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  • Image: http://www.flagz.co.nz/product/portugal/ 10 Portuguese Post-Rock Bands You Should Listen To!
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Post-Metal

10 Portuguese Post-Rock Bands You Should Listen To!

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The Post-Rock scene is not only diverse but extremely rich worldwide. The boundaries of this genre have been pushed far and wide over the years and Portugal was not indifferent to it. The Portuguese Post-Rock scene has grown over the years and solid acts have pushed the limits. Take a listen!

10 – Okkur
Okkur
Okkur (from Barcelos) is one of those bands that astounds you in a way that is different from all the others. The band takes some influences from bands like The Last Days and Líam. This music will speak to your soul and you will not be the same person after listening to this. Every instrument is like a perfect piece in a perfect puzzle that is not only wholesome, but also pure, raw and magical for every second of it!

9 – Cerca
Cerca
Cerca is the project and vision of Né Alves. With strong, vibrant riffs, each song is a story of its own, always surprising you, always pulling you in. Live, they are intense and unique. Like a punch in the stomach that instead of sending you to the stars, it pulls you down to the Earth and grounds you in a way you did not think it was possible. Cerca released their album VII in September 2017 and it’s a must-listen!

8- Juseph
Juseph
Juseph is a band formed in Vale de Cambra in 2009 whose discovery was quite a surprise. With a unique sound, distortion-driven guitars and wild grooves, they produce the sort of musical landscape that takes you to an alternative dimension and leaves you mesmerized with the sound. They have two releases: 2013’s Novae EP, and recent 2019 album Óreida. One of the most positive surprises that the Portuguese post-rock scene has to offer.

7 – Then They Flew

Then They Flew
Hailing from Lisbon, Then They Flew is a band that leads you to a dreamscape in which vivid imagery comes to life with each note and every chord played. Soothing melodies and intense riffs bring just about the exact intensity for each moment of each song. Their style is inspired by many artists and you will find strong resemblances to If These Trees Could Talk. They released their album Stable as the Earth Stops Spinning in 2015.

6 – Imploding Stars
Imploding Stars
 Imploding Stars can best be defined as rich melodies and emotional uplifting music that takes you to the outer reaches of space. Hailing from the city of Braga, Imploding Stars have made a journey that not only contributed for their own personal growth and definition as a band but also to the pleasure of every post-rock listener who had the grace to find their music. They count three albums in their discography and one of them was made as a soundtrack for the movie From Earth to the Universe¸ produced for Casa da Ciência de Braga.

5 – First Breath After Coma
First Breath After Coma
Founded in 2012, First Breath after Coma are a unique band. With three albums in their discography, they have risen to great heights and joined the platoon of international Portuguese bands. In March 2019 they released their last album NU, after the acclaimed 2016 Drifter. NU is an experience worth listening to. Experiencing and pushing musical boundaries, First Breath After Coma are surely bound to continue to grow and present us with amazing art.

4 – Homem em Catarse
Homem em Catarse
Homem em Catarse is the project of indignu’s guitarist Afonso Dorido. Counting with one EP: Homem em Catarse and two albums: Guarda-Rios and Viagem Interior, Homem em Catarse is the combination of Post-Rock looped guitars and the traditional Portuguese Fado singing. His latest album, Viagem Interior is a recollection of experience and lives from the rural areas of Portugal that were left behind and sometimes forgotten. It’s a journey to the deepest roots of what Portugal has to offer.

3 – Catacombe
Catacombe
Starting in 2007 in the town of Vale de Cambra, Catambe carved a journey over the years that lead them to the release of an EP: Memoirs in 2008 and two albums in 2010 and 2014. In 2013 they appeared as the surprise band in Amplifest, participating with bands such as Deafheaven, Russian Circles, Year of no Light, amongst others. They have shared the stage with other bands such as Tides from Nebula and Minsk and on the 7th of June they are going to release the album Scintilla. This album represents a journey to the origins, and as the band puts it: “Scintilla leads us back to that primordial moment when man discovers fire, so that millions of years alter a band can discover the course, or the maturity.”

2 – Before and After Science
Before and After Science
Born in Oporto in 2009, Before and After Science have made their presence known over the past couple of years. In 2013 they released the EP Vital Signs of a Fallen World and finally in 2017, their album Relics & Cycles. Taking influences from bands like If These Trees Could Talk and Russian Circles, they stand out in the Portugal Post-Rock/Post-Metal scene with their strong riffs and intense music. A band definitely worth listening to if you’re looking for heavy and powerful music that will not leave you indifferent.

