KARMA TO BURN
Actually, "Suck my dick, you two-faced, no-good fuckhead. I hope you burn in hell, you L.A. Cunt," were the words that reunited Karma To Burn after a seven-year hiatus. Truly, it takes a big man to cry, but it takes a bigger man to laugh at that man.
Forged deep in subterranean West Virginia in 1994 by two careless and angry young men, William Mecum and Richard Mullins, Karma To Burn initially gnashed its teeth at the conventional wisdom you need a whining, posing douche-bag at a microphone stand to play rock and roll. They were of a mind to create a power trio free of this biologically inferior component. In the absence of lyrics, they titled the songs by number. Before they'd counted as high as their educations permitted, Roadrunner Records offered to release their debut album . . . on the condition that they get a singer. The base beliefs of Karma To Burn that true power was in the instrument, the extension of the body, free of the eviscerated flesh and mind never wavered. Except when they were offered cash. Then it fell like Satan from the stars.
The first record, compellingly titled Karma To Burn, featured such nods to convention as vocals, lyrics, and song titles. However, just as Dr. Frankenstein could not make his creation a man by swaddling it in menís clothes, our heroes were likewise unable to make Karma To Burn anything but an instrumental outfit. Exercising their God-given right to stick to their baseless, narrow-minded convictions, they responded to those trying to convince them that their hatred for lead singers was misguided with the trained response, "Now not having a singer, that's what's called being a man."
They carried on as a three-piece, jettisoning drummers hither and yon before recruiting the madman Rob Oswald. They released two more albums of instrumental heavy rock, Wild Wonderful Purgatory and Almost Heathen, to astonishment and accolades. Accolades almost begat money. Almost money begat opiates. Opiates begat differences, and differences decimated Karma To Burn in 2002.
In 2009, with the maturity of three screaming, biting five-year-olds Mullins, Mecum and Oswald put aside their differences. Soon after minting the phrase "LA Cunt," Karma to Burn booked a small reunion tour, to the consternation of all innocent bystanders and the furious joy of all participants. They followed that tour with a summer stampede across Europe, including Download Festival (UK), Hellfest (FRA) and Graspop Metal Meeting (BEL), where they unveiled the latest in their numbered paeans to pandemonium. Bees attacked. LPs sold out. They have no choice but to carry on, and so there will be more to come....
HOT RUNNING BLOOD
It’s a lovely summer day, the sun is shining and the birds are singing. Suddenly the blue sky darkens with black clouds. Something threatening is in the air. Of course you attend in order to devote full attention to this gathering storm. This is the moment when the music of HOT RUNNING BLOOD thunders out. Like a summer storm, brutal, intoxicating, beautiful...
The sound is driven by the drummer, Chardy-San and the bass player Flap Jack. They form the foundation from which the guitar riffs and lyrics of Jonny Yan Again and Lou Martini develop. This brings on an unmistakable manuscript: HOT RUNNING BLOOD – this is dangerous, this is dirty. This is Stoner-rock, blues and Rock 'n' Roll!
Since setting up in 2007, the four lads from Berne have performed all over Switzerland and done what they do best: hyped up their fans, tempered their style and fired up the chiefly still virgin audience. With their large number of live shows, the lads have played their way to a hard core of fans in every corner of Switzerland.
Their second album, "LOVE IS BLIND", was released in autumn 2013 by the Subversiv Records label.
SONS OF MORPHEUS
The clash of the past and present can trigger many things... In the case of Sons of Morpheus, it has caused an energetic detonation. Manuel Bissig (guitar, vocals), Lukas Kurmann (bass) and Simon Gautsch (drums) have found the key to a new era, where the musical freedom of the 60s and 70s, combined with the sounds of today, have enabled something very special.
Raw and wild, like the earthshaking sound Hendrix, Led Zeppelin or Black Sabbath let loose back in the day, Sons of Morpheus tear up the strings and beat the drums without giving the impression that time has stood still. The world may have changed but our minds have not.
In this manner, Sons of Morpheus summon the ghost of the past and let it thrive in the present. Time is and remains relative.