. What's your home town, and when we get there, what's the best record store to lose ourselves in?

Max: The Underdog Record Store has lots of good shit.

What's next for the band? 

Leo: Writing our second album.

Max: Really? Pretty sure it was world domination. You sure it’s not world domination? Welp. Guess we’re writing an album then.

Any final comments or thoughts you'd like to share with our readers, the waveriders?

Leo: You misspelled Plainriders!

Sunday, July 24, 2016

Rejoice! I’m Dead! Gong's new studio album Released on 16th September

Some say it couldn’t, or shouldn’t, be done. How could Gong exist without Daevid Allen? A few minutes into listening to the title track of their brand new album aspersions will be cast aside. This is undeniably Gong.

Gong have had many, many line-ups. Formed when Australian beatnik/freak Daevid Allen quit The Soft Machine and moved to France at the tail end of the ’60s, before debuting in 1970 with Magick Brother, the band have remained fluid, even playing without their founder from the mid-to-late ’70s, fracturing and reassembling and constantly taking on new shapes and forms: an undeniably amorphous unit.

David Bowie told Vanity Fayre in 2003 that Daevid Allen’s Banana Moon is one of his favourite albums, and today everyone from indie artists Temples and Ty Segall to hip hop artist Madlib and techno DJ Surgeon are inspired, and borrow, from Gong’s music and ideologyThe funky grooves, avant-garde flourishes and counter-cultural stance is timeless. So timeless that Gong fully exists even without their creator and guiding light. For those who are unaware, Daevid Allen died in March 2015.
“I have been co-presenting The Interesting Alternative Show with Steve Davis for the last six years or so,” begins the story of how Gong’s new singer/guitarist Kavus Torabi met Daevid. “In 2011, Steve rang up excitedly saying ‘You'll never guess who we've got as a guest next week... Daevid Allen.’ I couldn't believe what I was hearing. I'd met Daevid briefly a couple of times with Tim Smith [Cardiacs] but never properly. As a lifelong Gong lover, this filled me with delight. Straight away the two of us seemed to really click, within minutes the conversation had taken a turn for the absurd and I was more than a little flattered when he told me, after about an hour, ‘You're a poet man, I can tell.’

How Kavus met Daevid.
The Interesting Alternative Radio show interview

Click the above image to play
“Over the forthcoming months we would text each other on a fairly regular basis, whenever Daevid was in town playing a gig he'd get in touch to see if I wanted to come along. ‘I've been thinking about this a lot,’ he told me, ‘Do you want to play guitar in Gong?’ This came somewhat out of the blue. ‘But you've never actually heard me play, Daevid’ I told him. ‘I don't need to,’ he replied. ‘I felt the same way about Mike Howlett when I met him too and I'm never wrong about this stuff.’ Of course I said ‘Yes’ instantly. ‘You know, I can't play like Steve Hillage,’ I told him. His response was priceless, ‘I don't care about what you can't do, I care about what you can do.’
“Since being a teenager, I have often come up with riffs that, while I loved them, had to be shelved because I always felt they sounded a little TOO much like Gong. One of which I started playing. Daevid got up and started improvising lyrics and melodies over the top, his beautiful eyes twinkling. This would become ‘When God Shakes Hands With The Devil (from I See You).’ ‘Wow Kav!’ Daevid said afterwards, ‘Got any more like that?’ Realising that 20 years or so of shelved riffs had not gone to waste, I blurted out ‘Yeah! Fucking loads!’
Kavus joined Gong in 2014 in time for the last album the “new” band made with Daevid, I See You, unaware of the direction his new gig as a guitar player would take. “It was shortly after our Brazilian tour in March 2014 that, following a broken arm, Daevid told us that he had been diagnosed with cancer and would be unable to fulfill the 47 date world tour that had been booked to promote [the album]. To my, and I guess all of our, minds there was no question that he would beat this thing. The most enlightened and switched on guy I ever knew, with light shooting out of every pore, he seemed indomitable. Nonetheless, he started making noises about how he wished the band to continue without him. I think everyone in the band felt ambivalent about this, particularly as we watched the majority of the gigs get cancelled upon news that he was too unwell to fulfill them. I certainly had no desire to front it. I have my own band Knifeworld in which I play this role. We did, however, have a new album to promote, so we reluctantly agreed to play the remaining shows and bow out gracefully after that. Each night we sent Daevid recordings or links to YouTube footage and, from his sick bed in Australia, he wrote gushing praise about what had happened to the band and how this was exactly what he had hoped. By the end of the tour and with the full blessing of Daevid we decided to carry on.
Rejoice! I'm Dead! came together over several weeks in an East London rehearsal studio. In terms of the writing, the songs became very elastic, what may have been brought to the band as a fixed idea, through experimenting, discarding, expanding and mutating evolved into the songs as you hear them now. Every member was key in the development of each song,” closes Kavus. Thus, Kavus (vocals/guitar), Fabio Golfetti (guitar/vocals), Dave Sturt (bass/vocals), Ian East (sax/flute) and Cheb Nettles (drums/vocals) took on the mantle of steering the Teapot further into outer space and the inner ear.