1 – indignu [lat.]
indignu [lat.]
And finally, for the first place! Indignu [lat.] is one of the most prominent Portuguese acts out there. Originally from the small town of Barcelos, they released their fourth album Umbra in May 2018.  The band called Umbra “a record in memory of all the souls left in the gloom of a tragedy that raped our homeland last year. A black, painful, haunted set that describes the penumbra in which a man lives immersed in the dark chaos, in the apocalypse.”. This is the kind of band whose intense and emotional way of playing will trigger deep, strong emotions that are hard to grasp and comprehend. In September, they will be playing VIVID. a post_rock festival in Norway, with what will surely be an intense and immersive show.

João Seixo

  • Date June 5, 2019
  • Author Joao Seixo
  • Tags Ambient, Before and After Science, Catacombe, Cerca, First Breath After Coma, Homem em Catarse, Imploding Stars, indignu [lat.], Instrumental, Juseph, Okkur, Portugal, Post-Metal, Post-Rock, Then They Flew
  • Comments 1 Comment

Photos: dunk!festival 2018 in Zottegem, Belgium

Gallery

dunk!fest 2018

Thursday 10 – Saturday 12 May

Zottegem, Belgium

dunk!festival 2018

Thursday May 10

Astodan (BE)

See also Ranges EU Tour 18: Ghent and Paris

Ranges (USA)

Ranges dunk!festival 2018 Ranges dunk!festival 2018 Ranges dunk!festival 2018 Ranges dunk!festival 2018

See also Ranges EU Tour 18: Lyon and Freiburg

Album Review: Ranges – The Ascensionist

EF (SE)

See also Album Review: Teller – Strive Recess Echo

Thot (BE)

 

Caspian (USA)

Caspian dunk!festival 2018 Caspian dunk!festival 2018 Caspian dunk!festival 2018 Caspian dunk!festival 2018 Caspian dunk!festival 2018 Caspian dunk!festival 2018 Caspian dunk!festival 2018Caspian dunk!festival 2018 Caspian dunk!festival 2018

Friday May 11

Ohgod (SA)

Ohgod dunk!festival 2018 Ohgod dunk!festival 2018 Ohgod dunk!festival 2018 Ohgod dunk!festival 2018

See also The Great Silence: An Interview With OHGOD

Au Revoir (USA)

See also Live Review: dunk!USA Festival 2017, Burlington VT 

Lethvm (BE)

Grails (USA)

Rosetta (USA)

Rosetta dunk!festival 2018Rosetta dunk!festival 2018   Rosetta dunk!festival 2018Rosetta dunk!festival 2018 Rosetta dunk!festival 2018

See also Live Review and Photos: Rosetta at Valhalla, Wellington

Echoed sounds collide: an interview with Rosetta

ALBUM REVIEW: ROSETTA – UTOPIOID

The Ocean (DE)

The Ocean dunk!festival 2018 The Ocean dunk!festival 2018The Ocean dunk!festival 2018 The Ocean dunk!festival 2018  The Ocean dunk!festival 2018 The Ocean dunk!festival 2018  The Ocean dunk!festival 2018 The Ocean dunk!festival 2018 The Ocean dunk!festival 2018 The Ocean dunk!festival 2018 The Ocean dunk!festival 2018 The Ocean dunk!festival 2018The Ocean dunk!festival 2018 The Ocean dunk!festival 2018

Saturday May 12

Appalaches (CA)

See also Live Review: dunk!USA Festival 2017, Burlington VT

jeffk (DE)

Zhaoze (CN)

Tides of Man (USA)

aswekeepsearching (IN)

Worriedaboutsatan (UK)


Poster by Error! design

All photos by Joseph James

Please contact me if you are an artist featured here and I will gladly send you images I took. Feel free to share photos, but please remember to credit Will Not Fade

  • Date May 18, 2018
  • Author Joseph James
  • Tags Ambient, Appalaches, Astodan, aswekeepsearching, Au Revoir, Belgium, Caspian, dunk!festival, EF, Grails, Instrumental, jeffk, Lethvm, OHGOD, Post-Metal, post-rock, Ranges, Rosetta, The Ocean, Thot, Tides Of Man, worriedaboutsatan, Zhaoze, Zottegem
  • Comments 6 Comments

Live Review and Photos: Rosetta at Valhalla, Wellington

Rosetta Valhalla Wellington
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Rosetta

w/ Spook The Horses
Valhalla, Wellington
Tuesday 12 December 2017

Spook The Horses Valhalla Wellington

Recently, when browsing through my emails, I opened the newsletter from German label Pelagic Records. Imagine my surprise when I saw that they’d signed Wellington act Spook The Horses! Win for local music!

