So let me get this out of the way and say that the whole friggin’ Stoned and Dusted 2020 lineup is incredible. Kudos to the California Desert Wizards Association, which is the mysterious entity putting on the festival out in the Mojave, both at Pappy and Harriet’s and in the open air itself, taking place outside with camping and all the rest of it. Whole thing, great job. Okay. But seriously, at the first night of the thing, they’ve got Los Dug Dugs from Mexico City playing, and if you’ve never dug-dug into their stuff, it’s yet another lost classic of the heavy ’70s that’s begging to be heard. That’s an impressive get through and through. Nicely done. Beard cut 2016.
Now, onto the rest. Yawning Man, Brant Bjork, Corrosion of Conformity, Masters of Reality, Dead Meadow, Earthless, Mos Generator, Big Scenic Nowhere, The Well. The inclusion of all of the last three I assume means that Tony Reed of Mos Generator and Ian Graham and Lisa Alley of The Well will take part in the Big Scenic Nowhere set — could be a package tour in the making there — and it doesn’t seem unreasonable to expect Mario Lalli might be on hand to play bass either, as Yawning Man will be playing the first night.
Toss in Hippie Death Cult, Helms Alee, The Heavy Eyes, BALA, Jesika von Rabbit, Sean Wheeler, Hammer of the Ozz and a few more TBA, not to mention Mad Alchemy doing the lights, and you’ve got a three-night desert party that’s very, very clearly going to be something special for those fortunate enough to be there to witness it.
To that end, tickets go on sale Saturday, as per the PR wire:
STONED AND DUSTED 2020 LINEUP
Yeah buddy! Here it comes again! Are you ready?! Finally the scoop on this year’s Stoned and Dusted party, brought to you by your California Desert Wizards Association.
In 2020 we have THREE NIGHTS of fun: Friday May 22nd; Saturday May 23rd; and Sunday May 24th.
STONED AND DUSTED WELCOME PARTY: On Friday May 22 we have a very special lineup at California’s most famous cantina, Pappy & Harriet’s. Friday’s show is on the indoor stage and we are proud to present 1970’s psych legends from Mexico City, Los Dug Dugs, with desert legends Yawning Man and more TBA.
STONED AND DUSTED ROADHOUSE: On Saturday May 23 we are doing it up again at Pappy & Harriet’s Pioneertown Palace (outside stage), our favorite dusty, desert roadhouse. Pack your earplugs, rolling papers and bring a designated driver for this insane lineup: Corrosion of Conformity, Masters of Reality, Brant Bjork, Helms Alee, BALA and a late show inside from Jesika von Rabbit.
STONED AND DUSTED CAMPOUT: On Sunday May 24 we invite you to a generator party – a Memorial Day concert, cookout and campout at a secret desert location. You can camp on site and party with your friends and fellow desert wizards late into the night. The boulders are there; we are bringing the rock! Dead Meadow, Earthless, Big Scenic Nowhere, The Well, The Heavy Eyes, Mos Generator, Sean Wheeler Y Los Caminos, Hippie Death Cult and Hammer of the Ozz. The Mad Alchemy Liquid Light Show will light up the desert once again this year.
General on-sale begins late this Saturday night, Feb 8, around midnight into Sunday morning. Go to our website and join our email list for more information.
STONED AND DUSTED PRE-PARTY $22
STONED AND DUSTED ROADHOUSE $60
STONED AND DUSTED CAMPOUT $230
For the STONED AND DUSTED CAMPOUT, we also offer a camping gear add-on for those who can’t fly with a tent and want to camp out under desert skies.
You ever feel like the universe is just doing you favors? That’s me reading that Øresund Space Collective being added to Høstsabbat 2020 this October in Oslo. One could kind of say the same of the whole lineup to this point, from Mars Red Sky right on down to Green Lung, but honestly, the always-improvised jams of Øresund Space Collective are something I write about when I feel like I need to reset my brain or get myself right on some creative level — a kind of refresher and reminder of the vitality of the passion that can fuel a band’s work. And I’ve never seen them live, either. And if all goes according to plan, I will at Høstsabbat. It’s one more thing to make me look forward to this trip in the Fall. I’ve seen Dr. Space jam with other bands, and that’s been cool, but yeah. This is going to be something special and I can’t wait.
