Grooveyard Records is proud to present the Mega-awesome sixth disc by this mind-blowing heavy guitar power trio from Denmark featuring the incredible Martin J. Andersen on guitar & vocals. Includes 11 tracks (67 mins.) of outstanding, brain-damaging, over-the-top, bad-ass, blues-based, retro-sonic, guitar rock awesomeness that weighs heavy on the big, electric power trio jam:factor. On the amazing Live In Denmark disc, Blindstone dig deep into a remarkable set of awesome beyond belief originals plus several way-kool cover tracks by Jimi Hendrix, Frank Marino & Mahogany Rush (where we find a stellar version of Land Of 1000 Nights for the 1st time on this disc) along with many other killer, vintage heavy rock jams that land phenomenal and defy six string gravity.
Following the release of Pawn Hearts, bandleader Peter Hammill took time out to develop a solo career, choosing to focus his energy on darkly introspective works that seemed to be intended to examine the personal consequences of his life. When it came time for reuniting the members of Van Der Graaf, this change in direction had its effect on the band's post-1975 music…
Following the positive reactions and a wide media echo on their self-titled debut in 2012, Devil's Train got their follow-up in the pipeline, now. Again and again have their supporters expressed their joy about a band still combining the heavy sound of the 80s with the classic hard rock attitude of the 70s. Even though, Devil's Train had been thought to be a short-term side project in the beginning, it got clear pretty quickly that everyone had simply too much fun working together to quit – the outcome is quite impressive indeed. Instead of keeping it easy and following the straight concept of traditional heavy rock with a biker attitude, which had been so well accepted in the past, Devil's Train have been refining and enriching their individual style for their classically titled follow up „II“ without compromising any of their principles.
In 2002, Mark Lanegan was looking to make some changes in how he approached his music – the Screaming Trees had finally collapsed at the end of the '90s, he'd found a new fan base as a frequent guest vocalist with Queens of the Stone Age, and the spare, blues-leaning solo efforts Lanegan cut for Sub Pop were no longer side projects but the first chapters of a new career. As Lanegan was strategizing his next move, he went to Houston, Texas and in five days recorded a dozen songs with a handful of talented local musicians, including guitarist Ian Moore and longtime Willie Nelson sideman Mickey Raphael on harmonica, with Justice Records founder Randall Jamail as producer. While the sessions were meant to be demos for a stack of songs Lanegan had written for Jamail's publishing house, the finished product sounded good enough to be an album, and in 2015 Lanegan finally released the material under the title Houston: Publishing Demos 2002. The jolly irony is that while these are supposed to be demos, in many respects the performances sound more polished and "commercial" than most of Lanegan's early solo efforts, capturing a laid-back but buoyant mood that's informed by country and blues as much as rock, and Lanegan seems comfortable singing with the group, rather than simply laying his vocals over the top.