Now to be honest, I’m never been a big Spook The Horses fan. I cam appreciate what they do, but the heavy roaring often put me off. But their set tonight has completely made me reconsider. They are incredible!

Spook The Horses Valhalla Wellington

They had some screens free-standing on stage, with a projector shining images onto the screens. The new music sounded mellow and sparse, with pleasant singing in place of roaring. In my head I started to compare their new sound to the likes of Blueneck and softer Opeth.

The band slowly started in increase the intensity, finishing the set with some of their older material. It was an interesting evolution, from ephemeral music with nice singing, to heavy post-metal with roaring. And because the transition seemed so gradual, I not only warmed to the roaring, but really got into it. Tell you what, I was thoroughly impressed! The drums sounded especially thunderous, so props to the sound guy.


Rosetta have recently come off a month-long US tour. I recently came back from touring across a America with a band as well, so I can understand the immense scale of where they went. Philadelphia is on the east coast, a few hours drive south from New York City. Their tour was mostly in the west coast region. That’s a long way from home.

And now they’re in New Zealand, which is almost as far as they can get from home. Speaking to Mike (vocals) before the show, he told me how the response in Asia and Australia on this current tour has been unbelievable. By the sounds of things, it feels more rewarding playing in foreign countries because people make the effort to see bands that don’t have the opportunity to play those places as often.

Clearly all that touring has helped them mesh as a band, because they are one helluva unit! Seriously tight, and delivering blow after blow of intensity. Rosetta’s latest album, Utopioid, is a dynamic exploration of musical textures and timbre. Tonight they brought those textures to life, pummeling us with searing riffs and busy beats.

Rosetta Valhalla Wellington

Mike was a brilliant front man. Funnily enough, most of the bands I’ve seen in recent months haven’t had singers, and the ones that do usually have the singers playing guitar. It felt special to see a vocalist freed up to move around without an instrument to restrict him.

One of the most vital aspects of putting on a show is energy. It’s the difference between listening to an album and home, or seeing the band play it live. Seeing guitarists throw themselves around and flick their hair about, seeing drummers beat their kit into submission, seeing singers draw us in to sing along – that’s what it’s all about. And you can see from my photos, Rosetta brought their music to life. You could feel the energy.

Rosetta Valhalla Wellington

Admittedly, I’d been apprehensive about a Tuesday night show. I’ve been worn-out recently, and I knew a late night wouldn’t do my body any favours.

As it turns out, the opposite is true. Not only did I have a fantastic time watching two brilliant bands, but I feel revitalised. There is something to be said for exposing yourself to things that inspire you. I just want to sit down at my drum set and smash something out, to create something new and exciting.

Rosetta Valhalla Wellington

Rosetta made a point of touring extensively after writing their most recent album. This is their first time in New Zealand. And I’m grateful that they came this far, because it has been rewarding for everyone involved.

Rosetta Valhalla Wellington
Words and photos by Joseph James

  • Date December 12, 2017
  • Author Joseph James
  • Tags Pelagic Records, Post-Metal, Rosetta, Spook The Horses, Valhalla, Wellington
  • Comments Leave a comment

Album Review: Diary Of My Misanthropy – Leviathan

Diary of my Misanthropy Leviathan cover
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I’m a sucker for dystopian texts. It all started at high school, when we read Aldous Huxley’s Brave New World for English. For such an old work of literature, it was remarkably accurate at predicting how the world would change. I adopted this genre wholeheartedly, seeking out similar texts like George Orwell’s 1984 and Animal Farm.

In this current era of militant nationalism and the revival of Nazism, I think that the more people are exposed to dystopian allegories, the better. They offer insight into how things will turn out if we refuse to keep our leaders accountable.