Here’s the announcement. I didn’t write it but I tweaked it a bit at the request of the festival:
HØSTSABBAT 2020 – ØRESUND SPACE COLLECTIVE (DK)
When space is the place there’s only one place to go. If your only desire is to be captivated in a lush improvised cosmos, your mind altered by the liquid shifts of galaxies, you need to call in the doctor.
Hailing Dr. Space! Come in, Dr. Space!
Known by the terrestrial name of Scott Heller by some earthlings, Dr. Space gathered the Øresund Space Collective together back in 2004. With a somewhat rotating cast of musicians from around Denmark and beyond, the idea has maintained the same; to gather a group of players challenging themselves in long and improvised jams, taking advantage of the energy between them and the playful interaction. It’s a masterclass in borderless music. A sonic conversation set for the heart of the sun, presented to the listener in its most natural state.
The Collective soon found themselves leaders of the European psych scene, and it’s fair to say they’ve remained in that position ever since, consistent in releases but gigging only occasionally mostly due to other projects spanning out from their core.
After years of trying without success, we are proud to have at last established interplanetary relations between ourselves and Dr. Space, and proud to bring these forefathers of Scandinavian spaced-out psych to our church.
Please welcome Øresund Space Collective to Høstsabbat 2020.
HØSTSABBAT 2020 SPOTIFY PLAYLIST
Full beard styles 2016
Artwork: Trine Grimm Tattoo / Linda K Røed
Gospel of the Vile Due March 6">Dwaal Premiere “Like Rats” Video; Gospel of the Vile Due March 6
Oslo-based six-piece post-doom outfit Dwaal will issue their debut full-length, Gospel of the Vile, on March 6 through Dark Essence Records, and it is a record that immediately repositions the listener to suit its own purposes. With a strong tonal wash, overlaid vocal and synthesizer melody, “Ascent” unfolds basically as an intro for the first six minutes of the album. The track is perhaps wrongly titled for not being called “Immersion,” but it’s hard to hold that against it, particularly when it’s intended as a bookend with 16-minute closer “Descent.” What it doesn’t do, however, is prepare the listener for some of the shifts presented in “Like Rats” and the four cuts that follow, mostly notably the massive nod that ensues and the undercurrent of classic emotive death-doom that permeates. Guttural growls and lyrical introspection take hold across the second track and with an ultra-slow progression, Dwaal find a niche between styles, thoughtful on multiple levels of its execution and nigh on lush at times in how it’s produced, but still with a feeling of raw humanity coming through in those vocals and the sheer lumber of the rhythm.
Tonal largesse and rhythmic lurch are essential throughout Gospel of the Vile, but as Dwaal — who appeared at Høstsabbat in 2018 ( review here ) and released their debut EP, Darben, in 2017 — roll out these massive, crawling grooves, the emotional crux in the guitar and vocals is no less crucial, and neither is the sense of atmosphere. With an especially memorable guitar figure that emerges just before two minutes into its total 13:50, the title-track brings these different sides together well in such a way as to build off what seemed to be separate in “Ascent” and “Like Rats” between the ambience on one side and the extremity on another. The band flourish over their longer-form presentation, with the growls returning to highlight severity in transition from more standard shouting, and after a contemplative stretch, “Gospel of the Vile” offers some of the most humongous plod on the record that shares its name, finishing with fading amp noise into the Amenra-style tension at the start of “Obsidian Heart Burns,” which builds up over the first two minutes or so into a gruesome unfurling, willfully harsh and biting even as it maintains a deceptive patience.
That patience pays off in the midsection of the song, which layers airy guitar overtop all the crushing tone and churn, and, as the title line is delivered, sets up a righteous explosion back into the max-weight impact. Brutal. The penultimate “The Whispering One” is the shortest inclusion besides “Ascent” at just under seven minutes, but uses that time to unleash a distinctively dramatic vision of doom, a wash that isn’t at all chaotic or fast but permeated by some high-pitched frequency in its second half — is that synth? effects noise? — that adds an almost subliminal feeling of alarm or panic. It starts at 4:33. Keep an ear out. I’m not even sure if it’s supposed to be there or if it’s some glitch in the stream I was given, but it’s curious either way. It does not stop “The Whispering One” from easing smoothly into the quiet opening of “Descent,” which again, at 16:26, is something of an album unto itself, or at very least a summary and expansion on what the rest of Gospel of the Vile has to offer. The floating guitar lines, the deathly growling, throaty shouts and emotional crux both quiet and extreme come through even before the piece is halfway through, and just before eight minutes in, cleaner vocals return in fitting answer to those at the record’s outset.