On the album you’ll also notice the voice of Daevid in an early song idea rehearsal, along with Gong alumni Steve Hillage, Didier Malherbe and Graham Clark. Fans of the  “Virgin trilogy” won’t be let down!    
In the words of bassist Dave Sturt: “You bet it's a fucking Gong record!”
It depends on your knowledge of Gong history and what constitutes as a Gong record, but if Rejoice! I'm Dead! is classified as their 28th album the Gong legacy is the strongest it has been since 1974. Consider the differences between Angel’s Egg, Gazeuse!, Floating Anarchy and I See You, the various splinter projects and collectives… what is it that make Gong who they are? Their spontaneity and numerous Phoenix-like rebirths – this is just the latest installment. Nothing more, nothing less. New members and old coalesce, the sound unmistakably Gong.

Even without Daevid Allen Gong will continue.
And long may it do so.

Rejoice! I’m Dead! will be released on CD, a double LP and as a limited edition deluxe 3 disc hardback book edition featuring 44-page book, CD, DVD-AV & Bonus CD and is available to preorder here
Digital pre-orders to follow

Gong Online:

Gong Band News
Planet Gong

NEUROSIS Reveals Further Album Details And Artwork For Their Eleventh Album, Fires Within Fires

[photo by by Scott Evans]
Of all that humankind has inherited through our ancestry, no single language has transcended every age as powerfully as music. For thirty years, NEUROSIS has formed an unbreakable union, channeling that inheritance of sound with great command and authority. Showing their discontent with convention from the very beginning, NEUROSIS revealed what would become an instinct for transformation in sound and scope. Their sound has become interchangeable with vision of the conscious and unconscious, coexisting in an infinite audial spectrum. A vision that challenged not only the constraints of what listeners, and indeed the band themselves expected, but of themselves as beings. Going beyond the remarkable, NEUROSIS has become unforgettable.
The journey of their music has found the band relishing the unpredictable, embracing the unknown and exploring the possibility of where the music was capable of taking them. This year finds NEUROSIS taking a dominant leap with their eleventh full-length, Fires Within Fires. Three decades in the making, and following 2012's Honor Found In Decay, the album is a testament both to the history and future of NEUROSIS. In true Ouroborean style, Fires Within Fires gives due to its predecessors while progressing forward into the unfamiliar and formidable. Striking the band's signature balance between light and dark, beauty and repulsion, dense sonic heaviness and reflective space. Fires Within Fires is succinct, raw and deeply soulful, an all-encompassing reminder to all that transfiguration in sound remains their most commanding and inimitable strength.
Created by Scott Kelly, Steve Von Till, Jason Roeder, Noah Landis, and Dave Edwardson, Fires Within Fires features exquisite album artwork from the renowned Thomas Hooper, and the stellar recording work of the group's longstanding engineer Steve Albini. The artwork and track listing for the album have this week been released.
Fires Within Fires Track Listing:
1. Bending Light
2. A Shadow Memory
3. Fire is the End Lesson
4. Broken Ground
5. Reach
Fires Within Fires is the next powerful step towards a destination that has long been and continues to be the very heart of "becoming" for NEUROSIS.
Neurot Recordings will release Fires Within Fires on September 23rd worldwide; audio samples, preorders, and further information on the album will be available very soon.
NEUROSIS will perform across Europe over the Summer months preceding the release of Fires Within Fires, and in addition, Steve Von Till has recently confirmed several European Summer performances as well.
NEUROSIS Tour Dates:
8/10/2016 Brutal Assault Festival - Jaromer, CZ [tickets]
8/11/2016 Festa Radio Onda D'Urto - Brescia, IT [tickets]
8/12/2016 Rock Altitude Festival - Le Locle, CH w/ Tesa [tickets]
8/13/2016 Oya Festival - Oslo, NO [tickets]
8/14/2016 Arena - Vienna, AT w/ Ufomammut, Tesa [tickets]
8/15/2016 UT Connewitz - Leipzig, DE w/ Tesa [tickets]
8/16/2016 Gruenspan - Hamburg, DE w/ Tesa [tickets]
8/17/2016 Patronaat - Haarlem, NL w/ Tesa [tickets]
8/18/2016 Pukkelpop Festival - Hasselt, BE [tickets]
8/19/2016 Substage - Karlsruhe, DE w/ Tesa [tickets]
8/20/2016 Motocultor Festival - St. Nolff, FR [tickets]
8/21/2016 Amplifest - Porto, PT w/ Tesa [tickets]
8/10/2016 007 - Prague, CZ [info]
8/22/2016 Passos Manuel - Porto, PT @ Amplifest [info]
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