Clearly Prague post-metal band Diary Of My Misanthropy agree. Originally a solo project from Vladyslav Tsarenko, Diary Of My Misanthropy is now a full band, who have just released their dystopian-themed third album, Leviathan.

Ngake and Whātaitai

Ngake and Whātaitai the taniwha. Taken from the book The Taniwha of Wellington Harbour, by Moira Wairama. Illustration by Bruce Potter

For a digital-only release, Leviathan sure boasts some beautiful artwork. Images depict the skeleton of a Loch Ness monster-looking beast sitting upon a rocky lakeshore, looking out through the fog to an isolated cottage.

It reminds me of the local Māori myth of Ngake and Whātaitai, two taniwha (sea monsters) who – according to legend – formed the geology of Wellington harbour where I live. Whātaitai, the less adventurous of the two, tried to follow his friend and escape for the lake where he lived, only to become trapped at the mouth of the newly formed harbour, forced to helplessly watch as the land around him evolved.

The rest of the liner notes tell a story. During a dream you meet the beast, and he shows you the world, and how humanity has doomed it. On top of the story, the liner notes also prominently feature two quotes: one from the Black Mirror TV series, and another from Jacque Fresco. I am not familiar with either, so did some research. Both Black Mirror and Fresco ask us to critically examine how we use technology, and ask if we like the  humanity is headed.

I’m currently reading Kurt Vonnegut’s first novel, Player Piano. Anyone familiar with Vonnegut will know that he is the master of blending sci-fi with satire, using his wicked wit as easily digestible critique. Player Piano is set in a post-World War America run by super computers and machines. Although the mechanical revolution was first seen as “progress”, the automation of industry left most citizens without work, and thus fulfillment, creating a society sitting on unrest. Without knowing too much about Black Mirror or Jacque Fresco, I can draw marked parallels between their works and Player Piano.

I recently saw a band Staghorn play in St Loius. Like Diary Of My Misanthropy, Staghorn also boasted a post-apocalyptic theme set to post-rock. Staghorn had a spoken word narrative advancing their story as they played. Thinking of this, I assumed that Diary Of My Misanthropy would also have samples featured in their songs. It is a common post-rock convention, after all. Take Lost in Kiev, Platonick Dive and Maybeshewill, for example.

Surprisingly, despite writing a narrative to go with the album, the band doesn’t include them in their songs. We do, however, hear two spoken words quotes. And to be honest, as much as I expected some more spoken word, I think the album could have worked better without any at all. Fresco’s quote in “War Is Peace” hardly stands out in the mix. And the segment on “Black Mirror” – which borrows from the TV show of the same name – is abrasive and serves to interrupt rather than enhance the listening experience. I’m not a complete prude, but the excessive swearing feels gratuitous.

Diary Of My Misanthropy - Leviathan - IThe music is great. Post-metal with influences drawn from doom, industrial, and (dare I say it?) nu-metal. The trio layer their sounds with expertise to create depth and dynamics.

They traverse the spectrum well, from lush textured moments to heavy overdriven segments. Chuggy doom-laden riffs sit next to glitchy electro-beats. Pleasant guitar strumming turns into a monstrous solo as soon as evolving back into padded swells. I can’t fault it. 

The mix between high and low-end balance out well. I dislike when “heavy” music focuses too much on bass and distortion.And Diary Of My Misanthropy are heavy, but strike a balance with high-pitched guitar, keys and brighter drum cymbals bringing in treble.

As a drummer, I find the drumming tasteful and interesting – articulate, smart. I like how the keys are played like an actual piano – more organic sounding that the synths that dominate most music these days. Not to say this sounds “natural” – there are plenty of effects playing havoc with tones – but the overall mix sounds crisp. It sounds like people playing instruments with the help of technology, not computers making music with human input.

As was the case in my Masters Of This Land review, I feel that my analyzing of the politics and themes behind this body of work is perhaps overbearing. I’m drawing comparisons to literature and mythology at the expense of critiquing the actual music. However, I wonder: does this signify quality in art? I’m engaging with it at a deeper level, making connections to other works and reading into possible meanings. Great art demands interaction; is evocative, which is the antithesis to passiveness.

Leviathan is excellent. I can endorse the music, artwork and themes. If you feel compelled to check it out, take time to read through the liner notes for the full experience.