They’re swallowed up soon enough by the encompassing darkness, but even as the last five minutes of “Descent” play out in slow-stomp and a subtly-constructed payoff wash of noise, the message remains that Dwaal have yet perhaps to reveal the full breadth of their sound. Obviously conscious of the presentation of their craft, I’d expect purposeful growth their next time out — that is, they sound like a band who will want to move forward from release to release, and Gospel of the Vile would essentially be the starting point of that, the prior EP notwithstanding — but the impact and ambience they bring to this six-songer isn’t to be undervalued in its own right. Still, as they move forward and refine their sound and lyrical perspective, one hopes the heft and rawness can be maintained within their subsequent work, whatever form it might take, since they do so much to make this debut hit as hard as it does.
If you’re sensitive to flashing lights and general visual chaos, watch out for the “Like Rats” video below — you might want to avert your eyes or just listen to the song and look at something else — but otherwise, dig in and enjoy. Album is out March 6.
PR wire-type info follows:
Dwaal, “Like Rats” official video premiere
From the upcoming album “Gospel Of The Vile”, to be released on Dark Essence Records on March 6th 2020
Single and album covers both made by Anders Johnsen. Video by Eigil Dragvik. Band photos by Endre Lohne.
“Like Rats” is the second single from the upcoming album Gospel Of The Vile.
Gospel of the Vile is the first full length album from this six-headed monster from Oslo, Norway, following their self-released EP Darben (2017). The music is definitely rooted in Doom Metal, bearing also clear inspiration from Post-rock, traditional Metal and the ambience of Black Metal – Resulting in a massive sound, with moments of both brutality and beauty.
The concept of the album is depicting humanity’s embracing of its inner darkness and the decline into a more primal state, with songs like “Gospel of the Vile” and “Obsidian Heart Burns” at the center of the lyrical universe. Gospel of the Vile is an album that challenges you to endure its every movement.
Bjørnar Kristiansen – Vocals
Eigil Dragvik – Guitar & Backing vocals
Any sort of activity on the part of Masters of Reality is nothing but welcome news, as far as I’m concerned, and as the band have already been confirmed for Desertfest in London and Berlin, Sonic Whip in the Netherlands and Kristonfest in Spain, it’s maybe not such a surprise that they’re announcing tour dates to tie those appearances together, but still, I’ll take it. Do I think it’s going to lead to a full surge of activity on the part of Chris Goss and company, new album blah blah blah? I don’t know. It’s been over a decade now since the last Masters of Reality LP, 2009’s Pine/Cross Dover ( review here ), and though there have been reissues since then and Goss posted some songs circa 2018, I’m not exactly holding my breath for the album if you know what I mean. 2021 will mark 40 years of existence in one form or another for the band. I’ll take what I can get at this point.
And not that I’ll be fortunate enough to see these shows, or that I’ve ever seen Goss perform, much to my chagrin, but I’m glad they’re happening, and yeah, I hope there are more to come, and a record, and all that stuff. Would be awfully nice.
MASTERS OF REALITY return with a full European tour and festival appearances this May
The legendary desert rock project driven by the unique creative force of guitarist and vocalist Chris Goss, MASTERS OF REALITY, return strong in the spring of 2020 with a series of European shows including festival appearances.
Chris Goss formed MASTERS OF REALITY with Tim Harrington as a two-piece in Syracuse, New York in 1981. He is also widely known for being the cornerstone producer of many behemoths of the Palm Desert scene, including Kyuss, Queens of the Stone Age, Mark Lanegan, Mondo Generator and the Desert Sessions.
The band has released six studio albums and two live albums between 1988 and 2009, punctuated by countless tours across Europe and North America. However, their name has remained a landmark of the Heavy Rock age, this is why MASTERS OF REALITY have decided to return to Europe to blow fans’ minds again this spring, with a series of shows including headlining performances at Desertfest London and Berlin, Kristonfest and Sonic Whip Festival.
