SELECTION: ROCK METAL CATEGORY
DIRTY SOUND MAGNET
JOHN GAILO
Unfortunately, he’s pretty dead already, this old daredevil of rock music. Time to transplant his organs. JOHN GAILO pick the raisins and shoot electricity through the tissue. There are the lungs, there are the eggs and two to one leg for Frankenstein to hit the dancefloor. A perfect slap for the ideologically bored audience.
JOHN GAILO tumbles in tight pants and white masks out of the genre box and sprays « pinkrock » on everything.
The hip swings to electrified guitars, while snotty angels sing thunders on skins, the head bangs to the bass line that dashes gracefully in the gaps of the bullied Bassdrum, with a massive kick into the backbone to the great glam-slam feat.
JOHN GAILO
Unfortunately, he’s pretty dead already, this old daredevil of rock music. Time to transplant his organs. JOHN GAILO pick the raisins and shoot electricity through the tissue. There are the lungs, there are the eggs and two to one leg for Frankenstein to hit the dancefloor. A perfect slap for the ideologically bored audience.
JOHN GAILO tumbles in tight pants and white masks out of the genre box and sprays « pinkrock » on everything.
The hip swings to electrified guitars, while snotty angels sing thunders on skins, the head bangs to the bass line that dashes gracefully in the gaps of the bullied Bassdrum, with a massive kick into the backbone to the great glam-slam feat.
L’ARBRE BIZARRE
Founded in 2010, this Basel-based quintet uses music from the post punk era as a melting pot for other musical influences such as noise, grunge, post rock, psychedelic rock and shoegaze. This fresh approach results in very unpredictable, surprising and multi-layered songs, a lot like the branches of an old, skew-whiff tree in the foggy twilight. With the second EP DISTORTED REFLECTIONS (2014) the band has found their truly own sound. The first fully-fledged album BOKEH (2016) is the result of the consistent commitment by the band to their very own musical path and thus is a highly manifold and dynamic record which still manages to transport the energy of their ecstatic live shows. L’ARBRE BIZARRE already had the opportunity to support international acts like A PLACE TO BURY STRANGERS (USA) and FÖLLAKZOID (CHL).
SONS OF MORPHEUS
In no time Sons of Morpheus played gigs in the US and recorded with Jim Waters. The Result: a debut was released and lead the band out on many miles. The band’s call for 2016 was to write and record… What they actually did, but there was more: first they were off to tour in US stoner-giants Karma to Burn’s nightliner, slamming 37 shows all over Europe.
In 2017 Sons of Morpheus appear even more on the spot, their sound is gloomier yet explosive.
“Nemesis” mesmerizes with the 70’s exuberance and liberalism but bashes your head with the modern generation Y’s shakiness and unsoundness. Always driven by – boy, and you’ll hear that – the simple and basic instinct that brings three kids down to a basement to form a band: The all urgent need to crank up an amplifier, break a skin or two and make the building shake. And by doing so, for a few precious minutes, change the fucking world with it.
JOHN GAILO
In no time Sons of Morpheus played gigs in the US and recorded with Jim Waters. The Result: a debut was released and lead the band out on many miles. The band’s call for 2016 was to write and record… What they actually did, but there was more: first they were off to tour in US stoner-giants Karma to Burn’s nightliner, slamming 37 shows all over Europe.
In 2017 Sons of Morpheus appear even more on the spot, their sound is gloomier yet explosive.
“Nemesis” mesmerizes with the 70’s exuberance and liberalism but bashes your head with the modern generation Y’s shakiness and unsoundness. Always driven by – boy, and you’ll hear that – the simple and basic instinct that brings three kids down to a basement to form a band: The all urgent need to crank up an amplifier, break a skin or two and make the building shake. And by doing so, for a few precious minutes, change the fucking world with it.
THE LAST MOAN