Diary Of My Misanthropy links:

Facebook: https://www.facebook.com/DiaryOfMyMisanthropy

Bandcamp: https://diaryofmymisanthropy.bandcamp.com

Instagram: https://www.instagram.com/diaryofmymisanthropy

Soundcloud: https://soundcloud.com/diary-of-my-misanthropy

Merch: http://diaryofmymisanthropy.bigcartel.com/

 

Joseph James

  • Date December 6, 2017
  • Author Joseph James
  • Tags concept album, Diary Of my Misanthropy, Leviathan, Post-Metal, post-rock, Prague, Vladyslav Tsarenko
  • Comments Leave a comment

Echoed sounds collide: an interview with Rosetta

Rosetta Tour dates
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Philadelphia post-metallers Rosetta have recently released their sixth album entitled Utopioid [Will Not Fade review here] – a portmanteau of Utopia and Opioid. Utopioid is a concept album composed of four distinct sections that explore the extremes of texture and dynamic. It is also the band’s third independent release, offered for pay-what-you-want on Bandcamp. This is an interesting move in the current age of streaming, but the band not only recouped recording costs, but also achieved top-selling status on Bandcamp.

Believing Utopioid to be an album worth hearing live, Rosetta just underwent an extensive tour across North America. After a short break, they will embark on another tour throughout Asia and Oceania in a month.

Will Not Fade’s Joseph James chatted with guitarist Eric Jernigan about the album, the band’s philosophy, and touring.


Will Not Fade: Obviously you have reason to be proud of your latest record. What sets Utopioid apart from the other albums for you?

Eric Jernigan: Thank you! This is the first time everyone opened his contributions to direct criticism from another. As always the primary focus was to create something that spoke to us as individuals. But we also learned that each one of us does better work in collaboration, challenging as that process may have been at times.

With the four parts of the album, did you write each separate section in sequence, or did you write everything and then arrange them by mood? Because this album is cyclical, so I was wondering about the order it was written in.

We dedicated certain blocks of time to each movement, but if the creative fire went dark for a certain section we allowed ourselves to explore new ideas or tweak existing songs based on what we were in the mood for. Can’t waste time after all.

Does coming up with a concept make writing music easier or harder?

I think musically speaking many concept albums are born haphazardly and later sequenced to fit the story at the artist’s convenience. We avoided that by drawing the map for the concept shortly after we finished the first song structure, and we stuck to it religiously. It made certain aspects of writing feel more cumbersome, but we know it produced our strongest work to date.

Tone, texture and timbre are clearly important to you. What are some ways you try to achieve these things?

I’ve found lately that purposefully limiting the number of tools at my disposal can force some extra creativity to the surface.

To continue that discussion of collaboration, who’s idea was it to create the remixes of your songs included on A Dead​-​Ender’s Reunion? How does it feel hearing someone else’s take on music you wrote?

We’ve been friends with Will Benoit (Living Phantoms) for many years and deeply admire his work as both a producer and a songwriter. It’s a real treat to hear your music filtered through the mind of a respected peer.

With the recent record, you stressed that this was worth hearing live, and have tried to tour it more widely. Is it hard living on the road so much?

As long as we remain cognizant of the privilege inherent in sharing our music with audiences around the world it’s not hard. No one likes operating on minimal sleep for 30 days straight or sitting upright in a van for hours on end, but the reward is worth the effort.

How was the American tour you just finished?

It helped remind us we live in an unbelievably beautiful country. We found a few hours to visit Yellowstone National Park on a cold day in late October and saw a bunch of geysers, a herd of bison, and a pack of wolves. And then of course we ruminated on the crushing power of the supervolcano lurking beneath us.

What are you expecting from the upcoming Asia/Australia/NZ tour? You’ve chosen a good time of year as we are coming into summer.

It’s been 5 years since we were in Australia and all the rest of the territory is brand new for us. Couldn’t be more excited. Hoping as always to find extra time to meet interesting people and check out whatever sights we can manage.

Rosetta

sleepmakewaves are opening for you in Australia, and Spook The Horses in NZ. They are strong bands, and I actually thought sleepmakeswaves showed up This Will Destroy you when I saw them play together once [Review]. What is your process for choosing support acts?

Actually we’re the support for sleepmakeswaves in Australia, so we built the rest of the tour around that. Spook the Horses have been on our radar thanks to Robin from The Ocean and Pelagic Records, so we were stoked when our NZ agent suggested them. In general we aim to travel with bands who push music somewhere new and hope to make friends along the way.