MASTERS OF REALITY European Tour 2020:
01.05.20 – LONDON (UK) Electric Ballroom
02.05.20 – NIJMEGEN (NL) Sonic Whip Festival
03.05.20 – BERLIN (De) Desertfest Berlin – Arena
05.05.20 – ASCHAFFENBURG (De) Colos Saal
09.05.20 – MADRID (Sp) Kristonfest – La Riviera
12.05.20 – PARIS (Fr) La Maroquinerie
13.05.20 – COLOGNE (De) Art Theater
15.05.20 – SINT-NIKLAAS (Be) De Casino
Masters of Reality, “John Brown”
Explorer">Review & Full Album Premiere: Seven Planets, Explorer
[Click play above to stream Explorer by Seven Planets in full. Album is out Friday on Small Stone Records. Preorders available here.]
Seven Planets‘ third album and first for Small Stone Records, Explorer, is a simple-enough proposition on its face. The West Virginian double-guitar instrumentalist outfit on paper — things like “instrumental” and “West Virginia” — inherently bring to mind Karma to Burn, who are more or less the kings of the form of straightforward, (mostly) sans-vocal heavy rock and roll. But Seven Planets wind up on a different trip with Explorer, and the surface impression is really just the beginning point for what they have to offer on the eight-track/36-minute Explorer, a follow-up to their 2012 self-titled ( review here ) and 2008’s first LP, Flight of the Ostrich, both self-released. Eight years between records is no minor stretch, but with a recording credited to the band and mix helmed by guitarist Leonard Hanks, joined in the band by guitarist James Way, bassist Mike Williams and drummer Ben Pitt, Explorer‘s tracks by and large carry an easy groove marked by tonal warmth and fluidity between the players.
It may have taken Seven Planets eight years to put a record out, but whatever might’ve been behind that delay — life? — listening to the languid, semi-bluesy nod of the title-track, it’s easy to believe they’ve been jamming all the while. Beginning with “Vanguard,” they bring together elements out of heavy rock riffing and heavy psychedelic immersion, something that, for the first record, I compared to Clutch offshoot The Bakerton Group. The same applies to Explorer at least in the use of Tim Sult-style wah on lead guitar lines, but perhaps to a lesser degree than on the preceding release, since, as Explorer hints in its title, the band seem to be working here to find their own space and sound here in a progressive step forward from where they were those years ago. The drift of “Plain Truth in a Homespun Dress” shows a patience in unfolding its bluesy undercurrent and builds up over its first 90 seconds or so toward a momentary wash before receding again, cycling through with a solo overtop and shifting in its second half to a surprise bit of boogie before, in the last minute, the jam seems to take an improvised turn led by the guitar before coming apart.
That moment is important and feels particularly honest, if somewhat understated. The title-track follows in its own liquefied near-seven-minutes of flow, but the exploratory feeling is palpable at the culmination of “Plain Truth in a Homespun Dress,” and the fact that the band let the song follow its own path organically, even as it dissipates, is admirably honest and speaks to their ethic and lack of outward pretense overall. Not that their material can’t be thoughtful or planned out, as the initial unfurling of “Explorer” itself certainly seems to be, with hints toward prog structures and a spacier thematic as depicted on the Alexander von Wieding album art, but it’s the ability to move in either realm and to subtly shift between mindsets that gives Explorer as a whole its sense of character throughout its relatively brief runtime. As the title cut settles into its funky bounce moving toward the midpoint, with Pitt‘s drums and Williams‘ bass leading the way through the encompassing jam — something backwards layered in — it’s no challenge for the listener to go along with the groove as they make their way to the finish of the album’s longest track.
The spirit of the material is nothing but warm and welcoming throughout, and certainly that’s emphasized in the title-track, which gives way to a quicker, solo-laced boogie in “206,” the presumed end of side A, as the two guitars hold sway over the creation of a swirl of effects and a central riff cutting through. Like “Vanguard” at the outset, “206” feels like something of a snippet, but it moves smoothly into “Seven Seas” — the only piece besides the title-track to reach over six minutes — and provides a buffer between the more psychedelic vibe of the two longer stretches when listening to a linear (CD/DL) format; a well-intentioned pickup in energy and momentum that, like the rest of what surrounds, asks little more of the listener than a nod-along. “Seven Seas” is particularly notable as the beginning point of side B as it leads to “Great Attractor,” which — and not just for the inclusion of organ (or organ sounds) lurking in the mix — makes for the most hypnotic one-two dive on Explorer. With the drums still acting as a grounding factor, Seven Planets are never in any real danger of floating away, but their drive toward meandering here and there in the guitars makes the later moments of “Great Attractor” a mirror for “Plain Truth in a Homespun Dress,” even if the ending works out smoother.
Shuffle blues guitar takes hold in the penultimate “Grissom” with a due sense of space, picking up at the end before dropping out and hitting on the beat into the rush of closer “The Buzzard,” which immediately begins the speediest movement on the record. Feeling more plotted than “Grissom” or some of the other material, the finale works around a winding riff with suitable rhythmic push and a summarizing feel in the interplay of lead and rhythm guitar, resolving itself in a last shove that, as they have at several points throughout, cuts away just as it seems to reach a head. Seven Planets never reach the same kind of jammy elevations as, say, their labelmates in Austin, Texas’ Tia Carrera, but neither do they seem to want to. Rather, their melding together of different styles and plays back and forth between constructed and off-the-cuff material and parts — sometimes, it seems, within individual tracks — is a distinguishing factor for their sound and ends up being the basis for much of Explorer‘s personality. Eight years after the first offering, it probably shouldn’t be a surprise to find that Seven Planets have progressed as a band, but they’ve also managed to hold onto the essential instrumental conversation between them that allows those improvisational stretches to shine through.
The Pendulum EP; Title-Track Posted in Lyric Video">Candlemass Announce The Pendulum EP; Title-Track Posted in Lyric Video
So Leif Edling grew a righteous beard and Candlemass got nominated for a Grammy. You think it’s a coincidence? Okay, probably, but still a compelling one. True, they didn’t win that Grammy, but do you think it’s too early to put them in for a Lifetime Achievement Award? I’d be glad to make the argument they’ve earned it, what with the decades of landmark doom metal and the pure lifer riffs that seem to come on eternal supply from Edling, pre-beard or post-.
I was stoked beyond stoked when they said they were bringing back original singer Johan Langquist for 2019’s The Door to Doom ( review here ), and even more stoked than that when I actually heard that record. Well, it turns out The Door to Doom was originally intended as a 2LP and cut to fit on one — almost always the correct choice — and among the tracks that didn’t fit on the final version were “The Pendulum” and “Snakes of Goliath,” and they’ll be featured on the new EP, also titled The Pendulum, which Napalm will issue on March 27.
More Candlemass you say? Win. Plus it lets them keep a little of that Grammy-nomination momentum going, so all the better.
They’ve got one date in the US booked for April. I certainly wouldn’t mind a tour around that:
Epic Doom Icons CANDLEMASS Announce EP Release Details and Share Brand New Lyric Video!
Grammy-nominated classic doom icons CANDLEMASS don’t even need to drop a full-length for every release to prove they belong at the top of an entire genre and beyond. Fully comprised of never-before-heard, unused tracks cut from the The Door To Doom recording sessions, the band has just announced the release of a masterful new EP, The Pendulum, due out March 27, 2020 via Napalm Records! Pre-order your copy HERE.
The Pendulum perfectly showcases that these timeless Swedish pioneers are the undisputed kings of epic doom. The fully-mastered opener/title track “The Pendulum” charges in with a melodic, head-swinging, thrashy rush – setting the stage for the raw, unfiltered steamrolling demo cuts to follow. Listen to the track’s unadulterated doom heaviness and watch a brand new lyric video for “The Pendulum”!
Says band mastermind Leif Edling: “THE PENDULUM” is about hard riffing, epic choruses and total delusion the fanatical way. It is in fact the last thing I wrote for “THE DOOR TO DOOM” album but didn’t have the time to finish it. Here it is in its grand/mad luster with a great mix by Niklas Flyckt, and produced by Marcus Jidell. It is followed by 5 unreleased demos from the DTD sessions because the whole sha-bang was at first supposed to be a double effort but got trimmed down to a single album eventually.
I love the PENDULUM track, album quality if you ask me, and songs like “THE PORCELAIN SKULL” and “SNAKES OF GOLIATH” are not bad either. They just didn’t make it to the final thing. So I hope you like this EP that features the “missing” songs. The last pieces of the puzzle of the 1 year recording that became the album “DOOR TO DOOM”. Enjoy:-) “
The Pendulum Tracklisting:
This six track EP leads the listener through a maze of frenzied riffing, accented by Johan Langquist’s distinctive vocals and the unique, melancholy sound that has proven CANDLEMASS to be a heavy metal staple. The Pendulum is a MUST-HAVE for every classic doom record collection, and will stave off the hunger for more until the band’s next full-length hits.