I recently attended dunk!festival in Vermont, where Pelican and Junius were among the top billing acts. One thing I noticed is that they appear to have more cross appeal than many other bands who played the festival because they cross from post-metal through to doom/sludge territory. But then there was also Russian Circle, who don’t have vocals, and still have managed to achieve similar success. I realise that when Rosetta formed, the idea of post-rock/post-metal wasn’t so prevalent, but do you think that including vocals affects how accessible you are as a band?

To be honest accessibility has never been among our goals so we don’t spend much time thinking about it. Many of our friends in prominent instrumental bands receive unsolicited offers from random singers no one’s ever heard of: “Hey, obviously you left out vocals because you just haven’t found the right front person yet.” Likewise I’m sure there’s a contingency of people who’d prefer we didn’t incorporate screamed and/or sung vocals. Truth is none of that has any bearing on what we create.

After parting with Translation Loss Records, all your albums have been released independently. Talk me through that decision. How does staying independent compare to the option of re-signing to a label?

Translation Loss is a great label that helped us out immensely over the years. Independence simply gives us a more direct line to our listeners and vice versa. We value that connection.

If you were to give advice to a band starting out, would you still recommend the DIY route?

There’s no other way for a young band as far as I know!

When you first decided to offer your music at a pay-what-you-want price, did you expect to earn enough to cover recording costs? Has this helped you gain more exposure?

No, there was a lot of trepidation within the band on the eve of the release of The Anaesthete. We’re lucky to have a wide-ranging group of supporters who understand that music and art are valuable. I doubt it’s helped us gain more exposure, but who’s to say?

How does it feel to have gained best-selling status on Bandcamp?

We are immensely proud of that achievement. Again, we owe that honor to our fan base for their contributions.

Bandcamp offers different formats like FLAC and WAV, and I noted that you recently re-uploaded Utopioid at a higher res.. Do you care about how people access your music (iTunes, Spotify, Google Play etc…)?

For me the idea of caring about how people access our music is tantamount to exploring how people devote their attention to the consumption of music in general. If caring means I wish people would actively listen to our records rather than stream them from Youtube while reading pointless articles online, then yes. But I also recognize music serves different purposes for everyone.

 
Rosetta Utopioid cover

Do many people still buy the physical albums when they are made available? Is there still a demand of supposedly outdated media like cassette tapes?

Yeah, with each album we expect more digital and less physical but demand for CDs and vinyl is actually increasing. We manufactured a small run of cassettes for Utopioid and have been psyched to see them selling through our Bandcamp page and at shows.

I see that you have offered bonus tracks on a few albums for the Japanese editions. Now that the internet opens up access to a global audience, do you feel that you still have separate markets based on location?

That’s a good question. For the most part I think the internet has effectively leveled things in that respect. Nonetheless, it’s tradition in Japan to have some bonus material on a CD. So far we’ve always had the extra tracks around so it’s fun to release them with a great label like Tokyo Jupiter.

Rosetta has been around for 14 years now. How does being in a band now compare to back when you started?

As you might expect the responsibilities of life outside the band weigh a little heavier these days. Luckily the balance is manageable for the most part.


Rosetta Asia/Oceania Tour dates

29/11 Kaohsiung TW – Paramount Bar
30/11 Taichung TW – Sound Live House
01/12 Taipei TW – Revolver
02/12 Singapore SG – Analog Factory
03/12 Kuala Lumpur MY – Rumah Api
05/12 Perth WA – Badlands
06/12 Adelaide SA – UniBar
07/12 Melbourne VIC – Howler
08/12 Brisbane QLD – The Zoo
09/12 Sydney NSW – Oxford Art Factory
12/12 Wellington NZ – Valhalla
13/12 Auckland NZ – Ding Dong Lounge
15/12 Launceston TAS – Greenwood Bar
16/12 Hobart TAS – Brisbane Hotel

Rosetta links:

Website: http://www.rosettaband.com

Bandcamp: https://theanaesthete.bandcamp.com/

Facebook: http://www.facebook.com/rosettaband

Twitter: http://www.twitter.com/rosettaband

Instragram: http://www.instagram.com/rosetta_band

 

  • Date November 16, 2017
  • Author Joseph James
  • Tags DIY, Philadelphia, Post-Metal, Rosetta, Sludge, utopioid
  • Comments Leave a comment

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