Amazing beard styles
April 11: SWE – Stockholm / Södra Teatern
April 12: SWE – Stockholm / Södra Teatern
April 18: US – Houston, TX / White Oak Music Hall
July 11: BUL – Chelopech / Park Korminesh
Candlemass, “The Pendulum” official lyric video
Body of Light">King Witch Set April 24 Release Date for Second LP Body of Light
A little bummed to see that the news of King Witch‘s impending second album doesn’t arrive with any unveiled audio, but then, I would be. Their first one, 2018’s Under the Mountain ( review here ), did nothing to shy away from its affinity for metallic glories, and I’ve no reason to expect the luster has dulled in the time since. Plus, calling out a Rainbow influence — specifically Rainbow, separate from Deep Purple, Black Sabbath or anything else Ritchie Blackmore or Ronnie James Dio have ever been or were involved in — is among the quickest ways to my heart. Straight to it, you might say.
KING WITCH ANNOUNCE NEW ALBUM ‘BODY OF LIGHT’!
Formed in late 2015 in a dark cavern beneath the streets of old Edinburgh, Bristling with dark majesty, KING WITCH draw comparisons ranging from Black Sabbath and Candlemass to Mastodon and High On Fire. The band quickly earned themselves a reputation as a formidable live act and have toured the UK and Europe in support of their first full length debut album “Under The Mountain” which was released on Listenable in 2018.
KING WITCH ’s highly anticipated second album “Body of Light” further focuses their ability to fuse dense riffage with haunting yet powerful vocal lines and melodies. “Body of Light’ wider dynamic range takes the listener on an electrifying journey from dark, brooding passages through to full-tilt Heavy Metal glory!.
The band comments: « Musically, inspiration came from the same directions as always – the classic doom of Trouble and Candlemass alongside the ever-present influence of Sabbath, Purple and Rainbow. “
Laura Donnelly (vocals) has delivered an amazing artwork once again as she develops: « The cover art depicts a woman floating in space with her skeleton/soul leaving her body. Our title track “Body of Light” is about Astral Projection and having the ability to straddle between different worlds. I felt the concept represented the album well in different ways by illustrating themes such as the occult, myth and legend, the human condition, escapism and, primarily, the question of what lies beyond. »
KING WITCH ’s ‘Body of Light’ was Recorded at Deep Storm Productions, produced and Mixed by Kevin Hare and Jamie Gilchrist and mastered by Tom Dring.
It is scheduled for an April 24 release date.
9. Beyond the Black Gate 09:55
King Witch, “Carnal Sacrifice” official video
Fu Manchu are in the studio now and I think they said on Instagram they’re eyeing a May release for their next album, which would rule and would arrive in timely fashion as they celebrate their 30th anniversary all year on the road. They joined the Up in Smoke 2020 lineup at the end of last week along with Mars Red Sky, Pallbearer, The Heavy Eyes — still waiting for the full tour to be announced — Sons of Morpheus and Mother Engine.
It’s a pretty efficient bundle if what you’re looking for is ‘awesome,’ and I think probably it is. It seems early for the Fall fest season to start taking shape, but it always does when it happens around now, so points for consistency at very least, and Sound of Liberation, which is behind this fest as well as Keep it Low and has a hand in several others along the way — Desertfest in Berlin, Antwerp and New York, and so on — rarely leaves this kind of thing to chance. Pro-shop and all that.
The latest announcement is below. I’m late with it but I’m late with everything. I’m a pitiful old man, give me a break.
FU MANCHU + 5 MORE BANDS JOIN UP IN SMOKE LINE UP
Smokers, we’ve been eager to share some line up news with you and we could for sure do it slowly and patiently, announcing one band after another… but you know what? It’s Friday, so take them all!!
Californian legends Fu Manchu are celebrating their 30th anniversary and we’re super stoked they’ll celebrate it with us!
They’ll make your neck hurt alongside mighty US doomsters Pallbearer, French’s unique psych-doom wizards Mars Red Sky, groove masters The Heavy Eyes, also from the USA, German Instrumental wonder Mother Engine and beloved Swiss psychedelic trio Sons of Morpheus!
We’re super proud and excited to welcome those amazing acts on board! Can’t wait, see ya there!
??Up In Smoke takes place at Konzertfabrik Z7 – Pratteln in Pratteln on 2-3-4 October 2020.